Hartley-Cook, Tomas by Architecture@LJMU

Tomas Hartley-Cook 2022 Portfolio

Master of Architecture / BA(Hons) Architecture Liverpool School of Art and Design

About Me I’m a 24 year old Architecture student, currently completing my Masters Degree at Liverpool John Moores University. I am a keen hands-on worker, spending a large chunk of my spare time working two jobs; one as a labouring technician within the theatre industry, and the other as a labourer on building sites. I’m a relatively well travelled individual and enjoy immersing myself within different settings. A key passion of mine is the contrasting styles of old and new Architecture when combined in to one project. The ‘Wirral Waters’ project is something I’m hopeful to be a part of due to it’s scale and locality to me.

2022 Portfolio - Tomas Hartley-Cook

Contents

MA Year 2 Semester 1:

MA Year 1 Semester 1: Group Urban Planning

Group Urban Design

Technical Drawings

Individual Urban Design

Visualisations

Precedent Study

MA Year 1 Semester 2:

MA Year 2 Semester 2:

Live Project:

Plans and Scheme

Building Design

Technical Drawings

Structural Report

Visualisations

Environmental Report

Structural Detail

Interior Report

Environmental Detail

Typology Modelling

Curriculum Vitae:

100

104

2022 Portfolio - Tomas Hartley-Cook

MA Year Two Semester One

2022 Portfolio - Tomas Hartley-Cook

Contextual Background

2022 Portfolio - Tomas Hartley-Cook

Initial Proposals

2022 Portfolio - Tomas Hartley-Cook

Initial Scheme The proposed urban scheme is a response to the dogmatic visual stimuli of western culture. The urban scheme proposes to reinvigorate The Barras, trans-forming it into a destination that counteracts the mainstream monopolising retail stores, encouraging creatives (both people and organisations) to culti-vate an arts and crafts culture which is currently fading. The scheme will facil-itate all the senses without discrimination creating an immersive experience.

Western culture has evolved to facilitate the eye as the dominant sense. Contemporary media affirms this, as the world is torn into a suc-cession of snapshot pictures, diminishing the consumer to purely a spectator role, without a sense of spatial locale in what is being per-ceived. The hegemonic eye pursues supremacy over all spheres of cultural production, and it seems to dilute our capacity for compassion, empathy and participation within society and the world. The role of architecture is not to devolve personal experience to the role of a spec-tator, rather create a spatial environment where all senses are stimulated, and the individual is immersed and becomes part of the whole.

2022 Portfolio - Tomas Hartley-Cook

Masterplan

2022 Portfolio - Tomas Hartley-Cook

Masterplan Typologies

The two axonometric street views below show different aspects of design within the masterplan. The left image illustrates a high density of buildings with large scales. The widening of the main street makes it clear that there is a directional axis of travel preferred through the space. In contrast to this is the image on the right which indicates a space of transition to the South of the main courtyard spaces. This area was designed to entice people on the street to meander through the courtyards and into the main high street. The permeable walling and interesting levels of physical social interaction allows for an intriguing design.

The two axonometric programmes show the multiplicity of business typologies within the defined courtyards. The larger diagram to the right shows how functions have been arranged into clusters, keeping a sense of continuity with-in the urban fabric. The areas highlighted in white show conceptual spaces of transition between buildings.

2022 Portfolio - Tomas Hartley-Cook

Day/Night Comparison Section

Running North West to South East across our site, this section portrays the night life scene in conjunc-tion with daytime activities within the various courtyards. The sculpture courtyard can be seen to take advantage of the electricity substation’s locality, using it as a backdrop to sculptures displayed within. The transition from the busy main strip leading to Gallowgate street to the calmer court-yard space to the West helps to identify different spaces for different people and times of day.

2022 Portfolio - Tomas Hartley-Cook

Site Section Through the Courtyards

This section line cuts through our site area from South to North helping to visualise the inner courtyard spaces and their functions throughout the site. Pedestrians along London Road can be seen to meander through the arched arcade towards a densely popu-lated courtyard. From here people can travel through the colonnade and into the peaceful garden courtyard adjacent to the library and art gallery or venture through the large archway and into the sculpture courtyard.

2022 Portfolio - Tomas Hartley-Cook

Site Section Through the Stations

This section line cuts through the site along the North East to South West axis and aims to show the spatial differences within Gallowgate square in comparison to James Morrison St. An overarching theme within our design has been the cut-out section within the office block visible above the lowest part of Gallowgate square. This allows for Gallowgate station and fountain to be visible from the edge of St Andrews in the Square. Gallowgate lower can be seen to exit out onto James Morrison St, with the view of St Andrews in the Square.

2022 Portfolio - Tomas Hartley-Cook

Proposal Realisations

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MA Year Two Semester Two

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Site Plan and Scheme

The ground floor plan in context attempts to illustrate the gallery building in relation to the buildings relative to the scheme. The key supplied provides the data relevant to this. Floor textures have been included to the gallery plan to help identify similarities between rooms and differences between others. Additionally, courtyard textures have been included where strategic.

Key; 1. Gallowgate Galleries 2. Garden Courtyard 3. Private Galleries 4. Rentable Art Studios 5. Cafe 6. Tradesman Workshops 7. Sculpture Workshops

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Functioning Site Plan - 1:500

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Ground Floor Plan

The ground floor utilises the majority of it’s area to accommodate the galleries. The Western wing of the building is home to the main exhibit, the permanent collection of Jenny Saville’s work. This wing is designed to take the audience on a journey through Saville’s career showing specific artworks in a sort of chronological order throughout. Upon exiting the main exhibition, one would be guided through the Lucian Freud and Egon Schiele galleries respectively, before venturing through to the temporary gallery collection. The temporary gallery would promote local artists whilst showcasing individual pieces of famous works on a loan basis, meaning that the temporary gallery would forever be changing. The dimly highlighted walls within the temporary gallery indicate the raise and lower panels which can change the floors layout dependant on their position. The majority of services are located to the North end of the Eastern wing.

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Batch 137 - Lot 13 - Item 1

Gallowgate Galleries Thesis Project

Tomas Hartley-Cook

Ground Floor Plan - 1:200 2022 Portfolio - Tomas Hartley-Cook

First Floor Plan

The first floor is home only to the bar area and terrace, with an egress route ajoined. A good observation of this floor plan is how the “garden voids” interact with different spaces around the building, such as the top right void in this plan. One can observe how tapping in to these voids can allow for masses of natural light to flood the space as well as allowing for interesting views in to and out of the temporary gallery space. These views to and from different levels of the building reinforces the layering aspect of the thesis proposal.

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Batch 137 - Lot 13 - Item 2

Gallowgate Galleries Thesis Project

Tomas Hartley-Cook

First Floor Plan - 1:200 2022 Portfolio - Tomas Hartley-Cook

Second Floor Plan

The second floor houses the staff breakout area as well as the gantry floor where the raise and lower panels would rise to. Once risen, the panels can be serviced and the artwork upon them can be changed. The introduction of these raise and lower panels would help in minimising disruption within the gallery below when artwork is being adjusted, as this can be a lengthy process. A larger loading elevator has been specified in order to transport artwork to and from this floor on trolleys. The Barras arch to the South does not reach the heights of the second floor, it has merely been kept as a point of reference.

2022 Portfolio - Tomas Hartley-Cook

Batch 137 - Lot 13 - Item 3

Gallowgate Galleries Thesis Project

Tomas Hartley-Cook

Second Floor Plan - 1:200 2022 Portfolio - Tomas Hartley-Cook

Roof Plan

Though faint, one can observe how maximising roof light was essential within this design in order to maximise the utilisation of the wallspace available wihtin the galleries. I believe that this has worked best within the Egon Schiele gallery, as depicted within the ground floor plan. The levels of light achieved within that space alone makes for a special environment. Roof lighting was placed in mind of the artwork within the building not neccessarily wanting direct sunlight.

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Batch 137 - Lot 13 - Item 4

Gallowgate Galleries Thesis Project

Tomas Hartley-Cook

Roof Plan - 1:200 2022 Portfolio - Tomas Hartley-Cook

Elevations

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Gallowgate Galleries Thesis Project

Tomas Hartley-Cook

South Elevation - 1:150

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Batch 137 - Lot 13 - Item 6

Gallowgate Galleries Thesis Project

Tomas Hartley-Cook

South Elevation - 1:150

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Elevation and Section

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Gallowgate Galleries Thesis Project

Tomas Hartley-Cook

South Elevation - 1:150

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Perspective Renders

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Gallowgate Galleries Thesis Project

Tomas Hartley-Cook

External Perspective

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Batch 137 - Lot 13 - Item 10

Gallowgate Galleries Thesis Project

Tomas Hartley-Cook

Main Entrance Foyer

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Perspective Renders

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Gallowgate Galleries Thesis Project

Tomas Hartley-Cook

Jenny Saville Main Gallery

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Batch 137 - Lot 13 - Item 12

Gallowgate Galleries Thesis Project

Tomas Hartley-Cook

Egon Schiele Collection

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Structural Detail The axonometric section cut to the right starts to pick out interesting aspects of the facade build-up within the design that are to be expanded upon further. Contrary to previous renders, the garden voids are visualised in sections rather than looking like single panes. The lower sections on the internal edges of the voids were made accessible from within the building. This allows access for maintenance at all times as well as offering an opportunity to be open during certain times in the year. Opening the voids during periods of good weather will allow for a healthy supply of fresh air throughout the ground floor as well as circulating the old. Even throughout the poorer weather, the voids can still be opened as the ground beneath is natural and will capture precipitation. This section shows the raise and lower panels in greater detail to the perspectives and plans.

2022 Portfolio - Tomas Hartley-Cook

1 2 3

4 5

Structural Plan

1. 6mm Double Glaze Glass

7. Mesh Reinforced Concrete Slab

2. Aluminium Curtain Glaze System

8. Profiled Steel Decking

3. Stormguard Outer Threshold Sill

9. Drop Ceiling

4. Floor Finish, Treated Solid Timber

10. FBN II Steel Zinc Plated 10mm Anchor Bolt

5. Met Deck Boards

Structural The mainPlan structure of the building is a steel

Structural Plan structure of the building is a steel The main

ck will be used throughout the design, mainstant theme of materiality across the exteck will be used throughout the design, maink lends itself to the sites context, as can be stant theme of materiality across the extehinbe theused expanded elevation. Wheremainfacing will throughout the design, k lends itself to the sites context, as can be uired, the of same brick is available in slips. nt theme materiality across the extehin the expanded elevation. Where facing ends itself to the sites context, as can be uired, the same brick is available in slips. n the expanded elevation. Where facing red, the same brick is available in slips.

to a minimum within the aesthetic of the sign, concrete is present throughout the to a minimum within the aesthetic of the he galleries and so can be visualised within sign, concrete is present throughout the ground and ceiling across the builda minimum withinplanes the aesthetic of the he galleries and so can be visualised within concrete addsistopresent artworkthroughout on display by n, concrete thebeground and ceiling planes across the buildwing the fleshy colours within the artwithin to pop. galleries and so can be visualised concrete adds to artwork on display by beound and ceiling planes across the buildwing the fleshy colours within the art to pop. ncrete adds to artwork on display by beg the fleshy colours within the art to pop.

are situated as part of an exposed structure nny Saville collection. The main structure of are situated as part of an exposed structure he building is timber frame with block and nny Saville collection. The main structure of nstruction. posts add a level of e situated asThe partglulam of an exposed structure he building is timber frame with block and he plain collection. white spaces, the tone of which y Saville The main structure of nstruction. The glulam posts add a level of the artwork portrayed. building is timber frame with block and he plain white spaces, the tone of which ruction. The glulam posts add a level of the artwork portrayed. plain white spaces, the tone of which e artwork portrayed.

11. Ivanhoe Cream Facing Brick Slips

2. FBN II 3. He 4. 6m

21 1 32

grid system as pictured in plan and perspective. grid system as pictured in plan and perspecThe main structure of the building is a steel tive. The part of building without any strucgrid system as the pictured in plan and perspectural elements visible has been given a blockDetail Section tive. Contructional The part of the building without1:10any strucand brick structure with a timber framed section cut to The axonometric tural elements visible has been given a block the right internal This is without mainly down tostarts theto pick out inThe part oflayout. the building any strucand brick structure with a timber framed teresting aspects of the facade scale of the visible building specific areas being tural elements hasinbeen given a block build-upto within internal layout. This is mainly down thethe design. rather and bricksmall. structure with a timber framed scale of the building in specific areas Contrarybeing to previous renders, internal layout. This is mainly down to the the garden voids are visualised rather small. in sections scale of the building in specific areas beingrather than looking like single panes. The lower secrather small. tions on the internal edges of

1. Reinfo 2. FBN 3. He

6. PIR Insulation Board

Perspective E-W Section

Key; 1. Rein

Key; 1. Rein 2. FBN

3. Heavy 4. 40m 6m 5.

4. 6mm 5. 40m 6. CusS

3 2 4 3 54 6 5 4 7 6 5 8 7 6 8 7 9 8 10 9

5. 40mm 6. 90 CusD 7.

6. Custom 7. D 8. 90 M10

7. 90 8. Deg M10 9. PAR

8. M10 B 9. PAR 10. 6m

9. PAR Pi 10. 6m

9 10 10

10. 6mm

the voids have been made ac-

As part of the design, viewports were created in order cessible from within the build- 1:10 Contructional Detail Section ing. This allows access for mainto invoke intrigue and encourage movement throughout tenance at all times as well as 1:10 Contructional Detail Section As part of the design, viewports were created in order spaces. These timber slats provide a subtle opening offering an beopportunity to be to invoke intrigue and encourage movement throughout during certain times in the 1:10 Contructional Detail Section and exit ofwere the permanent gallery, Astween part ofthe theentrance design, viewports created open in order year. spaces. These timber slats provide a subtle opening besilhouettes to appearmovement and disappear between to allowing invoke intrigue and encourage throughout tween the entrance and exit of the permanent gallery, Opening the voids during perispaces. spaces. These timber slats provide a subtle opening beodsbetween of good weather will allow allowing silhouettes to appear and disappear tween the entrance and exit of the permanentforgallery, a healthy supply of fresh air spaces. throughout the ground floor as allowing silhouettes to appear and disappear between well as circulating the old. Even spaces. during periods of poor weather, 6 3 the voids can still be opened as 53 the ground beneath is natural 7 6 This material is crucial to the design of the galleries and isprecipitation. 8 and will capture 7 featured in the garden voids, the main galleryThis space and the raise and6 3 5 section 9 This material is crucial to the design of the galleries andshows is 8 the undercroft, each benefitting from the addition of this lower panels in greater detail to 7 5 featured in the garden voids, the main gallerythespace and metal. Sourced from famousofBarras Gates perspectives situated 9 This material is crucial to the design the galleries and is and plans. 8 10 the undercroft, each benefitting from the addition of this 1:100 Axonometric Section adjacent to the galleries, this flowsspace through featured in the garden voids, thematerial main gallery andthe 11 metal. Sourced from the famous Barras Gates situated 9 10 linking back to the context at each point. thebuilding, undercroft, each benefitting from the addition of this adjacent to the galleries, this material flows through the 11 10 metal. Sourced from the famous Barras Gates situated building, linking back to the context at each point. adjacent to the galleries, this material flows through the 11 building, linking back to the context at each point. A distressed, white plaster was chosen as the interior finish for the majority of the internal spaces. Due to the A distressed, white plaster was chosen as the interior artwork within the galleries taking precedent, the walls finish for the majority of the internal spaces. Due to the were intentionally made was plain,chosen however a distressed, A distressed, white plaster as the interior artwork within the galleries taking precedent, the walls raised finish wouldofcreate a similar senseDue of thick finish for the majority the internal spaces. to thelaid were intentionally made plain, however a distressed, paint as the artwork on show. artwork within the galleries taking precedent, the walls raised finish would create a similar sense of thick laid were intentionally made plain, however a distressed, paint as the artwork on show. raised finish would create a similar sense of thick laid paint as the artwork on show.

Key;

Key; 1. Pref

Key; 1. Pref 2. OSB 1

1. Preform 2. OSB 3. Den

2. OSB Ca 3. 4. Den Ivan

1 4 2

3. Dense 4. Ups Ivan 5.

2 4

4. Ivanho 5. Ups 6. Sur

5. Upstan 6. Sur 7. Wa

12 13 12

6. Surfac 7. Wa 8. Insu

12 13

7. Waterp 8. Vap Insu 9.

8. Insulat 9. 10.Vap Sc

9. Vapou 10.Re Sc 11.

10. 12. Scree 11. Re FB

11. Reinfo 12. 13. FB Iva 1:10 Contructional Detail Section

12. 13. FBNIva II

1:10 Contructional Detail Section

13. Ivanh

Key;

1:10 Contructional Detail Section

Key; 1. 6mm

Key; 1. 6mm 2. Alu

Circulation Environmental Section

Once opened, the doors to the garden voids act as a circulation channel in which air can circulate around1the building whilst the greenery within the garden can help to improve the quality of the circulating air. This aspect was derived from the aesthetic concept for bringing life closer to the art being portraye 1. 6mm 2. 3. Alu StoD within the galleries and was later enhanced to incorporate this circulation feature.

2 panels may reside. When the panels are 3. Sto The skylight above the gantry floor will allow light to penetrate the openings below where the transitional in th 4. Floo 1 light 4 from the ceiling, rather the garden voids provide the necessary raised position, light cannot penetrate 3 values for the temporary gallery space. Red highlights are indicative of photovoltaic glass panels being implemented within the design. 4 Replacing normal glazing with PV glass allows sunlight to inter5 act with the space below whilst storing energy for the building 6 to use.

7 Dark grey highlights represent internal lighting adjustments made available for the user. 8 Allowing the user to limit the amount of daylight that the 9 room recieves is an important aspect within the design of an art gallery as it isn’t always a desired feature. In this case, electric motors would allow for roller blinds to cover the skylights above. 1:20 Structural Detail Section

2 2 310 3 11 10

7 8

10 11

8 9

5 4 6 5

2. Alumin

3. Storm 4. Me Floo 5.

4. Floor 5. Me 6. PIRF

5. Met D 6. PIR

6. PIR Ins

Environmental Strategy Section

1:10 Contructional Detail Section

2022 Portfolio - Tomas Hartley-Cook

1:10 Detail Sectioncut to TheContructional axonometric section

Persp

Environmental Understanding

Thermal massing has been stategised within the south-most walls of the design as indicated in the perspective. These walls material of the walls allow for this storage of energy. Dense concrete block, concrete, brick and stone have all been implem rials is of a higher effectiveness of thermal massing as they have the highest heat capacities and relatively high thermal cond

Solar energy has been taken advantage of across the design with the implementation of solar panels and photo-voltaic glaz though potentially unfeasable in terms of costing, has a multi-purpose within the design. The two main areas in which this m the main Jenny Saville Gallery. These two areas have South-facing glazing opportunities however, neither space requires dir allow for the photo-voltaics as the glazing is translucent rather than transparent and allows a diffused light to enter the spa

Cold air can be seen to enter the building through the garden voids to the top right of the perspective. This air is then heate above as well as the gallery air. This warm air is expelled at the rear of the building via an exhaust only ventilation system. Th the building via the voids. When the garden voids are closed, circulation is achieved mechanically via a HVAC ducting ventila within the building though this may be minute.

Daylight is achieved in most spaces across the gallery floors due to openings on the North elevation. In conjunction with thi

2022 Portfolio - Tomas Hartley-Cook

can harness the solar energy of the sun, storing the heat it generates during the day and release it of an evening. The thickness and mented within the design proposal for the build up of the West wing which is the lower portion of the perspective. Each+O2 of these mateductivities. Their density and specific heat capacity allow for higher admittance values calculated over a period of 24 hours.

+O2 +O2 +O2glazing, zing. Solar panels have been positioned along the top of the cafe facing South-South-West which is optimal. The photo-voltaic +O2 The axonometric section cut to the right starts to pick out interesting aspects of the facade build-up within the design.

material is present is above the Egon Schiele gallery to the far right of the perspective and within the smaller gallery space adjacent to to previous renders, rect sunlight due to the artwork being displayed within. This allowed for Contrary a garden reconfiguration of the design and a change in materiality to the voids are visualised in sections rather than looking like single panes. The lower secace within. This is a key feature of this material and happens to assist in the environmental strategy of the design also. tions on the internal edges of the voids have been made accessible from within the building. This allows access for maintenance at all times as well as offering an opportunity to be open during certain times in the year.

ed by underground heating within the temporary gallery space and allowed to rise up into the open space and help to heat the floor his in turn creates a lower density of air within the space and encourages the progression of more fresh cold air from outside to enter ation system within the building. The progression of air through the garden voids should in theory encourage higher levels of oxygen Opening the voids during periods of good weather will allow for a healthy supply of fresh air throughout the ground floor as well as circulating the old. Even during periods of poor weather, the voids can still be opened as the ground beneath is natural and will capture precipitation.

is sits the saw tooth skylighting to the right of the perspective above the Egon Schiele gallery. This section shows the raise and lower panels in greater detail to the perspectives and plans.

2022 Portfolio - Tomas Hartley-Cook 47 Thermal massing has been stategised within the south-most walls of the design as indicated in the perspective. These walls can harness the solar energy of the sun, storing the heat it generates during the day and release it of an evening. The thickness and material of the walls allow for this storage of energy. Dense concrete block, concrete, brick and stone have all been implemented within the design proposal for the build up of the West wing which is the lower portion of the perspective. Each of these materials is of a higher effectiveness of thermal massing as they have the highest heat capacities and relatively high thermal conductivities. Their density and specific heat capacity allow for higher admittance values calculated over a period of 24 hours.

2022 Portfolio - Tomas Hartley-Cook

MA Year Two Live Project

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Choice of Site and Plan

Design

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Pod Proposal

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Design

roof

walls

timber frame

concrete base

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Pod Plans and Development

Design

one pod studio

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two pods class

four pods fablab

Design

The Ripple

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Perspective Renders

The social dome

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The social dome

Allotments

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Perspective Renders

The Ripple

Projects display

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The social dome

legend

Allotments

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MA Year One Semester One

2022 Portfolio - Tomas Hartley-Cook

Group Urban Design

Liverpool city centre is structurally dense with an extensive business and commercial district and compact knowledge quarter. To the south of the centre is upper parliament street which acts as a buffer and buildings are spread more sporadically. Progressing further south a second wave of densely populated buildings consisting of vast residential areas. This is the location of the site for analysis and is in the area of Dingle. Dingle, throughout the scope of this investigatory research report has come across as a rather negative area on the cusp of the Liverpool City region, enveloped in a façade of crime and media backlash, the residents of Dingle are swallowed up in a field of negativity on all fronts. The city centre seems to have disregarded its borderlands and left the

Specific site boundaries were not set for this project, however a border was laid inside the area of Dingle, Liverpool, to which our designs should stay within. The first part of the project was group work and we were eventually to design a masterplan to regenerate and rejuvinate the area of Dingle however we saw fit. The group design took many twists and turns along the way, however the starting off point was clear. As a group we had decided that we should analyse the local area through a series of interogative datums. These datums provided us with enough information about the people living within the area of Dingle, to sway us towards specific design CHILDREN AND AGE typologies.

likes of Dingle to fend for itself. Local businesses may thrive within the local area but that is more than likely down to a lack of options in the food retail industry in conjunction with a low average income per household. Travelling in to the city centre for the weekly food shop seems less than practical given that the masses tend to descend on Liverpool One over the weekend. The colour coded map charts show a wide spread of information; however, an overall view seems to point towards Dingle being a rather average province in the Liverpool area, featuring a bad reputation. It’s not hard to see that with a decent plan in production, alongside new local developments already taking place, that Dingle could be on the rise once more to sit proudly alongside the city centre, and not cast away in its shadow.

LAND USE TYPES - NATIONALLY

AGRICULTURE 63% OPEN LAND, FOREST & WATER 21%

TRANSPORT & UTILITIES

RESIDENTIAL GARDENS 5%

UNKOWN DEVELOPMENT 25%

OUTDOOR RECREATION 3%

RESIDENTIAL 12.5%

DEVELOPED LAND 8%

OTHER 12.5%

LIVERPOOL LAND USE

DEVELOPED LAND USE

NORTH WEST REGION LIVERPOOL

HIGH >40% 25 - 40% 10 - 25% <10%

LOW

LINKS TO THE CITY

CITY REGIONAL BREAKDOWN

THE PEOPLE

An obvious north/south divide in the region regarding families or parents with children and those without, the latter largely on the eastern side. The western area of the site is perceived as most suitable for children due the addition of garden spaces which the terraces lack. The lack of children in ‘Zone 6’ is obvious due to the very high ageing population, and in the central zones young adults dominate the area.

HOW MANY CHILDREN?

AGE 0-15 HIGH ONE CHILD

TWO CHILDREN LOW THREE CHILDREN

NO CHILDREN

Main Road Routes Main Rail Routes 4/4a Bus Stops

2022 Portfolio - Tomas Hartley-Cook ZONAL KEY

DEVELOPED LAND USE - NATIONALLY

500 Bus Stops 204 Bus Stops Anglican Cathedral

38 - 41%

5+ GCSE’S LOW

2. 5. 1-4 GCSE’S

>75% THREE CHILDREN

ON SQUARE 65 - 75%

<38% 3.

NO QUALIFICATION

55 - 65% NO CHILDREN

DEGREE

45 - 55%

ST HELENS

LIVERPOOL

i, Oli Martin & Tomas Hartley-Cook <45%

A-LEVEL

44 - 47% 41 - 44%

1-4 GCSE’S2.

TOXTETH DINGLE

38 - 41%

5+ GCSE’S

TRA

>47%

AIGBURTH

<38% 3.

4. 7.

NO QUALIFICATION

>47%

DEGREE

44 - 47% A-LEVEL

41 - 44%

5+ GCSE’S

38 - 41%

2. 1-4 GCSE’S

<38% 3.

USE

NO QUALIFICATION

VIE Low4. Quality Zone

High Quality Zone Primary Schools Community Learning Centres HIgher Education Centres Religious Buildings Dental Care Pharmacies Health Centres Gyms Supermarkets Independent Food Services Other Retail Services

ORIGIN OF THE MEDIEVAL SQUARE

2022 Portfolio - Tomas Hartley-Cook

Group Urban Design

2. STRUCTUR

enovation of run down community centre. A key of transition.

Due to our findingsis the the urban analysis, we identifiedpoint three major issues; poor healthcare, education and no defined space dedicated to rban Square, Florrie’ focal 1. ‘The Beginning of inascent, the top of The ‘Florrie’ is varying zonal communities. In our initial ideas we began proposing different ways in which these three key elements could be combined into framed As a group we decided that some by the new walkway.

key criteria needed fulfilling throughout the course of the design, these were as follows;

3. ENTERING edestrianised & Cyclists ‘Only’ Streetphysical access and visual 2. New walkway to allow - To create a place of belonging in an area stricken continuity with the feel of between the square and the river.

segregation. Secondly, we refined our programme to focus predominantly on an urban square with the health aspect secondary. Next the square was arranged to incorporate

pre-existing routes as well as the new developed vista that enables a direct linear view down to the river. Utilising trees bushes to offer a aesthetic contrast with

Florrie a thus accentuating the buildings -The Create centre to Dingle andimportance. Furthermore, continued exploration on the relationship between the domestic housing around the square and how this relationship can be enhanced give the surrounding area some via routes, views or adding to the sense of enclosure. form of structure.

escent towards the square, of thecommunity river & 3. Renovation of view run down centre. A key al, One-way street bike lane area ofof with transition. 1. Beginning of ascent, topform of the ‘Florrie’ is framed by the new walkway - Attract custom in the the cyclists, thephysical revenue of and the visual continuity between the square and the river. 2. New increasing walkway to allow access local businesses. 3. Renovation of run down community centre. A key area of transition

4.Florrie’ Urban ‘The&Florrie’ the focal point ycleInitial Route Continues to Princes Sefton isPark plans 4. Urban concept Square, ‘The is the and focal pointSquare, perspective drawings helped 5. Pedestrianised & Cyclist ‘Only’ Street establish solid ideas which 6. Descent towards the square, view ofto the river & Wirral, one-way street with bike lane some would eventually come fruition. 7. Cycle Route continues to Princes & Sefton Park

4. VIEW TO ‘T

5. Pedestrianised & Cyclists ‘Only’ Street

Secondly, we refined our programme to focus predominantly on an urban square with the health aspect secondary. Next the square was arr pre-existing routes as well as the new developed vista that enables a direct linear view down to the river. Utilising trees bushes to offer a ae The Florrie thus accentuating the buildings importance. Furthermore, continued exploration on the relationship between the domestic housin and how this relationship can be enhanced via routes, views or adding to the sense of enclosure.

6. Descent towards the square, view of the river & Wirral, One-way street with bike lane 1. Beginning of ascent, the top of the ‘Florrie’ is framed by the new walkway 2. New walkway to allow physical access and the visual continuity between the square and the river.

THE ASCENT 1:2500

2022 Portfolio - Tomas Hartley-Cook

3. Renovation of run down community centre. A key area of transition

5. EXIT FROM

7. Cycle Route Continues to Princes & Sefton Park

ed to give an ways in which edefined. The plans were which each could agree of a strong square conoad and Mill n of a church ocal learning g the use of are, and the cal housing te the extend.

e considered e square and to integrate ban fabric as INITIAL CONCEPT VIEWS als the square and lacked a aces to reach hermore, the INITIAL CONCEPT VIEWS by extending ted multiple this lack of mended. The rated into the arket square er.

PLAN

2022 Portfolio - Tomas Hartley-Cook

ROADS & ROADS & DEMOLITION OFDEMOLITION HOUSING OF HOUSING AND ROADS AND ROADS

Group Urban Design

1:2000

ADDITIONAL NEW ADDITIONAL HOUSING NEW HOUSING AND ROAD AND ROAD CONNECTIONS CONNECTIONS

1:2000

CONCEPT COLLAGECONCEP - WELL

Demolished HousesDemolished Houses (individually): 58 (individually): 58 New Proposed Houses New Proposed Houses (individually): 50 (individually): 50 Apartments (Apartment Apartments (Apartment Building): 70 Approx.Building): 70 Approx.

WELLINGTON SQUARE The final masterplan for the Dingle project is illustated on the right hand page and accurately portrays the achievement of the three key criteria mentioned previously. The sections below show the transitions from one area of the main pedestrian route through to the central square which creates a focal point around the Florence Institute highlighted in pink.

URBAN DESIGN STRATEGY

RETAINED BUILDINGS, PEDESTRIANISED PEDESTRIANISED AREAS AND AREAS AND ROADS, RELATIONSHIP RELATIONSHIP ADDITIONAL NEW HOUSING BETWEEN GREEN BETWEEN SPACESGREEN SPACES AND ROAD 1:2000 CONNECTIONS 1:2000

RETAINED BUILDINGS AND ROADS & DEMOLITION OF HOUSING AND ROADS 1:2000

PRIMARY BIKE ROUTE PRIMARY AND BIKE ROUTE AND PROPOSED HORSE PROPOSED HORSE ROUTE ROUTE 1:2000

CONCEPT COLLAGECONCEP - MAIN

1:2000 KEY

1:2000

KEY

Isometrics: Isometri Horse Crossing Point: Horse C Planters are utilisedPlanters to sepa speed bumps slowsspeed the trab privacy for the newlyprivacy propos

CONCEPT COLLAGE - WELLINGTON ROAD TOWARDS MAIN SQUARE

Physical Activity Hub: Physica The Health & Wellbeing The cen Hea engage and potentially engage impr

1. NE - SW THROUGH THE FLORRIE: 1:500

The main square, as well as the SUDs area to the South of the masterplan were the two areas I was keen to focus on for the individual project.

Zone 13 is the lowest Zone quality 13 iszone the lowest with thequality highest zone proportion with theofhighest social proportion housing, lone of social parents housing, Thelone newparents proposed buildings The new add proposed the lacking buildings density addwhen the lacking movingdensity towards when the moving square, towards and the the square, and the and one child on average. and oneTherefore, child on average. this zoneTherefore, suffers thethis greatest zone suffers demolition the greatest while affecting demolitionsquares while affecting is woven into squares the urban is woven environment into themore urbancohesively. environment A social more apartment cohesively.building A socialatapartment the building at the the fewest people but theoffering fewestapeople greaterbut opportunity offering a for greater transformation. opportunityZone for transformation. 10 which also Zone has 10bottom which also of Wellington has bottom road offers of Wellington affordableroad housing offersfor affordable the residents housing of zones for the13residents an 10 asofthere zones 13 an 10 as there very few residents per veryhome few residents undergoes permoderate home undergoes modifications, moderate extensive modifications, transformation extensive is transformation are typically 2 is residents are typically per home, 2 residents ideal for an perapartment home, ideal building, for an maximising apartment building, space formaximising larger space for larger difficult in this zone difficult as 40%inofthis the zone property as 40% is owned, of thetherefore property is financial owned,and therefore legal implications financial and legal families implications which can dwell families in the which newcan residential dwell in homes. the new residential homes. are considered. are considered.

Zone 13 is the lowest quality zone with the highest proportion of social housing, lone parents and one child on average. Therefore, this zone suffers the greatest demolition while affecting the fewest people but offering a greater opportunity for transformation. Zone 10 which also has very few residents per home undergoes moderate modifications, extensive transformation is difficult in this zone as 40% of the property is owned, therefore financial and legal implications are considered.

PEDESTRIANISED AREAS AND RELATIONSHIP BETWEEN GREEN SPACES

Market Junction: Market J 1 The church parking The has chu bee The cycle route is direct The cycle until route reaching is direct the square until reaching where the theroute square curves, whereencouraging the route curves, the encouraging the thechurch church and enter commu 2a 1. Beginning of ascent, the top of the ‘Florrie’ is framed by the new walkway cyclist to look around cyclist and toperhaps look around dismount and toperhaps interactdismount with the to space. interact Thewith horse the route space.is Theishorse route required dueisto theis very requirh 3 another2.key element another to the building design. key element There toisthe a games direct design. relationship There is abetween direct relationship the stablesbetween and the the stables and the Health and wellbeing with adjacent field church (within the church churchsquare) (within the as horses church are square) usedas forhorses nativityare plays used and forthe nativity children plays areand the childrenApproach: are Wellington Wellingt 4 3. Retail Zone The new proposed buildings add the lacking density when moving towards the square, and the encouraged to ride the encouraged horses. This to ride relationship the horses. is catered This relationship in our design is catered as the horse in our route designflows as the horse flowsillustrates This route Isometric This the Iso 5 squares is woven into the urban environment more cohesively. A social apartment building at the 4. Urban Square through all three of through the squares all three before of the navigating squares down before Wellington navigating road down and Wellington returning to road the and returning to the route. The road has route. been co T Thisoffers plan shows theThis relationship planfor shows between the relationship threeofpre-existing between three pre-existing (top central, green spaces east of (top central, east of bottom of Wellington road affordable housing the residents zones 13 angreen 10 asspaces there 6 stables located less stables than 5 minutes located less away than from 5 the minutes main away square. from This the strategy main square. has the This potential strategy has the potential square. The cyclists square. crossin The bottom the hill), andthese bottom spaces ofmaximising theare hill), now these interconnected spaces are now with interconnected a central activitywith a central activity 5. The Florrie are typically 2 residents perFlorrie home,and ideal forThe anofFlorrie apartment building, space for larger to the improve the local to horse-riding improve the business, local horse-riding which maybusiness, have a trickle-down which may have effectatotrickle-down business ineffectthis to as business in for transpor a means thisCOLL as a field theresidential unitingfield green being space. the uniting The two green key space. axes form Theatwo cruciform key axes shape formwith a cruciform the square shape with square CONCEPT families which can dwell in being the new homes. 6. Descent towards the square, view of the river areas. & Wirral, one-way street with bike lane the square and surrounding the square areas. and surrounding as the central point of asconvergence the central point and of divergence. convergence and divergence. AREAS PEDESTRIANISED AND RELATIONSHIP AREAS AND RELATIONSHIP PRIMARY BIKE ROUTEPEDESTRIANISED AND 1 1 SPACES GREEN BETWEEN GREEN SPACES PROPOSED HORSE BETWEEN 1:500 1:500 PE PE MA DESTR MA DESTR IN IN SQ IAN SQ IAN ROUTE UA RO UA RO R R U U E

1:2000

Wellingt on R oad - C onc ept C ollage the games field up towards the gam

Demolished Houses (individually): 58 New Proposed Houses (individually): 50 Apartments (Apartment Building): 70 Approx.

PHYSICAL ACTIVITYPHYSICAL HUB ACTIVITY HUB

1:500

1:500 3

CONCEPT COLLAGE - MAIN SQUARE

KEY 1

Main Square - 4Concept Collage

2 3 2

MILL STREET

HARLOW STREET

HORSE TRACK

MILL STREET

GAM

Isometrics: Horse Crossing Point: Planters are utilised to separate and define the pedestrian and horse route into the main square. Furthermore, the addition of speed bumps slows the traffic approaching the crossing for the safety of the horses and pedestrians. The trees help to offer 1 privacy for the newly proposed residential community.

KEY Physical Activity Hub: The Health & Wellbeing centre located centrally also has an adjacent games field the ideal place for the people to converge and engage and potentially improve the poor physical health as identified in the urban analysis. Secondly a retail zone extends from the games field up towards the multi-functionality of the main square. 2. SW - NE THROUGH THE SQUARE: 1:250 2. SW - NE THROUGH THE SQUARE: 1:250

This plan shows the relationship between three pre-existing green spaces (top central, east of The Florrie and bottom of the hill), these spaces are now interconnected with a central activity field being the uniting green space. The two key axes form a cruciform shape with the square as the central point of convergence and divergence.

The cycle route is direct until reaching the square where the route curves, encouraging the cyclist to look around and perhaps dismount to interact with the space. The horse route is another key element to the design. There is a direct relationship between the stables and the church (within the church square) as horses are used for nativity plays and the children are encouraged to ride the horses. This relationship is catered in our design as the horse route flows through all three of the squares before navigating down Wellington road and returning to the stables located less than 5 minutes away from the main square. This strategy has the potential to improve the local horse-riding business, which may have a trickle-down effect to business in the square and surrounding areas.

PEDESTRIANISED AREAS AND RELATIONSHIP BETWEEN GREEN SPACES 1:500

PE MA DESTR IN SQ IAN UA RO RE UTE

Market Junction: The church parking has been located here to invoke the feeling of procession as people are encouraged to walk around the PUBLIC/PRIVATE VERTICAL ZONING church and enter the community space and then finally the church, thus elevating the community experience. The crossing point is required due to the very high density of the surrounding terraces; therefore, this crossing will demand high levels of footfall. Wellington Approach: This Isometric illustrates the consideration for movement; with a cycle route leading into the square, along with a large pedestrian route. The road has been converted into one-way thereby reducing the disturbance of traffic, for both the residents and the main square. The cyclists crossing point is one of the areas that emphasises the importance and encouragement for people to adopt this as a means for transport, benefiting their health and the environment.

PHYSICAL ACTIVITY HUB 1:500

IL AR

RIAN

MAI

MARKET JUNCTION 1:500

E TO

N SQ

E PE MA DESTR RK ET IAN SQ RO UA UTE RE TO

MILL STREET

HARLOW STREET

3. NW - SE THROUGH MILL STREET: 1:250 3. NW - SE THROUGH MILL STREET: 1:250

2022 Portfolio - Tomas Hartley-Cook

HORSE TRACK

GAMES FIELD

COE CHURCH & FAMILY CENTRE

ING

CONCEPT COLL

BIRDS-EYE VIEW OF MASTERPLAN

W E L L I N G TO N S Q U A R E M A S T E R P L A N 1. Welington Square 2. Residential Zone and Car Parking 3. Landscaping 4. Residential Block 1 5. Landscaping 6. Residential Block 2&3 7. Retail Area 8. Service Area and Parking 9. Church Square 10. Market Square 11. Multi Purpose Space 12. Community Sports Area 13. Raised Landscaping 14. Residential Zone 15. SuDS 16. Apartments 17. BMX Pump Track 18. Indoor Skate Park 19. Car Park 1:500

2022 Portfolio - Tomas Hartley-Cook

Group Urban Design

4 7

Some final illustrations showing the four main routes in to the square highlight the repetition of arched entry points, each with a different use or purpose.

THE CHURCH THE FLORRIE

The birds-eye axonometric view helps to portray the square as a soft perimeter to the Florence Institute highlighted in pink. 6

VIEW FROM WELLINGTON ROAD TO THE RIVER MERSEY

2022 Portfolio - Tomas Hartley-Cook

5 VIEW FROM7MILL ARCH STREET WITHIN TOWARDS AN ARCHWELLINGTON SQUARE

2 3

6 4 7

HARCH WITHIN WITHIN AN ARCH AN ARCH

ET TOWARDS WELLINGTON SQUARE

8 6

VIEW FROM WELLINGTON ROAD TO THE RIVER MERSEY

8 VIEW VIEW FROMFROM WELLINGTON WELLINGTON ROADROAD TOWARDS TOWARDS WELLINGTON WELLINGTON SQUARE SQUARE

7 ARCH WITHIN AN ARCH

VIEW FROM WELLINGTON ROAD TOWARDS WELLINGTON SQUARE

2022 Portfolio - Tomas Hartley-Cook

Individual Urban Design - Origination

The individual design led me to focus on one specific aspect of our group design, that being the square and perimeter buildings. My main focus within this narrowed plan was the cranked building directly opposite the tower of the Florence Institute. In order to develop this building I worked on plans and sections of the building in order to establish the desired function and purpose. As this was being established, I delved deeper in to the surrounding areas of the cranked building and attempted to expand upon some loose articles around the square. As a way to find inspiration I found myself researching other forms of squares around Europe and found great value throughout the research. Two of the main sources of inspiration came from; The Plaza Mayor in Leon, Madrid, and The Praca do Comercio in Lisbon, Portugal. These are displayed across the page.

2022 Portfolio - Tomas Hartley-Cook

Individual Urban Design - Resolution

The resolution of this project had me revieving the materiality choices of the square as well as defining specific buildings within the square as to their function and purpose. Plans, sections and elevations were all drawn out to help illustrate the form of the square and attempt to accurately portray the relationship between the cranked profile and the Florence Institute. The building to the North of the plans had been transitioned in to a stable area as part of a redirection of equestrian traffic from a neighbouring road to directly through the square, in turn increasing foot traffic within the vicinity of the newly designed retail areas around the squares perimeter

2022 Portfolio - Tomas Hartley-Cook

Individual Urban Design - Resolution

Further illustrations, in a similar style to those created during the group design work helped to illustrate the perspective views possible within the square as well as the changing approaches towards the centre. These views show an evolution in the sites design when compared to other drawings of the same nature shown previously within the portfolio.

2022 Portfolio - Tomas Hartley-Cook

MA Year One Semester Two

2022 Portfolio - Tomas Hartley-Cook

Precedent Study

Great Arthur House by Chamberlin, Powell and Bon was the building I decided to focus on for the precedent study. My reasons behind this were relatively simple. I admired the uniformality of the facade and hoped to emulate something similar in to the design of the cranked building on the square. In conjunction, I found that the roof space of this particular building was rather special. The bold design along with the functionality of the space helped to establish grounds for some interesting design outputs in relation to the roofing of buildings around my square.

2022 Portfolio - Tomas Hartley-Cook

Key Space Concept

he key space, within the design of Great Arthur House, that will be ooked at in more depth, is the roof. The main aspect of Great Arthur House is its ability to maximise the

within each dwelling. This has been exemplified by it’s scale in Great Arthur Street’s roof is not currently accessible, howeverdaylight it features termsBarof height. uperb views over the City of London, including the neighbouring ican Estate. It has a simple pergola system across one half of the roof nd provides areas for sheltered seating. A key feature of the The roofcurtain is the walls along the East and West elevations provide large sheets of glazing to increase daylight into each room within a dwelling. mall pond which is fed by the huge, curved, sculpture roof. This “top To assist this, internal walls have been adapted to have slotted openings at” sculpture overhangs the building on both sides and collects rainwaacross the top, again to maximise the transfer of daylight from one room er, transferring it to the pond below. to the next.

he reason for the singling out of this area as a key feature is Rooms it’s capabilsuch as the kitchen and bathroom are compiled into longer thinFig 29. The Roof to Area of Great House y to be linked back to the area of design to be brought through a fu- allowing nerto spaces, the light throw itself Arthur through the space. ure social housing project. The project will consist of adapting a building o inhabit additional forms of life to that tof the main dwelllers,The andbalcony a roof space, though seemingly shaded towards the rear, optimizwhich takes advantage of rainfall in order to create a habitat for es pond-life, the daylight at the frontage, allowing for a small balcony garden to be Fig 11. Great Arthur House Residential Floor Plan a perfect example. grown. Key Space

Fig 14. External Ru

del View

The key space, within the design of Great Arthur House, that will be looked at in more depth, is the roof.

del View

Great Arthur Street’s roof is not currently accessible, however it features superb views over the City of London, including the neighbouring Barbican Estate. It has a simple pergola system across one half of the roof and provides areas for sheltered seating. A key feature of the roof is the small pond which is fed by the huge, curved, sculpture roof. This “top hat” sculpture overhangs the building on both sides and collects rainwadel View ter, transferring it to the pond below.

e the The reason for the singling out of this area as a key feature is it’s capabil-

ity to be linked back to the area of design to be brought through to a fu- Fig 29. The Roof Area of Great Arthur House ture social housing project. The project will consist of adapting a building to inhabit additional forms of life to that tof the main dwelllers, and a roof which takes advantage of rainfall in order to create a habitat for pond-life, Fig 28. The Golden Lane Estate 30. Overlooking the City Golden Fig example. 26. Line Drawing Exported via AutoCAD del View FigFig 6. Great Arthur House within is a perfect

r of n nning oftop

Lane Estate

Fig 7. Great Arthur House within Golden Lane Estate

Composition and Proportions

he n

Fig 28. The Golden Lane Estate

Figure 8 is a diagram produced by Chamberlin, Powell and Bon showing the proportional relationships which are constant throughout the buildings on the Golden Lane Estate. Fig 30. Overlooking the City By overlaying sections of the proportionality diagram over the frontage of Great Arthur House, we find that there is infact a relationship between the square and the built composition of the building.

ng r side he lift urves

are ide en

mainFig 8. Proportional Relationships within old Golden Lane Estate es. Fig 27. Elevations of Great Arthur House Drawn in AutoCAD

Fig 9. Examples of square proportionalisation within the design

Fig 10. Proportional Relationships overlayed onto Great Arthur House

2022 Portfolio - Tomas Hartley-Cook

Building Design

I ended up creating three separate typologies in which to feature within the decided site boundary, and each typology would have it’s own area to reside upon. From the get-go I decided that I didn’t want the three typologies to be too similar in function or form and so I set about designing each on individually. The plan to the right indicates where on the square each typology would end up, as well as indicate any landscaping that was to be included within the site area. The cranked element evolved to consist of additional aspects, but the main roots founded within the individual urban design project remained true. The other two typologies took on different forms. Typology A was to be the area of interest for the nature/wildlife aspect of the design.

2022 Portfolio - Tomas Hartley-Cook

Building Design

Here we can review the final axonometric view of the site from behind the tower of the Florence Institute. The interesting thing about replicating previous drawings with additional information is that it makes the journey easier to see. The same drawing was illustrated during the individual urban design segment of semester one and when comared with the final design axonometric, one can see just how far the design has come.

2022 Portfolio - Tomas Hartley-Cook

Building Design

Illustrated here are the three seperate typologies as if they were single units and not attached. The interior views above each axonometric view are relevant to the building they sit atop of, with the two interior views in the middle both coming from typology B. Furniture was added to the interior views as to assist in the dimensions of the buildings, as internal space was an aspect I had to take great care with during the design process, due to the strict limitations of the square.

2022 Portfolio - Tomas Hartley-Cook

Building Design

The two elevations shown here help to illustrate the scale and materiality of both typologies A and B within their settings. The original versions of these elevations actually resulted in me adjusting the shades of some materials within the typologies and so I found these particular drawings to be most useful.

2022 Portfolio - Tomas Hartley-Cook

Building Design

These two sections help to shed light on the interior layouts of each typology, showing all three across the page. I found the pitch of the land running from typology C up to typology B rather suprising during the production of these sections, however it had not been an issue throughout the design process, in fact it assisted in the design of the water feature between the two rows of typology A.

2022 Portfolio - Tomas Hartley-Cook

Structure Report

Here we have an elevation of a single unit of typology C along with the representative plans to go with it. The layouts of each floor are illustrated within the plans, as well as indicating that the ground floor is retail only. Access to these dwellings is through the corner profile of the cranked building within the square, and allows entry via the arcade balcony which runs the perimeter of the typology’s front facing elevation.

2022 Portfolio - Tomas Hartley-Cook

Structure Report

The structure report consisted mainly of the section detail visualised on the right hand side of this spread. The list adjacent provides an intense review of each numbered part of the section detail and accurately represents the designs structural intention. The axonometric view to the immediate right illustrates the section line in which the section detail represents. Different shades of grey on the included population indicate a change in privacy across the building, with dark grey being public and light grey being private.

2022 Portfolio - Tomas Hartley-Cook

Environmental Report

The environmental report was my favourite report to complete as it focuses in on the conservation side of design which typology A was designed around. The plans to the immediate right indicate the ground and first floor, along with room labels. The daylight cycle illustrated helps to justify the roofs placement and pitch as well as making good argument for the inclusion of solar panels across the roofs surface. The rooftop conservation area is and additional form of conservation untouched by residents.

2022 Portfolio - Tomas Hartley-Cook

Environmental Report

The axonometric view to the right successfully illustrates the entire typology as well as it’s extended public conservation garden. The elevation provided shows off how the typology would look at street level and provides us with a clear perspective of what the design was intended to look like.

2022 Portfolio - Tomas Hartley-Cook

Interior Report

The interior report focused in on typology B and the plans to the far right illustrate a completely furnished dwelling. Fitting furnishings within a set space was more difficult than initially planned, however all rooms within the dwelling were accounted for and finished. The interior axonometrics represent the floor they’re neighbouring and are all furnished as well as textured as to provide a greater sense of interior design work.

2022 Portfolio - Tomas Hartley-Cook

Typology Modelling

The following models are representative of typologies A and C and were both made using a SketchUp model transferred through a series of programmes and 3D printed at home to be completed. Each model was made at 1:100 and accurately illustrates the scale of the designs, unfortunately I didn’t get round to adding textures to the facades, however typology A did come with some conservation area context.

100

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101

Typology Modelling

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Curriculum Vitae & contacts

Tomas Hartley-Cook tomashc@hotmail.co.uk 07398549854 Key Skills

Contact Email: tomashc@hotmail.co.uk

• • •

Strong work ethic Enthusiastic team member Attention to detail

Work Experience Throughout my time as a Grammar school student, I worked part-time at Lancelyn Theatre Supplies. I worked after school, weekends and during the school holidays, gaining valuable practical skills, experience of working in a team and customer service skills. I worked for Lancelyn until the company was bought out in 2015, when I went to work at Crystal Sound and Light Ltd. Due to the increased demands of school and extracurricular activities, I limited working at Crystal to school holidays and have continued working at the company since starting a LJMU. The work has enabled me to further develop my practical and creative skills; In 2019, the company completed a full install of sound, light and audio-visual equipment at the Cronton New Playhouse, a new build theatre at Cronton Sixth Form Centre. I played an instrumental part in delivering aspects of the work and found it interesting and exciting to be involved and to follow progression from initial planning to completion. From September 2018 to February 2020 I took an additional part-time job at WHSmith’s to supplement my income. My role included shared responsibility of the Heswall store during weekend shifts, which I worked with a colleague. Working unsupervised and having responsibility as key holder helped build my confidence and I quickly established a good routine and working environment for myself and colleagues. I feel that this experience has encouraged me to work on my own initiative, to act responsibly and to be accountable. Qualifications 13 GCSE’s; 8 A’s (Including Maths, English Language and English Literature), 2 B’s, 2 C’s, 1 D AS Levels in English Language, Art, Physics, Law, Business Studies and General Studies A2 Levels in English Language, Art and General Studies GCSE’s, AS Levels and A2 Levels all acquired at Wirral Grammar School for Boys Bachelor of Arts with Honours, Class II Division I – BAH.Architecture Prefabricated Access Suppliers and Manufacturers Association (PASMA) trained

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First Name Surname 2020 Portfolio

Interests

Tomas Hartley-Cook

I have a fascination for Architecture and enjoy visiting and photographing sitestomashc@hotmail.co.uk during my spare time particularly in terms of adaptive reuse of older buildings and the exciting process of breathing new 07398549854 life into older structures, and buildings in the context of new developments in historic settings. I have a keen interest in rigging and operating lighting and sound equipment, a skill set that i have used during my part-time working role and have further developed throughout my degree. I have thoroughly enjoyed developing and honing some of these skills during my degree, for instance during our Urban Planning Project. For this project, we were tasked with designing a Master Plan for the Fabric District in Liverpool and I was able to make positive contributions to the plan, based on the skills that I had developed through work. Throughout High School, I was a keen rugby player, playing for my school team as well as local team, Wirral Rugby Club. Following my GCSEs, I moved to Anselmians Rugby Club, taking a break during my A levels. Rugby taught me more about teamwork than anything else I have done, challenging me both physically and psychologically. The highlight of my time playing rugby was when I was promoted to Team Captain at Wirral Saints, a merging of 3 separate clubs with struggling memberships. I am currently enrolled on a Gold Duke of Edinburgh Award; I have completed the volunteering and physical sections and have undergone the practice expedition. I am yet to complete the full expedition and residential and plan to complete these during the Summer of 2021.

2022 Portfolio - Tomas Hartley-Cook

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2022 Portfolio - Tomas Hartley-Cook