Heavisides, Sam by Architecture@LJMU

Sam Heavisides 2020 Por olio

BA(Hons) Architecture Liverpool School of Art and Design

2020 Portfolio Sam Heavisides

About Me Sam Heavisides I have studied architecture at LJMU for the past 3 years with the ambi on to one day become a cer ďŹ ed architect. Since I was a child I was convinced this profession would be my future. A er working through a construc on course in college and gaining work experience as a building control surveyor, I am now another step towards this goal being achieved. This por olio contains the majority of work I conjured up over these 3 years, some of which I am especially proud of, and I hope I can look back on these pages one day as the start of my career in design and construc on.

Sam Heavisides 2020 Por olio

Contents BA Year 3 Semester 2: Comprehensive Design Project Frohlich Archive

BA Year 3 Semester 1: Weather or Not

BA Year 2 Semester 2: Liverpool Centre for Climate Change

BA Year 2 Semester 1: Urban Design Project

BA Year 1 Semester 2: A Place for Cra ing

BA Year 1 Semester 1: ArchiďŹ lm

Curriculum Vitae

2020 Por olio Sam Heavisides

Frohlich Archive Site Details

The site is located on Mason Street, Edge Hill which is in the south of Liverpool. One of the key features of the site being the façade of Joseph Williamson’s old house, a detail of it being a blue plaque which shows its authenticity and historical signiﬁcance. Although seeing some vandalization in the form of graﬃti, it’s something that can be restored and used as a route into the site and towards the entrance of the building. The site is in a very suitable position for bridging spaces designed for living and socialising, acting as a connecting force between the various areas that the site surrounds itself in, such as residential, educational, and commercial buildings. The site also features spectacular views into Liverpool City Centre, another reason for deciding upon this particular location.

Sam Heavisides 2020 Por olio

T th 1 s la h T w A re n

The history of the site revolves around that of the Williamson tunnels, which partly sit underneath the site. It is understood that these tunnels are thought to have been created under the direction of philanthropist Joseph Williamson between 1810 and 1840. The site at the time of Williamson acquiring it in 1805 was then a largely undeveloped outcrop of sandstone with some small-scale quarrying being apparent, with the West Derby Waste Commissioners held the rights to the minerals beneath the land. Williamson began to develop the site after purchasing a lease for the land and using it to build housing. The faĂ§ade of his home in which he and his wife lived is still standing as well as its basement behind it. The digging of tunnels ceased after his death in 1840 and became a dumping grounds, most notably by Liverpool City Council with rubble from recently demolished buildings and other waste which continued into the 20th century. A map of the known tunnels are shown at the side, but it is understood that there are more still to be rediscovered. The most recent ďŹ ndings are that from 2019 when a chamber was discovered full of sandstone quarry waste attributed to when the nearby railway was extended down to Lime Street.

2020 Por olio Sam Heavisides

Frohlich Archive Concept The concept of the building was to bring Fanchon Frohlich’s paintings to life, to create a building that resembled her art, specifically that of her piece with fellow artist Kate Dadiani, named “Green Event 2”. The painting takes on an interesting set of shapes and lines that intrigued me to the point were I thought it’d make an interesting building that would fit with the characters of both Fanchon and Herbert Frohlich as sort of wacky yet functional. The main idea behind the building was to feature an art gallery and an archive space, although as the building needs to generate its own profit then I thought it would be best to make it more of a social space with the inclusion of a café and a reading room. The main thing that struck me with Fanchon’s paintings is that the majority of them seem to flow quite freely, something that I wanted the building’s interior to feature. This is evident from the very first concept which uses the circle to guide people around the spaces, never having to double-back on themselves but rather to always keep moving forwards. I always wanted the gallery to be the main vocal point of the building and it is unconventional as I didn’t want the gallery to be a collection of rooms but rather something more open space that inhabitants have to walk through to get to other parts of the building. By placing the gallery in a sort of large corridor it allows groups congregate in the space that want to appreciate the artwork as well as having people be able move through it with ease. Sam Heavisides 2020 Por olio

T ca T T a fr h I in b w T th fo

The main precedent of mine going into this concept process was that of Fanchon Frohlich’s painting “Green Event 2”. Her paintings tend to take up the whole canvas which is why I didn’t want to feel restricted to implementing the features of her art to that of the building alone but to the rest of the available site as well. This is why I thought a park would be the perfect implementation because of the amount of green space that appears on the painting. The intention of the first concept was to have the building look rather unconventional while integrating a structure to the building’s interior to be very functional and efficient for the purpose of moving people around the gallery spaces. This was a very basic design that didn’t involve too much of what I wanted to replicate from that of Fanchon’s paintings. Although, the form of the building being circular helps to create a space that flows quite freely, something which is evident in her paintings. I decided to develop the concept as the shape didn’t resemble Fanchon Frohlich’s work as much as I wanted it to. The next stage of my concept development introduced an increasingly similar design to that of Fanchon’s painting due to the tear-like shape of the building’s centre and a more blocky type feature on the back. At the time I felt that this replicated her work more effectively than what was previously designed as well as being much more expressive, which is exactly what I wanted it to represent and feel like. The building was then changed quite dramatically again due to the functionality not matching the style of the building very well while also being difficult to replicate through drawings. Changes made to the design was to use a 5m grid layout that the building fits within as to give the building some guidelines and a structure to follow. The building still feels expressive and creative even with the use of the grid, and I am happy with the progress made to get to this design.

2020 Por olio Sam Heavisides

Frohlich Archive Design

Fanchon died in 2016 and she left her considerable artistic legacy to a trust, the purpose of this building is to be used to house her artwork as well as to promote the values that both Fanchon and Herbert Frohlich espoused during their lives. The building’s function is many things, most importantly to store Fanchon’s artwork whilst providing spaces for exhibitions, social and educational events, all the while managing to generate proﬁts in order to keep the building running. The conclusion that I’ve came to is to incorporate the archive with a gallery and a café for people to indulge themselves in, while also generating the needed proﬁts to that of keeping the archive running. A reading room will also be included as for people to use the materials that the archive possesses.

Sam Heavisides 2020 Por olio

1 – Entrance 2 – Gallery 3 – Reception 4 – Staff Room 5 – Fire Exit 1 6 – Office 7 – Small Storage Room 8 – Unisex Toilets 9 – Disabled Toilets 10 – Plant Room 11 – Café 12 – Kitchen 13 – Café Staircase 14 – Lower Reading Room 15 – Archive Storage 16 – Archive Staircase 17 – Fire Exit 2 18 – Secondary Exit

1 2

3 6

10 9 12 11

13 14

The building has been designed with a route in mind. I want the building to be very free ﬂowing without people having to turn back the way they had just came in order to enter and exit other rooms within the structure, and so occupants are able to move through the building while almost always moving forward. The reason for this is mainly due to the brush strokes that Fanchon would paint, singular strokes that continued and connected to other lines or diagonals of her paintings. Another feature of her art that I want to incorporate into the building and how it works.

1 – Gallery 2 – Interior Balcony 3 – Café Staircase 4 – Café 5 – Upper Reading Room 6 – Archive Staircase

T s u T d th w p s b F p d a b th s

A h “C p a

n d. y e y er s o e e d. y at ar d or s. at e

The building holds two ﬂoors within it, with the main gallery space featuring a ramp that takes you from the lower to the upper level. The building is designed with the idea in mind that occupants don’t have to double-back on themselves to get to other parts of the structure, but instead always moving forward. This decision was chosen because of the way Fanchon Frohlich tends to paint, with a single brush stroke for each layer of her paintings, something I thought would be appropriate to include in a building based around her artwork. Fanchon’s paintings were very diﬀerent to that of traditional paintings in that they expressed emotion through interpenetrating dynamic movement mixed with diagonals. A way in how I’ve attempted to replicate this artform is through the top-left and bottom-left sections of the building which do not conform with that of the curves but are used to connect them and bring the spaces together within the building.

Gallery Café Archive

Offices & Staff Quarters Interior Balcony

Toilets & Plant Room

Upstairs Reading Room

Corridor

Also, by keeping the façade of Joseph Williamson’s once home, the values that Fanchon represented in her art group “Collective Phenomena” are maintained in that “multiple artists paint collectively on the same surface, using the gestures of one another as inspiration, which results in an unusual counterpoint.”

2020 Por olio Sam Heavisides

Frohlich Archive Sec ons & Eleva ons

The site is predominantly made up of sandstone, which is evident as being underneath the sections. As seen from the site plan, the front of the building faces away from the south but the reasons for this is because of two reasons. The ﬁrst reason being that due to the railway being positioned where it is it would be quite loud as trains go past, so by having the facing concrete absorb most of this sound then less noise pollution is heard from within the building. The other reason being that the building features two skylights, one in the café and another in the gallery, so these two spaces would receive the amount of natural light they need. The rest of the rooms will still receive daylight but not as much as is favoured, which is a downside of being located next to railway tracks. Although if the building was south facing then the café would receive too much light due to the large façade that is mainly built up of glass. A ﬁnal note being that as you can also see from the site plan, three walls are scattered around the park, the reason for this being that Fanchon’s painting “Green Event 2” features lines and diagonals that lead to and come from nothing, which I have used as a similar feature in the scheme of the building that will be used to provide shade and sitting areas for those who wander the park. Sam Heavisides 2020 Por olio

The site sits just outside of what is seen as the main areas of Liverpool’s city centre and next to that of housing estates, but I feel that the site chosen for this project fits well with what Fanchon usually painted about. The reasons for this is because her work is not traditional and nor was it intended to be, it wanted to display emotions and evoke thought through free-flowing dynamicity, to be different. The site chosen is not seen as a traditional fit for a gallery to be home to, but in relation to what it was Fanchon represented as well as through her artwork, it seems to be a good fit for what the building is attempting to replicate.

of n e g e ll y s k s o e g e a e at s it at o

2020 Por olio Sam Heavisides

Frohlich Archive Renders

External and mainly internal renders showing the building and the areas that sit within it. The gallery, cafĂŠ, interior balcony, corridor leading to toilets and staďŹ&#x20AC; quarters/ oďŹ&#x192;ces, downstairs reading room, archive storage and the upstairs reading room are all visible in these renders that are produced from the building.

Sam Heavisides 2020 Por olio

2020 Por olio Sam Heavisides

Frohlich Archive Precedents

Green Event 2 – Fanchon Frohlich & Kate Dadiani (As well as her other paintings) This piece of art is the main precedent for my proposed design, partly drawn by Fanchon Frohlich, who’s work the archive is based around, as well as her husband’s, Herbert Frohlich. The painting does not have a set structure to it, it’s practically just a bunch of lines and squiggles that make it up. Although it appears to be quite random, it does have some arrangement to it, with the lines seemingly linking to one another in some way or another, such as multiple semicircles being formed using separate lines. It features a variety of diﬀerent lines, such as ones with jagged edges, smooth rounded curves, straight lines that lead oﬀ into nothing. What I want to do is recreate this artwork by taking its form and moulding it into a building. I want to include that random but structured arrangement that the painting features and combine of all the contrasting lines and details to construct a physical form of the artwork. Sam Heavisides 2020 Por olio

T a s s a o o jo y

The Guggenheim Art Museum – Frank Lloyd Wright The Guggenheim in New York is a building I have taken inspiration from, due to the way it moves people around the structure and guides them throughout the gallery. I like the idea of using the building as a sort of pathway that directs a route that people should take, while showcasing art throughout. The shape of the building is quite organic, specifically the interior space, which is something that I have taken a lot of inspiration from and would like to replicate in some sense, due to the fact that it has created an environment that flows throughout, of both space and people. The way in which the artwork is displayed is very different to that of a regular art museum/gallery in that it features continuous spaces that flow freely from one into another, creating something of a journey when entering the building to the point when you leave. What I would like to create within my own design is that of a journey that leads you all around the building, engaging with your senses to enhance the experience of consuming that of what you see and hear and feel.

2020 Por olio Sam Heavisides

Frohlich Archive Materials

Concrete A large part of the building involves a lot of curves, and concrete seems to be the most effective and efficient material in creating them. Concrete has many benefits when creating curved objects, mainly because it is flowable when in its liquid state, this means that it can be poured into various formworks to form the necessary shapes, making it an ideal material for curved buildings. Another factor is, due to the size of the building more maintenance would be required, although as concrete does not need to be painted or coated for protection against weathering, unlike steel and timber, less routine maintenance is needed to keep it intact.

Kebony Wood Much like Fanchon’s original piece of art, the building is not built up of just curves, there are a lot of precise straight edges as well. Due to this, as well as attempting to create a contrast between the concrete, I decided to use kebony as cladding for the other ends of the building. Kebony is a Norwegian wood producer that has developed this particular wood, of the same name, as an alternative to threatened and endangered hardwoods, with the woods used to create kebony being both FSC and PEFC certified. The reasons for choosing this particular wood, besides the contrast it creates, is that it’s one of the most environmentally friendly type of wood as it’s produced from many certified sustainable sources as well as its lifespan is able to reach as much as 50 years and it requires no additional maintenance beyond cleaning it every once in a while. Kebony Wood (Weathered) Kebony wood tends to change colour over the years as it weathers, transforming this very typical brown wood look to a unique grey colour. This colour looks very similar to that of the concrete used throughout the building, which is quite poetic in the fact that this object which is used to contrast the rest of the building eventually moulds itself together with the very thing it was supposed to differentiate itself from. This can relate to that of Fanchon and Herbert Frohlich’s relationship in that these two people varied greatly in their interests and passions, with Fanchon being a creative person unlike Herbert who was more structured in his approaches. Although from the moment they met they became intertwined, with the building attempting to reveal this bond as time passes by until the wood finally transitions into this eventual greyness in colour. Sam Heavisides 2020 Por olio

e d d d d, g,

al e d s s n h s

2020 Por olio Sam Heavisides

Frohlich Archive Structure

The site is predominantly made up of sandstone which has a high bearing capacity, making them very strong and good for supporting foundations due to their stability and depth. Due to the Williamson Tunnels sitting beneath the site, I donâ&#x20AC;&#x2122;t want to use a foundation type that runs too deep so that it will aďŹ&#x20AC;ect the stability and safety of them. I decided to use a strip foundation, this is because it seems to suit my site more so than the other foundation types available due to the size and weight of the building as well as the strength of the sandstone on the site to be able to use a strip foundation without much issue.

Sam Heavisides 2020 Por olio

C A co in cu liq fo m si a fo le

Timber A timber frame was introduced for the more structured areas of the building for many reasons. One of these reasons being that it is an ecological and sustainable material, with it having the lowest embodied energy of any mainstream building material. A very beneﬁcial feature of timber is that as an organic material it is a natural humidity regulator that absorbs or releases moisture depending on how humid or dry the environment is, which is especially important to that of the archive storage as a well-controlled environment must be upheld in order to keep stored documents preserved in top condition.

Parapet Detail

1 – Capping Piece 2 – Precast Concrete Panels 3 – Parapet Structure

1 2

Roof Detail 1 – Concrete 2 – Insulation

First Floor Detail 1

1 – Window 2 – Insulation 3 – Insulation 4 – Concrete 5 – Window

2 3

Ground Floor Detail 1

1 – Window 2 – Insulation 3 – Concrete 4 – Foundation

3 4

2020 Por olio Sam Heavisides

Frohlich Archive Environment

Sustainable architecture is the use of design strategies that reduce the negative environmental impact from a built environment. One of the methods I have put in place to reduce these negative impacts of my building is to include a large green roof that spans across the 35m long curve of the structure. Adding a green roof works well with the intention to create a habitat for animals and insects along the site, but instead of having the habitat and building as two separate entities, the green roof enables the building itself to become a habitat for nearby creatures. It can also help to absorb rainwater and provide an extra layer on insulation.

Sam Heavisides 2020 Por olio

A s p a id c

Lighting is something that takes on a more important factor in regards to the gallery, specifically natural light, this is because it is being used as a method to reflect on the art being shown. Light can affect the ways in which art can be seen and appreciated, it affects the mood, tone and depth of these pieces to the point that you could see the same piece of art dozens of times but with an increased or decreased amount of light it could be seen as entirely different. I want the time of day to have this effect on the art within the gallery because I don’t want people to experience the same thing whenever and whatever time of day the decide to visit, I want occupants to experience different views and emotions, whether this be in the winter when the sun is low and less light shines through as well as in the middle of the summer when the sun’s at its highest, whether it be at nine in the morning or 6 in the evening on the same day. The way I’ve decided to incorporate this feature is through a skylight that sits just above the displays and travels all the way around the gallery. The intention of this skylight is to have a great influence within the gallery which is why I see it as a main feature of the building as a whole.

Another aim is to create a small ecosystem on the site that attracts wildlife such as birds and small animals, such as squirrels and similar. The attempt to create this is through creation of a park space with many trees, replacing the gravel currently on parts of the site with grass, and adding a pond or a couple in the attempt to provide an ideal environment for animals to live. The idea is to allow people and animals to connect with each other through a space that provides comfort to both, acting as both a small park and wildlife area.

Summer Solstice – 21st June Rainfall – 796mm annually

Equinox – 21st March – 23rd September

Easterly winds – Average speed of 12.2 MPH annually

Winter Solstice – 21st December

n it ht d, nt ut e s e of nt n of e y at e e e

Lower Reading Room

Upper Reading Room & Archive Storage

Staff Quarters & Offices

Toilets & Plant Room

Interior Balcony & Café 2020 Por olio Sam Heavisides

Weather or Not Concept

The thought behind this concept is to make it adaptable to flooding. If a flood were to occur, the building would be able to avoid oncoming water by raising itself above the ground by two metres, saving the building from damages as well as protecting the inhabitants. The building is designed to inform the general public on the effects that flooding can cause and why it is that flooding is becoming more common in regards to climate change. It will also be used to study effects that the flood water has on the nearby environment, specifically the soil around the Hebden Bridge site. The main aim of this building is to inform and adapt to the ongoing threat of flooding.

2020 Por olio Sam Heavisides

Weather or Not Design

The concept of this building was to create an information centre that informs people of the dangers, causes and outcomes of flooding as well as including a research space that can study such effects. The idea of the building is to make a space that is not only informative but enjoyable to be in, hence the introduction of the café, and access to the roof, which is mainly just an extension of the café space. The building includes a laboratory, classroom, café, kitchen and reception area. Both the lab and classroom will be the main factors in which people will be able to learn from the findings of the people working within the building. The form of the building has always been to slot into the site and match it closely, which is why the building takes a slightly unusual shape. The building is raised on stilts as to create a feeling that it has risen above the water, much like a ship, during floods. A piece structure below the building also resembles a hull of a ship to further demonstrate this feature. A ramp will also link the building to the main road as to provide access to it as well as easily accessible disabled access. Sam Heavisides 2020 Por olio

2020 Por olio Sam Heavisides

Weather or Not Structure

The main thought process behind the material chosen for the design is due to the fact that it needs to be strong enough to hold the weight of the building as well as keep it up, as it is raised above the ground. The ideal material came down to steel, as it is a strong and durable material that is also 97% recyclable, making it a very sustainable choice. I chose a Vierendeel truss to be used for the structure of my building. I felt that it was a more beneďŹ cial option due to the fact that the south facing side is predominantly made up of windows, and by using this type of truss would allow for unobstructed views. It seemed preferable to use a truss in my designs as it would lessen the overall load that the building would have to carry, and seeing as the structure is raised in the air by four columns, creating a heavy structure would not be beneďŹ cial.

Sam Heavisides 2020 Por olio

A b li s m to ra th s

A pile foundation was chosen because as it would have little problem holding up the structure above it, with other materials possibly struggling to maintain their form with a raised weight above it. For this reason, a pile foundation seemed to be the best option.

2020 Por olio Sam Heavisides

Weather or Not Environment

The materials that have been chosen for this building have been done with sustainability in mind. This is why the cladding of the building will be made up of wood from sweet chestnut trees, as it has: high natural durability, high dimensional stability, moderately dense, ďŹ ts into the surrounding buildings aesthetically; and most importantly, it is a sustainable hardwood that is grown here in the U.K. which grows back quite rapidly. The frame of the building will be made up of steel, this is because of the fact it is up to 97% recyclable, it creates less overall pollution from being put together on-site, and it is a strong material that can hold up my raised building design as well as achieving large spans. Both steel and sweet chestnut can be acquired within the U.K. which minimises the overall amount of travel to deliver these materials.

Sam Heavisides 2020 Por olio

S b b T li b b

A green roof will be integrated onto the building, which will cover about a third of the roof, as to absorb rainwater and provide an extra layer of insulation. Solar panels will also be used to help power the building, making the building less reliant on the national grid, and for it to generate some of the energy needed to power the structure. This purpose is to push for the building to eventually become self-sustainable, and with both a green roof and solar panels, this becomes a good starting point in the buildingâ&#x20AC;&#x2122;s lifespan.

Strong winds head towards the building from the south-east, but due to the addition of a pile foundation, the building will not be easily swayed by such strong gushes of wind. The building is south-facing and as so, it receives much more light throughout the year, especially so as there is little to block the entry of the light into the building from trees or other buildings.

2020 Por olio Sam Heavisides

Liverpool Centre for Climate Change Concept

Major cities are becoming at risk to flooding due to rising sea levels from the effects of climate change. My goal is to design a building that informs people of the dangers of these circumstances through shocking them into realising the truth, and how they can help prevent such a future. I have attempted to do this by designing a temporary building, with the intention of being more of a statement, that will be used to travel the country, something that can easily be deconstructed and reconstructed. The building features a pathway from the entrance to the exit in which you must tread through water, as this symbolises what could be a common feature of future homes, as well as a sea level indicator which is recorded in years as to show how much of the building will be underwater within the not so distant future. Both a staircase and an elevator will lead to the upper floor which features a lecture theatre/screening room that will be used to present information on rising sea levels such as documentaries and video clips. The building will primarily be presented at the Salthouse Dock in Liverpool and will be accessible by a bridge. Sam Heavisides 2020 Por olio

In a th th c b e

In the end I decided to continue with the cubed-shaped building as the interior of the building is more important to the message that is trying to be conveyed by the structureâ&#x20AC;&#x2122;s presence within the water. It is easier to focus on that message of the eďŹ&#x20AC;ects of climate change simply by what the building is representing by being placed in the water than what any dramatic design could ever achieve.

2020 Por olio Sam Heavisides

Liverpool Centre for Climate Change Design

The intent of the design was to create a statement, something that opens a discussion to the people who enter and challenge their perceptions on climate change and rising sea levels specifically. To express how calamitous this could be, the main “flood room” consists of a big open space that contains large cut outs on either side of the walkway for a small amount of water to make its way into the ground floor. The floor will also feature a sea level indicator across one of the walls although measured in years and not metres. The use of recycled shipping containers for the external skin of the building also benefitting the environment. The 1st floor will feature a lecture theatre that will be used to inform people of the effects of rising sea levels by using documentaries and clips as well as open invitations for professionals to speak on the subject that is climate change. The 2nd floor will consist of an office space, helping to support and push the pro-Earth movement. Sam Heavisides 2020 Por olio

B o c m th th d T b y c b th c m s is a th

By placing the building on a body of water and constructing it to such a massive size helps to display the message of protecting the environment in a more dramatic and inďŹ&#x201A;uential way. The entrance of the building being in the shade, covering you in darkness as you enter, contrasted by the naturally bright ground ďŹ&#x201A;oor due to the massive window also conveying a deeply important message. The building as such displaying that this truly is a serious problem that can and will hit closer to home than most of us perceive.

2020 Por olio Sam Heavisides

Liverpool Centre for Climate Change Precedents

Hong Kong Convention & Exhibition Centre – A building on a much grander scale to what I am designing but similar in the fact that it is used to host people through events, which is what my design is to feature. It sits above water through the use of an artiﬁcial island, something that I brieﬂy considered but ultimately decided against.

F – c w is m fo a

Pavilion of Reﬂections – A temporary structure is something that I’m looking to implement as it means I can deconstruct the building and place it at another site with relative ease. Allowing for cross-country tours to inform the nation of the dangers of climate change. IBA Dock - The same thing can be said for this building as I want to create a structure that sits on the water, which is exactly what this building does.

Sam Heavisides 2020 Por olio

Floating Houses, Ijburg District – The fact that these buildings can be moved across the water to diﬀerent locations is something that intrigues me and is a possible option for transporting my structure across the country.

Watervilla de Omval - This building appeals to me by the way it appears to sit on the water almost eﬀortlessly, and it is something that I would like to replicate in my design.

Flatpack - The simple ﬂatpack type building is another that interests me due to the fact that it can be taken apart and built back up again at another site. This is something that would be needed as my building is to be used in multiple sites, and this allows it to do so with ease. 2020 Por olio Sam Heavisides

Liverpool Centre for Climate Change Structure

The reasoning for choosing a steel frame for the building was mainly due to the fact that the building would be positioned over a large body of water, and it would be best to use a lightweight material as to not put extra strain on the structure and the ﬂoating billet below it, causing it to potentially sink. The building’s skin would be made up of steel from shipping containers as it conveys a message that it is useful to recycle materials and the importance it can have on the environment, and in this case speciﬁcally, the oceans.

Sam Heavisides 2020 Por olio

S T 2 S p c R to s im

Steel Shipping Containers The exterior of the building is made up of recycled steel from shipping containers. The calculations suggest that it would take 24 shipping containers to cover the external skin of the building. Although according to a survey conducted by The World Shipping Council, about 1,390 shipping containers are lost at sea on average each year. So, the 24 containers used in this project would account to less than 2% of those that are lost yearly in the ocean, meaning that almost 58 of these buildings could be built overall. Recycling materials is important as the environmental benefits can be significant. This is something that I want the building to convey, that we ourselves can reuse and recycle in order to benefit the world we live in and eventually overcome the serious nature that is climate change, rising sea levels, global emission output, etc. This design will hopefully show people the importance of taking care of our planet and the dangers that could threaten our livelihoods.

2020 Por olio Sam Heavisides

Urban Design Project Site History

For generations the area known as the ‘fabric district’ was the go-to place for all things fabric, containing many fabric and fashion retailers. The area has a rich textile heritage which stretches back to the early 19th century. Since its inception, Islington has been a diverse and industrious are of Liverpool with a colourful and mixed history. Since the early to midnineteenth century, Islington has seen manufacturing, retail, and prostitution endure throughout the area as well as residential accommodation. Although from all of these activities prevalent in the area, the most prominent and long standing has been that of those relating to fabric and fabrication, hence the well-known name the “fabric district”. The earliest of tenants being hat makers, tailors, upholsterers, drapers, cabinet makers, furniture builders and printers.

Sam Heavisides 2020 Por olio

A c c Is H fu a S s T s

At one-point Islington was one of the most densely populated areas of the city as well as diverse. According to the 1881 census, roughly half of the residents were not born locally, but from Wales, Scotland and Ireland. At the beginning of the 20th century migrants from Russia, Poland and Germany began to populate the area, residing in the “Jewish Quarter” of East Islington, which featured Italian ice-cream manufacturers. Historically the fabric district has been full of independent businesses. From the precursors to T.J. Hughes, Owen Owen’s furniture store to Giuseppe Meralong’s ice-cream factory at the turn of the 20th century, businesses have been started, ideas and industry have ﬂourished in Islington. Student accommodation is now very prevalent in the area, with more of which being approved for construction. This is probably since the district is close to that of university campuses. The area has evolved from a predominant fabric and textiles industry to a place for students to reside while undertaking their studies, while still managing to maintain parts of its past. It is becoming an inspirational part of the city rather than neglected. The addition of the road was not just decided as the best design choice but because of the historic value that the road provides, as before the 1980’s, Falkland Street was a single street that connected each side of the site rather than split up as it is currently.

2020 Por olio Sam Heavisides

Urban Design Project Design

The main thought of the purpose of the site is to introduce more people through the addition of attractions and spaces that entice people to use, such as a pocket park. It is also made to be sustainable, this is partly done by growing food on the site to be used in restaurants, shops and the market which sits within the area. The site is currently quite isolated from that of the surrounding area, so the plan is to open up the site more as to make it more accessible to the populace.

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T o s th lig p th h e e a

The orientation of the site has influenced some design considerations, such as the positioning of certain buildings as well as the scale of them. This was apparent with the buildings on the far-right side of the site, as it was originally decided that they would both be of the same stature, but it quickly became apparent that this could not be the case as then most of the site would be covered in darkness from the shadow cast by the building on the south-eastern corner, concluding that it must be built to a smaller height as to allow for the entry of light. Half of the site will be shaded for the majority of the year, which is why the north side of the site has been designed to accommodate people’s needs more so than the shaded area on the south of the site. The pocket park should manage to receive sunlight from each angle throughout the day, as it is the intention to brighten up the park as a new day dawns and ends, much light the park becoming brighter as the hours pass through the use of buildings to shade certain areas. The site does definitely not allow a lot of natural light in, but it does allow for enough light to shine across the northern side of the street, creating a contrast between light and darkness and how each side differs from each other, such as the species of trees and materials used for the buildings, such as a lighter beige brick to demonstrate the brightness and a darker red brick to show the opposite.

2020 Por olio Sam Heavisides

Urban Design Project Green Space

The area has been designed with the consideration of a greener space as well as improving the urban area, the addition of trees and a pocket park were some of the ways in doing so. “The impact of planting trees across the site means that during the hot summer days the trees can block the sunlight and therefore reducing the air temperature in the nearby vicinity. The use of deciduous trees means that while being a natural air conditioner in the summer, they can also be used to allow sunlight to warm small areas in the winter, while also improving the production of clean air”7. The presence of these trees should help to provide a suitable environment for people within the site. The colonnades create a shaded walkway that provides protection from rainfall as well as shade from the sun in warmer months. The addition of plants in the pocket park will also help with establishing a greener area. The pocket park is designed for people to sit and be involved in, and by using lavender it creates a peaceful, pleasant space that people want to surround themselves in. Flowers can improve anxiety by giving you positive feelings, they can improve your emotions through the use of colours, and they can also make you more productive as well as improve your memory, which is very helpful for staﬀ working in nearby businesses as the park has deliberately been designed with the consideration of workers using it for breaks in between working hours.

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T a T a p p e p

The pocket park situates within the North-West area of the site and will feature both lavender plants and climbing hydrangea. The use of these plants would increase insect life in the area, creating a micro-environment for them to live. If these plants prove to be a success with insect life, then it would be possible to add a wider variety, if not more plants to the park to encourage insects to the area. The two waterfalls in the pocket park could also be seen to attract insect life.

2020 Por olio Sam Heavisides

Urban Design Project Materials

L c in h L c s th

Red Brick – The majority of the site is made up of brick buildings. The south side of the road is currently red brick buildings and I believe it would be best to retain this feature as brick buildings are characteristic to the area. Bricks do not require maintenance, because of this the impact of the building(s) on the environment is much smaller. There are a few brick factories not far from Liverpool, such as in Stoke and outside of Manchester, which dramatically reduced transportation times of these materials to be delivered to the site. Bricks can be reused if bound together by mortar, although it is more diﬃcult to do so if they were previously bound together using cement as it is diﬃcult to clean, this is why it is more suitable to recycle the bricks instead.

H a w th b p li o fr

Beige Brick – I intend to use a beige brick for the buildings situated on the north side of the road, creating a contrast between each side of the road that the buildings sit while also retaining the use of brick.

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Tarmac – Even though the road is to be resized to a smaller width the tarmac will remain. This is beneﬁcial as it keeps the embodied energy usage low then if it were to be replaced by another material and used on the site. A tarmac quarry in Preston can be used to source it, with a travelling time of at least an hour.

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Lavender – Lavender is to be used within the pocket park to create a more colourful, pleasant space to surround yourself in. Although lavender is not native to the UK, it is cultivated here. In the north of England, lavender is grown at Yorkshire Lavender in Terrington, York, which is only a minimum 2-hour commute time. Due to this material being locally sourced it shortens the time and cost of transportation, therefore lowering the overall embodied energy.

Climbing Hydrangea – Climbing hydrangea is a large selfclimbing shrub that can grow across walls. It will require more maintenance when ﬁrst introduced as it is important to not let it dry out, although after the ﬁrst stages of growth is shouldn’t require any more attention, unless it expands outside of its designated area and requires cutting as it will become quick to grow. Climbing hydrangea is also grown in the UK, although much less so than lavender, it can be sourced from Crocus in Surrey, with a slightly longer transportation time its embodied energy is also low due to the material being locally sourced.

Hornbeam Tree – A hornbeam tree is a green-leaved tree, a quite standard but very beautiful tree none the less which will be placed in the pocket park as well as the north side of the street. Hornbeam trees are native to the south of the UK, but are planted across the country, which should create little problems in terms of embodied energy usage. These trees can live up to 300 years. A mature tree can also grow to a height of 30m, so maintenance may be required to prevent the trees from overtaking the street they sit on.

Hawthorn Tree – A hawthorn tree consists of both green and white leaves. They are to be used to brighten up the street that they will be placed on, creating an ideal focal point through the use of beauty. Hawthorn trees are also native to the UK, therefore using a relatively low amount of embodied energy to transport. A hawthorn tree can live for around 400 years, which is beneﬁcial due to the fact that it won’t have to be replaced for quite some time. They grow to a height of about 6m, so it is quite a low maintenance tree.

2020 Por olio Sam Heavisides

Urban Design Project Precedents

The colonnades at Albert Dock creates a sheltered space that people can walk under freely during their visit. A feature that I was very intrigued with as the restaurants and cafes that sit under it spill out onto the pavement that the colonnades shelter. I wanted something similar to take place on my site as to create a more welcoming feel to the area as well as easy passage from either end of the site.

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P N b c it s d

Paley Park is a very cosy space amid a bustling city that is New York. It makes use of greenery to create a colourful and bright space that people want to surround themselves in, creating a little hideaway from the concrete jungle it situates itself in. I wanted to make a space that livens up the site, somewhere that people would enjoy sitting in by creating a diďŹ&#x20AC;erent environment to that of the rest of the site that it sits in.

2020 Por olio Sam Heavisides

A Place for Cra ing Inspira on

Kintsugi, also known as ‘golden joinery’ is the Japanese art of repairing broken pottery with lacquer that is either dusted or mixed with mainly powdered gold, but also silver or platinum. It treats breakage and repair as a part of the history of the object, rather than something to disguise. Originated in the late 15th Century when the Japanese shogun of the time, Ashikaga Yoshimasa, sent a damaged Chinese tea bowl back to China for repairs. Once returned, it had been repaired quite shoddily with ugly metal staples, prompting Japanese craftsmen to look into a more aesthetically pleasing means of repair, which lead to the creation of ‘kintsugi’. Although the technique of kintsugi relates back to Japanese origin, it was also applied to other techniques in other countries which included China, Korea, and Vietnam.

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T im s im in m re p n J u m a im s im is p

The use of kintsugi seems to embrace ďŹ&#x201A;aws and imperfections, relating to the Japanese philosophy of wabisabi. Wabi-sabi is a view centred on the acceptance of imperfection and incomplete. Many Japanese arts have been inďŹ&#x201A;uenced by this philosophy, with kintsugi being one of the most notable examples of this. The veins of gold used to repair the objects are there to emphasise that breaks have a philosophical element all of their own. Although this was not a new feature of Japanese pottery, as it was known that many Japanese potters liked to reveal the marks of the tools they used and the impress of their hands on the objects, with the marks left usually untouched instead of being removed for aesthetic purposes. The art of kintsugi transforms the broken/ imperfect into something to be seen as beautiful, even more so than before. The point of kintsugi is to show oďŹ&#x20AC; these imperfections, rather than hide them away from view, the point is to render the faults beautiful and strong, making it a vocal point of the object instead.

2020 Por olio Sam Heavisides

A Place for Cra ing Design

This building serves three purposes, the ground floor being a café, the 1st floor being a pottery workshop, and the 2nd floor being living space. It is designed to house those who will be working on the floors below, which is connected by a single staircase linking all 3 floors. The workshop will make ceramics which will be centred around the technique of ‘kintsugi’, which is the Japanese art of repairing broken pottery with lacquer dusted or mixed with powdered gold or another material, and will mainly feature on tea cups, saucers, and similar objects to be sold as well as used within the café below. The building is located on the corner of Tithebarn and Cunliffe Streets in Liverpool, England.

Sam Heavisides 2020 Por olio

2020 Por olio Sam Heavisides

A Place for Cra ing Precedents

The main inspiration behind the design is that of the building that sat on the site prior to my proposal. Known as “Thorn’s Temperance Hotel”, the building once served as both a café and a hotel. The plan for my structure is to include a café on the ground ﬂoor, much like within the previous building, as well as to use a similar design. My design would feature the same square-like layout with one of the corners ‘cut oﬀ’ on the west side of the building. Although the structure should be a little bigger than that of the previous building.

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I d h n

I also took some inspiration from that of Barcelonaâ&#x20AC;&#x2122;s Eixample district and how almost all of the corner buildings appear to have their corners cut oďŹ&#x20AC;, but mainly for aesthetic reasons and not for practical reasons like in Barcelona.

2020 Por olio Sam Heavisides

Archiﬁlm

The building will be placed on a hill near Samil, between Frades and Arzua, Spain, this is because it follows the route of Camino de Santiago, and it is also the halfway point between the ﬁnal destination and the last town (Melide) that you visit along the path before reaching the cathedral. The Camino de Santiago, known in English as the Way of Saint James, is a network of pilgrims’ ways serving pilgrimage to the shrine of the apostle Saint James in the cathedral of Santiago de Compostela in Galicia in northwestern Spain, where tradition has it that the remains of the saint are buried.

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T b a p d s c e a re

The lower half of the building will be placed beneath the ground, but with one side open towards the outside, and will be used as a place for pilgrims to stay during their journey as well as providing food. Symbolism is a key feature in the buildingâ&#x20AC;&#x2122;s design, with a 3-sided pyramid representing the holy trinity, the stairs show ascensions to the heavens as if you are moving closer to god, and it rises as a square shape as to represent each season throughout the year, the circles used for the roof are to represent unity, wholeness and inďŹ nity, the columns represent support, as without them the building would fall.

2020 Por olio Sam Heavisides

Sam Heavisides 2020 Por olio

Sam Heavisides BA (Hons) Architecture Liverpool John Moores University 2017-2020

2020 Por olio Sam Heavisides

Sam Heavisides 2020 Por olio