A R C 3 0 0 1
ส ถ า ปั ต ย ก ร ร ม ๓
ATTHAPHAN SESPATTANACHAI ID 160408311
A R C H I T E C T U R E III
A R C H I T E C T U R A L D E S I G N
G H O S T I N T H E M A C H I N E
P O R T F O L I O
STAGE III NEWCASTLE UNIVERSITY
ส ถ า ปั ต ย ก ร ร ม ๓
A R C H I T E C T U R E III
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STUDIO : GHOST IN THE MACHINES
PRIMER
Lines : Levels of movement throughout the space.
Points : Levels of activitiy and action intensity.
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Surfaces : Freedom of interaction and activity
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REFLECTIVE REPORT
As the year is coming to an end, I have an opportunity to reflect on my works as an architecture student stage 3, Newcastle University. This reflective report is focusing on how other non-design modules had influenced on architectural design module, ARC 3001. This includes: Theory into Practice, ARC 3015, Integrated construction, ARC 3014, Professional management, ARC 3013, and Thinking through making week. As a member of Ghost in the machine studio, my project is focusing on Augmented, Disrupted and Projected of systems in Coventry. My project started with system analyses of urban context of Coventry which then contribute in my concept, site selection and building language. Non-design modules had influenced these processes significantly. In the early stage of my project, Theory into Practice had contributed greatly in term of site declaration and initial site strategy (illustration on the right). My graduation design project intends to present a Coventry urban regeneration through integration of hidden landscape of inner ring road and digital creative industry as an active urban space. I look to address the potential of urban regen¬eration by utilising ‘in-between’ around Coventry ring road to recreate new spatial relations with surrounding events through Tschumi’s theory, ‘Space and Event’, and different modes of method¬ology. Tschumi’s theory leads my design project into two major stages; exposure and in¬vention. Exposure is mainly to deal with ‘Cities’ context by unfolding the urban conditions and the conventional connec¬tions between architectural sequences of the spaces, movements and actions. Then, invention is to revise these con¬nections and to recreate a new spatial link with the existing city as well as encour¬age unpredictable programmatic factors, new urban events that will inevitably appear in coming years. As a result of this study and further site analyse I have changed my initial building form completely during realisation stage. Then I adapted Tschumi’s principle and methodology to inform my new design and building language, leading to interaction node concept which would be located in main different spots through the site. This is to recreate the new spatial link throughout the site, and also new movements. Further precedent study of Delf university library, Grimshaw New York train station, and Sendai mediatheque had influenced in my later design enormously, especially for Sendai mediatheque. Sendai mediatheque would be studied further in detail in integrated construction, ARC3015. Sendai mediatheque had a significant impact on my building design, structure and construction. I have taken the concept of interaction nodes into my design which is informed by a unique vcstructure of Sendai mediatheque. This structure is not just acts as a supporting element but also interaction elements for vertical circulation and accommodating other services. My building is inspired by Sendai mediatheque by Toyo Ito where structure is not just a supporting elements but also a tool of expression that encouraging interaction and collaboration depend on what sort of facility sit in the structure.
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CONTENT
01 02 03 04 05 06
GHOST IN THE MACHINE STUDIO INTRODUCTION
PROJECT PRIMER
PROJECT STAGING
THINKING THROUGH MAKING
PROJECT REALISATION
PROJECT REFINEMENT
10 20 34 66 70 88
CONTENT (Additional Portfolio)
07 08 09 10 11
INTEGRAYED CONSTRUCTION AEC3013 : ARCHITECTURAL TECHNOLOGY
DIGITAL INNOVATION CENTRE
AEC3014 : PROFESSIONAL PRACTICE
URBAN REGENERATION : ACTIVE URBAN SPACE AEC3015 : THEORY INTO PRACTICE
STRUCTALLY INFORMED DESIGN AEC3060 : DISSERTATION
NON-DESIGN MODULE (ADDITIONAL DOCUMENT)
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COVENTRY
GHOST IN THE MACHINE. NCL STUDIO 3 studio, Ghost in The Machine, is focusing on understanding and interpreting O ursystems in play within the urban landscape of Coventry. This is to help us have a
better understanding of Coventry background and systems that have significant impacts on development of Coventry as a city of culture 2021. Building strong foundation helps us build strong concepst which we could take on further in our future projects. The city centre is defined by an inner Ring road constructed from 1962-1974 that shapes and influences Coventry city centre positively and negatively. The mass bombing of Coventry in WW2 by the Luftwaffe has undoubtedly changed the fabric of the city, with the urban spaces still adapting and changing today. Our studio is shaped around systems orientated design and how these systems in play (both tangible and intangible) within Coventry can inform our design intentions within staging to create a new narrative for the city. Primer : During Primer, we develop and analysis Coventry inner Ring road by producing 2D and 3D dynamic diagram models individualy base on studio site analysis, intangible and tangible systems, and readings by JG Ballard (which uses a dystopian future to take a critical stance on systems. A protagonist who interacts and acts against the system). These exercises help to explore a wide range of system as a key theme effecting development of cities in different ways from macro scale of city to to micro scale of individual. In the final two weeks of Primer, we put together a 2.2 metres by 2.2 metres Coventry city centre map model which focusing on explored tangible and intangible systems.
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Quadrant A: Tangible - Broken connection / Intangible - Isolation Quadrant B: Tangible - Speed / Intangible - memory Quadrant C: Tangible - Parking / Intangible - knowledge transfer Quadrant D: Tangible - Congestion and Compression / Intangible - choice and individual needs.
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COVENTRY
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COVENTRY
J. G. Ballard. READING: HIGH RISE, THE DROWNED WORLD, KINGDOM COME, CONCRETE ISLAND novelist, short story writer, and essayist who first became associated with AntheEnglish New Wave of science fiction for his post-apocalyptic novels such as The Wind
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from Nowhere (1961) and The Drowned World (1962).
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COVENTRY. SYSTEMS OF INNER RING ROAD A4053, commonly known as the Coventry Ring Road, is a ring road in Coventry, T heEngland, which forms a complete dual carriageway loop around the city centre. The
road encompasses the old and new Coventry Cathedrals, Coventry University, West Orchard and Cathedral Lanes Shopping Centres, Coventry Skydome Arena, and many other businesses. Unlike many other city centre ring roads, Coventry ring road is made up of entirely grade-separated junctions except for one roundabout, this leads to the junctions being extremely close together and in effect one junction leads into another at many points. After the Second World War, during which most of Coventry city centre was destroyed by the Luftwaffe, the rising level of traffic on the city’s roads resulted in plans for the narrow city centre streets to be bypassed with a circular ring road, a type of road which was soon to be commonplace in cities and towns across the United Kingdom. Construction began in the late 1950s; the first phase of the road was ready for use in 1962. It was completed in 1974, 12 years after the first section of ring road opened and some 20 years after the ring road was first planned.
CITY OF CULTURE 2021 is a city and metropolitan borough in the West Midlands, England. On 7 Coventry December 2017, the city won the title of UK City of Culture 2021, after beating
Paisley, Stoke-on-Trent, Swansea and Sunderland to the title. This is supporting plans to boost Coventry’s arts and culture scene and will see significant improvements to some of the city’s major venues and production facilities. It includes financial support for the Belgrade Theatre to refurbish the auditorium and establish a new creative talent hub. Money will also be used to invest in Coventry’s Cathedral Quarter, with historic venues such as Coventry Cathedral, St Mary’s Guildhall, Drapers’ Hall and the Herbert set to benefit. Cllr Duggins said: “This is fantastic news for our city and it will help with some major projects that will transform our city for its year in the spotlight and beyond.”
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COVENTRY
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POST-SECOND WORLD WAR I
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n the post-war years Coventry was largely rebuilt under the general direction of the Gibson Plan, gaining a new pedestrianised shopping precinct (the first of its kind in Europe on such a scale) and in 1962 Sir Basil Spence’s much-celebrated new St Michael’s Cathedral (incorporating one of the world’s largest tapestries) was consecrated. Its prefabricated steel spire (flèche) was lowered into place by helicopter. Coventry’s motor industry boomed during the 1950s and 1960s and Coventry enjoyed a ‘golden age’. During this period the disposable income of Coventrians was amongst the highest in the country and both the sports and the arts benefited. A new sports centre, with one of the few Olympic standard swimming pools in the UK, was constructed and Coventry City Football Club reached the First Division of English Football. The Belgrade Theatre was also constructed along with the Herbert Art Gallery. Coventry’s pedestrianised Precinct shopping area came into its own and was considered one of the finest retail experiences outside London. In 1965 the new University of Warwick campus was opened to students, and rapidly became one of the country’s leading higher-education institutions.
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COVENTRY REGENERATION: CREATIVITY
INDUSTRIAL AGE n the 18th and 19th centuries, Coventry became one of the three main British centres of watch and clock manufacture and ranked alongside Prescot, in Lancashire and Clerkenwell in London. As the industry declined, due mainly to competition from Swiss Made clock and watch manufacturers, the skilled pool of workers proved crucial to the setting up of bicycle manufacture and eventually the motorbike, car, machine tool and aircraft industries. In the late 19th century, Coventry became a major centre of bicycle manufacture. The industry energised by the invention by James Starley and his nephew John Kemp Starley of the Rover safety bicycle, which was safer and more popular than the pioneering penny-farthing. The company became Rover. By the early 20th century, bicycle manufacture had evolved into motor manufacture, and Coventry became a major centre of the British motor industry. The research and design headquarters of Jaguar Cars is in the city at their Whitley plant and although vehicle assembly ceased at the Browns Lane plant in 2004, Jaguar’s head office returned to the city in 2011, and is also sited in Whitley. Jaguar is owned by the Indian company, Tata Motors.
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SYSTEM. WHAT IS SYSTEM conglomeration of interrelated and interdependent parts that is either A cohesive natural or man-made. Every system is delineated by its spatial and temporal bound-
aries, surrounded and influenced by its environment, described by its structure and purpose or nature and expressed in its functioning. In my interpretation, a system is a set of components / objects that come / join together to achieve / solve a complex problem / objective. System can be both tangible and intangible. Tangible system is a system where human is capable of making physical contact, whereas the intangible system is a system where there is no physical presence. This definition open a much wider range for components that is defined as systems. Thus, system can be anything surrounding us range from systems that we get to sense them everyday to systems that we rarely sense them. For example, Tangible system: computers, electricity circuit, phone, clock, washing machine, sewage, weather, CCTV, robot, kettle, music instruments. Intangible system: wifi, social network, Internet, GPS, time, rushing hour, weekend, speed, fear, air, weather, human/animal life cycle.
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Some of these systems are considered to be both tangible and intangible systems such as weather. We can feel and see weather if we stay outside yet if we stay inside a building or enclose space we might not be able to feel or even see the weather. This is also depend on your particular position in the building. Therefore, systems have no specific definition or category. It is depend on time, location and more importantly your perception to determine what is system around you, what category are they, and what impact do they have.
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CONSEQUENCE
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COVENTRY
stood as
A COMPLEX SET OF SYSTEMS Place is
DYNAMIC
SYSTEMS can be either
SYSTEMS are
TANGIBLE
SYSTEMS can be
or
INTANGIBLE These can be intertwined and consequential.
SYSTEMS are subjects
from the scale of the system and the
VARIABLES
MACRO
MICRO scale of the individual.
to
you can and connot predict
There is an
between the individual, community, organisation and system
PERSPECTIVE DIFFERENT
These are statements summerising our understanding of SYSTEMS as they are AUGMENTED, PROJECTED and DISRUPTED other systems.
From this interface,
SYSTEMS can be
AUGMENTED PROJECTED and
DISRUPTED
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OPEN ENDED or a CLOSED LOOP COMPLETE
INTERFACE
PLACE can be view
NEVER FULLY
PLACE can be under-
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01 STUDIO : GHOST IN THE MACHINES
COVENTRY
PRIMER
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GHOST IN THE MACHINE :
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PRIMER FRAMEWORK - STUDIO THEMES EXPLORATION
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02 STUDIO : GHOST IN THE MACHINES
PRIMER
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CONCRETE ISLAND :
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CENTRALISATION, BROKEN CONNECTION, SEPARATION, HISTORY
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DROWNED WORLD :
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MAN VS NATURE, RECONNECTION, REBUILD, REMOVE
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PRIMER EXHIBITION :
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BROKEN CONNECTION, ISOLATION
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URBAN REGENERATION:
INNOVATION CREATIVE CENTRE
“The indutries of twenty-first century will depend increasingly on the generation of knowledge through creativity and innovation.” Landry & Bianchini, 1995
today is increasingly shaped by digital revolution ranging from our T hedailyworld routine to heavy industrial automation. Recent OECD (Organisation and Eco-
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nomic Corporation and Development) research suggests that at least 10%, and perhaps up to 25% of current jobs, are vulnerable to future automation and digitisation. This presents both an opportunity and a threat for Coventry. Actively embracing the opportunity created by the digital revolution could potentially create a new dynamic urban development by supporting and developing digital creative businesses. This project intends to present a Coventry urban regeneration through an integration of hidden landscape of inner ring road and digital creative industry as an active urban space linking to three studio themes: Broken connection, Knowledge transfer and Speed. Coventry has a potential for new expanding digital creative businesses. Recent cultural and Digital strategies developed by City council provides a 10-year road map toward Coventry becoming a digitally and culturally attractive centre. The city offers a rich, vibrant and diverse cultural experience and a rapidly developing digital infrastructure, both of which are essential to strengthening creative clusters in the City. This could significantly benefit the local and regional economy, boosting the growth of Coventry as a vibrant creative cluster interacting with digital clusters in Birmingham and Warwickshire. In term of landscape, inner ring road is a strategic Coventry infrastructure. It offers an efficient way of transportation to the City centre, however at the same time it creates dark and unpleasant spaces underneath, and it acts as an invisible barrier dividing the space on both sides of the ring road. The project aims to reinvent this space; to disrupt unpleasant space, to augment expansion of creative industry, and to project future urban development, as a creative innovation centre with active learning, collaboration, and support for start-up and small businesses.
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B R O K E N S P E E D
C O N N E C T I O N GLOBALISATION : INTERNET
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CREATIVITY : DIGITALISATION, ACTIVE LEARNING
RING ROAD : UNPLEASANT SPACE AROUND CITY CENTRE
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n the contemporary world, the digital revolution is exponentially changing our lives, our activities and city landscape. This presents an opportunity and a threat for urban regeneration in Coventry. In what way can we embrace this opportunity and how can we represent the propositional architectural space for the new urban development?
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COVENTRY AND DIGITAL CREATIVE INDUSTRY
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In the Coventry and Warwickshire area, the digital creative industries are significant with leading companies in software development, gaming, film-making, theatre, industrial design and digital infrastructure. Around 130 of the UK’s best game businesses are based in the West Midlands. For the City of Coventry the potential for developing a stronger digital creative cluster is significant. However, at the moment something of a locational paradox exists: Coventry is surrounded by two digital creative clusters in Birmingham and Leamington Spa both of which are widely seen to be more buoyant than that in the City itself. This creates a situation in which the City of Coventry outsources to neighbouring areas most of its valuable potential without creating direct multiplicative effects for the City itself in terms of job creation, business growth and productivity and competitiveness increase.
UK main creative industrial areas, and existing creative cluster in Coventry, Birmingham and Leamington Spa
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INDUSTRIAL REVOLUTION TIMELINE
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COVENTRY ESSENTIAL ROLE Coventry population / Time (year) graph
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This diagram illustrates essential industrial role Coventry has in the past and present and its relevant to world industrial revolution : 1. Steam engine 2. Assembly and production line 3. Internet revolution 4. Industrial internet
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Coventry’s population has risen and dropped according to the economic growth of the area (industrial revolution), attracting young and skilled workers which contribute significantly in the growth of the city in term of population and businesses. However, after 2000 Coventry has experienced a gradual increase number in population as well as a number in businesses. These number is predicted to keep increasing in near future, which could also boost the Coventry economic growth. Nevertheless, there is a situation called ‘Brain Drain’ where Coventry is losing ambitious and skill young generation to neighbouring cities due to lack of appropriate work opportunity and facility. In recent years, forth industrial revolution has presented new opportunity for Coventry to reboost its economic and urban area.
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DIGITAL CREATIVE INDUSTRY: DETERMINED FACTORS Digital creative industry potential
1. BUSINESS CLUSTERS - LOCATION At the same time, creative industries – and particularly digital creative industries - are viewed as a source of innovation for the knowledge economy and positively linked to diverse local communities. The rapid digitisation of the UK economy has profoundly affected the business landscape within which creative industries operate, altering traditional business models and blurring the lines between low and high tech sectors. 2. TALENT - SKILL Skills shortages arising from the fast pace of change in the digital creative sectors is also a potential issue for the City of Coventry. Specifically, in a recent survey mapping innovation and creativity in the City of Coventry, and covering firms in all sectors, only 33% of the responding companies believe that the City offers an environment that helps to attract and retain high quality employees (Table). Less than half of the firms surveyed also indicated that ‘skilled employees are available locally’. 3. EDUCATION Universities and colleges are a crucial element of the skills development pipeline for the digital and creative industries, and recent reports have highlighted a number of initiatives locally to support skills development : Coventry University, Warwickshire College. 4. HARD and SOFT INFRASTRUCTURE Along with the local supply of talent, the quality of infrastructure, and in particular digital infrastructure, is the most important factor in a digital creative company’s locational choice. Besides the availability of ‘hard’ infrastructure (broadband, premises) other ‘soft’ factors such as cultural amenities, tolerance, openness and lifestyle options will also be important in attracting and retaining digital creatives. 5. FINANCE / FUNDING
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Digital creative companies highlighted that both public and private support could help them address pressing issues of start-up capital, intellectual property protection, moving quickly from the prototype stage to an actual viable product and attracting the best qualified personnel.
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Electric wharf
2.
3.
Student Accommodations
1. 8.
7.
4.
Fargo village
6. Coventry University 5.
Site boundary
12.
Potential creative connection
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Potential design site
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THEORY INTO PRACTICE
IN-BETWEEN BERNARD TSCHUMI EVENT-CITIES : CITIES, EVENTS, PREXIS
My graduation design project intends to present a Coventry urban regeneration through integration of hidden landscape of inner ring road and digital creative industry as an active urban space. I look to address the potential of urban regen- eration by utilising ‘in-between’ around Coventry ring road to recreate new spatial relations with surrounding events through Tschumi’s theory, ‘Space and Event’, and different modes of method- ology. Tschumi’s theory leads my design project into two major stages; exposure and in- vention. Exposure is mainly to deal with ‘Cities’ context by unfolding the urban conditions and the conventional connec- tions between architectural sequences of the spaces, movements and actions. Then, invention is to revise these con- nections and to create a new spatial link with the existing city as well as encour- age unpredictable programmatic factors, new urban events that will inevitably appear in coming years.
COVENTRY : SITE DECLARATION I adapt Tschumi’s diagram from Manhat- tan transcript and applied it on the ring road, exploring activities and connec- tions around the structure. Addition- ally, this diagram explores the idea that architecture is not just about form and function but also events that take place within it. The idea is also explored in our studio’s final primer model, indicating the chain relationship of varied activities These diagrams and models are to respond to and conceive architecture today as it is constantly changing and adapting to new dynamic context rather than just a static fixed and enduring ob- ject. A praxis is constantly responsible to others, precisely because it has to render an account: to those who, by their use of the spaces, will create the event; to those who will finance and support the work, whether as an identifiable political and economic body or society as a whole13. The end result is to rationalise and locate the site with the most potential of move- ments and activities responding to urban social and political context.
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Coventry City Centre site analysis
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SITE LOCATION
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ARCHITECTURAL TECHNOLOGY
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4 SITE PHOTOS
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FARGO VILLAGE
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FARGO VILLAGE
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ROUTE DIAGRAMS
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Coventry City Centre site analysis
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CONCEPTUAL PROGRAMME:
INNOVATION CREATIVE CENTRE
“HUMAN CREATIVITY IS THE ULTIMATE ECONOMIC RESOURCE” Florida, 2002
DESIGNING AND PROTOTYPING
a starting conceptual programme, the building is consisting of four main spaces : Asentrance, workshop, collaboration and office spaces. This is starting from the most
public space, entrance, to the most private space, offices. On the ground level, the entrance, this is the most flexible space where venue, exhibition, market stalls can take place. It is a half way between shopping and business spaces. I imagine a high ceiling gigantic space where it is overwhelming with constant movement of people. Next level is workshop and collaboration spaces where they are open to public and residents. These include medium-size library, silent and loud co-working spaces, some spaces can be rent over a period of time for those who have an ongoing project and need to use workshop. In term of workshop, the space is consisting of high-technology equipments and basic workshop equipments. The main focus is designing and prototyping workshop which aiming to assist those who is interested in inventing and designing product through collaboration between experts and non-experts. There are also rooms for classes for those who are interested, particularly young generation who want to develop their own design as well as business firms and locals. This is also promoting a learning through making for students. This aims to provides shared services and facilities that cannot be easily found or expensive to buy for students and start-up company. Next conceptual space is office. This aim to support and provide quality and affordable service and facility for start-up and interested business, creating business cluster. Perhaps, this could help to regenerate surrounding area through interaction with current creative business cluster : Fargo village, Electric wharf and Fablab. The building is funded and supported by Coventry University and City Council which responds to Cultural and Digital strategy.
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Four main spaces : Entrance (central space),, Collaboration, Workshop, Business
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THINKING THROUGH MAKING
THINKING THROUGH MAKING : CONCEPTUAL MODEL EXPLORING COLUMN FUNCTION
CAN COLUMN BE MORE THAN JUST A SUPPORTING STRUCTURE
hinking through making week aims to explore different theme of concept that could T inform our design in further project development. During thinking through making
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week, I explore an idea of
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THINKING THROUGH MAKING : DEVELOPMENT
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67
ACADEMIC PORTFOLIO
o๔
STUDIO : GHOST IN THE MACHINES
ACADEMIC PORTFOLIO
68
STUDIO : GHOST IN THE MACHINES
REAlISATION
o๓
REALISATION
STUDIO : GHOST IN THE MACHINES
69
INNOVATION CREATIVE CENTRE: DEVELOPMENT
REALISATION
PROJECT RELISATION STAGE : COLLABORATION AND INTERACTION SPACE
ACADEMIC PORTFOLIO
o๓
ACADEMIC PORTFOLIO
70
STUDIO : GHOST IN THE MACHINES
REAlISATION
Current main circulation route through the site o๓
Potential interaction points
REALISATION
STUDIO : GHOST IN THE MACHINES
71
INITIAL CONCEPTUAL FORM DIAGRAM
ACADEMIC PORTFOLIO
o๓
ACADEMIC PORTFOLIO
72
STUDIO : GHOST IN THE MACHINES
REAlISATION
MASSING MODEL STUDY o๓
REALISATION
o๓
73
ACADEMIC PORTFOLIO
MASSING MODEL STUDY
STUDIO : GHOST IN THE MACHINES
74
STUDIO : GHOST IN THE MACHINES
REAlISATION
ACADEMIC PORTFOLIO
INITIAL MASSING ANALYSIS AND FORM DEVELOPMENT
o๓
REALISATION
STUDIO : GHOST IN THE MACHINES
75
CIRCULATION AND PLAN DEVELOPMENT ACADEMIC PORTFOLIO
o๓
ACADEMIC PORTFOLIO
76
STUDIO : GHOST IN THE MACHINES
REAlISATION
SKETCH MODEL STUDY o๓
REALISATION
o๓
77
ACADEMIC PORTFOLIO
SKETCH MODEL STUDY
STUDIO : GHOST IN THE MACHINES
STUDIO : GHOST IN THE MACHINES
REAlISATION
THEORY INTO PRACTICE
78
Lines : Levels of movement throughout the space.
Points : Levels of activitiy and action intensity.
ACADEMIC PORTFOLIO
Surfaces : Freedom of interaction and activity
o๓
REALISATION
STUDIO : GHOST IN THE MACHINES
79
ROUTE THROUGH THE SITE AND INTERACTION POINTS
PLAN AND BUILDING LAYOUT REVISIT
o๓
ACADEMIC PORTFOLIO
Taking forward from theory into practice, I have developed new plan that responding to the surrounding context in a wider scale where existng routes are kept the same. Then new routes and interaction nodes are introduced to the site. This is responding to Bernard Tschumi’s principle of EVENTS-CITIES.
STUDIO : GHOST IN THE MACHINES
REAlISATION
ACADEMIC PORTFOLIO
ARCHITECTURAL TECHNOLOGY
80
MASSING STUDY: RESPONDING ROUTES o๓
BUILDING PROGRAM STUDY
STUDIO : GHOST IN THE MACHINES
REAlISATION
ACADEMIC PORTFOLIO
ARCHITECTURAL TECHNOLOGY
82
o๓
REALISATION
DELF UNIVERSITY LIBRARY
GRIMSHAW NEW YORK TRAIN STATION
STUDIO : GHOST IN THE MACHINES
83
SENDAI MEDIATHEQUE
INTERACTION NODE: PRECEDENT STUDY
ACADEMIC PORTFOLIO
o๓
ARCHITECTURAL TECHNOLOGY
1:20 TECHNICAL SECTION (1300 mm x 2100 mm)
ACADEMIC PORTFOLIO
86
STUDIO : GHOST IN THE MACHINES
REFINEMENT
o๔
REFINEMENT
STUDIO : GHOST IN THE MACHINES
87
INNOVATION CREATIVE CENTRE: REFINEMENT PROJECT FINALISING STAGE : COLLABORATION AND INTERACTION SPACE
ACADEMIC PORTFOLIO
o๔
ACADEMIC PORTFOLIO
88
STUDIO : GHOST IN THE MACHINES
REFINEMENT
URBAN CONTEXT - RESPONDING TO DIFFERENT GROUP OF PEOPLE o๔
REFINEMENT
STUDIO : GHOST IN THE MACHINES
89
URBAN CONTEXT - RESPONDING TO MAIN PEDESTRIAN THROUGH THE SITE
URBAN CONTEXT - ACCESSIBILITY TO THE SITE
o๔
ACADEMIC PORTFOLIO
URBAN CONTEXT - MAIN EXTERNAL INTERACTION AREAS
ACADEMIC PORTFOLIO
o๔
GROUND FLOOR
STUDIO : GHOST IN THE MACHINES
FIRST FLOOR
SECOND FLOOR
90 REFINEMENT
STUDIO : GHOST IN THE MACHINES
91
BASEMENT (B2)
BASEMENT (B1)
REFINEMENT
EXPLODED ISOMETRIC DIAGRAM
This diagram illustrates essential programmes and elements of the building
Programme / Building elements
o๔
ACADEMIC PORTFOLIO
1. Basement (B2) 2. Basement (B1) 3. Ground floor 4. First floor 5. Second floor
ACADEMIC PORTFOLIO
92
STUDIO : GHOST IN THE MACHINES
REFINEMENT
o๔
REFINEMENT
STUDIO : GHOST IN THE MACHINES
93
GENERAL TUBE COMPONENT - INTERACTION NODE AND SUPPORTING STRUCTURE
FIRE PROOF GLAZING
WAFFLE FLOOR STRUCTURE
STEEL ROD STRUCTURE
DOUBLE METAL SHEETS
EXPLODED DIAGRAM - TUBE COMPONENT o๔
ACADEMIC PORTFOLIO
CONCRETE FLOORING
94
STUDIO : GHOST IN THE MACHINES
REFINEMENT
TYPE 1 : NATURAL SUNLIGHT This type allow natural sunlight to come into the building
CREATIVE STUDIO: OFFICE AREA
CREATIVE STUDIO: COLLABORATION SPACE
MAIN ENTRANCE: MULTI-PURPOSE SPACE
WORKSHOP: ADDICTIVE MANUFACTURING
WORKSHOP: ROBOTIC AND AUTOMATION
TYPE 2 : STAIR CIRCULATION This type allow for virticle circulation
CREATIVE STUDIO: COLLABORATION SPACE
CREATIVE STUDIO: COLLABORATION SPACE
MAIN ENTRANCE: MULTI-PURPOSE SPACE
WORKSHOP: ADDICTIVE MANUFACTURING
ACADEMIC PORTFOLIO
WORKSHOP: ROBOTIC AND AUTOMATION
o๔
REFINEMENT
STUDIO : GHOST IN THE MACHINES
95
TYPE 3 : LIFT CIRCULATION This type allow verticle circulation
CREATIVE STUDIO: OFFICE AREA
CREATIVE STUDIO: COLLABORATION SPACE
MAIN ENTRANCE: CAFETERIA
WORKSHOP: ADDICTIVE MANUFACTURING
WORKSHOP: STORAGE SPACE
TYPE 4 : SERVICES
This type allow services to run through the building
CREATIVE STUDIO: OFFICE AREA
CREATIVE STUDIO: COLLABORATION SPACE
MAIN ENTRANCE: EXHIBITION
WORKSHOP: ADDICTIVE MANUFACTURING
SERVICES AREA
ACADEMIC PORTFOLIO
o๔
96
STUDIO : GHOST IN THE MACHINES
REFINEMENT
TYPE 5 : COLLABORATION CENTRAL This type allow for virticle circulation
CREATIVE STUDIO: COLLABORATION
CREATIVE STUDIO: COLLABORATION
MAIN ENTRANCE: MULTI-PURPOSE SPACE
WORKSHOP: OFFICE AREA
ACADEMIC PORTFOLIO
WORKSHOP: ROBOTIC AND AUTOMATION
o๔
REFINEMENT
97
ACADEMIC PORTFOLIO
o๔
STUDIO : GHOST IN THE MACHINES
ACADEMIC PORTFOLIO
98
STUDIO : GHOST IN THE MACHINES
REFINEMENT
o๔
REFINEMENT
99
ACADEMIC PORTFOLIO
o๔
STUDIO : GHOST IN THE MACHINES
ACADEMIC PORTFOLIO
100
STUDIO : GHOST IN THE MACHINES
REFINEMENT
o๔
REFINEMENT
101
ACADEMIC PORTFOLIO
o๔
STUDIO : GHOST IN THE MACHINES
ACADEMIC PORTFOLIO
102
STUDIO : GHOST IN THE MACHINES
REFINEMENT
o๔
REFINEMENT
103
ACADEMIC PORTFOLIO
o๔
STUDIO : GHOST IN THE MACHINES
ACADEMIC PORTFOLIO
104
STUDIO : GHOST IN THE MACHINES
REFINEMENT
SITE SECTION C-C
o๔
REFINEMENT
105
ACADEMIC PORTFOLIO
o๔
STUDIO : GHOST IN THE MACHINES
ACADEMIC PORTFOLIO
106
STUDIO : GHOST IN THE MACHINES
REFINEMENT
SECTION B-B
o๔
REFINEMENT
107
ACADEMIC PORTFOLIO
o๔
STUDIO : GHOST IN THE MACHINES
ACADEMIC PORTFOLIO
108
STUDIO : GHOST IN THE MACHINES
REFINEMENT
SECTION A-A
o๔
REFINEMENT
109
ACADEMIC PORTFOLIO
o๔
STUDIO : GHOST IN THE MACHINES
ACADEMIC PORTFOLIO
110
STUDIO : GHOST IN THE MACHINES
REFINEMENT
o๔
STUDIO : GHOST IN THE MACHINES
111
ISOMETRIC SECTION CUT A
REFINEMENT
ACADEMIC PORTFOLIO
o๔
ACADEMIC PORTFOLIO
112
STUDIO : GHOST IN THE MACHINES
REFINEMENT
o๔
STUDIO : GHOST IN THE MACHINES
113
ISOMETRIC SECTION CUT GROUND FLOOR
REFINEMENT
ACADEMIC PORTFOLIO
o๔
ACADEMIC PORTFOLIO
114
STUDIO : GHOST IN THE MACHINES
REFINEMENT
ATMOSPHERIC DRAWING o๔
REFINEMENT
o๔
115
ACADEMIC PORTFOLIO
ATMOSPHERIC DRAWING
STUDIO : GHOST IN THE MACHINES
ACADEMIC PORTFOLIO
116
STUDIO : GHOST IN THE MACHINES
REFINEMENT
o๔
ATMOSPHERIC DRAWING GROUND FLOOR
ACADEMIC PORTFOLIO
118
STUDIO : GHOST IN THE MACHINES
REFINEMENT
o๔