Camden Pyke - Architecture Portfolio M.Arch (prof), BAS - Victoria University, Wellington
Architectural Ecology - Thesis 2010 White Lies - Design 2009 Theatre / Gallery - Design 2008 Unesco Creative Cities - Construction 2008 Moutere Hills Winery - Construciton 2009 Hitaua Bay Additions - Freelance 2010
Thank you for taking the time to view my portfolio. If you have any questions of would like to discuss further please do not hesitate to contact me Camden B. Pyke
E: cb_pyke@hotmail.com P: +6427 330 3594 W: http://issuu.com/camdenpyke
Architectural Ecology: cleansing & regeneration of polluted place through architecture Supervisor: Shenuka de Sylvia Kulugamma
The design component of the research thesis investigates how increased built development and regeneration of damaged environments can jointly be achieved through architectural development, incorporating creatively and sensitively designed buildings. It seeks to adapt and translate technologies and resources to act not only as an environmental cleanser, but also provide for urban regeneration to go beyond the rhetoric of green and sustainable building principles. The research finds that a change in focus is required; away from monetary focus and instead to environmental focus. This needs to occur immediately to avoid further environmental damage and to begin remediation of existing damage. This can be resolved by incorporating existing remediation techniques further into development. Urban responses and architecture play very important roles. The creation of mixed use sites with green space allow for localised consumption and recreation. Inhabitation patterns have been poorly addressed in New Zealand development and a different rationale and process needs to be undertaken. The design investigates and addresses the issues of regeneration, both of site and urban conditions. It sits between the two streams of thought, technological and theoretical and extracts the positives of these two elements to create an informed solution that recognises past, present and future use.
Through its life as a petro-chemical store, the site has had a number of tenants. Shell and Mobil were both major tenants until the 1990’s. There have numerous of uses for the tanks throughout their operational lifespan. This is shown by documents obtained from the Auckland Archives. They show “petrol, Avgas 100, Jet A-1, hexane, kerosene ...ammonia...ethanol [and]... turpentine,” (Auckland City Council (ACC), unknown) among others, have all been stored on the site. Currently Marstel Terminals operates the only remaining storage facilities on the site.
The history of uses of the site has left serious contamination issues. There is a verbal history reporting that the contents of one of the bulkstore gasoline tanks emptying entirely into the soil in the late 1980’s. Reporting undertaken for Auckland City Council found “significant soil and groundwater contamination... there is potential for further contamination to be found” (AKC), 1990, pg. 7.0). Sea + City development agency has also had contamination studies undertaken, which highlight the presence of heavy metals and separate phase hydrocarbons (SPH) in the soil.
The project re-uses the existing tanks to undertake bioremediation. The soil from the site is excavated and the tanks act as soil columns and remove contaminants over the period of approximately a year. The transport of the soil to the tanks occurs on conveyer systems, supported by a hexagonal structural framework that wraps around the tanks. This frame incorporates the ideas associated with Prosolve 370e. However, instead of using these panels as a facade element, the design incorporates the pollution absorbing technology into the cladding elements that clip over the steel structural frame.
ABOVE: Time-based elevation of the site showing the transformation through mediation and development
The frame is created from a number of interweaved hexagons of different sizes and heights. It is largely elevated above ground, supported from the tanks themselves and from steel columns. It provides an aesthetically effective frame that follows a definable pattern and provides contrast to the circular forms of the tanks themselves. The makeup of the frame offers a large amount of surface area, allowing the frame to remove air pollution whilst acting as a system within the larger development which can be reused.
Once the site has been remediated it will become safe for inhabitation. The project argues that to cleanse the earth, only to build over it and again create impermeable ground planes is a tremendous waste of productive land. Therefore the majority of building around the tanks will be raised up, supported by the frame structure and the tanks themselves, which are used for a mixture of public and commercial functions. Larger tanks, such as an art gallery, parking building, gym and church. Tanks are also used for greywater storage and treatment, water storage, heating and energy production.
These functions have been selected as they are very inwards focused, requiring few changes to the tanks, as openings compromise their strength as shell structures. The hexagonal frame is now utilised as access and support for the residential units. The form creates private paths between the units, with the interior of the hexagonal frame used for plumbing and wiring services. The lifespan of development is a crucial issue to address ecological and environmental impact. The reuse of the tanks and the hexagonal frame provide a long, changeable lifespan for the site developments.
CLOCKWISE FROM LEFT: Typical apartment -day; typical apartment - night; interior of tank - gymnasium; interior of tank - gallery
ABOVE: Perspective view of development showing inhabited tanks and hexagonal structure supporting apartments
ABOVE: Time-based sections through deveopment - during remediation / excavation (top), during inhabitation (bottom)
ABOVE: Perspective view of development showing inhabited tanks and hexagonal structure supporting apartments
White Lies - Winery, Martinborough Tutor: Tobias Danielmeier
This design project investigates the deceptive powers associated both with architecture and wine. Initial investigations focused on the reliance on alcohol and effects predominant in New Zealand. Sited in Martinborough the vineyard produces solely non-alcoholic wine through cold filtration. Despite this, it uses architectural techniques to impart the idea of intoxification through sensory shifts within the building. It undertakes this deception through both architectural moments and the material palette. This is achieved through a public gallery that on entry appears open, light and inviting. However after travelling to the tasting room the return journey is imposing, dark and narrowing. Regarding materiality, the winemaking facilities are exposed concrete, suggesting an honesty and integrity within these spaces, whilst the public spaces are timber coated with internalised areas of semi-permeability - suggesting a veiled understanding of the processes and allowing hints of the deception. The building consists of production space, offices, a public tasting room and a public gallery that spans the length of the building.
ABOVE: Ground Floor Plan, Winery, from 1:100 drawing
ABOVE: Perspective view of winery with offices, tasting room left, production facilities right
CLOCKWISE FROM LEFT: Entry to winery along public gallery; tasting room; exit along public gallery; exit from tasting room
CLOCKWISE FROM LEFT: Section C-C, from 1:100 drawing; Section A-A, from 1:100 drawing; Section B-B, from 1:100 drawing
Theatre / Gallery: transformation, memory and violence
The brief of this third year design project stipulated a 24 hour space with two programmes that could either inhabit the space simultaneously, or periodically.
Tutor: Anna Welch
The programme, for a gallery and studio for the artist Christian Boltanski and a public micro-theatre inhabits the space concurrently and violently; the spaces intertwined and changeable with movement and usage. Boltanski’s works in the static gallery spaces challenge the idea of memory and it’s transformation, providing discourse to the dynamic spaces which ultimately attempt to achieve the same outcome through a different architectural experience, creating a battle for dominance between the two spaces. The material of the microtheatre leaves a visual memory of this. The building is situated in the residual space around buildings in central Wellington. It forces itself into these small spaces, contesting their non-use, yet, in appearance is sympathetic and non-imposing on the existing fabric.
CLOCKWISE FROM LEFT: Changes in theatre shape; Section B-B from 1:100 drawing; Section A-A from 1:100 drawing; Section C-C from 1:100 drawing
CLOCKWISE FROM LEFT: Perspective view from Ghuznee Street; perspective view to Ghuznee Street; Floor plan from 1:100 drawing
UNESCO Creative Cities Visitor Centre - Wellington Tutor: Erin Collins
Construction Project: The aim of this construction project was to provide a temporary Visitor Centre for the UNESCO Creative Cities, to be held on a waterfront site in Wellington. The response recognises the history of the site on Queens Wharf whilst integrating functional architectural elements. Containers are used to interpret the former uses as a working wharf, at the same time acting as a highly successful reusable form. No structural changes are made to all except one of the containers, which is altered to allow it to fold down into a multi-purpose space, acting as a deck in fine weather to increase the usable area, a covering in inclement weather and as a second skin when not required. Inserted between some of the containers are glass box office and meeting spaces comprising of LINIT glazing to harmonise with the aesthetic of the containers.
SOUTH ELEVATION- from 1:50 drawing
WEST ELEVATION- from 1:50 drawing
FIRST FLOOR PLAN- from 1:100 drawing
SECTION 1-B03 - from 1:20 drawing
SECTION 2-B03 - from 1:20 drawing
ROOF HINGE POINT DETAIL - from 1:5 drawing
SECOND SKIN - CONTAINER DETAIL - from 1:5 drawing
SECTION 2-B02- from 1:100 drawing
FLOOR HINGE POINT DETAIL - from 1:5 drawing
ROOF - GLAZING DETAIL - from 1:5 drawing
CONTAINER - CONTAINER FIXING - from 1:5 drawing
WALL - FLOOR DETAIL - from 1:5 drawing
CONTAINER - WHARF FIXING - from 1:5 drawing
CONTAINER - WHARF DETAIL - from 1:5 drawing
Moutere Hills Winery - Upper Moutere Tutor: Richard Wiles
Construction Project: The fourth year construction course was divided into two projects. The first was to detail the exterior shell of a winery building for Moutere Hills Winery. The second project was to design a fit-out for a specific part of the building. These areas, shown over the following pages, were a tasting room and conference room. The fit-out follows a philosophy of minimalism. Minimal materials are expressed, with the interior largely clad in wood, in a stained or natural state, with steel structure and glass. The forms within the space continue this principal with two large islands serving as the only furniture, the staircase acts as further wine storage. The detail also seeks to minimise and hide connections and joints with recessed detailing where possible and finger-jointing in the cabinetry allowing for clean, precise fixings.
GROUND FLOOR PLAN - from 1:50 drawing
SECTION 3-P26 - from 1:50 drawing
SECTION 4-P26 - from 1:50 drawing
ISLAND CONSTRUCTION - from 1:5 drawing
ISLAND CONSTRUCTION - from exploded 3d drawing
BALUSTRADE - STAIR DETAIL - from 1:5 drawing
STAIR CONSTRUCTION - from exploded 3d drawing
STAIR CONSTRUCTION - from 1:5 drawing
STAIR - WALL DETAIL - from 1:5 drawing
TASTING ROOM - 3d perspectives
LEVEL TWO FLOOR DETAIL - from 1:5 drawing
SUSPENDED CEILING DETAILS - from 1:5 drawing
Hituau Bay Addition - Malborough Sounds Client: S. Urquhart-Hay
Freelance work: The brief for this project was to draw-up the existing sketches to consent level for a sleep-out addition to a bach in the Malborough Sounds. However, through discussion the brief was changed and the larged and redesigned into a more naturally into the site and
with the client, sleep-out was enform that fitted the existing bach.
A number of issues, including DOC reserve, sea-spray concerns and cost arose through drafting. Thus, the project has developed and evolved throughout the consent process. Status: in construction.
SITE PLAN - from 1:100 drawing
SITE PLAN - from 1:200 drawing
NORTH ELEVATION - from 1:50 drawing
FRAMING PLAN - from 1:50 drawing
WEST ELEVATION - from 1:50 drawing
FLOORING PLAN - from 1:50 drawing
SECTION 2-3 - from 1:50 drawing
SECTION A-B - from 1:50 drawing
DOOR HEAD DETAIL - from 1:5 drawing
DOOR SILL DETAIL - from 1:5 drawing
FOUNDATION DETAIL - from 1:10 drawing
DECK POST - BEARER DETAIL - from 1:10 drawing
ROOF - BARGE BOARD DETAIL - from 1:10 drawing
ROOF - WALL DETAIL - from 1:10 drawing
WALL INTERSECTION DETAIL - from 1:5 drawing
ROOF RIDGE DETAIL - from 1:10 drawing
RISK MATRIX EVALUATION