This portfolio will demonstrate my progression through the year. I will be refreshing, developing and extending the skills I have acquired in the first year. The process will focus on framing and structuring; establishing the skills of technology combined with aesthetics. Understanding how they work together to create a solid design. Portfolio is organised into three units of assessment which will be accompanied and enriched by contextual research, analysis and reflection. The units are 2.1, 2.2 and 2.3. They are structured to create a fluent design process of a designer in a studio practise; consisting of investigation, development and resolution. Investigation will be connected centrally with the project. Focusing on acquiring ideas, exploring and researching using readings, studying precedents and visiting sites. This will be translated and developed into the first project 2.1. Development will be succeeded by creatively evolving the design, and effectively establishing the main idea of the design process (2.2). Resolution will be the refinement, clarification and presentation of the idea that has been investigated and developed through the previous processes (2.3). While working on the three units of assessment there will be an important mode of research that we create Framing Levenshulme. It will be created in groups and will provide us with the contextual basis for the individual work and exploration of our particular site. During the beginning of the year we are going on a study trip to Lyon. It will focus on visits to places like La Tourette, Firminy and significant number of other buildings to gain inspiration and enrich our studio work. Together the briefs will create a process of theorising, exploring and designing spaces within a particular urban environment, and for a vibrant varied community. This will stimulate us to use the existing skills we hold and develop alternative ways of working and thinking to the ones that were already introduced to us. Exploring the new technology by attending skill sessions.
DIANA OSMOLSKA
INVESTIGATION: 2.1 Dear Marker I have Re-Worked my 2.1, please re-look it. Thank you.
DIAGRAMS orginal building plan set of diagrams analysing the plan In the first term we are begging the year by reinforcing architectural skills initiated in year 1. We are required to understand the organisation of plans. Translate them into drawings, expanding our understanding of analysis and communication through diagrams. I am being challenged in my architectural understanding. This exercise brings me back from the holidays. We are given list of terms to address: scale, degree of enclosure, line hierarchy, circulation, organisation strategy, geometry. To be able to address those topics I have to do some background research on understanding the terms. S. (2009) Analysing architecture. 3rd ed. London: Routledge Elam, K. (2001) Geometry of design. New York: Princeton Architectural Press Baker, G. (1996) Design strategies in architecture: an approach to the analysis of form. 2nd ed. London: E &FN Spon The limited information on the plans pushes me to be intuitive and careful with analysing. However I have found it difficult to think abstractly during this topic, imagining and feeling what is like to be there, walking through and understanding its character. Thanks to the help of tutors, I am pushed to work harder and overcome the difficulties, leading to me, revisiting the diagrams and refining them.
LINE HIERARCHY
ENCLOSURE
CIRCULATION
GEOMETRY
Shows the primary, secondary and treasury walls.
Degree of Enclosure: The red shows the enclosed/private spaces, the lighter colours and browns show open spaces. Green is also indicated showing the greenery outside. Yellow arrows show the light coming into the building. Well lit interior.
The red arrows show the circulation through the building. Black line shows the common paths taken throughout the building.
Red shows dense spaces within the plan. Yellow show less density more open areas. Plan looks like is made from squares. Understanding its own geometry.
2.1.1 TRANSLATE DIAGRAMS
LINE HIERARCHY Shows the primary, secondary and treasury walls.
ENCLOSURE Degree of Enclosure: Showing the shadows from the potential building spaces. Main area that is open and well lit. Passages.
CIRCULATION The red arrows show the circulation through the building. Black line shows the common paths taken throughout the building.
GEOMETRY Plan is made from squares. Is a grid. Mirrored to the other side.
2.1.1 TRANSLATE DIAGRAMS
LINE HIERARCHY Shows the primary, secondary and treasury walls.
ENCLOSURE Degree of Enclosure: The red shows the enclosed/private spaces, the lighter colours show open spaces. Green is also indicated showing the greenery. Yellow arrows show the light coming into the building.
CIRCULATION The red arrows show the circulation through the building. Black line shows the common paths taken throughout the building.
GEOMETRY Plan is made from squares, is a grid. With a circle cut through. Understanding the geometry of the plan. 2.1.1 TRANSLATE DIAGRAMS
LEVENSHULME We are going on a group site visit to Levenshulme. Site we will be working with throughout the year. Being there we have a couple of specific sites we have to visit. While exploring and understanding the area, surroundings, people, atmosphere, locations and all aspects concerning the space. I have some sketches (sketch 1 and 2) and pictures (picture 1 and 2) to understand the site. They will allow me to develop it in future. Very stimulating and exciting trip! CHOOSING SITE I have decided to chose Arcadia site. I have started analysing the site: the way the noise level affects it, the changes that occur between the site. It is louder closer to the street yet as you go down it gets more quiet. Site is mostly open space at the beginning near the street, as it gets further to the end it gets more enclosed with the trees and buildings around it. The site gets more green as it gets away from the main street. This shows that the site is denser at the end of it.
Sketch 1: Understanding the position of the site and surroundings.
Picture 1: Exploring the site, looking at all corners and aspects of its.
Sketch 2: Understanding the sun and exploring interesting factors like the placement and density of the site.
Picture 2: Doing sketches on the site. Exploring it first hand with the group.
Picture 3: Understanding the site
Sketch 3: Arcadia site.
Sketch 4: Arcadia site.
2.1.1 TRANSLATE UNDERSTANDING
2.1.1 TRANSLATE IDEA MONTAGE
INFLUANCES I have decided to research and found some influences for my outside room design. I have looked into many ideas which can be seen on the montage. However my main focus for the design is to create something in the style of Christian Herdeg, German installation artist. I like the way he combines concrete with delicate light. In my design I would like to combine his style with the Danish artist Jeppe Hein which uses architecture, sculpture and technology in his work. I was especially strongly inspired by the water fountain rooms that appear in his installation that can be seen on Picture 1. I wanted to understand the site and be able to work with it while changing the plan into something that is radically different, Changing hard structures into potential water features. Being careful with the development and understanding of the line hierarchies.
Picture 1 Reference: Hein, J., n.d. Appearing Rooms. [Online] Available at: http://www.roughguides.com/photo/appearing-rooms/ [Accessed 12 10 2014].
Picture 2 Reference: Herdeg, C., Step-on, 1975. Christian Herdeg. [Online] Available at: http://www.christianherdeg.com/ [Accessed 12 10 2014].
2.1.1 TRANSLATE INSTALATION ART INFLUANCE
DESIGN Transferring the plan onto the site I had to be very careful with altering the scale. I have carefully made the site connect with the plan. At first I really struggled to combine them to make it fluent. Thanks to the help of the tutors and some students I have understood different possibilities of placing the plan scaling it and creating a nice fluent relationship between the two. I have mostly changed the primary walls into different level concrete slabs. They are there to sit, climb or draw on the sides. Place works as lit up installation when it gets darker. Secondary walls were changed into water features. They are at the front allowing people to see the display and be led further into the outside design. Treasury walls were either changed into sitting slabs or steps. I have enjoyed doing this. For the first time in my studio work I have used Revit, which I have learnt on skill sessions to transfer my plans onto 3d drawings. 2.1.1 TRANSLATE
ADD skills session work - Revit DESIGN
EXISTING SITE PLAN
SCALE 1:100 ON A0
ADD skills session work photoshop
2.1.1 TRANSLATE SITE PLAN
PROPOSED SITE PLAN
SCALE 1:100 ON A0
2.1.1 TRANSLATE SITE PLAN
2.1.1 TRANSLATE PERSPECTIVE
LYON I was strongly inspired by Le Corbusier when I was in Lyon. His way of approaching the ground in the designs, following the nature. Adjusting his building to fit the ground not vice-versa. How he carefully considers the nature that’s around. The way he approaches every single corner of the building with importance, thinking carefully before making anything. Using simple geometrical figures and colours in his work. “Architecture is circulation” Le Corbusier LA TOURETTE I was also intrigued and inspired by his approach to circulation, Especially in La Tourette. Walking through the corridor made by him, being able to see only the floor through the strip windows to not be overwhelmed by the top of the trees. He purposefully blocks the view in certain places, to stimulate us to continue moving, without taking our attention away and stopping circulation was truly inspiring. Architecture of truth, light and shade. CHAPEL I was amazed by the Chapel. It’s interesting shapes. Its geometry of parabolic revolution. How it symbolically connected with the sky and hearth. The light from different places made the place religious, stimulating and creative. Another fascinating part of the chapel is the altar that has to touch the ground even though building is elevated, forming part of the foundation. Building carefully considers the way rain water is brought down and recovered. Le Corbusier understands the light in such a way is very captivating for an architecture student like me.
STUDY TRIP
LYON LE CORBUSIER
ARTIFICIAL INTELLIGENCE SKETCHING, RESEARCHING AND DEVELOPING IDEAS FOR POTENTIAL MODEL
Ostrovsky, A., 2013. agsAndrew Artificial Intelligence 2. [Online] Available at: http://ags_andrew.prosite.com/151518/1515830/gallery/artificial-intelligence-2 [Accessed 20 October 2014].
Anon., 2008. Hardware. [Online] Available at: http://www.pcgameshardware.de/Neue-Technologien-Thema-71240/ News/Ausgelagerte-Daten-und-kleine-Rechenknechte-813669/galerie/765709/ [Accessed 20 10 2014].
2.1.2 PHASE 1
STUDY MODEL 1
ARTIFICIAL INTELLIGENCE My first point of departure for the cantilever model is Artificial Intelligence. How the world of cables, motherboards, connections, joints, stops, continuations, modernity, systematic computer based controlled mechanisms. Looking what’s under the cover. The concept model I have designed is an abstraction of what’s happening on the cables that run around. I have looked into the hierarchy of the model. (refer to the sketch) How the cantilever balances out with the joints that join up with the middle part, makes the model able to stably stand. The middle sticks are allowing the cantilever to keep its position, by putting the force. For even more stability I have interweaved the cantilever with the middle sticks. Referring to the “Artificial Intelligence” and linking it to the idea of cables passing through.
2.1.2 PHASE 1
STUDY MODEL 1
2.1.2 PHASE 1
STUDY MODEL 1
2.1.2 PHASE 1
STUDY MODEL 2
NATURAL PHENOMENON My second point of departure for the cantilever model is Natural Phenomenon. Focusing on how the body moves into different postures and positions. I wanted to look on how smooth certain body positions can be. The way they flow from top to bottom. How the body stands. Where the muscles put the force for the person to stand and not fall. How the cantilever is balanced by the supporting form to keep its position. I have looked into the hierarchy of the model taking those aspects into consideration. 2.1.2 PHASE 1
STUDY MODEL 2
2.1.2 PHASE 1
STUDY MODEL 2
Anon., n.d. Welcome to the Purbrook Bowmen Historical Archery Display Team website. [Online] Available at: http://homepage.ntlworld.com/purbrookbowmen/team_frame.htm [Accessed 24 10 2014].
CULTURAL ARCHERY My third point of departure for the cantilever model is Cultural. I have looked into archery. In particular I wanted to look into the bow. How it works, how the forces work when is in maximum or minimum tension. This made me look and create diagrams for that. To fully understand the bow function. 2.1.2 PHASE 1
STUDY MODEL 3
2.1.2 PHASE 1
STUDY MODEL 3
HEAVY CONSTRUCTION Looking at the Kolumba Museum, comparing it to the Chapel in Firminy by Le Corbusier. The way the bricks are laid out in the Kolumba Museum, how the bricks act as the natural ventilation system. Idea of spacing out the bricks correctly; how the bricks have to be put in a way that supports one another, to allow certain bricks to be taken out. Understanding the low air change ventilation. The light that is created by the wall. I wanted to look at the Le Corbusier wall, where are the circles inside the concrete. They create certain moods inside the chapel to fit to the purpose.
2.1.2 PHASE 1
HEAVY CONSTRUCTION
2.1.2 PHASE 1
LIGHT CONSTRUCTION
LIGHT CONSTRUCTION POST & BEAM For the Post and Beam structure I have chosen. It reminds me of rough constructions. Typical steel beam and column connection. I have seen few similar examples while I was in Lyon, in the park. Consisting of a column , steel beam with wood.
2.1.2 PHASE 1
LIGHT CONSTRUCTION
ARTIFICIAL INTELLIGENCE MODEL DEVELOPMENT I took Artificial Inteligence idea for the further development of the concept model I wanted to make it more stable, so I have used the idea of putting the sticks into the ground. I still wanted to keep the idea of interlinking the cantilever with its primary support and secondary. Make the model so that it interacts with different parts. I wanted to put the primary support together (tied it at the top) to make the cantilever even more stable. Then I realised it probably looks more elegant having the primary part as individual pieces and still having a stable structure. I also realised I should take away the base. Even if I want the structure to be supported at the ground I should explore and see how stable it is without a massive base supporting the structure. For the red tape part I want to use metal connections. I have also considered how I should connect the structures with each other. Perhaps having a separate connection that is put in between the structures to connect them together and also interlinking them together.
2.1.2 PHASE 2 TWO MODELS
CONNECTIONS BETWEEN FRAMES
2.1.2 PHASE 2
CONNECTIONS
2.1.2 PHASE 2
LIGHT CONSTRUCTION
2.1.2 PHASE 2
LIGHT CONSTRUCTION AXONOMETRIC
2.1.2 PHASE 2
HEAVY CONSTRUCTION
2.1.2 PHASE 2
HEAVY CONSTRUCTION AXONOMETRIC
2.1.2 PHASE 3 CANTILEVERS
2.1.2 PHASE 3
CANTELIEVERS
FIVE REPETITIVE CANTILEVER MODELS Being inspired by the Artificial Intelligence idea I think I have developed my model in the way I wanted it to be displayed, showing different parts: interlinking, flowing from one place into another, moving about, supporting and transferring. Simple in its complicated form. I am confident with the way it turned out to be. After I have completed the cantilever model I have decided to use AutoCAD and draw the plans. I had the primary knowledge on how to use the program after attending skill-sessions.
CANTILEVERS PLAN
SCALE 1:1
2.1.2 PHASE 3 ADD skills session work - AutoCAD
CANTILEVERS PLAN SCALE 1:!
2.1.2 PHASE 4
DESIGN PROCESS
2.1.2 PHASE 4 SITE MODEL SCALE 1:100
SITE MODEL I have found designing this very exciting. I have taken into consideration that my project is mostly based on installations. Taking that into account I wanted to make something that links to the art theme. I wanted my cantilever to be a 3D news paper in theory. Accessible for different places and ways. Funky. Different views and perspectives to see billboards that are displaying art-work or Levenshulme news. (refer to sketches) It is a multi level structure that can be accessed by walking onto the second level using the post and beam supported stairs (combining the two structures together). There is specific positions people have to take to view specific billboards. I have taken into account that it can be windy at times or rainy. So some parts are covered up with a roof and some parts are covered to stop cross ventilation. Sitting area is heated up during cold days. Whole structure is also an installation similarly to the other parts of the designs on the site. It lights up in different colours when the visibility goes down. On top of the roof there is solar panels facing in a way that gathers most of the sun to allow the structure to efficiently work. I have placed the structure near the pathway which people walk through. Since the structure can be accessed from any side people that walk through can just go in, read the news and continue walking to their destination. The 3D News Paper is also visible from the street so It can attract people into the site. and cannot be missed easily. On the site there is also the Post and Beam structure that is influenced by the structure I have found in Lyon in the park. Is a passage that allows you to feel like you are crossing the boundary into sports centre but you are still inside this installation park. Some of the concrete slabs I have exchanged for the brick heavy construction with window gaps that allow people to look through them, creating specific views into the other side. Giving interesting point of perspective when people look through them. I have also adjusted the cantilever to fit onto the concrete slab at the very end of my design, to indicate the exit onto the greenery at the end of the site. It lit up and creates beginning and the end equally visible. This can be seen on the Model and on the development can be seen on the process sheets.
2.1.2 PHASE 4
SITE MODEL SCALE 1:100 PART 1
2.1.2 PHASE 4
SITE MODEL SCALE 1:100 PART 2
SITE PLAN
SCALE 1:100 PAGE SIZE A0
2.1.2 PHASE 4
SITE PLAN SCALE 1:100 ON A0
FLOOR PLAN
SCALE 1:50 PAGE SIZE A1
2.1.2 PHASE 4
FLOOR PLAN SCALE 1:50 ON A1
SITE SECTION
SCALE 1:100
ADD skills session work Revit (improvement)
2.1.2 PHASE 4 SITE SECTION SCALE 1:100
FLOOR SECTION
SCALE 1:50
ADD skills session work Revit (improvement)
2.1.2 PHASE 4
FLOOR SECTION SCALE 1:50
ENERGY USE
UNDERSTANDINGENERGY USE IN THE STRUCTURE
2.1.2 PHASE 4 ENERGY USE
ADD skills session work Revit (improvement)
2.1.2 PHASE 4
DAY PERSPECTIVE
ADD skills session work Revit (improvement)
2.1.2 PHASE 4
NIGHT PERSPECTIVE
FRAMING LEVENSHULME Working in groups for this project was a really good experience. After knowing we would be working on the Levenshulme site for all of the project briefs it was important to study the area in detail. It was very helpful how everyone could find different information just within our group about the sites and the area itself. It was stimulating to listen and learn from each other and create the presentation together. Working in a team and collaborating together. We had to present the project in front of our year group. It was very stressful for me, but it was for my group too. It feels much calmer when people are around you working with you to make it the best possible presentation. Working , stressing and presenting together. Part of the Framing Levenshulme that I found important and educating was not just creating the presentation but also listening to other people presenting theirs. Everyone had something different, something interesting that could be taken and adapted for my own work. FRAMING LEVENSHULME
RESEARCH
DIANA OSMOLSKA 2.2 DEVELOPMENT
THE HEPWORTH GALLERY DAVID CHIPPERFIELD Gallery established in 2011, for the work of artist and sculptor Barbara Hepworth which comes from Wakefield. The Hepworth Gallery has been built with a practical and functional role; form follows function here. The concrete structures with their sharp corners and gently angled roofs, give the building a quirky geometrical look. Having natural light from the big windows to lit the exhibition on the floors. The Gallery has a respectful way of referring to the industrial roots of the town. Its irregular look also harmonizes with the somewhat mechanized landscape around it. The building constructed from pigmented concrete is giving off a sculptural appearance and natural material quality finish which connects to its main purpose. Having space inside created ideally to house the wok of the artist. This building shows a creation of new architecture that is made to store and display work that represents history, memory and experience of art. Being art itself. I am strongly influenced by this building and its approach. Wanting to create an Art community school I desire to make an modern and functional design. That works with the exterior environment and connect with Levenshulme. Making it very elegant and environment friendly but also reinforcing the purpose and surroundings in its design. Architects, D. C., 2003-2011. The Hepworth Wakefield. [Online] Available at: http://www.davidchipperfield.co.uk/project/the_hepworth_wakefield [Accessed 15 11 2014].
Anon., n.d. Hepworth Gallery. [Online] Available at: http://artsfundraising.org.uk/afp/wp-content/uploads/2014/04/HepworthWakefield-for-e-bulletin.jpg [Accessed 15 12 2014].
Architects, D. C., 2003-2011. The Hepworth Wakefield. [Online] Available at: http://www.davidchipperfield.co.uk/project/the_hepworth_wakefield [Accessed 15 11 2014].
2.2 LEVENSHULME LIFE: URBAN SYNTHESIS RESEARCH
WALT DISNEY CONCERT HALL FRANK GEHRY His proposal was largely oriented toward the public, with after dark. Thin tatinum-clad metal panels allowed for more adventurous curvature and could be much of the site allocated to open gardens. Which is some- structurally disassociated from the ground. The metallic forms appears to float above an asymmetrical band of glazing at the building’s base. Glass gaps in the facade bring light into the lobby thing I want to take into consideration in my project. and pre-concert room, reading as a grand entryway through the otherwise opaque facade. The exterior is a composition of wavy and angled forms, I am inspired by the conscious of the shapes in the building. symbolizing musical movement and the motion of Los Angles. The design developed through paper models and sketches, characteristic of Gehry’s process. Where in my Community Art Hub, I want the building to be inspired by the roughness of Levenshulme and the unpredictable movement of art; studying artists like Jackson Pollock. The custom curvature in Franks building demanded a highly specific steel structure, including box columns tilted forward at 17º on the building’s north side. The reflective, stainless steel surface engages light as an architectural medium. The facade’s individual panels and curves are articulated in daylight and colored by city lights
Jones, R., 2013. archdaily. [Online] Available at: http://www.archdaily.com/441358/ad-classics-walt-disney-concerthall-frank-gehry/ [Accessed 20 12 2014].
Anon., n.d. [Online] Available at: https://s-media-cache-ak0.pinimg.com/736x/c9/68/c0/c968c0d44f0944e237927cf62fadc09b.jpg [Accessed 12 12 2014].
2.2 LEVENSHULME LIFE: URBAN SYNTHESIS RESEARCH
DENVER ART MUSEUM
Libeskind, D., 2010. archdaily. [Online] Available at: http://www.archdaily.com/80309/denver-art-museum-daniel-libeskind/ [Accessed 20 12 2012].
DANIEL LIBESKIND Architects: Studio Daniel Libeskind Location: Denver, Colorado, USA Interior Designers: Studio Daniel Libeskind with Davis Partnership Landscape Architects: Studio Daniel Libeskind with Davis Partnership Lighting Consultant: George Sexton and Associates Exterior Faรงade Consultant: Gordon H Smith, ARUP, BCE; Project Area: 146,000 sq ft Project Year: 2006
Denver Art Museum; light, coloration, atmospheric effects, temperature and weather conditions are resposnive to the City, they are integrated inside the building to culturally link to the city. This type of architecture has an organic connection to the public. It focuses on aspects of experience that are intellectual, emotional, and sensual. The use of those dimensions are for the enjoyment and improvement of the public, which is achieved in a building that respects the hand-crafted nature of architecture.
The Extension to the Denver Art Museum, is an expansion and addition to the existing museum. The new building is a kind of city hub, tying together downtown, the Civic Center, and forming a strong connection to the golden triangle neighborhood. The project is not designed as a stand alone building, but as part of a composition of public spaces, monuments and gateways in this developing part of the city, contributing to the energy amongst neighbors. The materials of the building closely relate to the existing context as well as innovative new materials (such as titanium) which together form spaces that connect local tradition with the 21st Century.
2.2 LEVENSHULME LIFE: URBAN SYNTHESIS RESEARCH
SITE 3
LIBRARY SITE The area of the site is approximately 7,226m2. The perimeter of the site is approximately 3,842m. Site 3 can be regarded as a very odd site as it consists of 2 components. a public space and a private space. The site consists of the Levenshulme library and a part of a primary school. due to the circumstances I believe that the site can be regarded as vernacular and non-vernacular due to the features presented in the site. Moreover, the only structure on site is the Levenshulme library. Levenshulme, having the typical Northern-Britain oceanic coo climate, doesn’t have much natural light. The low south sun provides small amounts of sunlight and settles quite early especially during the winter. The sun in Levenshulme reaches its highest level during the middle of the summer period, this is also when the sunset occurs later on the day, meaning that natural light is more intense and lasts longer, compared to the rest of the year.
2.2 LEVENSHULME LIFE: URBAN SYNTHESIS RESEARCH + DAYLIGHT
Binkovitz, L., 2012. Smithsonian. [Online] Available at: http://www.smithsonianmag.com/smithsonian-institution/eventsjuly-10-12-questionable-art-crafty-mail-and-the-battle-of-shiloh-1049828/ [Accessed 15 1 2015].
MODULAR AND WIDESPAN SPACES Art Community Centre is a place for everyone. People are able to spend their free time exploring their creativity and their skills. The building would need a place that is described as modular like art-studios, IT and photography rooms. The place will also have wide span areas like the reception combined with cafe and waiting area as well as the big exhibition spaces. The centre will allow people to explore and open up towards the world in a building that feels strongly integrated with nature and artistic flow. Allowing people to explore different art styles and produce & display work. Children will have an opportunity to develop their art skills after school, to expand their imagination and explore. There will also be open homework help and IT facilities. As well as portfolio development which will help people to work towards their careers.
Anon., 2014. photographic studios. [Online] Available at: http://brandx10.com/2014/05/photography-studios/ [Accessed 20 1 2015].
Anon., 2010. archdaily. [Online] Available at: http://www.archdaily.com/58464/ metropol-hotel-chalupa-architekti-d-u-m-architekti/ [Accessed 15 1 2015].
2.2 LEVENSHULME LIFE: URBAN SYNTHESIS MODULAR AND WIDESPAN SPACES
LEVENSHULME Levenshulme has been involved in regeneration plan carried out by Manchester City Council, to strengthen the commercial and neighbourhood qualities of the area. I think Community Art Centre will be able to improve to improve the area, by giving it some place to go for everyone. Levenshulme is part of Greater Manchester and is surrounded by other areas such as Fallowfield,
Longsight, Gorton and Burnage. It is culturally diverse area located roughly between Stockport and the City Centre and it mainly consists of residential buildings and a few market shops. It does not have any art focused place around. Levenshulme has a population of approximately 800 residents. Levenshulme is made of mostly terraced houses made from bricks. It also has much vegetation, in the whole region. Grass and plants, merged into different undefined boundaries between public and private, open and closed spaces. Which also occurs on the library site, that I have chosen. Which is good, joining the centre with the nature and greenery. There is also library and a school near that makes everything in one place. Most of the buildings in Levenshulme have exterior drainage pipes, to deal with great amounts of rainfalls. They run through the exterior faces of walls and end directly to the sewers through the openings in the pavements. Average annual minimal temperature is 6C and maximum is 13C. Designs in this type of climate during these temperatures should be well insulated and should apply one of the types of insulation for walls, doors, windows and roofs mentioned before. One more thing that should be taken care about is high level of humidity which can cause damages or loss of heat from the buildings. So the buildings should insulated from the humidity as well as hydro-insulated. Considering the amount of annual rainfall it would be more efficient to apply this kind of technique on the designs on these sites. Rainwater harvesting systems can be installed with minimal skills. Which is something I should consider when making my building.
Yearly Wind Direction distribution in %.As it can be seen on the map wind is very common aspect in Levenshulme so I can take it into the consideration as a power source when making my building design.
2.2 LEVENSHULME LIFE: URBAN SYNTHESIS RESEARCH + LEVENSHULME
PROGRAMME
CREATIVE TOGETHER COMMUNITY ART SCHOOL: Creating a place where the community can come work and learn together. USER GROUP: - Families - All age groups WHAT: - Cafe , - Waiting Area, - Meeting place - Art Studios with facilities for a range of creative activities. •
Drawing & Painting
•
Sculpture & 3-D
•
Fashion Design
• Animation •
Printing & Collage
•
Mixed Media
• Photography •
Graphic Design
- Exhibition space •
Exhibit work created in the School
- Work experience placements - Volunteering opportunities - Homework Help - A fully IT suite - Photography room •
Photography sessions
•
Place to lend out
•
Photograph work that was created.
- Portfolio Development •
Helping people looking for a job or entering higher education to develop their portfo-
lio. - Family workshops •
Fashion- Working in the fashion studios, exploring the design and making processes
involved in fashion. •
Mix it up - trying out different materials and techniques and exploring creativity.
•
Print Making - Experiencing different ways of printing - both simple and more com-
plicated - and experiment with typeface, colour and composition. •
Life Drawing
•
3D - Experiencing different modelling materials and experiment with colour, shape
and form. Create sculptures.
2.2 LEVENSHULME LIFE: URBAN SYNTHESIS CREATIVE TOGETHER THEME
DAYLIGHTING The presence of daylight in an interior strongly influences North light inside the studio to avoid direct sunlight shine spatial perception and also changes the colour of surfac- and provide constant light. ing materials in terms of how they appear elsewhere in the room. Levenshulme has a typical Northern-Britain oceanic coo climate, which does not have a lot of natural light. The low It is important that the studios in my design have Daylight south sun provides small amount of sunlight and settles taken directly from the sky with a daylight factor greater early especially during the winter. The sun reaches its highthan 5% for the room to be firmly lit. This will allow estab- est level during the middle of the summer period. This is lishing the character of the space, psychologically connect when the sunset occurs later on the day meaning that natwith the outdoors, improve the work productivity and re- ural light is more intense and lasts longer, compared to the duces electrical demand. Having windows that only allow rest of the year.
MODELS
EXPERIMENTING WITH LIGHT IN POTENTIAL STUDIO SPACES
DAYLIGHTING STRATEGIES:
The two main quality issues are glare and light distribution. Glare can be either disabling or discomforting. It is disabling when it interferes with the ability to see. It is discomforting when there is excessive contrast between light and dark surfaces in a room. Glare does not nesessarily increase with increasing window size. For maximum daylight levels,uniformity and the least glare, room surfaces should have matte finishes. Glazing that allows the highest transmission of the visible portion of the solar spectrum provies the highest daylight levels. The higher the window, the greater the Daylight Factor and the deeper the penetration of daylight into the space. Extending the window to the floor does little to increase daylight levels. Daylight factors stays constant throughout the day. 2.2 LEVENSHULME LIFE: URBAN SYNTHESIS RESEARCH + DAYLIGHT
INTERIOR DESIGN I was doing some sketches of the potential interior spaces. Before starting to think about the frame, plans and the outside. I wanted to understand what’s the purpose and what should happen inside, as well how it should look like. Linking to the roughness of Levenshulme I would want the building to be made out of textured concrete. When the inside should be potentially whiter, cleaner and more open, modern and minimalistic, heavy construction based. Permitting the natural light to flood inside the spaces. Allowing the building to have different height walls depending on the purpose, uneven windows that follow the pattern. Specific angles. I would want the building to enhance peoples creativity, stimulating people to work, view and enjoy. Big open spaces would be necessary for the studios and exhibition areas. Taking inspiration from Glasgow School of Art and The Hepworth Gallery. How it focuses on taking the north light into the studios. The geometrical shapes that David Chipperfield uses in his design. With a respectful way of referring to the site and the community.
2.2 LEVENSHULME LIFE: URBAN SYNTHESIS UNDERSTANDING THE INTERIOR
POTENTIAL DESIGN Starting with the montage of the entrance as it is the main entrance and what bring people in. I wanted it to be as colourful and crazy as the whole place inside, but then I thought I need to strip it down into the minimal. Creating a modern place but with a plan that follows the flow of the buildings nearby. The building would have shapes and angles that allow you to feel the abstractness of the inside. The upstairs would be a journey through the exhibition, with walls and galleries at angles blocking one view to allowing you to see the other. Having double entrances, one from the main street that follows up after the library and one that comes straight from the school for the children to come in. It also would allow people go into the back garden, where the sculptures would be exhibited too. The place is surrounded by greenery. Linking the post and beam and cantilevers into the greenery outside. Where it would allow people to interact with inside and outside. The outside would be as important as the inside. Where the exhibitions would also expand onto the outside. Having the sitting area and lamps to make sure is well lit and allows you to open, see, as well as work in there.
2.2 LEVENSHULME LIFE: URBAN SYNTHESIS DEVELOPING PLANS
EXHIBITION AREA Developing the exhibition area, I would want the place to be large, with some walls blocking the view and some views that are purposefully open to let people be taken into the exhibition. Similarly to David Chipperfield I want a window that feels like it takes people out. Opens people to the view. The street, trees, car and main entrance. Creating calmness. Space could be adapted into potential fashion shows that could be happening inside the building. 2.2 LEVENSHULME LIFE: URBAN SYNTHESIS UNDERSTANDING THE INTERIOR
UNDERSTANDING SPACES Main Spaces linked with the usage: Reception: Main spot: where/why/when, ask for opportunities such as work experience places, volunteering or art news within the area. Cafeteria, Exhibition Areas: exhibits work created in the building as well as the local artists. Fully equipped It suite, with media and creative workshops. Photography room: Photography sessions, place o lend out, as well place to photograph the work. Working Area: Portfolio development sessions, Homework Help, Open Working Space. Art Studios with facilities for range of different activities. Allowing to have exposed concrete inside the building not just outside. ROOM DISTRIBUTION
Studio Photography Room, IT Room, Working Area Reception, Exhibition, Cafeteria Storage Toilets
WORKSHOP/LESSONS/CREATIVE ACTIVITIES
600 400 200 0
Studio 1
Studio 2
Studio 3
Studio 1&2
2.2 LEVENSHULME LIFE: URBAN SYNTHESIS UNDERSTANDING THE INTERIOR
Thick Bones: Concrete Thin Skin: Recycled Double Glass
SEFAIRA: Sefaira analysis has shown that the building is eco friendly. Is mostly heating dominated. Manchester climate is cold most of the year so it does not need a lot air conditioning. The building is also well lit.
MATERIALS: 1 15 mm plywood flooring 100 mm concrete screed separating layer 100 mm thermal insulation 250 mm reinforced concrete floor sealing layer 50 mm bed of sand 250 mm compressed crushed stone 2 100 mm textured reinforced concrete, self-compacting, sandblasted externally 100mm extruded polystyrene thermal insulation 100 mm reinforced concrete wall with exposed surface painted in white 3 Aluminium frame with steel support 4 6 mm float glass + 12 mm cavity + 4 mm toughened glass 5 louvered blind 6 recycled double glazing 7 skylight, aluminium section frame, recycled double glass 2.2 LEVENSHULME LIFE: URBAN SYNTHESIS MATERIALS
In the building there is some sky lights situated on the first floor, with light being directed onto the photography room, working area and the cafeteria. Allowing the places to be fully naturally lit. There is also some skylights from the roof allowing the light to come into the exhibition areas and the stairs.
There is a specialised shutter on the skylight in the photography room, to cover the light and convert the room into a dark-room at anytime.
I have created a moveable wall between studio 1 and studio 2. They are smaller than the 3rd studio. At times bigger space might be needed so is useful to be able to combine the two places together. On the first floor I have created balconies that allow people to look into the studio rooms and see what is happening. Can be inspiring and is part of an exhibition in progress.
Diagram analyses the studio space. Shows air tight building that reflects the cold from exterior and keeps the heat inside. Lets the light in.
Studios have their own slanted roof, with a skylight. They are flooded with North Light. Which is best lighting for creating art.
Fire-Stairs have their skylight allowing the closed place to have some light from above.
The floor on the first floor is not covering all of the ground floor space. Which has allowed me to introduce some skylights. Diagram shows the working area being fully lit by natural light.
There is corner glassing from the exhibition area looking down onto the 3rd studio. It allows people to interact and observe the art work being created.
2.2 LEVENSHULME LIFE: URBAN SYNTHESIS UNDERSTANDING SPACES
LOCATION PLAN
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2.2 LEVENSHULME LIFE: URBAN SYNTHESIS LOCATION PLAN SCALE 1:1000 SECTION
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E TR 44 46
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Bowling Green
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RATCLIFFE
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Chapel Street
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Pavilion
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PEL
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Recreation Ground
2.2 LEVENSHULME LIFE: URBAN SYNTHESIS EXISTING SITE AND CONTEXT DRAWINGS SCALE 1:500 ON A1 SECTION OF THE SITE
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GROUND FLOOR PLAN
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ADD skills session work AutoCAD (improvement)
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FIRST FLOOR PLAN
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ROOF PLAN
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SECTION
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SECTION
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2.2 LEVENSHULME LIFE: URBAN SYNTHESIS SECTION SCALE 1:100
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2.2 LEVENSHULME LIFE: URBAN SYNTHESIS ELEVATIONS SCALE 1:100
2.2 LEVENSHULME LIFE: URBAN SYNTHESIS SECTION 1:100
SKETCH UP MODEL
UNDERSTANDING CONNECTION
3D JOINT
Akbarov, O., 2013. lookatme. [Online] Available at: http://www.lookatme.ru/mag/live/experience-news/198421-3d-print [Accessed 20 2 2015].
The joint, connects the cantilevers together. It allows them to be connected as well as at the same time opening much more possibilities with the different suitable ways to connect one and other. It also has a circular passage in the middle for it to connect through the whole cantilever. It develops the whole principle of the main cantilever design making it suitable for the idea. Allowing its funkiness to expand. Which is what I was aiming for. It works on the same principle as the precedents but it is made from wood. Has a hole in the middle that lets the cantilevers horizontal round wood sticks pass through, making it more stable as well as joining it to create one piece. ADD
2.3 REFINEMENT AND RESOLUTION
ADD 3D MODEL CONSTRUCT DEVELOPMENT WORK
DIANA OSMOLSKA 2.2 RESOLUTION
ADD
2.3 REFINEMENT AND RESOLUTION ADD 3D PRINTED MODEL
ADD
2.3 REFINEMENT AND RESOLUTION 3D CONSTRUCT DEVELOPMENT WORK
3D CONSTRUCT DEVELOPMENT WORK I have decided to use my 3d model as the reception desk. It is situated so that is visible from mostly all places within the ground floor. Is also the first thing that people see when they come in. This has influenced me to place it there. I want it to attract people with its sculptural feel and give them a hint of what the Art Centre is about.
ADD
2.3 REFINEMENT AND RESOLUTION 3D CONSTRUCT DEVELOPMENT WORK
LOCATION PLAN
Visual
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SENSORY NOTATIONS: By this method I have analysed 6 important factors of the site. Crating a diagram while being on the site. It shows that the most apparent factor is the visuals of the green areas. Following that tactile, kinetic thermal and aural, are at the same level. It also shows that the place is weakly and oily due to the cars travelling past but is not a major problem as they are not frequent.
Tactile Static Hard Cold
Neutral Perspectival Vast Solid Detailed
Kinetic Strong Direct Quick
ANALYSING MOVEMENT: I was analysing the movement within the site. The cars tend to keep to the main streets , is usually quiet with just a couple of cars driving past unless is during school hours then the place gets more lively and quick. ARCHETYPAL SOUND: Archetypal Sound are the sounds with cultural and social impor¬tance, like the street they have been using and the cars driving past. The sounds of the car engines. It has its historical predominance
Thermal
Natural Ambient Responsive
Chemical Aural
Weak Oily
Quiet Non-Vocal Artificial
SOUND MARKS: Sound Marks are analogous to the people walking around their streets and children going to school. The sound is especially apparent before and after school hours. The sound of people has its connection to the inhabitants of Levenshulme. “Once a sound mark has been identified it deserves to be protected , for sound marks make the acoustic life of the community unique.” Like people can clearly tell when is 3 o’clock and all children are rushing back home. I have learnt this method of analysing from Humanities lectures. I think is very useful to understand the deeper meaning and feelings of particular place.
2.3 REFINEMENT AND RESOLUTION LOCATION PLAN SCALE 1:1000
GROUND FLOOR PLAN
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2.3 REFINEMENT AND RESOLUTION GROUND FLOOR PLAN SCALE 1;100
FIRST FLOOR PLAN
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2.3 REFINEMENT AND RESOLUTION FIRST LEVEL FLOOR PLAN SCALE 1;100
ROOF FLOOR PLAN
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2.3 REFINEMENT AND RESOLUTION NORTH ELEVATION SCALE 1:100
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0.8 mm sheet-aluminium covering 50 mm bed of crushed lava 3 mm plastic membrane 100 mm thermal insulation 3 mm welded bituminous sheeting 3 mm hot-bitumen layer 200 mm reinforced concrete roof with exposed boarded soffit stainless steel drainage aluminium frame steel support fixed before casting inner skin 6 mm float glass 12 mm cavity 4 mm toughened glass 100 mm reinforced concrete slab 4 hrs fire rated plastering steel reinforcement steps frame concrete steps 4 hrs fire rated plastering recycled glass black stainless steel glass support 8mm bolt 8mm x 8mm Anchor plate 3 mm thick Grout
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7 6 11
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black stainless steel hand rail black reinforced steel frame double glazed 100 mm concrete screed separating layer gas pipe, central under floor heating system 100 mm thermal insulation 250 mm reinforced concrete floor sealing layer 300 mm thick bored piling 12000 mm deep bedrock 12 SCALE 1:20 STAIR CASE DETAIL
2.3 REFINEMENT AND RESOLUTION STAIR SECTION WITH DETAILS
DESIGN ADJUSTMENTS TO THE BUILDING I have adapted my design from 2.2. After the review with the tutor and thinking about it carefully I have decided to change the windows. In 2.2 I wanted to have funky shaped windows. I have realised it was overloading my design a bit too much. There needs to be some simplicity within the complexity of the idea. Which made me change the shapes into simple symmetrical windows. I am much more satisfied with this outcome. I have adjusted the outside space. At first I wanted to overload it with different potential ways of lighting outside. However I have realised it would be much more ideal for me to leave the space unoccupied for the potential sculptures and installations that might be created in future. Instead I have decided to take the idea that I have used and researched in 2.1 by the installation artist Christian Herdeg. Lighting up the exterior concrete walls of the building, when the visibility goes down. This will allow the Art Centre to be seen from the street through the trees. I have created a slight slope on the roof for the water to fall back, to be collected and re-used in the green areas outside. CANTILEVER In my development (2.2) I only had skylights above the stairs. I have realised that the place might feel a bit too locked in. So I have decided to create concrete cantilever stairs , with the idea of looking out when you’re walking up the steps, which was more intriguing for me so I have adapted the design by adding windows. Under the stairs there is a fire exit out. In the design; the roughness of the concrete steps and the metal rails is in contrasted with the light flooding into the space and the look out onto the trees outside. This combination creates a stimulating creative environment, which was my aim.
2.3 REFINEMENT AND RESOLUTION STAIR SECTION WITH DETAILS
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0.8 mm sheet-aluminium covering 50 mm bed of crushed lava 3 mm plastic membrane 100 mm thermal insulation 3 mm welded bituminous sheeting 3 mm hot-bitumen layer 200 mm reinforced concrete roof with exposed boarded soffit stainless steel drainage 125 mm reinforced concrete slab 12 mm steel reinforcement 6 mm float glass 12 mm cavity 4 mm toughened glass aluminium frame steel support fixed before casting inner skin galvanised steel rods in pairs at centre aluminium frame + 2mm protective lipping to vertical edge 16 mm gypsum board 75 mm reinforces concrete, self-compacting sandblasted
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externally 100 mm extruded polystyrene thermal insulation 125 mm reinforced concrete wall 16 mm white gypsum board 100 mm concrete screed separating layer gas pipe, central under floor heating system 100 mm thermal insulation 250 mm reinforced concrete floor sealing layer 300 mm thick bored piling 12000 mm deep bedrock wooden storage unit 2.3 REFINEMENT AND RESOLUTION DETAILED SECTION
ADD skills session work Photoshop (improvement)
2.3 REFINEMENT AND RESOLUTION INTERIOR PERSPECTIVE STUDIO ROOM
2.3 REFINEMENT AND RESOLUTION INTERIOR PERSPECTIVE FIRST FLOOR LOOKING INTO STUDIO 3
2.3 REFINEMENT AND RESOLUTION FIRST FLOOR INTERNAL PERSPECTIVE
2.3 REFINEMENT AND RESOLUTION INTERNAL PERSPECTIVE CAFETERIA
2.3 REFINEMENT AND RESOLUTION INTERNAL PERSPECTIVE PART 1 WORKING AREA
INTERIOR After the visit to Lyon and seeing Le Corbusier work I have been strongly influenced in using concrete. Within the interior I want to keep the rawness of the exposed concrete as much as possible. The furniture inside I would want to be inspired by the hipster look. Creating a place that can be developed by anyone that is inside and is willing to be part of the centre. Bringing in old furniture and possibly refurbishing to create something new and funky. Creating the place personal to itself, creating the place by themselves; inhabitants of Levenshulme. This idea can be seen on the Working Area internal perspective. Gypsum Board will be used within studio spaces. It works better in displaying, working and presenting the art. In the interior spaces like the cafeteria, I wanted wood to be playing the other important factor of inside. It balances out with the concrete to create more natural feel to a heavy structure like concrete. Within the design of the inside I want it to be a creative and stimulating place. Allowing people to open up and be artistic. To achieve that I have combined the heavy and natural factors and balanced them out. Building has windows which allow people to look out into mostly the greenery that is surrounding the centre and allow plenty of light to come in throughout the day. This will be pushing people to be able to gain more influences from the surrounding as well as allow them to relax.
ADD skills session work Photoshop (improvement)
2.3 REFINEMENT AND RESOLUTION INTERNAL PERSPECTIVE PART 2 WORKING AREA
2.3 REFINEMENT AND RESOLUTION EXTERNAL PERSPECTIVE
2.3 REFINEMENT AND RESOLUTION DEVELOPMENT MODELS
2.3 REFINEMENT AND RESOLUTION DEVELOPMENT MODELS
2.3 REFINEMENT AND RESOLUTION DEVELOPMENT MODELS
2.3 REFINEMENT AND RESOLUTION DEVELOPMENT MODELS
a
2.3 REFINEMENT AND RESOLUTION
DEVELOPMENT MODEL SHOWING EXTERNAL FORM AND SITE CONTEXT
a
WASTE Waste will be used to create sculptures within the studio. Waste from the building as well as whatever is brought into the building from the residents of Levenshulme will be recycled into the art work. PASSIVE SOLAR SYSTEM DESIGN Absorbing latent heat: high heat capacity materials in the building like concrete and bricks absorb heat during afternoon or summer. Release it after sunset. Materials act like a battery. Q=mc ΔT Mayer, J., n.d. Jeremy Mayer. [Online] Available at: http://jeremymayer.com/GalleryMain. asp?GalleryID=41158&AKey=23SVCF6T [Accessed 1 5 2015].
NOISE
UNDERSTANDING THE BUILDING Cold from exterior is locked by the insulation layer. Heat inside is kept by the insulation layer. Building is air tight, creating comfortable internal environment, reduces the heating costs.
ENCLOSURE FROM ROAD
CONVECTION CURRENT DIAGRAM Convection current plays an essential role in the building. The air is heated up and then cooled down on top.
Exterior heat is reflected out. Interior heat is reflected back inside to keep warm.
USAGE OF THE TREES DIAGRAM The building has a natural shield from wind and rain by the trees nearby, they also help to filter the pollution and noise from the nearby road.
Building also uses floor heating. to keep the interior warm especially in colder days.
NOISY ROAD
Studios use artificial and natural lighting, creating best possible lighting conditions, good environment to display work. Place is flooded with light. Lamp heat is given out. People within the space give out heat.
RAIN WATER HARVESTING DIAGRAM Building collects rain water from the roofs and stores it in a large submerged water tank. This water is then reused for the gardens. Useful in the Manchester climate.
Trees outside reduce the noise from the road, as well concrete is acoustically dead material. Prevents noise from outside to get inside the building. Artist won’t be distracted while working. 2.3 REFINEMENT AND RESOLUTION ENVIRONMENTAL STRATEGY DIAGRAMS
ENVIRONMENTAL STRATEGY DIAGRAMS
REVIT MODEL SEFAIRA ANALYSIS
GROUND FLOOR PLAN
FIRST FLOOR PLAN ENVIRONMENT ANALYSIS FROM 2.2
I have used Revit to create Ground floor and First floor light diagrams. I can see that there is plenty of light coming into the rooms. Especially the studios, cafeteria, working area, stairs and the exhibition area. The main places are well lit. The computer room stays dark. I have been comparing the result I have received after developing my plans in 2.3 to the result I have received when using Safaira in 2.2. I can see more clearly that there is much more light flooding into the rooms, thanks to the skylights and the windows. This way is also more environment friendly to use natural light rather than artificial.
I have also conducted Safaira research. Comparing it to the previous time it is a bit worse. However Sefaira analysis demonstrates that the buildÂŹing is very well thought through, which can be seen by the low use of energy. Is mostly appliance dominated. Is also well lit which has been the main focus in the design of the building, to have a welcoming place with natural light. Refer to 2.2. I have made a lot of research regarding the light; required in studio rooms and exhibition rooms. Safaira analysis from 2.2 Ground floor sun-light Digram from 2.2
SUN PATH
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SPRING ADD skills session work
2.3 REFINEMENT AND RESOLUTION ENVIRONMENTAL STRATEGY DIAGRAMS
2.3 REFINEMENT AND RESOLUTION PERSPECTIVE
2.3 REFINEMENT AND RESOLUTION PERSPECTIVE
2.3 REFINEMENT AND RESOLUTION PERSPECTIVE
2.3 REFINEMENT AND RESOLUTION PERSPECTIVE
2.3 REFINEMENT AND RESOLUTION EXPLODED AXONOMETRIC SCALE 1:100 ON A1
BIBLIOGRAPHY Akbarov, O., 2013. lookatme. [Online] Available at: http://www.lookatme.ru/mag/live/experience-news/198421-3d-print [Accessed 20 2 2015]. Anon., 2008. Hardware. [Online] Available at: http://www.pcgameshardware.de/Neue-Technologien-Thema-71240/News/Ausgelagerte-Daten-und-kleine-Rechenknechte-813669/galerie/765709/ [Accessed 20 10 2014]. Anon., 2010. archdaily. [Online] Available at: http://www.archdaily.com/58464/metropol-hotel-chalupa-architekti-d-u-m-architekti/ [Accessed 15 1 2015]. Anon., 2014. photographic studios. [Online] Available at: http://brandx10.com/2014/05/photography-studios/ [Accessed 20 1 2015]. Anon., n.d. [Online] Available at: https://s-media-cache-ak0.pinimg.com/736x/c9/68/c0/c968c0d44f0944e237927cf62fadc09b.jpg [Accessed 12 12 2014]. Anon., n.d. Hepworth Gallery. [Online] Available at: http://artsfundraising.org.uk/afp/wp-content/uploads/2014/04/HepworthWakefield-for-e-bulletin.jpg [Accessed 15 12 2014]. Anon., n.d. Welcome to the Purbrook Bowmen Historical Archery Display Team website. [Online] Available at: http://homepage.ntlworld.com/purbrookbowmen/team_frame.htm [Accessed 24 10 2014]. Architects, D. C., 2003-2011. The Hepworth Wakefield. [Online] Available at: http://www.davidchipperfield.co.uk/project/the_hepworth_wakefield [Accessed 15 11 2014]. Binkovitz, L., 2012. Smithsonian. [Online] Available at: http://www.smithsonianmag.com/smithsonian-institution/events-july-10-12questionable-art-crafty-mail-and-the-battle-of-shiloh-1049828/ [Accessed 15 1 2015]. Hein, J., n.d. Appearing Rooms. [Online] Available at: http://www.roughguides.com/photo/appearing-rooms/ [Accessed 12 10 2014]. Herdeg, C., Step-on, 1975. Christian Herdeg. [Online] Available at: http://www.christianherdeg.com/ [Accessed 12 10 2014]. Jones, R., 2013. archdaily. [Online] Available at: http://www.archdaily.com/441358/ad-classics-walt-disney-concert-hall-frankgehry/ [Accessed 20 12 2014]. Libeskind, D., 2010. archdaily. [Online] Available at: http://www.archdaily.com/80309/denver-art-museum-daniel-libeskind/ [Accessed 20 12 2012]. Mayer, J., n.d. Jeremy Mayer. [Online] Available at: http://jeremymayer.com/GalleryMain.asp?GalleryID=41158&AKey=23SVCF6T [Accessed 1 5 2015]. Ostrovsky, A., 2013. agsAndrew Artificial Intelligence 2. [Online] Available at: http://ags_andrew.prosite.com/151518/1515830/gallery/artificial-intelligence-2 [Accessed 20 October 2014]. Baker, G. (1996) Design strategies in architecture: an approach to the analysis of form. 2nd ed. London: E & FN Spon Unwin, S. (2009) Analysing architecture. 3rd ed. London: Routledge Elam, K. (2001) Geometry of design. New York: Princeton Architectural Press Tschumi, B. (1994) Event-cities (Praxis). Cambridge, Mass. and London: MIT Ballard Bell, V., and Rand, P. (2006) Materials for architectural design. London: Laurence King Deplazes, A. (2005) Constructing architecture: materials, processes, structures: a handbook. Basel: Birkhauser Awan, N., Schneider, T., and Till. J. (2011) Spatial agency: other ways of doing architecture. London: Routledge Sassi, P. (2006) Strategies for sustainable architecture. Abingdon: Taylor & Francis Holden, R., and Liversedge, J. Contruction for landscape architecture. London: Laurence King LaGro, J. (2008) Site analysis: a contextual approach to sustainable land planning and site design. Hoboken, NJ: Wiley LaGro, J. (2001) Site analysis: linking program and concept in land planning and design. New York: John Wiley & Sons Kronenbourg, R. (2007) Flexible: architecture that responds to change. London: Laurence King Rendell, J. (2008) Art and architecture: a place between. New York: I.B. Tauris & Co Ltd Eagleton, T. (2000) ‘Culture and nature’ In Eagleton, T. The idea of culture. Oxford: Blackwell
IDR CONCLUSION In the first term, we were reinforcing our architectural skills that we have developed during the first year this sort of start has pushed me into refreshing everything and beginning creatively the new year I was aiming to learn as much new skills as possible. The sub-brief 2.1.1 was the kick start of working with Levenshulme, and integrating ourselves with that place. At first I had some serious difficulties with understanding the organisation of plans. It took me some time, where I had to seek tutors help, my colleagues and the books to be able to fully understand the task. It was a hard start, but it allowed me to look differently on the organisation of the plans, I was able to be more considerate when creating or working with them in the next projects. The second sub-brief 2.1.2 was much longer design process. I had to understand the material constitution, hierarchy of elements and the use of different forms of constructions. That process involved creation of a lot of models. Study the structure, space, the hierarchy and the connection between them. Last year I had a lot of troubles creating models. This year at first I came to it with a negative attitude that was left out after the bad experience of year 1. I did not realise it would be so exciting to try out different ideas I have researched. It has became my personal scientific project I have researched and tried to make sure it properly stands and works as a cantilever. The part that I have found the most interesting was changing the design in isolation of my 3d models and combining them into the original outside rooms. Especially changing the cantilever into the media-newspaper installation sculpture. i have been very inspired while doing that design, sitting with a pen and creating as many sketches as possible of the idea to put it alive. (fun!!!) Framing Levenshulme was very interesting topic. We had to investigate into various backgrounds of Levenshulme and create a presentation. It was a great experience to work in a team. Make sure we understand each other and split tasks. The presentation was challenging to each one of us but we went through it together. It was also very stimulating to watch the presentations of other people and allowed me to make the move onto the major design project that is situated in Levenshulme with all of the research I might need. The major project was to design something in one of the sites in Levenshulme that will stimulate all of the positive energy within the place, which was the Art-Centre for me. I had to look into many precedents, however the visit to the Wakefield Hepworth Gallery, was the thing that has inspired me the most, into making my building. I was intrigued by the way David Chipperfield tackles the site, with all its respect. How the quirky geometrical shapes of the building stimulate people to be creative was an idea I have used within my design. One of the most important factors of the building was light. I wanted the spaces to be flooded by it. To do that I have done a lot of research, especially into the best possible orientation for art studio spaces. With the help of the tutors and the research, I have achieved a very well lit rooms. The final brief - 2.3, felt like the continuation of the previous brief. I have focused on refining and finishing the major project. Finding solution to some of the unsolved questions like the stairs, shape of the windows and the drainage. It was my favourite project as it required a lot of perspectives and drawings. Showing my final resolution of the design I have created, made me feel proud and satisfied with what I have achieved throughout the year. Especially in terms of my technology skills, which were developed thanks to the skills-sessions.
IDR
Lynch imageability map Train station is one of the main transports in and out of the city. The building is surrounded by the edges that let you inside. Having the main area with a path that lets
L a b a n o t a t i o n Inspired by the Lobanotation, I have analysed the platform 2,3 and 4. The walk to the train and back, it can be described as the movement of the people getting in and out of the train. There is a constant pattern each time a train arrives or departs, people subconsciously follow the way and pattern. With more people getting into the mid train than the first or the last parts of the train. There is a couple of people going to the end stairs at times.
C u l t u r a l
Manchester Piccadilly Train Station
A n a l y s i n g
M o v e m e n t
I was analysing the movement within the site. The thing that was very apparent is how people were moving when a train was approaching or leaving. The train has stopped, Manchester Piccadilly being its last stop. People are leaving. The train is terminating. Everyone heads mostly in one direction towards the main exit.
The exit: can be very busy during the peak time, but also can be quiet especially during the late hours.
I have chosen train station as the site to analysis. Is a place that I frequently visit, to get to university and back home. It has some sort of personal educational feel, this has allowed me to connect with it and enjoy the analysis. Is a transit site which allows a person to get from one place into another. People come from different places even countries, heading or arriving, from long or short journeys. Everyone has some sort of memory, relation, culture or dominant connection with the site; it can either starts at this moment and time or
People are heading towards a train that has just opened the doors to allow people in. Most of the people head in one direction choosing different entries.
have happened in the past. Allowing it to be symbolic for our individual self ’s. Even people like me that come on daily basis, to university, work or anything else, have an unconscious sub-cultural connection with the place. We happen to know what is happening in the central area. Who is advertising or promoting what on what days. Which trains tend to be delayed and when to come to avoid rush hours. We happen to recognise the people that travel on the same hours yet not communicate with each other. Atmosphere is usually kept as just a pass by, yet sometimes you get people coming in from abroad or far away that happen to want to know more. They break the everyday norms and start talking to people, asking about your journey. They tell us their story expecting the same in return. Where at times a process of giving and receiving something occurs with a first-time met stranger in a place that people consider just a transit area.
daily basics. In the place there is a lot of workers. That come there on daily basics. Working in the area, shops , as drivers, announcers , advisers, helpers or many more. They are in different social relations, they come there as is their daily obligation. They are also receiving something in return for being there. They are there on long term basis. Approach the place in a different place, yet it is still a symbolic place for them, of work. On the site there is a number of food shops, stores, clothing, coffee shops, bakeries as well as nearby outside. This helps people in rush to grab something to eat and run to the destination. Is a well though place with Train Station is sustained and maintained on everything nearby.
The train stopped, people were leaving it, to head to the exit, as it was the last stop for them. At the same time the train was going back on itself, taking new people, which were rushing to enter the same train. Creating a huge chaos with people trying to pass, heading different directions. Escalator: focusing mostly on the ground floor, there is an escalator that lets you go onto the floor above heading into the platforms 13 and 14. It can be very busy at times as well as quiet. Depending on the peak hours and the train arrivals/departures. Having people heading both directions.
Train station mostly focuses on movement, no one stays there more than unnecessary and most of the people come with a specific destination in mind rather than to hang out. I have done some sketches being there of the site as well as the peoples doings. To understand it more deeply.
you into the information centre. The edge between the platforms and the main train station is one of the most apparent boundaries inside. You can only go in if you display a valid ticket, closing one region from the other and creating impotent organiz-
D i s p l a y Cultural Display is shown mostly on the main area. There is always someone giving out free trails, promoting, advertising or fundraising. To perform that there happens to be one day stalls, boxes, people. Outside the train station sometimes people advertising their taxies or promote their religion, giving out books and a talk.
K e y
n o t e
S o u n d s
Background Attention Signal Announcement
E x c h a n g e
Economic exchange is occurring on the train station. Money - Ticket This has been used all around the world, paying the fee in exchange for the travel/journey. We can trace the way tickets have developed, the design have changed but the concept have stayed the same. At the end the ticket gets disposed, taken by the machine to pass or kept as a souvenir. Depending on how meaningful particular journey was to a certain person. Material culture occurring on the train station would be whistle. Which is small and hand-held yet displays the importance of being there, signalling the doors closure and departure of the train. Which is the main focus of the site. Dominant culture that everyone is aware of , yet pass unconsciously like is normal everyday factor. The deliberate display is made by the train station worker.
Signal is an obvious sound that occurs in the foreground. Is apparent as a sound that demands attention. It is a figurative, informing sound rather than loud. Like “ Stay away from the edge of the platform edge” , important changes or safety precaution on the train station are usually delivered using the signal sound.
A r c h e t y p a l
S o u n d
Archetypal Sound are the sounds with cultural and social importance. The engine of the train has its significant historical primordial connection to this sound. Even though the sound of the engine has been reduced in noise level throughout the years. It still has a historical predominance, not only in UK but all around the world.
S o u n d
There is sitting area running through the boundary between the inside of main train station and the platform area. A lot of people sit there waiting for their trains, coming from various backgrounds and places. Some are on a transit, others on holiday, coming home, going away or just on their daily routine.
S i g n a l s
Key note sounds have been recorded on the diagram, with more predominant colours where the occurring of them has been the most frequent. Recorded notes, are ones that establish a tone for an entire composition. They are not listened to consciously, overheard but not overlooked.
E c o n o m i c
ing feature. There is a couple of identified sections where people sit, wait , eat or drink. The main strategic spot would be one where person can come in to ask for information or look at the display board. Train station has a couple of stores allowing everything to be close if you happened to need, making the journey more familiar.
M a r k s
Sound Marks that are analogous to the train station are the sounds of Departures and Arrivals. It being the main character and point specific to the place. It is unique, allows person to navigate and understand just by hearing the sounds. “Once a sound mark has been ed, for sound marks make the acoustic life identified it deserves to be protect- of the community unique”