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ACADEMIC THE LUDIC NIGHT CITY FINAL YEAR PROJECT [RIBA PT1]
THEMATICS
A year-long academic project representing the culmination of four-years of architectural study, leading to ARB/RIBA part 1 exemption and an additional RTPI planning qualification. It sought a rigour and dexterity that was demanded by an overarching brief, integrating all modules of the final year programme.
[INTERACTION] [KINETICS] [GAMES] [INCLUSION] [EXPERIENCE] [THEORETICS] [MULTIPLICITY] [VIRTUALITY] [RHYTHM] [EMERGENCE] [SOCIAL] [SIMULATE] [MANIPULATE] [TRANSFORM] [PLAY].
Brief - to redevelop the 9-hectare Central Car Park and Maltings site in Salisbury, UK. This holds a critical location, and forms a very significant amount of the existing city centre. The city urgently required a longer-term strategy for the site; expected to be accomplished through both a spatial-planning and masterplan approach. Considering the requirement to design an individual building adopted from a self-generated strategic proposal, I set about defining a subject area, implementing an approach and reinventing this section of the city. The following proposal is supported by in-depth contextual analysis, adherence to current local planning legislation, a full design and access statement, Salisbury Civic Society and my former academic tutors.
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THE SITE CENTRAL CAR PARK AND THE MALTINGS The site represents one core area of the city’s redevelopment scheme. It lies immediately due west of New Sarum, an existing part of the city that was built to follow a grid street layout. This is currently Salisbury’s primary retail and business centre. The northern area of the site is currently used for coach and car parking with spaces for roughly 1000 vehicles. It is also home to several smaller structures including public amenities. To the south of the site is the Maltings shopping centre and Sainsbury’s, which has additional deck parking for approximately 600 cars. The site holds good, unobstructed views to Salisbury Cathedral. In it’s existing state the site is tightly constrained and surrounded by major access routes. Ironically, the A36 ring road and train lines significantly restrict and prevent penetration into the site from northern city districts; where multiple transport modes are considered. The site is advantaged by direct thoroughfare from the core city centre and market square via the library underpass. Good access can also be gained from multiple points along Fisherton Street. This forms the secondary shopping area and lines the south of the site. Castle street, located on the east face of the site, runs north to south and is host to a number of smaller independent shops and larger commercial supermarkets. It is the main access route into the city centre.
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LOCAL SCHOOLS, UNIVERSITIES AND RESEARCH CENTRES FORM KNOWLEDGE WEBS
TELEPHONE EXCHANGE SCOTTS LANE(0.3KM FROM CITY HALL)
TELECOMMUNICATION INFRASTRUCTION IN THE SALISBURY AREA PROVIDES GOOD CONNECTIONS FOR EDUCATION, BUSINESSES AND SOCIETY VIA INTERNET, MOBILE USEAGE, PYHISICAL AND KNOWLEDGE NETWORKS.
NIGHT ACTIVITY NIGHT SCENE PORTRAYAL
TEL·E·COM·MU·NI·CA·TION NOUN/TEL-K-MYO-ONI-K-SH-N/
1. Communication over a distance by cable, telegraph, telephone, or broadcasting. 2. The branch of technology concerned with such communication
EXISTING ATMOSPHERIC
GEOGRAPHICALLY CLOSE TO BIGGER SERVICES SUCH AS THE... (SOUTHAMPTON)
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[ G R O U P O R I G I N : R I V ER WA L K ] [ V I R T U A L P L AY E R T Y P E : ‘ T H E E X P L O R E R ’ ] [ GROUP ORIGIN: LEISURE CENTRE ] [ V I R T U A L P L AY E R T Y P E : ‘ T H E C O M P E T I T O R ’ ]
[ GROUP ORIGIN: NORTH WEST RESIDENTIAL ] [ V I R T U A L P L AY E R T Y P E : ‘ T H E J O K E R ’ ]
INTERACTION SPATIAL DYNAMIC ANALYSIS EXISTING NIGHT DESTINATIONS A proportional, spatial dynamic analysis representing all existing night-time destinations as interaction nodes, and the current intensity of interaction between disconnected, outcast and minority social groups. Identified causes for the deterioration of interaction between these groups include; venue distance from social group origin, personal preferences, social, political and identity differences, accessibility, diversity and physical constraints; existing rail network and ring road. Focus social groups shown have been assigned to their most appropriate player type from the four player types of virtual games pace [inverted commas]. The purpose of this analogy is to establish lucidity between virtual player typology and real human identity characteristics.
[ G R O U P O R I G I N : T R A I N S TAT I O N ] [ V I R T U A L P L AY E R T Y P E : ‘ T H E C O L L E C T O R ’ ]
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[ G R O U P O R I G I N : R I V ER WA L K ] [ V I R T U A L P L AY E R T Y P E : ‘ T H E E X P L O R E R ’ ] [ GROUP ORIGIN: LEISURE CENTRE ] [ V I R T U A L P L AY E R T Y P E : ‘ T H E C O M P E T I T O R ’ ]
[ GROUP ORIGIN: NORTH WEST RESIDENTIAL ] [ V I R T U A L P L AY E R T Y P E : ‘ T H E J O K E R ’ ]
[ G R O U P O R I G I N : T R A I N S TAT I O N ] [ V I R T U A L P L AY E R T Y P E : ‘ T H E C O L L E C T O R ’ ]
INTERACTION SPATIAL DYNAMIC ANALYSIS EXISTING NIGHT DESTINATION CAPACITY This proportional, spatial dynamic analysis allows a visual comparison between the previous, existing interaction visualisation and the maximum capacity for interaction within existing destinations. This provides support for the argument that Salsibury’s existing nighttime functions hold great potential further development.
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PROPOSAL MASTERPLAN / SPATIAL PLAN APPROACH
PROBLEM IDENTIFICATION OF AREAS FOR IMPROVEMENT
To tackle issues of social exclusion through development of the cultural sector and nighttime programme of the city, specifically responding to an increasingly diverse social construct. To use urban tactics to connect and unite currently outcast, disconnected minority social groups, encourage interaction, shared experience and improve accessibility to the city centre. Through doing so, seek to prevent the institutionalization and marginalization of specific focus groups whilst offering new, exciting experiences that are currently unsubstantiated by the city.
Statistical facts give evidence that Salisbury’s nighttime economy provides one of the city’s greatest revenue streams. The importance of this has been verified by consultation with Salisbury Civic Society. The city has not understood it’s true potential for further development. To retain investment from incoming commuters throughout the night, aiming to strengthen There is no long-term nighttime strategy to the economy and to contribute to fulfilling the provide amenities and appropriate spaces capacity of a high performing revenue stream. for social interaction necessary to satisfy the broadening spectrum of culture, identity and INDIVIDUAL BUILDING DESIGN social diversity that is manifest within the existing daytime activity of the city. To provide an integrated cultural centre that This deprivation is found to be one cause of maintains a harmonious relationship with other criminal activity and antisocial behaviour. In existing nighttime destinations and the Salisbury addition, it causes a low retention of investment Playhouse Theatre. from incoming daytime commuters throughout The proposal will seek to accommodate the the night. complex social relationships found within Other consequences to consider include infliction contemporary society. It will respond to the of adversity on agendas of social-cohesion and entangled relationship between architecture to maintain the strong cultural and economic and our technologically sophisticated virtual and digital environments. This will be achieved by status of the city as a regional destination. injecting their characteristics and qualities into The Salisbury Playhouse Performing Arts Salisbury’s predominantly historic urban fabric. Theatre represents one strand of existing expansion to the current diversity of the city’s The objective of the above is to appropriate the nightlife. It has had phenomenal success proven city within our current digital climates. I believe through a revenue generation of 3.3 million and this to be essential for the maintenance of the a contribution of 9.9 million to the local economy city‘s economic and regional status and tourism. in 2010. The issues of social cohesion will continue to be It is an example that demonstrates how addressed, through more specific architectural expansion, regeneration, reinvigoration and platforms that enable and provoke interpersonal development of Salisbury’s nightlife to an interaction. The proposal will aim to bring access extended audience can have positive influences and legibility to counter the current physical and transitory barriers of the site. on the future success of the city.
THEORETICS CORE TEXTS: THEMES AND EXTRACTED IDEAS Toward a Ludic Architecture: Kinesis, rhythm, dance, interaction, play dynamics, modality, player types, play and game structure, dimensions, virtuality, pleasure, valence, affordance, play space. Space, Time, Play: Play architectures, narrative models, virtual games, virtual architecture within a digital age. Rules of Play: Player-centric approaches, fundamental game design principles, play testing, protection, concealment, reward, player creation, free movement and rigid structure. Club Culture: Exclusivity, necessitating physical space, identity and belonging, “the design needs to be so good that the member will see the club as a destination, as a place to experience in its own right”, contrived reality, nightclubs as places to experiment with your own identity, attraction because of identity emulation, osmotic relationships, architectural evolution, interpretation of clubs as microcosms of cities, self-discovery and multiplicity, chance encounters, unexperienced, attraction. Emergence: Multiplicity, integrative levels, the formulation of complex systems through interaction, understanding existing environmental, economic and social systems, control, evolution, nature, manifestation. Persuasive Technology: Operations of interactive technology, interactive technology as a tool, as media and as a social actor. Skateboarding, Space and The City: Repetition and redundancy of rhythm, symmetries and asymmetries, interaction, physical and psychological concepts of flow in architecture.
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CONCEPT DEVELOPMENT THEORETICAL MANIPULATION
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GAMES, PLAY, VIRTUALITY THEORETICAL CONCEPT DEVELOPMENT AND DESIGN UNFAMILIAR ARCHITECTURAL IDEAS This project uses, as architectural drivers, progressive theoretics that interweave context, architecture, games, play and virtual narrative. My argument and ambition; that the synthesis, manipulation and metamorphosis of the theoretical proponents on the following page, will provide an effective strategic approach, or very precise set of ‘rules’, to tackle the proposal and develop an architectural design project. The research, selection and distillation of these proponents has been, in itself, a rigorous and scrutinising design process. It seeks to transform the more familiar, remaining architectural design process into a very appropriate and well governed game. Research has identified the strength of games and their affiliated idiosyncrasies to offer tactile and dynamic solutions to the regeneration, diversification, and invigoration of Salisbury’s existing nighttime activity. They promote social inclusion and hold strong relationships with the virtual, digital and advanced technology. Most importantly, they offer intelligent methods of heightening activity and experience by establishing interaction with other players and environments.
REFERENCES Iian Borden (2001). Skateboarding, Space and the City: Architecture and the Body. Oxford: Berg. Steffen P. Waltz (2010). Toward a Ludic Architecture; The Space of Play and Games. Marston Gate: ECT Press. Friedrich Von Borries, Steffen P. Waltz, Matthias Bottger (2007). Space Time Play: Computer Games, Architecture and Urbanism - The Next Level. Basel - Boston - Berlin: Birkhauser Verlag. Eleanor Curtis, Architectural Design (2003). Club Culture. West Sussex: Wiley Academy. Lukas Feireiss, Kas Oosterhuis (2006). Game Set and Match: No. 2: The Architecture Co-Laboratory. Rotterdam: Episode Publishers. Steven Johnson (2001). Emergence. London: Penguin. Mary Lou Lobsinger. (2000). Cedric Price, An Architecture of the Performance. Available: http://zeitkunst.org/media/pdf/Lobsinger2000.pdf. Last accessed 30th Jan 2012. Fogg, B (2003). Persuasive Technology. San Fransisco: Morgan Kaufmann. Salen, K. Zimmerman, E. (2004). Rules of Play: Game Design Fundamentals. Massachusettes: MIT Press. Staffan, B. Holopainen, J. (2005). Patterns in Game Design. Massachusettes: Charles River Media, INC. Feireiss, L (2011). Testify! The Consequences of Architecture. Rotterdamn: NAI Publishers.
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THE RULES GAMES AS PLAY
GAMES AS VIRTUAL NARRATIVE
GAME DESIGN METHODOLOGY
GAMES AS VIRTUAL PLAYER
Play is the foundation of a game, neither may Any game that simulates an environment is exist without the other. virtual. All virtual games pace may be seen to follow one of these 3 narratives: Play is executed through movement and is therefore kinetic. Kinesis connects the player Narrative 1: a game that follows a linear and final with the play environment and play other. course of action.
A game designer can never design player There are 4 types of virtual player: experience, they may only design the framework where in that experience will take place. The competitor: plays to best other players, regardless of the game. Games are constructed around eight primary principles; constraints, boundaries, concealment, The explorer: Curious about the world, loves to go protection, opposition, orientation, symbol, adventuring; seeks outside boundaries - physical Play always takes place on a play-ground. Narrative 2: a game with a linear but non-final reward and player creation. or mental. course of action that offers players a certain Play is free movement within a more rigid amount of room for manoeuvre within a clearly The collector: Acquires items, trophies or structure. defined action field. knowledge; likes to create sets, organize history.
GAMES AS INTERACTION
Narrative 3: a game that follows a non-linear, non-final course of action that is designed and modified by the players.
GAMES AS SYSTEMS A game is a rule bound system where conflictive, goal orientated interaction takes place.
Interactive technology can operate in three basic ways; as a tool, as media and as a social actor.
The fundamental motivation of a player within a game system is to learn.
GAMES AS RHYTHM
GAMES AS ARCHITECTURE
The kinetic repetition manifested within play may A rhetorical discourse is formed be interpreted as rhythmic. architecture is interpreted as a game.
when
Rhythm is found in games through the This happens because game’s necessitate play. understanding of play. The dialectical ‘to’ and Play is free movement within set parameters. ‘fro’ movement between players or player and Architecture is also this. It is the free movement of object creates a play rhythm. people within physical and material parameters. Physical concepts of movement and rhythm relate to the psychological concept of flow. many consider rhythm to be essential for the absorption of players and flow to be at the centre of gameplay situations.
The joker: doesn’t take the game seriously - plays for the fun of playing.
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STRATEGIC APPROACH A SOCIAL CONDENSER, THEORETICAL STATEMENT The concept for Salisbury’s Ludic Night City is located within the dialogue between game theory and architecture. The scheme rests upon both a rhetorical discourse claiming that architecture is a game, as it is a rule bound system where free movement occurs within set parameters, and an experimental approach that applies the three narratives of virtual game space to a strategic and interactive model. This represents in detail the threads of movement from exclusive to inclusive city spaces, materialising as a microcosm of the city itself. The narratives are used as subjective architectural drivers within this model at master plan and building scale to encourage interaction amongst minority social groups through architectural ‘play’ mechanisms. Emergence is theoretically central to the ideas presented within the strategic response, understanding that through the rhythmic and symbiotic multiplicity of organic and physical evolutions found within the manifestation of cities, complex systems arise out of relatively few basic interactions. When given architectural and social meaning, this may be seen as the product of a combination of physical personal interactions originating at exclusive spaces and progressing and transforming into inclusive space. The scheme maintains a core purpose of using interactive gaming technology to tackle the contextual problem of social inclusion in response to the city’s existing night spaces. In this instance gaming technology is used at both the intimate level of the player and at the wider level of the city. Until all spaces are experienced at an intimate level, the player is unconscious of the game’s master goal. What is presented is an interactive architectural model and a narrative to be explored over time. It is made appropriate for our digital age through a bond that recognises the entangled relationship between architecture, play and the virtual through simulation of an ideal; social cohesion.
THE THREE NARRATIVES OF VIRTUAL GAME SPACE A game that follows a linear and final course of action. A game with a linear but non-final course of action that offers players a certain amount of room for manoeuvre in a clearly defined action field. A game that follows a non-linear, non-final course of action that is designed and modified by the players.
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MASTERPLAN
ACCESS STRATEGY
VIRTUAL PLAYER TYPOLOGY ASSIGNMENT TO CITY CONTEXT
APPLICATION OF STRATEGIC MODEL TO ROUTING
RIVER WALK
The image below shows a diagrammatic application of both the strategic approach and model to a site access strategy.
LEISURE CENTRE
‘THE COLLECTOR’
‘THE JOKER’
‘THE EXPLORER’
‘THE COMPETITOR’
NORTH-WEST RESIDENTIAL
TRAIN STATION
BUILDING
LOCATION
‘THE COLLECTOR’
‘THE EXPLORER’
Start: The Train Station
Start: River Walk
“Aquires items, trophies or knowledge; like to create sets and organise history.”
“Curious of the world, loves adventuring, seeks outside physical and mental boundaries”
‘THE JOKER’
‘THE COMPETITOR’
Start: North-West Residential.
Start: Leisure Centre
“Doesn’t take the game seriously, plays for the fun of playing.”
“Plays to best other players, regardless of the game.”
FIRST INTERACTION SET: 1 - 2 ROUTE OPTIONS SECOND INTERACTION SET: 3 - 4 ROUTE OPTIONS THIRD INTERACTION SET: 6 - AN INFINITE NUMBER OF ROUTE OPTIONS DIRECTIONAL VALVE
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START: ACCESS OVER TRAIN LINES AND RING ROAD VIRTUAL NARRATIVE AND INTERACTION / BUILDING SET 3
END: CITY CENTRE VIRTUAL NARRATIVE AND INTERACTION / BUILDING SET 2
VIRTUAL NARRATIVE AND INTERACTION / BUILDING SET 1
MONUMENTS IN LANDSCAPE NON PRESCRIPTIVE EXPLORATION OF MASTERPLAN STRATEGY
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BUILDING DESIGN The individual building design of a cultural centre represents Narrative 3 of virtual game space and demonstrates the final stage of interaction within the strategic model. “A game that follows a non-linear, non-final course of action, that is designed and modified by the players” (Waltz, P, S: 2011)
PLAYER STREAM 2
THE CULTURAL CENTRE
PLAYER STREAM 1
FROM NARRATIVE AND INTERACTION SET 2
REWARD SPACE CONCEALMENT AND PROTECTION
PLAYERS FROM CITY CENTRE
OPPOSITION AND ABSORPTION
PLAYERS FROM FISHERTON ST
On a fundamental level the building applies primary theoretical principles of game design such as concealment, opposition, protection, reward and absorption to the building form. This seeks to construct a ‘playground’ in which constraints and boundaries give set parameters or ‘rules’, where game-like situations may be experienced through the manifestation of play. Within these parameters provided by a functional spatial arrangement, occupants are given access to powerful interactive architectural gaming mechanisms. These allow the manipulation of different environmental elements including, texture, light, acoustics visual and physical. The player’s ability to modify their own and their opponent’s environment seeks to trigger a chain of dynamic, interpersonal interaction that brings the idea of social inclusion to life.
BUILDING DIAGRAM
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Reflected in the sculptural form of the building is emergent theory, an idea central to the strategic model. The form is a material translation of the understanding that Narrative 3, or the Cultural Centre, is a complex system manifested from relatively few initial basic interactions.
The repetition and flow of framed access routes experienced through the players vision, builds up a rhythm and to-and-fro action between the player and object. This type of interaction is essential for the psychological concept of flow to occur. It is critical for the absorption of players into a game and is found to be at the centre of game play situations. The form establishes play with the user before entering the building, encouraging heightened interaction within. [ N O R T H E L E VAT I O N ]
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Opening-up of the structure on the south elevation allows increased access to, and free movement between internal and external reward spaces.
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[ EAST SECTIONAL PERSPECTIVE BB ]
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[CONSTRUCTION] ROOF 600mm Roof Construction. Supported by central structural core, reinforced concrete columns on south elevation, internal framed access and load bearing walls.
INTERNAL FRAMED ACCESS 3mm Reclaimed, hollow square section steel column structure at 800mm centres, lining internal access via first floor.
PRIMARY ACCESS FLOOR AND STAIR SLAB 200mm Concrete floor and stair slab. Externally supported by steel framed access. Internally supported by load bearing walls and central structural core. Primary access via first floor.
CORE STRUCTURE 100x100mm Steel columns at central structural core. 300mm Load bearing external cavity walls. 100mm Block work and external finish. 200x200mm Reinforced concrete columns on south elevation.
GROUND FLOOR PLATE 250mm Concrete Slab.
EXTERNAL FRAMED ACCESS 3mm Reclaimed, hollow square section steel beam and column structure at 800mm centres.
[ VIEW 1 ] [ E X P L O D E D S T R U C T U R A L A S S E M B LY ]
[ DY L A N M A I N ] [ E X P L O D E D S T R U C T U R A L A S S E M B LY ] [ VIEW 2 ]
[CONSTRUCTION] ROOF 600mm Roof Construction. Supported by central structural core, reinforced concrete columns on south elevation, internal framed access and load bearing walls.
INTERNAL FRAMED ACCESS 3mm Reclaimed, hollow square section steel column structure at 800mm centres, lining internal access on first floor.
PRIMARY ACCESS FLOOR AND STAIR SLAB 200mm Concrete floor and stair slab. Externally supported by steel framed access. Internally supported by load bearing walls and central structural core. Primary access via first floor.
CORE STRUCTURE 100x100mm Steel columns at central structural core. 300mm Load bearing external cavity walls. 100mm Block work and external finish. 200x200mm Reinforced concrete columns on south elevation.
GROUND FLOOR PLATE 250mm Concrete Slab.
EXTERNAL FRAMED ACCESS 3mm Reclaimed, hollow square section steel beam and column structure at 800mm centres.
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APPROXIMATE QUANTIFICATION OF BUILDING WEIGHT AND CARBON FOOTPRINT Hollow Square Section Reclaimed Steel Frames:
Steel ‘I’ Beam Roof Structure:
In Situ Concrete Slabs:
Concrete Blockwork:
Steel (General average recycled content) Carbon 1.37 kgCO2/kg Density 7800 kg/m3
Steel (General average recycled content) Carbon 1.37 kgCO2/kg Density 7800 kg/m3
Carbon 0.159 kgCO2/kg Density 2400 kg/m3
(Medium Density 10N/mm2):
Average volume per one frame: (0.003 x 3 x 0.2 x 16 panels) = 0.029m3 Total 142 frames: 142 x 0.029 = 4.09 m3
Beam volume: (29 x 0.4 x 0.01 x 10 beams) = 1.16 m3
Mass: 7800 kg/m3 x 4.09m3 = 31,898 kg CO2: 1.37 kgCO2/kg x 31898 = 43.700 kg
Mass: 7800 kg/m3 x 1.16 m3 = 9,048 kg CO2: 1.37 x 9,048 kg = 12,396 kg
Aggregate:
Glazing:
Carbon 0.0048 kgCO2/kg Density 2240 kg/m3
Carbon 0.85 kgCO2/kg Density 2500 kg/m3
Aggregate volume: (0.6 x 32 x 55) = 1065 m3
Glazing volume: (35 x 6.4 x 0.006) = 1.34 m3
Mass: 2240 kg/m3 x 1065 m3 = 2,385,600 kg C02: 0.0048 kgCO2/kg x 2,385,600 kg = 11,451 kg
Mass: 2500 kg x 1.34 = 3,350 kg CO2: 0.85 kgCO2/kg x 3,350 kg = 2,848 kg
Internal building floor volume: (0.2 x 32 x 55 x 1.3 floors) = 457m3 External walkway volume: (2.4 x 0.2 x 55 x 2 walkways) + (2.4 x 0.2 x 150) = 124.8 Total volume = 581.8 m3 Mass: 2400 kg/m3 x 581.8m3 = 1,396,320 kg CO2: 0.159 kgCO2/kg = 222,015 kg
Carbon 0.073 kgCO2/Kg Density 1450 kg/m3 External wall volume: (72 x 7 x 0.1 x 2 skins) = 100.8 m3 Internal wall volume: (72 x 3.5 x 0.2) + (72 x 3.5 x 0.1) + (85 x 3.5 x 0.2) + (32 x 3.5 x 0.1) = 146.3 m3 Total volume: 100.8 + 146.3 = 247.1 m3 Mass: 1450kg/m3 x 247.1m3 = 358,296 kg CO2: 0.073 kgCO2/kg x 358,296 = 26,156 kg
TOTAL WEIGHT
CARBON FOOTPRINT
4,184,512 kg
118,566 kg
4,185 Tonnes
119 Tonnes
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[INTERACTION] [KINETICS] [GAMES] [EXPERIENCE] [MULTIPLICITY] [RHYTHM] [SOCIAL] [MANIPULATE] [TRANSFORM] [PLAY].
PROGRAMME DUALITY EXPLAINING THE SPLIT PROGRAMME CULTURAL CENTRE PROGRAMME Functionally, the cultural-centre has been designed around a dual programme. The first, permanent programme has focused on the design of flexible studio/function spaces that can be used as extensions to playhouse theatre rehearsals, for hosting of cultural events and other performing arts activities; dance, music recitals, talks, drama. Leisure spaces; a restaurant/café/bar and an outside terrace serve the public and those hiring function space. Operational spaces cloistering around the north side of the building have been separated from function spaces, minimising interference with the running and management of the building. It is believed that this articulation of spaces will facilitate use of the building throughout a 24 hour cycle, and give a broad spectrum of opportunity for revenue generation. The cultural centre is anticipated to be in a constant state of flux; a transitory, socially inclusive hub of activity, movement and interaction. It is achieved partially by offering the public access through the building, allowing movement to and from city-centre spaces, areas and districts, and by the changing occupation and habitation of function and leisure space.
INTERACTIVE INSTALLATION PROGRAMME Interactive installations form the second half of the programme. In addition to the built form, game and play theoretics into have been infused into these architectural devices. The installations are used as tools to intrigue, invite and encourage the public to dwell within the building. They bridge and establish interaction between user types, or ‘players’, through their strategic location and integration within built fabric and environment. This more specific invitation into deeper internal environments, accompanied by the use of the building as a public access route, grants permission and authority to overlook sometimes, and otherwise private events. Both programmes seek to offer an inclusive playground in which a an infinite thread of new experiences are able occur. A heightened response to both agendas seeks to maximise the realisation of social cohesion and shared experience within the building.
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TRANSLUCENT PARTITIONS SUN
PROJECTION OF SHADOWS VISIBLE SPACE REFLECTED GLARE
TRACKING
UP-LIGHTING
INSTALLATION 1 INTERACTIVE TRANSLUCENT SLIDING PARTITIONS This installation provides a rhythmic and kinetic architectural platform that bridges interaction between players, play others and hidden environments. The translucent partitions exhibit extrinsic rhythm, achieved by the performance and repetition of measurable movements over time. Function spaces appear invisible without the projection of shadows, caused by a deficiency of occupants and light. When these two environmental criteria are satisfied, it gives the occupant license, through visual and physical connection, to access the reward of experiencing new spaces. This necessitates the manipulation of the interactive architectural device.
MOVEMENT DIAGRAM
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THE COLLECTOR: UNABLE TO LOGICALLY ORGANISE THE SYSTEM
THE JOKER: TRIGGERING PRESSURE PAD FROM HIDDEN POSITION
THE EXPLORER: INSTRUCTING THE JOKER, EXPLORING MENTAL BOUNDARIES
INSTALLATION 2 INTERACTIVE SEATING AREA The interactive, pressure sensitive, lit seating area allows players to trigger and control lighting changes in play other’s environments. Walking on pressure sensitive switch pads, concealed within the flooring, signals the lighting change through an electrical circuit. The idea of this is to cause a chain of personal interaction that manifests through an architectural medium. The play dynamic in this installation emerges from a ‘to’ and ‘fro’ rhythmic action between players and play others, allowing the interactive installation to be understood as a game.
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PUZZLE WALL
ENTRY QUE
INSTALLATION 3 INTERACTIVE PUZZLE WALLS Tiled “puzzle� walls eliminate the boredom of waiting in entry queues. They stimulate interaction by necessitating conflictive, goal orientated interpersonal communication in act of finding solution. Sliding panels give occupants the ability to manipulate different textures and visuals that may be altered periodically. This interactive installation also employs extrinsic rhythm, exhibited by player, play other and play object; enabling the play dynamic of the game. Play and free movement occur within the parameters of wall mounted steel tracking and physical limitations of the access route.
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INSTALLATION 4 INTERACTIVE FLOATING DECKS Pedal powered floating decks that tear away from the construction of the external terrace allow users to manipulate their physical, material and structural architectural environment. The constraints of the pool set the parameters within which free movement can occur. It is a direct application of game design methodology principles into architecture.
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MOTOR AND AXEL SET
[ SOUND 1 ] [ SPACE 1 ]
[ SPACE 2 ]
[ SOUND 3 ] [ SPACE 3 ]
[ SOUND 4 ]
[ SOUND 5 ]
[ SOUND 6 ]
[ SPACE 5 ]
[ SPACE 6 ]
[ SOUND 7 ]
[ SOUND 8 ]
[ VOID ]
[ SPACE 7 ]
[ SPACE 8 ]
[ SPACE 4 ]
GRID STUDDED CONVEYOR TRACKS
[ SOUND 2 ]
TRACK DIAGRAM
SOUND DIAGRAM
INSTALLATION 5 INTERACTIVE ‘DANCE IN’ CORE
MECHANICS
Split into 9 sections the interactive dance floor gives occupants the ability to modify both physical and acoustic environments, acting as an architectural interface for the manipulation of sound. The series of tight spaces seeks to encourage interaction through increasing the proximity of players and allowing them to collectively ‘construct’ sound experience. The control over the arrangement of these spaces and sounds in relation to one another is player determined whilst DJ’s simultaneously host performances through sound selection and synchronization. The architectural, acoustic and spatial dynamics of the interactive technology allow a complex play and game like situation to occur. Fundamentally this is achieved by enabling players to become actively involved with performances on levels other than those typically experienced by an audience.
8 synchronised sounds; moving dance floor slabs controlled by the players give the user experience of a new, mixed sound track at each position. Example: At starting position as shown above, space 5’s sound track equals the sum of sounds 5,2,6,8,4. Space 3’s sound track equals the sum of sounds 3,6,5,2.
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DETAILING INTERACTIVE INSTALLATION 5
Chain to Ceiling Fixture
80x40mm Hollow Aluminium Bracing Coloured Spot Bulb Bracket Hung Light Fixture
INTERACTIVE INSTALLATION 1
Slab Access Hatch
Soundproof Partitions 150mm
600mm Hardcore Fill
Damp Proof Membrane
150mm Hardcore Insulation
Steel Bracing Fins
6mm Gridded Steel Tray
Speaker and Bracket System
50mm Slab
100mm Steel Axel
Electrical Motor
Main Access Stair
3mm Aluminium Bracket 60x60mm Timber Block 6mm Polymer Diffuser Panel 10mm Composite Hung Canopy
INTERACTIVE INSTALLATION 2 30mm Composite Seating Hull Upholstered Cushioning Central Table
180mm Cavity 10mm Frosted Acrylic Pannel
Screw-pin Wheel and Bearing System 20mm Floor Finish 3mm Steel Track Insert 200mm Concrete Ground Floor Slab 150mm Hardcore Insulation Damp Proof Membrane
Concrete Access Stair 45mm Concrete Slab Floor Tile 80x40mm Timber Support Batons 6mm Steel Tray 20mm Rubber Casing Pressure Sensitive Switch Pad Electrical Processor Wiring Duct 200mm Concrete Floor Slab 150mm Hardcore Insulation Damp Proof Membrane 600mm Hardcore Fill
60mm Hardcore fill RESIZED SCALE DETAILS
[ DY L A N M A I N ]
AMPLIFICATION OF EXPERIENCE; THE PRESCRIPTIVE INTERACTIVE INSTALLATION PROGRAMME INTERACTION AND ACTIVITY NODES; PLAN VIEW
Pink: “The Collector” from train station. Blue: “The Joker” from north-west residential. Orange: “The Explorer” from river walk. Green: “The Competitor” from leisure centre. Purple + Yellow: City centre and Fisherton St.
INTERACTIVE PUZZLE WALLS
INTERACTIVE DANCE FLOOR
INTERACTIVE SEATING
INTERACTIVE PARTITIONS
FLOATING DECKS
NARRATIVE 3
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MODELLING SKETCH
CONCEPT DEVELOPMENT
FINAL
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PRACTICE MARGURITE MURDOCH ARCHITECTS RESIDENTIAL ARCHITECTURAL PRACTICE, TWICKENHAM, LONDON. POSITION: PART 1 ARCHITECTURAL ASSISTANT
PROJECT INVOLVEMENT
[55 COLE PARK ROAD] [114 RIDGEWAY ROAD] [53 HAREWOOD ROAD] [15 OSTERLEY CRESCENT] [19 STRAWBERRY HILL] [2 ST.MARKS ROAD]
[ THE FOLLOWING WORK IS MY OWN, EXCEPT WHERE STATED ]
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19 STRAWBERRY HILL An extension, renovation and regeneration project for a large ÂŁ2.2m period residential property of townscape merit in Strawberry Hill, London. The project is at planning application stage and will be soon going to tender. The following technical design proposal was produced by myself and Marguerite Murdoch. I have, and will be taking on a core design role for this project from conception through to completion. From it, I expect to gain experience throughout all RIBA stages of work. It is the most important project, of several, that I am currently working on.
[ Fuse RO N T E L E VAT I O N ] [Academic only]
[ S I D E E L E VAT I O N 1 ] [Academic use only]
ELEVATIONS 1 : 100
[ DY L A N M A I N ]
The complexity of the property posed a technical challenge that was amplified by a poorly conducted professional survey. Restructuring of the roof to maximise habitable space on the third floor, a large single storey rear and side extension, two green roofs, reprogramming of the property and re-modelling of the tower form the core components of the project. The approach was developed around the idea of a sensitive, genuine and contemporary intervention to a historical property. Light, views, mimicry of roof pitches, functionality, opening up of internal space, definition of external space and sustainability are the main architectural principles that define the proposal.
[ only] S I D E E L E VAT I O N 2 ] cademic use
[Academic use only]
[ R E A R E L E VAT I O N ]
ELEVATIONS 1 : 100
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[ G R O U N D FLO O R PL A N ]
[Academic use only]
PLANS 1 : 100
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[ FI R ST FLO O R PL A N ]
[ S ECO N D FLOO R PL A N ]
[Academic use only]
PLANS 1 : 100
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[Academic use only]
[ ROOF PLAN ]
SECTIONS 1 : 100
[ S EC TI O N A-A ]
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SE CTION B-B ] [Academic[ use only]
[Academic [ Suse E Conly] T I O N C- C ]
SECTIONS 1 : 100
[ DY L A N M A I N ]
VISUALISATIONS [ 55 COLE PARK ROAD ]
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VISUALISATIONS [ 53 HAREWOOD ROAD ]
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VISUALISATIONS [ 114 RIDGEWAY ROAD ]