Stage 3 Architecture Portfolio by ERid

PORTFOLIO ELIZABETH RIDLAND STAGE 3 BA ARCHITECTURE 2016/17

NEW/REVISED WORK

CONTENTS

APOLOGIA

GETTING AWAY FROM IT ALL

PRIMER

THINKING THROUGH MAKING FIELD VISIT STAGING REALISATION

32 36 46 53

INTERGRATED TECHNOLOGY 02REFLECTION

106

CHARETTE

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APOLOGIA Analysing and applying cross disciplines in our designs was a key theme throughout the year. This involved expanding the traditional boundaries of our architectural studies into other disciplines, such as landscaping, art and even product design. The aim of this was to help broaden our understanding of the cross links an architectural degree can have into other professions as well as expand on our skills and knowledge to try out new things. For me this ranged from learning to make my own fabrics to constructing my own bamboo-frame bookshelf. These skills then relevantly fed back into my graduation project design, especially when it came to my intergraded technology for the buildings framed structure and site specific technologies. This range of developed skills will, without a doubt, be carried forward into all the work that I do. Development across multiple scales was highly encouraged, from looking at the entirety of the Northumberland Coastline down to the smallest building details. This became an opportunity to work at differing levels of detail and explore the different layers of information each scale brings, and how these layers work together to help the design development. This is turn became the way I liked to work during my final year. Massing is a keen example of this process, where I started by looking at the wider site in context to its surrounding reserves and conservation areas and kept reducing the scale to refine a building design. Our studio, appropriately named ‘Getting Away From It All’, was focused on the idea of an escape to the coast. My own investigation of this theme lead me to the research and development of escape via ‘fun’ and the influence an architect can have on this process in theory and in practice. So much so, my graduation project looks not only at creating a new activity on the coast, but reflects on the social and economical factors that influence my designs. I feel this became a crucial part of my development, not only for this project, but also leading to future work in practice. I became heavily influenced by artists such as Toshiko Horiuchi MacAdam and Ernesto Neto, inspiring me to explore through modelling a range of knitted landscapes and interactive artworks that could be part of the buildings fabric. It clarified my narrative for creating ‘fun’ and ‘interactive’ spaces whilst helping to develop a style of working I throughly enjoy and I believe works well. I enjoyed researching precedents and technologies that became the backbone of my design development. 4

Making formed a significant part of my exploration and development process, expanding on what I had learnt and practiced in my previous years of study, and applying new materials, like mouldable plastics and sculpture foam, which I have never used before. It also provided the chance for me to incorporate new skills I have learnt over the year, such as construction using bamboo, and stitch craft to create multiple knitted landscapes. I developed my technical model making abilities across multiple scales, from 1:500 Landscape and massing models to 1:50 product prototypes. I thoroughly enjoy model making, as shown by the majority of my exploration was done through research and modelling. I found that this way provided me to physically hold and shape my space, especially when exploring and coordinating activities within the development. I would love to continue to work with physical models into the future, and I am not afraid to defend the use of physical models in architectural design.

MODEL EXPLORING EXTERIOR JOURNEYS THROUGH LANDSCAPE

I challenged myself this year to think bigger. Which, I believe, has lead to my growth in confidence this year in my own ability. By making myself think across multiple scales and multiple outcomes, I believe I have developed a much stronger way working for myself. This meant at the end of this year I have developed my own masterplan and occupied it with a developed design that expands into the wider community. Meanwhile, at the opposite end of the scale, there is a highly developed technology backbone that supplements this project along with a series of detailed moments that run through the interior and exterior of the development.

Research and brief development has been one of my my strongest skills I have sharpened from starting my undergraduate degree, which I believe has helped guide me to a more theory based and â&#x20AC;&#x2DC;thinkingthrough-makingâ&#x20AC;&#x2122; way of working. I find this extremely enjoyable. As a result, representation and presentation has been a weakness in the past. This last year has been a chance to develop on this weakness. After the feedback of my tutors and peers I feel more confident in my presentational skills. To develop this further, in my future works I would like to work more on my graphic representation to be able to portray more information clearly through CAD drawings. I am confident in the progress my hand drawings and physical representation has made these past three years and I am excited to continue to develop these skills into the future. Over the last three years of my undergraduate degree I have been able to identify my particular interests in the filed of architecture and began to decide the type of architect I want to be. I am constantly developing and testing my own skills and techniques to sharpen and enhance them whilst constantly practicing and applying research skills and technical knowledge I have gained. Through this, I believe my degree has prepared me well for the world of architectural practice and I look forward to continuing my architectural journey in the future.

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GETTING AWAY FROM IT ALL The aim of our studio was to work across various scales and explore the diverse range of outcomes in a design process. The outcome of the studio is to investigate the Northumberland coastline, considering the development of a new type of destination on the coast. The studio encourages fluid thinking and consideration across all scales, beyond the singular building outcome. Meanwhile, the studio explores new and traditional representative techniques across multiple disciplinaries to encourage an additional depth in contextual exploration. This in turn can extend into other cross disciplinary sources and professions, from landscaping to product design. For our studio we visited the Northumberland coast to embrace the rich history and culture of the North East; continuously collaborating with peers whilst conducting individual work.

PRIMER

The primer explores over a five week period different aspects of coastal architecture. The first part being a collage project. Each person is given part of the Northumberland coastline in which to investigate. We began to immerse ourselves with a different aspect to explore each week, collating the results on a 1.2x1.2m board. Each week we add a new layer representing our research on that weeks ‘theme’ collating in a contextual masterpiece that when partnered with every other persons in the studio covered the entire Northumberland coast line in great depth. The second part to our studio primer centred on different coastal typologies. Individually I began an investigation into contemporary ‘religion and retreat’ on the coast, finding themes and techniques that could influence the next stages of the project. This part of primer explored different research methods as well as representation techniques for architectural themes such as modelling, hand drawing and product design. Collaborative work was collected into a booklet and presented in an exhibition held at the end of the primer stage. We were encouraged throughout our studio primer to explore and trial with representational approaches whilst experimenting with material choice.

NORTHUMBERLAND COAST This project begins at the Northumberland Coast. I initially investigated the ten mile stretch between Low Hauxley and Newbiggin-by-the-sea; both historical areas for trade and industry in the North East, especially in coal. There is a great beauty on the north east coast that in recent years has become less of an attraction to tourists, therefore there is a need for a new ‘attraction’ to reestablish tourism as it was a hundred years ago. The rich cultural history and natural beauty of the landscape provide great inspiration for any artist or designer. The range of architecture and structures range greatly up the coast from the sculptural ‘the couple’ at Newbiggin to the more modern ‘pods’ in Amble (near low Hauxley). The Northumberland Coastal Path runs straight through part of this stretch and it praises the natural beauty of its landscape, preserving fishing and other local trades as well as holds considerable historical importance. 11

For this week we looked at settlements on the coast with a focus on terrain and topography. I was thoroughly interested in the differing terrains and levels that run up and down the coast that I recorded. For example the extensive wetlands against the sweeping sand dunes, the rocky cliffs to the coal stained sand that washes up on the beach. Experimenting with different materials, such as fabrics and paints, I tried to replicate the juxtaposition of textures associated with my experience. I enjoyed working with textiles as it was something I have never done before.

Exploring ‘Characters on the Coast’ delved into the social history and cultural activity of the area. I began by looking at ‘habitation’ and referenced elements that captured the nature of the people who lived there, such as the old power stations and coal mines, as well as the march of the people in their protest to protect Druridge Bay. After visiting and talking to the locals of Newbigginby-the-sea and Amble it was easy to see how proud they were of where they live as if it were knitted into their biology. By integrating bamboo leaf, photographs and scavenged items from the shoreline, I began to capture part of the soul shared between the locals and their coastline. This became a more biological element that responded contextually rather than literally.

Infrastructure and connections became the vital theme for this week. I focussed on the cycle routes and Northumberland Coastal Footpath, which stood out to me as n extremely interesting and formidable element on this stretch, representing it directly on the board by plotting the routes with pins and string. I recreated the stretch of coast in fabrics and scavenged items from its shoreline. The connections between buildings and infrastructure seen on the coast past this route were also documented through photography, textiles, stitching and pins. Having progressed with stitching and hand crafts, I decided to start to learn how to make my own fabrics for integrating into the next weeks theme.

Having visited this stretch multiple times, common routines knitted into the landscape became apparent across varying scales. Simple daily experiences can be references such as the tide going in and out, as boats enter and exit. Weekly routines like the folk singing club that meet every Saturday in the marine centre while weekend hikers tackle the coastal paths. Finally, the area is a renowned wildlife reserve in the North for coastal birds and their migration is noted as each year. A routine that will hopefully continue for years to come. There are many small moments that make up the collage as a whole, separate they are informative snippets of the coast, but all together provides an overview on coastal life.

Layering painting, fabrics and photographs I tried creating an impact with larger images capturing the larger yearly events and gradually decreasing the scale as the moments grow smaller and more intimate. I was also be able to practice making felt which I incorporated into my fabrics and painting. I thoroughly enjoyed the process and will continue to try and use non-traditional materials in future representation. This short period of experimentation allowed me to explore different ways of non-traditional architectural expression while learning new craft tools and methods. It began a cross disciplinary journey that would continue as a studio theme throughout this project. It also provided a bank of information for staging our projects and provided a analytical approach for choosing our sites.

TYPOLOGY As part of our Primer our studio looked at different typologies of coastal architecture from around the world. This in turn developed into my own investigation into contemporary coastal â&#x20AC;&#x2DC;religion and retreatâ&#x20AC;&#x2122; archetypes. Each week explored different ways to research and represent these buildings and capture crucial influential elements that could provide useful context in future stages of this coastal project. 16

The Seaside Chapel is a modern build located in the Beidaihe new district in China. Vector Architects designed their concrete church directly on the sandy beach, supported on deep concrete foundations. The church itself is raised above the sand on thick concrete pillars to allow the ocean to wash underneath when the tide comes in, resulting in the church appearing to float on the surface of the water completely cut of from the shore. As such it has an intimate relationship with the tide, responding to the landscapes context and adding to it.

FIRST

GROUND

SITE DIAGRAM FOR THE SEASIDE CHAPEL 21

The building features a dramatic steeply pitched roof, creating a large open space commonly seen in religious buildings to give the illusion of grandeur. The entire structure is made from concrete. The concrete structure is coated in white stucco, giving it a textured finish both inside and outside. Exploring space through axonometric sketching and texture modelling worked best for this example, showing the juxtaposition between man-made and natural. 22

The absence of colour and use of white render is striking; not only does it compliment the environment around it but sculpturally identifies itself against its surroundings. The texture and material of the building provides a retreat for the senses, enticing people into the space and provides an escape from the ‘ordinary’. In regards to all other buildings and infrastructure in the area the chapel is the closest permeant structure to the sea. This adds to

the spirituality of the space isolating itself away from the hustle and bustle of city life while holding an intimate relationship to its own typography. From an architectural standpoint, this typology teaches students the symbolic importance coastal architecture can haveespecially in regards to ‘retreat’ or the sense ‘getting-away’. Relation to Landscape, Site location and orientation, colour and material all contribute significantly to creating the physical and spiritual refuge. 23

LIGHT MODELS Using sketch light models I was able to test and recreate the effect that the qualities of light and embodied atmosphere within the deepest spaces of the chapel. Working with coloured acetate and polystyrene proved most effective in capturing the unique lighting and religious undertones of these spaces. The quantity and positioning of windows used by the architect made sure that coloured light from contemporary stained glass windows would penetrate the deepest parts of the building, providing a spiritual softened atmosphere throughout. 24

Concealed stained-glass panels provide light from above and shatter coloured light into the concrete cavern of the building. This was inspired by traditional stained-glass windows commonly associated with religious buildings. Their contemporary use of stained-glass connotes a religious undertone while amplifying its experiential aesthetics. It is a very calming place where people can come to practice their religion or simply take refuge from the coastal climate. Casing in resin, I replicated the window pattern and colours captured in the stained-glass to explore its visual and atmospheric effects. It showed the importance of colour and light for this specific typology type-maintaining religious undertones whilst experimenting with contemporary form and volume.

PRODUCT DESIGN Taking inspiration from our typology studies, we had to individually collate our research and apply it to a product that could be used on a seaside trip. The backbone of my research has been exploring the relationship between volume and light- such as the repurpose and reinvention of traditional ‘religious’ architectural features to amplify the spiritual atmosphere. An example which I found particularly interesting was the modern interpretation of the stained-glass windows in the seashore chapel. The refracted shards of light help shape the interior spaces, adding colour to an otherwise monochrome palette. Keeping in the theme of creating volume and introducing ‘light’ as a material, I chose a windbreak as my product to develop.Researching pre existing examples of windbreaks and portable shelters I began to adapt translucency into my design, looking at structural components and construction details.

Being conscious of how the product would be carried, it was designed to be folded down in basic geometric shapes, starting with a square and finally triangles. I found triangles provides more curvature in a parabolic structure, therefore better shelter from the weather, as is the purpose of the product.

After arriving at a desired form I reintroduced the elements of coloured light using translucent coloured plastic sheeting, mimicking the effects of stained-glass windows. After experimenting with different patterns I settled on stitching the stained-plastic panels into the seams of the complex volumetric shape providing me with the final design of my product. This was modelled in SketchUp to show the basic effect. Product design is an unorthodox practice in architecture but not unheard of. Encouraging a cross disciplinary ethos from an early stage will be paramount for this project. 29

EXHIBITION Our studio primer has been an experimental phase where we have been able to develop our research on coastal architecture through the study of coastal typologies, meanwhile, developing useful methods for representation. This stage has helped prepare for the next process of design, where we begin to focus more on designing an activity on the Northumberland coast. Representation techniques and materials will be carried forward as useful forms of representation. The adaption of traditional elements into contemporary coastal architecture, as explored in my product, fascinates me and I plan on taking this theme further into my design work in an attempt to confront the mundane. ‘Atmospheric’ is a common phrase used in our typologies as a studio and will be explored more into design, using the techniques gained from the collage project. This will apply most when capturing the feeling of ‘Getting away from it all’. Whilst researching my stretch of coast I became fascinated with the heritage and culture surrounding the area of Druridge Bay, especially its wildlife, so this site and its ecology will be a strong theme present in future work. All in all, the primer has prepared the foundations for this project to begin staging a concept design. All work over primer was collated into a studio exhibition. 31

THINKING THROUGH MAKING

This workshop allowed us to experiment with different consistencies and aggregates in the creation and casting of concrete. For this concrete casting workshop I experimented with different amounts of cement, colours, aggregates and setting times. In the end I created a series of tiles (which can be seen together as a large image on the previous page), some more successful than others. To complete these tiles to showcase in our exhibition I hand polished 34

some select tiles, to reveal the secret aggregates I added. I found the textures and colours achievable through concrete to be exciting and a throughly enjoyable process. Whilst I later decided concrete to be an unsuitable material at a later stage, the casting process and experimentation became a crucial element that has stayed with me throughout. Undoubtably, this technique and material will appear in future works of mine where applicable.

Using traditional techniques we learnt how to construct bamboo structures from scratch, leading to a showcase of connections and frames as well as a group project of a large bamboo bookcase. This involved designing a seal supporting structure, learning how to cut bamboo, and traditional bamboo joinery techniques. While it is traditional to use vine or fishing line, we used regular wire for our construction as it was more readily viable to us. The history of the

technique of â&#x20AC;&#x2DC;making use of whats availableâ&#x20AC;&#x2122; was fascinating and extremely influential. It has inspired in me a more refined focus on the materials I use and the cost implications they can have; both economical or environmental. The framed structure and hands on contraction also lead me to develop my framed structure and technology in the future of my graduation project. I enjoyed the hands on construction element of this workshop. 35

FIELD VISIT As part of our studio we conducted a field visit to Scotland to help progress our studies and architectural precedents. On our trip round Edinburgh, Leith and Glasgow we were able to visit various sites and offices that provided insight into the successes and possible applications of cross disciplines in architectural practice. This included graphic designers, famous contemporary and classical buildings as well as art gallery curators. 37

LEITH During our study visit to Edinburgh we visited Leith. With strong historic routes and traditional industries it was a chance for us to engage with industrialisation of waterfronts and the dynamic rate of development in the city. During our visit to Leith we took time for observational drawing; through sketching and photography I recorded interesting elements of the waterfront city- such decay, symmetry, colour and form. We were able to meet interior designers FourByTwo in their chop house office in Leith before heading back into Edinburghs city centre.

FOUR-BY-TWO As part of our visit to Edinburgh we had the chance to visit Four-By-Two design and architecture studio. They consider architectural interiors, working closely with their clients, to create inventive and cutting-edge designs that demonstrate mastered artistic innovation. Their office is shared by one of their projects- the Chop house restaurant. They were in charge of the interiors of the project as well as creating a concurrent branding throughout. The simplistic attractive patterns are repeatedly used throughout the building, from larger areas like the front of the bar to the smallest detailing such as embroidery on their seats. By doing this there is a sense of belonging and unity which only adds to its success. The small details really make this difference in this studio and I will be keeping these concepts in mind from now on in all my work, being architectural or other.

O STREET As part of our trip to Scotland we traveled from Edinburgh to Glasgow to visit award winning O Street graphic designers. They cover a large range of jobs from brand strategy to logo design, web design to art direction. They gave us a presentation on their approach to branding as well as details on some of their most recent projects, one such being the rebranding of the Scottish National Gallery of Modern Art. Ingeniously recognising how the letter â&#x20AC;&#x153;oâ&#x20AC;? appears concurrently through the galleries title they aligned all the letters vertically, allowing to split the name in two, as the gallery is split in two parts. They named both parts One and Two, simplifying navigation for visitors and making the two parts distinctively different. The simplicity and contemporary nature of the branding matches the character of the modern galleries perfectly. The talk from O Street was inspiring. In architectural studies, it is important to consider our interior and exterior branding when running an repetitive theme throughout the development scheme. 41

LANDSCAPE On our trip we visited numerous buildings around the cities differing greatly in architectural movements, contexts and functions. For instance the Scottish Parliament buildings, The riverside museum and Holyrood North Landscaping. Being able to tour round and experience different scales of public architecture was crucial at this stage of the project. We were able to capture in photographs some of the most interesting aspects of each building, while using our sketchbooks for observational drawing and investigation. A strong element that was present in all of these developments was the relationship between the buildings and the surrounding environment. The environmental context when combined with the rich history of each city provides ample of inspiration for an architect and designer. I feel encouraged to work with my environment in my own designs because of it. 42

BLACK + SUGA EXHIBITION While visiting the Scottish National Gallery of Modern Art we were fortunate enough to be guided round the newest exhibition of Karla Black and Kishio Suga’s work called “A new order” by its curator JulieAnne Delaney. She talked us through some of the basics to consider when designing an exhibition space, focussing on curation of space. Lighting, windows, circulation and the art itself became the main topic of this discussion. It was interesting to consider what are the necessity ‘ingredients’ for design; it is our jobs not only to create a space but to also curate it. 45

STAGING

Druridge Bay is a tranquil stretch of Beach between Low Hauxley and Cresswell (near Newbiggin-by-the-sea). The region has a rich history of seaside tourism and industrial trade prior to the 1960â&#x20AC;&#x2122;s, with a reminder of coal residue still washing up on the beach. Home to a series of coastal wildlife, the stretch has several nature reserves and conservation sites for the encouragement of coastal ecosystems. Any developments would need to be sensitive to this. I believe that the rich contextual background of previous coastal activities plus those currently absent from the bay make this location ideal for a new development. It also proposes the additional challenge of being environmentally conscious and culturally sensitive to the local inhabitants and ecosystems. I began by listing attractions of the past with proposals of other types of costal activities and collated the findings into a collage. This can be seen on the page opposite. The most influential attractions for me remained sensitive to Druridge Bay and iconic to the seaside. When you think of retreating to the seaside for a day out you think of piers, funfairs, sandcastles, the ocean, deck-chair relaxation, ice cream, fish and wildlife. This became my line of enquiry for staging this project.

After researching the current distribution of tourism in Northumberland I came to the conclusion there is a a strong need for a new attraction and activity by the east coast. Statistically, in the past years in the North, leisure attractions and parks have been doing increasingly well and are attracting more visitors generating a greater income. Comparatively to the West coast, the East coast has significantly less attractions in this sector, and are (in correlation) attracting less visitors to the region. The Northumberland coast has significantly less activities like fairgrounds, piers and promenades, than the west coast who benefit greatly from these attractions in terms of tourism. My activity hopes to capture the traditional atmosphere of a â&#x20AC;&#x2DC;fairgroundâ&#x20AC;&#x2122; in a unique architectural experience that will act as a retreat for all ages from the hustle and bustle of city life, as was the purpose of coastal retreats dating back to the Victorians. The aim of this development is to not only attract more visitors to the region, but also benefit the local economy and relation to local communities.

MAP COMPARING THE DISTRIBUTION OF COASTAL ATTRACTIONS RELATING TO FAIRGROUNDS, ARCADES, PIERS AND PROMENADES ON THE EAST AND WEST COAST 50

SITE & HISTORICAL CONTEXT

CONSERVATION & TECHNOLOGY

The challenge will be to design an activity leisure centre that embodies the iconic seaside actives in its framework. The building itself will house multiple activities that promote ‘fun’ interactive architecture where the activities are knitted into the very core of the development. It will develop using the context of traditional seaside fairgrounds, relating them to architectural features and activities that can appeal to all ages, not just for children, to become a series of playscapes for everyone to enjoy. Meanwhile, Druridge Bay is renowned for its conservation of wildlife and is mostly made up of protected reserves. Therefore the design must achieve a balance between the existing environmental context and the newly imposed buildings. While benefiting the cause towards attracting more visitors, the development must also encourage existing wildlife and conservation using integrated technologies (such as rain water harvesting and reed bed systems) and encourage education on the importance of the ecological area.

ESCAPE THROUGH FUN

PLAYSCAPES

Looking back at the previous coastal elements explored in my Typology study of the Seashore chapel, there are several elements that make up the development and each must work together equally in the design. The key elements that can be explored through materials, form and integrated technologies include: the surrounding environment, creating a retreat, embodying the iconic ‘seaside’ character, encouraging existing wildlife activities such as conservation and birdwatching, building an architectural playground, while respecting current inhabitants and existing routes (such as the Northumberland coastal path). Therefore, the key themes for this project can be summered into four categories:

REALISATION

DRURIDGE BAY 54

DRURIDGE NATURE RESERVE

CRESSWELL FORESHORE NATURE RESERVE

I began by analysing the context of my site. The site is located between two large nature reserves, Druridge Nature Reserve and Cresswell Nature reserve (shown on the large spread diagram on the previous page). Both proudly boast their conservation efforts and support to any development that would both support and encourage their efforts on the local ecology and economy. The site is a greenfield site with no prior development; it is currently used to move and separate cattle and to access the beach from one of the main cycle routes that runs into the site from the South. The Northumberland Coastal 56

path runs through the site making it a key spot on the trail. It also has easy access from a main B road. The site has strong prevailing winds as well as a strong offshore breeze, helping condition the placement of the building as well as encourage the positioning of buffer zones in the landscaping. There are spectacular views across the entire bay from the peak of the dunes that are supported by soft northern light, helping the positioning and orientation of the building for maximising the use of natural light and views. Passive solar orientation is easily applied to this site.

SITE ANALYSIS 57

DRURIDGE BAY SITE PHOTOGRAPHS

SITE DETAILS

MASSING Using massing models I was able to explore the different spacial organisation of activities in the context of the site. I started with a simple tear building taking advantage of the view from the dunes of the Bay and access from the ocean to locate my ‘viewing’ and ‘quieter’ actives and pull the louder and larger actives out towards the centre of the site. Avoiding creating a bunker-like structure, I began to split up the blocks of the building, which started to form what would become my different ‘zones’. A courtyard was introduced to provide enough light into the centre of the building and provide a centre access point that ties all the zones/activities together. The building was sensitive to the sand dunes it sits near, therefore the design minimises the amount of excavation and works around the site. The idea is that over time, as the san dunes move, the building will be able to adjust with it (and not be effected structurally by the change over time). This minimises the effects to the ecology of the site. As more activities are added and key spaces develop a circulatory narrative forms which creates this geometrical shape that curves around the context of the site. At each stage the design develops its complexity, which resulted in the final design as shown as the black model below.

Deliberately, areas such as the viewing platform and cafe were placed towards the North East of the site to take advantage of the softer light and spanning coastal views. It also makes sense to have these activities towards the coastal entrance of the building, as hikers and beach goers will be most interested in these activities over others. Quieter activities such as the pottery painting and crafts can be placed at the quieter area of the building. This way they become their own destination on the site without any loud traffics of people trying to cut through and makes the experience of these activities more enjoyable. The main activity zones are located towards the playscape and car entrance, where it is expected most visitors will enter from. The larger playscapes can take advantage of the open views across the playscape inspired landscape and merge the boundary between

exterior and interior activities. Since these spaces are away from the sand dunes they can be bigger without disrupting the natural context of the site, allowing for larger areas and the opportunity to create large void spaces. These void spaces will allow the visions to distance themselves from reality and begin to truly escape via fun. The model below was used to show the way the final shape forms part of the landscape with the sand dunes moving to eventually envelop the structure and become part of the design. Using plastic i was able to model the fluid look of the green roof, which helps mask the building into the context of the site even further and provide additional respect for the surrounding nature reserves and ecology. The green roof will also supply an additional purpose for rainwater harvesting and thermal massing- this is explained more in depth in my integrated technology.

The design of the building was heavily influenced by the existing context of the site, most important of all being the existing access routes. This included the Northumberland Coastal path, Northumberland cycle route as well as a road leading off from the main road. These three routes form a triangle, showing three connecting areas I named: Coastal, Nature and Playscapes. These interacted the external activities each existing path has access too. I used these routes to create a circulation narrative in my building and landscape. The routes cut through my massing developments over multiple levels to provide multiple points of entry, all leading to the central courtyard. These three cut through points helped shape the building around the circulation and encouraged visitor exploration. By doing this, each visit people can explore a different path providing a new way to experience the building every time. This is reflected both inside and outside the building. This promotes a fun and enjoyable architectural experience.

ROUTES AND ACCESS DIAGRAMS

HAND SKETCHES SHOWING ACCESS TO BUILDING

As shown in the ground floor plan (right), there are three entrances at this level, each approaching from one of the existing access route. The plan incorporates a lot of tall void spaces to allow visitors to distance themselves from reality. Large windows take advantage of views onto the play landscaping helping to bring the interior and exterior together and form a more fluid transition between the two. The activities encourage visitors to climb, crawl, jump and slide to travel around the building and into the landscape. These spaces are called playscapes. As part of the development of this scheme I did a lot of research on the creation of these spaces and found numerous inspirational examples. I drew great inspiration from â&#x20AC;&#x153;MobiVersumâ&#x20AC;? by J. Mayer H. showing how architecture can be an interactive sculpture to encourage activity and provide a sensory experience. The interactive element was attractive to me as I began to have my activities shape the interiors of the building, using climbing as my main activity. Inspired by the work of artists Ernesto Neto and Toshiko Horiuchi MacAdam I started to incorporate knitted rope structures into my activity design. This became my knitted cores (or knotted landscapes). These cores are a key element in my overall design, with each core having a visible path to the next. Skylights are used to provide light into the deepest parts of these cores and have each knitted landscape spotlighted inside the building, as a abstract way of way-finding. These nets hang from the structure itself and allow people to climb or swing between levels, with the chance for visitors to escape from to either have fun on the nets or lie back and relax in the ambiance created by the shape and lighting of the cores. 64

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SHOP AND ENTRANCE VIA CAR PARK EMERGENCY CORES CIRCULATION RAMPS KNITTED CORES STAFF LOCKERS AND STORE TOILETS AND SERVICES ACCESS RAMP CLIMBING

9 STORAGE AND MAINTENANCE 10 INTERACTIVE SPACES 11 SLIDE 12 SOFT PLAY AREA 13 EQUIPMENT STORAGE 14 CRAFT SPACE AND POTTERY PAINTING 15 MATERIAL AND EQUIPMENT STORAGE 65

The layout of activities were influenced from the research and development from the staging phase of this project. Inspired by traditional fairground activities and rides I explored how to incorporate these themes into my design, not as a necessary literal inspiration of these rides but the ideals behind them that bring the element of â&#x20AC;&#x2DC;funâ&#x20AC;&#x2122; I wish to achieve in my own design. One of the most prominent rides that stood out to me was the helter-skelter. The height and fluid spiral decent is a fun and traditional feature beloved by all ages. This inspired the development of my ramp circulation system that runs throughout the building that leads all the way out and continues into the landscape. The only stairs are located in the emergency cores and lift shafts, necessary for mobility and disables access on a daily basis or in case of an emergency. The spiral ramp wraps around the largest of the knitted landscapes, which then became the key space as it incorporated the spiralling ramp. To accommodate people coming in from the beach (or coastal) entrance there is a buffer zone by the entrance. Sand from the beach is expected to move into this area, therefore this buffer space was needed. It serves a double purpose to provide seating and a calmer circulation space to help guide visitors to where they need to be. As the most likely destination wanted from people coming in from the beach is the cafe or viewing platform, there is an immediate access from this point to these two areas. This helps minimise the amount of dirt brought into these main spaces and keeps the sand where it is meant (and designed) to be. To expand on the experience of the circulation the path cuts through different zones, both entering and exiting the building, some of these are covered and some are not to play with the senses of the visitors who choose to follow the path through. All routes eventually lead to the central courtyard, applying unity and a sense of logic to the complex but fun circulation. 66

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1:500 FIRST 1 EDUCATIONAL GALLERY SPACE 2 EMERGENCY CORES 3 CIRCULATION RAMPS 4 KNITTED CORES 5 PLANT 6 TOILETS AND SERVICES 7 KNITTED RAMP OVER ENTRANCE VOID 8 CLIMBING 9 INTERACTIVE SPACES

10 EXTERIOR WALKWAY 11 SLIDE 12 INTERIOR WALKWAY 13 PLANT 14 RAMP TO VIEWING STATION 15 BEACH BUFFER ENTRANCE 16 KITCHEN 17 CAFE

As you move up the building via the access ramp there is a direct access to the viewing station. The hight of the viewing platform sits 4m in total hight, and due to the poison of the sand dunes, is the only part of the building that is clearly visible from the bay. This will act as a landmark on the bay that retains some of the coastal context and remains subtle to the landscape. To confront the problem of maintenance access to the roof and technologies I added a maintenance exit which could also serve as an emergency exit if necessary. Long spanning windows take advantage of the sweeping views across the Bay, reaching from as far as low Hauxley all the way to the Scarrs at Cresswell. This is a tranquil view that allows visitors to escape for a while and get away from it all. The feeling of being lifted above, protected against the harsh coastal climate provides a tranquil environment that is supplemented with an abundance of natural soft light. 68

4 2 3 1

1:500 SECOND 1 RAMP ACCESS 2 VIEWING STATION 3 PLANT 4 EMERGENCY ESCAPE AND MAINTENANCE ACCESS TO ROOF

LOUD ACTIVITY ZONE

PLANTS AND STORAGES

QUIET ACTIVITY ZONE

SERVICES

CIRCULATION

Charles Jencks Landscapes

Emilio Ambasz Cordoba House (1975)

SCHEDULE OF ACCOMMODATION AND ADJACENCIES DIAGRAM ARCHITECTURAL INSPIRATIONAL PRECEDENTS

CIRCULATION DIAGRAM SHOWING THE CIRCULATION AROUND THE BUILDING FOLLOWING THE HELTER-SKELTER INSPIRED RAMPS 72

DIAGRAM SHOWING THE ROUTES TAKEN BY DIFFERENT VISITORS AND THEIR JOURNEY 73

Using exploratory models I looked at the relationship between spaces in developing a fun occurrent atmosphere throughout the building. One of the most important elements to this design is the interior playscapes therefore it is crucial I manage to create a balance throughout the building of the activities, avoiding creating a ‘layer-cake’ building with one activity stacked above the other. These physical models helps me to experiment with different concepts, add and play with different activities and scales. One of the more successful models (shown below) looked at climbing walls as a structural element that could form part of the circulation ‘helter-skelter’ ramp as well as move across all floors of the building. This model then combined this climbing wall element with a climbing knitted element, which I found worked well.

CONCEPT MODELS EXPLORING RELATIONSHIPS BETWEEN ACTIVITIES AND LAYOUT 75

EXPLORING ACTIVITIES Whilst developing the scheme of my final design I made a series of models that explored different activities and the relationships between each activity at a scale of 1:100 and 1:200; the aim was to form a more fluid and logical layout that still promoted a fun playscape. To the left, a selection of the more successful concept models can be seen demonstrating successful moments that lead to the layout design of my interior playscape. I liked the way that climbing can easily invoke a change in level and amplify the grandeur of an open void space; like a grand canyon or high bridge over a chasm. It encourages a sense of wonder that awakes the inner child in us all to want to explore, from the ground up. Introducing sky lights worked best for these models as it only encourages the feeling of deep voids and the â&#x20AC;&#x2DC;wonderâ&#x20AC;&#x2122; experience it brings. Coming from the sky feels almost natural and can be used to highlight specific parts- in the end I chose these to highlight the main climbing areas being the knitted cores and the main voided space for climbing. Incorporating the ramp provided fluidity throughout the movement of the building which I believe to be extremely important to the success of the building. 77

COLOUR MODELS After refining my activities I began to look at how colour could influence the experience of each activity. I began by giving each activity a different colour and could organise the plan by colour, however I discovered this removed the fluidity and effect of the circulation that I was already efficient and effective. Instead, selective colour became a crucial element, using a â&#x20AC;&#x2DC;funâ&#x20AC;&#x2122; colour scheme that is bright and emotive to help encourage the movement and interaction around the building. Using cut offs from postcards and recycled cardboard I constructed rough 1:100 models that helped me explore how this could work. I found the effects of brighter colours on the interior cheerful and playful, which are emotions I want to invoke inside my building, therefore their use throughout activities is crucial. Whilst suitable inside the building, I do not believe these colours would be appropriate for the exterior facade as the exteriors try to remain for respectful to the landscape and surrounding reserves. Since the effort was made to keep the context of the site as a driving force for the brief and development of this building, the exterior colours will drastically differ from the interiors and will instead be more toned down. 79

To the right is an atmospheric showing one of the key knitted cores incorporating what I learnt from my mass of model studies. Whilst there is the fun element of climbing up and over a building on nets that are suspended and form part of the structure itself, there is also the creation and maintenance of an ideal escape from it all. The skylight from above shatters light down into the core creating a chasm like feeling of grandeur, encouraging humans to climb higher to seek the light as is our nature. The calm softness of the light, coming from the skylight, provides a perfect atmosphere for a person to escape to themselves if they want; where they can climb and relax in a hammock and stare up at the sky or out across the play landscape. Meanwhile it also has the power to encourage play- successfully making visitors want to interact with it. 80

As shown by the cut-through axonometric drawing to the left, the main circulation ramp runs straight through the main climbing chamber of the building. The route takes visitors through a smaller corridor like path before opening up into a much wider space lit with carefully positioned windows and skylights. The difference in scale will create the effect like they are transporting visitors to another realm as they move from one extreme to the opposite. The effect of playing with scale adds another fun element to the visitors journey. This drawing shows the selective use of colour on the interiors, creating a contemporary colourful alternative to just blocks. The aim is to have the colours appear as if they have fallen of the wall partly onto the floor, in a quirky geometrical play. The quadrilaterals follow the abstracted shape of the climbing wall, and end in a corner where the climbing wall panels protrude. The colours are bright and relate most to the primer colours red, yellow and blue with the addition of green to include a four colour selection. Although, whilst the interiors are encouraged to use bright and cheerful colours, the exteriors remain sensitive in their colour and material choice to the natural environment and remain earthy and somewhat muted in comparison. One of the key details features throughout the development on the site is the use of a complex circulatory ramp system, that feeds together from all access points onto the site. This route runs both inside and outside the building. I wanted to make this route feel more like a unified journey and so I made sure that both the material of the path inside and outside remained the same. This way, I could play with the idea of boundaries and help pull the interior playscapes into the exterior landscaping. A timber path runs from the outside across into the interiors. Where the floor meets the new path on the interiors a small shadow gap with LED lighting is introduced to deliberately juxtapose the difference in materials and make the route even more obvious. This helps add to the contemporary feel of the interiors but does not hinder the â&#x20AC;&#x2DC;naturalâ&#x20AC;&#x2122; feeling of the exteriors. 83

INTERGRATED TECHNOLOGY All images and work on this page are taken directly from my intergraded technology coursework which can be found as its own document separate to this portfolio book. The structure was designed to respond directly to site, as such pad foundations were used and kept to the minimum. The foundations are organised in a regular grid formation to allow for future adaptation if needs be. The structure consists of a Glulam Frame with a timber structure that sits inside and forms the majority of the structure. This makes contracting the frame much easier as most is prefabricated, reducing costs and time spend on site constructing. It also means that it is easy to dissemble once the buildings purpose has reached the end of its life cycle, making it possible for adaption or repurposing. The frame and timber structure sits on a lifted steel pad foundation connected using bolts making disassembly possible. The timber structure is made using UK standard factory cut sizes, rescuing costs of using standard sizing and not having to reorder specific cuts of timber. This was implemented early on in the design process. Technology has played a crucial part in this project and was implemented throughout the design process as well as into the final stages of realisation. It has helped shape the very nature of the building and has credited to its success.

PHOTOGRAPHS OF 1:500 GLULAM MODEL SHOWING FRAME STRUCTURE 84

Folded Zinc Parapet cap and Drip Profile 2mm DPM (folded beneath) 100mm Insulation 2mm Continuing Vapour Control 200mm Insulation and End Cap Fall prevention System 200mm Zinc Angle Seperating Vegetation 50mm Gravel Drainage Bed 2mm Vapour Control Glulam and Timber Roof Structure

Planting Min. 150mm Soil 50 mm Drainage 5mm Waterproof Root Membrane 15mm Plywood 100mm Insulation 2mm Vapour Control 315 x 240 Glulam Beam Steel Bracing 200 x 100 mm Structural Timber Beam 100mm Insulation 100mm Ventilation Space 15mm Plywood

1:50 SKYLIGHT DETAIL 150-200 x 30mm Larch Slats 20mm Gap 405 x 240mm Glulam Beam 15mm Larch Board 50mm Rigid Insulation 50mm Timber Baton 12mm Plywood Breather Membrane 200mm Insulation 150mm Timber Beam 100mm Rigid Insulation 12mm Plywood 10mm Acrylic (PMMA) Finish

10mm Acrylic (PMMA) Rough Finish 12mm Plywood 50mm Timber Beam 50mm Insulation 12mm Plywood 12mm Plywood 315 x 240mm Glulam Beam Steel Bracing 200 x 100mm Timber Beam 100mm Insulation 12mm Plywood

10mm Acrylic (PMMA) Rough Finish 12mm Plywood 2mm DPC from wall continuous 20mm Timber Decking (Plywood) 200 x 100mm Timber Beam 100mm Insulation 100mm Ventilation Space 50mm Timber Beam 2mm DPM 240 x 315mm Glulam Beam Steel Plate Ventilation Hole in Steel Beam 203 x 203mm Steel Beam 150mm Ventilation Space Foundation Detail

1:50 TECHNICAL SECTION 85

FACADE AND MATERIALITY The exterior of the building must mask the response to the site it sits on, therefore it takes a more earthly appearance and colour scheme. Whilst visiting the site, I became intrigued by the streaks of coal that wash up on the beach leaving black streaks in the sand- a reminder of the bays industrial past. I was inspired by this to use black natural and earthy cladding on the facade of my building. This includes the use of Larch, which over time weathers to a magnificent silver dark grey and zinc which remains a mat black. The nature of both materials makes them ideal for extreme coastal weather as both weather well and require low maintenance. To take advantage of the views over the landscape there are areas of mass glazing facing the south and west which risks overheating, glare and uncomfortable conditions. In response I developed an active facade that would help maximise solar gains in the winter but minimise the gains in summer. This was inspired by a similar example used in the â&#x20AC;&#x2DC;private residence in Riedikonâ&#x20AC;&#x2122; - using wooden slats to control solar gains. In my design I used Larch beams that were bolted onto the face of the building across the glazing in particular, each beam is cut vertically to control the amount of light it allows into the building. By controlling the solar angle I control the amount of solar penetration during different solar cycles in the year. This is shown in the 1:50 detail (right), which is part of my tehcnology coursework.

1:50 DAYLIGHT SECTION THROUGH FACADE 86

Skylights are used to help deepen light penetration in the larger spanning spaces, especially in key spaces such as the knitted cores. Skylights are at a slight angle (as shown in the sectional drawing on the previous page) to help reduce the negative solar exposure therefore helping to reduce overheating. The viewing station faces North and takes advantage of softer natural light as well as the long views across the entire Bay. The station is lifted above everything else. Zinc is used on theses sides that are most exposed to the bay and weather. By using Zinc these facades will not be damaged as easily due to the nature of the material.

1:100 MODEL, SHOWING ORIENTATION 87

ENVIRONMENTAL STRATEGIES As part of my design I found it crucial to include was much sustainable technologies as possible from the start of my design process. This included natural processes and manmade interventions. Using thermal massing and solar orientation I was able to apply a passive solar design to my building. This helped maintain an optimal climatic temperature throughout my building, using strategic vents on Skylights and openings. This encouraged natural ventilation techniques such as cross ventilation and stack ventilation in void spaces to help naturally keep the internal climate temperate and pleasant. This is extremely important to the scheme as there is a lot of activity and heat generated from visitors and a cool supply of fresh air needs to be circulated regularly. This can be seen in both 1:100 and 1:200 sections on this page, both of which have been taken from my technology coursework submission and can be found with additional drawings as a seperate document. The use of a green roof helps encourage plant growth as well as acts as an additional layer for the effects of thermal massing. The roof is shaped to allow the collection of rainwater and channel it through to a collection point for rainwater harvesting, promoting a reuse and recycle culture. The central courtyard also has water mass which is linked to the overflow of the rainwater harvesting system to secure efficiency. Water mass in the courtyard helps maintain a comfortable facade climate through evaporative cooling and advanced passive facade temperature exchange whilst creating the gradient for more efficient natural ventilation.

1:100 SECTION SHOWING ENVIRONMENTAL STRATAGIES 88

1:200 SECTION C SHOWING NATURAL VENTILATION STRATAGY

1:200 SECTION A B A

A SECTION LINES DIAGRAM 90

DETAIL OF SECTION A 91

COLLAGES SHOWING THE ‘FUN’ ATMOSPHERE THROUGHOUT BUILDING 93

STUDIO SPECIFIC TECHNOLOGY As part of a larger masterplan I began to develop on the wider landscape of the site as a way of expanding my playscapes and incorporate technologies that will benefit the wider site, including conservation efforts of the surrounding nature reserves, as detailed in my brief. Since the site is surrounded by nature reserves there is the opportunity to support and encourage the local coastal flora and fauna with a manmade wetland utilising reed-beds and a rainwater harvesting system integrated into the landscape. This has been covered in depth in my technology coursework which can be found as a separate document as part of this portfolio. The ideology of this system encourages the recycle and reuse of water on site. Any waste is then used in maintenance and fed back into the landscape. Details of this system can be seen to the right, this diagram belongs to a collection from my technology coursework. 94

500

Grey water from Tanks/Building

Septic Tank

Gravel, Sand & Soil/Pebble Filter Layer

Outlet Ditch

Recieving Tank Adjustable Outlet Structure

Organic Detritus Layer Inlet

Limestone Base

Emergency Overflow

1 Overflow

Waterproof Lining on every Tank

500

Recieving Pond

Initial Tank

Pump to Garden/ Ponds/etc Water Storage Tank

Plan View

Wetland Plants Soil (must cover liner) 100 Reed Soil & Sand 150 Pea Gravel (Fine) & Sand

Must be Level Surface Max 1% Slope

200 Coarse Stone 500-700 Rock (Crusher-Rock)

MIN 400mm

Paving Slab Outlet 2-3mm & 2-3mm DPM & Impermeable Plastic

Filtered Water runs into Horizontal flow beds

RAINWATER HARVESTING AND REUSE STATAGY 95

LANDSCAPE PLAN 96

LANDSCAPE The landscape becomes part of the wider scheme of the building as the playscapes are extended further out into the exteriors. Within this a man mate wetlands lake is made with a tearing reed-bed system to help filtrate the water for recycling and reuse. The Landscape design takes form from the natural access routes that were explored at the beginning of the realisation phase of this project. The routes were split into three- Coastal, Nature and Playscapes. These routes enabled the activities that would follow their route, therefore there is a balance between natural landscaping and playscaping. As part of the natural walks and landscaping on site I include play gardens which are gardens that have planting that encourages interaction and play- inspired by Space2places’ research for ‘planting for play’. Change in level is an important element that was developed through modelling in the design of the interior playscapes, therefore change in level must be expressed in the landscape as well to mirror the effects of the interior and exterior spaces and help distort the boundary between the two even further. This was done by excavating paths through the landscaping, to go under and over mounds as well as allow entrance to the building from a lower level. Since there were no trees on site I could not have a tree walk. Therefore I designed an additional tree like structure that could raise the timber walkway that snakes around the entire landscape and building interiors, as seen modelled at 1:100 scale. By adding hight I am creating a completely new journey that raises visitors above to allow them to see the entire landscape. It also encourages another element of play into the landscape and provides fluid junctions between external spaces. The fluid paths run from the landscape to the beach intercrossing at the focal point - the activity centre. I was greatly inspired by the Landscapes of Charles Jencks, whose work I saw when visiting Edinburgh on our field visit.

1:500 LANDSCAPE MODEL WITH MASSING 98

PHOTOGRAPHS SHOWING DETAILS OF LANDSCAPE

1:500 LANDSCAPE SECTION B

PERSPECTIVE SKETCH DEVELOPMENT 100

PERSPECTIVE SKETCH DEVELOPMENT 101

THINKING ACROSS SCALES As part of my Primer investigations into product design I began to develop a design for a Windbreak that played with the colour and materiality of light, inspired by contemporary stained-glass windows of my Primers typology studies. The outcome produced a self supporting triangular frame with alternating opaque, translucent and transparent panels of differing sizes and colour. These panels created a similar effect as seen in traditional and contemporary stained-glass windows but also provided successful view framing for a practical and aesthetic purpose. I explored the practices of cross disciplinary theory in architecture studies in my architectural theory into practice essay which can be found as a separate booklet as part of this portfolio. 102

SKETCHES OF PRODUCT DEVELOPMENT THROUGHOUT DESIGN PROCESS FROM WIND BREAK TO BREAK SPACE 103

‘BREAK SPACE’ Part of the Landscaping Mater-plan of my project requires a series of sheltered spaces to provide a seamless connection between building and internal spaces and the exterior landscape. For this I returned to my product design to see how this could be implemented into the wider design scheme. Following the basic principles of product design I experimented with expanding the triangular geometric shape into a parabolic dome, meanwhile toying with the common perception of enclosure. The structure mimics that of the main building using similar techniques with timber and maximising adjustability for movement and expansion. After modelling and testing ideas I came to a simple yet effective final design that correlates to the design of the main building while sinking into the natural landscape to help connect the two while journeying across the vast site. The main concept for the final design of this ‘product’ comes from breaking down what makes a WINDBREAK and simply removing the title of ‘wind’ to create a series of successful BREAK spaces. The recycled acrylic and timber domed structure provides a sheltered space for visitors to take a break during their journey around site while opening up to the beauty of the surrounding nature. The full 360o domed view of the landscape blurs the line between outdoor and indoor providing a sheltered space that is both interior and exterior. Views and light are controlled by alternating panels from translucent film to transparent glass-like-acrylic. As part of a positive life cycle the materials for this product (and project) are strictly kept recyclable and promote active reuse of materials wherever possible. Sunken into the ground, the seating and movement around the dome promotes a physical and spiritual connection to the earth. This also links into the play of levels as you journey around inside the building, around the building and as you expand your scale outside the boundaries of the building and into the wider landscape. The sunken nature of the dome allows for people to lean against the outside of the dome as well as provide an interactive element for people to climb on and investigate freely. As it is sunken, the entrance to the dome is completely open with a simple timber staircase (or ramp in some examples) leading down into the main body. Just like a windbreak, the idea of this shelter is to be easy to assemble as well as deconstruct if it needs to be moved in the future. The floor is simple rammed earth with gravel drainage. This means that if the dome is moved, the sunken pit can be refilled with earth and can be encouraged to develop as an ongoing extension of the wildflower gardens. There is a maintained connection between humans and nature, stimulating the senses of being outside such as the sights and sounds 104

of nature but coupled with the warmth and shelter of infrastructure. As part of a pervious investigation into retaining heat in emergency cardboard shelters for Charrette Week, a dome shape proved to be successful at maintaining a comfortable internal temperature as long as there was an opening to allow a natural ventilation flow of fresh air. This heavily implemented the use of a larger sunken timber dome shape with open entrance rather than a completely enclosed permanent pod-like shell with a door. The play with light emphasises the relation to the surrounding nature and provides visitors with the chance to take shelter while enjoying the shaped natural landscape of the site. Numerous domes (Break Spaces) can be found across the site. Each break-space can be accessed from multiple directions supplementing the idea of self exploration as a form of way-finding. While control over the quality of light and views promotes a healthy connection to nature it also challenges the perception of enclosure as a whole. Light as a material can be used to play with shadows and temperature to connote the ambiance of internal spaces. The structural elements and materiality of the dome itself reflects other infrastructures on the site including the main building complex. This allows for a visual and physical connection to be made between the main building, the landscape and the Break Spaces in-between.

ROOF PLAN

1:50 MODEL

1:50 PLAN

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Technology became one of the most fascinating and supporting elements to my graduation project this year. Through the completion of part 1 of my integrated technology submission I have developed a significantly stronger understanding of structure and material application, which I believe will be extremely beneficial in my next step towards practice. By focusing knowledge and precedent research on my own design it made me reflect more on the application of technologies rather than adding it in as a factor at the end of the design process, which is not realistic or effective. By establishing the importance of technology into my design at an early stage I believe that my work was made stronger and it helped shape and develop my overall masterplanning.

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INTEGRATION OF TECHNOLOGY PART 02 - REFLECTION 107

1:500 MODEL SHOWING GLULAM FRAME INSPIRED BY THE CONSTRUCTION OF SAINSBURYâ&#x20AC;&#x2122;S IN DARTMOUTH 108

SAINSBURY’S IN DARTMOUTH

BUILDING STRUCTURE Initially in my first technology briefings I began research on fly ash concrete and the possible integration of ‘recycle’ concrete. During this stage I made a series of cast tiles experimenting with colour and textures that may provide useful tools for creating experiential materiality. However, as I began to refine my design, my focus soon changed in relation to site. This resulted in me changing to adopt a mass Glulam and timber structure instead, arguing against the use of mass concrete, especially on sand dunes and undeveloped sites like mine. After consulting our studio structural engineers they confirmed that my building could be built using minimal concrete, resulting in the small pad foundations strategically placed and detailed in my integrated technology part 1. Additionally, this foundation and structure allowed for future adaptation by using bolted connections allowing for easy assembly and disassembly. I was interested in minimising the effect to site during my design process, therefore a prefabricated structure that could be assembled off site would reduce the time and effect of construction on site. This would also reduce the disturbance effect on surrounding local nature reserves, which the exterior of the building is designed to respect and support. I found that the construction process seen in Sainsbury’s in Dartmouth to be a useful example in the structure and erection of timber/Glulam frames. It heavily influenced my final structure which I presented in my technology submission. This photograph (left) is taken from my architectural technology coursework, please see the attached operate document as part of this portfolio. 109

PHOTOGRAPHS OF PROTOTYPE FACADE DESIGNS THESE PHOTOGRAPHS HAVE BEEN TAKEN FROM MY TECHNOLOGY COURSEWORK 110

PRIVATE RESIDENCE IN RIEDIKON

TRADE CENTRE IN BERGELL

BUILDING CONSTRUCTION & MATERIALITY A pivotal part of my design development was taking advantage of views over my heavily developed playscape landscaping to help bridge the distance between interior and exterior playscapes and blur the boundary between indoors and outdoors. To do this involved large areas of glazing on the south and west facades, which would cause large solar gains risking overheating and glare, therefore making the key space an uncomfortable place to inhabit. Therefore, as part of my integrated technology, I underwent an investigation into a facade design that would combat these effects and create the most comfortable natural environment possible. I was heavily influenced by two key case studiesthe Private Residence in Riedikon and the Trade Centre in Bergell. Both timber framed structures use timber as the primary material for their facade. As my research continued beyond my massing phase of development I began experimenting with different facade light models to explore the effects different layers and sun shelves can have. This resulted in me developing my final timber facade which I presented as part of my part 1 initial hand in. The schemes success relates back to the initial experiments and research conducted at the start of the design process and has been significant throughout the remainder of the design development of the building frontage. When I first visited site I was intrigued by the coal that washes up on the beach from prior years of the historic mining industry in the area, this inspired me to choose a dark cladding material to mirror this context. For this I chose larch as it is an easily obtainable material that can be sustainably grown but it also over time weathers to a dark silver grey colour. Additionally, in areas facing the direct coastline and will receive the most weathering, zinc cladding would be used as the nature of the material would make it easier to maintain and it would last longer. Zinc became a fascinating material to research, not only deepening my knowledge of zinc clad buildings but also the techniques behind its fabrication and construction. I developed a unforeseen respect for Zinc as a material for architects which I would have otherwise not considered. It it had not been for the technology influencing my research this would have been a greatly missed opportunity. 111

SECTION SHOWING APPLICATION OF NATURAL VENTILATION IN MY DESIGN THIS IMAGE IS TAKEN DIRECTLY FROM MY TECHNOLOGY COURSEWORK

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BUILDING ENVIRONMENTAL STRATEGIES & SERVICES After receiving feedback on my initial pre-easter technology work I began to work on improving the clarity of my environmental strategies. This involved revising the route for natural ventilation and clarifying the cross ventilation and stack ventilation effects. I was also able to add additional diagrams to help me explain the process and application of my larch slatted facade with more clarity, since it was this area that was represented weakest, although the theory behind it was there. My building is an activity centre where people are encouraged to run and be active. This generates heat quickly, therefore a steady stream of fresh cool air is necessary to be circulated around the building; especially in large void areas. I found that natural ventilation was optimal to apply to my design, carefully making sure the routes for air are unobstructed and there is a clear gradient created to allow for the effects to work. Solar orientation of my building positioned it nicely to take advantage of natural wind gradients as well as include passive solar features in my earliest designs. Whilst the design of these strategies did not change drastically over time, they did help to position the skylights with optimal positions and made sure to consider how â&#x20AC;&#x2DC;realisticâ&#x20AC;&#x2122; it would be to use a building- a problem architecture students can have time to time. If the design process where to continue past this point, I am sure that these systems would have become more complex- for now they remain simple yet effective applied strategies. 113

HAND SKETCHED AND ORIGINAL ROUGH NOTES ON REED-BED PLAN AND APPLICATION SOME OF THESE SKETCHES HAVE BEEN USED IN PREVIOUS TECHNOLOGY SUBMISSIONS 114

STUDIO SPECIFIC TECHNOLOGY

HAND SKETCH OF INITIAL LANDSCAPE PLAN

Our studio has been heavily influenced by cross disciplinary applications. In my developments I considered this across varying scales, especially in the expanded landscape. This later became my exterior playscapes and landscape masterplan by the end of the project. When considering sustainable technologies, we as a studio were introduced to rainwater harvesting and its pros and cons in design. I believed I could take it one step further and started to explore how this system would fit into my larger landscaping scheme. It was towards the realisation of my final designs when I began research on man made reed-beds and wetlands. Inspired by the surrounding nature reserves that also feature these man made wetlands, I started to draw up simple plans to see how these systems could be linked to my building and larger scheme. The overall scheme fits well into the landscape and is respectful to the context of the site. It promoted the reuse and recycle waste culture that I feel strongly about and have applied throughout my design process from as far back as primer (making sure to use recycled and reused materials). Even in early staging, context of the surrounding site has played an important roll in the development of this project. Evidently, returning to the context of site again towards the end of the development phase proved to be extremely useful and judging by response from tutors and peers looks to be successful. If I were awarded more time I would have expanded this even further past my part 1 submission and push the boundaries of design and technology to see how far they will go. 115

CONCLUSION Reflecting back on my technology studies throughout the past year, the most successful part was the integration of technology knowledge required for the part 1 submission for our design. Making me rethink the most effective ways for heating and cooling at an early stage made my designs more efficient and left more time for me to investigate more complex and interpretable systems such as my facade or studio specific reed-bed system. I found the early application of technology to be highly influential in my design process, not only benefiting my overall projects scheme into being more effective but helping to sharpen my own knowledge in the overall application of technology which will prove extremely useful in future practice. An excellent example from this year of this would be the process behind the development of the south west facade of my building. Working with the design of wanting to use the views over the landscape to my advantage, I was able to test and apply a technology solution that would decrease the negative solar effects but maximise the gains of views and desirable light. I believe that it is extremely important to consider and integrate technology into early designs as an aid to help refine design proposals into more effective and efficient solutions. I found the early integration of technology to be extremely useful and allowed me time to refine my ideas before the part 1 submission, therefore post the submission I was able to focus on representation of my theories and ideas instead of any sudden dramatic changes needing to be made late on in the design process. I will continue to work in this integrated manner as I feel it is very successful.

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CHARRETTE

CHARRETTE WEEK For one week our group explored the thermal spectrum to create a range of sculptural assemblages that serve as a simple and cost effective temporary shelters. For this we experimented with materials and form to maximise the capacity of thermal insulation within the designs. Our final design took inspiration from the igloo form. We built in a cubic base with a resting parabolic dome secured with ties, our design exercises simple geometry for the most stable structure made entirely from cardboard. A plastic ground sheet and cover were used for protection against the weather. Plastic bottles were filled to weight and insulate the structures hollowed base. Since the shelter was only meant to be temporary, we made sure the materials we used could be dissembled and recycled easily at the end of the week.

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INCUBATION STATION THERMAL TESTING Throughout the week we recorded through thermal imaging the tests and developments in our design. All the materials supplied were low cost, waste materials such as cardboard and plastics. The design had to be low cost and easy to replicate in an urban environment by marginalised members of the community. Looking at the results of our thermal images we can see that the shelter was a success remaining warm. The tests of materials helped show which materials, size and shape would perform best in our â&#x20AC;&#x2DC;domeâ&#x20AC;&#x2122; shape finally choosing cardboard, Hypaguard foil blankets and plastic wrapping sheets.

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