THE WORKS Emily Clowes
THE WORKS: The Making & Memory of Craftsmanship 4th year Architecture & Planning Portfolio Emily Clowes
‘THE WORKS’ BUILDING SUMMARY Following on from Bath Abbey’s example of strong Craftsmanship throughout it’s history, ‘The Works’ introduces and supports the already existing practice of craft as an art form within bath’s creative industries. In an ever progressing digital world, production thus less craft. This is where the idea of craft as a mechanism for progression is introduced. Craftsmanship reiterates the importance of social interaction and learning from observing. It’s ethos is to ensure the human condition of being engaged and dedicated to good work for it’s own sake and it’s labour, not simply being a means to an end. ‘The Works’ introduces a programme of key bespoke foundry work; stone, iron and glass linked with artists in residency studios, educational and exhibition spaces in order for a building to come together - as craft - to evoke skill and the capacity to continue to develop.
The Works
01
INTRODUCTION
Craft Quays
The Works
02
BUILDING BREIF
03
THE SITE
04
Craft Quays MASTERPLAN
CONTENTS PAGE
The Works
05
CONCEPT & DESIGN
06
DESIGN PROPOSAL
The Works
The Works
The Works
07
TECHNICAL STUDY
08
ENVIRONMENTAL STUDY
Project
09
CONCLUSION
“Craft work involves the creation of a material by the direct activity .... what differentiates it from other types of formative activity is that the worker uses his or her own skills to form the object from raw materials that are themselves the products of previous labour� Sayers 439
01 INTRODUCTION THE CRAFTSMAN THE IMPORTANCE OF CRAFTSMANSHIP DIGITAL & ANALOGUE WORK FOCUS ON CRAFTsMANSHIP PRESERVING CRAFTSMANSHIP IN BATH
THE CRAFTSMAN PROLOGUE noun 1.a worker skilled in a particular craft. autonomy and authority“: the need to be a free, self-determined creator, and the equal need for that creativity to be measured against collectively-agreed upon standards of excellence. It is here that we can see the importance of the presence and thinking of the Craftsman; with its ability to connect us to tradition and uphold its standards, the precision and time taking process and the source of the respect founded and self-worth THE TRANSITION A craftsman would have to pass through a career chain, from apprentice to journeyman before being elected to bcome a master craftsman. The process would be long and enduring for the craftsmen. An apprentice would be bound to a Master for a long period of time, before becoming a Journeyman and setting out on travel. The tradition dates back to the medieval times, and holds and demonstrates the importance that the craftsman learns from others over a long time to develop their individual skill of the craft.
THE CELEBRATION OF THE CRAFTSMAN HEPHAESTUS
One of the earliest celebrations of the craftsman appears in a Homeric Hymn to the master god of craftsman, Hephaestus.
community were, for the early Greeks, indissociable”. Thus demonstrating Hephaestus as a bringer of peace and maker of civilisation ...Craftsman - Demioergos: public (demios) + productive (ergon)
PLATO The classical philosopher most sympathetic to the archaic ideal of Hephaestus was Plato, who also worried about its demise. Plato states that “all craftsmanship is quality-driven work”; Formulating this aim as the ‘arête’, the standard of excellence, implicit in any act: the aspiration for quality will drive a craftsman to improve, to get better rather than get by. Although as the trade of the craftsman housed different titles for the different skills, Plato was concerned in his day that this kept people from understanding what they shared.
PRESENT DAY This, then, is a community of craftsmen to whom the ancient appellation demioergoi can be applied. It is focused on achieving quality, on doing good work, which is the craftsman’s primordial mark of identity. In the traditional world of the archaic, standards for good work were set by the community, as skills passed down from generation to generation.
Hephaestus
THE IMPORTANCE OF CRAFTSMANSHIP GOOD WORK FOR IT’S OWN SAKE
It is this focus on achieving quality, doing good work and community driven skills that set the example for inspirational work of the craftsman. Demonstrating craftsmanship as a “form-giving activity” - where self and social relations develop through the making of physical things. As seen from the Medieval times, craftsmanship is a quality that is that comes from creating with passion, care and attention to detial. that one has for doing good work for it’s own sake that develops a persons self relation, but also the ability the art of craft has to evoke a social interaction type of learning. This is why we should not give up on the workshop as a social space. Both present and past examples of workshops have the ability to create a unique bond between people, through work rituals, the interactions over a shared cup of tea or the urban parade; through mentoring, whether the formal surrogate parenting of medieval times or informal advising on the worksite; through face-to-face sharing of information, all denotes craftsmanship as a greater means than the product, but the skill to develop oneself further for the good of themselves and others.
THE IMPORTANCE OF CRAFTSMANSHIP CHALLENGING THE MACHINE This face-to-face sharing of information and learning from others is what stands out to me as the ability that craftsmanship has to form the society we live in today. Although the trade has experienced some demise, particularly seen through industrialisation, where the means of production had become too elaborate, too extensive and too centralised to be owned and operated by an independent craftsman. As in craft production, the worker has the ability to control the tools, where as in industrial production the tool is taken out of the worker’s hands and operated by the machine. Therefore machinery is misused when it deprives people from learning through repetition. Where the machine can seperate human mental understanding from repetitive, hands-on learning. In contemporary usage, the idea of ‘craftsmanship’ has lost its dignity, becoming just a word for a once was traditionalism. However I believe that the art of the craft extends further than this, and thus it is a challenge faced within the 21st century. Through new technoligies and an ever growing world, it is important that the symbolic work of the craft is continued to be uphold in workmanship. Where people are often working solely in front of a computer screen, this takes away the chance of interaction, serendipidous encounters, learning through mistakes and learning from others. In this world, it is this social relationship within the work force that is being lost, and creating a world of mass-producers loosing the skill, beauty and social interation that is uphold within craftsmanship. This is not to say that new techologies are not welcome, much of which has enabled craft to develop in it’s own right. It is the not only the precision of work that the world is losing within the modern day but the interaction with one another that has the ability to develop not only the persons work but themselves as a person.
PRESERVING THE CRAFTSMANSHIP OF BATH BATH ABBEY
Over time it can be seen from the above prologue the importance that craftsmanship, as an individual skill and social example of work has held over time. This embodiment of hand crafted details of Bath Abbey that stands out the most to me. Through researching the Abbey over time, it is almost impossible to imagine that the Abbey once stood derelict for almost 70 years during the 15th Century. After the demise of the monastries, the Abbey stood still in time. During this period of the Abbey’s history, it was stripped of all its valuable possessions, glass from the walls and iron from the cieling were taken away and left the Abbey as a empty stone core. Seeing the present Abbey today, it is these three materials that exemplify its beauty today. The large stained glass windows, the cast iron ornaments and the stone carved details inside and out are bought together to create the highly spiritual, beautiful awe that is Bath Abbey. It is these features that are seen now that were once stripped that demonstrate the craftsmanship of Bath, where the church has been restored over time through delicate work of craftsmen and women that are pivotal in the history of Bath, and it is this, therefore, that I have found to be particurlary important to form and expand this narrative of the importance of craftsmanship of Bath that should be bought through and developed within the 21st century. Following on from its history and mirriored in such a creative that the skill of the craftsman has the ability to expand itself creatively and socially to become a stronger, united skilled city.
Much of the Abbey’s Delicate interior and exterior is carved from highly skilled craftsmen, the ornament and form of the carved stone in order to tell a narrative of the Abbey
STONE
Iron from the roof was stripped from the structure when the abbey lay in ruins. Now, Iron chandeliers hang from the impressive Perpendicular style church.
Whist the Abbey sat in ruins, all it’s glass was also taken away. Leaving the abbey as an empty stone structure. since the redevelopment during the 15th century, Glass plays a huge role within the dramatic style, spirituality and senses within the church.
IRON
GLASS
The important history of the Abbey demonstrates the importance that craftmanship has played throughout time. The events of the 15th century where the abbey lay in ruins is what is taken as a narrative for this project. Where the Iron and Glass was stripped from the building, demonstrates the valubility of the two products.
remembered and restructured in the building.
02 BRIEF RESEARCH BUILDING USERS BRIEF OUTLINE SCHEDULE OF ACCOMODATION
RESEARCH In order to express the prologue through the building brief, it was important that I understand what guidelines would need to be carried through to express the importance of craftsmanship already stated. In order to better understand the process, I took part in a glass before I went on to produce my own work. This research was essential with relation to understanding the trade. Secondly, alongside physical work, I read many studies and books regarding the subject. The strongest of which was ‘The Craftsman’ by the socioligist Richard Sennett, most of whoms work led the building design with his regards to the social interaction of craftsmanship and the ability to do something well, for simply, its own sake. Sennett reiterates how ‘skill is a capaciy that we can develop’ highlighting three key abilities of craftmanship; - to localise - to question - to open up. As the key to good craftsmen denotes that once someone can do something well, people can feel fully and think deeply about what they are doing. A space that introduces the works of craftsmen must therefore be a space that ensures interaction, the ability to learn and the creation of pracitical acitivity.
BUILDING USERS CRAFTSMEN The Works introduces workshops that will bring to the site permanent craft work. These seperate workshops will house three key crafts taken from the narrative of the Abbey. GLASSBLOWING The art and craft of glass blowing already has strong permanence in Bath, and this will be integrated and bought to the centre of the city, allowing the skill to be better understood and demonstrated through its important art. IRON FOUNDRY Again already seen on the outskirts of Bath a new permanent Iron Foundry will be centred within the Works. Allowing large space for craftsmen of the trade to work and demonstrate the skill of the trade.
STONE MASONS Clearly a well appreciated craft within the city through Bath Stone, the art and creativity of Stone through the craftsmen of stone masons will be present in its own large workshop. Bringing different craftsmanship together at the heart of the city will enanble interaction between different craftsmen and the ability to co-work with one another, sharing the skill of crafts through different trades allows the craftsmen placed within the building to learn and adapt to one another if neccessary. craftsmen to place themselves within.
ARTISANS
Alongside the permanent workshops within The Works, smaller, more adaptable spaces are incorporated within the building. Introducing
rentable studios of different sizes, shared or individual, of different light and space quality for artists in residency of Bath. Creating spaces which allow for a variety of different artistans of different skilled crafts to come together in a building that allows them to have this connection to the ‘Master Craftsmen’ of the workshops, to develop ones skill and social learning of craftsmenship.
COMMUNITY
As the building is mainly community based in order to give back to the people of Bath, it will be a mainly private building for workers. However the building has the ability to invite the public into the building through learning spaces and exhibition spaces allocated throughout, that educate the community of craftsmenship and the importance of history it holds within the city.
BRIEF OUTLINE CLIENT The building users initiate the clientel for the building. The symbolic bringing together of different skilled people create a building that inspires the users. Where spaces are allocated to work externally and exhibit the work throughout denotes an ever changing building that develops as the users do. Allowing spaces for people to come to the building to buy work or order bespoke creations produced there. AIMS The aims of the private focus of work and the public intergration of learning and experiencing bring together the meaning of the building. The Works aims to create a space within the centre of Bath that engages the community together to create a unique hub or craftsmanship workspace that connect togther through the importance of interaction within the trade. SEPERATION & INTERGRATION The building as a whole is somewhat seperated from the mastercraftsmen in their permanent workspace from the changing spaces of the rentable workspaces. Connected together through a circulation space surrounding an external workspace brings the two together through the ability to observe and learn from one another. The seperation is key, this symbolic transition denotes the medieval progression of craftsmen and the invitation to step out of ones comfort zone to interact and itergrate oneself with the work of others in order to inspire and evoke ones own aspirations and goals.
SCHEDULE OF ACCOMODATION WORKSHOPS GLASSBLOWING WORKSHOP OFFICE SPACE IRON FOUNDRY OFFICE SPACE STONEMASONRY WORKSHOP OFFICE SPACE
ARTISAN RENTABLE STUDIO SPACE 120 sqm 24 sqm 380.4 sqm 9.6 sqm 350.8 sqm 11.2 sqm
DELIVERY DELIVERY STORAGE OUTSIDE DELIVERY DEPOT
SHARED SPACES INDIVIDUAL SPACES
166.8 sqm 105.6 sqm
ARTISAN WORKSHOPS WOODSHOP WELDING METAL MACHINERY
GALLERY ROOM 108 sqm
PUBLIC SERVICES
EXHIBITION/CIRCULATION SPACE
72 sqm 48 sqm 42 sqm
ROOF TERRACE
REFECTORY ARTIST RETREAT
388 sqm
EDUCATION SPACE
976 sqm
83.2 sqm 100 sqm
180 sqm 52 sqm 375 sqm
ANCILARY FACILITIES W/C PLANT ROOM
432 sqm
320 sqm
156 sqm
ORDER DEPOT
STORAGE
COMMUNAL INTERACTION EXTERNAL COURTYARD
SHOP
ADMINISTRATION
148 sqm 42 sqm 100 sqm
144 sqm
03 THE SITE INTRODUCTION & OVERVIEW UNDERSTANDING THE SITE SITE ANALYSIS SITE HISTORY
INTRODUCTION OVERVIEW
AVON STREET CAR PARK & COACH PARK
The site is situated on the west fringe of Bath’s central core, where this includes both the existing Avon Street cark park and coach park. The area is located within a mixed use area of Bath; it is within close proximity educational buildings. Covering a total area of 27, 350m2 and currently contains the coach park - 41 spaces, multi storey car park including external parking spaces - 700 total. from close connection to the riverside, hosting as a potential key feature of the development which is currently thought of as a lost aspect of Bath which is under-appreciated.
CITY ANALYSIS CONTEXT
In order to understand the site and its context, much research was carried out in order to comprehend the surrounding city. The diagram here demonstrates gaining an understanding of the different programmes and the quantity of each programme in the surrounding area of the site. Undertaking such a diagram led to a better understanding of the site in order to develop a programmed masterplan that is current to the city of Bath.
UNDERSTANDING THE SITE Through researching the site and its near-by context, I have begun to break the site up into areas that could see the potential programme of development. As I feel that the development should correspond and react to the current context, I have begun to place the programmes through extension and links from the current context. Through the use of potential key access routes from different areas of the city and the location to the North and South of the river, the map denotes the break up of the site as a potential for development, exaggerating these key access routes into the site and particularly through connection to the formative Walcot Street and Bath Abbey; that will play an important role in linking the proposed masterplan to the city.
SITE ANALYSIS IMAGES Through analysing the site it is clear the main connections and context that are important to consider with relation to the Works building. The photos denote some key aspects that will be considered in the development, not only for the Works building but also the masterplan that has been proposed. The Axis through Avon Street will be important to consider as the road sees a The river Avon is within extremly close proximity, this key feature will be considered through the development. Particularly as this is seen as a lost space of Bath, this will tie in with the promotion of the lost craftmanship that is being bought to the area, ensuring that these work together to prompt a fulfulled environment. The last picture sees the Abbey from the top of the current car park, a key site that will hold strong relations within the Works.
Avon Street
Avon Street multi-storey car park
River Avon view to the South
External car park & view to the Abbey
SITE ANALYSIS DETAILED STUDY
Sun path and daylight – The site is largely unobstructed during the day. The buildings surrounding the site are generally south facing. Where the south of the site (just north of the river) is generally blank – apart from the multi storey car park.
Topography – Due to the topography of the site, it falls within to the raised surrounding land of Bath. The average height of the site is 18.66m where the greatest change in height is 1.5metres. Therefore the topography of built environment is generally low lying.
Winds - Wind studies show that higher speeds of wind were detected along the outlines of the site rather than within the site boundary. This is notable where higher wind speeds are detected around the river and longer roads (Such as Green Park Road). Wind rose diagrams (show?) demonstrate that the highest percentage of wind direction is seen in a westsouth direction Noise - A full site map has been produced for the site. As it is surrounded by a network of roads including Corn Street, Green Park Street and Avon Street. Due to the high volume of usage that these roads see, the vehicles produce the largest percentage of noise that is heard within the site. The nearby railway line to the south of the site also adds to the level of noise within the site. Geo-environmentalof bedrock (consisting of bridport sand formations). To the north of the site a natural fault line lies – this creates the natural hot springs and therefore movement or changes in size could have an effect of the hot springs that bath is famous for.
SITE HISTORY During the Roman and Pre-Roman time the area would have been period, the site can be seen to fall within two medieval areas known as Kingsmead (to the west) and the Ambry (to the East) – both of which were owned by the Church. The site during this period continued to be particularly undeveloped where the land would be mostly used for grazing. The Georgian period plays a strong role in the development of Bath as we know it today; it is thought that the site would have begun to be built up during this time. Due to the industrial revolution and increased need for housing, our site at Avon Street became a renowned place of an unpleasant, over-populated slum. Key information has been taken from these maps and the history of the site, as craftsmanship of Bath dates back to historic times particularly with relation to the history of the Abbey taken within the narrative; the site will be built up from its current rather undeveloped place in time to represent the development that used to be. 1880’s site map
1900’s site map
1930’s site map
1950’s site map
04 MASTERPLANNING SPEED PLANNING GROUP MASTERPLAN INDIVIDUAL MASTERPLAN
SPEED PLANNING
GENERATING A MASTERPLAN In order to begin producing our own individual masterplans for the site, the year came together with students of BA(Hons) Town & Country Planning, and worked in groups to form primary concepts for the site. The aim of the speed planning session was to think quickly in order to spontaneously produce a proposal. By setting down the main crteria, the scheme would be developed within the groups in order to further develop the ideas.
G A R D E N
The WALL
Avon Performance Culture District
O F
A V O N
Though usually an element of confinement, here releases us. Beginning by squaring up to the formality and ‘make-up’ of the Georgian’s social aspirations, it densifies the northern edge of our site freeing up much of the land and welcoming a new arcadia for 21st century Bath. By re-invigorating the ambience of the Ambry found in the medieval period, it attempts to re-live an honest and rural way of life close to the city. By encouraging nature to once again take its place and prevail triumphantly, bursting through the black crust upon which 660 metal beasts rest their weight. The car park becomes a meadow.
Bath City Opera House & Performance Arts Corridor
This is defined as part of a linear strategy to stratify the entire site lengthways on the east/west axis, following suit of the layered texture to the south made of road, rail, industry, river and pathway fibres lying in parallel to one another and set into the topography. Intensifying the conversation oscillating between the past and the present, front and back becomes animated through its own social aspirations. A richly configured contemporary programme offers glimpses of a nostalgic higgledy-piggledy backstreet atmosphere inside, also allowing views and vistas to be considered outside. In closer detail the meadow is cut-off by an ice-rink in winter and irrigation in summer drawn in from the river. This long chunk of meadow grazes goats and chickens, before meeting the ice path then a strip of diverse gardens completes the layers up to the rustically permeated monolith that is the new city wall. Inhabited by storage, a hostel, industry, and agricultural facilities fluidly jutting out when needed and conscientiously parting at seemingly accidental stages revealing key vistas of greenery on the horizon consequently inviting the horizon to look upon it as its own microcosm of life acknowledging the plurality of Bath rather than it’s beige homogeny. The city is kept ‘in-check’ by the citadel.
City Wall Shared Space Opera House Glass Factory Green FIngers Vaulted
-Tour
ism
* Treehouses * Arcadia
Back Street
Agro
* Untouchable
STORAGE
STORAGE
PRODUCTION
MARKETS
* New city wall * Short let housing
Bridge
RESTAURANTS In Formal
Formal
A
A new ‘Cultural Corridor’ beggining at the Asembly Rooms and the Circus, travelling vertically down through Bath, highlighting performance venues and stitching the urban farbic between itself and the tourist route.
A’
Section A-A’ Scale 1:1000
1 : 2 00o M a ste r p la n ( Gr o un d Le v e l)
3
*Allowing the river to flow within the site and to display B a th ’s h isto r ic e le me n t th r o ugh c la ssic a l a r c h ite c tur e . Zoning / Development Areas
*Less dense development within the west through the use of a p ublic p a r k .
Proposed Development / Building Fucntions 1
1. Residential 2. City Extension / Back of House
1. Residential Units 2
*More dense development in the middle of the site to portray a bo ld, ic o n ic sta te me n t o n th e r iv e r side .
3
3. Back of House
2
2
4. Work Units
3
4. Education / Creative Industry
1
1
2. Retail / Leisure Industry 5
3. Cultural / Performance Core
5. Performance Spaces
4
3 4 5 6
7
*Gateway into Bath has been conveyed through the bridge structure connecting to Avon street.
4
6. Opera House 5. Green Thread 7. Studios / Workshops 5
* Connection to monumental historic buildings such as the Cir c le a n d Cr e sc e n t v ia A v o n R o a d.
& 6
1 : 2 00o M a ste r p la n ( B a se me n t Le v e l)
City Strategic Link
Performance Strategic Link
Educational Strategic Link
1
2
3
4
5
6
Residential / Green Thread Link
H e p wo r th W a k e f ie ld, Y o r k sh ir e
A r c a dia = U to p ia /Pic tur e sq ue
Group 1: Avon Performance Culture District Group 2: The Wall
Flo o d R isk A sse ssme n t = H igh R isk (River Avon floods inland finishing in the form of the o ld h isto r ic c ity wa ll) . Hadrians Villa
S ta mp a lia , V e n ic e
Group 3:The Garden of Avon
Ice Rinks
5 Hours 20 Minutes
4 Hours
10 Hours 27 Minutes
5 Hours 7 Minutes
5 Hours 2 Minutes
8 Hours 56 Minutes
6 Hours
River/ canal links that could be incorporated into the agricultural trading. This will allow produce grown on site to be shipped away via the canal, it also allows for produce from the other towns and city to be brought to the Bath site.
Proposal Overview
Birmingham
Great Malvern Milton Keynes
Group 4: Recipe for Claustrophobia
Oxford
Swindon
Section B-B’ Scale 1:1000
Slough
Cardiff Bath Basingstoke
Maidenhead
B
Portsmouth
Bristol
Reading
Bath Bradford on Avon
Devizes
Exmouth
Windsor
Group 5: Fringe Film Centre
Newbury
B’
1:200 Long Section
How can a positive urban concept be created using such a negative term?
PRETENTIOUS
RESTORE WATER’S EDGE Flood Mitigation
Unwarranted Importance
Pseudo Flamboyant Pompous Ostentatious
Use of various architectural devices to induce a deep sense of claustrophobia.
CLAUSTROPHOBIC
SET DESIGN W.SHOP Student Accom. Self build
‘Informal frame’ provides basis for students to collectively construct their own accommodation for the commencing year.
Informal Settlement
DATA CENTRE
Construction Data
Panic Attacks
Construction information and materials are the only things students are provided at the beginning of the academic year.
STUDENT ACCOMMODATION
Small Spaces Caves Tunnels
PROPOSALS
Construction Anarchy
Restriction
DESIGN PROGRAM
GROUP MASTERPLANS Once the groups had their key stimulus and worked through the
Feeling of compression from city realm to ‘Informal Grid’ is increased by implementation of ‘Claustrophobic Pinch Point’.
RECIPE FOR CLAUSTROPHOBIA
Istanbul , Turkey
COMPRESSION & RELEASE
ACCESS...
...SITE CONFIGURATION
The images here show an example of the different schemes presented by the groups within the year.
Terracing
Kolwoon, Hong Kong: Walled city
Medellin, Columbia: Edge condition
Formal Performance
PRECEDENCE
Informal Performance
SECTIONS - 1:500
Working with designated key words ensured the groups would work with what programmes they had and quickly came to conclusions in how to represent these.
Floodable Public Space (Basin)
CONCEPTUAL VISUALISATION
Stimulus Interpretation:
1. Green extension to westerly park and connection to Avon cycle route.
Health Centre – A community focused facility specialising in rehabilitation and works closely with an aquaponic feature fed by the river itself.
2. Courtyard gardens 3. Therapy Pool.
Rehearsal Studios – A complementary function that supports a strong performance culture that already exists in Bath.
4. Aquaponic gardens 1
Healthy – A comprehensive cycle network that links the site with the rest of the city on both sides of the river (multiple axis) which increases permeability for cyclist.
5. Pedestrian bridge 6. Transitional gardens.
2
Outdoor informal space – A flexible contoured and landscaped area that helps stimulate creative rehearsal / performance space.
7. Health Centre 8. Fishery.
7
Honest / Dishonest – A Georgian facade that integrates well with the city centre in the west that is reactive to the activity on site, also acting as a point of sale for on site produce.
9. Rehersal space. 3
c
Temporary / Permanent – This loosely refers to the activities that may occur on the site but also to the storage of water on the flood prone site.
10. Informal viewing space and stepped garden.
4
9
11. Dishonest wall and market place.
Description & Policy:
b
5 This proposal presents the redevelopment of an underutilised brownfield site that is situated strongly alongside Bath city centre. It fulfils the B&NES council’s aspirations for a cultural, performance and arts space in the city centre.
6
12. Performance stage.
text
13. Projection Facade
10 8
14. East river green extension.
11
Two key functions are provided; a health centre and rehearsal space, which are bridged by the organic and flexible space which facilitates a strong community function that works towards meeting local food production needs. The point of sale for this produce is centred around a Georgian facade that is an honest reflection of the historic context it faces. The use of projection surfaces helps to facilitate moods and functions on the site.
15. Far east riverside park extension.
a
12 13
14
Removal of the barrier to the riverside posed by heavy road infrastructure establishes a strong relationship with the river. In response to the high flood risk 3a classification the site does not resist flooding and acts as an overspill area, helping to protect vulnerable buildings around it.
n the Water
The role as a transitional space is strengthened by a more comprehensive etation: and multi-axis cycle network that crosses through the site. The Avon road axis provides a north-south axis that currently doesn’t exist. A community focused facility specialising in rehabilitation ly with anloss aquaponic feature fed byuse theisriver itself. The of its current parking in line with incremental transportation changes by the council and is negated by good access by viable os – alternatives. A complementary function that supports reflects a strongthe green context of the This high quality landscape ture world that already exists in Bath.and provides high recreation potential heritage importance supporting local need and tourism alike. prehensive cycle network that links the site with the rest of sides of the river (multiple axis) which increases cyclist.
2. Courtyard gardens
1
4. Aquaponic gardens 5. Pedestrian bridge
6. Transitional gardens.
6. Transitional gardens.
7. Health Centre
2
7
7. Health Centre 1. Green extension to westerly park and 8. Fishery. connection to Avon cycle route. 9. Rehersal space. 2. Courtyard gardens 10. Informal viewing space and stepped garden. 3. Therapy Pool. 11. Dishonest wall and market place. 4. Aquaponic gardens 12. Performance stage. 5. Pedestrian bridge 13. Projection Facade 6. Transitional gardens. 14. East river green extension. 7. Health Centre 15. Far east riverside park extension. 8. Fishery. 9. Rehersal space. 10. Informal viewing space and stepped garden. 11. Dishonest wall and market place. 12. Performance stage. 13. Projection Facade 14. East river green extension. Interior perspective view 15. Far east riverside park extension.
9. Rehersal space. 10. Informal viewing space and stepped garden.
3
c
text
4
12. Performance stage. 13. Projection Facade
11
5
esents the redevelopment of an underutilised brownfield a 12 It fulfils the B&NES ed strongly alongside Bath city centre. ons for a cultural, performance and arts space in the city
b
11. Dishonest wall and market place.
10
9
14. East river green extension.
b
text
15. Far east riverside park extension.
6
10 8
13
11
14
12
a
13 15
14
barrier to the riverside posed by heavy road infrastructure ong relationship with the river. In response to the high ssification the site does not resist flooding and acts as an elping to protect vulnerable buildings around it.
15
Section sketch
nsitional space is strengthened by a more comprehensive ycle network that crosses through the site. The Avon road north-south axis that currently doesn’t exist.
urrent parking use is in line with incremental transportation council and is negated by good access by viable s high quality landscape reflects the green context of the mportance and provides high recreation potential need and tourism alike.
GROUP MASTERPLAN PROPOSAL STIMULUS
3. Therapy Pool.
5. Pedestrian bridge
8. Fishery.
b that may manent – This loosely refers to the activities 5 but also to the storage of water on the flood prone site.
ns are provided; a health centre and rehearsal space, d by the organic and flexible space which facilitates a ty function that works towards meeting local food s. The point of sale for this produce is centred around a e that is an honest reflection of the historic context it faces. ction surfaces helps to facilitate moods and functions on
1. Green extension to westerly park and connection to Avon cycle route.
2. Courtyard gardens
4. Aquaponic gardens
est – A Georgian facade that c integrates well with the city st that is reactive to the activity on site, also acting as a 4 on site produce. 9
8
1. Green extension to westerly park and connection to Avon cycle route.
3. Therapy Pool.
l space – A flexible contoured and landscaped area that 7 creative rehearsal / performance space.
olicy:
STEPS ON THE WATER
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proposed by our group titled ‘Steps on the Water’. The group was given key words to incorporate within the masterplan; -Rehearsal studios -Outside Informal Performance Space -Honest/Dishonest -Temporary/Permanent -Healthy -Health Centre
DESCRIPTION
The scheme presents two key functions; a health centre and rehearsal space, which are bridged by
b
River view, informal performance and garden space
strong community function, that works towards meeting local food production needs.
Avon street view
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c
b
The role of a transitional space is strengthened by a more comprehensive and multi-axis cycle network, reducing car access into the site and
Traffic layout Diagram
Section sketch
green context of the world heritage importance. Providing high recreational potential that supports the needs of local and tourism alike
Interior perspective view
Concept Diagram
Section sketch River view, informal performance and garden space
Avon street view
a
c
Interior perspective view
River view, informal performance and garden space a
agram
Concept Diagram
Avon street view
c
MASTERPLAN DIAGRAM GENERATING A FRAMEWORK After the speed planning exercise and the group masterplanning proposals, the year denoted key aspects to consider with relation to the site when proposing our individual masterplans. These can be recognised in the diagram.
MASTERPLAN DEVELOPMENT CRAFT QUAYS INITIAL IDEAS Through researching particular programmes through the group masterplan project, I began to work on the masterplan proposal for Craft Quays. As the overall development would constitute of mixed use programmes, where The Works will sit within this to create a localised part of Bath’s centre, it was important to take key axis and relevant programme functions recognised from analysis of Bath in order to place particular programme in their certain locations, in order to tie Craft Quays to the city centre, the river and the south of the river. I began to diagram where the programmes will sit within the site, continually tying the proposals to key locations and destinatios within the current city.
CRAFT QUAYS MASTERPLAN BRIEF OVERVIEW
Whilst taking form from the generic framework set by the year alongside research of Bath, and the initial masterplan diagrams, it was clear to me that particular aspects are more important than others, particularly with relation to the generic framework set out previously. The three diagrams below demonstrate the main stategic movements set within the masterplan of Craft Quays. Axis, open space & the lost space of the river all become clear important factors within the scheme’s development. I felt as though these three key aspects would ensure that the site is reconnected back to the city whilst bringing with it and creating a new space that is attractive and vibrant, embracing the crafts culture of the city.
KEY AXIS INTO SITE
POCKETS OF OPEN SPACE
RIVERSIDE CONNECTION
KEY STRATEGYS
PUBLIC AND PRIVATE REALM As the masterplan developed, it was important that I would set out clear public and private areas of the masterplan due to the mixed use programme over Craft Quays. This allocation of the public and private space supports the programme functions, and creates the public realm that sits within the Quays, allowing for the space to connect through to the north and the south. Key connections and strategies include;
- Strong links from the city centre to the Quays North site that are highly accessible by foot and cycling - A well designed public realm that introduces a new public plaza for recreational and creative uses - Introduction of a pleasant Riverside area that connects the site to a new developed river front - An extension of residential development that boasts 35% affordable housing which - New educational buildings that expand Bath’s well known educational facilities and bring them to a more central role within Bath - A new footbridge will be introduced connecting the site to the south of the river (at the Dyson site) creating a formal connection to the industrial history of Bath and the new contemporary take on it’s history - The site will focus on Bath’s important transformation through the 18th century – bringing this to light in today’s modern world, where innovation, localism, creativity and craftsmanship are all promoted - Quay’s North will focus on a strong community feel. Where development will include community led buildings and features that will be largely used by the community. - Bath’s heritage will play a large part in the development, although it will be reinterpreted differently to what is seen in Bath today it will continue to protect and enhance Bath as a World Heritage Site.
CRAFT QUAYS MASTERPLAN PROGRAM KEY
1. Educational Facilities 2. Residential Extension 3. The Works 4. Individual local shops forming street frontages 5. Small Performance Space 6. Workshops 7. Waterside Restaurants/Apartments 8. Local food produce shops and allotments
CRAFT QUAYS FINAL MASTERPLAN 1:1250 Quays represents the indivuality that Bath represents creatively: introducing a mixed use development throughout the masterplan of educational, residential, workshops, performance spaces, guided through vibrant street frontages of boutique streets, working together to form a new area of Bath that boasts the strong heritage of craftsmanship.
CRAFT QUAYS FINAL MASTERPLAN 1:1000 MODEL
LANDSCAPE STRATEGY TRANSITIONAL CHANGES The landscape of the masterplan is particularly important due to Bath’s importance of the public realm that is reiterated in planning for Bath. The masterplan shows a key public piazza central of the Quays, this will act as a key meeting and interaction place that is important in the craftsmanship nature of working. In order to emphasise the key piazza, this area is landscaped through a different material than that forming the surrounding pedestrianised area that is key throughout the masterplan. The steps framing the riverside are of concrete to ensure a transitional change again enhancing the riverside and being allowed to change throughout time due to the changing water levels. Trees are planted throughout in order to shelter or open up areas that require more private or less private areas within the masterplan, enhancing green links throughout the site.
05 CONCEPT & DESIGN DEVELOPMENT BRIEF OUTLINE LEARNING THROUGH EXPERIENCE PRECEDENTS INITIAL PROPOSAL DEVELOPMENT
BRIEF OUTLINE THE WORKS
The early stages of development set out the principle guidelines for the form of the building. Throughout my research on the study of craftsmanship as a tool for learning and developing, the building began to take shape through this narrative. It was clear to me that primarily dividing the building into two entities clearly demonstrated the importance of hierachy, movement and development through the building. The Works began its form through two functions; Making & Memory
MAKING
MEMORY
BUILDING FORM
A BREAK DOWN OF THE CONCEPT The divide between Making & Memory formed, in principle, exactly as it is explained. The ‘Making’ side would house the main workshops which in turn informed the ‘Memory’, an exhibition building that told the story of the craftsmanship of Bath. Working together to form - essentially - a working museum. The divide between the two would be crucial. In order to signify the difference between the two buildings and integrate an important connection that would exemplify the transitional movement. The tranisitonal movement would correspond with the narrative of learning through experience that forms the space where people would learn from the workers through experiencing them at work. Although the program in the ‘Memory’ partition of the building developed to become prominant in work too rather than simply a large exhibition space, it is this development
LEARNING THROUGH EXPERIENCE A LESSON IN GLASS-BLOWING
In order for me to fully understand the process of learning through experience, I took a lesson in the art of glass-blowing at Aqua Glass Bath. The process not only gave me insight into the process of work, but also the form, scale of the building and equipment used within the process. The experience showed me the importance of social interaction within the art of glass-blowing, and the ability to learn a process through observing several times, and then eventually trying to process out for myself. It became even more clear to me that the research I had carried out was prominent, and it was this research and my own experience that would enable me to create spaces within the Works that would correspond with the two.
The craftsman begins the process by heating the glass in the glory hole.
He begins to blow down the metal tube to pass air inside the glass.
The process is repeated whilst ensuring the product is continuously turned to form a perfect shape.
A second craftsman takes the product to the cooling station to
At the cooling station the glass is detached from the metal pole before, neatened up then left to cool overnight.
final bauble
The craftsman helps to guide the glass blowing process.
Helping to twist the pole whilst the product is being blown.
A second craftsman adds the baubles loop so that it can be hung.
The bauble is marked with an individual symbol then left to cool overnight.
bauble is produced.
PRECEDENTS CONTEMPORARY ART CENTRE, SPAIN NIETO SOBEJANO ARCHITECTS Rooms trail through the building and each room can be used as either an exhibition area or as a space for art production, every wall is concrete, intended to evoke the atmosphere of a factory or warehouse. The use of continuous concrete establishes spatial areas capable of being transformed individually using different forms of intervention. Awell as exhibtion space, the building also contains artists’ workshops, labs and an audiotorium. The building is concieved as a crossroads and meeting place, where it is a communal area for exhibitions and exchange of ideas, to view an installation, see exhibitions or to simply gaze at people working. - an open laboratory where architecture attempts to provoke new modes of expression.
ATLANTIC CENTRE FOR THE ARTS, FLORIDA MARYANN THOMPSON ARCHITECTS A building compromised of different studios that give artistsin-residence the space and equipment required to undertake ambitious projects. The concrete of the studios are symbolic of the enduring materials used by artists in different crafts. The studios feature outdoor work spaces, with roll up doors allowing the spaces
GOLDSMITHS CENTRE, LONDON JOHN LYALL ARCHITECTS A place that lives and breaths crativity and craftsmanship, providing facilities of the highest standard for people in allied trades, the local community and general public. A building that brings together trainee and working goldsmiths and anyone interested in jewellery, silversmithing and allied trades, in a unique community that works and learns together to create a skilled workforce, boost the economy and promote craftsmanship in the UK.
ATLANTIC CENTRE FOR THE ARTS, FLORIDA MARYANN THOMPSON ARCHITECTS GOLDSMITHS CENTRE, LONDON JOHN LYALL ARCHITECTS CONTEMPORARY ART CENTRE, SPAIN NIETO SOBEJANO ARCHITECTS
PRECEDENTS ZUMTHOR STUDIO, SWITZERLAND PETER ZUMTHOR The wooden building takes reference to the near-by barns, stables and workshops in the village, contraining to south facing rooms, one, a studio for working, and the second housing a small kitchen and views to the garden.
THE GREAT FEN VISITOR CENTRE SHIRO STUDIO ARCHITECTS The silvery and bog-oak black exterior contrasts markedly with, and Here the building shows how architecture can conspire with nature and the landscapes rich and complex history. The building is a manisfestation of the different functions offered by the centre, utilising a visual and sculptural language.
THE HAMMER BEAM ROOF Detailing for the roof has taken insight to typical english gothic architecture, expressing an open timber roof truss - known as the hammerbeam roof. Timber framed construction uses short beams projected from walls to create this unique roof, typically a tie beam that has the middle cut out. The use of the hammer beam in the Works demonstrates the Abbey’s once timber roof whilst allowing great spans with large open space where the roof construction will not interfere.
THE GREAT FEN VISITOR CENTRE SHIRO STUDIO
ZUMTHOR STUDIO, SWITZERLAND PETER ZUMTHOR
HAMMER BEAM ROOF PRECEDENT ST BOTOLPH’S CHURCH, NORFOLK
INITIAL PROPOSAL Through research of precedents and the formative history of craftsmanship, particulalry in Bath, I began to produce intitial proposals for the building form. As previously mentioned it was important within the scheme that the building would be seperated into two buildings in order to exaggerate the learning process of craftsmanship. The form of these buildings began to take shape through precedent study.
FORM It was important that I would house the workshops in large seperate buildings, not only to introduce a strong working place capable of producing large products but also to equip each craft, obtain large spaces for a strong, relativley large work force and to also stand with authority amongst the building. I began to form these around the classic pitched roof form of large workshops, that would differ from the form of the subsequent building. The second building would see a more contemporary solid form, that the workshops would act as ‘add ons’ to. The importance of the hierachy in these spaces would form around the internal circulation space. I began to develop ways in which the two would meet, the initial proposal here shows large triple height ‘spaces’ that would allow a dynamic transition between the two, whilst sculpting the light fall within this section to exaggerate the transition of movement between the two.
DEVELOPMENT
FORM DEVELOPMENT THROUGH MODELS Once the initial proposal began to take shape, the easiest method of working was through model making. Working to a small scale, this gave me the ability to the forms that I developed and continue to re work these as the models progressed.
DEVELOPMENT
FORM DEVELOPMENT These diagrams summarise the change in movement developed scheme. through the building that better connects the two spaces to one another. The removal of the central transitional towers between the two allows a circular circulation spaces to provide access and views into the workshops in a more formal way than the initial proposal. This also introduces the central sculpture garden which can be accessed from all sides. Whilst the circulation still continues to rise up through the the intended interaction to occur within the Works, to create conversations and expand the creativity of those users.
DEVELOPMENT SUMMARY
Through the development stages, a number of conclusions were made in order for the building. The two forms continued to stay seperate in principle, and it was the form of each side that was developed through and through. Rather than proposing roof lights in the workshops, the form took more of a classical shape, allowing openings to be allocated on ground level that maintains strong light fall in and views in and out at important points. The initial proposal orinally encourporated two workspaces that would connect in the middle to form a long one. However in relation to the working space this was not appropriate and therefore I seperated the three into their completely seperate workshops. around an external sculpture garden, that is placed at the heart of the scheme.
06 DESIGN PROPOSAL SCHEME OVERVIEW PLANS SECTIONS INTERNAL VIEWS EXTERNAL VIEWS
SCHEME OVERVIEW
INTRODUCTION TO THE WORKS The Works introduces a building that focuses on the workmanship and creativity of Bath. Reconnecting this lost space of Bath and reintergrating the riverside. A centre that focuses on Bath’s ever growing creative history and highlighting its strong history for the craft of art, the Works brings the community together through this idealology.
SCHEME OVERVIEW CREATING VOICES
Bath Abbey, with funding from the Heritage Lottery Fund have begun work on an oral history project, capturing stories of individuals who were involved in caring for or restoring the Abbey’s fabric. The Works has been inspired from this clear interest in the Abbey and its strong history of craft, that it presents a physical space that captures and tells the history whilst presenting the modern transition of craftsmanship. The Works is presented to the community as a space to create new jobs, allow for interaction and create a vibrant space to work in. A programmatic fusion of Artist Studios and Bespoke Foundry works in sync that allows highly crafted objects to be created, a building that speaks through light, space, materials and key circulation. Together emobodying an architectural space that presents a site of play, experimentation and creativity, which is a dialogue for Bath’s young and emerging social art culture written through the history of its city.
SITE PLAN The Works is located to the west of the proposed Craft Quays Materplan; east through Green Park Road that is now only accessible for this reason, creating a highly pedestrianised Quay.
1. Deliveries Yard 2. Delivery Storage 3. Stone Masons Workshop
The Bespoke Foundry’s including that of Stone, Glassblowing & Iron are situated close to the storage house & delivery yard for easy access for large materials.
4. Glassblowing Workshop
Following west of the site plan, the bespoke foundrys meet the external sculpture garden that encourages some work to be created outside, allowing extra room and views inwards from the surrounding building.
7. Artists in Residency / Exhibition & Learning Space
5. Iron Foundry 6. Sculpture Garden
8. Public Piazza 9. Stepped Waterfront 10. Craft Bridge Connecting to the South of the River
2. 4.
1.
3. 5.
10.
Surrounding the sculpture garden, a walkway connects the foundry workshops to the artists in residency and exhibition building that are
6. 7. 8.
9.
that rises up through key circulation to the educational space situated at the top. Far east of the building, alongside the entrance is a large piazza, connecting the external space to the city and a stepped waterfront.
BUILDING DIAGRAMS KEY STRATEGIES
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FIRST FLOOR PLAN
SECOND FLOOR PLAN
11. Proposed design Floor Iron Foundry 1. Woodshop 12. Viewing Window 2. Welding 3. Metal Machinery 4. W.C. 5. Art Storage 6. Exhibition Space 7. Individual Studios 8. Artist’s Retreat 9. Shared Studio 10. Proposed design Floor Stone Masons
1. Gallery Space 2. Exhibition Space 3. Roof Terrace 4. W.C. 5. Shared Studio 6. Individual Studio
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THIRD FLOOR PLAN
FOURTH FLOOR PLAN
1. Storage 2. Gallery Space 3. Entrance Hall 4. W.C. 5. Educational Space
1. Educational Space 2. Administration 3. Storage 4. Projecter Room
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COLLABORATIVE BUILDING ANALOGUE MOTIF
In order for the building to support The Works brief, it is essential that the whole of the building becomes a collaborative function. As the building comes together so do the users; it is this process of collaboration between the foundry workers and artists in residency that both will become inspired through the work of others to produce better work themselves; learning new traits within the industry through serendipitous encounters that will occur from movement through the building. The design of the building ensures this happens through large external working and exhibition space, particular views in and out of the bespoke foundry workshops, educational space and shared facilities of the two. The Works as a collaborative building provokes this by keeping the two buildings seperate, however connected through key circulation. In order to exaggerate the process of learning and the transitional importance of the skill progression of craftsmanship.
RIVERSIDE CONNECTION Craft Quays is located next to the riverside; The Works sits between the city and the Avon River. In order to bring the river into the masterplan, a series of steps are allocated that step down towards the river from The Works. It is particularly important to engage the building and the masterplan with the riverside due the current ignorance of it in Bath, and the ability of the river to become a feature of the public realm within Bath. Concrete steps replace the current bank that descends towards the river, allowing the river to rise up and down the steps depending on the tide. The river will therefore leave its mark and promiance on the landscape and create a feature in itself.
LONG SECTION 1:100
INTERNAL VIEW
KEY VIEW INTO THE IRON FOUNDRY FROM THE WALKWAY
LONG SECTION 1:100
INTERNAL VIEW
CIRCULATION SCULPTED BY THE ABOVE EDUCATIONAL SPACE The double height educational space rises up at the top of the building, expressing the importance of knowledge about the subject matter of craftsmanship and also allowing a double height window that looks north towards the Abbey’s perpendicular style clerestory. Thus allowing the learner to see directly towards the Abbey through the glass windows. The educational space has been designed so that the rising ceiling that houses a large circulation space below which creates a space for a working exhibitions. Allowing the artists in residency to work outside of their studio if desired, creating an inspiring place for the fellow workers into the Works.
1:50 DETAILED SECTION
VIEW FROM AVON STREET
THE JOURNEY TOWARDS THE WORKS
07 TECHNICAL STUDY OVERVIEW MATERIALITY DETAIL STRUCTURAL OVERVIEW LIGHTING STUDY CONSTRUCTION SEQUENCE
TECHNICAL STUDY OVERVIEW
A technical study has been put togther in order to explain and demonstrate the structure of the building, including key details through the use of different compartments that connect the building together as one one entity. The building’s main composition features seperate timber frame and concrete frame construction, where this construction method is reinterpreted in the cladding on the building to express the craftsmanship in the buildings skin. Expressing the material as exposed connects the user not only with the spaces but the building as a whole.
MATERIALITY The materials of the building are particularly important, through the buildings use and function. CONCRETE The east building is constructed of concrete, exposed on the interior and exterior. This creates a monolithic structure that rises up and stands as a solid structure within the site demonstrating the importance of craftsmanship. BLACKENED TIMBER The bespoke foundry workshops are clad in dark timber, demonstrating a more fragile construction, represented the former shadow of the reconstruction of the Abbey’s history. The dark timber also contrasts to the grey concrete, acting as add ons to the monolithic structure. GLASS Connecting the two buildings together is important, and demonstrated through glass, where the two materials meet, glass is placed to bind the two together and create a transitional movement of the two. Whilst the building is mainly inward focused the elements of glass will create key views in and out. TIMBER FRAME The bespoke foundrys are constructed of thick timber frame, allowing height and spans to be relativley large. This pitched roof timber frame also represents former medieval workshops. The frame inside is exposed in order to demonstrate the impoartant history. STEEL The doors that enter onto the external courtyard and roof terrace are steel pivoting doors. Again emphasising the transition of movement from inside to outside. The ability easily allowing workers to work outside.
TECHNICAL STUDY CONSTRUCTION
The following study demonstrates The Works building construction. Detailing the timber frame construction and cladding system in the bespoke foundrys, and the monolithic construction of concrete frame and exposed interior and exterior of the artists in residency, exhibition and education space. Carried out through drawings, aesthetics and detailing, the technical study forms a detailed overview of the construction throughout the building.
1:50 DETAILED SECTION A section cutting through the bespoke Iron foundry, west of the building shows the timber frame construction, cladding through to the monolithic structure to the east.
Roof 20mm external dark timber cladding 50mm horizontal timber battons 5mm vapour control layer 100mm rockwool insulation 50mm horizontal timber batons 20mm internal dark timber cladding
Beams 200mm x 240mm exposed retardent treatment (hammerbeam frame)
Columns 240 mm x 240 mm exposed treatment (hammerbeam frame) shown in 1:5 - following page
Ground Floor 30mm screed 100mm rockwool insulation 5mm DPC layer 100mm blockwork at frame footings 300mm raft foundations including steel reinforcement
1:5 DETAIL
FIXING OF WINDOW The windows play a large role in the building, through the opportunity to watch the mastercraftsmen at work. The windows have been designed at large height, with clean details within the walkway, and thus less clean within the foundry. This demonstrates the ‘disorder’ of the workshops whilst the craftsmen are at work, and it is this disorder shows through in the details.
900 x 20mm x2000 mm insulated glass with 10mm air gap
10mm steel window sill
10mm bracket supporting window
3mm perforated stainless steel mesh with vertical steel bars supporting mesh
240mm x 200 glulam timber beam
10mm steel connection bolts 150mm steel I beams
50mm x 50mm horizontal timber batons 5mm racking board (vapour control and air tightness) 10mm OSB 25mm x 25mm vertical timber batons
50mm x 50mm timber batons
25mm x 25mm vertical timber batons 20mm timber cladding
20mm timber cladding
100mm rockwool insulation 240mm x 240mm glulam column sits exposed
1:50 DETAILED SECTION A section cutting through the artists in residency, exhibition and learning space building. Demonstrating the concrete frame construction that includes load bearing walls and structural columns that work together to form the building and expressing the exposed concrete on both the interior and exterior. Parapet 300mm x 450mm parapet cast inwards 30mm screed on top of parapet detail 10mm water drainage pipe 5mm water vapour layer Roof 10mm waterproof membrane 80mm concrete deck 10mm vapour control layer 100mm rockwool insulation 120 internal concrete wall
Internal Wall 200mm internal concrete wall 500mm central core structural frame behind External Wall 300mm structual concrete column behind 100mm rockwool insulation 120 exposed interior concrete wall in line with column Green roof detail shown in 1:5 - following page
External Wall - load bearing
100mm rockwool insulation 120 exposed interior concrete wall
Ground Floor 30mm screed 100mm rockwool insulation 5mm DPC 300mm raft foundation
water drainage layer roof resistant
1:5 DETAIL
30mm drainage pipe.
GREEN ROOF
the external courtyard below. The use of a green roof connects the two external spaces together through the different levels, allowing people to have a connection to the external sculpture garden from another view point. Expressed through the green roof shows how this detail sits within the building.
80mm external concrete cladding
100mm Insulation
120 mm concrete load bearning wall
300mm structural concrete deck
vegetation
vapour control layer 100mm insulation
SDS substrate PL 300 protection layer
parapet inspection chamber
seperation
STRUCTURAL DETAIL FRAMES
The drawings below demonstrate the concrete frame and timber frame construction within the building.
CONCRETE FRAME
TIMBER FRAME
Demonstrating the load paths supporting the structure, and the forces that occur through tension and compression within the frame structure.
The concrete frame that acts as the structural core, designed that the the spaces above and below the eduactional space has large open spaces that span long distance. supported by extra depth columns to support
Hammerbeam timber frame construction, that passes the loads through to the supporting walls enabling greater spans.
Both structures have been designed to encorporate long spans.
The rest of the frame demonstrates the use of columns and load bearing wall that work together to complete the structural frame.
LOAD PATHS
LOAD PATHS & FORCES OF INTERNAL MEMBERS
placed within the structure, whilst it is not fully proposed due to the space being used for the clients intention and the type of space they require. It was important that the option would be available if needed.
STRUCTURAL DETAIL STRUCTURAL GRID 1:200
EXPLODED SECTION
EDUCATIONAL SPACE AND WINDOW The central core of the east building is supported through a concrete frame. This frame allows for the educational space to span the length of the building, uniterupted as little as possible, alongside allowing for the double height spaces within the educational space and circulation space created underneath. Both spaces require as little interuption as possible, therefore a concrete frame has been chosen to allow for this. The use of the structural concrete frame forming the main construction of the building, allows the rest of the east building to form around this frame, not only creating a solid building form but also exaggerating the importance of educating people through the art of craftmanship, in terms of skill and social relations.
LIGHTING STRATEGY PERFORATED FACADE
The Bespoke Foundrys lead onto the connection walkway. In order to exaggerate the circulation space that connects the two buildings, the walkways is designed as an internal/external space. This design allows the walkway to act as an extension to the bespoke foundrys, artists in residency building and the sculpture garden, that in turn connects all the spaces together. The facade continues the dark timber cladding of the bespoke foundrys, however external of the walkways, they become perforated. Thus allowing the connection of the spaces to occur through the views in and out of the walkways aswell as particularly designed lighting strategy. Designing the facade in this way allows the light to fall in a partidular way within the walkway throughout the day, the appearence of different lighting intensity and the creation of shadows sculpts the walkway as an emotional, important space that the users of the building can relate to as a connection to themselves and their work.
AXONOMETRIC STRUCTURE KEY
1. Glulam Timber Frame Structure Beams - 200mm x 240mm exposed Columns - 240 mm x 240 mm treatment 2.240mm blockwork to ground level 3.DPC at ground level 5. 100mm rockwool insulation 7.20mm Internal timber cladding 8. 25mm x 25mm vertical battons 10. 50mm x 50mm horixontal battons 11. 20mm external timber cladding 12. in situ conrete stair core 13. 80mm external concrete wall 14.120mm internal concrete wall 15. 150mm steel I beams 17. vertical steel bars 18. 3mm perforated stainless steel mesh 19. perforated facade 20. Steel pivoting door
08 ENVIRONMENTAL STUDY OVERVIEW ENVIRONMENTAL STRATEGY VENTILATION STRATEGY LIGHTING FIRE ACCESS
OVERVIEW Following on from the technical study, an environmental study of the Works building is explained in the following section. Demonstrating ventiliation and lighting strategies that have been designed within the building. Alongside these two strategies, reference has been made to approved building regulations. In order to demonstrate the regulations applied within the building that have been encourporated to comply with such documents.
VENTILATION STRATEGY NATURAL STACK VENTILATION
Whilst the bespoke foundrys will alter their ventilation strategy slightly due to the different activities. The general ventilation strategy is designed through natural stack. Using shafts, mixed chambers and fans at high level.
SUMMER STRATEGY
DISPLACEMENT VENT The main exhaust point in summer will be the large foundry doors, allowing the cool air in at a low level where natural upwards displacment mode occurs, pulling the hot air inside the foundrys out through the top.
WINTER STRATEGY
MIXED VENT Due to cooler temperatures outside, the exhaust point in winter changes to the exhaust points occuring through the windows. The cold incoming air is mixed with the warm air in the room, allowing for less additional heating due to the already high heat gain within the foundry.
VENTILATION STRATEGY NATURAL STACK VENTILATION
Similarly to the bespoke foudrys, the artists in residency building also demonstrates natural stack ventilation. Through the placement of central voids within the building, the cold air entering on the lower levels is drawn up through these voids and pulled outside through high level windows and roof ventilation mechanismas. from the voids directly, this space requires its own ventilation system, when cool air can enter from the north window, it must be pulled through ventiliation mechanisms in the roof and towards the back of the room. The ventilation system stays similar through summer and winter, however the building takes on a different heating system. As the density of the concrete already holds high thermal mass, the building already requires less need for heating and cooling. A system is designed where waste heat from the foundrys is taken and recycled into the artists in residency building, this reuses any wasted energy in the foundrys and allows for a more sustainable heating system for a large building during the winter period.
LIGHTING STRATEGY
NATURAL & ARTIFICIAL LIGHTING The bespoke foundrys require as much natural light as possible to create well lit spaces to work in. The main source of natural light foundrys, situated on the west and north sides - varying on the particular foundy. This ensures that the natural light has little glare from the south sun. Aside from this, some natural light will enter through the walkway from the sculpture garden, lighting up the opposite sides of the foundrys. each foundry, where certain aspects of each foundry will require carried out.
LIGHTING STRATEGY
NATURAL & ARTIFICIAL LIGHTING Much like the foundrys, the artists in residency building require particualr natural lighting strategys. However in relation to the different studios, the lighting levels are kept at a standard, due to the varying occupancy of the studios, each may require different lighting in the rooms. The central exhibition space gains natural light through the below voids and windows to the east.Although again due to the space being an exhibition space, it is largely inward focused and The educational space at the top of the building has a large north in place to enable a well lit space for night time events.
FIRE REGULATIONS
APPROVED DOCUMENT B
VOLUME 2 - BUILDINGS OTHER THAN DWELLING HOUSES. B1 WARNING & ESCAPE Providing a variety of routes through the building that are well lit and are a means of escape. Within the whole building there are 5 means of escape, which all lead to a large external space away from the building. B2 INTERNAL FIRE SPREAD - LININGS Where the artists in residency building obtains alot of concrete on timber in cladded in the foundry spaces, these will be coated with in the foundry is that of concrete so limiting the spread once again. B3 EXTERNAL FIRE SPREAD - STRUCTURE for a reasonable period. Where the design of the concrete frame designed in large scale within the building. The timber frame structure is designed with extra size allowing for char of the timber the frame will take a longer period of time to become unstable and B4 EXTERNAL FIRE SPREAD The external walls of the building are adequately designed to resist the timber framed structure being of lower height and use. The the two buildings. B5 ACCESS & FACILITIES FOR THE FIRE SERVICE Fire appliances can gain access to the building from two key routes, Avon street Access and Green park road. These are roads that lead directly to the building and in case of requirement to access the east side, space is allocated between the building and river edge that may be used if neccesary.
ACCESS STRATEGY
PART M ACCESS TO & USE OF THE BUILDING M1. Access and use of the building has strong provisions for people to access and use the building, Desgined with one main entrance to the building and strong use through circulation spaces allows for this. M2. Access to extensions allows suitable independent access to the bespoke foundrys through entrance space to both used by workers and allowing for the use of large deliveries. M3. sanitary conviniences are provided in both areas on the buildobtaining a continuous core of sanitary conviniences to the south
DISABLED ACCESS The works encases a solid lift core that raises the height of the equiped with large doors, allowing wheelchair access alongside of disabled access into and around the building, aiding each for all types of users.
09 CONCLUSION HOW MUCH DOES YOUR BUILDING WEIGH? COST ESTIMATIONS FINAL CONCLUSION EVALUATION
WORKSHOPS
HOW MUCH DOES YOUR BUILDING WEIGH?
STONEMASONS WORKSHOP ITEMS
VOLUME M3
WEIGHT KG
EMBODIED ENERGY
FLOOR
129.58
310, 992
49,447.72
(concrete slab, insluation
CONCRETE BUILDING FLOOR
1,018.65996
2,444,783.9
46,327.3085
WALLS
757.266192
1,817,438.86
288,972.779
ROOF
1,018.65996
2,444,783.9
46,327.3085
TOTAL
2,226.21278
5,342,910.68
507,129.467
COMBINED TOTAL
VOLUME 3,458.90891
WEIGHT 6,799,680.34
EMBODIED ENERGY 1,069,947.98
(concrete slab, insulation
WALLS (timber frame, insulation & cladding)
ROOF
155.64 138.984
102,722.4 91,729.44
73,960.2 66,045.1968
(timber frame, insulation & cladding)
TOTAL
(concrete internal, external & insulation)
(concrete internal, external & insulation)
424.204
505,443.84
189.453.117
GLASSBLOWING WORKSHOP FLOOR
99.94
239,859.36
38,137.6382
WALLS (timber frame, insulation
136.6624
90,197.184
76,275.2765
ROOF (timber frame, insulation
101.110438
66,732.8893
48,047.6803
TOTAL
337.712838
396,789.433
162,460.595
FLOOR
139.3
335,760
53,385.84
WALLS
164.16048
108,345.917
78.009.06
ROOF
167.318812
110,430.416
79,509.8995
TOTAL
470.779292
554,536.387
210,904.8
(concrete slab, insluation
6799.68034 TONNES
1,069.94798 TONNES
& cladding)
& cladding)
IRON FOUNDRY (concrete slab, insluation
(timber frame, insulation & cladding)
(timber frame, insulation & cladding)
VOLUME M3 868.864 3,163.4 TOTAL
COST PER M3 231.07 149
TOTAL COST 200,768.404 471,346.6 672,115
NOTE: the total cost of the building is largely an approximate, in order to gain a better understanding,
WEIGHT AND COST EVALUATION
As mentioned above, both the weight and cost are largely estimated. Both estimates are made on a rough estimation. However, regardless, the above table demonstrates a rough guide to the building in relation to tonnes and cost. Where the cost would alter due to added prices that have not been considered; such as labour, smaller material costs etc. It is important to note here that both choices of material will create little waste and therefore a higher value of sustainability is demonstrated. designed to the dimensions needed, this will instantly create little waste with relation to the choice of timber. Although concrete is thought to have very low values of sustainability, Where the amount of concrete needed will only get manufactured and therefore creating little production waste. In addition to this, such a monolithic structure, the Works, will have large thermal mass, and therefore in turn will cut down on energy consumed within the building for heating and cooling their interiors.
EVALUATION Focusing my project on the narrative of craftsmanship has been extremely interesting. From the start of the project through to the end I learnt alot of things regarding the subject matter that has led me to think outside the box of the usual term of ‘craftsmanship’ that is seen as just a word for a once was traditionalism. Instead it goes much further than this, and it has opened my eyes to the world in which we live in today. Where the digital world is ever progressing and technology is beomcing more advanced; whilst it is important to embrace the science of technology and new techniques, certain motifs of the craftsman should always continue to carry through before people get caught up in this digitial world. Whilst I hold self evaluation, there are areas within the project that can be developed further, for example the bridge that connects to building to the site will hold strong importance to the site. I would like to design this in more detail. Alongside this I would like to represent by building further in terms in internal views and techincal details. Applying this interest to a building in Bath formed over the time and I thoroughly enjoyed the narrative and working on a subject matter that was interesting to me. Designing a building to what is relevent to Bath, focused on a strong narrative and particularly demonstrating the type of architecture that I favour and aim to focus on, was an enjoyable learning curve that I hope shows through in this portfolio.
Subject and object change and develop in relation to each other .... as the activity of the subject develops, so the object to which the subject relates develops and changes too Sayers 435
APPENDIX WORKSHOPS
NOVEL A SERIES OF (UN)FORTUNATE EVENTS. It all began on a very normal Tuesday in the bustley City of Bath. Little did the rush hour commuters realise that just a few streets away, a small series of events was about to unfold for two particular individuals. These events took place in a quiet car park where busy work bodies had abandoned their cars to continue on their sleepy rush to work. It was within the now eerie car park that a cheerful lollipop lady made her way to her place of work. Between her gigantic smiles she made her way over to the shining object carelessly placed on her ever so beloved collection that she had endured for so many years. Without a second thought the lollipop lady began to reach, so in awe of the beautiful antique, she had already disengaged herself from her surroundings. At this point, a small folded piece of paper brushed past her black laced up boots, carried by the gentle Tuesday wind through the air, and placed itself softly by the Rivers edge. As the wind slowly began to pick up the lady quickly rubbed away the dust from the bullet and found a snug place for it to rest within her undersized satchel. The wind gradually began to pick up, as the bullet found a safe place, the small piece of paper by the river side lifted into the river, submerged by water and leaves, it began to sail away sombrely. Little had the lady realised that the piece of paper that had failed to catch her eye was a little more than an ordinary piece of paper, that particular piece of paper had a little more worth than her new collectable. It was in that very same millisecond that she had been a few yards away failed to realise the contents of his pockets empPerhaps it would not be the unkempt bullet that he would notice itself into the deep murky bottom on the riverbed.
1:1 DETAIL
RELIEF ELEVATION 1:100
END.
‘THE WORKS’ BY EMILY CLOWES