EMMA
COOK
N0669957
COMMUNICATION
WAKAGAERI
:
AN
ARCHITECTURAL
GESAMTKUNSTWERK
“
Well being is affected by our physical surroundings, which are an extension of who we are as people.
“
Smith, Dianne. 2012. “Interior Architecture as an agent for wellbeing”. Journal of the Home Economics Institute of Australia.
CONTENTS CHAPTER FIVE: ENGAWA
CHAPTER ONE: GENKA
OVERVIEW CONCLUSION
NATIONAL TRUST STABLE YARD MILLENNIALS MASTERPLAN
PERSONAL BRIEF
CHAPTER FOUR: UTSUROI AREA OF FOCUS ORTHOGRAPHICS JOURNEY OF REALISATION VISUALS
CHAPTER TWO: WA, HASHI CONCEPT DEVELOPMENT
CHAPTER THREE: MICHIYUKI PROPOSED FUNCTION ORTHOGRAPHICS JOURNEY OF PROCESS VISUALS
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PERSONAL BRIEF
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TITLE:WAKAGAERI Wakagaeri, is a gesamtkunstwerk of architecture, nature and the art of movement; all the while producing a spatial journey to promote the work of local artists. The unique concept for the project began with the lack of internet access that is present at the site, Clumber Park, creating a space which acts as an escapism from everyday life. Conceptualising the notion of movement, the user is taken on a journey that goes against, perhaps, comfortable ergonomics, and is encouraged to consider their movement and environment more. The idea being that, similar to yoga and other forms of mental ‘escapism’, the user ends their journey feeling “rejuvenated” (English translation of ‘Wakagaeri’). The design is encouraged by heavy research into Japanese architectural concepts, in particular the idea of ‘boundaries’; understanding what they are (both physically and philosophically) and using them to further challenge peoples’ movement. Also, the concept ‘Michiyuki’ which favours user experience over floorplan, which in turn creates an experiential journey, as a pose to just a space. 8
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SITE COLLAGE
Collage by Author: Images from first site visit.
Research Sketch by Author: Exploring how organic forms can be removed from the site.
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Sketches by Author: Exploring initial ideas for the site.
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CLUMBER PARK MAP
HARDWOOD VILLAGE
CLUMBER LAKE MAIN VISITOR ATTRACTION
Clumber Park is situated in Worksop, Nottinghamshire (S80 3AZ). The site can be accessed via bike, bus and car - this caters for all generations wanting to visit. You do have to pay to enter the site, funds from which go towards the upkeep of the park. You can see, from this, why some people may be put off visiting; the park’s main visitor demographic is middle-aged, middle-class people. The park is characterised by the man-made Clumber Lake, which used to house the Duke’s friargate, Lincoln. However, there seems to be a lack of relationship between the park activities and the lake itself. The main visitor attraction area is situated North of the Lake and includes a cafe, visitor centre, museum and gift shop. A walk from the main visitor centre is the Hardwood Village, this contains dwellings, the old Kennels, a Farm and the Hardwick Woodyard. This area is infrequently visited by park visitors as it is underdeveloped in terms of things to do. Other than the two key areas of the park, the walk around the Lake is very popular among visitors. 16
Map by Author: Map of Clumber Park highlighting the key areas
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CLUMBER PARK & MILLENNIALS ENTRANCE TO HARDWICK VILLAGE THE KENNELS
HARDWICK WOODYARD FARM
Map by Author. Showing Hardwick Village, Clumber Park;
MAIN PARK ENTRANCE
Graphs by Latana. Showing results from a study on Millennials. https://www.comparethecloud. net/articles/what-brands-should-know-aboutmillennials-in-the-uk/
Images by Google. Showing insight into who Millennials are.
JOINERS SHOP WALLED GARDENS CENTRAL BARK CAFE CRICKET PAVILION
STABLE YARD VISITOR CENTRE CLUMBER CHAPEL
Map by Author. Showing the main visitor attraction, Clumber Park.
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Cross referencing the Clumber Park site and who Millennials are: We see that the top 3 motivations are to do with wellness and time with loved ones, yet this contrasts with the spare time chart which shows that in their spare time they use social media, mobiles or TV. If we cross reference this with what is accommodated for at Clumber Park, it is obvious that there is not much within the site that targets these Millennials wants and desires. 19
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“
major depression diagnoses are rising at a faster rate for millennials and teens compared with any other age group.
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Business Insider
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WHY IT WORKS IN THE PARK These two visuals convey the difference between exiting a space into a city and existing a space into a park. What millennials desire, in terms of supporting their wellbeing, is more likely to occur in a city. However, if you compare the affects of leaving a space into a city and leaving a space into a park, the mental wellbeing impacts will be greatly different. If the idea of a wellbeing space is to ‘rejuvenate’, then leaving that space into a busy city completely opposes the aim of the function. Therefore, in my opinion, a wellbeing space would be much better suited in a parkland. This way, once the user has finished in the space, they can continue their ‘journey’ within the parkland. 22
Visuals by Author. Showing the difference between City and Park.
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STABLE YARD_EXISTING GROUND FLOOR PLAN_AREA OF FOCUS
EXISTING ORTHOGRAPHICS - STABLE STABLE YARD_SITE PLAN YARD
EMMA COOK N0669957 NOTTINGHAM TRENT UNIVERSITY INTERIOR ARCHITECTURE AND DESIGN 2019-2020 GENERAL NOTES: THE CONTRACTOR SHALL CHECK AND VERIFY ALL DIMENSIONS ON SITE AND REPORT ANY DISCREPANCIES IN WRITING TO EMMA COOK BEFORE COMMENCING WITH THE WORK. ALL DRAWINGS ARE THE PROPERTY OF EMMA COOK AND SHALL NOT BE REPRODUCED WITHOUT THE CONSENT OF THE DESIGNER. DRAWINGS SHALL NOT BE SCALED. THIS DRAWING IS TO BE READ IN CONJUNCTION WITH THE RELEVANT SPECIFICATION OF BUILDING WORKS. ALL DIMENSIONS ARE IN mm UNLESS OTHERWISE NOTED. THIS DRAWING MAY INCORPORATE INFORMATION FROM OTHER PROFESSIONS. EMMA COOK CANNOT ACCEPT RESPONSIBILITY FOR THE INTEGRITY AND ACCURACY OF SUCH INFORMATION. IF IN DOUBT ASK !
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EXISTING PHOTOS - STABLE YARD
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STABLE YARD
PRIVATE GARDENS
Map by Author: Showing Master Plan.
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The Stable Yard is within the ‘Main Visitor Centre’ and is where the Dukes’ historically kept their horses. The building is now used for offices for the National Trust staff, which I find quite a shame as the building very prominent in the park but is very private in its function. Opening such a building to the public would further the relationship between visitor and the history of the park. The building has a great connection to Clumber Lake and also has the private gardens running the length of the East side. These two factors were the selling point, for me, to choose this building for my project.
MASTERPLAN 33
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Elevations by Author: Showing Master Plan in Elevation at day.
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Elevations by Author: Showing Master Plan in Elevation at night.
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MASTERPLAN PRECEDENTS I began looking at precedents of wellness centres, particularly ones situated in country side settings. I looked at the spaces they incorporated, how they framed the views and how the design of the space can encourage better wellbeing. I then looked at the Dreams Chasing Life & Art Showroom by AD Architecture to explore how the forms can inform visitors’ movement around the space.
Santani Wellness Resort & Spa. Thisara Thanapathy Associates.
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Dreams-Chasing Life & Art Showroom. AD Architecture.
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CONCEPT DEVELOPMENT
Throughout my process stage I explored numerous concepts. After reading the ‘Happy by Design’ book by Ben Channon, I realised how important exercise was for mental wellbeing. I began merging this with Japanese Architectural concepts - which came from my research into nature - and created the concept of ‘manipulation of movement’. I knew I wanted to incorporate exercise within the design but also wanted to create a space to display local artist’s work; so I decided to break down what ‘exercise’ is and explored every day movement and ways of obstructing everyday movement to create ‘unconventional’ movement. This chapter will show an overview of the journey I took through the formation of my concept and where they appear within the design. 42
Concept image by Author. Showing the concept of Michiyuki.
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LACK OF LIGHT POLLUTION AND INTERNET ACCESS
NO PHONES = HEALTHIER MIND
MANIPULATION OF MOVEMENT
One of the first things I noticed about Clumber Park was the lack of light pollution, particularly away from the main visitor hubs; this got me thinking about ideas of stargazing and exploring night time activities. Something else which is noticeable is the lack of signal and internet access. A common assumption about millennials and post-millennials is that fact that they’re always on their phones/technology. Most people would see a lack of signal as a negative, however I saw this as a positive; this is where the wellness idea began. Throughout my research phase of the project, I focused a lot on the natural elements vs. man-made elements, and extracting the organic shapes found within the site. I decided to take this into process and looked at how nature could inform form. From my research I found out that Japanese architecture was influenced heavily by nature and I decided to look further into this. I came across the Japanese architectural concepts (Wa, Hashi, Michiyuki, Engawa) which ended up being one of the main design directions for the project.
STARGAZING AND CAMPING
WELLNESS ORGANIC SHAPES
Image by Author. Showing how I got to my final concept.
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HOW NATURE INFORMS FORM
FORMS OF EXERCISE TO INCREASE WELLBEING
I then merged the idea of Japanese concepts and the idea of increasing someone’s wellbeing and formed the concept of manipulation of movement. The concept came about after looking into forms of increasing wellbeing; I noticed that a lot of the methods involved movement (yoga, palates, exercise).
JAPANESE ARCHITECTURAL CONCEPTS
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JAPANESE INFLUENCE
Hashi (a Japanese Architectural Concept) means ‘boundary in movement’. I explored this concept by questioning what a ‘boundary’ is; whether it be physical or psychological. In Japanese cultures, the boundary is created to slow the users journey through the space. The following are examples of what a boundary could be:
Diagram by Ching, 2015. Showing a linear pathway.
Taking the Japanese Architectural Concept of ‘Wa’ (my personal interpretation being the interpersonal relationship between body and space), I created a cork flooring in Gallery 01. The cork is made less compact so when someone stands on it, it sinks slightly. The idea being that the material is everchanging and responding to the human movements on it. The effect created from this will be an undulating surface under foot with the desire lines created by humans is imprinted in the material; where people can either chose to follow the path of those before them or create new ones. I have also designed a ‘see-saw’ seat which moves (like a see-saw) when someone sits on either end. This is to encourage users to think about the ways that their movement can have a knock on effect.
Visuals by Author. Showing how my design incorporates Wa.
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▶ ▶ ▶ ▶ ▶ ▶ ▶ ▶
Change in floor level Change in texture Change in lighting Doors Overhead planes (Engawa) Change in atmosphere Change in material Furniture
In the cafe space of my project, I used a change in floor level and floor texture to create three separate areas: bar area, path through and floor seating. A change in over head plane also helps to create the boundary within the space. This works with ideas from the ‘Form, Space, & Order’ book (Ching 2015), which says that the eye carries on a line, even if the physical line doesn’t carry on. Throughout the building, a red wire runs through the space, breaking up spaces. The wire seems to act as “wayfinding” but actually creates a boundary between certain spaces. The question is: will the user dare to cross the boundary to get to different spaces? Visuals by Author. Showing how my design incorporates Hashi.
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The top diagram shows the michiyuki of my space; michiyuki refers to looking at the plan from the users experience rather than as a diagrammatically floor plan. I have arranged the spaces in a linear form but taken inspiration from the Mรถbius House plan by taking the user up one set of stairs and down another. This creates almost a confusion for the person but then there is recognition when they see glimpses of where they have previously been. These series of confusion and then recognition invite the user to explore - which is proven to be very good for wellbeing.
RECOGNITION
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CONFUSION
RECOGNITION
Visual by Author. Showing the Michiyuki of my project.
Visual by Author. Showing the floor planes and wire structure.
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Utsuroi translates to ‘gradual change’; this can be between spaces or throughout the space as a whole. In my project, the gradual change is in the light, open space and freedom of movement. In the beginning, all of these factors are less prominent compared to the end of the journey - towards the lake. This movement reflects the journey that someone would take towards rejuvenation - at the end everything becomes more clear and free. Sketch by Author. Showing an initial idea.
Beginning of the journey: filtered natural light and more intimate. Sketch by Author. Showing an initial idea about space.
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Sketch by Author. Showing initial ideas about creating a journey.
Middle of the journey: more natural light and more open spaces with increased freedom of movement.
End of the journey and heading towards the lake: most natural light and most freedom. Ends within the park where it is now the users choice where to go next. 51
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MOVEMENT EXPLORATION I explored movement through photography, looking at ways people move in their everyday lives. Walking, stepping, hopping and resting; each of which have been challenged and questioned within the final design. From using longer steps to creating boundaries where ‘ducking’ or ‘stepping’ has to be used to cross them, the user is forced to consider their movements more.
Collage by Author. Showing exploration into movement.
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DESIGN DIRECTION
Having a different entrance to exit provokes the idea of a journey rather than building. It also has psychological reference; as the person has ‘rejuvenated’ through the space, they don’t want to come out the same way they came (metaphorically speaking). I also believe that having a different entrance and exit makes the space blend in with the environment more as you are still moving through the site as you move through the building.
MAKE PEOPLE THINK ABOUT THEIR MOVEMENTS
DIFFERENT ENTRANCE/EXIT
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Look with your eyes AND your fingers
TACTILE ENVIRONMENT
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Everyone has been told by their mother, at some point, “don’t look with your fingers, look with you eyes”. I want Wakagaeri to promote touch, to incorporate the concept of ‘Wa’ (interpersonal relationship between body and space). Through the use of tactile materials, details and interactive elements, the user will feel more connected to the space.
Unconventional steps and spaces that may go against ‘normal’ ergonomics force the user to think carefully about how they’re moving through the space. This comes from Yoga and other forms of exercise being used as a tool for providing well-being care.
The floorplan has been designed in a way which encourages exploration; in my research I found that exploring can boost mood. There are multiple areas through the design which provide glimpses into other spaces and places where the user will question which path to take.
IDEA OF EXPLORATION
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PROJECT PROPOSAL The following visuals will show my project proposal, set in the East side of the Stable Yard.
Plan by Author. Showing the project in site.
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DISCLAIMER: While I have researched and understood DDA during studies and placement experience, the concept of Japanese architecture and movement has been explored through the use of steps, boundaries and flooring material. Therefore, in order to fully explore these concepts, my final design is not DDA compliant.
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KEY: 01. ENTRANCE VIA RAMP DOWN TO BASEMENT LEVEL 02. BOTTOM OF VOID SPACE WITH SEATING 03. STAIRWELL TO GROUND FLOOR
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I do know, however, that disabled access does not just mean ‘wheel chair access’. My design uses sound absorbing materials, like cork, which creates a comfortable environment for people with mental disabilities such as autism. As well, the materials I have chosen contain limited VOCs, making the environment more suitable for those with respiratory issues (also a disability); and the indoor-outdoor spaces allow for good ventilation.
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KEY: 01. STAIRWELL UP FROM BASEMENT & MAIN ENTRANCE 02. SHOE REMOVAL & “WHAT’S ON” 03. GALLERY 01 GROUND FLOOR 04. GALLERY 01 GROUND FLOOR CONTINUED 05. VOID FROM BASEMENT TO ROOF 06. OFFICE & STORAGE 07. GALLERY 02 GROUND FLOOR 08. GARDEN GALLERY 09. CAFE BOH 10. W/C 11. CAFE 12. SHOE COLLECTION & EXIT TOWARDS LAKE 13. RELAXATION SPACE
GROUND FLOOR PLAN @ 1:100
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KEY: 01. GALLERY 01 FIRST FLOOR 02. GALLERY 02 FIRST FLOOR 03. STAIRCASE DOWN TO GALLERY 02 GROUND FLOOR 04. BOH 05. BRIDGE ABOVE CAFE FOR STAFF ACCESS TO STARGAZING EXPERIENCE 06. STARGAZING EXPERIENCE
FIRST FLOOR PLAN @ 1:100
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CHAPTER THREE: MICHIYUKI EMMA COOK N0669957 NOTTINGHAM TRENT UNIVERSITY INTERIOR ARCHITECTURE AND DESIGN 2019-2020
PRODUCED BY AN AUTODESK STUDENT VERSION
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Shop Name WAKAGAERI Title PROPOSED SECTION C-C - D-D
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Site Address STABLE YARD NATIONAL TRUST CLUMBER PARK WORKSOP S80 3AZ
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Rev. Drawing No. DREJD_DESN3017
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BOH
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Isometric by Author. Showing the proposed space.
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RED ASHCRETE
MATERIAL PALETTE
BRUSHED ALUMINIUM
VICTORIAN ASH
HEXABEN BY BENCORE
REUSED CORK EXISTING RED BRICK Material Board by Author.
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EXISTING RED BRICK
REUSED CORK
RED ASHCRETE
VICTORIAN ASH
BRUSHED ALUMINIUM
HEXABEN, BENCORE
Using the existing brick as my main material throughout the design, drastically reduces the amount of C02 produced from manufacturing other materials and delivering/fitting them. It also allows the building to retain its history.
Cork is an up and coming material used by environmentally aware designers. For my project, it is soft underfoot which makes for a good flooring material. It also has great acoustic properties.
AshCrete is a new material which substitutes cement for Fly Ash from furnaces. Not only is this much more eco-friendly than concrete, but it is a subtle nod to the history of the building housing the horses. With a red pigment mixed in, it will be used throughout the design, predominantly for flooring, and will be a smooth finish for comfort walking on.
VICASH (Victorian Ash) is a sustainably sourced hardwood timber and has a long lifespan. The natural colouring of this wood works well with the existing brick which eliminates the need for dyes which emit pollutants into the space.
Brushed aluminium will be used for hardware such as handles and door frames.
Hexaben is a composite panel made from acrylic and a honeycomb aluminium core. The frosted acrylic blurs objects behind and the core reflects light - creating the concept of Yugen/mystery. Bencore is a sustainably aware company who use 100% recycled materials.
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PRECEDENTS FOR MATERIALS House Addition in Bigues. Sauquet Arquitectes .
House in Boadilla del Monte. Malu De Miguel.
NOMA 2.0. BIG.
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Kunstlerhaus Marktoberdorf. Berf & Deplazes Architekten.
Kunstlerhaus Marktoberdorf. Berf & Deplazes Architekten.
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Visual by Author. Showing entrance to Wakagaeri.
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THE VOID SPACE
Visual by Author. Showing the void space.
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Sensing Spaces @ RA by Grafton Architects.
The void is the first place the user enters in their journey through ‘Wakagaeri’. The space itself is dark and mysterious which sets the idea of exploration from the get go. Inspired by Grafton Architect’s installation at the RA’s ‘Sensing Spaces’, a large void runs from the basement level through ground floor, first floor and the roof. The walls come high enough off the floor slab to ensure light disperses into the space surrounding. This is the first ‘reflection space’ in the building. In Japanese architectural concepts, changes in degrees of light are seen as a ‘boundary’. The concept of ‘hashi’ means ‘boundary in motion’; with this void, the boundary (light) will always be in motion from the movement of the sun. Visual by Author. Showing void space upon entry.
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STAIRS TO GROUND FLOOR
Visual by Author. Showing the stairs to the main entrance.
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CHAPTER THREE: MICHIYUKI Visual by Author. Showing the stairs up towards the main entrance from birdseye view.
Visual by Author. Showing the main entrance.
The steps of the stairs have a longer going than ergonomics recommend in order to slow the users journey. The ‘rising’ back up to ground level into a glazed room will be an experience that adds to the journey overall; by slowing this part down, the user will hopefully have a greater appreciation of the space and their movement. 86
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GALLERY 02
Visual by Author. Showing the main entrance.
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Mรถbius House by UN Studio.
Visual by Author. Showing the staircase in Gallery 02.
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Visual by Author. Showing a long section through Gallery 02.
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GARDEN GALLERY
Visual by Author. Showing the rendered section CC through Garden Gallery.
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The Garden Gallery provides an alternative space for artists to display their work, perhaps more sculptural pieces. The gallery is open to the elements and has a great connection to nature. The first floor of Gallery 02 provides views down into the Garden Gallery, so the user is provided with a glimpse of where they are going next; giving a sense of exploration. Also on the first floor are private lookout spaces which provide an intimate experience for a solo person to take in the views outside. Being such a private moment, the viewer has no other distractions or influences; this gives time for the brain to totally switch off to everything else. Dreams-Chasing Life & Art Showroom by AD Architecture.
Visual by Author. Showing the view through the Garden Gallery.
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Visual by Author. Showing the private lookout space.
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GARDEN GALLERY
Visual by Author. Showing the cafe from birdseye view.
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Visual by Author. Showing minimalist seating in the cafe.
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EXIT TOWARDS LAKE
Visual by Author. Showing seating at the exit.
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Visual by Author. Showing the exit towards the lake.
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Visual by Author. Showing section through the exit at night.
RELAXATION SPACE Visual by Author. Showing relaxation space.
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AREA OF FOCUS - GALLERY 01
Visual by Author. Showing location of Area of Focus.
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AREA OF FOCUS - NEW GROUND FLOOR PLAN (NOT TO SCALE)
UP FROM BASEMENT
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Double Mono Oven
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Double Mono Oven
ENTRY VIA BASEMENT
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Dishwasher
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(NOT TO SCALE)
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DO NOT SCALE THIS DRAWING
AREA OF FOCUS - EXISTING GROUND FLOOR PLAN
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ROOM KEY: 01. Stairwell to Ground Floor 02. Events Information Area 03. Gallery 01 Space 04. Gallery 01 cont. 05. Void Space down to Basement 06 Storage/Office 07. Gallery 02 Space 08. Garden Gallery 09. BOH for Cafe 10. W/Cs
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AREA OF FOCUS - PROPOSED GROUND FLOOR PLAN @ 1:50
AREA OF FOCUS - PROPOSED FIRST FLOOR PLAN @ 1:50 Visual by Author. Ground floor plan of Gallery 01.
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Visual by Author. First floor plan of Gallery 01.
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AREA OF FOCUS - PROPOSED SECTION A-A @ 1:100
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AREA OF FOCUS - PROPOSED SECTION B-B @ 1:100
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AREA OF FOCUS - PROPOSED GROUND FLOOR PLAN @ 1:50
AREA OF FOCUS - PROPOSED FIRST FLOOR PLAN @ 1:50 Visual by Author. Ground floor plan of Gallery 01.
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Visual by Author. First floor plan of Gallery 01.
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EXTERNAL SEAT
Visual by Author. Section of Gallery 01.
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Visual by Author. Showing the external seat in the existing wall of Gallery 01.
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ENTRANCE SPACE
Visual by Author. Showing Gallery 01.
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Visual by Author. Showing entrance to Gallery 01.
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FIRST FLOOR
Visual by Author. Showing the first floor of Gallery 01.
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Visual by Author. Showing a section of Gallery 01.
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Visual by Author. Showing the first floor of Gallery 01.
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PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
Technical Detail by Author. Showing 3D basement detail.
Technical Detail by Author. Showing 3D glazing channel detail.
PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
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PRODUCED BY AN AUTODESK STUDENT VERSION
Technical Detail by Author. Showing stairs and Gallery 01.
PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
TECHNICAL DETAILS OF GALLERY 01 AND ADJACENT STAIRWELL
Technical Detail by Author. Showing 2D basement detail.
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CHAPTER FOUR: UTSUROI PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BYPRODUCED AN AUTODESK STUDENT VERSION BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BYPRODUCED AN AUTODESK STUDENT VERSION BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
Technical Detail by Author. Showing glazed extension to brick detail. PRODUCED BY AN AUTODESK STUDENT VERSION
Technical Detail by Author. Showing stairs and Gallery 01.
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Technical Detail by Author. Showing 2D external seating detail.
Technical Detail by Author. Showing 3D external seating detail.
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CHAPTER FIVE: ENGAWA
COMMUNICATION: CHAPTER FIVE: ENGAWA
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EXISTING MODEL
PROPOSED MODEL Model by Author.
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Model by Author.
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EXISTING GROUND FLOOR MODEL
PROPOSED GROUND FLOOR MODEL Model by Author.
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Model by Author.
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EXISTING FIRST FLOOR MODEL
PROPOSED FIRST FLOOR MODEL Model by Author.
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Model by Author.
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CHAPTER FIVE: ENGAWA Visual by Author.
CONCLUSION What does Wakagaeri bring to Clumber Park? Wakagaeri brings recognition to local artists, provides a place for appreciation of art forms of multiple types and subtly nods to the nature of the landscape (all things that the National Trust have done in the past). However, more importantly, Wakagaeri brings new ideas about how people move through spaces, how designers can create spaces for better wellbeing and drives the importance of taking time out of every day lives to just be. We are beginning to see new spaces within cities that encompass these morals... so why not implement it in rural context, where research proves our mental wellbeing is better. Japanese architecture is a current trend amongst designers (both old and new) but also with younger generations. An increase in social media has driven vogues of low lying furniture, minimalism and engawa; and people of all backgrounds are beginning to implement Asian design and theory into their homes and workplaces. Ideas of social sustainability within Japanese design is something that, as designers, we should be researching more in order to enrich western architecture. Wakagaeri aims to bring awareness to this.
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