Interior Design Portfolio by Eve Atkins by eveatkins97

EVE ATKINS INTERIOR DESIGN PORTFOLIO KINGSTON UNIVERSITY LONDON BA INTERIOR DESIGN (HONS) 2019

CONTENTS

SHADWELL

VICKERS VIMMY

WALTHAMSTOW

RESIDENTIAL WORK

DISSERTATION ABSTRACT

CREMATORIUM

EXHIBITION SPACE

MUSEUM

CURRENT WORKS

SHADWELL CREMATORIUM

PROJECT AIM TO CREATE AN ALTERNATIVE CREMATORIUM SITE THAT CAN SERVE AS A CALMING ENVIRONMENT IN THE MIDDLE OF THE CITY WHERE LOVED ONES CAN COME TO REFLECT. THE AIM WAS TO DO THIS IN A WAY WHICH CELEBRATES THE ORIGINAL, DERELICT BUILDING AND EMBRACES THE AFFECTS OF DILAPIDATION OVER TIME.

LOCATION

ST GEORGE IN THE EAST SHADWELL - TOWER HAMLETS - LONDON

SHADWELL

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or ge

th e

CREMATORIUM

n Tow

H al l

LOCATING THE SITE - SHADWELL

Shadwell is located in the London borough of Tower Hamlets between Whitechapel, Stepney and Wapping, forming part of the East End of London. The district of Shadwell is found between the highway and commercial road and has both an overground and a DLR station, meaning that the area has easy access to the rest of London. In 1936 the battle of Cable Street took place within the district as a result of a clash between the Metropolitan Police and the various anti-fascist demonstrators, including local anarchist, communist, Jewish and socialist groups. In the early 80s a mural was tu a

commissioned to be painted on the side of the own hall commemorating the incident.

M or

Within Shadwell are four sites of intrigue each with interesting history and exteriors but with neglected and run down interiors: St George in the East Church, the local swimming pool, the old mortuary and the town hall - all highlighted in the image to the right.

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SHADWELL CREMATORIUM

INE

NL RAI

WAY

H CYCLE HIG

TOWN HALL

ST GEORGES IN THE EAST MORTUARY

G POOL

SWIMMIN

BRIC

K BU

CO N

U OP

D ATE

S CE A SP

LOCAL BUILDING FABRIC AND POPULATED SPACES

ILDI

CLA

CRE

NGS

TE B

UIL

ILD

DIN

ING

SHADWELL CREMATORIUM

PAT T E R N R E V E A L I N G B O W L M A K E YO U R OW N S I M P LY VA R N I S H YO U R OW N PAT T E R N O N TO T H E B OW L A N D WA I T FOR IT EMERGE OVER TIME

STEP BY STEP PERSONALISING BOWLS

SOUVENIR

PACKAGING LABEL

SHADWELL CREMATORIUM

VARNISHED BOWLS SHOWING THE AFFECTS OF USAGE OVER TIME

SOUVENIR As part of my research in getting to know the area I decided to take a particular point of interest and create a souvenir to reflect this. As Shadwell has a large population of Bangladeshi people I studied more into their culture and found that there is an intimate practice of gift giving where the significance of the item is held in much higher regard than the monetary value. Keeping this in mind, along with the circular economy brief, I created a DIY gift set which included two handmade bowls and a paintbrush and varnish. With this kit you and a friend could together use the varnish to paint a personal pattern onto the bowl, leaving gaps untouched by the varnish and therefore easy to stain. Then, with time and usage, your originally invisible pattern would become more and more visible. As well as stemming from my research into the Bangladeshi culture this project also ties in with the circular economy brief as it encourages you to embrace the wear and repeated use of an object, and discourages the throw away culture of slightly overused / damaged products. This then began my thinking into how we can apply a similar attitude to architecture and interior design.

SIMILAR EFFECT OF REPEATEDLY CASTING WALLS OVER TIME

SHADWELL CREMATORIUM

VISUAL OF EXISTING INTERNAL VIEW OF THE SITE

EXISTING SITE

My chosen site of the given four was the derelict Mortuary building in the grounds of St George in the East Church. The building has undertaken many changes of use since it’s original construction in 1876 where it stood as a functional mortuary for around 30 years, during the time of Jack the Ripper. However in 1904 the building was converted into a Nature Study Museum and opened to the public as a branch of the Whitechapel Museum. This was part of an effort in an overcrowded inner city area to give local people the opportunity to have more contact with nature. During World War Two the Museum was temporarily closed but never reopened after the war and fell into despair. The image above shows my Photoshopped interior view of the existing site as it is found today with overgrown plants and falling down walls, supported by scaffolding.

SION 01

SHADWELL CREMATORIUM

VECTORWORKS EDUCATIONAL VERSION VECTORWORKS EDUCATIONAL VERSION HOARDING

PLINTH

SLAB (REMENANT)

MORTUARY CHAMBER

SEPERATION VESTIBULE

INFECTIOUS CHAMBER

SLAB

WASHBASIN

ENTRY VESTUBLE

ORWORKS EDUCATIONAL VERSION

SION

VECTORWORKS EDUCATIONAL VERSION EXISTING MORTUARY PLAN AND ELEVATIONS

SHADWELL CREMATORIUM

SYNTHESIS PLAN I began looking at ways in which I could use the existing walls of the mortuary to create new, expanding spaces around the existing site. By casting the walls as they decay over time I can preserve that moment of dilapidation and show how it is possible to embrace the process of aging and dying within the architecture whilst still welcoming the idea of a new and expanding building.

SHADWELL CREMATORIUM

TRIAL MODELS These Images show my process of refining the layout and circulation of my growing building - attempting to keep the fluidity and freedom of my Synthesis plan, whilst creating coherent and functional spaces. The photographs show my development from the top, finishing at my almost finalised building at the bottom. The colours of the walls dictate the age of the space: darkest being the oldest and lightest being the new. I also experimented with ways in which I could use plaster to cast the walls again and again, each time letting it dilapidate and loose some detail, to show the decaying process of the walls through modelling.

SHADWELL CREMATORIUM

FINAL MODEL

SHADWELL CREMATORIUM

FINAL MODEL

SHADWELL CREMATORIUM

SCALE 1:100 CREMATORIUM: GROUND FLOOR PLAN

SHADWELL CREMATORIUM

SCALE 1:100 CREMATORIUM: GROUND FLOOR PLAN

SHADWELL CREMATORIUM

VECTORWORKS EDUCATIONAL VERSIO AA BB

SECTIONS AT 1:100

SHADWELL CREMATORIUM

VECTORWORKS EDUCATIONAL VERSION

SECTION AT 1:100

SHADWELL CREMATORIUM

Coffin Collection Point

Memorial Area

Community Space Private Meditative / Reflection Space Reception

Toilets

Funeral Ceremony Space

Private Meditative / Reflection Space

Wake Venue

Memorial Area

Crematory

PROGRAMME

SHADWELL CREMATORIUM

Family collects coffin and proceeds into the building 1

together.

2. Funeral takes place and family and coffin move Family Route

separate ways. 3. Wake takes place around the other side of the old mortuary. 4. Private space is available for those who need time to reflect. 5. Family move through to the community space where they can discuss what will happen with the ashes. 6. Family and processed ashes meet again where they will either take them away or leave in the memorial space.

Family collects coffin and proceeds into the building together.

2. Funeral takes place and family and coffin move 6

Coffin Route

separate ways.

3. Coffin moves down into the basement after the guests

have left the funeral space 4. The cremation process begins (taking around two hours

to cremate the body). 5. Ashes are then processed in which ever way the family desires (into a candle, memorial brick, jewellery, etc)

6. Family and processed ashes meet again where they will either take them away or leave in the memorial space.

1 4

1. Space available for the community for grief counselling and group counselling sessions. Also can be made Community services

available for other activities as part of the aim of

making the general public more comfortable with the idea of death - as the space looks down into the memorial space. 2. A private meditation space that is available for hire by individuals and small groups that require somewhere to reflect and meditate with relaxing views out into the surrounding park lands.

CIRCULATION

SHADWELL CREMATORIUM

CTORWORKS EDUCATIONAL VERSION

CEMETERY VISUALISATIONS

SHADWELL CREMATORIUM

VECTORWORKS EDUCATIONAL VERSION Spacing piece Silicone joint seal Double glazing

Water reservoir Drainage layer Insulation panel

Reinforced concrete Silicone strip

VECTORWORKS EDUCATIONAL VERSION

SECTION DETAIL

VECTORWORKS EDUCATIONAL VERS

SHADWELL CREMATORIUM

ECTORWORKS EDUCATIONAL VERSION

PRIVATE MEDITATIVE SPACE

SHADWELL CREMATORIUM

CTORWORKS EDUCATIONAL VERSION

VIEW FROM FUNERAL SPACE LOOKING INTO THE EXISTING MORTUARY

SHADWELL CREMATORIUM

ECTORWORKS EDUCATIONAL VERSION

EXISTING MORTUARY LOOKING INTO THE NEW CEMETERY

BROOKLANDS MUSEUM EXHIBITION SPACE

PROJECT AIM TO CREATE A NEEW EXHIBITION SPACECE TO HOUSE THE VICKER’S VIMY PLANE AT BROOKLAND MUSEUM. TO USE THIS NEW SPACE TO DISPLAY THE PLANE, TELL THE STORY OF THE ORIGINAL FLIGHT AND EXHIBIT A NUMBER OF ARTIFACTS FROM THE FLIGHT WHILST MAKING IT ACCESSABLE FOR ALL AGES AND ABILITIES.

LOCATION

BROOKLANDS MUSEUM WEYBRIDGE, SURREY

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MUSEUM EXHIBITION SPACE

LOCATING THE SITE - BROOKLANDS MUSEUM

The Brooklands Museum, located in Weybridge, Surrey, was originally built as the world’s first purpose-built racing circuit by local landowners Hugh and Ethel Locke King in 1906. It was home to many records set by drivers on the track and later also became a arena for racing bicycles, motorbikes and even aeroplanes. During World War Two the Vickers-Armstrongs and Hawker aircraft companies used the Brooklands site for military aircraft production and produced a total of 2,515 Wellington Bomber planes and 3,012 Hawker Hurricane planes on site. Following British Aerospace’s announcement that they were going to sell off the most historic 40 acres of the original Brooklands Motor Racing Circuit, a 99-year Lease was entered into by Elmbridge Borough Council and Gallaher Ltd in 1984 for 30 of the 40 acres of the site, for the purpose of founding a museum at Brooklands.

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MUSEUM EXHIBITION SPACE

VICKERS VIMY EXHIBIT

The exhibition space is housed in a corrugated metel, temporary bomber shed. The aim of this project is to create a cohesive exhibition space for the Vicker’s Vimmy bomber plane and to make it more appealing to people of all ages as well as to make the space more accessable to visitors with limited mobility. The existing exhibition space has many issues with the main one being the cluttered feel of the space. Becuase of this (and the ristricted circulation) there are many items in the space that are partially obscured by other objects, items that are too far awa to appreciate properly and a limited, onesided, view of the plane itself. In addition to this the exhibition space has no interactive features which might interest children and very lengthy and unexciting information about the plane. To the far right I have displayed my concept for the Vickers Vimy exhibition ticket. The dark grey areas of the ticket are able to be popped out and assembled into a small cardboard replica of the Vimy plane.

Vickers Vimy Materials and Composition Diagram 0 2 BROOKLANDS MUSEUM EXHIBITION SPACE

1 13

2 12 11 10 3

9 4 8

Spruce Spruce

Plywood Plywood

Steel Steel

Wire Wire

Doped DopedFabric Fabric

VICKERS VIMY PLANE

Ross and Keith Smith set out for Australia from Hounslow in a Vickers Vimy MK IV on 12 November 1919. They reached Darwin 28 days later on December 10, claiming a prize of 10 000 pounds for being the first Australians to fly from England to Australia in less than 30 days. The plane took many monumental flights over many years - most recently in 1995 when Peter McMillan, Dan Nelson and Lang Kidby flew a duplicate Vickers Vimy plane to recreate the original trip to Australia. The images above show the materials found in the Vickers Vimy plane and the construction of the plane’s wing. The images on the right of the page are of my team’s 1:50 model of the Vimy made of mdf wood and wire.

1. Aileron 2. Fuel Gravity Tank 3. Propeller 4. Steel Tube Front Fuselage Frame 5. Fuel Tank 6. Radiator 7. 360-hp Rolls-Royce Eagle VII Engine 8. Hollow Spruce Struts 9. Lift Wires 10. Ply and Spruce Struts 11. Spruce and Plywood Box Section Spars 12. Steel Tube Rear Section 13. Tailplane

Day 1 | 11.11.1994

0 2 BROOKLANDS

The team starts its journey with a heavy wind

Day 42 | 22.08.1994 The aircraft has to be tied down due to a hurricane in Pise.

Due to no clearance to fly over the Pyramids they get shot at and the plane is covered in red tape.

They fly on to creteabove the mediteranen sea

The crew flies the vimy from Delhi to India to see the sunrise above the Taj Mahal.

Difficulties entering Myanmar. Right engine starts oscilating uncontrollably.

Due to engine failure, McMillan makes an emergency landing.

McMillan and Kidby arrive at the destination 14 days later than the original voyage.

MUSEUM EXHIBITION SPACE

Objet distribution drawing

Rome, Italy Pisa, Italy

2018

Cairo, Egypt Cairo, Egypt London, England Farnborough, England

Crete, Grece Crete, Grece

1994

1919

FABRIC LEATHER–

Allahabad, India Delhi, India

CLOTHING Bangkok, Thailand Yangon, Myanmar

Surabaya, Indonesia Jakarta, Java

Darwin, Australia Darwin, Australia

PAPERS– MAP DOCUMENT

REWARDS–

MEASURING INSTRUMENTS– ENGINE WIND SPEED AIR

Timeline of the first journey by plane from England to Australia in 1919 as well as the journey recreated in 1995

VICKERS VIMY PLANE

Object distribution drawing for the Vickers Vimy exhibit using objects from both the 1919 and 1995 journey

0 2 BROOKLANDS

MUSEUM EXHIBITION SPACE

INITIAL INSPIRATION

Drawing Fashion at The Design Museum - Carmody Groarke 2010 The drawing fashion exhibition captured the ethereal essence that I wanted to translate into my scheme with it’s backlit panels and ambient light enhancing the images displayed on them.

0 2 BROOKLANDS

MUSEUM EXHIBITION SPACE

INITIAL CONCEPT VISUALS

Taking inspiration from the Fashion Drawing exhibition at the Design Museum I wanted to create a simple stripped back look for the back drop to the plane and souvineers. I also took inspiation from the fact that the original plane wings were made from a spruce and plywood frame, wrapped in a doped fabric and used this as my inital concept for how I would use this structure to display and seperate spaces. The images below show my handmade sketch model photoshopped into the shed and how I could use it to display objects and create other uses of the space.

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MUSEUM EXHIBITION SPACE

PRECEDENT IMAGES

Drawing Fashion The Design Museum - Carmody Groarke 2010 The drawing fashion exhibition captured the ethereal essence that I wanted to translate into my scheme with it’s backlit panels and ambient light enhancing the images displayed on them.

0 2 BROOKLANDS

MUSEUM EXHIBITION SPACE

CONCEPT DEVELOPMENT

On this page I began playing more with how I could use the structure of the Vickers Vimy wing as the structure of my exhibitoin walls thorugh quick sketch experimentation.

0 2 BROOKLANDS

MUSEUM EXHIBITION SPACE

DEVELOPMENT MODELS

1:10 Model experimenting with the structure and materiality of the exhibition walls, inspired by the structure of the Vickers Vimy wing. Lighting tests to see how light would difuse through frosted polycarbonate

0 2 BROOKLANDS

MUSEUM EXHIBITION SPACE

DEVELOPMENT MODELS

1:200 models of a section of the proposed exhibition space, experimenting with different arrangements of the lift and stairs. The model to the far right shows the final layout with the best circulation for poeple of all abilities to have the same experience.

0 2 BROOKLANDS

MUSEUM EXHIBITION SPACE

INITIAL VISUALS

A selection of visuals I created to experiment with different ways that I could utilise the structure of the exhibition walls on the upper level to allow the space to be more accessible to people of all ages / abilities.

0 2 BROOKLANDS

MUSEUM EXHIBITION SPACE

SPATIAL ORGANISATION

Studies looking into ways that I could occupy the area around the plane. Using contour lines, found on maps, on the floor around the plane I was able to point to areas on the floor where there would be ‘sound clouds’ for visitors to stand and be given information by an overhead speaker. The diagrams to the left show different experiments with the layout of the contour lines, with the final design at the bottom. The images to the far left are of the proposed plan with the shaded concrete contour lines and below it is a visualisation of how the plane would look in the shed with the patterned floor.

0 2 BROOKLANDS

MUSEUM EXHIBITION SPACE

Ground floor

1:100 PLANS

First floor

0 2 BROOKLANDS

MUSEUM EXHIBITION SPACE

VECTORWORKS EDUCATIONAL VERSION

1:50 SECTION

0 2 BROOKLANDS

MUSEUM EXHIBITION SPACE

VECTORWORKS EDUCATIONAL VERSION

1:50 SECTION

0 2 BROOKLANDS

MUSEUM EXHIBITION SPACE

1:50 SECTION 1 - Ground floor showing stairs and lift 2 - First floor showing stairs and lift 3 - Ground floor projection viewing area 4 - Top view of ground floor 5 - Ground and first floor of exhibition space shown in model shed

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MUSEUM EXHIBITION SPACE

1:10 MODEL Above are photos of the 1:10 detail model of the construction of the exhibitions wall and mezzanine and how they come into contact with one and other.

0 2 BROOKLANDS

MUSEUM EXHIBITION SPACE

1:10 MODEL

0 2 BROOKLANDS

MUSEUM EXHIBITION SPACE

1 - Visitors enter into an enclosed foyer area and are enticed around the corner with imagery of the flight journey

4 - Around the corner is a closed off projection area where visitors can sit within the structure of the wall and view a short film on the Vickers Vimy flight to Australia

2 - The first point of contact that the visitors engage with is the left wall which displays artefacts and information about the pilots and engineers involved in the flight

5 - Along side the lift and stairs on the first floor is a sloped bench which will contain information about the flight as well as an interactive touch screen

3 - On the other side of the exhibition space is the stairs and lift leading up to the first floor

6 - On the first floor visitors will find views over the Vickers Vimy as well as seating and objects to view within the back wall

VECTORWORKS EDUCATIONAL VERSION

5 6 3 4 2

VECTORWORKS EDUCATIONAL VERSION STORY BOARD

The images to the right show a visitor’s journey through my proposed exhibition space from the entrance through to the first floor. The images have been numbered and located on the plan above (light purple number indicate ground floor, dark purple numbers indicated first floor).

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MUSEUM EXHIBITION SPACE

FINAL VISUALS

0 2 BROOKLANDS

MUSEUM EXHIBITION SPACE

FINAL VISUALS

VESTRY HOUSE WALTHAMSTOW

PROJECT AIM TO USE THE ISSUES WITH THE EXISTING VESTRY HOUSE BUILDING, I.E. LIGHTING AND CIRCULATION, TO CREATE A MORE COHESIVE BUILDING FLOW. TO CREATE A CENTRAL HUB TO ATTRACT MORE VISITORS TO THE SITE ACTING AS A COMMUNITY CENTRE AS WELL AS A MUSEUM OF THE HISTORY OF WALTHAMSTOW.

LOCATION

VESTRY HOUSE MUSEUM WALTHAMSTOW, LONDON

0 3 VESTRY HOUSE WALTHAMSTOW

1880s

1880

1890s

1890

1930s

1930

LOCATING THE SITE - WALTHAMSTOW

Located in the North-East of London the Borough of Walthamstow has links to central London via the Overground and Victoria line yet due to the number of historial building’s the area has a particular ‘villiage like’ feel to certain areas which is reflected in the strong community links within the borough. Top right shows historic maps of Walthamstow from 1880s to 1930s show the reduction of public green spaces. Vestry house site marked out in red. Bottom right shows a map of present day Walthamstow highlighting key points and the route from the station to the current entrance to Vestry House

KEY:

VESTRY HOUSE RELIGIOUS BUILDINGS EDUCATIONAL BUILDINGS COMMUNITY AREAS FOOD AND RETAIL TRANSPORT HOUSING GREEN SPACE

0 3 VESTRY HOUSE WALTHAMSTOW

VECTORWORKS EDUCATIONAL VERSION

VECTORWORKS EDUCATIONAL VERSION VECTORWORKS EDUCATIONAL VERSION VECTORWORKS EDUCATIONAL VERSION

First Floor BB

VECTORWORKS EDUCATIONAL VERSION

VESTRY HOUSE EXISTING PLANS & ELEVATIONS VECTORWORKS EDUCATIONAL VERSION VECTORWORKS EDUCATIONAL VERSION

Ground Floor AA

VECTORWORKS EDUCATIONAL VERSION

0 3 VESTRY HOUSE WALTHAMSTOW

SITE ANALYSIS AND MAPPING

The diagrams below show mappings of the level changes, natural light and circulation within Vestry House. The level changes in the building is shown using different gradients of blue, with the darkest being the lowest level and the lightest bing the highest level.Because of the many changes to the building over the years many of the floor levels are not the same and ramps and steps have had to be added to join the parts of the building together. The lighting within the building is shown on the diagram with light blue displaying natural light and dark blue displaying artificial light. The complicated circulation within the building is shown in the third diagram with the visitor circulation in light blue and the staff circulation in dark blue.

GROUND FLOOR

FIRST FLOOR

All of these factors I noted as issues within the building that I wanted to rectify with my adaptive use of the central space.

FLOOR LEVELS

NATURAL AND ARTIFICIAL LIGHT

CIRCULATION

0 3 VESTRY HOUSE WALTHAMSTOW

Above shows my 1:50 working model showing the placement of stairs, lift and mezzanine as well as new windows inserted in the front and back of the site

Martin Dulanto: Casa Blanca, Peru A sweeping, orange spiral staircase has been inserted in the centre of this Peruvian home as a sculptural addition to the space. The bold colour and strong materials (reinforced concrete) that make up this staircase gives the space in which it inhabits character and strength - qualities that I want to introduce into the entrance lobby of Vestry House Museum.

PRESEDENT STUDY

0 3 VESTRY HOUSE WALTHAMSTOW

PROPOSED GROUND FLOOR

0 3 VESTRY HOUSE WALTHAMSTOW

PROPOSED FIRST FLOOR

0 3 VESTRY HOUSE WALTHAMSTOW

VECTORWORKS EDUCATIONAL VERSION

VECTORWORKS EDUCATIONAL VERSION AA

VECTORWORKS EDUCATIONAL VERSIO BB

Indicative only

VECTORWORKS EDUCATIONAL VERSION AA BB CC

SECTIONS AND ELEVATIONS

0 3 VESTRY HOUSE WALTHAMSTOW

The diagram above shows the visitor circulation in proposed building on both on the ground floor (in a lighter shade where the visitor is under the mezzanine) and on the first floor. The new addition to the building creates a central hub for the visitors, meaning the circulation is much more cohesive and gives a meeting point to return to. The right hand diagram shows the light access within the proposed building with natural light in light blue and artificial light in dark blue. One of the main aims of this new addition was to introduce more light into the center of the building so that it becomes a more creative space and also signifises the return to the hub of the building with a sense of coming out of the dark.

CIRCULATION AND LIGHT MAPPING

0 3 VESTRY HOUSE WALTHAMSTOW

VECTORWORKS EDUCATIONAL VERSION

The image to the far right shows the detail of the construction of my new proposed entrance to the museum and how the mezzanine comes into contact with it. The image to the right shows a view of the front entrance of Vestry House from Church Lane showing the cast concrete lift and stairs.

CONSTRUCTION DETAIL Exterior view of front facade

1:20 Detail of door and mezzanine structure

0 3 VESTRY HOUSE WALTHAMSTOW

1 - The new entrance will be located on Church Lane where visitors will have a full view all the way through to the garden

4 - The wooden posts that make up the handrail around the mezzanine will also be reflected in the reception / coffee counter on the ground floor

2 - The sculptural, spiral staircase is located at the very front of the new entrance, enticing people into the building and up the stairs

5 - From the first floor mezzanine visitors will have views down to the first floor as well as out into the garden beyond

3 - The cafe area will be located just behind the stairs and next the windows framing the views into the garden

6 - The mezzanine handrail will extend out to create a display case for smaller objects as visitors move through the new entrance way into the displays.

STORY BOARD

The images to the right show a visitor’s journey through my proposal for vestry house, starting outside the entrance and moving up to the mezzanine. The images have been numbered and located on the plan above (light blue number indicate ground floor, dark blue numbers indicated first floor).

0 3 VESTRY HOUSE WALTHAMSTOW

VISUALISATIONS

0 3 VESTRY HOUSE WALTHAMSTOW

VECTORWORKS EDUCATIONAL VERSION

2. 1. VECTORWORKS EDUCATIONAL VERSION

VISUALISATIONS 3.

RESIDENTIAL WORK

ONE BAYSHILL ROAD WORK IN PROGRESS. PRESENTING PHOTOSHOP VISUALS, MATERIALS, FF&E PACKS AND BESPOKE FURNITURE DRAWINGS. FULL RENOVATION OF 3,000 SQ FT, TWO BEDROOM APARTMENT IN CHELTENHAM FOR A FAMILY OF THREE MOVING FROM HONG-KONG TO THE UK. COMPLETE WITH BESPOKE FURNITURE AND DECORATING THROUGHOUT.

LOCATION

APARTMENT 10, ONE BAYSHILL ROAD CHELTENHAM, GLOUCESTERSHIRE

SITE PLAN APARTMENT 10

RESIDENTIAL ONE BAYSHILL ROAD

SITTING ROOM

CEILING LIGHTS

LARGE MULTI-ARMED CEILING LIGHT SATIN BRASS WITH MATT OPAL GLASS SHADES

RESIDENTIAL ONE BAYSHILL ROAD

KITCHEN - BANQUETTE SEATING

RESIDENTIAL ONE BAYSHILL ROAD

MASTER BEDROOM

RESIDENTIAL ONE BAYSHILL ROAD

AUDREY’S BEDROOM

RESIDENTIAL WORK

ANTONIO PLACE COMPLETE PROJECT. PHOTOGRAPHS AND PLANS OF THE FINISHED APARTMENT. TURNKEY RENOVATION OF ONE BEDROOM SMALL APARTMENT IN STRATFORD UPON AVON. FOR MR AND MRS RAMM: YOUNG COUPLE RELOCATING FROM THE US TO STRATFORD.

LOCATION

22 ANTONIO PLACE, BRUNEL WAY STRATFORD UPON AVON, WARWICKSHIRE

SITE PLAN 22 ANTONIO PLACE

RESIDENTIAL ANTONIO PLACE

LIVING AREA AND HALLWAY

RESIDENTIAL ANTONIO PLACE

MASTER BEDROOM

RESIDENTIAL WORK

REGENCY VILLAS WORK IN PROGRESS. PRESENTING PHOTOSHOP VISUALS, MATERIALS AND FF&E PACKS FOR GROUND FLOOR. FOUR BEDROOM HOME FOR TWO DENTISTS AND THEIR TWO YOUNG CHILDREN. THEY LOVE COLOUR, AS REFLECTED IN THE ARTWORK THEY CHOSE FOR THEIR HOME, AND WANT TO ENCORPORATE THIS INTO THE REGENCY HOUSE WHILE STILL CELEBRATING THE FEATURES OF THE PERIOD PROPERTY.

LOCATION

REGENCY VILLAS, NORFOLK ROAD, EDGBASTON, B15 3QD

SITE PLAN REGENCY VILLAS

RESIDENTIAL REGENCY VILLAS

min 50mm

ENTRY WAY

LARGE SCULPTURAL BRONZE PENDANT LIGHT WITH SATIN BRASS DETAILS SMOKED GLASS SHADES. TO BE FITTED OVER STAIRWALL TO

1250mm

CREATE INTEREST AND LIGHT AS YOURE ASSENDING THE STAIRS.

750mm

400mm

RESIDENTIAL REGENCY VILLAS

MATERIAL PALETTE

SITTING ROOM CLIENT’S OWN ARTWORK [SHOWN ON THIS PAGE] BECAME THE INSPIRATION FOR THE COLOUR SCHEME OF THE SITTING ROOM. THE BRIGHT COLOUS AND FUN SHAPES OF BILLY CONNOLLY’S ‘BORN ON A RAINY DAY’ PRINTS BECAME THE BRIEF FOR THE DESIGN OF THE SITTING ROOM AND INFLUENCED THE PIECES THAT I CHOSE/DESIGNED.

OCCASIONAL CHAIRS [NOT SHOWN IN VISUAL]

RESIDENTIAL REGENCY VILLAS

FAMILY ROOM

RESIDENTIAL REGENCY VILLAS

KITCHEN COUNTER LIGHTING

MATERIAL PALETTE

CLIENT’S OWN ARTWORK

Across the world the need for a more sustainable future is steadily becoming increasingly apparent. If every person in the world consumed as much energy as the average UK person we would need around three planets to support our needs (King, 2006) and over half of these resources consumed across the world are used in the construction and running of buildings. Due to the increasing threat of climate change and finite amounts of resources there have been many projects around the world where designers and entrepreneurs have been investigating ways that we can live a more sustainable and realistic lifestyle for the future.

DISSERTATION ABSTRACT

PROJECT AIM AN ANALYSIS OF EXISTING SUSTAINABLE ARCHITECTURE, URBAN PLANNING AND DESIGN AND WHAT WE CAN LEARN FROM THESE PROJECTS TO IMPROVE THE ENVIRONMENTAL IMPACT OF CITIES IN THE FUTURE.

However, first we must understand what we mean by sustainability in the context of design and architecture. The Cambridge Dictionary describes it as “the quality of causing little or no damage to the environment and therefore able to continue for a long time” (Cambridge Dictionary, n.d.) describing it as the need to limit the human impact upon the planet. In a book published about sustainable cities, Jeremy Gaines and Stefan Jäger describe sustainable design as having “consideration for social, economic, environmental impact ... without compromising the ability of future generations to experience the same” (Gaines and Jäger, 2009). Here they are stating the importance of maintaining the expectations we have for our surroundings for the future by acting with a more eco-conscious mindset. Thinking sustainably is crucial for one very straightforward reason: we cannot continue with our quality of life as human beings unless we look towards a more green future. In a study conducted by World Wide Fund for Nature (WWF) and BioRegional it was found that each UK person uses 5.6 hectares worth of natural resources - an amount that is unsustainable and will eventually exhaust the Earth of all its resources (WWF, 2018). This point emphasises how important it is to embrace a more eco-conscious way of living as we simply will not be able to carry on living the way that we are, so we have no choice but to rethink the way we live our everyday lives. “It is time to make some vital choices, to enable people to enjoy a one planet lifestyle. The cities, power plants and homes we build today will either lock society into damaging over-consumption beyond our lifetimes, or begin to propel this and future generations towards sustainable, One Planet Living.” (King, 2006). My dissertation explores how realistic it is to live entirely self-sufficiently in an urban setting with the imminent threat of ever increasing population sizes within cities around the globe. It also asks how sustainable design can encourage us to become more sustainable in our everyday life and influence the decisions we make regarding our earth.

JAN 2019

KINGSTON UNIVERSITY LONDON

CASE STUDY 1: Lammas Eco-Village LOCATION: Pembrookshire ARCHITECT: Simon Dale

This Low Impact Development in Pembrookshire was started by nine families who wanted to create a self-sufficient community in the countryside of Pembrokeshire where they live solely off their allotted land and give back just as much as they take from it. This government backed scheme gained more interest in 2016 after one of the resident’s new builds was featured on Grand Designs in an episode where the Dale Family built their three bedroom house entirely from locally sourced, natural materials. As well as meeting the requirements set by the council, the house gained interest, as it was designed with an aesthetic concern alongside making sure the house had access to the internet as well as other means to keep themselves (and their children) living a ‘normal’ 21st century life. The house met and surpassed the standards set by the building regulations, in terms of heat loss, just by using traditional and locally sources materials. This desire to remain a part of the wider world and to change perceptions that lowimpact communities are not the “free-loving, dope-smoking hippy havens of the Sixties” sets Lammas apart from previous Low Impact Developments which establish their own social structures within their communities. Because of this, Lammas is a valuable asset to assess when looking into how we can integrate self sufficiency into the mainstream and inner cities as they have already shown ways in which we can bridge the gap between modern lifestyles and low-impact living.

CASE STUDY 2: BedZED LOCATION: South London ARCHITECT: Bill Dunster

This sustainable community, developed in 2002, aimed to have the residents living a “greener, lower impact lifestyle, relying less on private cars and producing less waste” whilst still living within a modern, urban environment. The site consists of 100 homes, office spaces and community facilities all built from scratch using the most extensive eco-friendly building techniques and design available at the beginning of the millennium. The houses were built with the intension of a long, sustainable life for the village with triple glazed windows for minimum heat loss and solar and wind energy harnessing techniques. The architect and founding body set a list of targets to become the most sustainable they could be such as producing zero net carbon emissions; having two thirds of the village affordable or social housing; and providing workspace for local employment and enterprise. Along the way however they discovered that one of the most important aspects of any eco community is to make it easy and convenient for people to make sustainable actions. This is key in the construction of new builds, as well as updating those existing, as “simple design decisions such as including recycling bins, space to dry washing and secure bicycle storage encourage occupants to follow a sustainable lifestyle” (Moxon, 2012) meaning that sustainable design doesn’t have to be an optional extra, but something that is a fundamental part of, and established within, good design practice.

CASE STUDY 3: Liuzhou Forest City LOCATION: Liuzhou, China ARCHITECT: Stefano Boeri

The city of Liuzhou in China has begun an unprecedented project creating the world’s first ‘Forest City’ as a way to fight the ever increasing pollution battle we face today. The new part of the city [Figure 6], currently under construction and due to be completed in 2020, will house some 30 thousand new inhabitants and aims to do so without disturbing the habitats of the birds and small animals that already exist in the 175-hectare plot of land alongside the Liujiang River. Designed by Stefano Boeri Architetti the new city will become part of the forest itself by also being home to around 1 million plants and 40 thousand trees, providing a natural way to absorb carbon dioxide and other pollutants created by the city. As a result, this will improve the air quality, create habitats for the creatures previously living there, as well as creating sound barriers around the city (Stefano Boeri Architetti, 2017). As well as being physically green, with vegetation covering every building, the Forest City will also be self sufficient running on geothermal and solar energy as well as encouraging electric cars and bicycle usage with an abundance of charging points and bicycle paths within the city. It will also have a separate road for electric cars, connecting it to the city of Liuzhou. If successful, the Forest City will be a blueprint for other cities all around the world, creating an almost utopian vision of what city life could look like in the future without pollution and smog, instead surrounded by greenery.

CASE STUDY 4: ‘SuperTrees’ LOCATION: Singapore ARCHITECT: Grant Associates

The city of Singapore took an innovative approach in tackling the city’s lack of green space and the increasingly unhealthy environment the city was becoming due to the rise in urbanisation and business booming. A competition to create a 54 hectare public garden within the city was won by landscape architects Grant Associates. The winning design was comprised of a grove of ‘Supertrees’ dotted around the park, towering 50 metres into the sky and encouraging a vast range of new wildlife into the city though the 162,900 plants of 200 different species coating the ‘Supertrees’. The array of flora planted upon the trees were chosen for their rarity within Singapore, encouraging new animals to inhabit the conserved area of the park as well as being chosen for their ease of maintenance, lightweight and hardy qualities, and their visual interest. These ‘Super Trees’ also make a considerable difference to the overall environmental impact of the city as many of the trees contain photovoltaic cells which create energy from the sun, some collect rain water in the upper sections of the trees, while others work as air vents cooling the park below as well as creating ample shade spots, encouraging the people of the city to enjoy nature.