ID304: EXPLORATORY PROJECT - MEGAN COE OCULUS HOUSE A CELEBRATION OF ANALOG PHOTOGRAPHY
(Image credit) - Fox Darkroom Gallery
CONTENTS
01
03
Critical position, explorator y question, brief synopsis, key problems, user analysis, site analysis (inc. original site plans)
Plans, elevations, sectional elevations, axonometric drawing
02
04
STRATEGY OVERVIEW
SPECIFICATION OVERVIEW
Research images, concept / spacial planning diagrams, master mood board, architectural prosthesis research, case study inspiration
Material / colour written statement, master mood board, material choices, colour palette, RCP and lighting specification, furniture layout and specification, sustainabilit y rationale
PROJECT OVERVIEW
DEVELOPED DESIGN SOLUTION
01
PROJECT OVERVIEW
Critical position, explorator y question, brief synopsis, user analysis, site analysis
OCULUS HOUSE EXPLORATORY QUESTION: HOW CAN AN ADAPTIVE REUSE SCHEME BE USED TO RE-COLONISE A SPACE WHILE SUPPORTING AN EXISTING CREATIVE COMMUNITY? CRITICAL POSITION:
KEY PROBLEMS TO OVERCOME:
As a designer, I take an architec tural response to briefs and enjoy exploring possibilities for adaptive reuse. My primar y interest lies within hybrid space; the seamless integration between the inside and outside, par ticularly within forgotten spaces including remote locations and derelic t or historical buildings.
The toughest par t of this projec t has cer tainly been utilising a struc ture which has no roof or existing floor levels. I t was key to create a scheme, which was sensitive to the host building whilst also meeting the needs of the new user. In response, I think it became a necessar y par t of the concept to utilise inser tions as a building strategy rather conventionally adding a roof and new floors.
I strive for my design solutions to be experience led. Creating spaces that are user lead is fundamentally impor tant, enhancing a community spirit in cities and bringing those with a shared passion together in an atmospheric environment. My design solutions aim to provide a new purpose to each site, which is fundamentally useful, for instance an educational application. I t is impor tant to me that each design scheme allows the user to take something away from their experience, creating a vital relationship between the user and the space.
BRIEF SYNOPSIS: A concept which caters to the existing analog community within Bristol, situated at Canon’s Marsh on Bristol Harbourside. O ffering users the facilities to access single or double occupanc y dark rooms to process colour & black and white negatives, with the option for tuition and workshops. Open studio space and review space is housed in a relaxed atmosphere, providing the oppor tunity to share and connec t with others. Ultimately the concept is about bringing together members of a creative community within an adaptive reuse scheme, demonstrating the viability and celebrating the use of adaptive reuse schemes as a method of architec tural prac tice.
“ The most impor tant social func tion of transformation projec ts: they regenerate localities by creating previously unthought- of facilities, mak ing use of spaces and assimilating them in a different form� Anguelus Eisinger Urban Historian and Chair of the Metropolitan Histor y and Culture at HafenCity University (Authors image)
LOCATION: BRISTOL HARBOURSIDE WHY BRISTOL? Bristol already has a thriving analog community, therefore, the concept suppor ts an existing local group. This stops locals from feeling like they are being pushed out, while also fulfilling their needs within proximity to their location, meaning they are less likely to be forced to use facilities elsewhere. In addition to an analog community, Bristol has on of the highest percentages in the UK of individuals working in creative professions, especially at postgraduate level. There is a clear usefulness for the proposal, since the only current dark room facilities in the city are private (I.e through educational establishment) or payable through a shop. Bristol, like many other UK cities does not currently have a public dark room, which offers workshops and other beneficial applications under one roof.
WHY CANON’S MARSH HARBOURSIDE? There is a gap in the location of photographic based establishments in the city. One of the most considerable gaps lies on Canon’s Marsh, the last remaining place on the Harbourside to have brownfield sites yet to be redeveloped. Fur thermore, Canon’s Marsh is home to a young audience, with shops and cafés such as the Spoke and Stringer, aimed at a millennial traveller, a likely target market to utilise public dark room facilities. One possibility of being within close proximity to such places would be to offer mutual discounts for one another, encouraging users to stay local and increase business. (Image credit: Kim Grimshaw Photography)
Notes
This drawing may be scaled for the purposes of Planning Applications, Land Registry and for Legal plans where the scale bar is used, and where it verifies that the drawing is an original or an accurate copy. It may not be scaled for construction purposes. Always refer to figured dimensions. All dimensions are to be checked on site. Discrepancies and/or ambiguities between this drawing and information given elsewhere must be reported immediately to this office for clarification before proceeding. All drawings are to be read in conjunction with the specification and all works to be carried out in accordance with latest British Standards / Codes of Practice.
For gate see Landscape Architect's proposal
For external terrace details see Landscape Architect's proposals PRIVATE TERRACE
PRIVATE TERRACE 9,950
P1 P1a
P2
P3
PRIVATE TERRACE
9,950
P4
P5
P6
P8
P7
1
0
1m
P9
P10
P11
P12
P13
P14a
9,950
3m
5m
All measurements to be verified on site do not measure from proposal.
PRIVATE TERRACE 9,950
2m
P14
PH4000 1 PH4001
ED-04
ED-05
ED-06
ED-07
ED-08
ED-09
ED-10
ED-11
RWP
RWP
WG-13
PA PAa
9,950
9,950
Critical dimension partition to be set and checked on site as per existing wall location
Kitchen/Dining/Living
WG-01
See dwg.1 / PH2218
Lift electronic controls to be above flood level (+10.1m AOD)
Kitchen/Dining/Living
LIFT
WG-12
Kitchen/Dining/Living
Kitchen/Dining/Living
See dwg.1 / PH3050 for Bathroom & En-suite details
9,950
S01
Lift design and enclosure by Axess2 or equivalent. lift to be 8 person capacity and DDA compliant
Access panels to risers
Riser Pit below
DC04-06
DC01-07
PB
DL-02
DL-03
9,950
DL-04
Riser A
Riser B DL-01
PC
DC03-02
DC02-02 9,950
Shower Room DC01-05 WG-02
B02
DC01-06 Bedroom 2
Bedroom 2
B03
DC03-01
DC02-01 Coats
En-suite
Shower Room DC04-07
Lobby
Lobby
PD
Coats
9,950
PH4002
WG-11 Shower Room
Shower Room DC02-03 Utility 700 1,500
DC02-06
Utility DC03-06
700
DC04-02
DC04-03
1,500
DC02-04
Bedroom 1
9,950 DC03-07
700
1,500
DC01-03
700
DC02-07 1,500
DC01-02
Ramp1/20
PE DC01-04
1
DC04-05
En-suite
9,950
En-suite
Painted window board single cut plywood, chamfered edge to room side, minimal 25mm thickness on batons with cavity
9,950
9,950
Communal Stairwell
DC03-04
DC04-04 En-suite
Utility DC02-05
DC03-05
See dwg.1 / PH3050 for Bathroom & En-suite details
Bedroom 1 Coats
Bedroom 1
DC01-01 Bedroom 2
9,200
IWT11 to opening reveals
PFa
Coats DC04-01
WG-10
1 PH4003
Post Boxes Lobby 9,200
Lobby
9,720
Door to have power assisted opening
B01
Bedroom 1
Bedroom 2
WG-03
Entrance Corridor
B04
ED-01
PF
ED-03 ED-02 9,720
RWP
WG-04
WG-05
9,200
WG-07
See dwg. 1 / PH6014 for Dry riser cupboard details
PRIVATE ENTRANCE
WG-08
RWP
9,200
Block location site plan PRIVATE ENTRANCE
Critical dimension partition to be set and checked on site as per existing wall location
MAIN ENTRANCE
ad Ro
iln eK m Li Gate
For external landscaping details see Landscape Architect's proposals
N
B
Landscaped Area
Lane Gasworks
Proposed location of intercom
WG-09
WG-06
A
C
Harbour side Harbour Walk
A1
Notes
This drawing may be scaled for the purposes of Planning Applications, Land Registry and for Legal plans where the scale bar is used, and where it verifies that the drawing is an original or an accurate copy. It may not be scaled for construction purposes. Always refer to figured dimensions. All dimensions are to be checked on site. Discrepancies and/or ambiguities between this drawing and information given elsewhere must be reported immediately to this office for clarification before proceeding. All drawings are to be read in conjunction with the specification and all works to be carried out in accordance with latest British Standards / Codes of Practice.
Stone coping repaired or replaced with pre-cast stone profile to match original 0
1m
2m
Purifier House Roof_copings gables apex
3m
5m
Block location site plan
Lead clad to stone coping
Lightning protection system to contractor design need coordination with elevation see engineer specifications
Rain water outlet from flat roof area Powder coated aluminium eave flashing
B
Landscaped Area
C
Harbour side Harbour Walk
All coping to protected by lead profiles see lead package proposal
Zinc cladded side panel
A
N
Head of party walls acoustic and fire cavity closers
Lane Gasworks
ad Ro iln K e m Li Gate
23,290
W2-01
Gate oad iln R eK Lim
Vents inserted in rebuild wall
N
PH_02_Second Floor FFL Entrance
Slim profiles powder coated aluminium windows to match historical precedent
PH_01_First Floor FFL
W1-01
W1-02
W1-03 New pre-cast stone sills on lime mortar bed to top of original to achieve level sills
Pennant stone wall to be repaired or replaced and repointed as required
Entrance Main
Landscaped Area
Stone sills to be repaired using traditional lime mortar see details and conservation methodology statement
Internal safety balustrading
13,400 PH_Proposed top of GF sill East El.
Private Terraces
17,155
Entrance
Stone sills repaired or replaced with pre-cast stone profile to match original
Landscaped Area New pre-cast stone sills profile to match original
Since the site is under new construc tion for a 15 apar tment residential development, the plans shown are for the new proposed layout. Showing the ground floor apar tments and ser vice stair with lif t.
Harbour side Harbour Walk
10,300 Infill brickwork as historical precedent Glass balustrade WG-01
Flood Protection Level
WG-02
10,100
WG-03
Existing threshold sills to be repaired or replaced as required Building stone plinth to remain exposed as present
PH_00_Proposed Ground Floor FFL 9,950 For external finishes see Landscape Architect's proposals
Top of gas sump 9,235
1
Block B - Purifier House - SOUTH ELEVATION CAVITY VENTILATION 1 : 50
Materials Key
Elements Key Staffordshire Blue Brindle Dragface 2221 engineering brick Ibstock
Brick-size vent in brick walls
Trickle Acoustical ventilation in glazing
Vented sump layer zones in floor construction
Brick-size in stonework
Lightning protection system coordination with elevations / detail design grounding connections not yet available 12.12.17
For the purposes of this projec t, I took the site in it ’s current condition, which was a shell of a building with no roof or floor levels. The ground floor plan was therefore the most impor tant plan to consider, as it gave me the dimensions of the walls and windows.
Brick-size vent gas outlets
Notes:
ORIGINAL SITE PLANS & ELEVATIONS
Brick-size ventilated outlets
Fire cavity closer & acoustic baffle cavity closer on internal face of external wall & reveals
Slate roof vents
All measurements to be verified on site do not measure from proposal.
A1
In addition this elevation was essential for calculating wall heights to fit with the existing windows.
SITE ANALYSIS
KEY ATTRIBUTES: • Original stonework remains in excellent condition • Circular window and classic archways show charac ter from the time of original construc tion • Currently, the site has no roof, meaning there is reasonable grounds for ver tical ex tension. • The surrounding area and other businesses are in keeping with the proposal topic and attrac t a similar target audience
KEY ISSUES TO OVERCOME: • The building is situated on the harbour edge, meaning if there were to be excessive flooding or poor weather, risks are involved • Currently the building has no roof or floor levels, these will have to be established before other work can continue • The struc ture has no roof. In order to be sesative to the original struc ture and avoid conventional design, no roof should be added, meaning areas of wet / dr y will need to be established
WHO IS THE USER? INTERVIEW QUOTE:
“
The primary function of my project is to provide darkroom facilities for people to process their own negatives. Secondary functions include workshops, screenings, talks and events space and a potential retail element. Do you think there is place for the scheme within Bristol? And is there anything else you would like to see within the scheme? I think that there is definitely place for the concept, affordable darkroom access would be widely used amongst Bristol photographers, as well as other creative outlets, nowhere currently exists in Bristol that houses all of the above under one roof so I can imagine it would be very popular in such an art orientated city.
“
JAMES, 24
All ar t work credit - Phoebe Rober ts
INTERVIEW QUOTE:
“ “
I am designing a concept for the exploratory project, that involves housing functions aimed at an analog community. Do you connect with other people that shoot film currently? Through what means?
Evenings and holidays, nights out too. When the light is good and when my friends look good. I almost never leave the house without a camera
I met other photographers while at university, but more recently I meet other photographers through Instagram because it’s the easiest way to organise shooting with other people and make friends. Instagram is my got to platform, it makes sense, but it’s so difficult to find people in person, it just doesn’t happen.
“
“
INTERVIEW QUOTE:
Shooting film isn’t your full-time job, when do you find the time to shoot? And what occasions inspire you to carry a camera?
HARRY, 24
JACK, 24
WHY IS THE CONCEPT USEFUL? In a sur vey conduc ted for the purposes of this research repor t, those questioned provided some interesting data, which highlighted a gap in the creative market to provide facilities of use to analog photographers. 0% of those questioned had ever utilised a public dark room, and therefore either pay for development of process their own film in private facilities.
SURVEY RESULTS: The yellow segment in figure 1 demonstrates that 58.8% of the people questioned pay to have their film developed in store as opposed to developing it themselves. In addition, the yellow in figure 2 shows those who would opt to develop their own film given access to proper instruc tion and facilities at a reasonable price, indicating the usefulness of the proposal. Image credit - Fox D arkroom Galler y
HOW IS THE CONCEPT EXPLORATORY? UNIQUE OPPORTUNITY Ver y few people have the oppor tunity or the resources to develop film themselves at an affordable price. O f the few dark room labs that are located within the UK , there are none within Bristol City Centre with public access, showing a gap in the market. These func tions don’t exist all under one roof, meaning it will provide a new oppor tunity for people to come together within the city.
MEMBERSHIP SCHEME Money has to come from somewhere to fund a community led concept such as this. One method to fairly gain access to all of the facilities would be to introduce a membership scheme. This could exist with tiered levels with appropriate pricing where members could access the facilities included within their band of membership. Having members will naturally create a community atmosphere and allow people to come together within the space.
RETAIL OPPORTUNITY The amount of people who purchase film in person is also in decline due to the lack of variety and unaffordable prices. A retail oppor tunity is therefore created with a captive audience in order to create loyalty. This concept would not require staff, a simple contac tless payment system would be implemented.
HISTORIC PROCESSES & WORKSHOPS The chance to be in touch with historic photographic processes is an ever rarer and dearer experience for those without the k nowledge and experience. I t can be intimidating and potentially hazardous to use chemicals for development at home, therefore offering potentially new techniques to even experienced photographers. Image credit - Toffu content librar y
02 STRATEGY OVERVIEW Research images, concept / spacial planning diagrams, master mood board, architectural prosthesis research, case study inspiration
WHAT IS AN ARCHITECTURAL PROSTHESIS? CASE STUDY INSPIRATION Similar to the concept of parasitical architec ture, which is defined by struc tures that counterpoint the existing building to which they are attached. Prosthetic architec ture involves struc tures that cling on to existing buildings in a parasitic manner, similar to the way limpets or barnacles affix themselves to rocks or inser tions which occupy unlikely or unused spaces. Image credit from left to right - Jim Stephenson for PUP Architects, Unkown for Miralles Tagliabue EMBT, Unknown photographer for noAarchitecten, unknown photographer for MVRDV Architects.
2. MASTER CONCEPT MOOD BOARD 3.
Shown lef t is my concept mood board. These selec ted images demonstrate my key moves and illustrate my think ing towards creating a thriving community led space with a consistent architec tural language. 1. Glass panels rather than voids, allows light to filter down into the ground floor space while remaining protec ted from the elements.
1.
2. Community atmosphere. This is vital to the projec t. I think the furniture layout will be the biggest contributor to how effec tively the space is used. A mix ture of causal and formal seating in addition to func tional spaces will suit ever y user.
4.
5.
3. Inser tions (Architec tural prosthetics). These comprise my boldest architec tural move within the projec t and house the window spaces of my first floor. Black , whilst being func tional for a dark room also counterpoints with the original stone creating an interesting jux taposition. 4. Pops of colour and graphical elements create an environment suited to a creative community which feels comfor table rather than clinical. 5. Roof truses. These enhance and celebrate the industrial vernacular of the site, whilst also providing a stable platform for an optional roof in the winter months. Image credit from left to right - B4FS Arquitectos, Vitsoe Furniture, Fernando Guerra | FG+SG, Barr y Winiker for the Royal Standard Hotel, Unkown photographer for JAJA Architects.
KEY CASE STUDY INSPIRATION DAMIÃO DE GÓIS MUSEUM, PORTUGAL 2016/2017, 175M 2 SPACEWORKERS ARCHIETCTS “ The inter vention focuses on the creation of an exhibition struc ture, alluding to the life and historical legac y of Damião de Gois, inside an old, restored church in Alenquer. The church, now emptied of this func tion, is now a “container ” space with its own identity, marked by the geometr y of its vaulted ceilings and the tex ture of its brick walls, with great plastic value. The proposal seeks precisely to value the plastic charac teristics of space and minimize its impac t on pre - existence, respec ting the existing, moving away from the walls, seeking a central position in space, assuming a geometr y that is familiar to the building , originated by an offset to the shapes of the ceiling and walls, capturing the configuration of the void that exists in a k ind of dark colored, fragmented nucleus that receives and organizes the exhibition and the visitors. The exhibition space is assumed as a delicate black element that invites its discover y and that stands out from the remaining
chromatism of the existing space, without ever overlapping it but without losing its spatial charac teristics”. Tex t quoted from the architect - key takings highlighted in bold. Image credit - Fernando Guerra | FG+SG
CONCEPT DIAGRAMS LIGHT AND DARK
(NOT TO SCALE)
The spacial organisational is based on a line of symmetr y that runs through the centre of the building. All func tions that require light including studio space and open community areas are based in the south (light) side and dark func tions including the dark room spaces and the exhibition are housed in the Nor th side of the building. Shown here is a diagram demonstrating the position of the dark rooms, which punc ture through the first floor windows, and the tuition dark room that sits on a second floor mezzanine level.
CONCEPT DIAGRAMS CONTINUED COLD / TEMPERATE (SHOWN RIGHT)
(NOT TO SCALE)
I n addition to being divided into light / dark the space can also be distinguished into spaces which are protec ted and those that are open to the elements i.e. cold and temperate areas.
CONCEPT DIAGRAMS CONTINUED GRID SPACIAL ARRANGEMENT (SHOWN BELOW) (1:100 AT A3)
The spacial organisational is also based on a pre - existing grid arrangement distinguished by the windows.
03
DEVELOPED DESIGN SOLUTION
Plans, elevations, sectional elevations, axonometric drawing
Shown here are renders from Cinema 4D of the building ex terior featuring the new additions. The architec tural language is parasitic, with the aim to inflic t minimum disruption on the existing struc ture. The dark room spaces invade the first floor windows, while a mezzanine level stretches lengthways through the space.
FRONT ELEVATION - WEST FACING (1:50 AT A1) MODEL VIEWPOINTS (NOT TO SCALE)
RIGHT ELEVATION - NORTH FACING
(1:25 AT A1)
AXONOMETRIC
(NOT TO SCALE)
This axonometric has been exploded in an attempt to demonstrate the essential elements to the concept including the new mezzanine level and the fridge.
CONTEXT FLOOR PLANS
(1:100 AT A3)
This modified set of floor plans demonstrates ac tivity and tex ture in addition to natural shadows caused within the building
PERSPECTIVE SECTION BB (1:25 AT A1)
PERSPECTIVE SECTION DD (1:25 AT A1)
STOREY BOARD VISUALS 1. ENTRANCE SPACE Shown in this visual, the entrance space. Access to the flexible studio on the lef t hand side, toilets including an accessible WC on the right. On the far right, the cur tain to the dark exhibition can be seen and comfor table modular seating elements in either corner. One of the most notable par ts of this visual is the Deltalight x OMA XY180 lighting feature above the shelving to create visual interest.
2. COMMUNITY & REVIEW SPACE The ground floor primarily houses flexible community space, where people can come together to converse in a relaxed environment. Pin boards are placed within the seating areas for work to be discussed or displayed. Book shelving is present in abundance to encourage users to discuss photography and remain in the space for longer. This area is primarily housed under the first floor mezzanine and is therefore protec ted from the elements.
3. FLEXIBLE STUDIO SPACE The ground floor is home to an adaptable sheltered studio space. Temporar y furniture including long collaboration tables are housed here for mixed purpose. Unlike the studio on the first floor, this one has a permanent roof meaning IMacs can be housed and used here away from the elements. Bi-folding doors provide the option to open and expand this space. Purposefully kept fairly neutral, this space is free for the user to utilise and change to meet their needs. Talks, screenings and workshops could also be held in this area, giving the potential for evening use and continuous use throughout the day even in quiet periods.
4. BAR SEATING AND ‘EXPOSED’ OUTDOOR SPACE H igh bar seating is arranged on the ex ternal walls of the ground floor studio. Here, this space is exposed to the elements, and therefore is likely to be primarily used in fair-weather conditions. Tinted glass bi-folding doors can be seen into the studio, which can of course be opened to ex tend the space, creating more flexible circulation in and out. The upper mezzanine floor can be par tially seen from here, and the lif t from the ground to the first floor.
5. OPEN STUDIO The staircase from the ground floor leads to an open mezzanine level, which houses multi-use studio space. There are long collaboration tables, which can be used for workshops. Circulation is direc ted then into the ‘Fridge’, seen here with a pitched roof, mimick ing the original struc ture. You can see from the visual that there is no roof covering this par t of the concept, meaning that this studio, unlike the one housed on the ground floor is open to the elements.
6. THE ‘FRIDGE’ This par t of the concept has a regulated temperature, and ac ts like a walk in fridge. Double doors therefore seal it off from the mezzanine level on either side. Inside, the walls are a chrome sur face, keeping the internal space as cold as possible. Here, film and photographic paper are stored and displayed on simple shelving units for the user to purchase if necessar y. This responds to the user feedback , who wanted the oppor tunity to purchase film in person rather than through online retailers. This concept doesn’t rely on staff and has a simple contac tless payment method option to avoid creating a commercialised atmosphere. The reflec tive sur face in this space would be uneven and random, created using a process utilising chemical infused liquid silver. (Specified in materials)
7. DARKROOMS The primar y func tion of the space offers the user the oppor tunity to process black & white and colour negatives. This func tion is housed in a series of dark rooms that ex trude through the first floor windows in a parasitical way, almost like a prosthetic limb of the building. They cling onto the existing struc ture and create an interesting use of other wise unused space. Shown in this visual is one of the single occupanc y dark room spaces, with the safe -light on, giving the space a synonymous red glow.
8. ‘DARK’ EXHIBITION The dark exhibition is primarily comprised of an Epson professional photographic printer placed at one end of the space and 20 suspended wooden beams. The concept behind the exhibition is that ever y time a user chooses to contribute, their work will be sent to the printer, automatically printing into the space. As more work is added the continuous reel of paper will be passed over and under the beams, where the user can walk in and out of the work to view it. This means that the user doesn’t need to comply to a ‘style’ for their work to be included in the exhibition, adding to the inclusive community feel. This exhibition space counterpoints traditional exhibitions, not only is the work not displayed in a conventional manner, but the user will view the work primarily in the dark . Windows in the nor th half of the building are tinted, while a cur tain separates this off from the main room, prohibiting light from entering the space. Glass panels create light wells from the first floor, allowing a small amount of controlled light to enter the exhibition. The user will therefore be forced into exploring the exhibition primarily in the dark .
04 SPECIFICATION OVERVIEW Material / colour written statement, master mood board, material choices, colour palette, RCP and lighting specification, furniture layout and specification, sustainabilit y rationale
MATERIAL & DESIGN PHILOSOPHY: EXISTING The existing walls of the building are made from limestone and are well preser ved, so will remain within the proposed design concept. The floor, originally concrete, is damaged and will therefore be replaced with large scale tiles.
ATMOSPHERE INSPIRATION
PROPOSED The materiality of the space comes down to harmonising the charac ter of the original struc ture with the new architec tural language. Since many of the func tions of the building require complete dark ness, black remains a consistent colour throughout the entire concept, which conterpoints the original limestone of Oculus House. In order to emphasise that dark spaces are being created within the light, a variety of dark materials are being specified for the concept. These materials var y in their durability depending upon the expec ted footfall. In areas of high traffic Smile plastics are being utilised, whereas simple black paint can be used in low traffic areas. The mood board shown (right) expresses the atmosphere that I aim to evoke within the concept. Case studies of relaxed office spaces have been used to demonstrate how a balance of comfor table, inviting spaces can be combined with areas of prac ticality where various func tions can be carried out. Patterned rugs and sof t furnishings will be combined with relatively plain sur faces for flexibility and wider appeal.
(Image credit from left to right) - D & Z Architechten, Luis Gordoa for TEN Architects, AdriĂ Goula for Taller 9s Arquitectes.
2.
SPECIFIED MATERIALS & COLOUR PALETTE RATIONALE
1.
1. Pentatonic rec ycled smar tphone glass. This dark tinted glass is used throughout the entire concept is made from 100% rec ycled glass from disused and smashed smar tphones. A sustainable alternative to regular glass, which requires large amounts of energy in it ’s produc tion. 2. Birch ply wood - the majority of the furniture and the bespoke pieces, including the high bar seating will be entirely made from locally sourced birch ply wood. 3. Smile Plastics - Charcoal. This material will be used for the dark room spaces. I needed something that would be lightweight, maluable and opaque. I t ’s also impor tant that the material doesn’t create an echo / uncomfor table space as the inside of the dark rooms are small. Smile plastics are made from 100% rec ycled materials and can be moulded into any desired shape. They are the sustainable alternative to leading competitors like Corian.
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4. Tiles - The Mezzanine level will be tiled with ‘Zen XL Charcoal’ tiles from Porcelain Superstore UK . Suitable proper ties for the space include: large in size, anti slip, ex ternal frost proof and waterproof. 5. Tiles - The ground floor will be tiled with ‘fossil grey ’ tiles from Porcelain Superstore UK. These large tiles create an almost seamless effec t which has the look of French Limestone one of the most aesthetically appealing stones to cover a large area. Tiles are the most suitable flooring choice over something like vinyl, since the footfall is the greatest, and some of this area will be exposed to the outdoors. 6. Colour palette - The range of colours is bright within the ground floor space, primarily included within sof t furnishings to add ‘pops’ of colour to an other wise primarily black space. One noteable colour is #FAB411 - colour picked from the original Kodak logo, synonymous amongst analog photographers.
6.
MATERIALITY - CHROME EFFECT JENNY NORDBERG MIRRORS These unique pieces are created using a historic 19th centur y process utilising chemical infused liquid silver. Much like photographic developing and silver gelatin photographic prints, Nordberg pours a liquid silver solution onto sheet glass before leaving it to develop. She leaves the liquid to evaporate on the sur face of the sheet, allowing the pattern to develop denser in some areas than others, creating depth and three dimensional intrigue. R ather than utilising simple chrome, I aim to utilise this hands- on technique to create a more visually intriguing space. Image credit - Jenny Nordberg
GROUND FLOOR SPECIFICATION Chrome effec t lif t using Jenny Nordberg inspired chemical infused silver process
Pentatonic smar tphone glass - used for the panels on the mezzanine floor, creating light wells onto the ground floor
Smile plastics - Charcoal. Sustainable durable alternative to Corian. ‘Pook y ’ light pendant (shown in lighting rationale) Original Limestone walls
Pentatonic smar tphone Glass - used for the doors into the computer suite and the bifolding door panels Birch ply wood furniture from Opendesk (shown in furniture rationale)
Tile flooring - ‘fossil grey ’ French Limestone look tile from porcelain warehouse UK .
Sof t furnishings / rugs sourced from French Connec tion Homeware. Has a young and refreshing aesthetic and is of ver y high quality.
Modular furniture elements sourced from MARK based in Cornwall. This produc t has been specified in grey, rather than their trademark green.
LIGHTING RATIONALE RCP LAYOUT Shown right is my RCP for each floor of the design. The lighting on the Ground floor consists of floor lamps as task lighting in addition to suspended ceiling lights. Suspended ceiling lights are the primar y choice throughout the concept due to their func tionality and ability to emit plentiful amounts of ambient lighting in the work ing areas. Specific red safelights are required for all dark room spaces, which are shown here in red. On the ground floor, I have specified OMA x Delta-light ’s XY180 lights to create lighting features above the shelving and on the circulation route to the stairs. This lights have the ability to pivot on a180 degree horizontal axis, meaning the display can be constantly changed. (Image credit) D elta light Shown below - D eltalight x OMA X Y180 light
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Deltalight Supernova Suspended ceiling light
Habitat - black metal double head floor lamp
IN WHITE
w w w.habitat.co.uk
w w w.deltalight.com/en
https://w w w.habitat.co.uk/double black-metal- double -head-floorlamp -339254
x3 units
x1 unit
6. 3. Deltalight PINTOR 63 Spotlight w w w.deltalight.com/en https://w w w.deltalight.com/en/ produc ts/detail/pintor-63-st-br92718-s1-202-401-811-921 x5 units
LIGHTING SPECIFICATION GROUND FLOOR
1. Deltalight Supernova SR Suspended ceiling light
w w w.perchandparrow.com https://w w w.perchandparrow. com/lighting/floor-lamps/co ra-tripod?utm_source=google%20 shopping&utm_medium=ppc&utm_ campaign=&utm_content=&utm_ term=&gclid=EAIaIQobChMIx v_ XrqL03gIVz7XtCh15Tg9CEAQYBSABEgJH m_D_BwE x1 unit
4.
7.
Pooky larger Goodhew Pendant Large pendant light shade 60cm diameter
Deltalight x OMA X Y180 LED cluster light
w w w.pooky.com
In BLACK
https://w w w.pooky.com/pendant-lights/larger-goodhew-pendant-in-white -with-a-gold-interior60cms- diameter#.
w w w.deltalight.com/en
x2 units
x6 units
Cora Retro Tripod Floor Lamp in Nickel Tripod floor lamp
w w w.deltalight.com/en https://w w w.deltalight.com/en/ produc ts/light/x y180 x40 units
LIGHTING SPECIFICATION FIRST & SECOND FLOOR The majority of the first and second floor space is naturally lit, meaning ver y little ar tificial lighting is required. One essential lighting element however is safe -lights for the dark room spaces. ‘Safe -lights’ are light illumination that will not fog photographic materials during the time period required for normal handling and processing and thus are necessar y for the concept. Each single occupanc y dark room space will contain one red tube light, while double occupanc y spaces will require two. (Each tube light is 2f t in length) Dark room Safe -lights provide an overall and shadow free illumination causing less eye strain and consequently a better work ing environment. Image credit - The Imaging Warehouse The Imaging Warehouse Red Safe -light Tube 2f t - T8 (BW Printing) 18 Watt w w w.theimagingwarehouse.com https://w w w.theimagingwarehouse.com/ Produc tGrp/000500040008000d x14 units £69.95 per unit
FURNITURE All of the furniture can be seen on the ground / first floor plans The specified furniture for the concept will primarily be sourced from Opendesk , an online marketplace that hosts independently designed furniture and connec ts its customers to local makers around the world. R ather than mass manufac turing and shipping worldwide, they ’re building a distributed and ethical supply chain through a global maker network . CNC (Computer numeric control) machines are used, which have eliminated the need for large fac tories or long- distance shipping, and ensure that produc ts are produced only in the numbers required. Ever ything is cut from birch ply wood, a sustainable material, which is grown quick ly within the UK . (All pieces shown are included within the design). Some other pieces of furniture are being sourced from MARK , a Cornish based company that strives for durability and timeless design, leading to sustainable design approach. Their modular furniture elements from the Studioscape range, provide a flexible alternative to fixed seating and provide possibilities for collaberation space as well as a more private arrangement. Image credit Opendesk / Mark Product
SUSTAINABILITY RATIONALE
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TRANSPORTATION AND PREFABRICATION As a designer, I inherently understand the need for a sustainable future. Through utilising an adaptive reuse scheme, I am wholeheartedly recycling a structure, which is the most sustainable method of architectural practice. To enhance this decision, my design does not incorporate any new floor levels or a roof, meaning that I am saving from materials that would normally cover extremely large surface areas. My strategy involves a series of insertions, which can be prefabricated and lifted into the structure through the opening, ensuring that construction need not take place on site. This means that their manufacture can take place in a location, which has specialised facilities and processes allowing them to be greener than if a construction team produced them on site.
LIGHTING The primary function of my space is a series of darkroom spaces, meaning the only light that is installed is a ‘safe’ red light, which can be an LED, one of the most efficient lighting methods. Without a roof, the first and second floors have vast amounts of natural light, and the use of glass panels and voids allows this light to transcend into the ground floor space, reducing the need for some lighting altogether. Any other lighting that is installed will be using LED bulbs provided by
FURNITURE AND FITTINGS
The specified furniture for the concept almost entirely comes from Opendesk, an online marketplace that hosts independently designed furniture and connects its customers to local makers around the world. Rather than mass manufacturing and shipping worldwide, they’re building a distributed and ethical supply chain through a global maker network. CNC (Computer numeric control) machines are used, which have eliminated the need for large factories or long-distance shipping, and ensure that products are produced only in the numbers required. Everything is cut from birch plywood, a sustainable material, which is grown quickly within the UK.
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GREEN ENERGY FOR HEATING AND COOLING The ‘Fridge’ an element, which lies at the core of the building, obviously needs a method of power. Rather than using electricity, which in the long term would not be economically or environmentally viable, I plan to use the unfiltered water from Bristol Harbourside to retain its low temperature. Through utilising double layered skins the outer layer ‘sweats’ creating moisture in the gap between, cooling the internal space. Since the water from the Harbouside would never come into contact with people or products, it doesn’t require filtering or purifying, meaning less energy is used in it’s utilisation.
WATER COLLECTION AND CONSUMPTION Since there are no functions within the buildings that would require the consumption of water, drinking water taps are not necessary. I plan to harvest rainwater for the purposes of flushing toilets and within the bathroom sinks, which can be done with the use of some basic treatment. The rainwater tank can be kept underground with ease to store the water and maintain a steady temperature of around 4 degrees. A water cooler on the other hand, can be provided for those who bring their own reusable water bottle.
AFTER LIFE Due to a high percentage of the design scheme being prefabricated and lifted in on site, the structure could be dismantled at any point and either reused as an entire entity and transported somewhere else, or the components could be reused individually. This means that almost nothing from the structure will be sent to landfill. To make this concept more viable for transportation and disassembly, all joints should be bolted rather than welded.