Part 1 Portfolio

FRANCESCA BARBOUR B.A. ARCHITECTURAL STUDIES PART 1 PORFOLIO 2014-2015 120194243

CONTENTS

6.

CHARETTE.

14.

TOUCHING INFRASTRUCTURE.

40.

THE BUILDING BLOCKS. GRADUATION PROJECT

Portfolio contains AP2, AP3 and AP4 submissions.

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Learning objectives and Outcomes A key theme laid out in the learning objectives through both design projects this year, was finding a way to respond to various criteria at once, from scenarios and existing infrastructures, to the scarcity of materials.

throughout the year, designing the device to be as adaptable as possible, in order to suit the personal needs of the user. These principles of adaptability and scarcity extended into ‘The Building Blocks’, continuing to maintain them at the core of my design and developing it in direct relation to environmental and structural strategies.

My studio quickly grasped my interest. Through both my first project ‘Touching Infrastructure’ and my Graduation Project, ‘The Building Blocks’, it sought to answer the question, ‘what are the potentials that are offered around infrastructure?’ The intersecting lines of movement, flows of materials, information, people, and capital create spaces in the city that are leftover, forgotten and marginalized. Yet are intricately tied into the network of roads, rails, and canals; cables that form the structures of infrastructure. Sam Allen comments: “The infrastructural elements of the modern city, by Feedback their nature linked together in open-ended networks, offer another example of field conditions in the urban My feedback for ‘Touching Infrastructure’ highlighted context.” my sensitive approach to the issue of homelessness.

The task could be seen to pose more questions than J. G. Ballard in his book ‘Concrete Island’ comments it answers; the scenario I was attempting to respond on our dream of being deserted on a desert island to cannot wholly be resolved on this kind of scale, in the middle of a Pacific atoll, he also recognises so I focused on what the small-scale impacts could that the chances of this happening are unlikely. Yet be, those to the individuals and small communities he draws a connection between these islands in our and then the possibilities of a wider spread change. dreams and the ‘concrete islands’ we experience every One topic of the project that I needed to improve day, such as my sites in both Newcastle and London. was the site specificity. I have attempted to improve Both projects sought to visualize these islands, this, through a more developed mapping exercise and reawakening and enlivening them. drawings detailing how my devices will fit into the site.

These ideas are evident in ‘Touching Infrastructure’ where my devices provide a new use for the derelict Being asked to build a 1:1 device, when I had never space on the High Level Bridge. It forms a new community previously used the workshop facilities was a steep for the homeless within the city and challenging the learning curve and I qu¬ickly learnt the limits misconceptions that are held for these members of our of recycled materials. However, I greatly enjoyed society. The device is designed with scarcity at its the large consideration to the current issue of core. Jeremy Till led a research project exploring the homelessness and the idea of reawakening an existing relationship between scarcity and creativity and how infrastructure. design led actions can improve the urban environment in the future. Till postulates that we re-evaluate I was challenged for both projects with creating the meaning of scarcity. Sustainability requires and writing my own brief. This allowed me to build us to decipher an objective goal, whereas scarcity my project around concepts that are important to recognises a point and limit. It is these questions not only my architectural interests, but also my of scarcity that I have considered in great detail interests outside both projects.

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‘The Building Blocks’, my graduation project interlinked with the previous themes. This was a considerably more complex brief to write, presenting its own challenges. The project urged me to respond to a large confluence of infrastructures, as said before, paying close attention to the ‘intersecting lines of movement’ that surround them. I chose my own site in London Paddington for the project, and quickly learned the tight restraints it contained.

Responding to constructive feedback from the previous project, I tried to respond closely to the existing context, drawing from the existing patterns and grids. Again, it was suggested that I improve the portrayal of the close connections between the site and design with deeper clarity following the final presentation. I have since readjusted my sections, adding more of the existing site, and have altered the design to create my ‘island’ on top of the building, from which users escape from the confines of the city. My detail is deeper, completing several additional internal and external perspectives, showing the inhabitation of the materiality more closely. Similarly I was lacking in an expression of the environmental strategies that are key to my design, having paid close attention to the ventilation throughout the workshop and the noise barriers needed to separate living accommodation from the road. I have now shown this in a diagrammatic way throughout the portfolio.

Personal Improvement One of the ways I feel that I improved most this year is in the representation of my work. I have found ways to incorporate my love of hand drawing and sketching with more accurate representations of inhabitation and site, turning simple line drawings into atmospheric illustrations of my designs. I feel I have now developed an individual style, which I look forward to developing further.

LEARNING SUMMARY

The Degree as a Whole Looking back on the last three years of study it is evident what a huge learning curve I have gone through. During this last year it has been very satisfying to see my own interests and ideas connecting themselves with my studies, and an evident cohesion has appeared throughout my design, non-design and dissertation works. I now feel I have a strong architectural identity, with the social agenda and community values behind architecture mattering most to me. I have structured my portfolio in chronological order, so you may see my development throughout the year and how my projects relate to one another.

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“Primarily people wanted more of everything! More artists, more countries represented, more music, more food!”1

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Junot Diaz winner of the Pulitzer Prize for Fiction, talking about ¡Vamos!

CHARETTE ยกVamos! celebrates Spanish and Portuguese speaking cultures, it combines cuisine, art, film, theatre, dance, music, literature, fashion, sport and education offering an international festival appealing to partners and diverse mainstream audiences.

Our original concept was to create one single block that could be multiplied, producing a multi-functional system that can be applied to several uses within the ยกVamos! hub. We were tasked with focusing on the admin role of the space, providing communal seating and meeting areas for ยกVamos! event organisers.

Key to our design process was for the unit to be quickly and easily assembled from a simple flat pack design utilising reinforced cardboard.

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FLATPACK CARDBOARD FURNITURE Flexible Furniture for Pop Up Festivals COMPONENTS

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200 30

300

400

400

400

900

675

1350

1100

675 925

1500

925

‘Cruz’ translates to ‘Cross’ in Spanish, which reflects the cross shape design of our modular units. This shape lends itself to a stable structure that can be easily moved about, stacked and rotated to serve a range of uses. Las posibilidades son infinitas!

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FLATPACK CARDBOARD FURNITURE Flexible Furniture for Pop Up Festivals

COMPONENTS & ASSEMBLY

COMPONENTS

THE CHAIR

X2

STORAGE

DESK AND BAR

X2

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Stacked together, the individual crosses can be used as a flexible shelving unit, whether against a wall to store books and files, under a bar as a wine/bottle rack or to form the support for tables. Placing the cross upright with the top fitted provides comfortable seating. As well as being used for admin purposes, the hub will also supply for events, film screenings and commercial uses, our design can be re-assembled to fulfil these requirements.

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MODEL OF THE SPACE

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BAR/SHOP

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‘CRUZ’ IN USE

FILM/SOCIALISING

ADMIN/TRAINING

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“Scarcity is always real. Regardless of the factors that trigger or cause scarcity, it is perceived, experienced and problematized as a condition or phenomenon, and thus, as an experience; it is always real.�1

1

Jeremy Till (Scarcity.is)

TOUCHING INFRASTRUCTURE At the core of my design is the idea of the building blocks of peoples lives’, wanting to provide all members of society with shelter. Anti-homeless devices served as the catalyst for my device, being used nowadays to prevent the homeless from sheltering in certain places. I wanted to combat this form of ‘hostile architecture’, with a device that could encourage the homeless back into society.

The project objectives were as follows: To discourage prejudice in communities To provide shelter for the homeless To reawaken an underused infrastructure To maintain the principles of scarcity

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DIASSEMBLY

Disassembling a clock, led to the key theme of my project, ‘Inside Out’. After ridding the mechanism of its aesthetically pleasing casing, it remained ticking, continuing to take time even without its facade.

It was not the pretty Art Deco mantel casing that mattered, it is what was on the inside.

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THE PROCESS

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DISASSEMBLY

THE TIDY-UP

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What is the potential offered around infrastructure? Those intersecting lines of movement, flows of materials, information, people, and capital create spaces in the city that are leftover, forgotten and marginalized. Yet these are intricately ties into the network of roads, rail and canals; cables that form the structures of infrastructure. Sam Allen comments: “The infrastructural elements of the modern city, by their nature linked together in open-ended networks, offer another example of field conditions in the urban context.�1 The map highlights key infrastructures around Newcastle and Gateshead.

1

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Field Conditions, Stan Allen in Points and Lines, 1985 (scanner: B.Rex) Page 2.

TYPOLOGY

1

4

2

As a studio group, we created a typology book which is contained within my box.

It investigates the typologies of: Rail, Elevated motorway, Docks, Car Parks, Bridges and Staithes.

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5

6

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Manors Car Park Newcastle Central Station High Level Bridge Millenium Bridge Gateshead Highway roundabout Dunston Staithes Gateshead Highway

1 2 3 4 5 6 7

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GATESHEAD APPROACH

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GATESHEAD VIEW

PEDESTRIAN PATH

TYNE BRIDGE

SITE

APPROACH

SITE ANALYSIS

PREVAILING WIND

PEDESTRIAN

COMMERCIAL

RESIDENTIAL

The site for the project is key. The High Level Bridge in Newcastle is a listed structure, designed

by Robert Stephenson. Being one of the first bridges to combine rail, road and pedestrian traffic, nowadays the rail network is rarely used. The bridge joins together the two sides of the river, as my device will be encouraging the homeless to rejoin communities.

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All articles were found from online resources.

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SCENARIO DEVELOPMENT

ANTI-HOMELESS SPIKES

ROUGH SLEEPING

PROTEST

TIME FOR CHANGE

Big Issue Sellers created the context for my device, often left to stand in the rain, holding their magazines in flimsy plastic covers, various misconceptions have arisen. I took the initiative to design a device, using recycled materials, from which they could safely store and sell their produce, store personal belongings and access shelter and power.

Staying true to the Big Issue motto of providing “A hand up, and not a hand out.”

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MAKING THE USELESS, USEFUL

THE RIVER CLEANUP

PEDAL ENERGY

HEAT RISES

PLANTS ON WHEELS

NIGHT LIGHT

SCENARIO: LITTERING AND WASTE TYPE: ELEVATED MOTORWAY

SCENARIO: LITTERING AND WASTE TYPE: STAITHES

SCENARIO: POLLUTION

SCENARIO: POLLUTION

SCENARIO: POLLUTION

TYPE: BRIDGE

SCENARIO: ANTI-HOMELESS DEVICES TYPE: CAR PARKS

TYPE: ELEVATED MOTORWAY

TYPE: BRIDGE

The device supplies a bin for car users, litter will be filtered below the highway into recycling bins, where compressed cubes will be made.

The device inflates across the river, and acts as a filter for litter, particularly plastic.

Encouraging cyclists and eco-friendly travel, the device produces electricity

The device utilises waste heat from the cars, storing it to release for homeless users at night.

Plants and filters help to rid the air of pollutants such as CO2. The device will drive up and down motorways at times of low traffic.

Kinetic energy produced by cyclists can be used to light up the bridge at night.

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DEVICE DEVELOPMENT

BIG ISSUE SELLERS

CHANGING PERCEPTIONS

PUTTING IN CONTEXT

INSIDE OUT

Design development began by looking at scenarios in relation to the various typologies we researched in our group work. Consequently I began looking closely at how my device might interact with the High Level Bridge, focusing on where comfort might be found in a normally uncomfortable location.

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I looked at the ideas of origami, seeing what shapes I could manipulate the box into using the folds. Following on from my disassemble project, I wanted to continue with the concept of ‘Inside Out’.

The important things are kept inside a shell that can be opened and distorted. This lead to a close consideration of what are the key elements of a home.

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DEVICE DEVELOPMENT

DAY USE

SECURITY

SHELTER

POWER

Due to the windy conditions on the bridge, I developed my design to incorporate wind power. The turbines will charge during the day and then the devices will act as a key to access the power at night.

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OSB chipboard: Found: Back alley, Jesmond Previous Use: Unknown New Use: Main shell Cost: £0

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Varnish: Found: Wilkinson Previous Use: N/A New Use: Waterproofing main shell Cost: £11.95

Steel Handle: Found: Skip, University Campus Previous Use: Chair Leg New Use: Handle to navigate device Cost: £0

CONSTRUCTION RECYCLE

Cupboard Handles: Found: Skip, Jesmond Previous Use: Kitchen cupboard door handles New Use: Handles to access device contents Cost: £0

Castor wheels: Found: Online Previous Use: N/A New Use: Wheels for device Cost: £2.60

The bought fixings: Found: Wilkinson Previous Use: N/A New Use: Fixing Plates and Hinges Cost: £28.76

Recycled materials form the majority of the building components of my design. In fact the only elements bought specifically for the device are the fixings.

Thinking ‘outside the box’ and envisaging the potential of these otherwise wasted materials is essential but problematic at the same time.

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DEVICE IN USE

The Device serves to change the misconceptions raised around the homeless. It forms its own market stall, working like ‘clockwork’. Folding out to produce safe storage for personal belongings, storage for selling produce whether magazines or other items, comfort as a seat and as a shelter at night. It can be moved around with ease, assisting the user in their everyday lives.

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NIGHT TIME ELEVATION

At night the devices can be connected into the High Level Bridge. Utilising the wind turbines that charge during the day, the homeless can access power, to provided themselves with light and heat throughout the night.

The elevation shows how the bridge will become enlivened by its own community at night, with several of the device users accessing power at the same time.

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THE DEVICE

BILLBOARD A FUTURE

POWER HOSTILE ARCHITECTURE

INSIDE OUT COMFORT

COMMUNITY HIGH LEVEL BRIDGE

RESPECT

FUNCTION

HELP THE HOMELESS

HARD SHELL SOFT CENTRE

MECHANISMS

REUSE SPACE

WARMTH INCLUSION STOP ANTI-HOMELESS DEVICES SUSTAINABILITY

EMPOWERMENT

NON-JUDGEMENTAL

SCARCITY

SHELTER

THE BIG DEVICE A HAND UP NOT ISSUE HOMES INFRASTRUCTURES A HAND OUT RE-JOIN SOCIETY BRIDGES

Several of the devices can be joined together, providing the Building Blocks of a new community, and of homes. The devices can be completely personalised to the user, becoming the first step to them physically rebuilding their lives and a home. The device is a hand up.

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FINAL PRESENTATION

Design Development

FUNCTION

HARD SHELL SOFT CENTRE

HELP THE HOMELESS

RESPECT

STOP ANTI-HOMELESS DEVICES

REUSE SPACE

WARMTH INCLUSION SUSTAINABILITY

EMPOWERMENT

NON-JUDGEMENTAL

COMMUNITY HIGH LEVEL BRIDGE

THE BIG DEVICE ISSUE HOMES INFRASTRUCTURES RE-JOIN SOCIETY BRIDGES MECHANISMS

SCARCITY

SHELTER

A HAND UP NOT A HAND OUT

BILLBOARD A FUTURE

POWER HOSTILE ARCHITECTURE

INSIDE OUT COMFORT

Device as safe and dry storage

Approach

Entrance

Site

Love locks

Tyne Bridge

Metro Bridge

Pedestrian path

Railway

Gateshead view

Exit

Device as seating, rest and comfort

Device as access to wind power

Device as shelter

Device as a power source

Prevailing wind

Pedestrian

Night Time Elevation of The High Level Bridge 1:50 0

1

2

4

Commercial

Francesca Barbour Stage 3 Architecture Infrastructures: Touching Infrastructure 120194243

Residential

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“The day dream of being marooned on a desert island still has enormous appeal, however small our chances of actually finding ourselves stranded on a coral atoll in the pacific…. The Pacific atoll may not be available, but there are other islands far nearer to home, some of them only a few steps from the pavements we tread every day. They are surrounded, not by sea, but by concrete, ringed by chain-mail fences and walled off by bomb-proof glass.”1

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J. G Ballard, Concrete Island (New York: Farrar Straus and Giroux, 1974) Introduction

THE BUILDING BLOCKS At the core of my existing scenario was the idea of the building blocks of peoples lives’, whether building your own home or business. For the project I aimed to resolve the programmatic and contextual challenges of a self-build workshop, where any members of a community can access workshop tools for varied levels of design; school projects, homeless shelters, furniture, repair works and education into self-building homes. The building blocks will be welcome to all, whether homeless, affluent or any other members of society. The building also needs to incorporate a series of living places, giving a hand up to those who need it and presenting a temporary opportunity to make a home and learn new skills for the future.

The project objectives were as follows: To create a shared public space.

To work with the thresholds of privacy between private and public space.

To respond to the existing infrastructure of the A40.

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THINKING THROUGH MAKING

The week was as an engaging, explorative and open set of talks, workshops and keynote lectures from artists, architects, engineers and thinkers who were all, in varying ways, engaged with material investigations.

Using various techniques of casting and drawing I was able to explore the textures and materiality of my site and developments I was considering for my project. I completed a 1:1 multi-media drawing of an section of of my site.

CLOSE

UPS OF 1:1 DRAWING

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EMSCHER PARK, GERMANY

We visited Emscher Park in Germany at the beginning of the project, providing vast amounts of inspiration.

Grey iron and rusting steel are often our first associations when we think of a disused ironworks.

The whole idea of the Landscape Park Duisburg Nord shows that a so-called brownfield site can elevate itself far beyond these prejudices. This is a concept that has continued throughout my development.

As a group we created a photo book to illustrate our trip in Germany and the architecture that inspired us.

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DEVICE

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INSIDE OUT

SHELTER

COMMUNITY BUILDING BLOCKS

THE BRIEF

The Brief developed from my project ‘Touching Infrastructure.’ With the core principles remaining the same. The ‘Building Blocks’ of a home that could be developed from my device led into the theory for my Graduation Project.

The brief I wrote at the beginning of the Graduation Project is enclosed within my portfolio box, and contains a schedule of accommodation. < This diagram represents the key functions and principals throughout my brief, within the framework of my workshop.

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THE A40 REGENTS CANAL

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LONDON SITE ANALYSIS

THE SITE

The Battleship Building

Three Sheldon Square

Canal

ACCESS

CIRCULATION

SUNLIGHT AND PREVAILING WIND

Private Access

Service/Vehicular Access

Public Access

Retail/ Residential

The A40, running west out of London, is the site for my project. It follows the route of historic flows into and out of the city: canals first brought the goods and materials of the industrial revolution into and out of the heart of London, enabling a flow of trade. The railways from the west, cutting through the outer-lying farms and fields, and eventually the residential environments west of Paddington, brought the full force of mechanised industry to London, positioning its growth into the worldâ&#x20AC;&#x2122;s first fully fledged metropolis. The eventual birth of the motorcar set the scene for a large-scale urban dream of a carcity, pedestrian and vehicles separated, concrete overpasses crashing through Georgian and Victorian housing.

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THE SITE

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SITE APPROACH

MATERIALITY

The A40 provides a vivid and exciting atmosphere; however the fast flowing traffic and sometimes intimidating concrete structure cannot always be described as welcoming. As a reaction to this, I am using a lightweight steel structure within my design, utilising glass and polycarbonate, to give passers by a constant reflection of the activities within and the human scale of the building, contradicting the super-human scale of the motorway. Capturing both natural and artificial light, the undercroft will be reawakened and enlivened by the workshop.

As a group we created a photo book to illustrate our trip in London and the architecture that inspired us.

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MASSING

Having looked at the circulation on the site, I focused on how people would move up and around the motorway as well as under it. My first massing attempts aimed to form new unexpected spaces. Wrapping around the motorway and creating constant physical and visual connections to key aspects of the building.

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DESIGN APPROACH

CONCEPT MODEL

RHYTHMS OF INFRASTRUCTURE

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STUDY DRAWINGS AND MODELS My design at the interim stage for focused on the public space within the building, wanting to make the ground floor as permeable and open as possible, with users being able to physically push and pull the walls.

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DESIGN APPROACH

My design began to develop, deciding to span the south facing side of the motorway and bridging the infrastructure of the canal. I designed a large truss structure, that would act as the â&#x20AC;&#x2DC;shellâ&#x20AC;&#x2122; to the key internal elements of my design. < This model demonstrates atmosphere I wanted to create of being within the truss.

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DESIGN APPROACH

This conceptual model demonstrates how the truss will become its own structure. Enlivening the existing confluence of infrastructures and creating an island within the confines of the city.

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CAR PARK FOR DELIVERIES

ADMIN

PUBLIC SPACE

The car park is shared with the adjacent building, as this is the main vehicular access to the site.

The admin spaces are accessible from the car park and from the main reception area, being used to store materials and keep track of incoming and outgoing deliveries.

The public space, includes a cafe and exhibition area, enlivening the under-croft of the A40. Here they will attract passers by.

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ZONING DIAGRAMS

WORKSHOPS

PRIVATE ACCOMMODATION

‘THE ISLAND’

The workshops form the core of the building, allowing easy access for both public and private users.

The private accommodation is within the truss, giving views over the canal, and an exciting atmosphere for the studio spaces.

The ‘Island’ roof terrace, is positioned above the top level of the motorway, giving views above the road, allowing users to escape the claustrophobic atmosphere of the city.

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Black Horse Workshop Assemble Architects Blackhorse Workshop is a new public space dedicated to making and mending.

It offers open access to fully equipped wood and metal workshop. Technicians are on hand to help with machinery so anyone can use the space to build or fix anything. It also provides an environment to grow your start-up with the support of industry expertise and a community of makers. Including a bakery and cafe space.

The Black Horse Workshop was my initial precedent for the brief of my project.

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FLOOR -2

1

Car park for deliveries

2

Goods

lift

to

storage

2

1

1:200

0

2

4

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1

62

5

In order to contrast from the heavy concrete structure of the road, I have framed the existing columns and built the staircases and railings out of a lightweight steel, to look like they are floating in on the â&#x20AC;&#x2DC;concrete islandâ&#x20AC;&#x2122;.

FLOOR -1

1

Exhibition Space

2

Personal storage for workshop users

3

Goods Lift

4

Storage Space

5

Office Space

1

3

2

4 5

1:200

0

2

4

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2

The cafe forms the public â&#x20AC;&#x2DC;hubâ&#x20AC;&#x2122; of the design. The windows frame the rhythm of the concrete columns that support the A40 above, creating an exciting experience of the motorway floating above you.

The ground floor remains permeable, with the polycarbonate walls, allowing passers by to see the movement within and vise-versa. Perforated steel doors rotate on hinges, opening up the walls of the building, allowing for views into the workshop and cafe.

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GROUND FLOOR

2 1

1

Main Public Entrance

2

Cafe

3

Reception Desk

4

Private Entrance

5

Bench Space

6

Outdoor workshop area

4 3 4

6

5

1:200

0

2

4

8 65

1

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The workshop can be used for many different projects as shown in these perspectives. You can come and use the workshop for half a day or sign up for a year. The Building Blocks welcomes everyone from dabblers to professionals, and the staff will help people to learn wherever possible.

FIRST FLOOR

1

Metal and wood working

2

Private Access

2

2 1

1:200

0

2

4

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5

The hallway adjacent the A40, not only acts as a sound buffer from the noise, but also provides an exciting atmosphere of the speed of the motorway.

Private studios and apartments are available for start-up businesses, creating a work live environment unlike any other. They have full access to the workshops and a view of the canal.

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SECOND FLOOR

1

Laser cutters and Printing

2

Private Access

3

Private studios

4

Gantry to Access crane

2 5 2 1

3 > 4

1:200

0

2

4

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4

There is a large gantry crane, used to get materials the private studios. It spans the front of the truss, making the building itself look like one of the machines it contains. This idea of the building as a machine comes from Cedric Price, who has been a key precedent for me throughout this year, particularly with his â&#x20AC;&#x2DC;Fun Palaceâ&#x20AC;&#x2122;, illustrated in this image. Similarly to my design, the Fun Palace was designed to be adaptable, in order to adapt to the ever changing needs of society.

Teaching spaces are provided for the use of schools and lectures about selfbuild projects and talks from invited guests.

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THIRD FLOOR

1

Teaching spaces

2

Private access

3

Bedrooms and bathrooms

4

Gantry crane

2

2

3 >

1 4

1:200

0

2

4

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Gifu Kitagata Apartment Building SANAA I have looked at the Gifu Kitagata apartments by SANAA, which considers carefully the division of private and public spaces, allowing different types of families and people to live within one new neighbourhood. The complex spatial configuration within the building allows for the simple customization of spaces, something I have tried to replicate.

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FOURTH FLOOR

1

Presentation space

2

Private access

3

Kitchen and living rooms

4

Communal area

5

Balcony

2

2 1

3 > 5 >

1:200

0

2

4

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1:1000 ROOF PLAN > 0

10

20

40

J. G. Ballard, in his book ‘Concrete Island’ discusses the ‘islands’ we find close to home, within the confines of the everyday metropolis. The premise for my design were these underused ‘islands’ that have been created, looking at how they can be reawakened, enlivening the urban experience, and how we can create new islands within the confines of the city.

These conceptual diagrams and roof plan show how this concept has continued throughout my project.

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1:400 SECTION > 0

ORIGINAL DRAWING

4

8

16

ACCESSING SUNLIGHT BENEATH THE ROAD

The section cuts through the exhibition space, showing the relationship between the road and the building. You can see how the workshop will expand outside along the canal as a market, becoming a hub for the community.

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1:400 SECTION > 0

ORIGINAL DRAWING

4

8

16

MECHANICAL VENTILATION WITH HEAT RECOVERY

The section cuts through the workshops, showing the core public circulation.

The truss can be seen in elevation, spanning the canal.

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1:200 INTEGRATED SECTION 0

ORIGINAL DRAWING

2

4

> 8

NATURAL VENTILATION THROUGH TRUSS

The section cuts through the private circulation, showing how they can access the accommodation and studios within in the truss. It shows clearly the relationship of the truss to the road and the view from ‘the island’ roof terrace over the motorway.

This is an integrated section showing the structure throughout. The windows onto the road cannot be opened as it would present safety risks.

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1:50 INTEGRATED SECTION

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< 1:50 INTEGRATED SECTION 0

8

16

1:20 DETAILING

32

0

WALL TO ROOF JUNCTION

WALL TO INTERMEDIATE FLOOR

20

40

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JUNCTION WITH TRUSS

The building is made up mainly of a lightweight steel structure, sitting inside a heavy cor-ten steel truss, providing the outer shell. Due to its proximity to the canal and motorway foundations, I have utilised pile foundations. Extra sound insulation is used to buffer the building from the road.

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ENVIRONMENTAL STRATEGIES

DAYTIME SOLAR GAIN

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NIGH TIME COOLING

HALLWAY AS SOUND BUFFER FROM ROAD

MATERIALITY

NELSON ATKINS MUSEUM

SINT-ANDRIES CITY LIBRARY

ZUMTHOR ARCHAEOLOGICAL MUSEUM

Corten Steel

Polycarbonate

Steel interiors and Staircases

City of Bruges

Kansas City

Switzerland

Studio Farris Architect managed to create a building that stood out from the crowd. Covered in maintenance-free, rusty Corten steel panels, it creates a stunning contrast against the white plastered skinâ&#x20AC;&#x2122;s main building. I have utilised corten steel panels to minimise maintenance and add aesthetics.

Steven Holl designed the addition to the museum using polycarbonate. As visitors move through the new addition, they will experience a flow between light, art, architecture and landscape, with views from one level to another, from inside to outside. This is the effect I have creates in my design.

Within Peter Zumthorâ&#x20AC;&#x2122;s design, the structure frames the space gently, and the slatted wooden panels wrap tightly around like the canvas of a drum. It is as though all of the materials that came together in construction are merely floating in a light box. I took these ideas of floating for internal elements of my design.

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1:50 MODEL OF ENTRANCE

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CAFE AND EXHIBITION SPACE

GANTRY TO ACCESS CRANE

MODELS

1:100 MODEL OF BUILDING IN SITE

All of my models were hand made and painted to illustrate materiality and structure.

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FINAL PRESENTATION

INFRASTRUCTURE. THE BUILDING BLOCKS ANTI-HOMELESS SPIKES ARE PART OF A WIDER PHENOMENON OF ‘HOSTILE ARCHITECTURE’.

There is no national figure for how many people are homeless accross the Uk. Government Statistics show 2,714 people slept rough in England on any one night during 2014.

Local Agencies report 6,508 people slept rough in London alone throughout 2013/14.

Device

Inside Out

Shelter

Community Building Blocks

As communities we should be welcoming and helping the homeless, yet these ‘brutal’ anti-homless devices are forcing them out of society.

Homeless people are invisible, ignored and forgotten. It is time to challenge the misconceptions that have arison.

In response to the ‘scenario’ of anti-homeless devices, I designed an ‘inside out’ device.

Several devices could be joined together as the

Building Blocks of a wider community.

Following this, I wrote a brief for The Building Blocks Workshop in London, with access for all whether homeless or afluent. The workshop incorporates large public spaces, and private studio flats from which users can start up a business where they otherwise may not have had the opportuity. The workshop will form a community of makers.

“The infrastructural elements of the modern city, by their nature linked together in open-ended networks, offer another example of field conditions in the urban context,” - Sam Allen (Field Conditions) Site Map 1:2000

What are the potentials that are offered around infrastructure? The A40, running west out of London is the site for the workshop. The site sits in the undercroft of the elevated motorway, surrounded by a confluence of infrastructure encompassing canal, rail and road.

The Battleship Building

Three Sheldon Square

Canal

Retail/ Residential

The Site 1:1000

Sunlight and Prevailing Wind 1:1000

Circulation 1:1000

Zumthor Archaeological Museum, Switzerland, Atelier Peter Zumthor Concept Model

First Design Idea

Carinthian Regional Exhibition, Germany

Response to Site

Maidenhead Library, Berkshire, ABK Architects First Model

Storefront for Art and Architecture, New York, Steven Holl

Response to Steven Holl Precedent

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