3.2 Reframing Mayfield FLUX Atelier Gabriela Parda
Contents 3 4 5 6-7 8 9 10 11 12 13 14 15 16-18 19 20 21 22-23 24-25 26 27-28 29 30-32 I 33 34 35 36 37 38-39 40 41 42 43 44 45 46
Bringing Mayfield Community Together Manifesto Mayfield in a Frame 3.1 Recap The Site Framing the Concept Shape Precedents Programme Precedent Programme Masterplans Shape Development Space Arrangement Floorplans Mimicking the River’s Flow Sections Nature and Art Framing Views From Human Scale to the Building Mimicking the Natural Heritage Elevations 1:50 Plan nternal Vignettes Tactile Experience Structural Strategy Climate Emergency 1:20 Detail and Environmental Strategy Building Regulations and Services Lighting Day and Night Scenarios Construction Process 1:50 Sectional Perspective New Perspective on Mayfield 1:5 Detail Reflection
w
Bringing Mayfield Community Together
A story told by a person interviewed in Mayfield. They own the Nouveau Brewery under one of the N Western Street arches.
“Around 2015 two strangers came by the brewery. At some point, they decided
to get to know each other. Hours kept passing and yet they kept conversating and laughing accompanied by freshly brewed beer. It became so enjoyable; they went on to dance together on stools. The intoxication caused one of them to suddenly fall off it. At the end of an eventful night, they exchanged numbers. They met up after a few days to go on a date. They have been married for the past 4 years and have a son now. They still come by the brewery with him and are our regular customers.”
The potential of creating a very strong community is very noticeable when walking around the area of Mayfield. The eagerness of people to interact with strangers, meet new people, and share experiences is clearly sensible . The users are ready to pour life back into Mayfield and stimulate its community- they just need a platform to do so.
3
Manifesto
Where is everyone going? Mayfield has it all - The Community, The Nature, The Space for the New. Where did everyone go? River Medlock is flowing through the site. Why did it hide and fall into fragments? There are so many people, cars, and trains passing through the site. Why is no one stopping? There is so much to see in Mayfield. Why is no one noticing?
By introducing a new perspective of Mayfield, I intend to force a moment of pause on the rushing passerby. I aim to make them stop and acknowledge where they are. Reflect the place’s beauty in frames that will finally make people notice it. Acknowledge the natural heritage, the shyness of the river, the wilderness scrambling through the asphalt of the streets, the sounds of the buzzing trains blending with the noises of seagulls flying over their heads... Look around! Nature wants to reclaim the space. People want to go out and share their stories, reconnect, rebuild and pour life back into the area. The tools are there, we only need to put a new perspective- we only need to Reframe Mayfield.
4
Mayfield in a Frame
Photos of various perspectives on Mayfield; its architecture and natural heritage.
5
3.1 Recap
Investigative work with a choreographic object. A mirror was meant to interrupt passerbys journey and impose a moment of pause. It also served as a tool to reflect Mayfield in a different perspective than what can be usually seen.
Masterplan showing the two 3.1 interventions and how they correspond with the outlines of the new Mayfield development
6
3.1 Recap
3.1 / Friendly Tunnel
The design of a temporary walkable platform installed over the river flowing in one of the tunnels that at the moment are dark, neglected and unapproachable. It serves as a starting point for the further design development. Its main concept is to transform the dark, unpleasant tunnel into a friendly area with food and retail stands.
Transition / Elevated Walkway
A way of connecting 3.1 temporary architecture with the building developed in 3.2. This public park on an elevated bridge highlights and expands the site’s natural heritage.
3.1 / Supporting Local Business
The site is home to a small Alphabet Brewery. The 3.1 design’s aim is to attract more people into the area and extend the reach of the local business
3.2 / Former Concept
Both the tunnel and the walkway are dedicated to serve as connecting agents between Mayfield Development and the main building designThe Art Gallery.
7
The Site The site is located in Mayfield- an area situated in the city centre of Manchester. Since the site has not been very popular among the citizens, a new development has been inaugurated that will introduce new residential spaces as well as hospitality and a park. Through the middle of the site runs River Medlock, whihc, at the moment, is dfragmented. However, the design aims to connect its part together and bring people’s eyes back to its beauty.
8
Framing the Concept Reframing Mayfield aims to attract life back to Mayfield and create a smooth link to the ongoing new Mayfield Development. A tunnel connected to a local brewery, the elevated park and the art gallery are meant to bring people’s attention to site’s rich greenery and River Medlock. The concept is about inviting people to interaction with each other and the place through creating intimate morments between the users, art, and nature as well as celebrating it.
9
Shape Precedent: Cricoteka (Museum of Tadeusz Kantor) / Krakow, Poland
The precedent is located near a body of water and its main feature is its intriguing structure that bases on two main concrete legs keeping the main, middle space elevated over the ground. The design is rigid but brings attention to itself and creates a unique interaction between the building, the site and the user.
10
Programme Precedent: Imperial War Museum / Manchester, UK
The museum’s main aim is to memorate the Imperial War and project its experience onto the building. The interior spaces are distorted and create a feeling of dizziness and confusion- just how it might have been felt furing tragic events of world conflicts. The building’s design collaborates with its programme and the architect’s position. There are various space heights- some are much taller than other. The lighting strategies also differ from spotlighting reflectors and suspended LED lights to ceiling linear lights.
11
Programme Exhibiting
Learning
Creating
Admiring
A space open for local artists to showcase their work
An opportunity to explore, experience, and learn about Mayfield and its heritage
A platform for users to express themselves through creating art on the streets of Mayfield
A variety of different viewpoints to observe Mayfield, artworks, as well as the whole creative process from new perspectives
12
Masterplans The masterplans show the 3.1 Tunnel as well as the 3.2 site located on a land with a fragment of River Medlock flowing through the middle.
Site plan cut through the ground floor
Site plan from above the train tracks
13
Shape Development
The initial design focused on creating an intriguing moment of interaction between architecture and nature (on-site river and greenery). The threshold between the two blurs in points such as glass floor cutout or recess in the building ground floor that gives more space for nature to claim the space
Elevated walkway shape development
By widening and flattening the design, the experience of nature becomes more sensual and the framed glass floor views richer. The walkway shape is also widened to fit the width of the building. keep users’ intimate moments with art and nature
Considering the programme of the building (art gallery), an increase in amount and size of the skylights and glass floor is essential to let more lighting in and provide users with an even more immersive experience with the surrounding onsite heritage. The last one is also provided by the incorporation of viewing terraces (on ground floor and on the elevated walkway). To create a smooth transition from human to building scale, spanish-steps-design stairs were incorporated on the threshold between the elevated walkway and the art gallery.
Expanding further the aspect of an art gallery programme, some of the spaces were made taller (double height) to provide a sense of grand celebration of art, however some areas were left single height to keep users’ intimate moments with art and nature
14
Space Arrangement
Bubble diagrams showing the arrangement of the spaces and activities inside and outside the gallery.
15
Floorplans: Scale 1:200
Basement Plan
Ground Floor Plan 16
Floorplans
First Floor Plan
Second Floor Plan 17
Floorplans
Rooftop cut through a part of the building
Rooftop from above the building 18
Mimicking the River’s Flow
Users, Staff, Art, and Nature flow through the building slowly but smoothly. There are moments dedicated for pause and admiration, however the design provides an uninterrupted journey through the building, the elevated walkway and its surroundings. The structure is accesible from various points and do not require turning back in order to exit. The journey goes swiftly and can be started from one point and exited through another, The design can serve as a destination point, as well as an enrichment of the original journey.
Flow shown in a sectional view
Flow of Users, Staff, and Art shown on and Exploded Axonometric Diagram
19
Sections
Intimate Moments Single height space creates a feeling of closeness to nature and art. Whereas glass floors, through framing certain views, bring users focus to dedicated pieces of art and on-site natural features
Long Section in Scale 1:200
Celebration Double-height space with a window opening and hanging floral art create a grand spectacle effect
Short Section in Scale 1:200
20
Nature and Art
Internal vignette shows art exhibition space on the second floor. To create a unique interaction between users, art and nature, there is a plant installation hung from the ceiling beam.
21
Framing Views
Diagrams showing what users can observe from the inside as well as outside of the building. The spaces are arranged so that the visitors can admire the showcased artworks from a required distance without having to interrupt the flow of other users in the space. The glass roof and floors frame certain views on the site’s nature and interior of the gallery. This might encourage users to engage into an interesting interaction between each other.
22
Framing Views
Internal vignetter of the exhibiton space on the first floor of the gallery. It shows glass floors and how they portrait the view onto the gallery space and the river resembling an artwork in a frame.
23
From Human Scale to the Building
To create a smooth transition from human to building scale the roof has been made walkwable and connected wuth the elevated park by stairs that have been inspired by the design of Spanish Steps in Rome. It gives users the opportunity to use them in the way that is auitable for themthey can walk up, us it as a viewing platform, or simply take a pause, sit down and relax.
24
From Human Scale to the Building
Model iterations of the place where nature of the elevated walkway and the art from the gallery connect. A moment for a pause or smooth transition to another stage of the journey through the design.
25
Mimicking the Natural Heritage
Mayfield is home to various types of greenery. One of the common kinds is fern. There are many green as well as brown, dry ones that can be found around the area. To related the design to its site, the building’s facade is perforated following a pattern that resembles dried fern leafs. Corrugated steel sheets that make up the facade outer layer will be reclaimed from various sources saving costs of construction and giving the material a second life.
26
Elevation
Long Elevation in Scale 1:200
27
Elevation
Short Section in scale 1:200
28
1:50 Plan
29
Internal Vignette
Ground Floor Atrium Internal view showing the entrance area with concrete floors, perforated steel facade and exposed structural steel beams
30
Internal Vignette
Staircase Internal view showing the shadow play coming inside through a window opening in one of the building’s floor staircases with concrete flooring
31
Internal Vignette
View from the Cafe Internal view showing the cafe’s window facing the river and the opposite ground level part of the building. Parts of the elevated walkways cane be seen on the left side of the building. The surrounding nature is reflected on the surface of the elevated central part of the gallery.
32
Tactile Experience
Fresh Leaves The rich greenery outside and inside th building provides a strong connection between the user and nature.
Wall Finish Plasterboard wall finish with delicate groves and blemishes creates an interesting tactile experience.
Matte Metal Doorhandles Opening a door is an experience on its own. Thanks to the black matte coated texture of the handle it can be perceived as very satisfactory to the user. “The door handle is the handshake of the building” - Juhani Pallasmaa
Matte Metal Stair Handrails One of the most frequently objects in the buildings are handrails. This is why the tactile experience of it matters and the matte, velvet-like texture is a suitable choice of material.
Paint, Chalk, Asphalt Ground The design enables users to really engage and experience it to the fullest. This is done through the opportunity of creating art on its grounds- joining the process of “Reframing Mayfield”.
33
Structural Strategy Construction Sequence 1. Demolition of a few abandoned on-site structures 2. Clearing the site, setting out welfare facilities 3. Preparing grounds, securing the river bed, refurbishing, restoring heritage retaining walls 4. Pouring in concrete foundations 5. Building the reinforced concrete cores (stairs, lift shaft, service raisers) 6. Erecting steel frame superstructure 7. Prefabrication of wall panels, perforation of some facade sheets 8. Wall and floors assembly 9. Installation of services 10. Installation of furniture 11. Finished construction Why steel structure: Steel manufacture requires a lot of embodied energy (more than eg. wooden structure). However, the central part of the building is elevated over the river therefore a 15-meter span is suspended over the body of water without columns. This means that less steel will be needed to create a deep enough beam than eg wood, which makes it more economic to use this specific material. Moreover, since the site is divided by a river and grounds are quite damp, steel will be more durable than organic materials. There is a possibility of keeping the structure on the site and reprogramming it (most areas are kept in open-space character which can be easily readjusted to a new programme) The dedicated final scenario for the structure is to last on the site even after the Art Gallery programme comes to end and let nature claim, penetrate, and fully occupy the structure. Creating an artificial forest in the middle of a highly urbanised area. Alternatively, bolted connections of the structure make it possible to dismantle and reuse it at the end of the life span.
34
Climate Emergency Working with the Site’s Heritage Keeping and refurbishing the already existing retaining walls around the river. Exposing instead of replacing. Expanding the Greenery Besides keeping and highlighting the already existing greenery, the design also extends it by introducing an elevated public park, and green rooftops. Passive Systems To balance out the embodied energy, many operational energy features are introduced. Openable windows enable passive crossventilation, there are many openings evenly spread across the building’s walls to let daylight inside (|amount limited to art gallery needs). However, to control the natural lighting income and prevent overheating, there has been an automatic louvres system introduced as well as perforated steel sheeting on the outer side of some window openings. The Second Life of Materials The corrugated steel facade is sourced from reclaimed sources and reused steel sheets in order to balance out the embodied energy of the perforation process. Local Manufacturing All materials are sourced locally in the United Kingdom (mostly North West)to limit the trucking/shipping costs Photovoltaic Energy Photovoltaic panels are located on the no-access rooftop in order to support the main energy source. Water Recycling Since the UK has a high rate of precipitation, rainwater, as well as greywater, is collected and recycled to be then reintroduced into the water cycle Possible Dismantling and Reuse If the scenario plan for the building changes (is not left to be reclaimed by nature/ artificial forest), most of its structure can be dismantled and reused as a big extent of it is made of steel beams with bolted connection and corrugated steel
Steel Structure Black steel beams for the superstructure are sourced from Steel Direct, UK
Glazing: Floor/Roof Cutouts, Windows Corrugated Metal Sheets EPS Thermal Insulation Invisio, UK Reclaimed from various sources and Jablite, UK reclaimed from companies/private parties
35
Environmental Strategy 1:20 Elevation and Section Detail
36
Regulations and Services Strategy Document K: Stairs - Handrails are 1200mm away from each other - Step rise is no more than 170mm (less than 220mm), and going is 250mm - Flights and change of direction are incorporated every eleventh stair - Flight height is not higher than 1800mm - Landing is wider than the stair width - Handrails are located over each stair - Landing width at the bottom of stair is 400mm clear of door radius
Document M: Accessibility - Doors are 900mm wide - Stair rise is 170mm high and the going is 250mm making it accessible for the disabled - Doors contrast visually with walls and floors - The building is public and open for all types of users - Easy access for everyone. Entrances are located on various sides of the design, each stairwell is accompanied by a lift - Lift sizes are suitable for wheelchairs (2m x 1.95m)
Document B: Fire Escape - Escape routes are lit in green - Escape doors slow down fire up to 60 minutes - Incorporated fire alarm ((7.5m radius)and sprinklers system - Travel distance is no more than 45 meters and escape is provided in two directions - Escape doors open in escape direction and are 900mm wide - Wheelchair space on the stair landing does not interrupt the escape flow - Handrails are spaced 1100mm away from each other
Water Services Strategy Document A: Structure - Dead and live loads are safely transmitted to the ground through the primary steel structure - Building’s reinforced concrete foundations prevent it from possible subsoil swelling or shrinkage
Heating Strategy
37
Lighting
Under-railing LED Strip Light
Considering that the building serves as an exhibiton space, the lighting is very important. This is why the building uses best quality artificial lighting and adequate amount of glaizng (skylight, glazed floors and windows) that lets daylight in and keeps the sunlight, which would create a distracting glare effect, away.
Suspended LED Light in a Stainless Steel Bar Frame
LED Floor Lights in a Stainless Steel Frame
5-light Bar Spotlight Plate
38
Framing the Light
Model iterations show how different types/shades of light would enter the building through the glass roof and window openings. The artwork shows the lighting penetration of the exhibition spaces occupied by users, art, and nature.
39
Day and Night
The natural lighting is very significant for the art gallery programme. However, to enable the building being open at night, artificial light is also essential. The walkway and the exterior ground surrounding the design are well lit and provide a feeling of safety for the users located outside the building.
40
Building Scenarios Fern Life Cycle Seeding The life span of the building can be compared to the evolution of a fern plant. Seeding symbolizes the beginnings of the building’s operation. The awareness about the place is being spread, people start coming in and exploring the place, young artists showcase their work, and art starts to timidly stretch over the design.
Budding The expected potential of the art gallery is reached, and the building operates at full capacity. The design is filled with locals and newcomers who continue on enriching the space and sense of community. Initial art is refreshed and covered by new ideas. The plants grow richer. It is a process of full creation.
Ripening The making process slows down. The activity of admiration overcomes the creation. Users can now observe what was created in collaboration with nature. Just like a dried fern leaf, it is an artefact to please the eye and serve as a source of inspiration to everyone.
41
Construction Process Based on the RIBA Plan of Work 1. Exploring the site: researching what Mayfield needs, using a mirror as investigative fieldwork to drag people’s attention and create a moment of pause 2. Visualising: based on the site analysis, creating a brief of a place of interaction, a space that brings people together and invites the users to interaction with each other and the site’s heritage 3. Planning, fitting the design concept into the site divided by Rover Medlock 4. Gathering information on products and manufacturers, finding corrugated steel sheets from reclaimed and a technician who would perforate the fern shape, consideration of the climate emergency 5. Construction process 6. First months of the art gallery’s life with allowance to fix any minor design faults 7. Building in full use until it reaches the end of its life cycle (dismantling) or transforms into an artificial forest
42
1:50 Sectional Perspective
description box
43
A New Perspective on Mayfield
The sketch shows the space under the elevated part of the building which is sheeted with a stainless steel panels with high-gloss finish that acts like a mirror.
44
1:5 Detail The close detail shows a window opening facing the river in the central part of the design. The greenery, gallery’s architecture and the water are reflected in the high-gloss steel surface on the bottom of the elevated part of the building.
45
Reflections...
Things I Have Learned I Humanities: Architecture does not only come down to physical structures. It is about the sensory responses, perception, and how the experience of the place is preserved in our memory. Professional architects are not the only ones who make spaces- everyone engages in act of designing every day. We create what surrounds us; homes, bedrooms, work areas… People make spaces. II Humanities: The visual experience is just as important as what we smell, hear, or feel under our fingers when entering a space. If a certain place does not fulfil all the sensory needs, it cannot be successful. Visual design is extremely important but it is essential for us, as designers, to include the experience of the building for smell, touch, hearing, and taste too. III Technologies: It is vital to design the user well-being and how building performance will influence the people who use it. This part is the tool that completes the design created from the rough concept and designer’s position and sculpts it into a final building. It is helpful to look at the vernacular architecture techniques of a certain place to understand the modern standards better. We do not always have to follow what is the most common and easiest technique as it might not be the best solution for this specific site. There are no right or wrong answers. However, it is vital to provide an argumentation and thinking process of our decisions. IV The Flux Atelier is about going beyond online research and data. It is about working with the site and experiencing it in person, interviewing people who know the place best, engaging or just observing the ones that call the site their home (locals, plants, animals). V For me, sketching is the main tool for representing my thoughts and ideas. Flux taught me that I can go beyond what I know and explore beyond the “red line”. Thanks to the atelier I started showing my ideas through conceptual collages, photography, writing, and movies. This experience made me interested in a wider variety of creative techniques and left me wanting to explore more.
46
References
Folta, K. (2019) “Micro-naps for plants: Flicking the lights on and off can save energy without hurting indoor agriculture harvests” The Conversation. [online] 22nd July. [accessed on 14th May] https://theconversation. com/micro-naps-for-plants-flicking-the-lights-on-and-off-can-save-energy-without-hurting-indoor-agricultureharvests-120051 LinkedIn. [online] [accessed 14th May] https://www.linkedin.com/company/alphabetbrewing/ Cilento, K. (2009) “The New York High Lin officially open” Archdaily. [online] 9th June [accessed 14th May] https://www.archdaily.com/24362/the-new-york-high-line-officially-open Mayfield Development Masterplanning Team (2021) “Mayfield Park Overview Presentation” 29th June Tomczak, M. (2019) “Krakowska Cricoteka – Kortenowski Ambalaż” [online] 5th October [accessed 14th May] https://www.architekturaibiznes.pl/cricoteka-krakow,2423.html Pinterest [online] [accessed 14th May] https://pl.pinterest.com/pin/103793966397271086/ Vertical Garden [online] [accessed 14th May] https://www.verticalgardenpatrickblanc.com/realisations/bangkok/ emquartier-bangkok Steel Beams Direct [online] [accessed 14th May] https://www.steelbeamsdirect.com/product/universal-beams/ IQ Glass [online] [accessed 14th May] https://www.iqglassuk.com/products/glass-floors-by-invisio/s15018/ Jablite [online] [accessed 14th May] https://www.jablite.co.uk/application/jablite-external-wall-insulation/ Lights UK [online] [accessed 14th May] https://www.lights.co.uk/led-recessed-floor-light-doris-stainless-steel.html? gclid=Cj0KCQjwpv2TBhDoARIsALBnVnkEAOBEqaQg50exw-WtnwCFEY1Q4FDCZBI4O7wkx5A1BoZd9_-_ C9UaAq5gEALw_wcB&gclsrc=aw.ds Florence Corporation [online] [accessed 14th May] http://florencecorp.com/products/decking-railing/railing-2/ feeney-cable-rail-system/ Pallasmaa, J. (2005). The eyes of the skin: architecture and the senses. Chichester, Wiley-Academy
47
Outside the School While working on a summer camp in New York, I have been responsible for conducting art classes for the campers, as well as designing and overseeing creation of sets for final recitals. The photos show an outcome of the final 72h-hourlong camp competition decoration where our group was given the theme of the movie “Descendants”.
Some of the examples of nails I have made on friends and myself in my free time.
Examples of photography, onsite sketching and still life painting.
46