G E O R G E F I S H E R //
B a c h e lo r o f Art s , Arc h it e c t u re ( Un iversity of Sheffield) F i r s t Cla ss Ho n o u r s
Portfolio Content U n i v e r s i t y o f S h e f f i e l d YR 2 YR 3: P1 - Sit well Cent er P2- Ur ban Sc hool P r a c t i c e Bennet t s As s oc iat es Stat eSt udio lt d
O u t s i d e o f W o r k Vol unt eer ing in M ex ic o Mak ing
Em a il: g e o r g e fish e r 6 6 @ h o tm a il.co .uk Te l: 0 7 4 1 5 2 7 6 5 4 7
YR 2 //
S O C I A L Y D R I V E N D E S I G N
My s e c o n d y e a r a t th e Un ive r sity o f Sh e ffie ld ta u g h t me a n i n t e r r o g a t i ve a p p r o a ch to d e sig n , d r ive n b y br i e f a n d c o n t e x t . We lo o ke d a t co n te xt th r o u g h th e len s o f t h e s o c i a l , stu d yin g issu e s a r o u n d Sh e ffie ld s u c h a s i m m i g r a t i o n a n d lo n e lin e ss. We a lso p a id c lo s e a t t e n t i o n t o th e p h ysica l co n te xt o f o u r site s , r e s p o n d i n g i n a wa y th a t a ckn o wle d g e s th e h isto r y an d c h a r a c t e r o f t h e a r e a .
C oncept model for a housi ng proj ect i n S heffi el d
S ec ti onal pers pec ti v e of my s ec ond y ear hous i ng proj ec t
Da r n a l l , a d e p r i v ed a r e a No r th o f S h e ff i e l d i s a n a r e a co m p o se d o f many re a s o n
d i ff e r e n t there
c ultu r e s. is
a
For
m u ltip licity
th is of
ha i r d r e s s e r s , e a c h a ctin g a s so cia l hu b f o r p a r t i c u l a r cu ltu r e s in h a b itin g ne a r b y a r e a s . A s a co n se q u e n ce I de c i d e d t o r e s e a r c h th e a r e a th r o u g h in t e r v i e w i n g a s m a n y h a ir d r e sse r s a s po s s i b l e t o f i n d a r a n g e o f o p in io n s f ro m a r a n g e o f d e mo g r a p h ics
R es earc hi ng demographi c s through h a ir d r e s s e r s
YR 3 - P1 //
S I T W E L L C E N T R E
My f i r s t s t u d i o p r o j e ct o f th ir d ye a r a t th e u n ive r sity of Sheffi el d wa s l o c a t e d i n S c a r b o r o u g h , a se a - sid e to wn o n th e E ast C oast of E n g l a n d . T h e b rie f wa s to d e sig n a p e r m a n e n t e xhi bi ti on for t he p o e t E d i t h S i t we ll a s we ll a s : - Po e t r y r e a d i n g p er fo r m a n ce sp a ce - Ar c h i v e f o r E d i t h Sitwe ll’s p o e tr y a n d p o sse ssio n s - Cafe - L i b r a r y / Wo r k i n g a r e a s Th i s w a s a n i n d i v i d u a l p r o je ct, a ll wo r k sh o wn wa s produced by mys e l f .
Scarborough
T h e
A
B o l t s
s e r i e s
of
n a r r o w
i n c r e m e n t s t o
a l l e y s,
a l l o w
n a r r o w
b r e a k i n g s t r i p s o f
o p e n
a t
s e a 1
v i e ws My s i t e w a s s i t u ate d with in ‘th e bo l t s ’ ,
a
series
of
b a ck
a lle ys
ru n n i n g p a r a l l e l t o th e se a fr o n t. 2 3 5
1 Vi ew dow n to sea
4
6 7 8 2 C ommuni ty centre
10
9 11
3 Bl ack door 12 4 Pi zza Express back door ( w i th l ogo )
13
5 Moment for w orkers secl usi on 6 Wel l used area for restaurant w orker ’s break s 7 My si te 8 Grani te for resi l i ence on custom hous e s teps
9 Large stone sl abs throughout 10 Modern car par 11 Vi ctori an street l amp
12 N oi sy venti l ator
13 Manager tal ks to staff here 14 S tai rs become rubbi sh store as they are bl ocked off from publ i c
15 Loud bi ngo announcements
14 15
S t e e t
E l e v a t i o n
Th e S i t w e l l C e n t r e sits r e sp e ctfu lly b a ck fr o m th e
The centre i s a pl ace to w atch poetry performances,
ma i n s e a - f r o n t b u t t h r o u g h la r g e g la zin g in d ica te s its
to read a book i n i ts cafe, to w ri te or read poetry i n
c ivi c f u n c t i o n . I t s o m in o u s skin e n clo se s so m e th in g
i ts l i brary. It i s al so a pl ace to l earn about the poet
mu c h m o r e l i g h t a n d e xp r e ssive , r e p r e se n ta tive o f
Edi th Si tw el l through the exhi bi ti on and access to
E d i t h S i t w e l l ’s n a t u r e .
archi val storage.
E x h i b i t i o n
S p a c e
D e v e l o p m e n t
S t i l l t h e r a i n f a l l s ,
E d i t h S i t w e l l ’s l i f e wa s tr o u b le d a n d to r m e n te d . As a chi l d her parents rej ected her and her ri se to emi nence wa s a s t r u g g l e a s sh e co n sta n tly wa s m e t with o p p o si ti on. E di th used poetry as an escapi sm out of these dark
D a r k a s t h e w o r l d o f m a n, b l a c k a s o u r l o s s e s - E di th S i twe ll
t im e s . T h e S i t w e l l e xh ib itio n sp a ce is d e sig n e d to r efl ect thi s struggl e by creati ng a dark, uncomfortabl e and om i n o u s u n d e r g r o un d sp a ce .
S m a l l e n c l a v e s o f lig h t g u id e th e vie we r th r o u g h th e ex h i b i t i o n , a n d d i s pla y th e ke y p ie ce s o f Sitwe ll’s wo rk.
Berlin Jewish Museum, Da n i e l L i b e s k i n d
C oncept di agram of exhi bi ti on
D ev el opment model
S i t w e l l
E x h i b i t i o n
Escapisms P o c k e t s o f l i g h t p r e se n tin g p a r ticu la r p ie ce s o f Sitwel l ’s wo r k g i v e m o m e n t s o f jo via lity to th e e xh ib itio n , ju s t l i ke po e t r y g a v e t o S i t we ll.
P e r f o r m a n c e
S p a c e
Normal cafe use
3
2
1
1 Caf e/ P erf ormance space 2 Recpet ion 3 Library
Block plan
Ground fl oor pl an 1.200
S e c t i o n a l
P e r s p e c t i v e
E nteri n g t h e Sit we ll e x h ib it io n f r o m the P o lic e - b o x o p p o s it e m y s it e opens u p p o t e n t ia l t o c r e a t e a lo n g and d r a m a t ic s p a t ia l e x p e r ie n c e repl i c a t in g t h e lif e o f Ed it h Sit we ll. A s y ou n e a r t h e e n d o f t h e e x h ib it io n l i ght f r o m la r g e r o o f lig h t s lig h t y o u r path t o wa r d s t h e t o p o f t h e s t a ir s and to t h e f in is h wit h in t h e p u b lic l i brary.
S t r u c t u r e
I ns p i r e d b y S h i g u r u Ba n ’s tim b e r jo in e d b u ild in g s, I us e d a s e t o f G l u l a m tim b e r swa y fr a m e s with r ig id c o n n e c t i o n s c o n n e c tin g th e fr a m e s to th e g r o u n d a s t he p r i m a r y s t u r c t u re . Sp e cia l d o we ls m a d e o f b ir ch plyw o o d t r a n s m i t l oa d s fr o m CLT flo o r sla b s to th e pr i m a r y s t r u c t u r e .
S truc ture Model
YR 2/3 //
P O LI T IC A L E SS AY S
PREVI-An Experimental Housing Project, Lima-Peru.
R e b a r - Ta c t i c a l u r b a n i s m f o r urban renewal
The role of politics in the construction and destruction of built form and culture in Istanbul
I n t h e 1 9 6 0 s Pe r u ’s fa ve la s we r e e m e r g in g at an al armi ng rate
An expl orati on i nto agenc y, agenc y defi ned as the abi l i ty of the
S i nc e the 40s Is tanbul has been through a huge tra n s f o r m a t io n , a s
a n d a r c h i t e cts we r e str u g g lin g to fin d so lu tions that w ere both
i ndi vi dual to act i ndependentl y of the c ons trai ni ng s truc tures
has i ts c ul ture, demographi c and urban fabri c . It w a s t h e Ke m a lis t
a ff o r d a b l e a nd e ffe ctive . In 1 9 6 5 a Pe r u via n , Un i ted N ati ons backed,
of soci ety. Thi s es s ay s ex pl ored the v ari ous unders tandi ngs of
i deol ogi es c ombi ned w i th i ndus tri al i s ati on, v otin g p o we r a n d
e x p e r i m e n t a l so cia l h o u sin g p r o je ct n a m e d PREV I w as i ni ti ated i n
‘ agency’ and how Rebar uti l i s es agenc y to ac t i ndependentl y of
a need for hous i ng w hi c h al l ow ed the ex i s tenc e o f t h e s q u a t t e r
r e s p o n s e t o th is h o u sin g cr isis. T h e r e su lta nt 467 houses bui l t
vari ous soci etal cons trai ns , i n the proc es s unders tandi ng w hat
gec ek ondu c ommuni ti es to remai n de-fac to for s o m e t im e . M y
9 y e a r s l a t er we r e a p a stich e a d vo ca tin g th e i nfl uences of the
parts of hegemoni c ‘ s truc ture’ R ebar are ques ti oni ng.
es s ay ex pl ored the trans formati on of the c i ty s tarti n g f r o m t h e 8 0 s
b u r e a u c r a t i c , cu ltu r a l a n d so cia l co n d itio n s o f Peru and the rest of
as far ri ght pol i ti c al pow ers and neo-l i beral ec ono m ie s b e g a n t o
L a t i n A m e r i ca a t th e tim e . 2 6 a va n t- g a r d e a r chi tects w ere i nvi ted
Through thi s expl o rati on I unrav el l ed w hat R ebar and prac ti c es
s y s temati c al l y eradi c ate the i nformal c harac teri s ti c s
t o d e s i g n v ar io u s so lu tio n s to Pe r u ’s h o u sin g cri si s at the ti me
al i ke have to say about the future rol e of the ‘ arc hi tec t’ i n our
P ol i ti c al agendas hav e s haped Is tanbul ’s c ul tures a n d t h is c u lt u r a l
o f t h e c it y.
b y t u r n i n g t o se lf- h e lp co n str u ctio n to o ve r co me the government’s
structured soci ety and how s c arc i ty i s a theme ac ti ng as a
c ontrol has thus s haped i ts bui l t urban fabri c .
l a c k o f e c o n o m ic r e so u r ce s.
constrai nt of w hi ch R ebar i s ac ti ng i ndependentl y.
M y e s s a y so u g h t to u n d e r sta n d th e va r io us i nfl uences that c o n t r i b u t e d to th e p r o p o sa ls r a n g in g fr o m se lf-bui l d favel as w i thi n P e r u t o g l o b a l a r ch ite ctu r a l m o ve m e n ts su ch as moderni sm, m e t a b o l i s m an d str u ctu r a lism .
Figure 8- A few remaining families surviving in the ruins of the demolished Ayazma village Figure 8- A few remaining families surviving in the ruins of the demolished Ayazma village
with machine guns they will s rorists, they were PKK’ 18 with machine guns they will s rorists, they were PKK’ 18 By the time the gecekondus h only a few families remained o By the time the gecekondus h appalling conditions (figure 8) only a few families remained o tions in Bezirganbahçe to whic appalling conditions (figure 8) been allocated, are often wor tions in Bezirganbahçe to whic Many have also discovered th been allocated, are often wor to live there and about one-th Many have also discovered th the new flats have since left. M to live there and about one-th are social and cultural tension the new flats have since left. M Kurds and the Turkish who ha are social and cultural tension together in these blocks prom Kurds and the Turkish who ha tension. This new urban envir together in these blocks prom miliar and difficult to assimilat tension. This new urban envir who are used to living in clos miliar and difficult to assimilat environments. Again those in who are used to living in clos to recognise exiting cultures a environments. Again those in the city. to recognise exiting cultures a the city.
To achieve the politically back ‘westernize’ Istanbul, the auth To achieve the politically back about destroying existing cult ‘westernize’ Istanbul, the auth nities to create profit driven n about destroying existing cult ronments made for the elite. nities to create profit driven n cultural hierarchy has been us ronments made for the elite. destroy the Ayazma gecekond cultural hierarchy has been us time prevent uprisings from e destroy the Ayazma gecekond time prevent uprisings from e
Figure 9- The Ataturk stadium, centre of the regeneration, overshadows the destroyed village community Figure 9- The Ataturk stadium, centre of the regeneration, overshadows the destroyed village community
YR 3 - P2 //
U R B A N S C H O O L
The bri ef of my s ec ond and fi nal thi rd y ear s tudi o proj ec t w as to de s i gn an ‘ urban’ s ec ondary s c hool for 500 pupi l s . My s i te w as l oc ated i n S heffi el d c i ty c entre, to the north i s S heffi el d’s bus y w es t s treet S h e f f i e l d
; to the eas t s i ts C i ty H al l . Thi s w as an i ndi v i dual proj ec t, al l w ork s how n w as produc ed by my s el f.
We w ere as k ed to produc e a mani fes to to ex pl ore the ty pe of s c hool w e w ant to des i gn and the c urri c ul um that w oul d be c atered for.
C o n cl u si o n s o f m a n i fe sto stu d y
C u r r e n t i ssu e i n e d u ca ti o n
So l u ti o n
D e d i ca te d sp a ce
N o n - d e d i ca te d spaces
M o n o - fu n cti o n a l sp a ce s
M u l ti - fu n cti o n a l spaces
M a n y Sp a ce s w i th i n sch o o l ( p r i va te )
M a n y sp a ce s Be yo n d S chool ( Public)
Fi xe d i n fr a str u ctu r e ( e q u i p m e n t a n d r o o m s)
Fl e xi b l e i n fr a str u ctu r e ( p o r ta b l e, moveable, adaptable)
Pr o ce ss d r i ve n l e a r n i n g ( cu r r i cu l u m , g e n e r i c )
Stu d e n t fo cu sse d ( i n d i vi dual development )
In w a r d - l o o ki n g sch o o l ( fe n ce s, h i g h cl e a r b o u n d a r i e s)
Ou tw a r d - l o o ki n g sch o o l ( o p e n ness and blurred thresh o l d s)
C o n t e x t
C arver la ne A t y p i c a l S h e ff i e l d in d u str ia l typ o lo g y sits o p p o si te to my si te, or i g i n a l l y a l i t t l e m este r cu tle r y wo r ksh o p : Us u a l l y t h r e e s t o r eys b u ilt o f co u r se r e d b r ick. Al though C utl ery wo r k s h o p s s t a r t e d to d isa p p e a r a fte r th e 1 8 7 5 Pu b lic H eal th Act, the wo r k s h o p s w e r e u b iq u ito u s in th e city ce n tr e u n til th e 1960s.
T h is la n e still m a in ta in s a b a ck o f h o u se / b a ck a lle y fe e l with b in s a n d p a r ke d ca r s.
W here proc es s es requi red more
The ground fl oor, often
S ec ond and thi rd s torey
l i ght, muc h l arger w i ndow s k now n
us ed for the s torage of
w ork s hops had s tri ps of
as ‘ l ow s hop’ w i ndow s w ere us ed
v al uabl e materi al s , w as
s mal l -paned c as ements
c ommonl y w i ndow l es s .
to l i ght c rafts men’s l ong benc hes .
C oars e red bri c k
L i t t l e M e s t e r H i s t o r y
C o t t a g e S c a l e i n du s t ry After
discovering
an
o ld
ste e l
cu tle r y
A daption of U rban dwellings
N e twor k of m icr o com m unities
U biquitous
A tem plate for lar g e r i n t e g r a t e d w o r k s
Independent craftsmen started adapti ng urban
18 th c entury progres s ed and the
A s the 19th c entury progres s ed S heffi el d
The
m a k i n g w o r k s h o p n e xt to th e site , i sta r te d
dw el l i ngs for i ndustri al w ork. K now n l ocal l y
compl ex i ty of tool produc ti on i nc reas ed:
bec ame peppered w i th hundreds of s uc h
defi ni ti v e el ement o f wo r k s h o p d e s ig n wit h in
d o i n g s o m e m o r e r e se a r ch in to th e h isto r y
as l i ttl e mesters, they w ere the ci ty´s metal
premi s es w hi c h w ere often:
the c i ty.
o f t h e S h e ff i e l d ’s ste e l cu tle r y in d u str y a n d
craftsmen and operated i ndependentl y ei ther
- Crafts men began to s pec i al i z e i n
th e i r ‘ l i t t l e m e s t e r ’ cr a ftsm e n .
al one or empl oyi ng a smal l number of support
i nd i v i dual s tages of the produc ti on
- ex tended at the rear
From the l ate to ea r ly 2 0 t h c e n t u r y, a s g lo b a l
w orkers and or apprenti ces.
proc es s .
- ei ther a s i ngl e uni t or s ev eral uni ts formi ng a
demand i nc reas ed, la r g e r f a c t o r ie s b a s e d o n
c ourty ard w hi c h ens ured day l i ght c oul d reac h
thi s model w ere c o n s t r u c t e d wh ic h b e c a m e t o
- Unfi ni s hed goods c i rc ul ated betw een
the many c l os el y s pac ed w i ndow s and l i ght the
be k now n as ‘ i ntegr a t e d wo r k s ’ wh ic h c a m e in
o n a ‘ c o t t a g e ’ s c a le . Ofte n b u ilt a s sm a ll
nu merous l i ttl e meters w i thi n the c i ty
l i ttl e mes ters l ong w ork benc hes k now n as s i des .
tw o forms :
e x t e n s i o n s t o r u r al d we llin g s o r fa r m h o u se s
centre c reati ng a netw ork of mi c ro
in r i v e r s i d e l o c a t i o n s wh ich h a r n e ss n a tu r a l
communi ti es w ork i ng together. Thi s
- Very l arge w hi c h h o u s e d h e a v y m a c h in e r y
w a t e r p o w e r u s i n g wa te r wh e e ls.
spec i al i s m gav e the w ork ers pri de and
-
compani ons hi p.
adapted from l i ttle m e s t e r wo r k s h o p s a n d
F r o m t h e f i f t e e n t h to th e e ig h te e n th ce n tu r y S h e ff i e l d ’s
metal
tr a d e s
in d u str y
wa s
c ourty ard
S mal l er
ty p o lo g y
i ntegra t e d
emerged
wo r k s
as
wh ic h
the
we r e
w ere ubi qui tous thr o u g h o u t t h e c it y c e n t r e .
N e t w o r k o f m e s t e r s
Fr o m l o o k i n g a t p r e- 2 1 st ce n tu r y m a p s it wa s a p p a r e nt that these lit t l e m e s t e r c o u r t y a r d typ o lo g ie s wh e r e o n ce u b iq u itous w i thi n the c ity, a n d t h e b a c k b on e to th e Sh e ffie ld ste e l in d u str y.
Ma p o f c e n t r a l S h e ffie ld in 1 8 5 0 ( site o u tlin e d in r e d )
S i d n e y S t r e e t M e s t e r
After
discovering
a
of
industrial
b u ild in g s
range
s u r r o u n d i n g m y s i t e, I d e cid e d to into
do
some
the
m o re
S h e ff i e l d
r e se a r ch in d u str ia l
t y p o l o g y. O n a wa lk a r o u n d S h e ff i e l d
a
f r i e nd ly
fr a m e
ma k e r k i n d l y l e t u s in to se e his w o r k s h o p , o n ce a typ ica l lit t l e m e s t e r t y p o l o gy.
S mal l c as ement w i ndow s al l ow
W hi l e
v i s ual s
di s c onnec ted
ac ros s
the
c ourty ard
bei ng
s pati al l y from
the
c ourty ard, a v i s ual c onnec ti on
and natural l i ght i nto the room.
mai ntai ns the c ol l ec ti v e nature of thi s ty pol ogy.
home offi c e s how room i ndus tri al premi s e H ome
H ome
Offi c e
S how room
Indus tri al premi s e
Vi s u a l c o n n e c t i o n s
B a c k o f h o u s e ( i n d u s t ri a l a re a )
Wo r k / i n d u s t i a l
Light filled courtyard- spill out space
H o m e / o ff i c e / s h o w r o o m
Street
C i t y W i t h i n A C i t y
Movin g
a wa y
bei n g
a
from s in g le
the
school
c o lo s s a l,
anon y m o u s v o lu m e .
B rea k in g
up
the
mass
in t o
s ma lle r m o r e in c lu s iv e a n d le s s anon y m o u s m a s s in g .
B as e d o n I n d u s t r ia l ‘ lit t le m e s t e r ’ ty po lo g ie s , t h e s e m a s s e s a r e t h e n broke n u p f u r t h e r, a c t in g m o r e lik e part o f t h e c it y wit h it s c h a n g in g patt e r n s o f q u a lit ie s a n d v a r ie t y o f pl ac e s
G r o u n d F l o o r P l a n
1- Sp orts Cen tre Caf e 2- Sp orts ce ntre Rec ept ion 3- Re nta ble sp ace t o be hir ed out t o t he public . A sp ace to take les s ons or giv e les s ons in
An extension of the city, the school offers use of its workshops, assembly hall and sports facilities to the public .
kn owle dg e e scha nge gr oups . Com plet e wit h 4
kitche n u nits to tr ans f or m int o a c ook ing c las s .
3
1
2
4- Sp ace a bo ard r oom t able wit h s eat ing f or ten , wall h un g d r y er as e boar ds , pull- down pr o jection scree n and plug- ins f or c om put er us ag e a nd pre se nt at ions . Well s uit ed f or s m all mee ting s a nd pri v at e ins t r uc t ion.
I have deci ded to break up the mass of my school i nto three separate ‘ mesters’ . each w i th thei r ow n capabi l i ti es for the maj ori ty of l essons, creati ng school s w i thi n school s.
5
5- Vo id lo oking ont o s por t s hall 6- Articu late d Pla y gr ound ar ea
19
7- Din ing are a. C apabilit y t o bec om e an as s em bly ha ll an d a rea f or dr am a per f or m anc es . 8- Dra ma Cla ssroom
6
9- Sta ge
18 20
9.5- In forma l se at ing ar ea 10- Sta irs with steps t hat double as s eat ing f or
21
larg e g ath erin gs.
17
11- Sun ke n re laxing ar ea t o s oc ialis e and eat . 12- Kitche n Sto rage
16
13- Kitche n serving bot h c hildr en and t he pub -
12 8
lic on Carver L an e
7
14- Offices with p as s iv e obs er v at ion ov er din ing are a.
10
9
15- En trace to Al ber t Wor k s
11
15 23
22 13 23
16- Albe rt Works r ec ept ion 17- Gra ph ics
8
18- Wo od work
9.5
19- Mu lti-pu rpo se c r eat iv e s t udio, s t or age f or
24
14
se wing machin es. Double door s t o open up at the weken ds as s hop unit .
25
20 Sto rag e 21- Bre ak-ou t sp ac e
26
22- Co mmun ity ro om us ed f or par ent s t o gat he r
27
and dicuss issu es and a quiet r oom f or dis c us sio ns with stud en t s 23- Stu de nt d isp lay 24- Re ce ptio n
28
31
25- L ift
32
26- Sto rag e 27- Gra ph ics
29
28- Wo od work 29- De sig n a nd tec h 30- Textiles - Te x t ile m ac hiner y s t or ed away at
Break out
Atrium
Classrooms
the wee ke nd an d ar ea is us ed as a s hopf r ont
30
for n on -for p rofit Wor k s hop c ollec t iv e. 31- Sp ecialsed m ac hiner y inc luding CNC and Lazer cutte r 32- Bre ak-ou t lea r ning s pac e
A short w al k through carver l ane gi ves the passe rby an i nsi ght i nto w hat i s goi ng on i nsi de the school , promoti ng the i dea that l earni ng shoul d be somethi ng to be cel ebrated.
1:500 @ A 3
L i t t l e M e s t e r s
Typi cal l i ntel covered entranc es to
Sheffi el d
typol ogi es,
l i ttl e
i nspi red
mes ter entranc es
w i thi n the school .
A l though
a
cl osel y
k ni t
i nw ard
l ooki ng area of the s c hool , eac h mester
get
vi sual s
through
the
atri um to other mester s , rei nforc i ng a sense of the i ndi vidual w i thi n a col l ecti ve.
P r o j e c t B a s e d L e a r n i n g
1- Al ber t Wor k s r ec epti on A s o p p o se d to co n ventional lessons that a re su b j ect specific
2- C om m ons Spac e 3- Loc k er s 4- D edi c ated entr y w i th noti c e boar d and c on c r ete l i ntel r efer enc i ng to the l i ttl e m es ter c ov er ed entr i es . 5- Student di s pl ay l ook i ng onto i nter i or and ex ter i or 6- Stai r s up to other l ear ni ng ar eas 7- Gr aphi c s c l as s r oom s w i th c om puter s .
S tu d e n ts e n g a g e in a pr oject wher eby
8- C ei l i ng m ounted data pr oj ec tor
expl ore a n d resp o n d to a specific question,
9- Indoor s i nk
prob l em or cha l l e n g e over a per iod of tim e
10- Pul l D ow n Sc r een
16
11- Sunk en, i nfor m al l ec tur e/ w or k s pac e. 12-
15
Stor age ( m ater i al s for s tudents and for
w eek end us er s ) 13- Wood w or k c l as s r oom , s epar ated fr om atr i um w i th doubl e gl az ed panel s and j ac k - up fl oor s l ab for ac ous ti c attenuati on. 14- M ac hi ner y fac es onto c i ty hal l , ani m ati ng the fac ade. 15- M ov eabl e par ti ti on. 16- M ul ti pur pos e c r eati v e r oom ( w i th s tor L e a rni ng b e g i ns to becom e m or e spo n ta n e o u s a s specific subjects ar e cove red a s p a rt of an integr ated pr oject.
age for s ew i ng m ac hi nes ) . D oubl e door s onto C i ty hal l i ndi c ate i ts s hop us e at the w eek ends .
9
13 10 A cti vi ti es i nvo l ved develops cr itical thi nki ng , co mmu n i c ation and collabor a ti o n . A mu ch more kinetic way of lear ning
12
co mbi ne s kn o wing and doing.
14
11
A t the e n d o f th e pr oject a physical do cu men t i n th e for m of a poster or b o o kl et w i l l b e p roduced and displayed i n th e e xh i bi ti o n ar eas thr oughout the scho o l . P re se n ta tions of pr oject wor k take p l ace i n th e i nfor m al pr esentation area s th rou g hout the school .
7
2
1:50 Ground 1:50 Fl oor Grou Plnd anFl oor P l an
7
S e c t i o n a l P e r s p e c t i v e
1- Dram a C l a s s r o o m - B a ckin g o n to sta g e 2- Teac h e r ’s l u n c h a r e a 3- S t age 4- Dinin g a r e a / a s s e m b l y h a ll 5- Librar y 6- Cant e e n 7- S t ude n t d i s p l a y a r e a 8- B reak- o u t s p a c e 9- Hert z b e r e g e r i n s p i r e d in fo r m a l le a r n in g env ironm e n t 10- Rece p t i o n 11- Clas s r o o m
2
1
3
4
9
11
8 5
10 7 6
as an aggregrate to match the colours of City Hall’s Ashlar sandstone.
E l e v a t i o n
D u r i n g f a cDaudr e ing d ef vaec laodpem de en vt ei l o pp am i de pn at ri- p a i d p a r t i c u l a r t o t ti h cu e l ap r ot po o trht ieo np sr oopfo C r t ii toyn sh aol fl . C i t y h a l l . T h e c o n c rTeht e ce ol enm c reent tes eul seem se an nt sd sutsoen es a n d s t o n e a s a n a g gar se garna taeg tgor emg ar at ct e h to h emcaot lcohu rt h se colours o f C i t y H aolfl ’ C s i At ys hHl a rl l ’ssa A nd sh s tl a o rn es .a n d s t o n e .
t
l o p m e n t
D u r i n g f a c a dDeu rdi e n vg efl ao cpamdeen td ei vpeal iodp m p ae rn- t i p a i d p a r eC t i c u l a r t o t h tei cpurloD apruortiront gi tohfnaesc apodrfo pdoi etryvt ei h ol oa nplslm. oe fn tCii tpya ihda pl la. r c ue parneodn p stostr ot iunosenes so a f nCdi tsyt ohna el l . The concretT e heel etcim o n ln cartrse ttoue st ehe lees m T htaeogcg nectgcrrehat e n as an aggrea g sr a at en mora tteheetl e ocmomel a o ttuscrhsu st eh es acnodl sotuo rnse as an aggregrate to match the colours o f C i t y H a l l ’os f ACsiht yl a H r as lal ’nsd A s tsohnl e a .r s a n d s t o n e . of City Hall’s Ashlar sandstone.
D uri n g fa ca d e d e ve l opm ent i paid par ticu l a r a tte n ti on to th e p ropor tions of city hall. M oreo ve r the co n crete fins use sandstone a s a n a g g reg a te to relate to the sandstone f a c a d e o f ci ty ha l l .
uilding
1.50
y of Kent n
H a w o r t h To m p k i n s S a c k l e r B u i l d i n g 1.50
1.50
1.50
1.50
1.50
1.50
1.50
1.50
1.50
E x t e n s i o n O f T h e C i t y
D uri ng the day t h e s p o r t s c e n t r e a n d it s fac i l i ti es are us e d b y t h e s c h o o l. T h e b u ild in g ani mates the s tr e e t b y r e v e a lin g t h e a c t iv it ie s w i thi n, w i th l a r g e g la z in g a n d p e r f o r a t e d bri c k . The s c hool ’s s p o r t s c e n t r e e x t e n d s it u s e to
the
publ i c
d u r in g
the
e v e n in g s
and
w eek ends by re n t in g o u t t h e s p o r t s h a ll a n d al l ow i ng ac c es s t o it s g y m f a c ilit ie s . A s p o r t s c entre c afe ,ren t a b le m e e t in g r o o m s a n d a k now l edge ex c h a n g e s p a c e is a ls o m a d e av ai l abl e to the p u b lic o u t o f h o u r s .
S port s C e n t r e p e r s p e c t i ve
D e t a i l
Th e s t r u c t u r e o f t he b u ild in g is r e ve a le d th r o u g h o u t, referenci ng the ut i l i t a r i a n a e s t h e t i c o f in d u str ia l m e ste r typ o lo g ie s
and engagi ng
c h i l d r e n w i t h t h e i r le a r n in g e n vir o n m e n t. Th e s t r u c t u r e c o n sists o f r e in fo r ce d co n cr e te co lumns from w hi ch c o ff e r e d c o n c r e t e flo o r sla b s lo a d . L o ca l lim e sto n e is mi xed w i th the ag g r e g a t e t o g i v e a lig h te r, so fte r a p p e a r a n ce to the concrete. The c o n c r e t e i s l e f t e x p ose d to m a ke u se o f its th e r m a l m assi ng properti es. Th e w a l l s a r e d o u b l e le a f m a so n r y, with flo o r sla b s e xpressed external l y t hr o u g h t h e u s e o f th e r m a l b r e a ks.
D I S S E R T A T I O N
When Brutalist social housing scheme such as the Smithson’s Robin Hood Gar dens or Trellick Tower (1972) were built they were out of sync with their times CLOG’s Brutalism book suggests that ‘ I was the rise of free -market neoliberal ism that spelt the death of Brutalism’ form and its philosophical function’ 23 After the war there was a socialist mo tive driving much of our built environ ment,inBrutalism’s There has been a c hange t h e UK’s o p inmodular io n t o wa r d sspaces were s t arc hi tec ture, fr o m lo a t h in goft othe lo vnation’s e. My manifestation desire fo Energy-savingB rutal idesigns ertati on Oil ex ami ned B r u t asolidarity lis m ’s d e c linand e d u ran in g equal the social quality o followed thedi s s1973 80s al ongs i de the ri s e of T h a t c h e r is m , c r ip p lin g o f t h e life. Many later Brutalist buildings wer Crisis and from then onw el fare s tate and s ubs equ e n t d is s o lu t io n o f c o lle c t iv is m born into an age suspicious of such ide wards – particularly after . I then w ent onto rev eal h o w t h e p a s s a g e o f t im e , c y c le alism, a mood Thatcher caught onto and the 1979 oil crisis of fas hifollowon and a protes t t o wa r d s t h e c u r r e n t g r e e d o f gave momentum. ing falling of the thehous Shah in i ng mark et has l e dpolitical t o t h e s t y le ’s r e v iv a l wit h inWith Thatche the U .K . looming Brutalism was lined up to suffe Iran – the architectural a brutal fate. profession in Britain It s eems that dev el opers a r e ‘we a r in g ’ t h e a e s t h e t ic moved its attention toof B rutal i s m i n order to bo r r o w t h e u t o p ia n c r e d e n t ia ls As the political radar swung right build ward sustainable design. as s oc i ated w i th the aes t h e t ic . T h is p la n t s t h e id e a ingst hhad The first Oil crisis marked i n peopl e’s mi nd that e y a rto e aabide im in g tby o waparty r d s a politics and visually embody the nations model o an end to thedev thirty years el opment that i nc rea s e s s o c ia l c o h e s io n a n d di v ers i ty, since w hereas i nfree ac tua f a c t it s o fand t e n d oright in g e x awing c t ly - l market capitalism of economic growth oppos i te. The Conservatives passed the ‘Right-to the Second the World war, buy ’ in the 1980 housing act, allowing leading to ‘a hiatus out of those who could afford to do so to bu which emerged the free -market capital21 their flat at a discounted rate and to sub ism and globalisation we have today ’ sequently sell it for a profit. Those who could not were stuck. Those who re ‘ When the institution fades, so does 22 mained were poorer and council home the building’ Brutalism, and the mass
rests ( figure 11).
‘ What was unique about 1968 was that people .. had in common only that desire to rebel, ideas about how to do it, a sense of alienation from the established order and a profound distaste for authoritarianism’ 19
lots of under-insulated spaces and lifts looked rather expensive and crazy. ‘ The collapse of the British economy at the time of the oil crisis ..spelled the end of public-sector architecture.. and Brutalism. A world that had been led by the heroes of post-war British modernists, among them Erno Goldfinger and Denys Lasdun, seemed to have come to a sudden stop.’ 20
While this was happening the Stalin regime that had ruled Czechoslovakia since the World War Two came to an end, and over the border in Poland people took to the streets with the messages of ‘down with the red bourgeois’. May was the high-point of the year: protests against the police in Paris escalated, causing an unravelling of events which led to nation-wide trade union strikes and occupations across France. 1968 saw continuing uprisings, one struggle after the other, and in 1968 sit-ins were prevalent among U.K university students, with many of the protests inspired songs by the Beetles such as Commonwealth, which targeted the political decisions of John Powell. The F 10 Thatcher early 70s saw a general distrust from the public towards authorities and a sense that socialism wasn’t being carried through properly. By association Brutalism became a symbol of a failing paternalistic society which had its recent past dictated by ‘experts’ and civil ser vants .
G et Ca rt er
H ig h
- M ic he al
Ka ne
(1 97 1)
housing it characterised, was the architectural dialect of the post-war welfare state. When that welfare began to change, so did its built environment. By the time Thatcher came to lead parliament in 1975, her displeasure with the current housing was welcomed. ri se ,
to
ao
5)
pi
(1 9 7
19 Kurlansky, M. (2004). The year that rocked the world. London. Vintage books p. 15 20 Glancey, J. (2009). The architecture of recession. [online] the Guardian. Available at: http://www.theguardian.com/ ar tanddesign/2009/mar/06/architecture -rogers-foster-recession [Accessed 9 Feb. 2016]. 21 Har wood, E. and Powers, A. (n.d.). The seventies.p 9 22 Beanland, C. (2016). Concrete Concept. London: Frances Lincoln Limited. P8 23 May, K. and Hout, J. (2013). Brutalism. [Brooklyn, N.Y.]: CLOG. p.29
Eu
a ll a rd J. B B
1968, as Mark Kurlansky puts it, is the year that rocked the world. All over the globe students were brought together, it was a moment in histor y when it seemed that the coming together of various acts of rebellion could meet the challenges and oppression forced upon society in its totality. The year began with North Vietnam launching the ‘ TET offensive’ against the USA in Vietnam. This bloody offensive saw the beginning of the end of U.S involvement within the Vietnam war and a wake -up-call back home instigating wide -spread anti-war sentiment in the USA. The TET offensive brought the sudden realisation that those who ruled over us were not ‘all and powerful’ and the first few months in Britain saw many student struggles, most of which aimed against Labour ministers supporting the Vietnam war and against Conser vative politicians such as Duncan Sandys and Patrick wall for their racism, later leading to the 10,000 strong Grosvenor square protest and hundreds of ar-
POLITICS
n
Tr
ial
.( 1
5)
17
98
Building on this momentum, the 1973 an oil crisis resulted in the crude price of oil rising four-fold. Suddenly all this energy dependant architecture, with Get Car ter ( features Trinity square car park ) Newspa per followin g ronan Point disaster
YR 3 //
Politics
ter Rona n Point disas
Cl oc k
18
W or k
O ra ng
e ( Br un
ne l U ni ve rs
iy le ct ur e Ce nt
re ). 19 71
P R A C T I C E //
B E N N E T T S A S S O C I A T E S
Wo r k i n g a t B e n n e t t s a sso cia te s a r ch ite cts g a ve m e the opportuni ty to w ork on pr o j e c t s o f a w i d e r a n g e o f sca le a n d u se . I wo r ke d on four theatre proj ects incl u d i n g S h a f t s b u r y T h e a tr e , T h e Old Vic th e a tr e, C hester theatre and Wh i t b y H a l l t h e a t r e . Wo r kin g p r e d o m in a te ly a t e a r ly concept/ desi gn stage i ha d t h e o p p o r t u n i t y to d e ve lo p a n d p u t to u se d e sig n and presentati on ski l l s ga i n e d a t u n i v e r s i t y.
I a lso wo r ke d o n two co m p e titi ons and a l arge mi xed
us e d e v e l o p m e n t . A ll im a g e s sh o wn o n th is p a g e we r e produced by me duri ng my t i m e a t t h e p r a ctice .
S h a f t s b u r y t h e a t r e e xte n sio n a n d r e tr o - fit
Whi tby H al l theatre extensi on model
S h a f t s b u r y t h e a t r e e xte n sio n a n d r e tr o - fit
Model l i ng C hi sw i ck mul ti -use scheme
P R A C T I C E // P r o j e c t : F l a t s i n E n fie ld , L o n d o n Size: 10 units Status: Planning Fo r a y e a r I w o r k ed a t a sm a ll p r a ctice o f th r e e called
StateStudio
Jonathan,
my
in
London.
My
d ir e cto r
Ad a m
and
I
c olle a g u e
we r e
de v e l o p i n g a h o u sin g sch e m e in En fie ld , g ivin g me a n o p p o r t u n i t y to wo r k o n a ll a sp e cts o f d e sig n as w e l l a s p r o d u c i n g a ll th e n e ce ssa r y d r a win g s an d i m a g e s f o r p l a n n in g . Th e s c h e m e i n E n f i e ld is fo r a d e ve lo p m e n t o f te n f la t s o n a q u i e t s u b u r b a n str e e t ;a str e e t co n sistin g ma i n l y o f b u n g a l o ws a n d two sto r e y d we llin g s. I t i s i m p o r t a n t t o r e d u ce th e im p a ct o f th e p r o je ct’s scale
given
the
se n sitive
co n te xt.
We
h a ve
br o k e n u p t h e s c a le so th a t fr o m th e str e e t th e de v e l o p m e n t a p p e a r s a s a co lle ctio n o f sm a lle r dw e l l i n g s , b o r r o w i n g sca le s fr o m th e su r r o u n d in g do m e s t i c b u i l d i n g s. T h r o u g h va r ia tio n o f b r ick, wi n d o w p l a c e m e n t , g r e e n e r y th e d e ve lo p m e n t’s ma s s i s r e d u c e d f u r th e r. My c o l l e a g u e A d a m a n d I sp e n t a n u m b e r o f we e ks c re a t i n g a 1 . 1 0 0 m o d e l to a sse ss th e b u ild in g in r e g a r d s t o i t s r e la tio n sh ip to its su r r o u n d in g ne i g h b o u r s . We a l so wo r ke d to g e th e r to d r a w u p de t a i l s a n d s u b m i t a fu ll p la n n in g a p p lica tio n .
S T A T E S T U D I O L T D
10 (E)
S t a t e S t u d i o - E n f i e l d 10 (D)
H o u s i n g
PRELIMINARY
S c h e m e
DIMENSIONS: This drawing has been prepared from a survey undertaken by unknown persons. As a result, no warranty as to the precision of the dimensions indicated or illustrated can be given. While this drawing can be used as a base drawing for construction and quotation purposes, due to the nature of the measurements on which it is based, it is VERY IMPORTANT that all dimensions are checked carefully before any work commences, construction is set out or any materials are ordered. If any discrepencies are noticed between this drawing and any other contract document then please contact StateStudio Ltd. immediately.
10 (C)
COPYRIGHT: The design and drawings remain the property of StateStudio Ltd. The client for this project will be licensed to use this design and documents on this site only upon full payment of architectural fees. This license is non-transferable. The design and drawings shall not be reproduced, up-loaded to the internet or traced without the permission of StateStudio Ltd.
10 (B)
The E nfi el d hous i ng proj ec t i nv ol v ed numerous i terati ons , al l oOR f PARTY WALL LINE SITE BOUNDARY ESTIMATED) w hi c h had to be mas s ed by hand us i ng c ardboard and re-draw n
1
i n C A D . I l earnt v al uabl e s k i l l s enabl i ng me to tes t i deas qui c kly
EXISTING BUILDING
and ac c uratel y, both by hand and di gi tal l y. For the ful l pl anni n g
appl i c ati on w e i nc l uded ex tens i v e s i te res earc h and v ery detai l e d pl ans , s ec ti ons and el ev ati ons
STREET VIEW LOOKING EAST
MASTER BEDROOM 2
UPPER GROUND FLOOR 72 M 2 45 M 2 51 M 2 76 M 2
FIRST FLOOR 2-BED 4 PERSON 79 M 2 2-BED 4 PERSON 75 M 2
FLAT 7 FLAT 8
4 shapes-
The windows come in a variety of sizes and timber sashed and leaded casements, some deeply recessed and others pushed close to the surface - all arranged with carefully considered asymmetry.
SECOND FLOOR FLAT 9
1-BED 2 PERSON 47 M 2
TOTAL FLATS
9
FLAT AREA TOTAL (GIA)
673 M 2
2
LIVING
3
BALCONY
KITCHEN FLAT 4
2-BED 4 PERSON 1-BED 2 PERSON 1-BED 2 PERSON 2-BED 4 PERSON
FLAT 3 FLAT 4 FLAT 5 FLAT 6
DINING
UTILITY
FLAT 3
P.2
DINING
FLAT 3 72 M2
LIVING
MASTER BEDROOM 2
2 STREET VIEW LOOKING EAST
P.1
BATHROOM
MASTER ENSUITE
KITCHEN
DINING
KITCHEN
LIVING
GIA
LIFT
COMMUNAL CIRCULATION
KITCHEN BATHROOM
FLAT 4 45 M2
36
TYPE
3-BED 6 PERSON 114 M 2 3-BED 6 PERSON 114 M 2
FLAT 1 FLAT 2
MASTER ENSUITE
BATHROOM
FLAT 6 76 M2
UTILITY
FLAT 6
FLAT 5
FLAT 5 51 M2 LIVING BEDROOM 1
BALCONY
Ridgemount Gardens - street view looking east
BEDROOM 1
Sheet 17 / 65
LOWER GROUND FLOOR
HILL HOUSE, C R MACKINTOSH
BEDROOM 1
COMMUNAL ENTRANCE 2
STORAGE
3 - VIEW LOOKING NW TOWARDS SITE
AREA SCHEDULE GIA
The4 Hill House in Helensburgh, Scotland, was designed and built LOOKING SW TOWARD SITE FROM CANFORD CLOSE by Charles Rennie Mackintosh in 1902-04.
BATHROOM
BEDROOM 1
BALCONY
P.3
P.5
P.6
P.7
P.8
P.9 2- VIEW LOOKING NW TOWARDS SITE
P.4
STREET VIEW LOOKING SOUTH WEST Ridgemount Gardens - street view looking south
Ridgemount Gardens - street view looking east
RIDGEMOUNT GARDENS
OAKLEY MEWS
NEW STRUCTURE
STREET VIEW LOOKING SOUTH WEST Ridgemount Gardens - street view looking south
P7 P6 P5
17/05/18 27/04/18 10/04/18
REV
DATE
ARS REVISED ISSUE ARS REVISED FLAT 3 LAYOUT ARS REVISED LAYOUTS ISSUER
COMMENTS
CLIENT:
MR A HALIL 85 LOWER CLAPTON ROAD, LONDON , E50NP PROJECT ADDRESS:
9 RIDGEMOUNT GARDENS, ENFIELD EN2 8QL DRAWING TITLE:
UPPER GROUND PLAN HILL HOUSE, C R MACKINTOSH The Hill House in Helensburgh, Scotland, was designed and built by Charles Rennie Mackintosh in 1902-04.
PROJECT No: DRAWING No: REVISION: SCALE: AREA SCHEDULE TYPE LOWER GROUND FLOOR FLAT 1 FLAT 2
GIA
GIA
3-BED 6 PERSON 114 M2 2 3-BED 6 PERSON 114 M
UPPER GROUND FLOOR
FLAT 3 2-BED 4 PERSON 72 M 2 2 FLAT 4 1-BED 2 PERSON 45 M 2 FLAT 5 1-BED 2 PERSON 51 M FLAT 6 FLATS TOTAL 2-BED 4 PERSON 76 M 2 9
FIRST FLOOR 2 FLAT AREA TOTAL 673 (GIA)M 2-BED 4 PERSON 79 M 2 FLAT 7 2 2-BED 4 PERSON 75 M FLAT 8
REV DATE ISSUER COMMENTS CLIENT: PROJECT DRAWING ADDRESS: TITLE: SECOND FLAT 9
1-BED 2 PERSON 47 M 2
MRA 85 LOWER HALIL CLAPTON ROAD ,LONDON , E50NP
9 RIDGEMOUNT GARDENS,ENFIELDEN2 8QL
PROJECT A044 No: DATE: DRAWING No: DRAWN:
PROJECT A044 No: DATE: DRAWING No: DRAWN: REVISION: CHECKED: N
REVISION: SCALE:
SCALE:
8
The windows come in a variety of sizes and shapes- timber sashed and leaded casements, some deeply recessed and others pushed close to the surface - all arranged with carefully considered asymmetry.
A044
A2-220-1 P7 1:100@A1
REV DATE ISSUER COMMENTS CLIENT: PROJECT DRAWING ADDRESS: TITLE:
FLOOR
MRA HALIL 85 LOWER CLAPTON ROAD ,LONDON , E50NP
9 RIDGEMOUNT GARDENS,ENFIELDEN2 8QL
LEGEND: OR BOUNDARY PARTY WALL LINE (ESTIMATED) EXISTING BUILDING NEW STRUCTURE 0mm 0mm A044 DATE: PROJECT DRAWN: DRAWING No: CHECKED: SCALE: REVISION:
CHECKED:
AUGUST 2017 DATE: GF DRAWN: CHECKED: JBB
0
1.0 2.0 3.0 4.0 5.0 6.0 7.0 8.0 9.0M
0
1.0
2.0
3.0
4.0
5.0M
BIRDS EYE LOOKING SOUTH WEST
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N
S t a t e S t u d i o - G u i l d f o r d
I an d m y c o l l e a g u e Ad a m h a ve d r a wn a fu ll te n d e r p ack for the c ons t r u c t i o n o f a n e w se m i- d e ta ch e d d we llin g in Gui l dford, a boro u g h s o u t h w e s t o f L o n d o n . All th e d e ta ils o n thi s page , and m a n y m o r e , h a ve b e e n d r a wn b y m e a n d we r e u s ed for the c ons t r u c t i o n w h i c h w a s co m p le te d m a y 2 0 1 8 . Con s t r u c t i o n p r i n c i p l e s: G ro u n d - b e a r i n g f o u nd a tio n sla b B ric k a n d b l o c k w a l l s r e stin g o n co n cr e te str ip fo u n d a t i ons Tim b e r j o i s t e d f l o o r Tim b e r j o i s t e d r o o f w ith in su la tio n , ve n tila tio n vo id , cr oss battens and c l a y t i l e s Ven t i l a t e d r o o f t i l e S t at u s : C o m p l e t e d
H o u s i n g
S c h e m e
R e f u r b i s h m e n t
A t S tateS tudi o I w as gi v en the o p p o r t u n it y t o d e s ig n a 2 5 0 k refurbi s hment proj ec t, w hi c h i nv ol v e d : - N umerous c l i ent meeti ngs - A rrangi ng
and
c ommuni c ati ng
wit h
party
wa ll
surveyors,
s truc tural engi neers and bui l di ng c o n t r o l - D etai l des i gn/ materi al s pec i fi c ati o n - K i tc hen des i gn It has been a hol i s ti c ex peri enc e, g iv in g m e e x p o s u r e t o m a n y di fferent fac ets of arc hi tec ture, i n t h e p r o c e s s r e q u ir in g d ilig e n c e and organi s ati on s k i l l s .
A
B
RL.01 ROOF LIGHT ROOF LIGHT UPSTAND BUILT AGAINST EXT OUTRIGGER AND TO ALIGN WITH W 0.01
CEILING LEVEL EXISTING CEILING LEVEL RAISED
WARM ROOF WARM ROOF BUILD UP FINSHED IN BUILT UP FELT AND LEAD FLASHINGS
RL 01
COLD ROOF COLD ROOF BUILD UP FINSHED IN BUILT UP FELT AND LEAD FLASHINGS
PP KITCHEN FCL + 3020 mm PP DINING FCL + 2633 mm
B6
B1
W 0.03
FINISH SOFFIT
P-01
FINISH
FINISH
WALL
P-01
WALL
P-01
W 0.02
FINISH
FINISH
SEAT
TV SHELF
250mm
EX FFL +0 mm
-67 mm
PJ-01
PP TERRACE FFL VOID BELOW INDACATIVE
DD
CC
DD
EX WINDOW NEW GROUND BEAM, SEE SE DESIGN
CC
FINISH
EXT FLOOR ST-03
FINISH
FLOOR ST-02
1 IN 80 FALL
STEP FINISH
EXT FLOOR ST-03
AA
AA FINISH SHELF MFC-01
FASCIA
1:80 FALL
FINISH APPLIANCE
PJ-01
BIN 300-02-10
FINISH APPLIANCE
LARDER 300-02-11
SIDE PANEL SL-03 APPLIANCE
1
TAP 300-02-07
APPLIANCE
A4-220
SINK 300-02-10
APPLIANCE
FRIDGE 300-02-04 FINISH
APPLIANCE
WORKTOP
DISHWASH ER 300-02-06
ST-01
APPLIANCE
LARDER 300-02-11
BB
TAP
APPLIANCE
LARDER
CARCASS FINISH
300-02-11
FINISH
SIDE PANEL SL-03
APPLIANCE
SANITARY
RANGE
SINK
300-02-09
040-02-01
EE
STEP
FINISH
SANITARY
TOILET 040-02-03
PROPOSED SECTION CC 1.25 @ A1
BB
SANITARY
040-02-02
WALL P-01
FINISH WORKTOP
FINISH WORKTOP
EE
ST-01
ST-01
EXISTING FALL
EXISTING FALL
MHC MHC
DD
CC
C
TV NICHE TV NICHE WITH WH PAINTED MDF SHE
PJ-01
FINISH SKIRTING
250 mm
PJ-01
PP INT FFL +33 mm
EX WINDOW EXISITNG WINDOW BE FILLED IN W/ BR
FINISH
WALL
P-01
W 0.01
200 mm
MFC-01
S t a t e S t u d i o - H o u s e
WINDOW SEAT WINDOW SEAT, REF TO DRAWING J1-140
R e f u r b i s h m e n t EXISTING WALL
KERB WIDTH AS MANUFACTUER’S SPEC
100 MM
MIN 100 MM
2
FLASHING
1
O n t his p a g e a r e j u s t a fe w d e ta ils d r a wn b y m yse lf for the c ons t ru c t i o n p a c k a g e . Th e p r o je ct is cu r r e n tly o n site a n d due to be c om p l e t e d e a r l y A u g u st. Its b e e n a g r e a t e xp e r ie n ce seei ng a projec t t h r o u g h f r o m c o nce p t d e sig n , d e ve lo p e d d e sig n , detai l ed
3
DIMENSIONS: This drawing has been prep result, no warranty as to the precision of the drawing can be used as a base drawing for c measurements on which it is based, it is VE before any work commences, construction is noticed between this drawing and any othe immediately.
COPYRIGHT: The design and drawings rema will be licensed to use this design and docum This license is non-transferable. The design an or traced without the permission of StateStudio
LEGEND:
EXSITING PARTY WALL W/ NO 69 BUILT UP FELT LAPPED OVER GUTTER
MIN 150 MM
MIN 150 MM
des ign a n d f i n a l l y c o m p le tio n .
PARTY WALL LINE (ESTIMATED)
ALUMINIUM FLASHING ( RAL 7035 )
ALUMINIUM GUTTER CHANNEL
VCL LAPPED UNDER BUILT-UP FELT AND SEALED
BUILT UP FELT LAPPED UNDER FLASHING VCL LAPPED UNDER BUILT-UP FELT AND SEALED
PRE
EXISTING BUILDI
NEW CONSTRUC
30mm
S t a t e S t u d i o - H o u s e
NEW BLOCK WOR
BREATHER MEMBRANE
INSULATION
B3
B5
STEEL PLATE TO SE DESIGN GLAZING
STAINLESS STEEL DRIP DETAIL BRICKWORK
300mm
RECESSED LINEAR LIGHT IN EXT. SOFFIT
12.5MM PLASTER BOARD W/ 2.5MM SKIM COAT FINISH 12MM PLYWOOD VCL
4 C1-220
MAXLIGHT DOUBLE SLIDER
ROOF LIGHT/ WALL DETIAL ( SECTION CC ) 1.5 @ A1
GRAIN DIRECTIO
SYMBOLS KEY: Refer to relevant drawn & written D
5
75MM INSULATION
C1-220
PP WALL HEADER DETAIL ( SECTION AA ) 1.5 @ A1
W
RL
141MM POCKET FOR MAXLIGHT SLIDING DOORS ALUMINIUM ENCASSING
FR
CERAMIC TILE 10MM
10MM TILE
2 MM BONDING LAYER 3 MM DITRA MAT
EXISTING WALL
RWP
RWP - Rain Water Pipe
SVP - Soil Vent Pipe
GWP - Grey Water Pipe
M.H.C. - Manhole Cover
P1 23/05/18 P24/04/18 P-DRFT 17/04/18
C1
12MM RENDER ON TOP OF A 6MM BASE LAYER W/ REINFORCING MESH
REV
12MM PLYWOOD
12MM BASE BOARD
9MM PLYWOOD
BREATHER MEMBRANE
CONCRETE LEVELLING LAYER
VCL DPM
EXISITING BRICK TO BE RETAINED
110 MM INSULATION
140MM DEEP STUDS
TOP OF PP TERRACE FFL 75MM INSULATION
INT. PLASTERBOARD FINISH TO TERMINATE AGAINST GLAZING FRAME
VCL
NIB WALL DETAIL ( PLAN ) 1.5 @ A1
3
C1-220
ISSUER
R F D
CO
THRESHOLD DETAIL ( SECTION AA ) 1.5 @ A1
SOPHIE STRIBBLING
PROJECT ADDRESS:
67 KENILWORTH AVENUE PROJECT CODE:
A058
DRAWING NAME:
EXT. TERRACE BUILD UP TO BE LEFT AS EXISTING, NEW FINISHED TO BE APPLIED ON TOP SOLID CONCRETE UPSTAND REQUIRED BY GLAZING SPEC
25MM STOP BATTENS
DATE
GWF ARS GWF
CLIENT:
15 MM UPONOR UFH CHIPBOARD TRACK
FULL FILL INSULATION
12MM PLY
CODE
ABBREVIATIONS:
25MM X 25MM STOP BATTENS
PLASTERBOARD
LIGHT OR MATERIA SPECIFICATION NUMBER
TITLE
EXISTING FLOOR JOISTS
2
TREE
OBJECT
TO ACHIEVE FLUSH INT/EXT. THRESHOLD
2 MM BONDING LAYER
C1-220
T -
12.5MM PLASTERBOARD W/SKIM COAT FINISH
12MM PLY
FIREPLACE
-
RECESSED EXTRUDED SQUARE RWP (100X100) SEE SPEC. RAL 7035
EXTENDED MASONARY PARTY WALL
NIB WALL DETAIL ( PLAN ) 1.5 @ A1
ROOFLIGHT
-
BLOCKWORK PIER SUPPORTING PADSTONE ABOVE
1
WINDOW
-
TIMBER BATTEN ON STRIP OF DPC
C1-220
DOOR
-
194mm
PROPOSED: SECTION DETAILS DRAWING NO.:
C1-220
REVISION.:
P2D
SCALE:
1:5 @ A1
0
0.5
25MM THERMAL BRIDGE INSULATION BOARD
statestudioltd.com 0203 637 2922
1.0
AP
V O L U N T E E R I N G //
S C H O O L C O N S T R U C T I O N Location : E l J i c arero, J oj utl a, Morel s , Mex i c o P r oject : C ompl ete re-c ons truc ti on of a pri mary s c hool Tim e spent volunteer ing : 2 months C hair ty : A l l H ands and H earts Volunteer position : Team Leader B uilding constr uction m ethods pr actised : R ebar i s ta lla t io n , r e b a r c utti ng, form-w ork mak i ng, form-w ork i ns tal l ati on/ remov a l, b r ic k la y in g , c onc rete pouri ng.
M e xico City The 2017 C entral Mex i c o earthquak e s truc k on 19 S epte m b e r 2 0 1 7 wit h an es ti mated magni tude of Mw 7.1, The earthquak e c aus e d d a m a g e in
M o r e lo s
the Mex i c an s tates of P uebl a and Morel os and i n the Gre a t e r M e x ic o Cit y area, i nc l udi ng the c ol l aps e of more than 40 bui l di ngs , t h e d e a t h o f 3 7 0 peopl e and many rel ated bui l di ng c ol l aps es . I w as v ol unteeri ng thi s s ummer to rec ons truc t a s c hool t h a t wa s k n o c k e d dow n i n the earthquak e. W i thi n a c oupl e of w eek s I bec a m e t e a m C onstructi on Si te
Work ing a s t e a m l e a d e r in sta llin g fo r m wo r k a n d r e b a r
l eader, managi ng groups of 3-5 on rebar i ns tal l ati on, for m - wo r k m a k in g / i ns tal l ati on/remov al , bri c k l ay i ng and c onc rete pouri ng.
A l mos t c ompl ete P l ot 1
A l l
H a n d s
a n d
H e a r t s - V o l u n t e e r i n g
My tw o months v ol unteeri ng w as a n a m a z in g e x p e r ie n c e . We w ork ed 8 hours a day 6 day s a w e e k in t h e in t e n s e M e x ic a n heat and together w e hel ped c ont r ib u t e t o a b r illia n t a n d lif e c hangi ng proj ec t, For me i t c omb in e d m y b ig g e s t in t e r e s t s mak i ng, c ul ture and s oc i al l y dri v e n a r c h it e c t u r e . W h a t I enj oy ed mos t about the proj ec t w a s e x p o s u r e a n d in t e g r a t io n i nto a c ommuni ty s o di fferent from o u r o wn . Wo r k in g al ongs i de l oc al mas ons duri ng th e d a y, we we r e o f t e n in v it e d for di nners and bi rthday parti es i n t h e e v e n in g . A fter a c oupl e of w eek s I bec ame a t e a m le a d e r, m a n a g in g v ol unteers and c ommuni c ati ng ba c k a n d f o r t h wit h t h e p r o je c t manager throughout the day, as we ll a s a t t e n d in g d a ily team l eader meeti ngs . Thi s pos i t io n a ls o in v o lv e d wo r k in g al ongs i de and c ommuni c ati ng w i t h t h e lo c a l b u ild e r s in S pani s h. Moreov er, I had to teach n e w v o lu n t e e r s h o w t o u s e pow er tool s and i ns truc t ac ti ons r e la t e d t o t h a t d a y ’s t a s k . Thi s w as a c ompl etel y new rol e fo r m e a n d q u ic k ly t a u g h t m e s k i l l s rel ati ng to deadl i nes , ti me-m a n a g e m e n t , c o n s t r u c t io n l eaders hi p and teac hi ng.
Re b a r i n s t a l l a t i o n fo r a r e in fo r ce d co n cr e te b e a m , sat on top of OS B formw ork.
I s pent w eek s mak i ng and i ns tal l i ng formw ork and pouri ng c onc rete for rei nforc ed co nc rete beams .
I N T E R E S T S //
M A K I N G
C O N C R E T E C O U N T E R- T O P
3 1
2
3
2
TEST 1
1
FORM
2
3
2 p a r t s sa n d
2 p a r ts sh arp sand
2 parts sharp sand
3 p a r t s 1 0 m m p e b b le s
2 p a r ts 1 0 mm pebbl es
2 parts sand
1 part cement
1 p a r t ce m ent
1 part cement
WORK
PLACE MIX
SET
SAND
ENJOY..
K I T C H E N / L I V I N G I and my brother are w ork i n g t o g e t h e r o n t h e r e n o v a t io n of a 2 bedroom hous e. We h a v e b e e n d o in g e v e r y t h in g ours el v es , i nc l udi ng fi tti ng a k it c h e n , la y in g f lo o r in g ,
A SS EM B LY
TILING
TILING
W OOD FLOORING
ti l i ng, furni ture mak i ng and g e n e r a l p a in t in g d e c o r a t in g . Thi s has been a v ery c hal l en g in g p r o c e s s , f it t in g t h e wo r k i nto ev eni ngs and w eek end wh ile wo r k in g f u ll t im e a s a n arc hi tec t. My res earc h i nto Br u t a lis m f o r m y d is s e r t a t io n gav e me a pas s i on for c onc r e t e a n d it s a p p lic a t io n s . As a res ul t I dec i ded to ex tend m y in t e r e s t in t h e m a t e r ia l in a prac ti c al s ens e, and mak e a s o lid r e in f o r c e d c o n c r e t e w ork top..