Architectural Portfolio by Hannah Pells

HANNAH PELLS PORTFOLIO OF CREATIVE WORKS PART ONE ARCHITECT OXFORD BROOKES UNIVERSITY

TABLE OF CONTENTS

1. “East meets West” Spices Pavillion & Allotments

2. Research Project: New Biochemistry Building, Oxford University

3. “Architecture, Ecology & Sci-Fi” 2048 Manhatten Sanctuary of Spiritual Worship

4. “Constructing Celebratory Spaces” Buoyant Butterfly Museum & Gardens, Isola San Pietro, Venice

5.“The Photographers Eye” Mrs. Nice

HANNAH PELLS hannah.pells@gmail.com

1. â&#x20AC;&#x153;East meets West:â&#x20AC;? Spices Pavillion, Coventry

Applied Inspirations I

The Spices Pavillion and allotments are designed for the growth, production and selling of spices. Inspired by Marco Polos travels to the East and the Eastern Spice Trade Routes, it is a structure that houses a greenhouse, production spaces for the manufacturing of spices as well as an attraction where the public can view the production process. The greenhouse is inspired by natural seed pod geometries and morphs into the landscape, similar to the shape of a saffron plant. The structure encourages the organic growth of plants on to its exterior shell, as well as encouraging local residents to utilise the exterior grounds to grow and sell their own goods. The interior structure is designed to allow natural daylight to penetrate inside the building as well as wonder through the Pavillion and view the the production process. In addition smell of spices infuse upwards throughout the structure, drawing people inside.

Spice Harvest & Production

Harvest

Roast / Dry

The site must have spaces for growing and harvesting.

-For this stage of production there should be two rooms, depending on the spice: a.The roast room, equipped with the necessary machinery. b.The drying room, a nonemoist place allowing the plantation to dry.

-It will bring human interaction into the design where individuals can grow their own spices and harvest them.

Assumed Required Area : 2000m2 Labour: 2 for maintanence.

Assumed Required Area : 20m2 Labour: 1 to run machinery.

Grind

Sort & Package

Sell

There will be a need for a grinding room to grind the roasted/ dried spices. and labour to attnd to this as well as the previous.

This stage requires a sorting of the spices and packaging. Rooms should be made to designate to these activities. For the scale of this project only 1 room is needed.

The design should provide a space to sell spices. after they have een sorted and packaged.

Assumed Required Area : 20m2 Labour: 1 to run machinery.

Assumed Required Area : 50m2 Labour: 3 persons Pavillion Tentacles

1. Saffron 2. Fenugreek 3. Cumin 4. Tumeric 5. Clove 6. Black pepper 7. Black Mustard 8. Sichuan Peppercorn 9. Paprika 10. Sumac 11. Hot Mustard 12. Chilli 13. Nutmeg 14. Cinnamon

After investigating the Leave Layout , weapplied this algerythm to a more saturated way with designer leaves.

Atmospheric 1:100 Section AA Local Spice Production 1

Greenhouse Initial Nurture

Replanted in External Conditions at Suitable Age

Production Factory When Ripe

Top Shell designed to interact with and for plant growth.

Saffron Fenugreek Cumin Tumeric Clove Black Pepper Black Mustard Skhaun Peppercorn Paprika Sumac Hot Mustard Chilli Nutmeg Saffron Cinnamon Tanduri

Ground Floor & Accesss to Bottom Floors

The Spacial qualities were then Explored Alternative Leaf Design

Rotated

Twisted

Tapered

Mixed with lattice

Rendered to Transclucent qualities of Plants

Grinding Room

Roasitng Room

Storage

Underground for locals to produce spice. Visitors to see spice production line.

Packaging

Selling Space

Render 1 Internal renders, experimenting compostion structure and light

Render 2,.

Scale: 1:100

Axonometric Spices Pavillion demonstrating different levels of the Spices Pavillion Smell Indicator 1:100 Section AA

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Longitudinal Section Spices Pavillion

Interior Render and 3D Printed Model

2. Research Project: New Biochemisty Building, Oxford University

A research project to investigate the New Biochemistry Building, Oxford University, research aspects included construction, design, structure and environental. First hand research was undetaken as well as studies into the construction process followed by detail sketches and tecnical drawings and diagrams to illustrate findings

Atrium inside the New Biochemistry Building

71 Lux

62 Lux

34 Lux

27 Lux 12 Lux

Technical pen drawing of exterior cladding detail

11 Lux 10 Lux 9 Lux

A ti heffect i t k ff t til ti Section showing stack ventilation

Section showing load weights

Section showing light levels

24 Lux 18 Lux 14 Lux 7 Lux

3. â&#x20AC;&#x153;Architecture, Ecology and Sci-Fiâ&#x20AC;? Year 2 Project By embracing Science Fiction as an architectual tool, the studio of this unit deliberately set the environmental agenda as a creative one, extending our current solutions of wind turbines, insulated cavities etc, into a world of unknown architecture, urbanism and new social system, thus encouraging the design a new future-primitive architecture.

Architecture, Ecology & Sci-Fi 2048 Manhatten Sanctuary of Spiritual Worship for Mutants 2048. The mutants have been cast out of society. The Normals fear these beings are contagious, and so the mutants are obliged to cover themselves up whereever they go. Perceptions are slowely shifting however, since these mutants are actually incredibly intelligent beings and Normals are beginning to realize that the virus is airborne. The mutants believe that they are part of evolution and everyone will be a mutant one day. The American opposition to the Research Laboratory in Trafalgar Square is to create a place of hope, where mutants from all over the world can go to reveal their skin. It is a place where they can free of prejudice and celebrate the Rat and Pig god who were the first mutant types. Only mutants (except Normals as servants) are allowed inside the building. The mutants are treated like royalty, and feast on fruit sacrifices given to them by Normals.

The mutants end there journey in the Sanctuary where it is a warm, rich and comfortable place for them to relax after the outside, rainforesty environement. They can relax in hanging pods from pulleys and pick dryed fruit off tall stands as they please. They swing from one place to another, and feel the soft material of velvet on there skin. Here they are faced with the Rat and Pig Gods, hung from a column at each side.

Feasting off dryed fruit and peeling off their skins is is the final ritual. in the mutants journey in the place of Worship.

Insulation in this part of the building is required unlike the tail end of the building since it is intended to be a warm, comfortable and cosy space.

1:20 construction detail

_Section of Sanctuary and Main Consruction_

Larger scale model testing the roof structure design for the Roof.

Film Stills site analysis of Trafalgar Square, becoming infected with the Virus over time.

Buckminster Fuller inspired Tensegrity model

The form of the building/roof component inspired by Leonardo Da Vinci as a precendent for his anatomical studies of the Spinal Cord.

Main Structure Since the structure rises high in the air, a space frame will be used because of its lightweight properties, its connection to the roof and floor, so that I am holistically integrating Buckminster Fullers theories throughout the structure creating overall rigidity within the structure. In doing so there is a continuity of materials inside and out, so that scaffolding forms the 'backbone' of the structure, the walls the 'skin' and the roof the 'shell' or 'shedding skin'. Within the the building there is progessio, where the Mutants start there journey climbing only bones, then crawling under a shell and bones, and then entering a partially open space where it is constructed of bones, flesh, and shell and last but not least entering the main 'head' of the building - the 'new skin' protruding and revealing itself from around the corner!

Tensegrity model, a structure in tension and compression.

Space Frame. Keeping the shape, but losing the tension from tensegrity, to create a more rigid structure.

No insulation is required in this 'tailend' part of the building since it is a partially open-air structure, and having insulation would only be wasteful. Although this may cause some discomfort to the Normals who work there, they are infact servants and since the Mutants are the superior race, they do not take priority. The design has gone back to a futuristic primitive socierty and firekeeping in this part of the building would emit a certain amount of heat however, and this would help to keep Normals warm. The Normals can also keep dry underneath the Swaying Pads.

rm of tensegrity, a clustered form made out scaffolding and recycled offcuts of oxidised copper will be used to create the roof of the building. be partially clad so that there are gaps to let in light, rain and air, so that the mutants skin is exposed to the elements.

Collage depicting the infective mutant virus at the Site, an air purifying vehicle, and Normals wearing respirator to protect themselves from the Virus contamination.

Oxidised copper cladding will be bolted to a space frame made out of scaffolding.

The open-air structure, that allows wind, light, rain and varying temperature differences into the building throughout the year, is designed so that the mutants are exposed to the natural elements. The idea is to create a rainforesty/swampy atmosphere so that mutants can feel comfortable to go back to animal instinctual behaviour, and free feel the elements on their skin after being oblged to hide and cover themselves up in cloaks.

Water is collected through funnels on the roof and gutters in t to drain out excess water which is taken to the water ank wh used for th Direct sunlight and rain through the roof, encourages the g plants up and around the scaffolds, which creates a habitat and improve air

Cold air penetrates down through gaps in the roof and as warm air and steam from the bath rises leaves the building through the roof. There are more gaps at entrance level and they gradually become more enclosed towards the head of the building.

Interior showing Mud Baths for the Mutants cleansing ritual, inspired by historic Roman Baths.

4. “Constructing Celebratory Spaces” Bouyant Butterflies Museum & Gardens, Island of Isola San Pietro, Venice

The digital design methodology of this unit focused on a digital design methodology that was driven by the spatial, poetic and scientific investigations of botany: an organic computational design process that is constantly fluctuating to engage with human input of personalities and emotions. The desire to flourish, manifest, tribute, honour and celebrate creates a fertile environment for lifting spirits and constructing optimism in architecture. “Constructing Celebratory Spaces” investigates the extense human beings could go to celebrate an event, and subsequent architectural creation that facilitates such powerful forces that can be emphemerally transform the city on an urban scale. Enriched by the historical and cultural context of Venice, the main project was to design a building that would accomodate long-term spaces to house permanent inhabitation of exhibitions. A primarily technolgical concept explored relationships formed by the cultural activities in flux, with historical references to trading, production and scientific development to include biosciences, greeneries, climatic ecologies and bio-diversity, as a hybradized cross programming to the Great Celebratory Space.

The set of following collages explore symmetry, projection and layering as a way of creating form through manipulation of this collage. I have modelled and manipulated the geometry and principle behind butterfly wings to achieve a set of dynamic collages which explore movement, layering, perforation and different projections.

4. Constructing Celebratory Spaces Buoyant Butterfly Museum and Gardens, Venice.

The Buoyant Butterfly Museum and Gardens seeks to celebrate waste through the conservation of endangered, rare and tropical butterflies, creating habitats through naturally treated waste on-site at the island of Isola San Pietro. The form of the building is inspired by the repitition and fanning effects of butterfly wings in movement, creating unique, unsual and poetic geometries which inspire, educate and create experiences inside the museum exhibits, external structure and garden spaces. The piece of architecture strives to celebrate biodiveristy, sustainability and conservation bringing back a former “spark” to the island that once existed historically through the disused “no mans land”space,creating 3 new access points for visitors to enter one of the few green spaces that exist in Venice, creating not only an attraction for visitors but a long-term tranqil retreat for local residents.

VIEWS OUT TO SEA ROOF PLAN IN CONTEXT 1:200

10. 6. 8. 7/ 9.

VIEWS OUT TO SEA

VIEWS OUT TO SEA 1.

GROUND FLOOR SPAC 1. MUSEUM ENTRANCE (TO UNDERGROUND LE 2. RE-USE GREY WATER STOR 3. CATERPILLAR GALL 4. BUTTERFLY GREENHOUSE GAR 5. STORAGE AND LOADING 6. CAFET

“CATERPILLAR” HAMMOCK LIEING NETS

7. TOILETS LO 8. MENS TO 9. LADIES TO 10. CAFETERIA GAR

CHURCH OF SAN PIETRO DI CASTELLO

LOADING BAY/ENTRANCE

NEW ENTRANCE FROM THE EAST

LOADING BAY/ENTRANCE

8. 9. AE

CHURCH OF SAN PIETRO DI CASTELLO

MUSEUM ENTRANCE PATHWAY

3. F ISOLA SAN PIETRO

ONCE THE VISITOR REACHES THE GROUND FLOOR LEVEL, THE EXHIBITS ALLOW THE VISITOR TO “WIGGLE” AROUND THE DISPLAYS LIKE A CATERPILLA. THEY ARE THEN ABLE TO WORK THEIR WAY UP THE COCOON TO THE NEXT FLOOR LEVEL EXHIBITS OF BUTTERFLIES, ENTER THE BUTTERFLY GREENHOUSE, OR ESCAPE TO THE GARDEN CAFE WHICH IS PURPOSEFULLY DESIGNED TO OPEN UP ACCESS TO THE SURROUNDING SITE, PREVIOUSLY BLOCKED OFF TO THE PUBLIC. THIS CREATES SPACE FOR BOTH VISITORS AND LOCALS TO ENJOY, ON ONE OF THE VERY SPARSE GREEN SITES THAT EXIST IN VENICE AND STRETCHES OUT TOWARDS THE SEA ATTRACTING VISITORS BOTH TO THIS PART OF THE ISLAND AND THE BUTTERFLY MUSEUM SITUATED HERE.

6. TO THE SOUTH WEST O

GROUND FLOOR PLAN 1: 9.

Glass and Corten Steel Framework Detail 1:10

Glass

PILE FOUNDATIONS ARE ESSENTIAL FOR HOLDING UP THE MAIN CONCRETE STRUCTURE OF THE MUSEUM “COCOON”. EVEN THOUGH THE SITE IS NOT SITUATED UPON WATER, BUT A SOLID NATURAL ISLAND, VENICE IS PRONE TO FLOODING AND IS CURRENTLY SINKING AT A RAPID RATE. FURTHER PILE FOUNDATIONS ARE USED BENEATH THE GREENHOUSE WHERE THE HEAVIEST DEAD LOADS OCCUR.

Steel Corten Framework Welded Connection

Exploded View of Roof Component

Roof Detail Greenhouse Roof D

The site analysi majority of the an expansive str the north east o The current pub restricted throu sprawling unused wasted space th Pietro.

Overall Effect of Layering Wings in Motion

Wings Completely Fanned Open

Wings slide over each other overlapping

Wings at Optimum State of Motion

Basing my site h allowing access are sparce in Ve connections betw To do this I pro pathways and en

Mapping and modelling the movement of butterfly wings allows me to explore different layering and fanning effects. Butterfly wings move not only in flight but whilst they are maintaining balance when feeding off plants or basking in sunlight. In these instances it is not a flapping motion that takes place but a sliding and fanning motion outwards and inwards, creating overlapping and gaps on each side of the wings at different intervals. The layering fanning effect that has been explored and demonstrated will begin to inform my design studies, to create new geometries based upon the principles of these sliding butterfly wings.

BUTT PUBLIC AREAS AND ROUTES

PRIVATE AREAS

WASTED/DISUSED “NO MANS LAND” AREAS

EXPLORING PROJECTION THROUGH FANNING GEOMETRIES FROM A CENTRAL CORE

5. The Photographers Eye “Mrs Nice” A set of photographers inspired by Man Rays portraits of women and the biography “Mr.Nice” by Howard Marks, a man continuously changing his identity for fraud. This set of passport photographs depicts a person changing identity. Awarded a first by the department of Architecture.

Thank you for your consideration.