Stage III Winter Portfolio

STAGE III WINTER PORTFOLIO BA ARCHITECTURE 2017-18 HENRY JAMES CAHILL 150271350

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Japanese Symbol meaning ‘Tranquillity’

Tranquillity through Precision

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2017-18

HENRY JAMES CAHILL STUDIO 2: RITUALS & THE UNCONSCIOUS NEWCASTLE UNIVERSITY SCHOOL OF ARCHITECTURE, PLANNING & LANDSCAPE

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- STAGE III WINTER PORTFOLIO -

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TABLE OF CONTENTS STUDY TRIP: FINLAND

PRIMER

Joinery Workshop

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Helsinki

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Design Phase

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Jyväskylä & Pori

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Exhibition

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Case Study Report

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STAGING

New Approach to Site

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Dressing the Postern

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Tea Room to Craft School 106

THINKING THROUGH MAKING

APPENDICES

Jesmonite Casting

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Integrated Technology

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Woodworking

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Charrette

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Tailoring

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Stage II Design

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STUDIO 2: RITUALS & THE UNCONSCIOUS KATI BLOM & DAVID MCKENNA

Our Studio explores the rituals surrounding the Japanese Tea Ceremony; each student was tasked with focussing on a particular element of the tea ceremony that resonated with them, and this theme would form a basis for their individual Primer project; designing a Japanese tea house.

My chosen theme was ‘Tranquillity through Precision’ guided by the fact that the tea ceremony is only such a tranquil process as a result of the precise nature and order in which each element of the ceremony must abide to.

Each student also had to choose a craft on which to focus for the forthcoming Graduation Project; personally I chose to concentrate on the art of tailoring.

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PRIMER

RITUALS OF THE JAPANESE TEA CEREMONY

PRIMER: JAPANESE JOINERY WORKSHOP HUGH MILLER FURNITURE, LIVERPOOL

At the start of the Primer phase, our studio visited the workshop of Newcastle University School of Architecture alumnus Hugh Miller, a specialist in Japanese joinery techniques.

Hugh taught us the basics in a morning session based around the Chidori joint.

During this session, in groups of three, we each chiselled a single element of the joint. These elements then fit and twist together to form the completed joint.

In the afternoon session, each of us made our own joint focusing on the theme we had chosen for our Primer project. With help from Hugh, the joint was supposed to represent the idea of our theme.

After having visited Hugh’s workshop, I decided to develop my joinery further.

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HUGH MILLER’S WORKSHOP WORKS IN PROGRESS

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LEARNING TECHNIQUES USING A HAMMER & CHISEL

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SKETCHES IDEAS FROM WORKSHOP

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CONCEPT SKETCH JOINERY WITHOUT FIXINGS

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FINAL JOINERY MODEL INDIVIDUAL ELEMENTS

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FINAL JOINERY MODEL ASSEMBLY DIAGRAM

PRIMER: DESIGN PHASE JAPANESE TEA CEREMONY ROOM

Our Primer design project was based around the rituals of the Japanese tea ceremony, and as such we were tasked with developing a tea house.

We had two sites to choose from, one either end of the High Level Bridge over the River Tyne. I chose to develop my design on the Castle bank as I was interested in the layers of history apparent on the site.

I started the design process with a deep approach to site analysis involving trips to the Tyne & Wear Archives and study of archaeological surveys.

I took particular interest in the South Postern, originally it would have made up one of two gates into the Castle Garth through the defensive stone walls. Originally a lookout tower, there is excellent potential for views.

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SITE ANALYSIS CASTLE GARTH TO QUAYSIDE

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SITE SKETCHES CASTLE GARTH TO QUAYSIDE

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SITE PHOTOGRAPHS CASTLE GARTH TO QUAYSIDE

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ARCHIVES VISIT IN DEPTH SITE READINGS

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CNC SITE MODEL PROCESS PHOTOGRAPHS

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CNC SITE MODEL SCALE 1:1250

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FOLD-OUT PAGE

SITE SECTION (LOOKING WEST)

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HAND CARVED SITE MODEL PROCESS PHOTOGRAPHS

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HAND CARVED SITE MODEL SCALE 1:200

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EARLY CONCEPT BRIDGE TO TERRACE

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EARLY CONCEPT SECTION BRIDGE TO TEA HOUSE

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WOOD HOUSE SMILJAN RADIĆ

As I was interested in the layers of history already apparent around the stone walls of the Castle, I decided to look into the idea of creating bridges and walkways on top of the existing south wall adjoining the Postern.

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I studied the precedent of Wood House by Smiljan Radić as utilising a similar structural system to the part of the building that cantilevers over a steep bank would allow me to create a walkway over the stone wall without interfering too intrusively.

On the following spread is the sketch model of a ruinous bridge I developed after looking at Radić’s design. The idea was that the gaps in the walkway would allow users of the bridge to see the old stone walls beneath.

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SKETCH MODEL RUINOUS BRIDGE

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CONCEPT SKETCH (CRAFT TILE DESIGN)

Part of our studio brief for the Primer Exhibition was to create a 210 x 210 mm tile to represent our chosen craft.

I had decided upon exploring the craft of tailoring.

The idea behind my craft tile was to recreate the shoulder section of a jacket across a flat surface.

I decided to include the details of a gun flap as well as an epaulette.

This proved to be somewhat of a challenge for someone who hasn’t used a sewing machine before. However, I was rather pleased with the outcome.

The images shown here are of the craft tile as a work in progress, the final piece is shown overleaf.

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PROCESS DRAWINGS (CRAFT TILE OPPOSITE)

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TAILORING CRAFT TILE (210MM X 210MM)

PRIMER: EXHIBITION

JAPANESE TEA CEREMONY ROOM & CRAFT PROCESS

As a studio, we had to curate an exhibition of all our individual and group work throughout Primer.

Considering our designs focused on the rituals of the Japanese tea ceremony, we decided to perform a live tea ceremony as part of our exhibition.

Each student’s work was exhibited in a layout inspired by the traditional tatami mat configuration that makes a basis for the tea ceremony to take place.

We curated a display of each student’s individual Japanese joinery models inspired by the workshop we attended with Hugh Miller in Liverpool.

The exhibition provided an excellent opportunity to see all the work created by all the members of the Studio.

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EXHIBITION LAYOUT (CRIT 1)

TEA CEREMONY JAPANESE JOINERY LARGE-SCALE SECTION PERSONAL WORK CRAFT PRESENTATION

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EXHIBITION IMAGES (JOINERY & SITE MODEL)

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EXHIBITION IMAGES (TEA CEREMONY & CROWD)

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STUDY TRIP: FINLAND HELSINKI, JYVÄSKYLÄ & PORI

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STUDY TRIP: HELSKINI VISITING FINNISH ARCHITECTURE

One of our studio tutors, Kati Blom, is Finnish.

Pairing this with the fact that a lot of parallels are drawn between Japanese and Finnish culture as well, as their architectures, our studio embarked on a study trip to Finland.

The trip began in Helsinki, Finland’s capital, and providing many opportunities to experience great Finnish architecture.

The most famous of all Finnish architects, Alvar Aalto has a number of buildings located near the capital.

However, it was also wonderful to see contemporary examples of architecture, from the likes of Avanto Architects.

One project we had the opportunity to experience was the LĂśyly Sauna.

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ST LAWRENCE CHAPEL (AVANTO ARCHITECTS)

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VILLA AALTO (SKETCHES & PHOTOGRAPHS)

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AALTO UNIVERSITY (DINING HALL)

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AALTO UNIVERSITY (MAIN BUILDING)

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STUDY TRIP: JYVÄSKYLÄ & PORI VISITING FINNISH ARCHITECTURE

Following on from our visit to Helsinki, we moved on to Jyväskylä where we spent a couple of days before travelling to our final destination, the industrial port town of Pori.

We were able to visit further examples of Aalto’s great work. Including the Säynätsalo Town Hall built for the residents of Säynätsalo island before the community were enveloped by the larger city of Jyväskylä.

Finally, we visited the famous commission from Harry and Maire Gullichsen, Villa Mairea, arguably some of Aalto’s greatest work.

However, more than this, the art collection on display is second to none. Aalto’s design includes specific storage for rotation of the expanses of the collection not currently displayed.

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SÄYNÄTSALO TOWN HALL (ALVAR AALTO)

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VILLA MAIREA (ALVAR AALTO)

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STUDY TRIP: CASE STUDY

SÄYNÄTSALO TOWN HALL: ALVAR AALTO

Säynätsalo is a rugged island with a population of some 3,340; it is situated in Lake Pajanene. The town was laid out in 1945; shortly after the central market with the civic centre, town hall and various commercial buildings were erected. The town hall complex includes local government offices and council chamber, together with a public library, built around a central court. At ground-floor level there are also shops which could be converted to local government use as the need for expansion arose.

The council chamber is almost a cube. The triangular timber trusses which support the secondary roof framing are fully exposed at ceiling level; this placing of the structural members in the room itself avoids the need for heavy built-in roof supports.

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OVERVIEW (SPATIAL ORGANISATION)

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DESIGN INTENT & EXPERIENCE (SÄYNÄTSALO ISLAND)

Alvar Aalto’s unique architecture created an architectural identity for Finland: he was noted for his organic and compositionally uniform designs. Furthermore, his architecture conveys freedom and democracy. His projects always offered some kind of space to the public which is strongly evident in Säynätsalo Town Hall. The project was completed from 1949-52 after Aalto won a design competition in the town of Säynätsalo. The Town Hall not only served the council members of the town but also contains a library, guest rooms, artist studios and shopping zones.

Aalto wanted the town hall to connect everyone: symbolically he combined two elements to convey the democratic idea of the citizen’s relationship with the government.

The town hall is set around on elevated court yard and circulates in a U shaped manner. There are two ways of entry one at the western end and one at the eastern end of the site. Both entries are created by formal grand terrace steps up into the interior of the building.

The Town Hall is organised in a dual storey manner with the city administration functioning in the upper level and the pedestrian programs (such as residence, shopping and apartments on ground level. Although Aalto wanted to unify the locals with the City Council, he wanted to keep a distinct separation between commercial and political practice due to his belief to that commercial aspect would have created disruption to the function of the City Council. The Town Hall as a whole unifies itself with in the site by allowing

the Halls to be nestled in the trees, creating a dual courtyard where the trees become the walls of the town hall and the walls of the town Hall form the inner courtyard. The dialogue Aalto create with the site allows the Town Hall to fluidly transform its identity between seasons. The formal organisation of the town hall is strongly composed, where the council chamber informs hierarchy by increasing its scale in comparison to other halls which are at a more human scale. Aalto unified the building with the datum element of the corridor.

The corridor also brings the courtyard into the Town Hall by cutting back the corners of the glazed walls, which allows seating areas near the courtyard yet still in the interior space.

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DESIGN INTENT & EXPERIENCE RELATION TO SITE

Aalto had a strong fascination with altering the forms of wood, which is evident through the structural expression of the council chamber’s roof.

He therefore created a different theme of identity for structural support; the roof is supported by a timber truss system without system monotonous top and bottom cords and diagonals, instead he create a space frame spider like truss where wood is almost perceived as a sculptural element rather than structural.

What distinguishes Alvar Aalto from other architects of his time was that he did not adhere to the complete standards of modernism.

He did use modernist structures yet they are mostly concealed, all of his buildings appreciated context and always distinguished his use of materials in relation to each site in the programme.

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Saynatsalon Paivakotikoulu

Säynätsalo Town Hall

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UPM- Kymmene Wood Oy

Lehtisaari

SITE APPRAISAL (WIDER CONTEXT)

Noise Pollution

Noise Pollution

Säynätsalo Town Hall

69 = Residential Building = Public Building = Main Entrance = Pedestrian Entrance = Bus Stop = Noise Pollution = Outer Courtyard = Pedestrian Traffic = Main Vehicle Route

Main Town

SITE APPRAISAL (LOCALITY)

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OUTER COURTYARD OF TREES ACTS AS NOISE BUFFER

“For me “the rising town” has become a religion, a disease, a madness, call it what you will: the city of hills, that curving, living, unpredictable line which runs in dimensions unknown to mathematicians, is for me the incarnation of everything that forms a contrast in the modern world between brutal mechanicalness and religious beauty in life.” (Aalto, 1926, quoted in Schilt, 1986: p.12)

OUTER COURTYARD OF TREES ACTS AS NOISE BUFFER

Aalto refers to the hill towns of Tuscany, which he visited and sketched early in his career. The hill towns represent a synthesis of urban and ‘natural’ conditions, and a reconciliation of public and private political realms, the combination of which form a vision of human happiness through harmony with nature and a balance of power.

Säynätsalo Town Hall embodies this utopian vision.

The visitor approaches the Town Hall – the urban condition - through forest.

Säynätsalo Town Hall is intrinsically connected with its site, being set upon an elevated courtyard which lends the structure a sense of importance. The halls are enclosed by the surrounding pine trees, creating a dual courtyard effect. The constant conversation between the Hall and its site allows the space to transform and take on alternate properties throughout the seasons.

The Hall is approached by multiple entrances, tailored towards pedestrians and vehicles, creating a permeable edifice, despite its fortresslike appearance. Set beside a main road and near a local school, the forests also act as a noise buffer. Furthermore, the building is set between a mix of public and private buildings, and so forms a link between the two, not only within the space itself but in the context of Säynätsalo itself.

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MATERIALITY & ATMOSPHERE (EXTERNAL)

With reference to materiality, the structure is predominantly brick on both the interior and exterior.

This continuum blurs the boundaries between the interior and the exterior.

Certain atmospheres and elements are created with the introduction of timber, plaster, concrete and foliage.

The dissolution of form is emphasized by the small strips of recessed brick found on the exterior above the window head, which also hint at the structure as they coincide with the timber trusses within the wall.

These small details fragment the monumentality of the structure and maintain the balance with the solidity of the form and bricks.

The materials are also used to generate a ruinous atmosphere Aalto strived to create; as well as the main exterior graphite staircase, there is a set of contrasting

MATERIALITY & ATMOSPHERE (INTERNAL)

natural stairs. These are formed from planted earth and timber. This reinforces the idea of the ruin as the stair is designed as if it has deteriorated and become an extension of the hill. The use of vegetation to create this particular atmosphere is seen repeatedly around the building, such as the plants which are encouraged to creep up the building.

The council chamber forms the pinnacle of the structure and the use of brick and timber, as well as a combination of natural and artificial light creates an austere atmosphere, indicating the importance of the function of the space.

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Structurally, the building is straightforward; with reinforced concrete columns, floor slabs and ceilings alongside black painted circular steel columns supporting the roof of the glazed corridor.

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The majority of the walls are of load bearing masonry, in a rustic red brick employing a Flemish bond with subtly varying textures created as a result of alternated headers and stretchers. Aalto instructed his masons to lay the bricks slightly out of line so that when the sun obliquely shines upon the walls they appear to ripple rather than giving a mechanical effect.

snow and frost. Although for the main processional stair the concrete is replaced by granite, this is also used for the steps themselves.

In terms of form it is clear that Aalto has set out a hierarchy within his design; having the council chamber as a tower like element shows its dominance within the structure highlighting the fact that it is the most significant part of the building. (Below & Right)

As shown in the section detail of the council chamber (Far Right), the brickwork does not simply rise from the ground but is infact set above a concrete plinth; this allows for protection from

STRUCTURAL & FORMAL ANALYSIS (HIERARCHY)

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STRUCTURAL SECTION DETAIL (COUNCIL CHAMBER)

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NORTH SECTION (COUNCIL CHAMBER)

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WEST SECTION (COUNCIL CHAMBER)

The main corridor was supposed to simulate a feeling of “outside inside”, thus informing the use of brick paving and fair faced brick walls. Aalto has integrated the heating system into the brick bench that follows the colonnade around the courtyard (shown below and left).

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The original suggestion for the glazing around the courtyard was that the glazing be removed in summer months to create an open cloister. However, with the corridor being south facing some overheating occurred meaning that hinged operable window panels were later introduced to improve the ventilation strategy.

Source: Architecture in Detail: Town Hall, Säynätsalo, Richard Weston Publisher: Phaidon Press

ENVIRONMETAL & ENERGY SYSTEMS (CORRIDOR)

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STRUCTURAL SECTION DETAIL (CORRIDOR)

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The brick is complimented by elements of timber, plaster and concrete, where Aalto’s use of material helps control the intensity of light and the atmosphere. Aalto is known for his masterful use of masonry, an example being the specific installation of bricks to appear somewhat misaligned; this allows façades and walls to have a dynamic appearance due to the play of shadows created by the offset of the brick bond. There is a strong sense of appreciation and understanding of art in Aalto’s buildings, not least in the way he treats architectural elements like trusses as sculptural pieces, but also in the way he uses windows to manipulate light to fall on paintings.

Aalto’s attention to detail was so great his designs even extended to doorhandles and handrails, allowing him to have complete control over the building.

KEY DETAIL & MOMENTS (COUNCIL CHAMBER)

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KEY DETAILS & MOMENTS (STAIRCASE)

STAGING

TEA ROOM DESIGN PRINCIPLES TOWARDS CRAFT SCHOOL

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STAGING: NEW APPROACH TO SITE GRIDDING THE SITE

This section of the portfolio looks into further readings of the site.

I looked at a new approach to mapping the site, as shown on the following spread.

I also though it was an important moment to produce a further section looking in the opposite direction down the river.

I feel it is very important to really get to know the site when one is designing.

Context is arguably one of the most important factors to considering when proposing something new for an area. Whether that means a design should fit into the existing context or offer something new is an interesting question to contemplate.

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PARC DE LA VILLETTE BERNAD TSCHUMI

After the Finland trip, I decided to take a new approach to looking at the site.

I looked at the Precedent of Parc de la Villete by Bernard Tschumi. An interesting strategy is taken by Tschumi on the undulating site of the park.

I was having similar issues with the undulating site surrounding the Castle, and so I decided to employ the same technique as Tschumi.

Overlaying a grid onto the site allows for a rational approach to design.

As shown on the following spread, I took the outline of the Castle as the base for the grid I overlayed on to the site. The centre of the grid I produced lies on the South Postern, as this is the key part of my interest on site.

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FOLD-OUT PAGE

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SITE SECTION (LOOKING EAST)

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STAGING: DRESSING THE POSTERN TAILORING THE TOWER

Having explored the site in depth, I decided it was an important point to further consider the craft I had chosen to focus on.

As such I decided to continue the design of my tea house in a similar fashion to the way in which a tailor would create a suit.

There are important elements of the suit making process, from measuring through to completion.

However, when applying these elements to an architectural intervention rather than a suit, the process is somewhat different.

Nevertheless, I thought it would be an interesting endeavour to try to apply these principles to my design work. As with a bespoke suit, the experience of a building is different for each person.

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EXISTING

MEASURE

PROPOSAL

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DRESSING THE POSTERN CONCEPT SKETCHES

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FINAL DESIGN TEA HOUSE TOWER

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STAGING: TEA ROOM TO CRAFT SCHOOL EXPLORING THE TOWER TYPOLOGY

Following on from the Tea House Tower I designed for the Primer project, I have take a similar approach to the start of the design process for the craft school. The site I have chosen to situate the tailoring school is shown here.

The idea is that the street frontage of the tower will provide a tailor’s boutique for the public. Giving the opportunity for a bespoke suit made by one of the live in craftsmen, although there would also be the option to have a suit made by students at a reduced cost. This would also help with the development of the students’ skills.

A more private entrance would be located at the rear of the tower further up the bank. The views from the terrace of the Bridge Hotel are to be preserved.

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CASTLE BANK ACADEMY OF BESPOKE TAILORING NEWCASTLE

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PRESERVING VIEWS (BRIDGE HOTEL TERRACE)

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SAUNA

STUDENT LIVING

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LECTURE

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CAFETERIA

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EXHIBITION

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WORKSPACE

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CRAFTSMEN LIVING

PUBLIC FRONTAGE

TAILOR’S BOUTIQUE

LIBRARY & ARCHIVE

SAUNA

3x WORKSPACE

2x STUDENT LIVING

CRAFTSMEN LIVING

LECTURE

PUBLIC FRONTAGE

CAFETERIA

TAILOR’S BOUTIQUE

EXHIBITION

LIBRARY & ARCHIVE

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THINKING THROUGH MAKING

WORKSHOPS & THINKING THROUGH MAKING WEEK

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JESMONITE CASTING HOLLY HENDRY

As part of the Thinking Through Making workshops available, I learned the process of Jesmonite Casting.

I had seen the work of Holly Hendry in the Baltic art gallery, and so was interested when the opportunity arose to learn from her. The casting workshop proved interesting, and it was good to be able to learn from somebody who use this process as part of their work.

I was particularly intrigued by the opportunity to include aggregate into the cast, as well as being able to segregate different sections of the mould with acetate to allow for different colours of Jesmonite to be used alongside one another.

I was pleased with the outcome of the workshop, I feel the object created works well as a standalone piece.

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WOOD WORKING CARVING & CRAFTING

Following on from the Japanese joinery workshop with Hugh Miller and the wood working session with James Longfield, I decided to continue working with timber as a material.

I have explored the process of carving on a reasonably large scale. As a result, I am in the course of creating a 1:200 model of my site. I find carving a very enjoyable way to get to know the site.

Following on from this, I decided to take a more craft based approach to wood working. Utilising the skills I had developed, alongside the expertise of my uncle, I created a presentation box for my portfolio.

The box is made from oak and incorporates inlays in contrasting walnut. It is also lined with fabric to relate to the craft of tailoring.

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PROCESS PHOTOGRAPHS SAWING, CHISELLING & GLUEING

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HAND CARVED SITE MODEL SCALE 1:200

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PROCESS PHOTOGRAPHS CUTTING, SANDING & GLUEING

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PORTFOLIO PRESENTATION BOX OILING, LINING & FINISHING

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TAILORING

PATTERN MAKING, CUTTING & STITCHING

Having chosen to focus on the craft of tailoring during the Primer phase, I decided to try my hand over the Christmas break.

Utilising the skills I picked up when creating the craft tile for the Primer Exhibition, alongside the knowledge I gained from my auntie (a former seamstress), I created a number of tailored pieces.

Firstly, I created a scarf by piecing together two left over strips of fabric. My auntie expertly showed me how to align and pin the pieces in order to match up the weave and the nap of the fabric before we stitched the elements together. The scarf is also lined and has a fringed edging.

Following on from this, I created a bow-tie and finally made a tailored flat cap.

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PROCESS PHOTOGRAPHS CUTTING AND PIECING

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TAILORED SCARF LINED AND FRINGED

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PROCESS PHOTOGRAPHS PATTERN MAKING & CUTTING

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TAILORED BOW TIE CHECKED FABRIC

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PROCESS PHOTOGRAPHS PATTERN MAKING TO STITCHING

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TAILORED FLAT CAP HERRINGBONE WOOL

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APPENDICES

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INTEGRATED TECHNOLOGY FEASIBILITY STUDY

As part of the design process it is important to consider the appropriate architectural technologies and strategies that would be involved in the building.

This feasibility study provided a useful opportunity to take stock of existing design ideas and further develop the design to the best of its potential.

Having completed the primer phase when undertaking this report it was an interesting chance to explore new ideas for how the programme of the larger scale design project may unfold.

Furthermore, the opportunity to explore structural strategies is important. Studying this in more detail allows one to think of how such strategies may become a design driver.

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NOISE

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N WIND PATH

ANALYSING CONTEXT & SITE SITE AXONOMETRIC

VEHICULAR ACCESS

The site is located on the Castle Bank of the Tyne River, the fact that it is south facing provides optimal opportunity for solar interaction.

PEDESTRIAN ACCESS

Furthermore the site provides the chance to connect the ancient parts of the city; such as the old Castle walls; to the bustling Quayside which has undergone major regeneration.

MASSING STUDIES

ANALYSING CONTEXT & SITE MASSING OPTIONS & ACCESS

When considering massing diagrams, I decided the most elegant solution would be a tower, as this also takes advantage of the potential views.

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ANALYSING PROGRAMME FUNCTIONAL ANALYSIS MATRIX TESTING DIAGRAMS

Lighting lab

19 Research labs, IT Suite

18 3rd Year studios, IT Support

17 The Well, 1st and 2nd Year Studios

Acoustics lab The Roof Strictly no access CAD Suite Networked PCs with CAD and graphics software

Software, hardware and networking issues IT Lab Networked PCs with CAD & graphics software

Drawing Studio Studios Flexible studio spaces for everyday working, tutorials and design reviews. Unrivalled views across the city!

Student Kitchen

16 The Well, Lecture Theatre, MArch/ PGT Studios, MAtLab Seminar Room

15 MArch/PGT Studios, Printing and Plotting Unit, Model Area

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PRECEDENT PROGRAMME ANALYSIS SHEFFIELD SCHOOL OF ARCHITECTURE THE ARTS TOWER GOLLINS, MELVIN, WARD & PARTNERS

The Sheffield School of Architecture is spread across 8 floors at the top of the Arts Tower. Staff and admin located on the lower floors, with learning and making spaces situated above.

The plan is organised around a central circulation core which includes the listed paternoster lift, which is one of the last remaining of its kind still in use today.

MatLab Seminar Room Apple TV The Well Open shared space for events, debates and exhibitions. The only place in the Tower where two floors are opened up

loans, digitalisation service Prototype Lab High quality printing and large-format plotting (prepay swipe system). Other services include: document binding; lamination; mounting of plots onto foamboard/PVC, large format scanning and a 3D Printer

Research Associates / Head of School

13 Reception and

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Graduate School Kitchen Adjacent informal space for exhibitions discussions, meetings

Graduate School

Graduate School Reception

At the centre of the school ‘The Well’ is located, this is the only place in the Tower where two floors are opened up.

This allows a shared space for events, debates and exhibitions

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Similar to the Tamedia Office Building by Shigeru Ban (Shown Right), I plan to include an intermediate space between the facade of the building and the habitable spaces.

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With the main facade of my tower being south facing, this intermediate zone could act as sun space throughout the day time providing a comforting buffer zone between the interior and exterior. Furthermore, the floor planes can act as thermal masses to capture heat energy which would later be released within the building (Diagram Opposite Page).

Parts of the facade can be interspersed with photovoltaic panels (alongside the roof space) to generate energy for use within the building.

ENERGY & ENVIRONMENTAL OPTIONS PASSIVE & ACTIVE SOLAR DESIGN

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ENERGY & ENIVRONMENTAL OPTIONS PV PANELS, SUN SPACES & THERMAL MASSES

INCREASING LIGHTNESS

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In terms of materiality, I am planning to reference the vernacular architecture at the base and the ‘layers of history’.

The idea behind this is to have a heavily weighted base in masonry, followed by a lightweight timber section and culminating in a transparent section towards the top to preserve existing views from the Bridge Hotel.

MATERIALITY, ATMOSPHERE & EXPERIENCE QUAYSIDE TO CASTLE

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TECTONIC & STRUCTURAL OPTIONS ANALYSIS TAMEDIA OFFICE BUILDING / SHIGERU BAN ARCHITECTS

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STUDIO SPECIFIC TECHNOLOGY JAPANESE JOINERY

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Images from Japanese Joinery Workshop with Hugh Miller, Liverpool

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CONNOCK & LOCKIE TAILOR’S WORKSHOP REFIT BENEDETTI ARCHITECTS

APPENDICES

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CIRCULATION PRECEDENT NEW ACCESS TO THE OLD TOWN OF GIRONELLA CARLES ENRICH

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CHARRETTE

MONUMENTS TO THE UTOPIAN VISION OF PETS

The Charrette group I was part of was titled ‘Monuments to the Utopian Vision of Pets’. The brief at the start of the week was to create several large scale sculptures in subgroups.

My subgroup in particular decided to take the idea of a utopian vision of a pet and turn it on its head, in fact making the human the pet.

We decided that the animal we would create a sculpture of would be a spider. We also created a cage for spectators to walk through to experience what it might be like to be the pet of a huge arachnid.

The Charrette process is a great way to begin the year, as it allows people from all year groups to interact on a reasonably large scale design project in a short time period.

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STAGE II DESIGN

DWELLING PLUS & EXPLORING EXPERIENCE

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Shown in this section of the portfolio are some examples of work I developed in Stage II of the Architecture Degree programme.

Firstly, I had a design project based around the idea of ‘social’ housing for the elderly in Leith, Edinburgh.

As part of this I developed an atrium/wintergarden that provided the opportunity for social interaction throughout the day with the use of communal entrance balconies and offset private balconies encouraging conversation across the atrium.

The second project shown is for a cast iron workshop in Berwick-upon-Tweed.

The workshop was to create sculptural pieces, and as such, the architectural design became a sculptural element with the building referencing the process.

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DWELLING PLUS (LEITH, EDINBURGH)

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EXPLORING EXPERIENCE (BERWICK-UPON-TWEED)

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hei

Japanese Symbol meaning ‘Tranquillity’

Tranquillity through Precision

OILOFTROP III EGATS ERUTCETIHCRA AB 81-7102 LLIHAC SEMAJ YRNEH 053172051