ILA C O LLEY • p or tfo l i o o f a r c h i tecture
THE UNIVERSITY OF EDINBURGH, UK (2015 - 2018) BA Arc hitecture with Distinction KADK, Copenhagen, DK (2018 -) MA Political Arc hiecture and Critical Sustainability. N.B. any drawings produced by or in conjunction with others will be labelled as suc h; otherwise assume all wor k is my own
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• S1 | Y 3
Museums in Mews
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model and development
with S. Gomes
• S1 | Y 3
Museums in Mews
Part I of Museums in Mews was a group project (with J. Forde, A. O Olanrewaju, S. Gomes).
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My third year at ESALA constituted two local design projects. Both projects had an ethos of inclusivity, using tectonic communication and visual allusion to recontextualise the legacy of production, as craft, through the performance of the object. The first, Cutting through the Domestic, studies the informality of the home through curating objects chosen from the National Museum of Scotland. This collection’s domestic qualities of use, human scale and their craft, were mapped from formal display cabinets to abstraction into new city-scale containers. Each curational transmutation was represented inside a Kirkcaldy period room from the museum, maintaining structural and organisational domestic indicators.
group drawing: The Kirkcaldy room
autoCAD drafting | sketchup modelling | Photoshop
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group drawing: domestic de-contextualised then re-connected in the studio
• S1 | Y 3
Museums in Mews
Based on the concept of supper as a meeting of each object, an installation-drawing was produced in which earlier configurations of the city as trade district and and in a mobile state of clutter. In the process, the curation becomes a homogenous design to be superimposed onto the site.
10a on the table
exhibits projected
plot as tablecloth
paper folds
folding tablecloth
S. Gomes, supper super
10a mews
10a under f
S. Gomes
CONTEXTS for a COLLECTION
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the collection as a journey through the home are overlaid. Through performing the supper ritual over this drawing, domesticity manifested as created, cultivated
rimposed
fault lines
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group drawing, composed by I. Colley and S. Gomes
a collection of the domestic
TABLE RITUALS
• S1 | Y 3
Museums in Mews
with S. Gomes: folding ritual
with S. Gomes
The site is a contemporary mews building by Richard Murphy architects. Here, the authorship of the museum’s curation is reconsidered, opting for found domestic folding ritual at the end of the supper, the same flux of the lived domestic is introduced along specific fault lines. Key tools are cutting and crutch. Floors and walls the interrupted cellular format of the house and held together by an armature that suggests the interdependence of household rituals, a complexity behind the sa
CURTAIN [UN]FOLDS
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c objects within this found architecture. The modern domestic re-interprets the exhibit: the profane becomes sacred in its contextual necessity. Taking cue from the s are removed before returning integrity to the building through individual structures derived from the folding drawings. The new collection is hung out to dry over acred chaos of home.
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HOUSE:CRUTCHED
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• S2 | Y 3
Re-Tuning the Warp at Prestongrange
In my S2Y3, Retuning the Warp at Prestongrange, the tectonics of a post-industrial colliery are enc through their ghostly imprint before being refuelled; the large circular footprints of brick kilns bec
urren t] and c storic re [h i to for esho arged disch treat ed w aste
Re-Tuning the Warp at Prestongrange
Collier Laddie: scots mining tune
• S2 | Y 3
Levenhall spoil lagoons
cke
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countered in a dormant phase: lacking motion, sound, purpose and human instruction. Toward re-engaging these mannerisms onsite, its ruinous remains are explored come pools that plug into a historic network of waste pipes.
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colliery Cornish beam engine w at er re m ov al ro ut e
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osed sa usin ltwate r g ro ute collect i of o ld h on from arbo ur foresho re
ef dy
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clean soak
drain
prepare dye vat
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4. wind up hank 9. wind down hank
er
at
8. add dye [turmeric] 7. add boiling water
5. squeeze excess 6. drain clean water
I adopted a focused machine mannerism in textile production, re-engaging the threads of the industrial revolution. The mechanics of looms, spinning and dyeing centre for co-operative manufacture, while referencing historic and recent stitching traditions at Prestongrange. The intense upwards and downward motions of th and the continuous textiles from three vertical looms.
W E AV I N G | D Y E I N G | D RY I N G
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dye and stir
12. wind up hank
10. stir vat often
11. replace handle
translate the colliery’s winding and signalling into an artisanal language of pattern movement. Seeking to elevate the site from its contamination, I developed a he former mine shaft and chimneys is memorialised in a network of sunken yarn-dyeing cones and the tapestry display towers that culminate the production series
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CRAFT MANNERISM
• S2 | Y3
Re-Tuning the Warp at Prestongrange
Interconnected routes present my intervention as a machine, tooled by people and manual devices from the dyehouse on the circular kiln grid, over the festival plaza, to the studio that sits into the hi
tapestry studio
display towers
spinning
festival plaza drying
y wa
g
in dye
alk ic w
l
pub
saline uptake for dyeing, ground source heating, marine outfall partially filtered
circulation
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s for dyeing, drying yarns, spinning, transporting, indexing and weaving, while a public walkway creates a theatrical dynamic, winding between each process illside. After reclaiming and re-investigating the earth, vertical loop ground source heating is proposed for the high heat consumption in dyeing and drying.
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sunlight: slatted on eastern face curved forms shelter tapestries from direct light
studio & tapestry towers
UV filter glazing
tapestry exposure: max. 50 lux
yarn routes
production | exhibition
DYE
mugginess lowered heat dissipates up 12m volume extraction at 5m before dew point
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r th
tem
pe
ra t
ure 10
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°C
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°C
buildings are temperature and humidity stabilised through their tall, earth sheltered forms, with built in mechanisms for cross ventilation and wind scoops. In summ upper levels integrate air flow into production the sunken layer employs water in dyeing and filtration.
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D RY
weaving & walkway
tapestry hoist
pr
ed
om
ina
nt
SW
[N
E]
wi
nd
[s]
c ha
nn
spinning & storing ell
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thr
ou
gh
ho
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ryi
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ro o
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dyeing colour zones
mer, yarn drying is lifted outdoors, while the acoustically variegated drying rooms host performances and seminars. As the
9 drying rooms
• S2 | Y 3
Re-Tuning the Warp at Prestongrange
The design responds to damaging practices of dumping spoil locally, developing a new network o thus ensuring marine outfall is safe for local wildlife. The dyehouse retains the brick the spinning wheel, the gurgle of pipes, the clink of the loom.
yarn stored at 18 °C, <50% humidit
son
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YA R N L I B R A RY
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of pipelines to use the pre-mordanted seawater for dyeing and a central filtration plant and drains to process plant dyewater and iron-contaminated runoff, k of the colliery and kilns, creating acoustically similar spaces and these continue to involve staff and visitors in the siteâ&#x20AC;&#x2122;s industrial history through the hum of
gridded
ty
pressed
ath
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ere
dy ar n
braced
sonic
S P I N N I N G S TAT I O N
Re-Tuning the Warp at Prestongrange
â&#x20AC;˘ S2 | Y3
Retuning the Warp at Prestongrange also addresses the highly deprived areas near the former colliery, hoping to engage the local community in its ar
BUILT MANNERISM
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dyeing
drying
drying spinning
rtisanal enterprise while the archiving of local songs and stories inform collaborative tapestries and build positive personal histories of Prestongrange.
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P E R F O R M AT I V E O B J E C T
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â&#x20AC;˘ Y 2 & Y1 a selection of design & technology work
â&#x20AC;˘ S1 | Y2
form finding
The process of designing for an architecture school began individually with rapid models for form-finding within the context of a disused industrial courtyard. Specialising my casting skills, I developed a series of interconnection designs that related to existing desire lines on-site and represention of the predominant pathways of a school. These paths reworked the theme of steps in the steep old town by creating an amphitheatre form.
Other models created a maze-like spatial density reflecting the various tasks and their need for thinking room. Various themes were established, such as void as opportunity and its interuption as a bridging device.
spines
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form and facade
city tectonics, urban tread
spaces
• S1 | Y 2
an architecture school
brief: The main task of this course was the design of an architecture school in Edinburgh. Precedent use, site analysis, including the social and cultural makeup of the school population, were all to feed into the design.
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response: This group project (with S. Draskovik, J. Brookfield, S. Gomes, R. Zhang) had an introspective brief, first demanding interrogation of the practices and spaces that comprised our own school. Our response was an ethos that manifested in adaptable spaces with visual interaction that would relax the pin-up concept through continuous display of progress work. Our first collaborative project, this was a chance to discover where we felt comfortable in a team structure. I worked to ensure that all members felt they had a voice, and that this participation was enjoyed; design ‘democracy’ led to intense programmatic discussion that contributed to our understanding of the multiplicity of approaches that could naturally inhabit our school. After experimenting with form through quick physical modelling with our Edinburgh site, we pursued a gridded and “scooped” plan that created indoor and outdoor studio and display zones and encouraged motion between boundaries. We were interested in maintaining site circulation routes while forging new ones to allow interaction between the various actors. A concept of tunnel and void motivated gathering between the two open-plan zones (exhibition East wing, study West wing).
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1:1000 | 1:500
plans by myself, S. Draskovic, J. Brookfield
autoCAD drafting | sketchup & V-R | structura
• S2 | Y2
Castle timber pavilion CONNECTIONS
COLUMN FOUNDATION CONNECTION
LOOKING TO AN INNOVATIVE HIDDEN JOINT PRECEDENT, THIS CONNECTION USES ROUTED HEXAGONAL POCKETS FOR THE BOLT HEADS INTO END OF BEAM, MEANING THE COLUMN SITS SEAMLESSLY ON THESE AND THE BOLTS AND STEEL PLATE ARE NOT VISIBLE. A CONCRETE PAD OF MINIMUM DEPTH 150 mm IS CAST EXACTLY TO SHAPE OF RUIN BELOW (WHERE WALKWAY IS OVER RUINS). THE M12 THREADED BOLTS ARE LONG ENOUGH TO PENETRATE THROUGH BOTH CONCRETE PAD AND INTO STONE BELOW FOR STRONGER CONNECTION. THE BOLT SPACING ON PERIMETER IS DEFINED BY A 5 X DIAMETER DISTANCE FROM BOLT TO EDGE, THUS MINIMISING THE VISIBLE CONCRETE EDGE WITHOUT COMPROMISING THE INTEGRITY OF THE CONCRETE PAD.
brief: Design of a lightweight timber structure that includes a viewing CONNECTIONS walkway and a pavilion, visually “stitching” CLADDING FOUNDATION CONNECTION the medieval past of Dirleton castle and restoring the original impression of the ILA COLLEY volume of the area. This group project (with G. Jiang, J. Brookfield and G. Klefti) demanded a holistic undertsanding of a timber frame structure and communication of a final design through detailed connections, axonometric drawings and a series of HERE THE THREADED STEEL calculations to confirm the stability the BOTH RODSof PENETRATE CONCRETE FOUNDATION walkway and pavilion. (FULL 150mm) AND STONE
195mm x 195mm OAK COLUMN 12mm DIAMETER, 200mm LONG THREADED STEEL BOLTS 15mm THICK GALVANISED STEEL T PLATE, RISING 150 mm INTO COLUMN 14mm DIAMETER STEEL DOWELS FLUSH AT 195mm LENGTH
60MM X 120MM LARCH
JULIA BROOKFIELD
GEORGIA KLEFTI SLAT
GINA JIANG
37.5MM X 37.5MM X 30MM MORTISE 15MM DIAMETER, 500MM LENGTH THREADED STEEL RODS 3MM THICK GALVANISED STEEL PLATE 150MM MINIMUM DEPTH OF CONTINUOUS CONCRETE STRIP
BELOW (50MM), FIXED WITH EPOXY RESIN, WHILE
ALSO DRILLED INTO Looking at historic plans of theARE building THE SLAT ABOVE 300mm TO PROVIDE EXTRA VERTICAL helped relate our intervention to the historic RIGIDITY TO THESE SLENDER TIMBER ELEMENTS. narrative of the castle’s original spaces. We THE ROD IS BOLTED AT THE MORTISE (WITH PLATE decided that the best way of showcasing WASHER) AND THIS VOID CAN with BE CLOSED the ruins would be to contrast them a WITH TIMBER PLUG. OVERALL THE CONNECTION relatively thin structure, with primary andSEEKS TO RESIST LATERAL AND UPLIFT secondary beams in the same plane, flush. LOADS WHICH WOULDCONNECTIONS
USUALLY BE RESISTED BY CLADDING TO BEAM CONNECTION LARGER TIMBER MEMBERS.
ILA COLLEY
AT PEAK WALKWAY HEIGHT WITH HIGH POINTS OF CLADDING, STANDARD SAWN LENGTHS OF LARCH ARE INSUFFICIENT (HIGH MAXIMUM 5m). TWO SLATS JULIA BROOKFIELD WILL BE NEEDED AND WILL MEET AT WALKWAY LEVEL AND CONNECT BY MEANS OF A WELDED GALVANISED W PLATE (EXPLODED HERE FOR EASE OF VIEW). TO RESIST IMPOSED FORCES (I.E PEOPLE LEANING, WIND) IT MAY BE NECESSARY TO INSTALL STEEL CONNECTORS BETWEEN CLADDING SLATS HIGHER UP ALSO.
GEORGIA KLEFTI
For the pavilion, we chose to continue the timber structural grid, adding glazing and steel elements at openings and in the roof. We formulated a design for a sculpture AFTER CONSIDERING gallery encircled by a stair that brings users A LESS VISIBLE T PLATE CONNECTION, WE from walkway to floor level. Light, pattern BECAME AWARE THAT INSERTING A STEEL PLATE and movement are all designed around WOULD JEOPARDISE THE STRENGTH OF THE TIMBER, the idea of inwards and outwards views. ESPECIALLY WITH SUCH THIN SLATS. THEREFORE, The glazing follows this idea. The pavilion WE OPTED FOR A PLATE THAT ENCASED THE walls invert the pattern of the walkway SLAT AND WOULD HAVE INCREASED RESISTANCE intervention, which rises from the broken TO WIND LOAD. THOUGH CONNECTIONS VISIBLE, THE FREQUENCY line of the ruins, by making the incremental PRIMARY TO SECONDARY BEAM CONNECTION AND DEPTH OF SLATS WOULD MOSTLY HIDE downwards outline transparent and all ANY METAL. above opaque. ILA COLLEY
Alongside design conception, my role was to detail the walls and related joints: cladding system, air, water and insect infiltration, durability of wood depending on itsTO THE ADDING TRADITIONAL NOTCHED arrangement and fixing, rainscreen, glazing BEAM CONNECTION, WE USED A COWLEY detail. CONNECTOR TO PROVIDE
TENSION OVER THE JOINT, INCREASE RIGIDITY AND PROTECTING AGAINST THE IMPACTS OF SHRINKAGE AROUND THE NOTCH. THIS CONNECTION PROVIDES A FLAT, UNINTERRUPTED PLANE FOR DECKING TO BE LAID AND FROM BELOW THERE ARE ABSOLUTELY NO METAL FIXINGS VISIBLE.
GINA JIANG
195mm x 100mm OAK PRIMARY BEAM 60mm x 120mm LARCH SLAT 3.5mm PLATE IMPRINT (ROUTED OR LASER RASTER) 3.5mm GALVANISED STEEL U PLATE 8mm DIAMETER, 40mm LENGTH STEEL SCREWS 13.5mm NOTCH INTO CLADDING SLAT 6mm DIAMETER, 70mm LENGTH ZINC PLATED CROSS DOWEL BOLTS
JULIA BROOKFIELD
GEORGIA KLEFTI
PRIMARY BEAM TO SECONDARY BEAM CONNECTION (COWLEY CONNECTOR) 195mm x 100mm OAK PRIMARY BEAM
GINA JIANG
35mm x 60mm (x 100mm) NOTCH PLATE IMPRINT (ROUTED OR LASER RASTER ENGRAVED) 10mm DIAMETER, 200mm LENGTH THREADED STEEL BOLT (37.5 mm INTO BEAM) 2.5mm THICK GALVANISED STEEL U PLATE SLIT INTO 195mm x 100mm SECONDARY BEAM / JOIST FOR TIGHTENING INTERNAL BOLT HEAD.
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Ray rendering al calculations
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site
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â&#x20AC;˘ s u mmer | Y2
extra-curricular
Addressing the limited home study space that was going to be available for my 3rd year, alongside the limited space of my removal tra sheet of 12mm birch plywood as cost, space and weight minimising, I experimented with various designs that incorporated a suit-case styl with tenons on the legs. A central concern was that the desk needed to be transported in a compact form that could easily be assembled that had a plethora of power tools but no CNC. The final design was put together under high time pressure for fabrication: one week. I top and fixed through the edges using bolt and wingnut, allowing reassembly by hand. During the project I used various power tools sup sourcing of material and workspace provided an insight into the trade practice of local joiners.
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sketchup & V-Ray rendering | material sourcing | workshop skills
ansport, and the various individual study rituals I'd developed, I decided to design and make my own desk. Restricting myself to a signle le tabletop. Two A4 drawers and a central shelf separates written documents from varied design media, while in initial designs interacted d on the other side without specialist tools. A fully dry-jointed interlocking design idea was dismissed when a workshop space was offered It consisted of a box-style top with drawers (assisted fabrication by workshop owner Paul Speight) and T legs which are aligned to the pervised and unsupervised and became aware of various aspects of standard joinery that had been absent from my design process. The
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• S2 | Y 2 a library: a puzzle place
The puzzle library, an individual project, is a place of making and solving. In this duality, and its overlap, it becomes a place of exchange. Routes are sensitive to the spatial psychologies of these two roles, giving direction and orientation as ‘clues’ to solvers while letting makers stumble upon or forge their own way. The library is a thing of movement: puzzles moving and people. Main routes and secret passages create an environment of gameplay in which users have the autonomy to change their role or route within the flexibility of internal structures. And, between these complexities, rules of play are expressed through the building’s own pattern language and its continuation of the site conditions around it. Taking cue from Rome’s scars - its endless happen-upon pits full of relics and ruins - the puzzle place poses as a library of knowledge, something to be rediscovered.
reliquary
circles of the unsolved
autoCAD drafting | graphite and watercolour rendering
workshop: mend and make
the exchange
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â&#x20AC;˘ S 2 | Y 2 a library: a puzzle place
This underground library sought to continue the spirit of a marketplace and playground above. The ascent-descent and various adaptable elements, such as the exchange steps, mimic both playground structures and the pop-up stalls. The interactive motion of puzzles and people in a guided openplan programme is like a scaled version of the enactments occuring in Piazza di san Cosimato. Like the square, the library presents as a found space that hosts anyone who passes through. Earlier collaborative methods acutely influenced my individual style of work; I found that my approach to early design descisions was aided by a regular personal pin-up, whereby the process of cataloguing and arranging would help determine interesting motifs and others would have opportunity to comment or intervene into my display.
maquettes | inhabitation drawings | storyboarding | pin-up method
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â&#x20AC;˘ S2 | Y 2 a library: a puzzle place
The roles in the story of a puzzle place are two: the solver/interpreter and the creator/wanderer. These two users find themselves entering the building in different ways and follow a route that suits their intuition. The interpreter follows the â&#x20AC;&#x2DC;mastâ&#x20AC;&#x2122; building to find themselves in a reliquary of unsolved puzzles that leads them down through stages of relfection, interaction and exchange on the way to puzzle-solving. The wanderer stumbles upon a doorway hidden behind the market stalls that carries them down onto the slope of the solved puzzles that serve as precedent for their design and making of a new puzzle to add to the ever-changing library.
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These role/rules are the same parameters of a puzzle itself in which there is a set of valid moves. These are also indicated by the specific zones from unsolved to solved, study to exchange and conversation.
puzzle reliquary
autoCAD drafting | storyboarding | sketchup rendering
solving
puzzle
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study
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â&#x20AC;˘ S2 | Y1
Strangely Familiar: House for a Baker
brief: This domestic project considered both profession and family rituals within one building. It also advocated a sensitivity to an urban context and provided the ideal vessel to culminate the collected understanding of common ritual architecture explored in earlier weeks. response: Working with context, here a quiet mews plot near a large city park, I considered how a business expresses itself in a city, how a trade is expressed by an individual, and how a home is made by a family. Designing for a baker proposed investigation into a strict daily schedule and the relation of professional ritual with domestic. As this unit had a focus on assemblage of architecture: concept was driven by environmental and structural analysis. I settled on the parti of a chimney, both as symbol of domestic in a community and as thermal mass, sharing heat from the bakery to the household and cafe. The house is organised along the axis of a primary bearer, using this as hierarchial tool for privacy and function while also indicating the progression of south-facing family zones to dining and reading zones in the more sheltered north-western corner.
isometric: domestic and cafe communication cores
hand rendering | environmental analysis
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roof plan at mews end
shadows, light, heat
â&#x20AC;˘ S2 | Y 1
Strangely Familiar: House for a Baker
dark: family light: public
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The overall composition of this project was dictated by the level of interaction between the two typologies and the idea of sacred vs shared spaces. Even within these areas I incorporated a sense of involvement, for example the stepped approach to the first floor cafe is both intimate and reminiscient of a more closely intertwined urban environment, but also allows customers to overlook the pastry-making process as they ascend. Other glazed or transparent areas allow the motions of the bakery to echo into the house and vice versa while maintaining buffers. Alongside a detailed program, I modelled various small-scale methods of dealing with the constraints of the site, including a dumb waiter system whose movements can be seen rising up and down the â&#x20AC;&#x2DC;chimneyâ&#x20AC;&#x2122; from the street. I enjoyed applying new structural understanding and the concept of baked module being expressed through material modularity, and bringing human inhabitation to this highly individualised brief.
hand rendering | detailed planning
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ground plan
first floor plan
â&#x20AC;˘ Y2 - Y3
Model-making and exhibition curation has been one of my strengths throu alongside a final design proposal. Iâ&#x20AC;&#x2122;ve worked both with abstract form-find
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ughout my studies. Iâ&#x20AC;&#x2122;ve enjoyed this form of representation both for its intuitive malleability, but also the rigour with which tectonics can be demonstrated ding and constructing final exhibition pieces, using the metal, wood and plaster workshops as well as delicate hand-crafting.
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