CONTENTS-
ANALYSIS-
DEFINING MASS-
REFINING MASS-
STATEMENT OF INTENT - 1.0
EDITING THE VIEW - 2.1
IN BRIEF - 3.1
HISTORY - 1.1
ONE - TO - TWO - HUNDRED - 3.2 PRECEDENT STUDY - 2.2
INTERIORS 3.3
PRECEDENT - 1.2
5 POINT PLAN OF ACTION 3.3
SERIAL VISION - 1.3
APPENDIX
SPACE CRAFT - 1.4
STATMENT OF INTENT 1.0 I WILL BE UNDERTAKING A PROJECT TO DESIGN A NEW LIBRARY. MY SITE WILL BE THE QUARRY PARK IN SHREWSBURY WHICH BORDERS THE RIVER SEVERN AND NEIGHBOURS AN ECLECTIC ARRAY OF ARCHITECTURAL STYLES IN THE MEDIEVAL TOWN CENTRE. I WILL BE EXPLORING ITS CULTURAL HERITAGE, CONTEXT AND HISTORICAL ARTEFACTS IN RELATION TO SHREWSBURY. I AM TO INTERTWINE THE PAST PRESENT AND FUTURE THROUGH THE CREATION OF SPACE RESPONSIVE TO ITS CONTEXT AND DESIGN WHAT IS A 21ST CENTURY LIBRARYFOR THE LIVE CLIENT OF SHREWSBURY TOWN COUNCIL,
900
Shrewsbury was so called a ‘village’. It is protected by a ditch with an earth rampart and a wooden stockade.
1000 1200
1200 1300
A majority of buildings were constructed by woods. Thatched roofs were common. The first Market House in the town was built of bricks in the 1260s. In the 13th century stone walls
VICTORIAN
GEORGIAN
STUART
PLANTAGANET
NORMAN
ANGALO SAXON
HISTORY 1.1
THE PROJECT BEGAN WITH THE WHOLE ATELIER CONDUCTING GROUP ANALYSIS OF SHREWSBURY. I FOCUSED PRIMARILY ON THE HISTORY AND DEMOGRAPHICS OF SHREWSBURY AS THE CLIMATE IS TEMPERATE AND TRANSPORT IS BECOMING DECENTRALISED AS PART OF THE BIG TOWN PLAN.
1500 1600
1700
Many timber-framed buildings were built, especially houses. Some important buildings like the Market Hall was built with stones.
1797
Most bridges were built in this period, and due to the Industrial Revolution, iron began to play an important role in construction of rails, bridges, boats and buildings.
1800
Shrewsbury Flaxmill opened. First ever iron-framed building and is seen as the worlds first skyscraper although it is only 5 story high (Grade 1 listed building). It is currently being restored.
TO PAY HOMAGE TO SHREWSBURY’S HISTORY DOES NOT IMPLY RECREATING STYLES ENTIRELY BUT MERELY HINTING AT ITS PAST DESIGNS. THE USE OF MATERIALS IN SHREWSBURY HAVE BEEN DEFINED BY THE TECHNOLOGY OF THE ERA. MODERN DAY CONSTRUCTION CELEBRATES GREEN DESIGN METHODS WHICH REUNITE THE INTERIOR AND EXTERIOR.
More bridges were constructed, using wrought iron and combing other industrial materials.
DEMOGRAPHICS THERE ARE 71,715 PEOPLE IN SHREWSBURY AND THE DEMOGRAPHIC RESEARCH HAS SHOWN THAT THE MAIN PERCENTAGE OF THE POPULATION OF SHREWSBURY IS OVER 50, HOWEVER THE LIBRARY WILL NOT BE PRIMARILY AIMED AT ANY PARTICULAR AGE GROUP. IT WILL BE A PLACE TO WORK, REFLECT, SOCIALISE, CREATE AND CELEBRATE. WHO IS A LIBRARY TRADITIONALLY FOR? HISTORICALLY THE PRIMARY PURPOSE OF THE PUBLIC LIBRARY IS TO PROVIDE RESOURCES AND SERVICES FOR INDIVIDUALS AND GROUPS FOR EDUCATION, INFORMATION AND PERSONAL DEVELOPMENT INCLUDING RECREATION AND LEISURE. THE DEVELOPMENT OF THE INFORMATION INDUSTRY HAS BROUGHT ABOUT ELECTRONIC BOOKS AND RESOURCES AND SO A LIBRARY AS AN ARCHIVE OF BOOKS IS NO LONGER NEEDED. SHREWSBURY HOUSES MANY EDUCATIONAL ESTABLISHMENTS AND SO A MAIN HUB FOR WORKING IS NEEDED FOR THE DEMOGRAPHIC OF 10-29 YEARS.
53%
64%
5%
50 - 89 YEARS
30 - 49 YEARS
10 - 29 YEARS
EDUCATIONAL ESTABLISHMENT
64%
0 - 9 YEARS
HISTORY OVER TIME SHREWSBURY HAS DEVELOPED IT ROADS AND PEDESTRIAN ROUTES EXPANDING FURTHER OUT AS THE URBAN GRAIN EXPANDS. THE 1611 LAYOUT OF SHREWSBURY TOWN SHOWS THE MAIN ROUTES WITHIN THE CITY WALL. THE 1880S MAP SHOWS THE LAYOUT OF SHREWSBURY TOWN SHOWING THE DEVELOPMENT OF ROADS AND INTRODUCTION OF THE RAILWAY DURING THE INDUSTRIAL REVOLUTION. THE QUARRY WAS ORIGINALLY AN OPEN-FIELD LAND. BY THE END OF THE MIDDLE AGES IT WAS USED FOR GRAZING, TEXTILE DRYING AND FOR GETTING STONE. URBAN PARKS WERE USED FOR HEALTH PURPOSES DURING THE INDUSTRIAL REVOLUTION, REFERRED TO AS ‘THE LUNGS OF THE CITY’. IN 1719 HENRY JENKS, THE MAYOR, FUNDED THE PLANTING OF OVER 400 LIMES ALONG NEWLY LAID OUT WALKS BY THOMAS WRIGHT. ONE, 500M LONG, RAN ALONG THE RIVER BANK, A SECOND SKIRTED THE TOWN WALL, AND A THIRD LINKED THEM. BY THE 1740S THERE WERE SIX NAMED WALKS IN 1875 THE SHREWSBURY HORTICULTURAL SOCIETY HELD ITS FIRST SHOW IN THE QUARRY AND TO THE PRESENT DAY THE QUARRY REMAINS SHREWSBURY’S MAIN PARK, AND THE ANNUAL VENUE FOR ITS CELEBRATED FLOWER SHOW.
1611
1880’s
FOLLOWING ON FROM THIS INFORMATION AND THE FACT THAT ONE OF THE THEMES OF THE ‘BIG TOWN PLAN’ IS DECENTRALISING TRAFFIC AND IMPROVING PEDESTRIAN ROUTES, I WILL BASE MY DESIGN ACCORDING TO THE CONTINUATION AND EMPHASIS OF PEDESTRIAN ROUTES. THE QUARRY HAS ALWAYS BEEN A COMMON GROUND FOR THE TOWNSPEOPLE AND SO THE LIBRARY MUST BE AVAILABLE TO ALL AGES, GENDERS, RACE AND INCOMES. IF OVER TIME THE ROUTES OF THE QUARRY HAVE APPEARED AND INCREASED WHAT CAN MY 21ST CENTURY LIBRARY BRING? THE RED DASHED LINE SHOWS THE ROUTE FROM THE TRAIN STATION, THROUGH THE COMMERCIAL AND RESIDENTIAL DISTRICTS OF TOWN TO ONE OF THE POTENTIAL SITES OF THE LIBRARY PROJECT, THIS IS A VERY INTERESTING OPPURTUNITY AS THE ROUTE TO THE QUARRY FROM QUARRY PLACE IS MAINLY UNUSED - PREVIOUSLY BEEN DEDICATED FOR THE ELITE LIVING ON QUARRY PLACE- THE LIBRARY COULD AIM TO EXTEND THE TOWNS URBAN GRAIN THROUGH QUARRY PLACE INTO THE PARK.
HISTORY Library Museum/ArtGallery Schools/Colleges University Nursery ReligiousBuildings
RIVER FLOOD ZONE 1 FLOOD ZONE 2 FLOOD BARRIER
THE GRID FOLLOWS THE MOVEMENT OF PEDESTRIANS FROM THE CENTRAL AXIS OF THE TOWNS MARKET SQUARE. ST. CHADS DISRUPTS THIS GRID AND IS ORIENTATED NORTH-SOUTH POSSIBLY TO UTILISE SUNLIGHT.
THE TOWN OFFERS MANY RECREATION AND EDUCATION FACILITIES, HOWEVER ONLY ONE LIBRARY SUITABLE FOR NO MORE THAN 200 PEOPLE. THE FLOOD ZONES IN SHREWSBURY ARE IMPORTANT AS THE PRESENT AND FUTURE GLOBAL CLIMATE CRISIS WILL WORSEN THE FLOODING POSSIBLY AFFECTING THE LIBRARY.
PRECEDENT 1.2
AS I WALK THROUGH THE GARDEN TOWARDS THE LIBRARY I CATCH A GLIMPSE OF THE RED SANDSTONE OF THE CASTLE OPPOSITE. I AM CONFRONTED WITH A STATUE OF CHARLES DARWIN (A FORMER STUDENT FROM WHEN THE LIBRARY WAS SHREWSBURY SCHOOL), BEHIND IS AN ARCHED TUNNEL LEADING ME INTO THE COURTYARD WHICH BLURS THE BOUNDARIES FROM THE TOWN INTO THE LIBRARY. SHREWSBURY LIBRARY IS A GRADE 1 LISTED BUILDING AND HAS CHANGED FUNCTION THROUGHOUT TIME FROM A SCHOOL TO A LIBRARY. THE BUILDING IS VERSATILE AND CREATES A SUCCESSFUL THRESHOLD FROM INTERIOR TO EXTERIOR. HOWEVER, THE PUBLIC (RED) AND PRIVATE (BLUE) CREATE A DISORIENTATING ATMOSPHERE AS THE PRIVATE OFFICES AND MEETING SPACES ARE SANDWICHED BETWEEN THE PUBLIC FLOORS. THERE ARE LOCKED DOORS BESIDE ENTRANCES TO READING ROOMS AND VERY LITTLE SPACE TO ACTUALLY WORK. THIS IS PROBABLY DUE TO THE SHALLOW PLAN OF THE BUILDING NOT BEING ABLE TO HOST AN APPROPRIATE PROGRAMME FOR A PUBLIC AND PRIVATE BUILDING. FROM STUDYING THE EXISTING LIBRARY I HAVE NOTED THAT THERE NEEDS TO BE BETTER FACILITIES FOR STUDYING AND A CLEARER DIVIDE BETWEEN PUBLIC AND PRIVATE WITHOUT COMPLETELY SEGREGATING ONE FROM ANOTHER. I PLACED THE PLAN ONTO SITE 3 TO HELP UNDERSTAND THE SIZES OF SPACES THAT ARE CURRENTLY IN PLACE AND HOW TO ALTER THEM APPROPRIATELY.
MEETING ROOMS, LIBRARY STORE AND OFFICES (NOT PUBLIC) TWO LIBRARY READING ROOMS, 10 TABLES IN TOTAL
1
2
RECEPTION AS YOU ENTER WITH CHILDRENS AREA AND COMPUTERS
BOOK STORE, BOILER ROOM, ONE TOILET FOR THE WHOLE LIBRARY!
-1
0
THE HISTORY OF PUBLIC LIBRARY DESIGN IS ENTIRELY RELATED TO THIS CHALLENGING DUAL REQUIREMENT: TO MAINTAIN COLLECTIVE ORDER WHILE OSTENSIBLY ENCOURAGING INDIVIDUAL EXPLORATION. THE VICTORIAN ROOTS OF THE PUBLIC LIBRARY AIMED TO PROVIDE ACCESS TO PRECIOUS BOOKS WHICH MIGHT BE SAFELY SHARED AMONG AN EXPANDING AND DIVERSE GROUP OF PEOPLE. ALDO ROSSI STATES THAT TYPOLOGY IS A TOOL FOR ANALYSING ARCHITECTURE AND AS TECHNOLOGICAL CHANGE HAS RADICALLY CHANGED THE REQUIREMENTS OF THE 21ST CENTURY LIBRARY. THIS TYPOLOGY IS BECOMING WARPED, AS THE DIGITISATION OF INFORMATION BECOMES AVAILABLE, THE ARCHTECTS MOTIVE IS NO LONGER TO HOUSE AN EVER EXPANDING COLLECTION OF BOOKS BUT TO CREATE A HEALTHY SUSTAINBALE ENVIRONMENT FOR WORKING, PLAYING AND LEARNING. THROUGHOUT MY RESEARCH INTO TRADITONAL LIBRARY TYPOLOGY I HAVE FOUND THAT BEING ABLE TO SEE ACROSS THE LIBRARY IS KEY TO DESIGN AS IT CREATES A SOCIAL SPACE ALSO APPROPRIATE FOR PRODUCTIVITY.
SERIAL VISION 1.3
GORDON CULLEN BELIEVES THAT CITIES SHOULD BE DESIGNED FROM THE POINT OF VIEW OF MOVING PEOPLE SINCE RESIDENTS “APPREHEND URBAN ENVIRONMENTS THROUGH KINESTHETIC EXPERIENCE”1 (GORDON CULLEN, 1961, 118). GORDON CULLEN (1961) ALSO RAISED THE IDEA OF “SERIAL VISION”, WHICH MEANS PEOPLE CAN EXPERIENCE A REVELATION OF VIEWS WHILE WALKING ALONG THE STREETS AT A UNIFORM PACE. SERIAL VISION ILLUSTRATES A SEQUENTIAL ANALYSIS OF THE URBAN FABRIC: MOTION, POSITION, AND CONTENT WHICH IS PROMINENT IN SHREWSBURY’S NARROW WINDING MEDIEVAL STREET PLAN. 1.
6.
2.
7.
3,
8.
1 “The Concise Townscape : Serial Vision”, Gordon Cullen, 1971.
1. 2. 3, 4.
THIS VIEW CAUGHT MY ATTENTION BECAUSE IT FRAMES THE VIEW OF THE ARRIVAL INTO QUARRY, THE PALE GREEN IRON STRUCTURE OF THE BRIDGE CREATES A GRAND ENTRANCE COMPLIMENTING THE PARK.
5.
6. 8.
7.
9. 10.
THERE IS ACCESS TO THE QUARRY THROUGH THE PRIMARY RESIDENTIAL AREA OF QUARRY PLACE. THIS ROUTE IS INTERESTING BECAUSE IT FOLLOWS THE AXIS FROM THE TOWN CENTRE AND THERE HAS BEEN EFFORT TO CREATE A GRAND ENTRANCE TO THE QUIETER SIDE OF THE QUARRY.
4.
9.
5.
10.
SERIAL VISION
‘ AS I LOOK ALL DOWN HILL AND SLANTWISE AT THE STRANGEST BLACK AND WHITE HOUSES, ALL OF MANY SHAPES EXCEPT STRAIGHT SHAPES’ 1
- CHARLES DICKENS 1858 THERE IS AN ENDEARING QUALITY TO THE WINDING NARROW STREETS OF SHREWSBURY WHICH IS A COMMON THEME IN MY SERIAL VISION. THE LIBRARY COULD IMITATE THE LOCAL VENACULAR.
1
1.
6.
2.
7.
3.
8.
4.
9.
Excerpt of letter from Charles Darwin to his daughter
4.
3.
THE TOPOGRAPHY OF VISION NUMBER 1 INTRIGUED ME BECAUSE OF THE TOPOGRAPHICAL INCLINE, IT CREATES A FOCAL POINT WHICH SPARKS CURIOSITY TO FIND OUT WHAT IS NEXT IN THE SEQUENCE.
5. 2.
1.
6.
10.
7.
8.
9.
THE TOPOGRAPHY OF VISION NUMBER 8 INTRIGUED ME BECAUSE OF THE MONUMENT. IT ACTS AS A LANDMARK SLIGHTLY PEERING ABOVE THE TREES TO MAKE PEOPLE AWARE OF IT, CLEVERLY ENCOURAGING PEDESTRIANS INTO THE PARK COMING FROM WYLE COP. IF THIS STATUE WASNT HERE WOULD THE ROUTE INTO THE QUARRY BE LESS SUCCESSFUL?
5.
10.
SPACE CRAFT 1.4 SITE 1 1488m ² 15m
(average surrounding building height)
0m -2m
SITE 2 1200m ² 30m
(average surrounding building height)
0m -2m
9m
SITE 3 1500m ²
(average surrounding building height)
0m -4m
FOR SPACE CRAFT I WORKED WITH THREE OF MY COLLEAGUES TO CONDUCT A THOROUGH ANALYSIS OF THE QUARRY AND THE THREE SITES WE HAVE BEEN GIVEN TO CHOOSE FROM. WE AGREED ON THREE CHANGES TO THE SPACE THAT DEAL NEGATIVE ATTRIBUTES TO THE SITES.
SPACE CRAFT
“Form is bound, functions change”1 Aldo Rossi //Structure of Urban Artifacts “Our cities are founded in creative destruction” 2
Schumacher //Contextualism ”Real cities have been shaped by the accumulation” 3
Rowe // Collage city
PRISON
STATION
CASTLE HIGH STREET
SWIMMING BATHS
THE SQUARE
THE ABBEY WYLE COP
LANDMARK EDGE
SHREWSBURY SCHOOL
THE QUARRY
MAJOR DISTRICT MINOR DISTRICT PEDESTRIAN PATH VEHICLE PATH MAJOR NODE MINOR NODE
BUILDINGS SHOULD OCCUPY AND DEFINE SPACE. TO BE SUCCESFUL THEY MUST UNRAVEL THE SITE, FINDING CLUES AND USING THEM TO FIND AN ARCHITECTURAL SOLUTION WHY DOES QUARRY PLACE END SO ABRUPTLY? WHY HAVE THE WALKWAYS BEEN PLACED IN THAT MANNER? WHAT HAS THE QUARRY BEEN PREVIOUSLY USED FOR? WHY IS THE TOWN GRID LAID OUT AS IT IS? WHY IS THE QUARRY ON A SLOPE? WHAT IS UNDER? WHY WAS QUARRY PLACE DEVELOPED C1778? WHAT FLORA AND FAUNA INHABITS THE PARK?
1 2 3
“The Structure of Urban Artefacts”, Aldo Rossi, 1966. “Contextualism: Urban Ideals and Deformations”, Thomas Schumacher, 1971. “Collage City”, Colin Rowe and Fred Koetter, 1975.
POINT OF CONFUSION LACK OF RELATION DIRECTION AMBIGUITY INCOMPLETE BROKEN PATH AMBIGUOUS BRANCH
SPACE CRAFT SITE 1 CONSTRAINTS: • OVERLOOKING RESIDENTIAL • NO DIRECT VIEW DOWN CLAREMONT HILL OPPORTUNITIES: • NEXT TO LEISURE CENTRE • ON PATH FROM TOWN CENTRE • VIEWS ONTO MOST POPULAR PART OF QUARRY
SITE 2 CONSTRAINTS: • BOTH SIDES OF SITE ARE OPEN (VULNERABLE?) • NO DIRECT PATH FROM TOWN IN SITE OPPORTUNITIES: • CLOSEST TO DINGLE • CAR PARK CLOSE (POTENTIAL NEW SQUARE?) • ADJACENT TO ST.CHADS (NODE)
SITE 3 CONSTRAINTS: • VERY INCLOSED AND VERY SHADED • VERY CLOSE AND OVERLOOKED BY RESIDENTIAL OPPORTUNITIES • INTROVERTED SITE • TREES SURROUNDING • CLOSE TO BOTH SCHOOLS (IN DIRECT SIGHT OF BOTH) • FOLLOW THE AXIS OF MOVEMENT FROM THE CENTRE OF TOWN • HAS VEHICULAR ACCESS FROM KINGSLAND BRIDGE AND PEDESTRIAN ACCESS FROM QUARRY PLACE • PRONOUNCED TOPOGRAPHY • STRONG CONNECTION WITH AXIS OF TOWN
AFTER ANALYSING EACH SITE I CAME TO THE CONCLUSION THAT SITE 3 IS AN UNDERSTATED AND BEAUTIFUL PART OF THE QUARRY WITH CONVENIENT ACCESS AND STRONG ATMOSPHERE. I WANT THE LIBRARY TO ENCOURAGE CIRCULATION INTO SITE C AND TO COMBAT THE SITE BEING NOTORIOUS FOR HOSTING UNPLANNED ACTIVITY DUE TO ITS INOCCUPATION.
SPACE CRAFT DATE
AZIMUTH
ALTITUDE
SUN RISE
SUN SET
SUMMER SOLSTICE
166.43°
60.20°
03:46
20:39
AUTUMN EQUINOX
173.55°
37.65°
05:35
18:12
SPRING EQUINOX
168.87°
37.42°
06:15
18:25
WINTER SOLSTICE
174.03°
13.72°
08:20
15:57
DESIGNING TO UTILISE SUNLIGHT IS CRUCIAL AND SO KNOWING WHICH PARTS OF THE SITE RECIEVE SUNLIGHT AT CERTAIN TIMES OF THE DAY WILL HELP ME TO DESIGN THOUGHTFULLY.
SPACE CRAFT AFTER COMPLETING THE SPACE CRAFT PROJECT MY COLLEAGUES AND I DECIDED ON A 3 POINT MANIFESTO WHICH OUR INDIVIDUALS DESIGNS WOULD TAKE INTO CONSIDERATION:
1. INSIDE VS. OUTSIDE THE LIBRARY WILL BLUR THE BOUNDARIES BETWEEN INTERIOR AND EXTERIOR IN THE PARK, BRINGING THE OUTSIDE IN AND VICE VERSA. THE LIBRARY WILL NOT BE A BUILDING IN THE PARK, THE LIBRARY WILL BE PART OF THE PARK, ITS CIRCULATION AND TOPOGRAPHY. A TOOL IN ACHIEVING THIS COULD BE TO FOCUS ON THRESHOLD SPACES OF THE LIBRARY.
2. CIRCULATION THE LIBRARY WILL ENCOURAGE CIRCULATION AND FOLLOW THE AXIAL GRID FROM THE TOWN CENTRE TO BRING PEOPLE TO THE LIBRARY. SITE 3 IS MAINLY UNUSED AND SO I WILL ANALYSE THE EXISTING CIRCULATION TO PRODUCE A BUILDING THAT APPROPRIATELY RESPONDS TO THE PATHS THAT EXIST ALREADY WHILST ENCOURAGING FOOTFALL TO THE SITE. THE INTERIOR CIRCULATION OF THE LIBRARY IS ALSO CRUCIAL, THE CIRCULATION SHOULD BE OBVIOUS TO THE USER TO COMBAT THE CONFUSION THE EXISTING LIBRARY CAUSES.
3. LIGHT THE LIGHTING OF A LIBRARY IS CRUCIAL AS IT AFFECTS PRODUCTIVITY, MENTAL AND PHYSICAL HEALTH. UTILISING THE NATURAL LIGHT OF THE SITE WILL ALSO MEAN THAT THE BUILDING WILL HAVE LESS NEED FOR ARTFICIAL LIGHTING REDUCING ENERGY COSTS. SITE 3 IS ABUNDANT WITH DAPPLED LIGHT FROM SURROUNDING TREES WHICH COULD BLOCK LIGHT, BUT WITH APPROPRIATE PLACEMENT OF MASS THE LIGHT AND SHADE COULD WEAVE TOGETHER TO CREATE AN INTERESTING ATMOSPHERE TO THE LIBRARY. IT WILL NOT BE A CASE OF ALTERING THE PENETRATION OF LIGHT ONTO THE SITE, BUT WORKING WITH IT APPROPRIATELY.
EDITING THE VIEW 2.1
AS I WALKED THROUGH SHREWSBURY AND SKETCHED THE EXPERIENCE OF DIFFERENT ROUTES TO MY CHOSEN SITE A FEW FRAMES CAUGHT MY ATTENTION. I NOW WANTED TO VISUALISE HOW THE LIBRARY WOULD BECOME A PART OF THE PARK AND WHAT IT WOULD LOOK LIKE FROM THESE PARTICULAR POINTS.
WALKING INTO THE QUARRY FROM QUARRY PLACE- THE CAST-IN-PLACE WROUGHT IRON GATES ARE A BRIGHT ROYAL BLUE AND PROVIDE A GRAND ORNAMENTAL ENTRY INTO THIS PART OF THE PARK. I AM TO PRODUCE A CIVIC FACADE WHICH FRAMES THE VIEW DOWN FROM QUARRY PLACE. THE MATERIALITY COULD POTENTIALLY MIMIC THE THEME OF BLUE THROUGHOUT THE PARK.
EDITING THE VIEW BELOW ME IS A TIMBER FRAMED MOCK TUDOR HOUSE AS I WALK OVER KINGSLAND BRIDGE FROM THE RESIDENTIAL AREA OF KINGSLAND. A CAR PARK SEPERATES ME FROM ENTERING THE PARK. THE QUICKEST ENTRY IS VIA QAURRY PLACE. THE FORM MUST MAKE PEOPLE AWARE OF ITS PRESENCE WITHOUT BEING TOO INTRUSIVE, POSSIBLY ALLOWING VIEWS ABOVE AND IN THE TREES
EDITING THE VIEW AS I WALK THROUGH THE QUARRY ALONG THE RIVER THE PATHS SPLIT INTO THREE DIFFERENT TRAILS- ONE REMAINS ALONG THE RIVER, ONE LEADS UP TO ST.CHADS AND CLAREMONT BANK INTO TOWN AND THE OTHER UP TO QUARRY PLACE PENETRATING THROUGH MY SITE. TREES FRAME THE PATH AND CREATE A PERSPECTIVE ENCOURAGING YOU TO WALK THROUGH THE TUNNEL OF LIME TREES. THE FORM MUST WORK WITH THE EXISTING PATHUTILISING THE ARCH OF LIME TREES.
SANTA MARIA DO BOURO
REMEMBER // SANTA MARIA DO BOURO
FOR ONE OF THE SEMINAR GROUP PRESENTATIONS WE STUDIED SOUTO DE MOURA + HUMBERTO VIEIRA ARCHITECTS WHO HAVE REMODELLED A MONESTARY INTOA HOTEL IN SANTA MARIA DO BOURO WHICH IS A PARISH IN AMARES MUNICIPALITY IN THE BRAGA DISTRICT IN PORTUGAL. THE PROJECT IS EXEMPLARY IN PRESERVATION OF HISTORICAL CONTEXT.
REGIONALISM & PLACE DEFINING Critical regionalism makes the building appear to enter into an imagined dialogue with the viewer. It sets up a process of hard cognitive negotiation in place of the fantasized surrender that follows from familirization and the seduction that follows from overfamilirization 1- reference to Alexander Tzonis Despite the churches refurbishment into a hotel, eduardo has made minimal changes to the exterior architecture of the monastery. The building remains inkeeping with the Parish district. How can the library be integrated into the context of the park? if there is no existing structure how can it respond to the common themes of the town?
LAYERS OF HISTORY A gradual transtion of a building thoughout history that creates natural juxtapostions between building styles, forms and materials but ones that respect the sensitivity of the building’s history and avoids clashes or overly dramatic constrasts that takes away from the original building forms 1- reference to Cullen There are subtle changes in materiality. Sensitive to historic building. All extensions use the same granite stone. Around Shrewsbury there is a theme of blue wrought iron and stone - a combination of the two may act as a continuation from town to park.
COLLECTIVE MEMORY & PRESERVATION Designers formalistically draw on the 19th century manuals of civic art that prescribe an order and harmony for each inserted enclosure, but then fail to link these sites together or relate them to the layers of history and people that the city actually presents.1 - reference to Boyer Preserving cloister - Minimal changes made, a place for contemplation. How can i design a modest building which feels as if it was meant to have been in the Quarry for centuries?
THE SERIES OF INSIDE VS OUTISDE AREAS CAN BE INTEGRATED INTO THE DEISGN OF THE LIBRARY - SEAMLESSLY BLENDING IT WITHIN THE LANDSCAPE OF THE PARK.
1
“Why Critical Regionalism Today?”, Alexander Tzonis and Liane Lefaivre, 1990.
1
“The Place of History and Memory in the Contemporary City”, M Christine Boyer, 1996.
1
“The Concise Townscape : Serial Vision”, Gordon Cullen, 1971.
EDITING THE VIEW TOWER INSPIRED BY EDINBURGH SCULPTURE WORKSHOP, IT WILL PROVIDE A NODE AT THE ND OF THE ROUTE VIA QUARRY PLACE. LETTING THE TOWN KNOW ITS WHEREABOUTS BY PEERING ABOVE THE TREES. IF SITUATED AT THE HIGHEST POINT OF THE SITE IT CAN OVERLOOK THE RIVER PARALELL TO SHREWSBURY SCHOOL AND THE CITY PARALELL TO THE MARKET CLOCK TOWER
LANDSCAPING COULD UNITE THE THREE MASSES AND EACH COULD HAVE A DISTINCT VISUAL CONNECTION WITH EACHOTHER. HOWEVER THIS FACTOR COULD BE A CRITIQUE OF THIS ITERATION AS A SOLUTION TO UNITE THE THREE MAY PROVE TO BE DIFFICULT.
THE MASS IS SCULPTURAL TO IMITATE THE THE EXISTING BANDSTAND AND SCULPTURES LINING THE RIVER AND WITHIN THE PARK, AS IF ADDING TO THE SEQUENCE.
INSPIRED BY TSCHUMI’S PARC DE LA VILLETTE, I HAVE SEPERATED THE MASSING TO ENCOURAGE CIRCULATION AND THE UTILISATION OF THE PARK. THE LIBRARY AND PARK BECOME ONE... “AM I INSIDE OR AM I ENTERING IT?”.
EACH MASS IS SITUATED WHERE I TOOK KEY FRAMES FROM MY SEQUENTIAL STUDY OF ROUTES TO THE SITE.
THE DIFFERENT MASS HAS POTENTIAL TO DISTINGUISH DIFFERENT PROGRAMME, FOR EXAMPLE ONE MORE PRIVATE THAN THE OTHER, IN THE FUTURE IF THE COMPLEX WAS TO CHANGE FROM A LIBRARY IT COULD HAVE MULTIPLE OPPUTUNITIES.
PRECEDENT STUDY 2.2 WHEN CREATING THE FIRST MASSING MODELS ONTO THE SITE OF THE PARK I WAS REMINDED OF CALTON HILL IN EDINBURGH. EDINBURGH IS RENOWNED FOR ITS ECLECTIC RANGE OF ARCHITECTURAL STYLES AND CALTON HILL IS AN EXAMPLE OF MASSING PLACED ON GREEN SPACE WHICH SUCCESSFULLY ENCOURAGES CIRCULATION. PEOPLE WERE WALKING ROUND OBSERVING THE CITY AND SETTLING AT EACH STRUCTURE TO TAKE PICTURES OF THEIR GRANDEUR OR TO TAKE SHELTER FROM THE PREVAILING WIND. EACH ELEMENT IS PLACED TO ACT AS A NODE OR LANDMARK IN A THOUGHTFUL MANNER TO CREATE A ROUTE ON THE HILL OVERLOOKING EDINBURGH. AN INTERESTING PART OF THE COMPLEX IS THE WALLED GARDEN IN WHICH AN OBSERVATORY, CAFE AND SCULPTURES ARE SITUATED, THIS CREATES A THRESHOLD FROM THE HILL INTO A MORE PRIVATE WALLED AREA BEFORE ENTERING ONE OF THE BUILDINGS. HOWEVER, AGAIN THE ISSUE OF GETTING FROM ONE MASS TO ANOTHER PROVED DIFFICULT AND SO A SOLUTION WOULD BE TO CREATE A CONNECTION BETWEEN EACH ELEMENT WITHOUT CREATING A LARGE HEAVY MASS ON THE HILL. I WILL USE THS SAME THEORY IN THE DESIGN OF THE LIBRARY.
EDITING THE VIEW AN OBSTACLE TO OVERCOME WITH THIS ITERATION IS IN DECIDING WHERE TO SITUATE THE ENRTANCE- DOES IT COMES FROM THE DIRECTION OF ST CHADS OR QUARRY PLACE? WILL THE BUILDING CONFORM TO EXISTING CIRCULATORY ROUTES OR BRING MORE ATTENTION TO AN UNUSED ROUTE INTO THE PARK?
THIS ITERATION PROVIDES A WALKWAY FROM THE ROITE COMING FROM ST. CHADS DOWN THROUGH TO THE RIVER WALK, THIS WILL DEVIATE FROM THE ORIGINAL PATH TO CREATE A SHORTCUT VIA THE LIBRARY.
THE WALKWAY IS INTERIOR TO AVOID POTENTIAL CRIME
A CYLINDRICAL FORM WILL ALLOW THE SUN TO MOVE SMOOTHLY AROUND THE FACADE GIVING A SENSE OF TIME WITHIN THE BUILDING
THE WALKWAY IS A PLACE OF CONTEMPLATION AND OBSERVATION IN THE PARK AND THE CYLINDRICAL FORM (IMITATING THE MAIN BODY OF ST CHADS) ACTS AS THE MAIN MASS RUNNING HALFWAY BETWEEN THE TWO ENTRANCE/EXITS.
EDITING THE VIEW
“ A JOURNEY THROUGH PRESSURES AND VACUUMS, A SEQUENCE OF ENCLOSURES AND EXPOSURES, OF CONSTRAINT AND RELIEF ”1
THE LAST ITERATION TAKES INSPIRATION FROM THE NARROW STREETS OF A MEDIEVAL TOWN WHICH SHREWSBURY IS ABUNDANT WITH. THE “STREET” IS A VOID BETWEEN TWO FORMS AND IS A CONTINUATION OF QUARRY PLACE EVENTUALLY RELEASING PEDESTRIANS INTO THE GRASSLAND OF THE PARK.
A CRITIQUE OF THIS ITERATION IS THAT TRADITIONALLY AN ARCADE FOR M HAS AN ELEMENT AS AN END POINT- DO I CREATE AN ADDITIONAL MASS TO ACT AS A NODE AT THE END OF THE WINDING STREET?
THE SUN WILL HIT THE DIFFERENT PLANES OF THE BUILDING WHICH COULD BE DESIGNED TO RECIEVE APPROPRIATE DAYLIGHT IN CERTAIN AREAS.
?
THE MASS IS HIGHEST AT THE HIGHEST POINT OF TOPOGRAPHY ON THE SITE AND SO EVERY ELEMENT HAS VEWS ONTO THE PARK.THIS ALSO CREATES AN INTERESTING HEIRARCHY OF SPACE AND IS REMINISCIENT OF THE IRRGULARITY OF BUILDING HEIGHTS IN A MEDIEVAL STREET.
1
“The Concise Townscape : Serial Vision”, Gordon Cullen, 1971.
ANOTHER ITERATION OF THIS IDEA COULD BE TO ROTATE THE FORM SO THAT IT WORKS WITH THE EXISTING PATH. THE TREES CAN BE UPROOTED FOR A CONSIDERABLE COST BUT CAN ACT AS AN EXISTING FRAME TO LANDSCAPE SURROUNDING THE LIBRARY.
IN BRIEF USE
SPACE
AREA(m²)
COMMENT
MICELLANEOUS
ENTRANCE
35m²
EXHIBITION
70m²
ENTRANCE EITHER SIDE OF THE BUILDING TO ENCOURAGE CIRCULATION EXHIBITION NEXT TO ENTRANCE
RECEPTION
36m²
RECEPTION IN BREAKOUT SPACE NEXT TO
BREAKOUT SPACE
300m²
ENTRANCE
TOTAL
NOW I HAVE SOME IDEAS ABOUT THE FORM OF MY BUILDING I CAN START TO ORGANISE MY PROGRAMME. THE FIRST STEP WAS TO ROUGHLY MAP OUT HOW BIG SPACES WERE AND WHICH SPACES WOULD BE STRONGLY, MODERATELY OR NOT CONNECTED.
LARGE SPACE BETWEEN TWO ENTRANCES
441m² PUBLIC
STUDY (COMPUTERS AND DESKS)
400m²
QUIET- LESS PUBLIC WITH A VISUAL CONNECTION TO PARK
CHILDRENS AREA
150m²
CAFE / KITCHEN
170m²
NEXT TO CAFE AWAY FROM STUDY AREA
THEATRE
190m²
CONNECTED TO THE CAFE POTENTIALLY SEPERATED
MAIN ENTRANCE RECEPTION
PRIMARY ADJACENCY SECONDARY ADJACENCY UNDESIRED ADJACENCY
CAFE AND KITCHEN CHILDRENS AREA
910m² PRIVATE
OFFICE
48m²
STAFF ROOM
36m²
BOOK ARCHIVE
200m²
MAYOR PARLOUR + MAYOR SILVERWARE
25m²
COUNCIL MEETING SPACE
24m²
NEXT TO STUDY AREA/ PRIVATE PART OF BUILDING, VISUAL CONNECTION TO PARK CONNECTED TO THE RECEPTION OR NEARWORKER SPACE
LECTURE THEATRE LIBRARY STAFF ROOM MAYOR PARLOUR
NEXT TO CAFE - POTENTIALLY SEPERATED
PRIVATE ENTRANCE
NEXT TO THE MAYOR PARLOUR
OFFICE WORKSHOPS
333m² ANCILLARY
FIRE STAIR(S)
30m²
LIFT
9m²
PLANT ROOM
36m²
TOILET(S)
50m²
READING ROOMS
AT EITHER END OF MAIN BUILDING NEXT TO STAIRS BEHIND LIFT ACCESSIBLE ON EVERY FLOOR
TOTAL +5% RISERS TOTAL
125m² 1809m²
THE MAIN CONCEPT IS TO CREATE A SEPERATION OF PUBLIC TO PRIVATE WHILST MAINTAINING SOME SORT OF CONNECTION WHETHER IT BE VISUAL OR PHYSICAL.
IN BRIEF 3.1
I AM NOT USING A LIBRARY PRECEDENT TO ORGANISE MY PROGRAMME AS I WANT IT TO BE SPECIFIC TO WHAT I ENVISION THE ATMOSPHERE OF THE LIBRARY TO BE.
MISCELLANEOUS
PRIVATE
PUBLIC
PRIVATE
ANCILLARY
PUBLIC
IN BRIEF STAIRS, LIFT AND TOILETS WILL HAVE A VISUAL CONNECTION WITH FIRST ENTRY TO THE BUILDING
PUBLIC ENTRANCE ON THE SIDE TOWARDS ST.CHADS AND MAIN ROUTE FROM TOWN.
.
LIBRARY AND WORK SPACE TO BE ON THE PRIVATE SIDE, ALSO TO BE DOUBLE STORY TO CREATE AN ATRIUM. SIZE IS CRUCIAL BECAUSE CURRENT LIBRARY HAS TOO LITTLE WORK SPACE.
WORKSHOPS REQUIRE DAYLIGHT AND VIEWS AND WILL BE DIRECTLY ABOVE THE READING ROOMS THAT ARE MORE INTROVERTED AND INTROSPECTIVE PLACES.
BASEMENT
8.
21.
17.
12,
FLOOR 0
21.
15.
7. 11. 2. 9. 10.
CAFE, THEATRE AND CHILDRENS LIBRARY ON THE PUBLIC SIDE LOOKING OVER PARK, THESE WILL RECIEVE THE EVENING LIGHT, APPROPRIATE FOR RELAXATION.
PRIVATE SIDE WILL HOST THE OFFICE, STAFF ROOM AND MAYOR PARLOUR, ACCESSIBLE FROM THE KINGSLAND BRIDGE SIDE (WITH PARKING AVAILABLE)
16.
3. 4.
6.
14. 5..
22.
18. 1.
19.
13.
IN BRIEF EVENING LIGHT
MORNING LIGHT STRONG CONNECTION WEAK CONNECTION MEDIUM CONNECTION
CONSTRUCT // SCHOOL AT ORSONNENNS
“Traditional cities offer a sense of place through hierarchy, important building sites, variety, which all enliven and promote activity.” Tom Schumacher “Subtractive process in which spaces have been carved out of solid masses. ” Tom Shumacher “The medieval town… Initially impossible to fathom, it ultimately offers total orientation with familiarity.” Tom Shumacher1
CONSTRUCT // SCHOOL AT ORSONNENNS As a seminar group we studied the construction of the school at Orsonenns in Switzerland designed by TEd’A Architects. The constructions successful elements are: 1) 2) 3) 4)
portico - threshold of outside and inside atrium - horizontal circulation stair case - vertical circulation skylight - joint of featured columns
Through understanding the text through making a model i was able to understand the different elements of construction in relation to context. I will be taking the concept of following the typical typology of surrounding context into my 3.2 detail proposal.
1 “Contextualism: Urban Ideals and Deformations”, Thomas Schumacher, 1971.
IN BRIEF MY FIRST ITERATION OF PLANS FOCUSED ON THE CONCEPT OF HAVING AN INTERIOR CORRIDOR FROM THE BOTTOM OF THE PARK NEXT TO THE RIVER TO THE TOP OF THE PARK NEXT TO QUARRY PLACE. ONE SIDE OF THE PASSAGE PRIVATE AND THE OTHER PUBLIC. THE MASS GETS HIGHER AS THE TOPOGRAPHY INCREASES CREATING HEIRARCHY AND SYMMETRY. THE TWO ENTRANCES FOR PUBLIC AND PRIVATE WOULD BE AT THE TWO UPPER WINGS OF THE BUILDING. THE BUILDING FIRST ACTED AS A BOOKSTOP TO THE END OF THE PARK AND SO NOT TO OBSRUCT THE GREENLAND. HOWEVER, I DECIDED TO MOVE THE CORRIDOR TO START AT THE END OF QUARRY PLACE TO EXTEND THE JOURNEY FROM THE TRAIN STATION UP TO THE LIBRARY “THE CITY IS BORN IN A FIXED PLACE BUT THE STREET GIVES IT LIFE.” 1
Molina Camacho, C., 2019. Diagram From Tuorial. [image].
1 “The Structure of Urban Artefacts”, Aldo Rossi, 1966.
IN BRIEF 1.
PLACE HEIRARCHY
2.
MOVE TO FOLLOW AXIS OF QUARRY PLACE
1.
ROTATE ACCORDING TO FACADES WHICH NEED TO RECIEVE MOST SUNLIGHT WHILST CREATING THRESHOLDS AND VOIDS BETWEEN MASS.
ONE-TO-TWO-HUNDRED // PRECEDENT
In conducting a design proposal for the library in the quarry i came to an obstacle of dealing with topography. I knew i wanted to incorporate it to create a building which blendsinto the context of the quarry, but i also wanted there to be a connection between the public and private sides of my building and for light to penetrate well into every space. I analysed the precedent of Munster city library by Bolles Wilson. The Library is set in the architecturally diverse Mßnster city and so adheres to Colin Rowe’s principle of literal and phenomenological transparency, The building comprises of two halves- one pointing towards the city and one to the outskirts. The building is split in half by the axis of the nearby Lamberti church and creates pedestrain flow though the two halves, This feature reminded me of my own project as it also follows an axis of st. chads and the towns main high street. on compromised of one extroverted ship like form and one introverted form partially hidden by neighbouring trees. The two halves are connected underground creating a sense of seperation and unity. The interior form connects each level visually which appeals to my previous analysis of library typolgy having a strong visual connection and sense of space. From this precedent I will take the idea of connecting the public and private parts of my building beneath the ground- utilising the topography of my site.1
CAFE FOYER LENDING INFORMATION LITERATURE
NORTHERN ELEMENT
SOUTHERN ELEMENT
GROUND FLOOR PLAN AND CIRCULATION MY PROJECT WILL ALSO HAVE A DIVIDE SPLiT BY THE AXIS OF A TOWN, WHILST BEING CONNECTED UNDERNEATH.
1 Axonometric and masterplan. (2020). [image] Available at: https:// bolles-wilson.com/ [Accessed 22 Jan. 2020].
ONE-TO-TWO-HUNDRED
FIRST ITERATIONS OF MY 1:200 PLANS: I FOUND PROBLEMS WITH: • THE SIZE OF MY LECTURE THEATRE • VISUAL CONNECTION TO EACH FLOOR • LANDING ON STAIRS • VOID AND THRESHOLD SPACES WITHIN THE OVERLAPS OF MASS • CHANGE HAVING ENTRANCES ON THE SIDES AND FOCUS ON THE CENTRAL WALKWAY IN THE NEXT ITERATION I WILL ADDRESS THESE ISSUES...
CREATE VOID BETWEEN READING ROOMS AND WORKSHOPS. RELOCATE THE PUBLIC ENTRANCE AND PROVIDE SHELTER/THRESHOLD
RELOCATE STAIRS TO ALLOW ENTRANCE TO BE RELOCATED
ARRIVAL IS FACED WITH THE ATRIUM VOID ABOVE LIBRARY
OFFICE AND MEETING ROOMS TO BE RECONSIDERED SO THERE IS A BETTER VISUAL CONNECTION WITH FLOORS UNDERNEATH.
LECTURE THEATRE IS TOO SMALL AND NOT USRE FRIENDLY NEED TO RECONSIDER.
FLOOR -1
FLOOR 0
Molina Camacho, C., 2019. Diagram From Tuorial. [image].
ONE-TO-TWO-HUNDRED HAVING THE MASS GRADUALLY GET TALLER MEANS A HEIRARCHY IS PRODUCED AND ALLOWS MORE LIGHT TO PENETRATE INTO EACH SPACE. IT ALSO RESPONDS TO THE TOPOGRAPHY OF THE SITE ALLOWING THE BUILDING TO BLEND SEAMLESSLY INTO THE LANDSCAPE.
THE PUBLIC SIDE LOOKS OVER THE MORE EXPOSED SIDE OF THE QUARRY AS IT IS MORE EXTROVERTED.
THE CENTRAL STAIR IS EXPOSED TO THE ELEMENTS AND ACTS AS A LANDSCAPING TO THE BUILDING WHILST SIMULTANEOUSLY DIVIDING THE PUBLIC AND PRIVATE SIDES
THE PRIVATE SIDE OF THE BUILDING IS ON THE SIDE OF THE RESIDENTIAL AS IT WILL BE QUIETER. IT ALSO SITS NEXT TO A CAR PARK FOR STAFF AND DELIVERIES.
THE MOTIVE FOR THIS ITERATION WAS TO HAVE THE LIBRARY, CAFE AND MEETING ROOMS ORIENTATED NORTHSOUTH WITH THE MASS INFRONT OF EACH BEING ROTATED IN A MANNER TO ALLOW A LARGER CLEARANCE SPACE TO THE SOUTH OF THESE SPACES ALLOWING MAXIMUM SOLAR GAINS. THE ROTATED MASS ALSO CREATES A STREET LIKE FORMATION PROVIDING CONTINUITY FROM TOWN INTO PARK. BETWEEN EACH OVERLAP THERE BECOMES OPPUTUNITY FOR INTERIOR THRESHOLD SPACE AND BETWEEN EACH GAP A VOID WHICH I WILL DEVELOP IN FURTHER ITERATIONS.
ONE-TO-TWO-HUNDRED SOUTH
NORTH
WEST
EAST
WINDOWS ARE SITUATED APPROPRIATELY IN REGARDS TO PRIVACY FOR NEIGHBOURING RESIDENTIAL, VIEWS ONTO PARK AND LIGHT PENETRATION.
MACRO 1:2000 The main road through town which contains the existing library, train station and shopping high street ends with the library and goes into the park, softening the boundary between the town and park. A path will continue from the central exterior staircase to the existing walkway of the park.
MESO 1:1000 The surrounding context of St. Chads church and residential area informs the scale of the library and the key routes towards it. There is a path coming from the south to enter the building from level 0 and a path coming from the East entering the building at level 1.
MICRO 1:500
The library is situated next to kingsland bridge allowing easy access from Shrewsbury boys school and Shrewsbury girls high school. The key views from the library will be onto the river and not to the surrounding residential area.
ONE-TO-TWO-HUNDRED 7.
7.
7.
5.
6.
2.
LEVEL 0 1. 2. 3. 4. 5. 6. 7. 8. 9.
CAFE / RESTAURANT AREA KITCHEN LECTURE THEATRE MAYOR OFFICE TOILETS MAIN LIBRARY AREA READING ROOMS EXTERIOR WALKWAY FIRE ESCAPE
5. 1.
8.
3.
4.
9.
9.
Scale 1:200 0
1
234
5
10
15
ONE-TO-TWO-HUNDRED
9.
4.
10.
8.
5. 4.
3.
2.
6.
7.
LEVEL 1 1. LECTURE THEATRE 2. MEZZANINE OVER CAFE SEATING AREA 3. TOILETS 4. ENTRANCE 5. ATRIUM OVER LIBRARY 6. OFFICE 7. MEETING ROOM 8. WORKSHOPS 9. SURROUNDING HOUSES 10. ROUTES THROUGH PARK
9.
1.
10.
Scale 1:200 0
1
234
5
10
15
ONE-TO-TWO-HUNDRED
INTERIORS 3.3 1.
VISUAL CONNECTION FROM EACH MASS, THE VOIDS CREATE OPPURTUNITY FOR LIGHT TO PENTRATE BELOW AND THE CROSSOVERS PROVIDE THRESHOLD.
2. STAIRS ON THE NORTH SIDE OF THE BUILDING LEAD TO A RESTAURANT OVERLOOKING THE PARK.
2. WALKWAY DIVIDES PUBLIC AND PRIVATE WHILST CONTINUING THE STREET FROM QUARRY PLACE TO ENCOURAGE CIRCULATION TO THE LIBRARY.
1.
2.
3.
INTERIORS 4. APPROACHING THE OFFICE AND MEETING MEZANINE FLOOR ELEVATED 3 METRES ABOVE GROUND AND 1 METRE BELOW FIRST FLOOR CREATING A VISUAL CONNECTION BETWEEN WORKERS.
5. AS YOU ENTER THE PRIVATE HALF OD THE BUILDING YOU ARE CONFRONTED WITH AN ATRIUM AND MULTIPLE ROUTES TO TAKE.
6. THE GRAND STAIRCASE HAS A VISUAL CONNECTION WITH THE ENTRANCE- PULLING THE USER DOWN TO THE GROUND FLOOR RESTAURANT.
5. 6.
4.
5 POINT PLAN OF ACTION 3.4
1. DEVELOP STRATEGY FOR ROOF OF BUILDING- HOW CAN I DESIGN THE ROOF TO RELATE BACK TO MY INITIAL MANIFESTO OF MANIPULATING LIGHT INTO THE BUILDING. 2. LOOK MORE INTO LANDSCAPING AROUND THE LIBRARY. HOW CAN I USE URBAN DESIGN EFFECTIVELY TO BRING MORE/LESS ATTENTION TO THE LIBRARY.
3.
CONSIDER DESIGNING A TALLER FACADE FACING QUARRY PLACE TO CREATE CONTINUITY FROM THE TALL RESIDENTIAL BUILDINGS OF QUARRY PLACE. A CIVIC FACADE WILL ALSO ALLOW FOR ORNAMENTATION WHICH IS PREVALENT THROUGHOUT ARCHITECTURE IN SHREWSBURY,
4.
DEVELOP MATERIALITY AND STRUCTURAL STUDY. RESERACH LOCAL MATERIALS TO SHREWSBURY. AN INITIAL IDEA WAS TO USE STONE TO COMMEMORATE THE QUARRY’S INITIAL PURPOSE HOWEVER I WANT TO EXPERIMENT WITH DIFFERENT IDEAS TO HELP EVALUATE THE MOST SUITABLE DECISION.
5.
DO FURTHER ANALYSIS OF LIGHT IN THE LIBRARY. DOES MY THEORY OF HAVING EACH MODULE ROATED TOWARDS THE SUN AT AN ANGLE MOST APPROPRIATE FOR ITS USE WORK? IS THIS A LIMITING FACTOR? AND COULD IT LEAD TO OPPURTUNITIES TO POETICALLY PLAY WITH LIGHT TO CREATE AN ATMOSPHERE APPROPRIATE FOR THE 2Tst CENTURY LIBRARY. THANK YOU.
APPENDIX “Collage City”, Colin Rowe and Fred Koetter, 1975. “Contextualism: Urban Ideals and Deformations”, Thomas Schumacher, 1971. “The Concise Townscape : Serial Vision”, Gordon Cullen, 1971. “The Concise Townscape : Serial Vision”, Gordon Cullen, 1971. “The Place of History and Memory in the Contemporary City”, M Christine Boyer, 1996. “The Structure of Urban Artefacts”, Aldo Rossi, 1966. “Why Critical Regionalism Today?”, Alexander Tzonis and Liane Lefaivre, 1990. Axonometric and masterplan. (2020). [image] Available at: https://bolles-wilson.com/ [Accessed 22 Jan. 2020]. Excerpt of letter from Charles Darwin to his daughter Molina Camacho, C., 2019. Diagram From Tuorial. [image].
APPENDIX
DURING THE STUDY TRIP TO EDINBURGH I PRODUCED A SERIES OF BUILDING ANALYSIS FOR EXEMPLAR ARCHITECTURE IN EDINBURGH. ALTHOUGH PICKING APART THE BUILDINGS HELPED ME UNDERSTAND ARCHITECTURAL THEMES IN EDINBURGH, I HAVE DECIDED TO ADD TO MY APPENDIX AS A COLLECTION OF WORK I PRODUCED IN THE PROCESS OF DESIGNING THE NEW LIBRARY.
SCOTTISH POETRY LIBRARY // MALCOLM FRASER ARCHITECTS
SCOTTISH STORYTELLING CENTRE // MALCOLM FRASER ARCHITECTS
EDINBURGH SCULPTURE WORKSHOP // SUTHERLAND HUSSEY HARRIS