Selected works - Oct. 2019

Jack Jack Oliver Oliver Petch.

Petch.

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SELECTED WORKS

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Jack Oliver Petch.

Email: jackoliverpetch@gmail.com Phone/App: (06) 85 66 49 62 Website: jackoliverpetch.co.uk Nationality: English (United Kingdom)

ABOUT

SOFTWARE + SKILLS

As a Masters of Architecture graduate from TUDelft, I graduated cum laude studying under the interiors, buildings, cities chair. Alongside studying, I worked with the faculty’s in-dependant periodical, Bnieuws. This not only required researching and interviewing for the written articles, but, as an editor, my job involved both input in the periodical’s graphics, layout and theming but also managing the social media channels to deliver regularly scheduled content to grow an engaging audience.

Adobe

Photoshop, Indesign, PremierPro, Illustrator, Lightroom.

Autodesk Trimble Other.

AutoCAD Sketchup Microstation V-ray

2016

Paddington Place Competition.

(Joint winners) Sub-team at JTP. An alternative for a skyscraper developed with local community members over 3-days.

EDUCATION 2019

Master of Science in Architecture.

Cum Laude Delft University of Technology, TUDelft.

2015

Bachelor of Arts in Architecture (International).

First class honours.

University of Huddersfield

EXPERIENCE 2018 - 2019 1 year

2015-2017 13 months

Bnieuws BKCity, TUDelft Editor in Chief, team 52.

JTP London, UK. www.jtp.co.uk Architectural Assistant.

RIBA Yorkshire Silver Medal Award.

Presented for Undergraduate project ‘Preservation: Kunming’ by a panel of judges.

2015

Generation UK-India.

British Council ‘Cultural Immersion programme’.

Selected from over 7,000 applicants to visit important figures in India. Included writing an article on the history, present and future of Britain’s involvement with India.

2014

Project prize (for second year projects) Awarded for Holmfirth Art centre project.

REFERENCES Graduation tutor Last Employers: JTP Bnieuws

Mechthild Stuhlmacher M.E.Stuhlmacher@tudelft.nl Dominic Chapman. dc@jtp.co.uk Lotte Dijkstra C.M.Dijkstra@tudelft.nl

CV / SKILLS AND ACHIEVEMENTS

With no fear of applying myself to new surroundings and learning, throughout both my education and work experience the desire to research and design with contextual understanding has stayed with me across disciplines. My primary skills are in representation and story-telling through words and architecture, however I have been involved with 1:1 construction projects, furniture making and architecture competitions and I always have a sketchbook close by.

ACHIEVEMENTS

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From helping set up the mentoring scheme in my undergraduate degree to my time working an architectural assistant in London, I have experience working professionally and creatively within a team-based environments and, within 10 months of working, was helping train new employees.

Freehand sketching, model-making, lettering, layout and typography.

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Het Water Ensemble, Zurenborg.

Msc4 Graduation project, TUDelft.

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Bnieuws BKCity Periodical.

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Zigzagcity pavilion, Rotterdam.

Msc2 Live build, TUDelft.

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PRESERVATION: Kunming, Yunnan.

Batchelors Graduation project, University of Huddersfield.

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SELECTED WORKS

SELECTED WORKS

HET WATER ENSEMBLE, ZURENBORG ANTWERP.

Masters graduation project, TUDelft.

Tutors: Mechthild Stuhlmacher, Daniel Rosbottom.

‘Het Water Ensemble’, situated in Zurenborg, Antwerp - addresses a set of specific design issues with the context of the city and the context of the interior. This was a graduation project from the interiors, buildings, cities chair at the Technical University of Delft, in the Netherlands.

After looking into the local history, a corner of three elements with one missing, revealed a microcosm of information to design from.

THE SITE IS PERFECT CORNER OF ZURENBORG IN ANTWERP THAT WAS PLANNED BUT NEVER REALISED. At the urban scale, the proposal is a brick tower and garden wall, a facade dealing with the different conditions of the corner or the courtyard hiding a treasure-filled world behind.

It aims to thread back a part of the urban fabric currently missing, and re-configure the user from the urban city to wards the intimate.

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The typology of the programme, known as either ‘the alchemical rehabilitation centre’ or a ‘water palace of perfect rooms’ (depending what side of the record is on the turntable), has brought on a third research question onto the project: Every stage of the design brought the question how theory of alchemical transformation through elements could be implemented. This manifested as specific rooms, each with physical and tactile qualities, relating to the wild and bombastic character of the surrounding area.

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HET WATER ENSEMBLE. Zurenborg, Antwerp.

Above: Model picture of surroundings.

Left: Site plan

The context of Zurenborg played a large role in the creation of both the programme and exterior qualities of the project.

The size and qualities of the surrounding plots became grid-lines for the building blocks of the proposal - a tall element to address the corner and a lower, wrapping element to finish a missing link in the urban plan of the district.

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HET WATER ENSEMBLE. Zurenborg, Antwerp.

Site plan of local area.

From left to right: Beginning, Arrival. Front door. Entrance space.

View out to courtyard.

View of drum. Vertical protruding drum.

Choice of changing area. Lockers. Entrance to glasshouse. Above Palm-house. Gym. Yoga studio. Sensory deprivation waiting area.

Entrance to pool. Choice of treatments. Pool.

Archway to ground level.

Courtyard walkway.

Reflection area. Inner courtyard space.

Therapy areas. Overnight stay. Rooftop pool.

With this project, I approached the building as a series of scenes for the visitor to experience.

CRAFTED LIKE A MOVIE WITH A SERIES OF ‘SCREENS’: THE DESIGN IS TO JOIN SEVERAL ‘PERFECT ROOMS’ WITH VIEWS. The images on the right show the intended route for the user, however in the floor plan you can see from the open and indirect spaces that users can experience everything in any order they choose.

This approach came from researching the different theories behind alchemical transformation - ratios and elements which can be used in different orders combined with clear guidelines.

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HET WATER ENSEMBLE. Zurenborg, Antwerp.

above: Street context right: floor plan.

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The creation of the facade expression exists as a contemporary take on the surrounding context.

This came from several exercises analysing the surrounding buildings where character, brick types and stone detailing was abstracted through illustrative methods.

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HET WATER ENSEMBLE. Zurenborg, Antwerp.

Floor plan showing routing and experiences for the visitors.

18 - dark crypt pool

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16 - contemplation space 17 - covered walkway

entrance reception + waiting area changing rooms change / toilets shower palmhouse + circulation raised plant oasis

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START

00 : GROUND

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8 - sensory deprivation 9 - shower 10 - steam room 11 - air (plunge) 12 - sauna 13 - soak pool 14 - open bath 15 - access above to court

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TO COURT

- 01: BASEMENT

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TO ROOF

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- the alchemical waltz -

G

Pl - palmhouse / hydrotherapy G - gym Y - yoga studio + storage

01 : FIRST

Y

Pl

above: Section through entrance space, pool and courtyard. right: entrance, changing cabins, steam room, yoga studio.

Both exclusive and inviting, the garden wall addresses the onlooking issues of a tight urban block with a split-level design that incorporates areas where guests for the wellness centre can disconnect with the bombastic energy of the bustling city.

The image style was a decided choice to create a hybrid of illustrative and architectural styles. The warm, rich patterns of the 19th century combined with dream-like contemporary expressions.

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HET WATER ENSEMBLE. Zurenborg, Antwerp.

Stylistic renders showing designs for the entrance waiting area, changing cabins, steam room and yoga studio.

above: model view showing warm light providing direction. right: model of bath house in full.

The clearest expression of the hybrid of 19th century interior decorating rules can be seen in the design of the main bath house area.

The rhythm of designated waiting spaces; the patterned ceiling and paired down surfaces were lifted directly from the interior decorating of the area’s time.

This model is a 1:33 representation of the space, with lighting provided by studio lights and water from a sheet of acrylic painted with glue.

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HET WATER ENSEMBLE. Zurenborg, Antwerp.

Model photo of bath house space, 1:33

above: model details of palmhouse right: palmhouse waiting area view.

In preparation of the design, the skills of 1:33 models were tested by creating a ‘city room’.

THIS VIEW IS THE ENTIRETY OF THE MODEL: DETAILS ARE CUT FROM CARD, REAL PLANTS AND CAST CONCRETE. The space was chosen as a space of anticipation, the space before another world - or the rabbit hole before Alice falls down into Wonderland this space is intended to give the viewer a feeling of warmth and calmness before the true exhibit begins.

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Model photo of palm house waiting area 1:33

BNIEUWS: BK CITY PERIODICAL TUDeflt.

Bnieuws is the faculty periodical of the faculty of architecture and built environment at TUDelft, known colloquially as BKCity. It is independently run by students for the entire population of the students, staff members and alumni.

Started in 1967, Bnieuws has a long history at the university and has a readership of over 4,000 members.

MOST RECENTLY, THE FOCUS HAS BEEN TO CREATE AND NURTURE AN ACTIVE ONLINE COMMUNITY FOR THE FUTURE OF THE PERIODICAL TO BE SECURED. Throughout the last year of my masters degree I acted as editor-in-chief of the team, leading the discussions, layout and move into the digital space. In addition, my contributing roles for the issues included illustration projects, conducting interviews as well as writing articles and editing the work of other members.

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The image on the right shows the printed editions of the issues. Themes included: Explorations and Contexts, Lost in Limbo, Tag and Rumours.

In addition, ‘special editions’ of Bnieuws included a dedicated issues on: Robert Venuri and his impact, Language - featuring a new language in every article, only to be understood in entirety through Google translate on a QR code; and the toilets of BKCity - a detailed analysis of the facilities of the faculty between male/female designated spaces.

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above: group editing sessions right: illustrated postcards for Venturi.

Within the team, we looked at creating a new approach for the periodical. Questioning: what even is ‘bouwkunde-news’ in 2019 when the faculty is so much more than it was in 1967?

What is really missing?

We wrote articles in the 52nd edition with the mindset that we were sharing the voice of the faculty. This brought in a wave of new contributors - known as Bnieuws ‘pen pals’ who wrote thought-pieces, essays and musings on artefacts they loved. We shared exemplar student work on the social media feeds, opened questionnaires on our content and even left copies in the toilets to be picked up by an unsuspecting visitor.

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BNIEUWS. bkcity, TUDelft.

A series of postcards illustrated from the work of Robert Venturi.

ZIGZAGCITY PAVILION ROTTERDAM.

Masters project, TUDelft.

Tutors: Anne Geenen, Sereh Mandias.

Tasked to create a ‘welcoming moment’ for the architecture festival, the main brief was given to us as a group of 15 students to design, create, build and project manage the erection of a pavilion. Made from ply, pine-wood and steel tension wires, the project was entirely assembled in Rotterdam.

Students involved in the project: Bjorn van Dijk, Camilla Ceccacci, Dennis Musalim, Emilia Golebiewska, Eunkyu Hong, Eva ten Velden, Junyi Zuo, Linn Opsahl, Mary Lou van den Berg, Matthew Riches, Nikolas Kourtis, Samuel Goma Garcia-Ganges, Sebastiaan Brouwer, Trang Phan. additional images provided by Camilla Ceccacci.

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above: image of tower and shed in the park before opening night. right: construction details.

This project was taken from making scale models as individuals to becoming a 1:1 project constructed on site by us, as a collective.

Requiring: design to be fixed and confirmed by an engineer; materials to be quantified and ordered by a construction company; assembly and process to be mapped out with jigs, bolts and angles.

Alongside the building process, I was involved in making a bespoke trolley to act as an information desk.

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ZIGZAGCITY PAVILION. Rotterdam.

construction details of shed (top) and tower (bottom).

above: raw material for trolly design. right: lifting the tower after assembly.

Throughout the design and construction phases, I acted as a clarifying participant in group discussions, bringing different ideas together and making sure the important findings were documented. This was seen in the ideas I brought to the individual design phases, group work and shed proposals, all having qualities represented in the final design, because they were all from bouncing off other ideas presented into the group.

My biggest role was in the design and assembly of the trolley, but was always on site to aid in construction of the pavilion and help with key decision making.

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ZIGZAGCITY PAVILION. Rotterdam.

Lifting the tower after assembly, and before cladding and weights were installed for structural stability.

above: tests of trolley designs through models. right: final trolley design.

The trolley was the product of several backand-forth reviews with the client. They wanted a welcome desk space for the ‘house’ for visitors to arrive at a central space before being told the route of the festival.

THE FINAL DESIGN WAS SOMEWHERE BETWEEN A DESK AND A DRINKS CABINET A PLACE FOR THE HOST TO STAND BEHIND AND SERVE GUESTS.

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ZIGZAGCITY PAVILION. Rotterdam.

Trolley in use at the festival opening, complete with mini-fridge and storage and desk space for attendees.

Construction until park close.

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ZIGZAGCITY PAVILION. Rotterdam.

PRESERVATION: KUNMING YUNNAN, CHINA.

Undergraduate graduation project, University of Huddersfield, UK. Tutors: Yun Gao.

This project is a preservation museum combined with a music school and auditorium. Positioned between ruins of the old Confucius Temple, the site used to be an area of mass use and acknowledgment with Kunming residents.

However, the project - from the research from the international study - asks if rapid developments and expansion of the town’s boarders has caused the real history of the city to be erased.

THE DESIGN QUESTIONS IF TANGIBLE AND PHYSICAL ARTEFACTS, BUILDINGS AND CULTURE ARE REMOVED WITHOUT SENTIMENTAL ATTACHMENT, THE REAL UNDERSTANDING OF THE PAST MAY BECOME LOST FOREVER. Kunming is a medium-sized city in China’s South West Yunnan Province. Dubbed the ‘Spring City’, it features a warm climate all year round.

Through researching the travel routes of early travellers, our urban study discovered the development of the city and the diverse range of ethnic cultures here.

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Part of the ‘International’ portion of my undergraduate degree was the three-week trip to China. This included working with university students on designs and detailed analysis on the culture, operation and environment of specific sites in the city. Working in small groups, the final work was presented in a professionally printed book that was designed using my templates.

Kunming’s Confucian Temple was originally a key part of the urban fabric of the city: the central nucleus of the city’s inner walls. It is now unconnected from the ‘Old Town’, surrounded by residential development. The temple is an Island of calm inside a bustling city and the project seeks to preserve these qualities in the intervention.

This project went on to win RIBA Yorkshire’s Silver award for Part I projects.

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Section through museum, music school, auditorium and rooftop garden.

In tandem to the design development, I researched into Concrete and the different way that the material had been used, formed and shaped.

These four experiments into surface relief was a core concept - a concrete box for artefacts and memories to be cast inside.

The four experiments were dubbed: - Pattern, cast over a lazer-cut motif; - Grain, cast on an open Log; - Dye, cast adding food dye and shards of glass; - Crown, burnt on an open flame to create a charred relief.

An additional document and video was made with these experiments and can be found online at issuu.com/jackoliverpetch

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PRESERVATION: KUNMING. Yunnan, China.

Concrete sample creations - adding dyes, casting and burning moulds.

above: model photo of scheme. right: upper ground floor plan

The entire journey of the building is intended to bring viewers to learn more about the past and preservation, before facing the new ‘Old Town’ developments, questioning what action is necessary.

The museum is a series of raised rooms which each relate to different areas of Kunming’s development, ending in crossing over the old walls of the other archaeology plot and turning to face the music performance of today.

After a performance, the visitor is guided across a wall of discarded items and up to a large staircase to celibate the music school and backof-house areas for the auditorium.

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PRESERVATION: KUNMING. Yunnan, China.

upper ground floor plan, showing the auditorium space, entrance gallery and garden areas.

above: render of museum space right: render of music school

The exhibition spaces, seen above, is derived from the Confucian proverb to ‘show’ over ‘tell’. Memories & artefacts are categorised and impressed into concrete for the viewer for the foreseeable future. Beginning with the early developments of Kunming, categorising the town’s expansion from Swiss interventions to the mass western influence of today.

This space acts as a comment on the drastic, rapid developments reshaping the city: CASTING MEMORIES IN CONCRETE MAKES THE PAST HARDER TO ERASE. In the scheme there are spaces designed across the site to preserve the existing occupancy. The goal to bring both new visitors and the elderly population of the surrounding area together.

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PRESERVATION: KUNMING. Yunnan, China.

View of the music school, showing access to rooftop gallery as well as providing informal meeting areas.

above: radial view of site context right: exploded structural scheme.

With an existing school, temple and garden on site, there are strong connections between past, present and future with the site. This project saught to bring all together with open, varied spaces across the different forms of preservation: Physical, theoretical, occupation and occupants.

The choice of material was derived through experiments and critiques on china’s rapid development - turning a stereotypical building method usually used for environmental harm into a positive and permanent statement.

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PRESERVATION: KUNMING. Yunnan, China.

Diagram shows members in red are load-boarding, members in white are lateral loads and members in blue are recycled cladding.

Total scheme shown as operating on an evening performance

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PRESERVATION: KUNMING. Yunnan, China.

thank you

contact:

jackoliverpetch@gmail.com // jackoliverpetch.co.uk

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