Jake Richardson Stage 2 Architecture Portfolio

PORTFOLIO

Session 2013-2014

Newcastle University B.A. Architecture Year 2

Jake Richardson 120111066

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SKILL SET

PERSONAL DETAILS

Drafting and 3D modelling

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EDUCATION +

3D Max AutoCAD

Work experience Aedas

Revit Sketch-up Editing and presentation

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2013

+

Photoshop In Design Illustrator Microsoft platforms Hand skills

-

+

B.A. Architecture Newcastle University 20122015 RIBA part 1 accredited

2012

Hand drawing Model making

Name

Email

Jake Richardson

Jakejrichardson1993@gmail.com

Nationality

Contact Number

English

07805 731649

Place of birth

Date of birth

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2011

Huddersfield new college

2010

Dewsbury

September 28th

Work experience Aedas

1993

WORK EXPERIENCE

AWARDS - QUALIFICATIONS ACHIEVEMENTS

CONTENTS PROFILE/COVERING LETTER 4-5

Six week placement over summer and Christmas -Revit skills developed -Attended site visits and design meeting -Active assistance on sketch up and Revit on a number of projects

DESIGN YEAR REPORT 6-7 CHARETTE WEEK 8-11 PLACED DISPLACED 12-23 LIVING ON THE EDGE 24-39

Newcastle University Architecture society president NCL+ award best society officer of the year (Runner up)

CIVIC CENTRED 40-61 CROSSOVER 62-77

NON DESIGN MODULES ADDITIONAL WORK 80-81 PLACE OF HOME 82-83

Week work placement -Sketch up skills developed -Auto cad skills learnt

ARCHITECTURE TECHNOLOGY 84-93 ENVIROMENTAL DESIGN REPORT 94-97

Duke of Edinbrugh Gold

ASSESS FOR ALL AND MEANS OF ESCAPE 98-103

# - Revisited work

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PROFILE/COVERING LETTER

Jake Richardson Page 4

The study of architecture combines the strongest aspects of my personality into my academic studies. These aspects include my fascination with design, my interests and enjoyment of various cultures and environments and a passion for solving practical problems whilst working with others. I am particularly interested in architectural theory and history. I believe good architectural design should manipulate the senses and environment to perform actions we do not expect. Through the implication of this is we can achieve true design.

I have extended my architectural education through three successful work experience placements at Aedas. During these placements I have taken part in site vists and design team meeting. I have been an active participate in a number of projects from sketch up and Revit. This experience has further enriched my architectural experience and enthusiasm and has had a positive impact on my academic work.

During my period of study at Newcastle I have expanded and developed personal quality’s through extra circular activities. During my second year I have held the role of president of the university’s architectural society. During my tenancy I have held two balls attracting 200 plus attendees student and staff alike. Arranged a five day international trip for 40 pupils to Krakow, and various other events from charity nights and social events. In recognition of my efforts I was nominated for best society officer of the year. In addition I have also held the position of representative for the school of architecture planning and landscape. This involved the communication between students of the school and taking forward issues.

My main interest outside of academia is running, I am a member of Holmfirth Harriers, competing in cross country and athletics events. I have represented Holmfirth in the first division for athletics in the Northern League, running in the 400m hurdles and 3000m steeple chase. I have also run at a National level in Cross Country. I have also competed highly for Newcastle university at the BUCS for both cross country and track and field. This requires commitment, dedication and hard work which is an extension of my approach to my studies.

I believe myself to be a committed individual with a solid academic foundation, who gets on well with others. I consider myself to have the uncommon combination of creative flair, personal enthusiasm and technical ability, allied with the intellectual capacity to cope with the demands of professional working life. I hope you enjoy the portfolio.

Kind regards

Jake Richardson 14/05/2014

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YEAR DESIGN REPORT

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Initial thoughts

My main goal for the year was to develop my weak skills and build a greater understanding for the design process. I felt in first year I was not willing enough to explore ideas and I did not push myself enough. Having key design concepts and the ability to grow them in to a design was something I wanted to strive towards.

Placed displaced

Going in to the first project my main ambition was to expand on my willingness to explore wider design options. I was not afraid to go away from “safer” options and instead pushed an idea which I felt would stretch my ability more and the final outcome would result in a lot more personal development. My main weakness seemed to fall half way through the project from a good start. I was unable to move the concept forward. Which then later affected my presentation and design exploration.

What I needed to do was focus more on the technology and materiality instead of pulling back my concept; I needed to not be afraid of pushing the concept further. I was most happy with my early willingness to explore, I need to work on the second half of the project and continue to develop rather than resting on my early design decisions. In terms of presentation it needed a lot more work, what I needed to do was take a step back and think of how to make the concept sing and stand out. What is the best way to represent my ideas? Rather than just presenting it generically.

Living on the edge

Going in to the next project from placed displaced I wanted to kick off where I had been successful. I yet again started the project well and demonstrated a good willingness to explore and stretch my design ability. My goal at the start of the project was to think about presentation from an early stage and how I could best show the building. I was very happy with my presentation, however I felt I had tripped myself up by thinking about presentation too early when I could have used the time to further develop my idea. In terms of presentation, it was the first fully digital presentation I had produced and I was very happy with the final outcome. Going forward however I need to learn not to rest and continue to develop; to draw over plans and use models more.

Civic Centred

Although Civic Centred was my lowest mark of the year I felt it was the project I learnt the most by far. My tutor was very good to continue to push and develop ideas.

I was able to establish a firm set of concepts and was able to represent them very well. Although where I had slipped up in the previous project by thinking too early about presentation. This I did not leave myself enough time to present it in the best way. Although I do feel the design itself was much more detailed.

Crossover

Crossover was the first group project that I had taken part in at university. We initially had issues around each other’s working habits. We were quickly able to sort this out. I wanted to use this time to get to understand some 3-D modelling software. I developed my Revit and 3-D Studio Max skills. Overall I was happy with the final outcome, the design was a nice symbol for my progression through the year. It had a clear concept running throughout the design and I was not afraid to push my design ability.

Portfolio

The assembly of the portfolio has been a great opportunity to develop more computer skills. During the course of assembly I have learnt a great deal in terms of how to represent designs; vital skills which will serve me well in third year.

Progression

Overall, looking at my year’s work I am very happy about how I have developed. I have shown a greater desire to push my ability and to explore ideas. However I do feel I need to find the balance between development and finding the time to represent my design. This I feel will come in to third year as the ability and speed I work at will increase.

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CHARRETTE WEEK Session 2013-2014 Jake Richardson Duration 1 weeks

Simulacrum Project 0.1

Above: (Figure CWa) Simulacrum

PROJECT BRIEF The aim of the charrette week was to represent a given area of Newcastle with casted bricks. Then to collate them together to form one piece which would bring together the many different areas and characteristics that make up Newcastle.

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PROCESS WORK Figure CWa: Finished Simulacrum instillation

Top left: (Figure CWb) Exhibition layout sketch

Top right (Figure CWc) Atmospheric drawing of the Simulacrum

Figure CWb: Sketch showing the initial idea for the exhibition with the Simulacrum in the centre of the room. In addition on the walls supporting images and processes material showing the production of the instillation.

Figure CWc: Atmospheric drawing of the Simulacrum.

Showing the combination of the different areas of Newcastle Figure CWd: Photographs from the week showing the production of the exhibition and the process of making the Simulacrum

Above from left: (Figure CWd) Photographs from the week

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FINAL INSTILLATION Figure CWe: Process images of the bricks being made for the Simulacrum.

Figure CWf: Final Simulacrum Figure CWg: Exhibition image of Simulacrum Figure CWh: Finished Simulacrum instillation

Top left: (Figure CWe) Process images

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Top right: (Figure CWf) Simulacrum

Above: (Figure CWg) Exhibition image

Above: (Figure CWh) Finished Simulacrum instillation

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PLACED DISPLACED Session 2013-2014 Jake Richardson Duration 3 weeks

NIDUS Project 0.2

PROJECT BRIEF

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Above: (Figure Pa) Concept Sketch

The project asked us to design a terrace house for a working couple in Jesmond. The couple enjoys entertaining friends, they have a small pottery collection. They also need an area to store bikes and their outdoor pursuit equipment.

The concept behind the idea was to create a home which could adapt with the family’s circumstances. Nidus is Latin for nest which is also can mean home. Another driving factor was to think outside the boundaries of the home and try to bring the community together with shared facilities.

DESIGN CONCEPT Figure Pa: Concept sketch showing the idea of a home being able to adapt as the inhabitance of the house changes. The idea of a house being a place for reproduction. The name Nidus is Latin for nest. Nest meaning the same as home.

Above: (Figure Pb) Precedent Street Party for Queens Jubilee (Pat

Above: (Figure Pc) Sketchbook extract

Figure Pb: Precedent Street Party for Queens Jubilee (Pat Thirtle) inspiration for an idea to being the street together. Create a community, to think beyond the premise of the house.

Figure Pc: Sketchbook extract showing the idea of the shared allotments to bring the community together Figure Pd: Concept sketch of the idea to create surprise with a standard brick front faรงade.

Then creating an element of surprise when entering with the nest structure which houses the bedroom. Also sketches to show how I aimed to create pathways between the houses to allow access Figure Pe: Sketchbook extracts showing the idea of a nest that could adapt with the family

Above: (Figure Pd) Design concept sketch

Above: (Figure Pe) Sketchbook extract

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MODEL DEVELOPMENT Figure pf: Model showing nest and light penetration Figure Pg: Model showing shared allotment element at the back of the housing scheme.

Figure ph: Development of idea through models.

(From top) First idea, Nest development model, Nest concept model final nest model.

Above: (Figure Pf) Model showing nest

Figure Pi: Sectional view of model showing the private relationship between the nest and the ground floor. In addition the penetration of light in to the nest.

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Above: (Figure Pg) Model showing

Above: (Figure Ph) Development through models

Above: (Figure Pi) Sectional model perspective

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MATERIAL STUDY AND PLANS Figure Pj: Image to show materiality of the nest. The use of wicker is to give it an organic feel allowing light to pierce through the structure.

I wanted the structure to rock and sway to excite the sense.

Figure Pk: Concept image showing the idea behind the nest

Figure Pl: Sketch the show the personal feel behind the nest. The idea it could be adapted with the family situation changes.

Figure Pm: Plans

Above: (Figure Pj) Materiality of nest (Wicker weave)

Above: (Figure Pl) Sketch showing nest construction

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Above: (Figure Pk) Concept sketch of nest # Added

Above: (Figure Pm) Plans # Updated

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SECTIONS & ELEVATIONS Figure Pn: Elevation of front faรงade highlighting the normality of the brickwork. The design blends in with the environment. Which gives the architecture its element of surprise when passing through the entering the threshold of the door Figure Po: Long section showing the building and its relationship with its surroundings and connection with the shared allotments. The interior use of exposed brick emulates the buildings in the area and provides a contrast with the wicker weaved nest.

Figure pp: Atmospheric section showing how light enters the building and the comforting nature of the nest represented with the use of feathers. Creating a safe and private sleeping area.

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Above: (Figure Pn) Elevation # Updated

Above: (Figure Po) Long section B-B # Updated

Above: (Figure Pp) Atmospheric section A-A # Updated

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COMMUNITY CONCEPT

Below: (Figure Pq) Sketches showing shared community # Added

Figure Pq: Sketches showing shared allotment at the rear of the design. The design thinks beyond the boundaries of the house.

Inspired from the painting

by Pat Thirtle I wanted to bring the aspect of community in to the design.

Through the use of the shared allotments and paths in between the houses it does this.

Figure Pr: Roof plan showing the relationship between houses and connection with the shared allotments.

Figure Ps: Montage showing the rear elevation and connection between the houses.

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Above: (Figure Pr) Roof plan # Added

Above: (Figure Ps) Montage of backstreet # Added

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DIGITAL REPRESENTATION Figure Pt: 3-D section showing light penetration in to the nest and its relationship with the kitchen Figure Pu: Interior perspective showing the ground floor expressing the materiality of the brick, concrete and wicker

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Above: (Figure Pt) 3-D section # Added

Above: (Figure Pu) Interior perspective # Added

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LIVING ON THESession EDGE2013-2014 Jake Richardson Duration 6 weeks

GROWTH Project 0.3

Above: (Figure La) Site visit sketch

PROJECT BRIEF To create a foyer for disadvantages people. It needs to provide accommodation for eight students and private tutor accommodation. The scheme needs to have an associated workshop which will reach the residents a skill.

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Somewhere to grow the design creates an place for development. Keeping the aims of the foyer at heart.

Creating a place for personal development in a safe assured environment. Where the residents are responsible for their future giving them a greater resilience to overcome barriers in a way which provides a positive contribution to the community. The main concept which has driven my design has come from three aspects.

The different layers of build from the old new and modern architecture of the Osborne. Incorporating the skills developed in the manufacture of boat making to tie in with the goals of the foyer. Creating a home rather than a room for the residents.

SITE VISIT Figure La: Site visit sketch showing the view from the bridge.

Figure Lb: Sketch from site visit showing the existing buildings.

Figure Lc: Sketches from site showing the existing slipway.

The slipway gave a sense of movement progression and growth.

Above: (Figure Lb) Site visit sketch

Above: (Figure Lc) Site visit sketch

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SITE ANALYSIS Figure Ld: Client profile outlining the needs of the tutor and the residents of the foyer.

Figure Le: Site analysis diagram showing the existing layers of build in the site contexts. New build and the old industrial buildings.

Above: (Figure Pd) Client profile

Figure Lf: Nowhere to grow (Les B. Whitbeck and Dan R. Hoyt) from reading this book the concept of growth was created. It put me in the shoes of the Homeless/ under privileged to create somewhere to grow back in to society.

Figure Lg: Model showing the concept which has driven my design has come from three aspects. The different layers of build from the old new and modern architecture of the Osborne.

Figure Lh: Site analysis map looking in to the sun direction and journey to the site.

Above: (Figure Pf) Nowhere to grow (Les B. Whitbeck and Dan R. Hoyt)

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Above: (Figure Pe) Site analysis diagram

Above: (Figure Pg) Conceptual site analysis model

Above: (Figure Ph) Site analysis map

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MODEL DEVELOPMENT Figure Li: Pod model Instead of creating rooms I wanted to create homes for the residents.

Figure Lj: Development model of using the slipway for the workshop Figure Lk: Model development in contexts Figure Ll: Pod development, trying to bring a sense of community among the pods

Above: (Figure Li) Pod model

Above: (Figure Lj) Development model

Figure Lm: Final model Figure Ln: Further development model

Left: (Figure Lk) Development model in site

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Above: (Figure Ll) Pod development

Below: (Figure Lm) Final model

Left (Figure Ln) Development model

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PLANS Figure Lo: Section Key Figure Lp: Level 0.0 Figure Lq: Level 0.1 Figure Lr: Level 0.2 Figure Ls: Level 0.3

Above: (Figure Lq) Level 0.1

Above: (Figure L0) Section key

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Below: (Figure Lp) 0.0

Left: (Figure Ls) 0.3

Right: (Figure Lr) 0.2

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SECTIONS Figure Lt: Section key

Right: (Figure Lt) Section key

Figure Lu: Section C-C Figure Lv: Elevation Figure Lw: Section B-B

Above: (Figure Lu) Section C-C

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Above: (Figure Lv) Elevation

Above: (Figure Lw) Section B-B

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WORKSHOP CONCEPT Figure Lx: Drawing showing the manufacture of boats.

The concept using the process of making the boats in the program for the young children. In a method which incorporates the goals of the foyer. Building on selfconfidence, cooperation, team work and exasperation.

Using the slip way as a symbol for this journey as a simple when the boat is set of they are ready to be re-introduced back in to society.

Figure Ly: 3-D Section showing how light penetrates the workshop.

The Light is used to distinguish between the different areas for boat production. From initial discussion to the cutting of the wood through to assembly then putting the mast and launching in to the river.

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Above: (Figure Lx) Concept sketch

Above: (Figure Ly) 3-D section A-A # Added

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MODEL & DIGITAL REPRESENTATION Figure Lz: Model section showing the production of boats tied in with the intentions of the foyer to reintroduce the residents back in to the community.

Above: (Figure Lz) Model section

Figure Laa: Looking down the slipway Figure Lbb: Looking back up the slipway Figure Lcc: Atmospheric interior image showing the boat launching

Above: (Figure Laa) Looking down the slipway

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Above: (Figure Lbb) Before launch

Above: (Figure Lcc) Interior image # Added

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PODS Figure Ldd: Atmospheric sketch interior sketch of the pods Figure Lee: Concept sketch of the pod, the aim to not just create a room for the residents but to create an individual home.

Figure Lff: Plan of the pod Figure Lgg: Interior image of the pod Above: (Figure Ldd) Atmospheric sketch

Above: (Figure Lee) Concept sketch

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Above: (Figure Lff) Plan

Above: (Figure Lgg) Interior image # Added

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CIVIC CENTRED Session 2013-2014 Jake Richardson Duration 6 weeks

DANCE STREET Project 0.4

Above: (Figure CCa) On the beach dance

PROJECT BRIEF To design a civic building with three unique aspects a core accommodation combined with dance studios and debating chamber.

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The idea is based on a dance street where the journey along the street is matches with the journey of dance composition. The street acts as a method to inspire through different architectural methods. Using through materiality, Kinetic movement, Lighting, visual stimulation and sounds. One of the main methods is to perform actions with light you don’t expect using the water to reflect light in to spaces. The building aims to increase public participation through openness which is demonstrated in the debating chamber.

SITE VISIT Figure CCa: On the Beach dance Figure CCb: Sketch of the site, instantly giving the impression of a stage performing against the sea.

Figure CCc: On site sketch showing the connection of the tidal pool to the grand hotel.

Above: (Figure CCb) Approach to the site

Above: (Figure CCc) On site sketch

Figure CCd: Approach to the site from Tynemouth. The site is hidden until the very last minute when it appears.

Figure CCe: Site sketch showing the tidal pool in context giving the impression of the sea performing on the pool as a stage.

Above: (Figure CCd) Approach to the site

Above: (Figure CCe) Site sketch

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CONCEPT AND DESIGN PRECCEDENT Figure CCf: Main design concept to use to journey of dance composition as the journey through my building. Providing different methods to inspire through materiality, Kinetic movement, Lighting, visual stimulation and sounds.

Above: (Figure CCf) Design concept diagram

Figure CCg: Concept diagram showing the connection between spaces Figure CCh: Design precedent Dance city Newcastle Figure CCi: Sketch from Dance city providing inspiration for a joint communal area for people to meet before entering the dance studios. Areas for stretching and spontaneous dance.

Figure CCj: Sketch inside a dance studio at dance city

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Above: (Figure CCg) Concept diagram

Above: (Figure CCh) Design precedent Dance City Newcastle

Above: (Figure CCj) Precedent visit sketch

Above: (Figure CCi) Precedent visit sketch

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DEVELOPMENT MODELS Figure CCk: Concept model showing how the dancers and the sea are coming together using the tidal pool as a platform to perform.

Figure CCl: Debating chamber development model Figure CCm: Early idea for the dance street Figure CCn: Debating chamber development model

Above: (Figure CCk) Concept model

Above: (Figure CCl) Debating chamber development model

Figure CCo: Mini stage for the street Figure CCp: Roof plan from the idea of funnels to naturally ventilate and light the spaces Figure CCq: Debating chamber development model Figure CCr: Development model to enhance the street feel

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Above: (Figure CCm) Development model

Above: (Figure CCn) Development model

Above: (Figure CCo) Mini stage model

Above: (Figure CCp) Roof plan development model

Above: (Figure CCq) Debating chamber development model

Left: (Figure CCr) Development model

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DANCE STREET CONCEPT Figure CCs: Sketching showing the journey along Front Street Figure CCt; Concept model showing the journey and thresholds along the way from the metro to the tidal pool.

Figure CCu: Journey model.

The idea of combining the journey of dance composition and a street to a main goal where the dance will be performed.

Then along the way like the buildings on Front street they provide the inspiration for the dance. The castle acts as a end goal the performance space acts as the finish for the dance composition.

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Above: (Figure CCs) Approach along Front Street

Above: (Figure CCt) Concept journey model

Above: (Figure CCu) Concept journey model

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PLANS Figure CCv: Site plan showing the scheme in context with the area of Tynemouth Figure CCw: Plans showing the hardness of the concrete against the treated driftwood timber used in the debating chamber and theatre.

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Above: (Figure CCv) Site plan # Added

Above: (Figure CCw) Plans # Updated

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SECTIONS Figure CCx: Section showing how the light performing actions not expected to inspire dance. The light reflects off the pool water in to the dance studio Figure CCy: Section showing the relationship between the street and the debating chamber. The openness and transparency of the chamber aims to increase public participation.

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Above: (Figure CCx) Section A-A # Updated

Above: (Figure CCy) Section B-B # Updated

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DANCE INSPIRATION Figure CCz: Each dance studio is tailed to a different form of dance. With each studio using light inspired from the movement of dance. Using the water from the tidal pool the light bounces off water and performs actions you don’t expect. From left to right the street dance enters the room in jagged unexpected ways. Ballroom is more graceful with circular ones concentrating light in spots. Using sandblasted glass it proves a silhouette in the breakout zones to give a glimpse of what is happening inside.

Figure CCaa: Model of the performance theatre using light cones which react to the movement of the sum to create a sense of drama when a dance production is in progress.

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Above: (Figure CCz) Studio concept

Above: (Figure CCaa) Dance stage lighting model

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FINAL MODEL Figure CCbb: Breakout zone model these occur in between the dance studios Figure CCcc: Final model Figure CCdd: Model showing the approach to the building

Figure CCee: Looking down the dance street showing the connection between the retail shops and cafĂŠ to create this street of activity.

From the viewing platform views across the sea and down in to the street are possible.

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Below: (Figure CCbb) Breakout zone model

Above: (Figure CCcc) Final model

Below: (Figure CCdd) Approach to the building

Above: (Figure CCee) Looking down the street

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DEBATING CHAMBER Figure CCff: Intial sketch of the debating chamber

Right: (Figure CCff) Initial sketch

Figure CCgg: Sketching looking down in to the debating chamber. I wanted to create a room that increased public participation. With views looking down in to the chamber and views on street level.

Figure CChh: Concept sketch using a cone structure for natural ventilation Figure CCii: Concept model cutting through driftwood smooth on the inside with a rough outside. This was the inspiration behind the materiality of the debating chamber cone.

Figure CCjj: Final debating chamber model Figure CCkk: Interior image inside the debating chamber showing debating taking place and views looking down from the viewing platform.

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Above: (Figure CCgg) Initial sketch

Right: (Figure CCjj) Initial sketch

Below: (Figure CChh) Concept model

Above: (Figure CCii) Debating chamber final model

Above: (Figure CCkk) Interior model picture

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PHOTOMONTAGE Figure CCll: Elevation, the height of the debating chamber gives a focal point on the coastline Figure CCmm: Approach to the building Figure CCnn: Photomontage showing the building in context

Above: (Figure CCll) Elevation # Added

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Above: (Figure CCmm) Building approach # Added

Above: (Figure CCnn) Photomontage # Added

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DIGITAL REPRESENTATION Figure CCoo: Perspective looking down the street Figure CCpp: Interior perspective inside a dance studio the lighting off the water and through the cones performers in methods you don’t expect. Inspiring dance

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Above: (Figure CCoo) Interior perspective # Added

Above: (Figure CCpp) Interior perspective # Added

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CROSSOVER Session 2013-2014 Jake Richardson Duration 3 weeks

VELO-CITY Project 0.5

Above: (Figure Ca) Sketch of people on bikes

PROJECT BRIEF To design a bike storage unit for 1000 bikes with wider community aspects in Sheffield. The design needs to incorporate smaller satellite hubs in the heart of Sheffield city centre. The design needs to have timber at the heart expressing its structure and pushing it to it limits in an innovative fashion.

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SITE ANALYSIS Figure Ca: Sketch of people on bikes

Figure Cb: Development sketch Figure Cc: Site analysis showing the potential access routes for the cyclists and pedestrians Figure Cd: Concept models showing the progression of form from left to right

Above: (Figure Cb) Development sketch

Above: (Figure Cd) Concept models

Above: (Figure Cc) Site analysis

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DESIGN DEVELOPMENT Figure Ce: Client profile sketch. The scheme needs to incorporate the needs of the cyclists, footballers and the wider community.

Figure Cf: model development ideas aiming to get light in to the cycle storage units.

Figure Cg: Movement development with separate routes for trails bikes, cyclists and pedestrians.

Figure Ch: Main storage development model with three light beacons through for light penetration

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Above: (Figure Ce) Client profile sketch

Above: (Figure Cf) Light penetration development

Below: (Figure Cg) Movement development

Above: (Figure Ch) Development model

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FINAL MODEL Figure Ci: final models showing key areas of the design.

Figure Cj: Final model showing the complete design

Above: (Figure Ci) Final model

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Above: (Figure Cj) Final model

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STORAGE AND ELEVATION Figure Ck: Cyclepods precedent which inspired an organic idea of expressing the bikes on the structure Figure Cl: Models showing how the bikes would look expressed on the structure Figure Cm: Section A-A showing relationship between units with the bikes expressed on the elevation

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Above: (Figure Ck) Design precedent Cyclepods

Above: (Figure Cl) Storage method

Above: (Figure Cm) Section A-A

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SCHEME JOURNEY AND CONTEXT Figure Cn: Journey through the scheme through the vision of the cyclists Figure Co: Plans showing the routes through the site and the relationship shared between the units

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Above: (Figure Cn) Journey though the site sketch-

Above: (Figure Co) Site plan

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STRUCTURE AND PERSPECTIVE Figure Cp: Each structure has a different timber cladding to show the variety timber has to offer, while keeping the design the same to bring unity to the overall project. We have chosen six different timbers; oak, scots pine and silver birch which are all native to Britain and larch, cedar and Douglas Fir which were introduced to Britain between the seventeenth and nineteenth centuries.

All of the timbers are grown and available in Britain, ensuring the project is a projection of a celebration of British timber.

Figure Cq: Interior perspective of the storage unit

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Above: (Figure Cp) Satellite pod axonometric

Above: (Figure Cq) Interior perspective

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SATELLITE HUBS Figure Cr: Map showing the position of the satellite hubs in Sheffield and its connection with the Trans Pennine route Figure Cs: Panoramic picture of Sheffield from the site Figure Ct: Photomontage showing how the hubs would site in the context of Sheffield (picture taken outside Sheffield train station

Above: (Figure Cr) Satellite hub locations

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Above: (Figure Cs) Sheffield panorama

Above: (Figure Ct) Photomontage

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LIGHT PENETRATION Figure Cu: Model of large bike storage unit. Design developed to embrace more bikes on the outside of the structure Figure Cv: Entering the storage Figure Cw: Model showing the penetration of light in to the storage of the unit.

Figure Cx: Model showing the penetration of light in to the storage of the unit.

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Above: (Figure Cu) Main bike storage model

Above: (Figure Cv) Entering the storage

Above: (Figure Cw) Light penetration model

Above: (Figure Cx) Light penetration model

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NON -DESIGN & ADDITIONAL WORK Session 2013-2014 Jake Richardson

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CONTENTS ADDITIONAL WORK 80-81 PLACE OF HOME 82-83 ARCHITECTURE TECHNOLOGY 84-93 ENVIROMENTAL DESIGN REPORT 94-97 ASSESS FOR ALL AND MEANS OF ESCAPE 98-103

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ADDITIONAL WORK WORK EXPERIENCE Whilst on work experience I assisted in a project for Sheffield University. The brief was to create a new social space for the engineering department. I worked on the sketch up model for the site and participated in some of the design decisions. Here are some of the images produced.

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“Perhaps our homes of adulthood are an unconscious search for the lost home of Childhood” (Pallasmaa).

Discuss how the interrelationship between people and their homes develop through time.

Naturally home is a place of reassurance, safety and security which can be applied to humans and animals. In nature some adult animals go through a process of natal homing, returning to their place of birth. “Would a bird not build its nest if it did not have its instinct”1 It is this natural instinct, which the writer believes is similar to the way in which people look for their home of adulthood. The bird builds a nest because of it instinct and experience throughout life. Likewise people develop certain qualities from their experiences of home and space. How their conscious and unconscious architectural prejudices have been formed from these specific events and over time will then become the driving force behind the process for the search for the home of their existence. The writer believes that we learn from our past spaces and bring forward aspects of familiarity and comfort. This notion is echoed by Dovey “Homes of our past sets the ground for our very perceptions of attractiveness and ugliness.”2 However it may not be that we search entirely for the home of our childhood but that this simply starts us on our journey of discovery.

First it is important to think about how we remember spaces. Architects Rem Koolhass and Bruce Mau argues in their book S, M, L, XL that when we are confronted with very large scale buildings we can no longer conceive ourselves in relation to the whole building. Instead we engage with the building in a fragmented way, only paying attention to the relationship between ourselves and the aspects of it in our immediate surroundings.

3 This is an important factor to consider when we go back to the question. We remember the spaces in terms of how we interacted with them and events that occurred in them. Unconsciously we are piecing the rooms together more accurately, for instance, the position of certain features, and it is these characteristics thoughts that we seek.

Figure 1 – Above Picture taken by Jake Richardson

As time goes by, relationships and how we remember spaces changes and becomes fragmented. For example, I remember spaces in a series of thresholds and sequences. Architect describes how he remembers spaces as images of his childhood “sometimes I can almost feel a particular door handle… I remember the sound of the gravel under my feet….I can hear the heavy front door closing behind me” 4 When I remember the first house I lived in I think of it as if I was approaching the house (Figure 1), piecing together memories of certain events that happened. The road where I learnt how to ride a bike and playing with some Lego in the living room and accidently knocking down a pot of flowers all over the floor. It is the progression, the actions, the events and the doing that is how we remember spaces, resulting in “architecture being founded on verbs rather than nouns. The approaching of the house, not the façade, the act of entering, not the door; the act of looking out of the window, not the window itself ” 5 our experiences of past spaces are integral to the search of the homes of our minds and future. This vision house of our mind is made up from these journeys created through our memories “When the attic room is lost and gone, there remains the fact that we once […] lived in the attic”6 and these memories are spaces that “would like above all still to be possessed.”7 This action of taking in from the experiences of spaces from the outside world results in an injection of values into what we strive for in our home, making it “a relationship, an experienced meaning.” One that orientates us “within a spatial, temporal, and sociocultural order that we understand” 8 which then reassures us. “The story must be completed, therefore, by some attempt to determine how houses and dwellings of all kinds are turned into homes”9 For us to be able to realise our house of adulthood we need to have experienced the full story of life to date, which starts at childhood. The encounters that we face with spaces throughout our lives form our architectural prejudices of our home. Through our life these prejudices change but we are constantly feeding our conscious and unconscious ideas. (Figure 2)

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Figure 2 – Above sketch by Jake Richardson

This means the relationship and fundamental goal we search for in adulthood may stem from our childhood home but cannot be directly compared with it as our ideas evolve progressively as these prejudices develop. Nevertheless, the writer believes it is undeniable to believe the seed is not planted from childhood.

Individuals rarely design their own house, instead they make a home from a house they purchase. It is the personal interaction which then creates the home. For instance the fireplace of a house is normally immediately personalised with pictures of family and events which represent the old and the new. (Figure 3) “in a sense to move forward under its own momentum, leaving individuals and households to fit into it and adapt in to their needs and desires as best they can.” 10 It is this action which makes home the “staging of personal memory. It functions as a two-way mediator – personal space expresses the personality to the outside world but equally important, it strengthens the dweller’s self-images and concretizes his world order.” 11 Bachelard’s theory of the oneiric house sings a lot of truths, he signifies the importance of both cellar and attic, the importance of verticality being parallel to function, with houses having up sleeping spaces and down living spaces. This is an idea shared by Dovey its “role as a centre of a spatial world with a sense of verticality and horizontal access.” 12 This typifies the homes the writer has inhabited where there is always a running theme with where the stairs are positioned. This is a good example of our unconscious architectural prejudices.

Our architectural prejudices allow us to start to manipulate our spaces from our childhood which then follows through in to our adulthood where we then begin to create a “place of self expression, a vessel of memories, a refuge, a cocoon where we feel nurtured.”13 Home becomes the base for boundless relationships, “allowing architecture of accommodation that facilitates reconciliation based on images that are deeply routed”14; in addition it also creates an architecture of the new. It creates a home, which is at the heart of our desires, of our spatial beliefs, bringing together the aspects of familiarity and comfort, which we crave. This then allows the home to become something of a reassurance and ultimately an “intimate environment[s] which combine to create the unfolding history of home” 15 where we can reflect on the experiences of our lives. “The way residents personalize rooms can be interpreted as a set of customs that are generated by past residential experiences;” 16 like the bird building the nest, our idea of home in undoubtedly planted from our childhood but what is most interesting is how our journey and experiences through life affect and add to these perceptions. This results in ever house we occupy becoming a book which recreates the story of our journey from childhood to adulthood. This demonstrates how our vision of home is not purely based on the home of our childhood, but it evolves through time as our desires change. These desires lead us to yearn for a home which grounds us, which is reassuring due to the experiences of our childhood and the subsequent familiarity of spaces that we have gone through during our lives.

1.Bachelard Gaston, The Poetics of space, (Boston: Beacon Press 1969), P. 103 2.Dovey Kimberly, Home and Homelessness. From Home Enviroment. Atlman, I and Werner, C.M (eds), (New York: Plenum Press 1985) , P. 37 3.Koolhaas, Rem, and Bruce Mau. S M L XL: OMA. S.l.: S.n., 1993.

4.Zumthor, Peter, Maureen Oberli-Turner, and Catherine Schelbert. Thinking Architecture. Vol. 2. Basel: Birkhäuser, 2006.

5.Pallasmaa, Juhani. "Juhani Pallasmaa: Identity, Intimacy and Domicile - Notes on the Phenomenology of Home." Juhani Pallasmaa: Identity, Intimacy and Domicile - Notes on the Phenomenology of Home.

Finnish Architectural Review, 1994. Web. 04 Jan. 2014.

6.Bachelard Gaston, The Poetics of space, (Boston: Beacon Press 1969), P. 10 7.Bachelard Gaston, The Poetics of space, (Boston: Beacon Press 1969), P. 10 8.Dovey Kimberly, Home and Homelessness. From Home Enviroment. Atlman, I and Werner, C.M (eds), (New York: Plenum Press 1985) , P. 35 9.Ravetz, Alison, and Richard Turkington. Introduction. The Place of Home: English Domestic Environments, 1914-2000. London: E & FN Spon, 1995. P. 200 10.Ravetz, Alison, and Richard Turkington. Introduction. The Place of Home: English Domestic Environments, 1914-2000. London: E & FN Spon, 1995. P. 200

Figure 3 – Left Picture taken by Jake Richardson

11.Pallasmaa, Juhani. "Juhani Pallasmaa: Identity, Intimacy and Domicile - Notes on the Phenomenology of Home."

Juhani Pallasmaa: Identity, Intimacy and Domicile - Notes on the Phenomenology of Home. Finnish Architectural Review, 1994. Web. 04 Jan. 2014.

12.Dovey Kimberly, Home and Homelessness. From Home Enviroment. Atlman, I and Werner, C.M (eds), (New York: Plenum Press 1985) , P. 35 13.Marcus Clare Cooper, House as a mirror of self, exploring the deeper meaning of home, (Berkeley, CA: Conari Press, 1995), P. 4 14.Pallasmaa, Juhani. "Juhani Pallasmaa: Identity, Intimacy and Domicile - Notes on the Phenomenology of Home."

Juhani Pallasmaa: Identity, Intimacy and Domicile - Notes on the Phenomenology of Home. Finnish Architectural Review, 1994. Web. 04 Jan. 2014.

15.Ravetz, Alison, and Richard Turkington. Introduction. The Place of Home: English Domestic Environments, 1914-2000. London: E & FN Spon, 1995. P. 200 16.Lawrence, Roderick J. Introduction. Housing, Dwellings and Homes Design Theory, Research and Practice.

Chichester: John Wiley & Sons, 1987. P. 116 Word Count: 1596 Jake Joseph Richardson - 12011106 - ARC 2023: The Place Of Houses

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1. Damp proof course, Wind-tight membrane 2. Seal 3. Seal 4. Aluminium cap 5. 25 mm expanded polystyrene insulation (25Kg/m3 density) 6. 1500 x 1500 mm Pilkington energiKare triple glazing 7. Aluminium cap 8. 12.5 mm drylining 9. 25 mm service cavity 10. 13 mm plasterboard

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1:10 Openings Detail

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1:10 Wall to Roof Detail (U-Value = 0.1w/m2k)

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1. 180 mm expanded polystyrene insulation (25Kg/m3 density) 2. 4 mm steel sheet, pre-oxidised neoprene 3. Damp proof course, Wind-tight membrane 4. 100 mm ventilated cavity 5. 40/40 mm steel T-section 6. 50/50 mm steel SHS 7. 90 mm pre cast concrete slab 8. 12.5 mm drylining 9. 25 mm service cavity 10. 13 mm plasterboard 11. 300 mm steel I-section 12. Damp proof course 13. Steel bracing 14. Vapour control barrier

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1. 4 mm steel sheet, pre-oxidised neoprene 2. 180 mm expanded polystyrene insulation (25Kg/m3 density) 3. 12.5 mm drylining 4. 25 mm service cavity 5. 13 mm plasterboard 6. Skirting board 7. Sealant between skirting and floor deck 8. 30 mm timber floor deck 10. 300 mm expanded polystyrene insulation (25Kg/m3 density) 11. 21 mm plasterboard ceiling finish 12. 300 mm steel I-section 13. Vapour control barrier

1:10 Wall To Green Roof Detail

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1. 50 mm expanded polystyrene insulation (25Kg/m3 density) 2. 20/300/50 mm +160/50 steel profile of steel sheet 3. 4 mm aluminium sheet, bent to shape with drip feature 4. 70 mm kind 5. Insulated filet 6. 130 mm expanded polystyrene insulation (25Kg/m3 density) 7. Washed gravel to prevent strong plant growth 8. 150 mm soil 9. Filter membrane and drainage layer 10. Intensive planting 11. Seal 12. Insect screen 13. Intumescent strip with drainage and ventilation grid 14. Horizontal scottish larch cladding 15. 30x30 softwood battens, creating ventilated cavity 16. 50 mm expanded polystyrene insulation (25Kg/m3 density) 17. 70 mm expanded polystyrene insulation (25Kg/m3 density) 18. Insulated filet 19. 130 mm expanded polystyrene insulation (25Kg/m3 density) 20. 250 mm steel I-section 21. Moisture matt, root barrier and waterproofing layer; moisture matt and waterproofing layer both turned up at verge and protected by cappting trim 22. 90 mm pre cast concrete slab 23. 21 mm plasterboard ceiling finish 24. 400 mm steel I-section

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1. 4 mm steel sheet, pre-oxidised neoprene 2. Damp proof course, Wind-tight membrane 3. 180 mm expanded polystyrene insulation (25Kg/m3 density) 4. Steel Frame cavity 5. 12.5 mm drylining 6. 25 mm service cavity 7. 13 mm plasterboard 8. Vapour control layer

1:5 Wall Detail Jake Richardson Page 90

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1:10 Wall to Ground Floor & Foundations Detail Page 91

2 1 1. 4 mm steel sheet, pre-oxidised neoprene 2. 180 mm expanded polystyrene insulation (25Kg/m3 density) 3. 12.5 mm drylining, 25 mm service cavity, 13 mm plasterboard 4. 90 mm pre cast concrete slab 5. 300 mm steel I-section 6. 1500 x 1500 mm Pilkington energiKare triple glazing 7. 300 mm expanded polystyrene insulation (25Kg/m3 density) 8. Pile foundation 9. Drainage system joint to the 4 mm steel sheet, pre-oxidised 10. Damp proof course

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1:30 Vertical Section

One of the biggest challenges was to achieve the seamless 4 mm steel sheet, pre-oxidised neoprene around the faรงade and flat roof of the structure.

I looked in to different systems of cladding and how the faรงade would be attached. Which led me to the use of steel T sections. I inevitably resulted in using steel for the new build of my design because of the spans and heights which needed to be achieved. Although expensive steel obviously is very strong in tension & has more dimensional flexibility.

The complications with this arose when the internal thicknesses of the walls had to be altered. I also had to enlarge them to improve the thermal performance after the work that I did early in the year in the Environmental Design & Services of the tutors flat. I had used an existing building in my design so I did not need to think about the construction of this building. I only retro fitted it to achieve greater thermal performance. I feel that my Architectural design has been enhanced, particularly with the cladding system which works better than I had initially expected.

1:40 Vertical Section

Sustainability Instead of looking in to the sustainability of the existing building on the site I decided to look in to that of the new build of the workshop.

So my values will not be the same of that in my SAP report. I managed to achieve a score of A+ throughout the building fabric apart from the solid concrete floor. The workshop itself is based on the existing slip way. To improve the design I would look in to ways of suspending the ground floor. Finally domestic windows, unfortunately I struggled to find triple glazing as specified in my SAP and detailing above, but given that the double glazing I chose had a summary rating of A+ that triple glazing would be in the same region.

In conclusion my target of A+ is easily achievable throughout with a change from solid concrete solid floor to a suspended floor.

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Required widths

Means of escape

(Approved document B,B1, Table 4 + Approved document B,B1, table 6

(Building regulations 2010 access to and use of buildings approved document M) Table 1 - Calculations for occupancy levels within each habitable rooms (A)- approved document B, appendix C, Table C1 Room

Floor

Size

Floor space factor m2/Person

Occupant capacity calculation

Studio one Studio two Studio three Classroom/Teaching space Reception Café Café counter Café kitchen Crèche Retail shop Street/Lobby area

0 0 0 0

44m2 44m2 44m2 30m2

7m2 7m2 7m2 N/A Fixed

44/7 = 6 44/7 = 6 44/7 = 6 15

0 0 0 0 0 0 0

17m2 48m2 5m2 10m2 34m2 12m2 400m2

6m2 1m2 0.3m2 5m2 N/a Fixed 2m2 5m2

17/6 = 3 48/1 = 48 5/0.3 = 16 10/5 = 2 15 12/2 = 6 400/5 = 80

Debating chamber Performance stage

1 1

100m2 172m2

N/A Fixed N/A Fixed

40 70

Mayoral office Administrative office Interview rooms Viewing platform

2 2

20m2 40m2

6m2 6m2

20/6 = 3 40/6 = 6

2 2

30m2 22m2

6m2 5m2

30/6 = 5 22/5 = 4

Minimum escape door opening width from each storey (mm)

Main building Performance stage

243 70

850mm 750mm

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• All Final exits open outwards into the direction of escape at greater than 90 degrees. They are fitted with electrically powered locks with push release buttons (1000mm high) Which automatically unlock in a emergency as described in Part B,B1. 5.11.

• All exits have direct access to either the road or an open space. All routes are defined with clear signage. Artificial lighting operates in some escape routes. The following table using part B, B1, table 9 their requirements are calculated. All lighting is operated on an separate independent system.

Lighting requirements

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• The debating chamber has a occupancy level of 40 as this number is less then 60 only one escape route is needed. However the performance area has an occupancy level over 60 so two escape routes will be needed.

(Part B, B1 and table 3) Number of escape routes 2 1 2

Minimum width of final exists

• Refuge points are provided for each protected stairway. With dimensions of 900mm x 1400mm (Part B,B1, diagram 21 and 4.9) • The protected stairways use limited combustibility materials and slip resistance floors included for extra safety.

(Approved document B,B1 table 9) Building element Main building

Floor All 1 (fixed seating chamber) 1

Minimum stair width for each stair (mm) must wider than minimum escape route corridor and doors 1000mm 1000mm

Vertical and horizontal escapes

• The building has a occupancy level over 60 but it is less then 600. As a result a minimum of 2 means of escape for each of the storeys are required allowing an alternative means of escape should one be disabled.

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Max number of occupants

Total occupancy of storey

Total occupancy 331

Building element Main building Debating chamber Performance stage

Building element

Performance stage Debating chamber

Lighting requirements All escape routes to which the public are admitted Street area (over 60m2) Performance stage (all escape routes) Debating chamber (all escape routes)

Access for all Lifts (Building regulations 2010 access to and use if buildings approved document part M) Accessing the building • Disabled car parking is located 24m from the main entrance to the building. The dimensions comply with the regulations set out in Part M,M1/M2, Diagram 2 with protected access zones at the sides and back.

• A drop curb is established to allow wheelchair users to access the pavement linking them directly to the main entrance. Routes to the main entrance are identified with signs and brail for the visually impaired and well lit for clarity.

• Access around the building is clearly signposted with separate routes for vehicles and pedestrians.

The route for pedestrians have a firm paving which is textured, slip resistance and durable making it ideal for wheelchair users.

• The entrance is power assisted doors automatically controlled by sensors slide horizontally to create the least obstructive entrance.

• They include visual and audio warnings for opening and closing. The entrance doors are glass. The logo for the building and manifestations are located 1500 mm high as described in Part M,M1/M2 2.22.

Entrance and reception area • The reception is signposted in a large font and provides information and maps of the building.

The 2000mm length reception desk is 700mm high which is a suitable level for a wheelchair user or disabled employee to easily communicate (part M,M1/M2, 3.6e). The desk is also fitted with a hearing enhanced system.

• The main lift has a dimension of 1100mm x 1400mm and an clear width of at the minimum 800mm as described in part M,M1/M2 diagram 11. The control panels to operate the lift are on each landing are located 1000mm above the floors and 400mm from the return wall to allow wheelchair users to operate the lifts (Part M, M1/M2, 3.28 f) • In addition audio and visual information is available on each floor. As a result of the use of glass in my lift, black manifestation has been included across the lift walls (part M,M1/M2, 3.34k) Internal stairs and ramps • All stairs in the building have the same risers and goings throughout the building for the ease of users for everyone using the building and its facilities.

• The only exceptions are the existing stairs from the Tidal pool. This is combated with two lifts located on the ground floor.

• The stairs are bull-nosed projecting with black edges, contrasting to the white steps to ensure they are clearly visible. Circular (50mm diameter) handrails are also in contrasting black.

• All the stairs are illuminated and highlighted with the use of LED lights along the edges. All handrails are located at 1000mm above pitch level (Part M, M1/M2, 1.37a).

The debating chamber and performance space • To ensure that everyone can participate within the debating chamber and performance space special measures have been taken. There is an hydraulic lift (800mm x 1250mm) • Wheelchair users must be able to sit with a clear view of the stage and the debating chamber and be easily maneuverer. As a result I have included wheelchair space provisions in the first row of both the debating chamber and performance space with fixed seating (1400mm x 900mm – Part M,M1 diagram 15).

• Equipment which magnifies sound is also included to ensure the sound in both the debating chamber and performance space is audible to all visitors (part M,M1 4.9)

Internal Doors • Where required for fire protection self closing doors are fitted throughout the building with electrically powered hold-open devices.

• Doors are coloured differently to walls with contrasting frames and handles to ensure they are visible. All escape doors also include a vision panel. Which is located 500 and 1500mm above floor level and this panel is 200mm wide as described in part M, M1/M2, 3.10 h.

• The glass is also fire-rated to match the integrity of the door. All the associated switches are easily accessibly located 100mm above the floor and sockets set 450mm above the finished floor level (Part M. M1/M2, 4.30) Sanitary accommodation • A unisex disabled toilet is located on the street/lobby area with alternative male and female toilets located adjacent on the same floor (Part M, M1/M3 diagram 19).

• All toilets have taps which are activated with motion and disabled WC’s include emergency assistance alarms with pull cords coloured red. All the fittings within the disabled WCs bases on part M.

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