James Cotton MArch Architecture Part 2 Portfolio 2019

J A M E S

C O T T O N

PORTFOLIO University of Kent MArch Architecture Part 2

2019

ABOUT MONASTERY OF CRAFT PERFORMING ARTS CENTRE IN PRACTICE ADAPT + EXTEND URBAN PHOTOGRAPHY

JAMES COT TON 12/05/1994 james-cotton@hotmail.co.uk 07443585357 74 Stowmarket Road, Needham Market, Ipswich, Suffolk IP6 8DX

As a graduate of MArch Architecture Part 2 from the University of Kent, I’m currently looking for work as an architectural assistant. I have experience in practice as a Part 1 Architectural Assistant with IID Architects based in Richmond, a medium sized firm with a strong focus within the education sector. Working there broadened my range of professional experience following working for smaller practices during my undergarduate studies. Versatile and efficient, I have proven skills in working across multiple teams, projects of different scales, and RIBA Work Stages 0 - 6. I strive to utilise a range of media and processes, as well as exploring the working relationship between architecture and, my other passion, photography.

Professional Experience Part 1 Architectural Assistant

IID Architects, Richmond AUGUST 2016 - AUGUST 2017 + JUNE/JULY 2018 Worked on a variety of educational projects, covering RIBA Work Stages 0 through to 6.

My broad experience included working on new buildings, while also working with existing ones and long term phased master plans. While being able to expand upon key presentation skills, producing work for clients, I had the opportunity to deepen my understanding of detailing and construction. Most notably working on a 1:5 detail package for submission for Tender for a new music school. This involved learning and drawing details such as wall and roof build-ups, SFS framing and acoustic performance.

Teaching/Mentoring I’ve always enjoyed taking an active role in mentoring beginning from my third year at university. During Masters, I was a mentor to three undergraduate students before doing a Pedagogy module that involved acting as a teaching assistant to first year architecture students and giving design advice and guidance throughout their major projects. This module required sacrificing one whole day a week to tutorials while also running my own teaching workshops on the use of photography as a design tool. I was invited as a guest critic on two occasions to third year final design critiques.

Had a major role in mentoring work experience students during my time in practice, delegating work and setting them design briefs for a two-week period, culminating in them presenting a scheme to the rest of the office. My role was to give them a flavour of all aspects of the design process from sketching to digital modelling and most importantly presenting their work to an audience.

Education University Of Kent 2017-19 RIBA Part 2 MArch Architecture Distinction

End of Year Show 2019 Awards Nominated for Best Design Portfolio Nominated for Best Technology Portfolio

Notable Projects Performing Arts Centre, York Monastery of Craft, Isle of Sheppey Pedagogy (Teaching) Module

University Of Kent 2013-16 RIBA Part 1 BA Honours Architecture Upper Second Class Honours

Suffolk New College 2012-13 UAL Level 3 Diploma Foundation Art & Design (Distinction)

+ A-Level Qualifications in Mathematics, Design and History

Skills - Proficient at working across multiple projects within different teams, highlighting my time management and communication skills. Very much a team player, shown through my role of managing the weekly social events during my time in practice.

- Communication skills are further shown though my mentoring and teaching background, as well as through giving lectures and taking a part in undergraduate critiques - Experience in the RIBA work stages ranging from concept design to construction stages of a project, giving me an understanding of working across a range of scales.

- Skilled in technical drawing; experienced with all forms of orthographic, perspective and detailed construction drawings shown through my work on tender packages in practice.

- As shown in all major projects, skilled in digital and physical modelling in a range of disciplines such as card, wood, acrylic and metals. Confident with coding and programming (Processing, Grasshopper) during my first year of masters, a skill that’s becoming more and more relevant in the profession.

Revit Autocad Photoshop Sketchup Indesign 3ds Max Illustrator Rhinoceros Years Experience

Grasshopper

Interests Photography Long-time interest in photography, particularly in an abstract form and part of the Kent Photographic society. Very much interested the role it can play in forming and interpreting the built environment and explored this through teaching workshops to first year architecture students. This included making a pinhole camera and developing analogue film as well as exploring making architecture sculptures from abstract photography.

Kent Raise and Give (University Society) Raising money through promoting and participating in sponsored events; participated in a skydive, supporting Dementia UK, while also fundraising on behalf of Breast Cancer Now; supporting their cause through participating cycling from London to Paris. Key member of the media team, creating graphics and advertisements for upcoming events and fundraising opportunities.

References References upon request from: Dr. Timothy Ireland Tutor, University of Kent T.Ireland@kent.ac.uk

Mr Gareth Box

Director, IID Architects garethb@iid.co.uk

Currently hold a full clean UK driving licence

(FIFTH YEAR)

MONASTERY OF CRAFT Queenborough, Isle of Sheppey Monastery of Craft:

A place of Solitude and Learning of traditional Skills through Modern Innovations

The site is located just outside Queenborough on the Isle of Sheppey, with a history of being used for industry activities such as exporting steel, washing coal and ship-breaking. The site was closed down in 2013, leading to this sense of abandonment and a sense of the uncanny with the ships and remnants of the sites past left behind.

in technical subjects. Hand crafts are placed alongside modern industries, merging old with new. While not aligning themselves with any faith or a belief in science, the monks at the monastery teach students with the principle belief that scientific evidence coupled with a spirit of humanity can build a better/alternative future.

Adapting to the change in the river and of the sea levels, the building responds to the exposed, isolated site with the previous rail line to the jetty giving rise to the sense of pilgrimage. The Monastery acts as a place of solitude and a refuge from the urban city life. It celebrates the previous industries of Queenborough, teaching forgotten / traditional skills through current technologies and responds to the current plans by the government to introduce new qualifications

While designed for the current day, the use of the building imagined projected forward for the next 1000 years, taking into account the changing meander of the river and a 3m rise in sea levels. A walkway bridging across the river from the mainland will promote access the monastery and allow it to be accessible at high tide over time.

‘To Expose’ To remove what is covering something so that it can be seen.

Exposed was chosen initially based on the vastness and sense of being exposed while exploring the site. It also represents the natural process of the tidal change on the mud flats, eroding channels and exposing sand and objects below.

Resulting Transformation

Applied to faces. A face is selected to manipulated, multiple faces can also be selected.

Example Component

Diagrammatic Interpretation

The shape is split into ten segments in the x, y, z axis and an element is generated to cut away layers of material. The distance of the element is again in increments of the ten layers, affected how many layers are exposed.

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Central Visual

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Dock 7

Medium Sized Wind Turbines (25m High)

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6

Car Park

Low Tide 3019

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1

3 2 5

4

0

125m

Low Tide 2019

S i t e Pr o j e c t i o n s

Public Access/ Car Park

High Tide 2019

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k

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Low Tide 3019

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High Tide 3019

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Exploring the site over time and considering the changing meander and the effect of a 3m rise in sea level.

Key 1. Monastery 2. Agricultural Facilities 3. Visitor Centre 4. Walkway Access 5. Tidal Point (Stone Walkway) 6. Public Car parking 7. Dock 8. Wind Turbines 9. Kitchen Delivery (Access to Store) 10. Staff Access to Security Office 11. Access to Workshop Cloister

0

25m

50m

The idea of Pilgrimage and isolation began to lead the deign into the notion of a monastery or place of solitude.

Low Tide 3019

High Tide 3019

S i t e Pr o j e c t i o n s

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0 Years

5 Years

25 Years

This view at low tide approaching the viewing platforms shows the effect of time and the weathering of the concrete. Shown at 0 years, 5 years and 25 years after completion; the natural processes of tidal change and the growth

Maritime Archaeology –

‘The study of the human interaction with the sea through its physical remains’ The final intervention is a viewing platform for the purpose of maritime archaeology, characterised by its qualitative qualities and by the natural and man-made processes of diffusion; such as the tidal changes and the prior industrial processes of ship-breaking on the site. The space serves as a series of viewing areas to explore the views and history of the site, with its position being chosen due to its closeness to shipwrecks and its centralised location.

The intervention is an object created from pre-cast concrete and surrounded in places by further cast in place concrete. Being positioned on the mudflats, the user can experience the natural tidal differences and the diffusion it creates when eroding pathways in the sand. The building would evoke the sense of the ‘uncanny’ and be experienced very differently at low tide compared to high tide, with parts of its form, once engulfed by the sea, being exposed and its mysteries revealed.

Pr o c e s s

Reading

Cleansing

A space for quiet reading and for storing books

A space for showering and cleansing the mind

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Prayer A niche for solitude and prayer

I decided to maintain the initial primitive and the process of exposing layers.

The forms generated would then be explored spatially to form niche forms of activity.

Transition

A Bridging component between different

Pr o c e s s

12

2260mm

Section

Sleeping Viewpoint/Balcony

Changing

Cleansing 1830mm

Working Entrance

Plan

Sleeping

Viewpoint/Balcony

Changing

Cleansing

Working Entrance

Organisation

- Analysis of La Tourette ‘Cell’ -

Tidal Island Precedents Mont Saint Michel, St Michael’s Mount, lindisfarne, Holy Island Monastic Precedents La Tourette, Le Corbusier, Ennis House – Frank Lloyd Wright, Brion Cemetry - Carlo Scarpa, Following the initial precedents for tidal islands of Mont Saint Michel, St Michael’s Mount, and Lindisfarne, further architectural and monastic precedents were explored.

Monastery

Pr e c e d e n t s

Chapel

Of key note following our unit site visit was La Tourette by Le Corbusier. This monastery was explored at a range of scales ranging from its circulation and key spaces to the design of the individual bedroom/cell itself. The main humanistic activities were realised and then replicated in a version of a cell made from my own components that could then be aggregated. These functions were: - Sleeping - Cleansing - Changing - Working

Cells (Bedrooms)

Cloister

13

Daylight and Viewpoints

Possibilities to integrate mechanical piping

Cleansing/

Viewpoint

Sleeping

Working

S m a l l S c a l e N i c he

Large volumes give possibilities to integrate mechanical piping Daylight and Viewpoints

Sleeping

Viewpoint

Entrance/Transition Working

L a r g e S c a l e N i c he

Te c h n i c a l S t u d y o f N i c he s

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Views

Access

Privacy

1

2

3

Rules of Aggregation

‘Cells’

Aggregated Cells

Shared Reading Spaces

Upper Side Chapels/Public Libraries

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Libraries

Cells

Cells

Cells

Cells Eating

Chapel

Eating

Cells

Silent Spaces

Silent Spaces

Libraries/ Dining

Libraries/ Dining

Cells Cells Cells

Chapel/Workshops

The negative spaces from the cells could be used for the larger public spaces such as libraries or the chapel

Upper Side Chapels/Public Libraries

Updated organisation has three levels of cells wrapped around the niche libraries and study spaces. The chapel is maintained at lower ground floor.

Shared Reading Spaces

‘Cells’

Cloister External Workshops

Private Roof-scape

1:20 Section

Private Cells/ Upper Chapels

Private Cells

Public Refectory/ Libraries

1:20 Section

S e c t i o n a l Pe r s p e c t i v e

16 B

Access for Deliveries and to River External Water Pool for specific crafts

3

Storage

2

2

Water Filtration Machinary

Water Filtration Machinary

2

2

Working

Working

1

External Water Pool for specific crafts

Celebration

A

2

2

A

3

Working

Working

External Cloister

2 Working

2 Working

Storage under floor

4

4

Access from Frontage

Learning

8

8

5

51

6

Key B

0

Building Plans

5m

10m

1. Central Atrium/Gathering Space 2. Speciality Craft Workshops 3. External Cloister Workshops 4. Computer Areas 5. Lecture Theatre 6. Plant 7. Storage 8. Wash Rooms

Lower Floor

-1

17

Pu b l i c Re f e c t o r y

Main Entrance

M o n ks / S t u d e n t s Wo r ks h o p s

18 B

9

7 7 2 Prayer

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2 2

7

Prayer

1

Prayer

Void

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7

A

A

7

2

2

Prayer

Prayer

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7

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8

6

3

5

8

3

Key 1. Chapel 2. Niche Side Chapels/Reading Rooms 3. Offices 4. Public Library/Reading Niches 5. Storage 6. Group Reflection 7. Cells 8. Wash rooms 9. Niche Spaces 10. Access to Roof-scape

B

0

Building Plans

5m

10m

Second Floor

2

19

Pr i v a t e B e d r o o m s / S t u d y S p a c e s

These views highlight the relationship to public and private spaces. Taking precedent from La Tourette, the building functions as a monastery with areas for worship and self-refection as well as for teaching and the production of craft.

However, the building would also act as a refuge from the city and a place of pilgrimage for the public as well as for the monks who work

there. The ground floor upon entering includes the public shop and refectory where the monks, students and members of the public can eat together; while not permitted, the public are allowed to view down to the workshops and view up to the libraries, experiencing the day to day life of the monks/students.

Upper Chapels

20

Glulam Timber Structure

Glulam Beam to Columns through Steel Plate

In-Situ Concrete Structure

Primary Structure As the design developed, the notion of using two forms of construction based on the scale and structural needs of the components became more integral to the design. The private bedroom components would be at a larger scale and suited to a concrete construction, while the public library spaces would be more suited to a more lightweight timber, CLT construction.

C o n s t r u c t i o n Lo g i c

Glulam Beam to Concrete Frame

21

70mm Concrete Panel 100mm Insulation

Bracket Connection for Prefab Concrete Sandwich panel to floor slab

Front Facing Sandwich Panel 100mm Concrete VCL 100mm Insulation Breather Membrane 70mm Concrete

Attachment of Sandwich Panels Glulam Colunm to Concrete Columns through Steel Plate

The building developed into a concrete outer form with a self-supporting glulam frame that plywood panels would be attached to form the volumes of the libraries and chapel spaces. A study into the mix and aesthetics of concrete was carried out and an acid etch finish was ultimately decided upon. While the use of prefab concrete modules were explored initially, the ease of transport and construction led to the decision to utilise sandwich panels that would be produced off-site and hung from the floor slabs.

In Situ Concrete Diaphragm Structure

Scan QR code for link to video of Structural Sequence.

Lightweight Timber Frame Supporting Plywood Panels

C o n s t r u c t i o n Lo g i c

22 Roof Build-up 1. Glass Railings 2. Steel Fixing 3. Rain Water Inlet (Drop down alongside sheer wall) 4. 30mm Concrete Paving Slabs 5. Paving Slab Feet 6. Waterproof Membrane 7. Tapered Insulation 8. Vapour Barrier 9. 170mm CLT Panel 10. 175mm In-Situ Concrete Slab 11. 200mm Timber Beam 12. Steel plate Connecting beam to In-Situ Concrete

13. Adjustable Pedestal 14. 50mm Air Gap and Servicing 15. 18mm Timber Ceiling 16. Fire Barrier to Sandwich Panel 17. Steel Joint for Hanging Prefab Sandwich Panel 18. Aluminium Capping Plate 19. Supporting Bracket for outer Skin of Panel 20. Silicon/Mastic Joint 21. Prefab Concrete Sandwich Panel

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14 15

1:5 Detail

Wall Build-Up 24. 100mm Screed with Underfloor Heating 25. 80mm Insulation 26. Steel Joint for Hanging Prefab Sandwich Panel 27. 175mm In-Situ Concrete Slab 28. 50mm Air and Electrical Servicing 29. 18mm Plywood Ceiling 30. Fire Barrier between Floor and Panel 31. 18mm Plywood 32. Mastic Joint

33. VCL 34. Breather Membrane 35. Silicon/Mastic Joint 36. Supporting Bracket for outer Skin of Panel 37. Window Head 38. Coved Lighting 39. Adjustable Pedestal 40. Open-able Window 41. 100mm Concrete panel

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31 24 26

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1:5 Detail

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50

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48 51

Floor Build-Up 41. VCL 42. 80mm Insulation 43. Breather Membrane 44. Prefab Concrete Sandwich Panel 45. 380mm In-Situ Concrete Slab 46. Fire Barrier

47. Steel Hangers for Soffit 48. Plywood Fixing Plate for Timber Soffit 48. Drip Cast into Concrete Panel 50. Steel Joint for Hanging Prefab Sandwich Panel 51. Sliding Glazing for Workshops

1 : 2 0 Te c h n i c a l D e t a i l

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43

44 49

23 Parapet Detail 1. Glass Railings 2. Steel Fixing 3. 30mm Concrete Paving Slabs 4. Paving Slab Feet 5. Waterproof Membrane 6. Tapered Insulation 7. Vapour Barrier 8. 175mm In-Situ Concrete Slab 9. Timber Battens 10. 50mm Air Gap and Servicing 11. Plywood Ceiling

1

12. Gravel 13. Packing Insulation 14. Steel Joint for Hanging Prefab Sandwich Panel 15. Aluminium Capping Plate 16. Supporting Bracket for outer Skin of Panel 17. Silicon/Mastic Joint 18. Fire Barrier between Floor and Panel 19. Prefab Concrete Sandwich Panel

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14 3 4

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5 6 7

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10 11

Concrete Facade Panel Detail

Concrete Mix Cement 400kg Coarse Aggregates 1,320kg Fine Aggregates 520 kg Water/Cement Ratio 0.4

1. 100mm Screed with Underfloor Heating 2. 80mm Insulation 3. Steel Joint for Hanging Prefab Sandwich Panel 4. 175mm In-Situ Concrete Slab 5. 50mm Air and Electrical Servicing 6. 18mm Plywood Ceiling 7. Fire Barrier between Floor and Panel 8. 175mm Concrete Slab of Pre-cast Sandwich Panel 9. Window Sill

Acid Etch Finish with Gold Inlays Aggregates sourced locally from Sheerness Recycling LTD

10. 18mm Plywood 11. Mastic Joint 12. VCL 13. Breather Membrane 14. Silicon/Mastic Joint 15. Supporting Bracket for outer Skin of Panel 16. Window Head 17. Coved Lighting

Monks/Student ‘Cell’

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10 1

2

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3

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14 4

7

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5 6

Monks/Student ‘Cell’ 16

1 : 5 Te c h n i c a l D e t a i l s

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Daily Programme 5:30 Rise (Cells) 6:00 Reading (Libraries) 7:00 Breakfast (Refectory) 8:00 Mass / Group presentation of workshops (Central Workshop) 9:00 Teach/Study (Workshops) 13:00 Lunch (Refectory) 14:00 Teach/Study (Workshops) 17:00 Lectio Divina/Reading (Libraries) 19:00 Dinner (Refectory) 20:00 Group Study (Upper Floor Chapel) 21:00 Individual Study (Silence until the next day)

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1 : 10 0 S e c t i o n a l M o d e l

(FOURTH YEAR)

PERFORMING ARTS CENTRE City of York, Yorkshire Local Performing Arts Centre: Music, Comedy, Poetry, Theatre

Local Performing Arts Centre, revitalising the performances of moss growth and flooding of the river. The aim is to celebrate the culture and rich history of York, while continuing to push its sense of pride and growing tourism.

There’s a clear sense of change that can be seen through the function of the site, transitioning from a point of defence, to a centre of warehouses for trade and industry, to modern day, where these warehouses are increasingly being converted to residential outlets.

The sites relationship to the river and its frequent flooding also ties into this notion of change and traces of the past, with layers of moss visual marking flood heights.

The project would provide an opportunity for people to freely engage with the river and revitalise its importance in York culture.

This is particularly important for the many local residents who have no other way of engaging in river use. Key to any proposal that is put on the site is the two states, the normal status of the site and the flooded status. Any proposal should allow for the change and be

responsive to the river.

The performing arts centre would double the capacity currently proposed for the barge project and provide spaces for music/ comedy/poetry as well as local art and community/school projects.

The centre could be seen as a continuation of the community focused Bishophorpe ‘Bishy’ Road, named the best high street in England and regarded as the heart of the local community.

Proposed Programme: • Main Performance Space (Music/Comedy/Plays/ Poetry) Capacity for ~150 people • Rehearsal Space • Dressing Rooms • Office • External Art/Performance Space • Bar/Kitchen

‘Growth of Moss’ ‘a small flowerless green plant which lacks true roots, growing in low carpets or rounded cushions in damp habitats and reproducing by means of spores’

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The final device captures the sense of curiosity and anticipation with the observer wanting to see its mechanisms work. When connected to the code, it takes the input (the sounds generated) and creates an output (the wire form). This generated wire is a physical representation of an absence, a form left behind from the action of time.

A D e v i c e t o A c c e n t u a t e t he S e n s e s

28

A code was generated in Processing with a pulsing array of circles, attracting and repelling each other. The action of the circle crossing the circular boundary is a representation of curiosity, and can also be seen to represent the banks of the river Ouse in York and their frequent flooding.

When a circle crosses the boundary, a monotone sound is generated from the speaker correlating to which side of the boundary was crossed.

As the code runs, different sounds are heard, and signals are sent to the device to manipulate the wire based on the location the circle crosses the boundary and the frequency of these crossings.

The device manipulates a wire based on the actions of this code, leaving behind the absence of what came before.

C o d e d Lo g i c

29

The final device integrates electronics, maintaining the same principles as before, but now automated through four motors.

The form is simplified, featuring a 3D printed cantilevering piece housing parts of the electronics. The base has also been deepened to house the circuit boards and cables.

The device is connected via a usb cable to a computer running the Processing code. Along with playing sounds, the code outputs either a ‘1’ or a ‘2’ which the device then responds to.

When data is received, the device bends the wire on the horizontal plane, then rotates vertically, then pushes the wire in an interval. The interval length is based on the frequency of the data received.

The device captures a sense of curiosity and anticipation, with the user wanting to see its mechanisms work.

Scan QR code for link to video of coded moss growth and device in action.

A D e v i c e t o A c c e n t u a t e t he S e n s e s

30

Components must follow the rule of only attaching in a ‘L’ shape, with a short edge attaching to a short edge and likewise for a long edge. As well as edges attaching, faces can also be attached to one another, providing the ‘L’ rule is followed.

Component Explorations

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Accessible Roof Terraces Further capitalism on the focal views to the further York city scape is the public roof terrace. Accessed via an external staircase from bridge level, it celebrates the panoramic views both up and down river and overlooks the historic Clifford’s Tower and city wall. The terraces allow views down to the floating performance space as well as viewing local events and festivals taking place in Tower gardens on the North bank of the river such as the annual York Ars Festival. Food and drink and could be bought from the second-floor bar and taken up to the terrace.

While the terraces are across different levels, with intermediate staircases, there’s disabled access via the lift to the largest, central terrace.

Algorithmic Structure The behaviour of the moss directly inspires the algorithmic structure of the building. Based on the internal rules and site strategy, the steel components would be assembled to form the basis of the building.

The size of the extrusion of each component would be based on where structural strength is needed., forming beam depths. Additional steel corner plates would be added to each corner to increase stability and prevent torsional failure.

Timber panels to underside of building To soften the feel of the external ground floor, timber panels are added to the underside of the building. In the form of layers of rectangles, they are scaled down versions of the components and follow a similar algorithmic logic, mirroring the design of the concrete ground.

External Ground Floor Rather than simply avoid the flood, or build a wall to defend against it, the external ground floor would feature different levels of concrete and a series of boundary walls to embrace the natural performance of the river and the growth of moss. Below ground pipes would allow the rear pools to fill with water as the river rises, changing the presence of the space.

External Seating External seating based on scaled down versions of the main components, would be featured on the ground floor, positioned to capitalise on focal views.

Exploded Structure

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R i v e r f r o n t Pe r s p e c t i v e

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C i t y o f Yo r k

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Max Recorded Flood Height Regular Flood Height

‘Live with the flood’

Max Recorded Flood Height Regular Flood Height

‘Avoid the flood’

Max Recorded Flood Height Regular Flood Height

‘Control the flood’

Designing for the Flood Panoramic views of the river from Skeldergate bridge should be celebrated.

As the Bonding Warehouse has been converted to luxury appartments, and important consideration is the overshadowing of any proposal on the site.

43° Altitude (Morning Sun)

LONG VEHICLE

61° Altitude (Mid-day Sun)

LONG VEHICLE

Section Through Bridge Height of Toll House

The height of the tollhouse can be used as a precedent for a tower form, and can be seen as a boundary to keep within.

Max Recorded Flood Height (100 year flood) Regular Flood Height

Section Down River

Taking precedent from Carlo Scarpa’s Palazzo Querini Stampalia, the chosen way to deal with the flooding is to in fact embrace it and celebrate it. The ground floor could be designed to allow the water level to rise and create pockets of circulation .

The performance of the river itself would be a key part of the centre and the moss it leaves behind as a trace would become part of the internal aesthetic of those spaces.

Site Strategy

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B e f o r e t he F l o o d

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A f t e r t he F l o o d

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3 2 1 Section A - A (High River Level) A-A

3 2 1

B-B

Section A - A (Regular River Level)

0

5m

The corner stage could be utilised for larger performances such as live music, accommodating local talent within York. The faรงades could be opened up to give focal views to the wider cityscape and a backdrop to the performer.

Sections

Live Music

39 The ground floor of the building adapts to the performances of the river. As the water rises, the dock moves up and the central pools fill with water. The height of the water changes the use and atmosphere of the external spaces and the traces of the rivers performances will be seen in the growth of moss in these areas.

3 2 1 Section B - B (High River Level) The buildings ground floor and dock will adapt and remain usable as the river fluctuates between its regular level (1) and its regular flooding level (2). In the case of the 100 year flood (3), the ground floor is inaccessible and the only access is from first floor level.

3 2 1 Section B - B (Regular River Level)

0

Comedy/Poetry

5m

The central stage could be used for more intimate performances such as comedy/poetry or single musicians. In this scenario, the corner stage could be used for more seating/standing areas. The faรงades could be closed during these performances to put the focus directly on the performer.

Sections

40 Bonding Warehouse

Ground Floor Plan 1:200

C

External Seating

River Ouse

External Seating

A

A Dock Link

Floating Art Space/Stage

B

B

Storage

0

5m

1. External public space on ground floor. Features external seating with a small bar, with access via lift and an external staircase to the upper ticket office.

2. Storage space with vehicle drop-off space and access to lift for transport to second floor.

3. External dock link to floating performance venue. The space provides opportunities for displaying sculptures or for further city wide performances.

C 1. The main public entrance is off of the bridge leading directly to the ticket office and then upstairs via the lift or stairs into the main performance space.

2. The Performer/Artist enters the building via the promenade walkway, leading directly to the rehearsal space with focal views to the cityscape. They then can enter into the performance space via a platform lift.

3. An external staircase allows public access to roof level.

Ground Floor

0

2 3

- 1:100 Plans - 3

10m 1

2

Ground Floor

1

First Floor

0m

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Second Floor Plan 1:200

Bonding Warehouse

River Ouse

Platform Lift Stage (Theatre/Music)

Stage (Comedy/Poetry)

Table Seating

Standing

Bar

Private Event Space

Skeldergate Bridge

1. Viewing spaces with disabled access to toilets and bar. (External staircase also acts as a means of escape if a fire occurs).

2. Corner performing stage with sliding faรงades to offer focal views to the cityscape.

3. Central performing stage for intimate performances such as comedy or poetry.

0

5m

1. Public access to roof terraces via staircase directly off of first floor level.

2. Disabled access to main level of roof terrace via lift.

Second Floor

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1

3 1

- 1:100 Plans -

Second Floor

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Roof Terrace

2

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1:200 Structural Model

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1:50 Sectional Model

IN PRACTICE IID Architects, Richmond August 2016 - August 2017, Summer 2018

Based in Richmond, London, the practice is comprised of four directors, six associates and eight other technical staff employees. Founded in 1984, they have amassed a varied portfolio of community and education projects and provide architectural design from inception to completion.

My time as an Architectural Assistant has been spread across a number of education projects, some new build, while others utilising existing accommodation.

The experience has covered a broad spectrum of the RIBA stages, with a strong balance between expanding technical skills and presentation techniques.

St Helen’s School, Northwood An independent girl’s day school, accommodating 3-18 year olds. Following prior work for the school, resulting in a master plan, an improved entrance and a new junior school building; IID architects were appointed for a new music building. The scope of works covers the demolition of the existing building, with the construction of a new building dedicated to music that encapsulates recital rooms, practice rooms, teaching spaces and offices.

I was given the opportunity to work on an increased amount of detailing, with work on the 1:5 detail package given to me to carry out prior to tender. With a key focus on SFS framing, roof build-ups and curtain walling, I was able to develop my knowledge of the construction process, researching and detailing Metsec and other components and adding them to the details.

The Tiffn’s Girls School, Kingston A girl’s grammar school, accommodating 11-18 year olds. Having worked with the school prior, developing new Drama and Music rooms, a science extension

and internal refurbishments; IID were appointed to produce a whole school master plan. A feasibility report was produced looking into the school in terms of accommodation, circulation and future expansion. Research of the school included a day shadowing pupils, seeing how the school functions and noting issues and areas of improvement. This research brings increased understanding of needs and aspirations and will have crucial impact on the quality of the design.

My main tasks involved being an active participant in producing this master plan and subsequent phasing of the development. I produced sketch plans and massing as well as a redeveloped and more considered landscape. Following a number of site visits, in which alterations to the building were noted against and amended on the current plans, tasks in the period involved producing an existing model of the building and surrounding landscape as well as massing the extent of proposed demolitions and new developments.

Royal Grammar School, Guildford Long-term redevelopment of an existing independent day school for boys that had a master plan developed and accepted for planning permission in 2014.

With a proposed nine phases over the estimated next 20 years. The whole master plan was accepted for full planning, albeit in a basic, volumetric form.

Outside of producing drawings for tender, my key tasks within this project client visuals, demonstrating the changes to the design and cladding system. As well as this, I produced a further visual, this time an internal perspective that again showed the latest developments in the design. These tasks increasingly highlight the importance of visuals over architectural drawings in the relationship to and understanding of the client. My continued involvement in these visuals add further depth to my experience in practice.

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Red facing brick with recessed joints with brick ties Reveal gap Skim finish on two layers of 12.5mm Full height glazing 200mm SFS framing

Concrete structural column (Internally exposed) 100mm insulation Terracotta rain screen cladding Flashing

P l a n D e t a i l s o f Te r r a c o t t a C l a d d i n g While a separate building to the rest of the school, this new music building maintains similar aesthetics to previous projects in regards to façades, materials and colour. Most notably, its focal use of terracotta panels in three similar shades of brown and use of brick evoke the design of the new junior school building completed by IID in 2016.

Fast Facts • • •

£2,163,800 Contract Sum RIBA Stage 4 Submitted for Tender

S t H e l e n ’s S c h o o l , N o r t h w o o d

- New Music Building

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Siphonic Drainage Route Detail

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Fast Facts • • • •

£8,000,000 Construction Cost for Phase 3 Estimated £30,000,000 for Whole Master Plan RIBA Stage 4 Began on Site 27.02.2017

Second Floor

Currently on RIBA stage 4 of the third phase of this master plan. Began in 2015, this phase consists of a four storey courtyard extension and additional vertical extension to the central spine corridor, providing a new second storey level of new classrooms. This vertical extension provides substantial structural considerations, both for the current phase and for the future phase atriums that will be connected to it at a later stage.

First Floor

One of my tasks was to design and integrate the siphonic drainage route. Benefiting me with an understanding of the scope of works, I liaised with structural and mechanical members of the design team to detail the route of the pipes from the high level ceiling, down through the riser, into the existing pitched roof and finally down to the break chamber. The pipework and route was purposely over designed, owing to the need to also serve the next phase of the development, internalising the East courtyard with an ETFE roof.

Ground Floor Lower Ground Floor

External Visual

Colour Scheme

Ro y a l G r a m m a r S c h o o l , G u i l d f ord - Phase 3

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Internal Visual from New Corridor

Ro y a l G r a m m a r S c h o o l , G u i l d f ord - Phase 3

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Existing

Fast Facts • • •

Grade 2 Listed Building set within a Conservation Area 6 no. New Classrooms to Accommodate 150 new students RIBA Stage 2

A major task was taking the basic layouts of accommodation and adding my own design input to the extension of the rear facade, seen on approach by passers-by on Magdalen Bridge. Designing a ground floor and basement extension, the form was that of a glass box that sits in front of the existing grade II listed building, being respectful yet improving what is in many ways an underutilised space. My ideas on the form, materiality and composition were all discussed in an internal design team meeting where my ideas were praised and chosen to take forward in developing the pre-app.

Proposed

To create a separation between old and new, the extension is effectively articulated from the existing fabric, via a glass box walkway. The idea being that the existing façade is broken into or fundamentally changed. The principle being that, in due course you could take away the new and be left with the existing as it was, e.g. maintaining a clear audit of the existing building and its features of significance.

External Visual Highlighting Maximum Extent of Development

Magdalen Colege School, Oxford

- Expansion of Junior School

(THIRD YEAR)

ADAPT + EXTEND SHEERNESS - ON - SEA Extension of Former Dockyard Church into an Aviation Museum

Located in Sheerness, the brief asked for a refurbishment of an existing church, transforming it into an aviation and maritime museum.

First impressions of Sheerness and of the existing church were of its immediate relationship to the industrial aspects of the dockyard, as well as for its need for support. Support in regards to the economy, through the relatively poor education and work prospects, and support culturally, with the physical embodiment of this this being the need to restore the communal qualities of the dockyard church.

Linked with the buildings current representation as being supported by scaffolding, due to fire damage, as well as the poor state of the education system in Sheerness, the key design principle of the project become one of “support”. Support in the sense of adding additional elements to the brief to enhance the education and construction skillsets of the population, as well as support in the sense of supporting the original structure itself and visually emulating the industrial focus of the surroundings.

Visually, the idea of utilising a glulam timber roof as a means of representing this structural aspect of scheme became appealing.

This structure spans over the original church and the added extension forming a gridded link between old and new. Encasing the building, this structure is visible internally and provides a visual link between the old and the new.

Socially, the design aligns itself with the community of sheerness, maintaining the ground floor of the church as an open, special – event communal space, allowing the changing use of the space to continue through time and be utilised by the community how they see fit. More importantly however, the new development opens up the potential for educational purposes, both in terms of learning of the social history of the dockyard and the people who occupied, as well as teaching various construction techniques and skills for work through the integrated construction workshop.

Supporting the community, history, and education of Sheerness, while emulating the support given by the community to the war efforts.

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Ex ternal Perspec tive

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Conceptual Diagram “Suppor ting the Existing Church

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Copper Roofing Air gap with secondary studs Insulation Plasterboard Glulam Beam Tension cable for lateral support of arch

Gutter Plasterboard Insulation Steel Connecting Plate

Timber Fin

Reinforced Concrete Slab Existing Church Wall

Connecting Plate

Internal Roof Structure

Roof Junction Detail

Insulation(wrappingaroundstucturetomeet window) Tripple Glazed Window

Window Detail 0

1m

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Copper Roof

Glulam Lattice

Internal Roof Structure

First Floor Structure

Main Load Bearing Elements

Wall Detail 0

2m

(THIRD YEAR)

URBAN SHEERNESS - ON - SEA A Connected Sheppey - Sheerness Aquatics Centre

Redeveloping the existing Beachfeilds site; replacing the current sports and aquatic facilities with an urban landscape of new commercial opportunities.

Taking precedent from the lack of connectivity around tourist potential, the fundamental aspect underpinning the project became that of cycling and opportunities to expand the Sustrans National Cycle Network across the island, around the coastal path and subsequently onto and integrating with the site. Maintaining the defensive sea, the landscape would be contoured up to its height, with a series of paths connecting the network to key urban nodes within the town, the major architectural masses where then formed in the negative spaces.

This overall ‘active site’ is divided into separate elements; aquatic, sports, commercial and public with additional facilities such as an amphitheatre and skate park as well as additional underground car parking.

Located logically for access from both the train station and from the town centre the form of the main aquatics centre comes again from the principle of cycling, with its form coming from the geometry of wheel emerging from the landscape. Integrated with the landscape, the building comprises of a green roof transforming into a timber grid shell with ETFE panels that covers the main pool areas. Internally the planning is formed around this central pool area, guiding the user into the space, either to the unisex changing rooms or to the upper floor viewing and restaurant areas. Further connecting to the outer site, are integrated cycle hire and storage facilities within the main building.

Connecting Sheppey, the proposed aquatic centre and additional facilities provide ample social, commercial and economic opportunities to the people of Sheerness, while provided much needed tourism potential.

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SECTIONAL PERSPECTIVE

A Q UAT I C S

SPORTS

With a key hub of sheerness being the train station, the first aspect of the proposed site the tourist will encounter is the main aquatic centre with the main entrance angled to both this approach and the approach form the town.

Mirroring the design and form of the aquatic centre, the sports centre is positioned to form an outdoor sports area, combining with the external pools.

Entering the building, the curved walls guide the visitor towards the main view of the central pool area, guiding them into the changing and in to the space.

This Integrated within the building are cycling hire and storage facilities, rendering the building the key hub of the proposed site.

The access to the cycling hire is strongly linked with the path network, with users cycling past and alongside the centre on the paths down from the sea wall.

S I T E E L E VAT I O N

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COMMERCIAL

S PA

Public space on the site includes a sea facing restaurant and community spaces namely a skate park.

Key the appeal of the site, the reasoning for users to cycle off of the coastal path and into sheerness are not only public and sporting opportunities but also commercial outlets. A commercial building is featured, allowing for a number of shops to be brought on to the site, with the main cycle paths going over the roof of the development.

Separate to the main aquatic and sporting facilities, a spa/sauna is featured. In order to maintain the view of residents in current buildings, the area will be maintained as a public green space with integrated underground parking

THE AC TIVE SITE

PUBLIC

Roof Plan

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First Floor

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Ex ternal Perspec tive

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7 8

4

3

10

11 12

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Ground Floor

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0

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1. Entrance Foyer 2. Reception 3. Creche 4. Cycling Hire 5. Repairs 6. Teaching Rooms 7. Toilets 8. Dry Changing for Gym and External Sports

9. Family Changing 10. Toilets 11. Unisex Changing Room 12. Showers 13. Meeting Room 14. Staff Room 15. Offices 16. Plant Room

17. Service Entrance 18. First Aid Room 19. Storage 20. Main Pool 21. Learner Pool 22. Sauna Facilities 23. Folding Doors to Exernal Pools 24. Dance Studios

25. Sports Room 26. Sevicing/Storage 27. Gym 28. Seating 29. Gallery Seating 30. Restaurant 31. Bar 32. Event Hire Seating

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Extruded Aluminium Clamp with outlet for Ventilation Fixing Clamp Three layer Inflated ETFE Cushion Air Tube Glulam Node Aluminium Flashing Soil

Heat Exchanger Unit

Roof Detail

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ETFE Panels

Glulam Lattice

Concrete Roof

PermeableSupporting Plate Stone Layer

Concrete Structure

Copper Lining Structural Column

MechanicallyOperated Window

Central Columns

Aluminium Flashing

Upper Flooring

Window Detail 0

1m

Load Bearing Elements

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PHOTOGRAPHY

London

London

London

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London

London

London

james-cotton@hotmail.co.uk

Thank You,