JAKUB RYNG ARCHITECTURE PORTFOLIO
ARCHITECTURE PORTFOLIO Jakub Ryng 4th Year Architecture Student University of Bath
academic work
A FLIGHT OF STEPS
YEAR 4
THE SCHIZOPHRENIC BRITISH
YEAR 3 Y O G A + B O D Y, A R C H I T E C T U R E EDUCATING AN ARCHITECT MEASURING UP TO GEORGIAN BATH
YEAR 2
IN LOUIS KAHN’S FOOTSTEPS WUNDERKAMER
YEAR 1
placement work
REGANERATING THE AYLESBURY ESTATE AT ALLIES AND MO RRISO N
REGANERATING THE GASCOIGNE ESTATE P I N E S G AT E O F F I C E PA R K AT FEILDEN CLEGG BRADLEY
A L E X A N D R A PA L AC E
A FLIGHT OF STEPS A F I L M I N ST I T U T E S E T I N T H E PA R A D E G A R D E N S I N T H E C I T Y O F B AT H The brief for this project was to prepare a design for a film institute in the City of Bath. Given its programmatic intricacy, considerable scale and prominent location in the city centre, the building did, however need to transcend the standard cinema typology. Breaking out of the black-box confinement of the commercial cinema-palazzos, the project proposes ways of viewing cinema that are both innovate and traditional at the same time. Crucial to the successful resolution of the scheme was the integration of public realm into the design.
▲VIEW OF THE BUILDING FROM ACROSS THE RIVER.
“A GIRL ON THE RIVERBANK” Upon our very first visit to site we stumbled upon the solitary figure of a girl - most likely a local girl - sat on the cold concrete of the flood defence embankment across the river from Parade Gardens. The image - a rather bleak one- stayed with us and pushed us to consider the wider urban context of the City of Bath - or more specifically, its relationship to the river. Continuously, over the course of history, in spite numerous attempts, the town has been denied the opportunity to make a permanent connection with the water. This project may just be the one to repair this predicament.
Despite its central location, Parade Gardens are not as accessible or even popular as one might imagine. The ticketing system and the single point of entry are the main reasons for it. The unexciting, polite landscaping and lack of clearly defined public amenities further cause the park to go mostly unnoticed by residents and tourists alike The principal aspirations of this project is therefore to democratise this up-until-now rather privatised space, enhance the public awareness of the park as well as improve accessibility to it. In some ways it is about tying the two rather disparate worlds together.
FORGOTTEN GEOMETRY REDISCOVERED
HORIZONTAL VS. VERTICAL
In its most distilled form, the building is split into two distinctive elements - a tower housing those elements in the accommodation brief, which are to do with the individual pursuit of knowledge and discovery, and a horizontal component, which gives shelter to all of the communal activities and experiences of cinema.
ANTICIPATING A FUTURE MASTERPLAN
EXTENDING THE GRID
COVERED STAIRCASE
CONSTANT VS. VARIABLE
NESTLED SPACE
PERSPECTIVE SECTION The scheme is nestled along the southernmost edge of Parade Gardens, stretching all the way from Bog Island down to the water parallel to North Parade. The main spaces proposed in the brief are overlaid on a cascading series of steps leading one to the river. The tower is placed in the centre of Bog Island. The stretch of road between the two has been pedestrianised and traffic diverted around it. The staircase which first wraps down around the tower and then spills out onto Parade Gardens constitutes the heart of the scheme. In addition to serving both as the 750-seat cinema and the outdoors performance space, the inherent flexibility of this sheltered cascading space, means it can be used for all sorts of other formal and informal events.
â–ź 1:250 MODEL OF THE SCHEME
â–ź 1:250 MODEL OF THE CENTRAL SPACE
◄ VIEW OF THE BUILDING FROM THE CURRENT ENTRANCE TO PARADE GARDENS.
DETAILED SECTION THROUGH TOWER FACADE 1:50 FACADE
- Double glazing units with mechanical air inlets and outlets - Void, 400mm - Perforated copper facade panels, fixed onto outer secondary structure
◄▼ 1:100 CONCEPTUAL MODEL OF THE TOWER
FLOOR
- Concrete/timber floor finishes, 30mm - Heating screed. 75mm - Separating layer - Insulation, 25mm - Composite concrete foor slab with decking, 200mm - Steel I beam in a sound insulation coating, 260*90*35mm - Suspended copper mesh panels
CINEMA CONFIGURATION
MARKET CONFIGURATION
EXHIBITION CONFIGURATION
The central steps, leading from the built-up pavements of Georgian Bath, down to the river, constitute the heart of the scheme. As such, it hasn't got a specific functioned assigned to it. Instead it can serve a variety of different uses: from a straight-forward sheltered public space it can turn into an outdoor cinema or concert venue. On other days it serves as a market or potentially an outdoor continuation of the exhibition journey.
▼ CINEMA MODE PERFORMANCE CONFIGURATION
▼ MARKET MODE
DETAILED SECTION CINEMA WALL 1:50 FLOOR
CEILING
WALL
- Concrete/Timber Floor Finishes, 30mm - Vapour Barrier - High Performance Insulation, 25mm - Concrete Floor Slab, 50mm - Floor Lift Mounts with 4mm Steel Mesh to create 45mm air gap - DPM - Concrete Slab, 300mm - Blinding, 50mm - Hardcore, 150mm
- Exposed watertight black concrete roof with water repellent paint finish - DPM - High Performance Insulation, 25mm - Portal Frame - Suspended Ceiling Hangers to create 100mm air gap - Plaster Board, 25mm - Sound Absorbing Soft Panels, 35mm
- Sound Absorbing Soft Panels, 35mm - Plaster Board, 25mm - Sway Braces to create 75mm air gap - Portal Frame - High Performance Insulation, 25mm - DPM - Black Concrete Facade Panels hanged onto primary structure
COURTYARD FOOTPRINT The courtyard of the previous building, which used to exist on the site serves as the starting point for the scheme.
MAIN BLOCKS Four main blocks are arranged around the central atrium space in a radial fashion.
THE SCHIZOPHRENIC BRITISH
SUPPORTING BLOCKS Smaller in footprint, four supporting towers are placed in the corners formed by the main blocks.
A C E N T R E F O R B R I T I S H C U LT U R E A N D L A N G U A G E I N B U D A P E S T, H U N G A R Y The brief for this project was to design a British Cultural centre in the city of Budapest in Hungary. The building was to serve a variety of different functions, from langauge classrooms, through art galleries, to a typical British Pub. As a building representative of modern Britsih culture, the design needed to clarify what this extremely broad concept means. The locality of the place also had to be considered, and a link between the two cultures established.
The aim of this project was to bring the two distinctive sides of the British psyche together 'under one roof'. In order to do that, the design takes the footprint of the former courtyard, which used to exist on the site, and turns that into the physical and conceptual anchor of the scheme. The courtyard is a space that is introverted, personal, almost contemplative. It contains the library bookshelves, but also serves as an intimate gallery space. Crowning all this is the British pub. Based around the courtyard, and radiating from it, are all the louder, more extroverted functions of the brief: the classrooms, the breakout spaces, the temporary exhibition spaces.
Interior view down the central atrium, showing the different uses based around it: from the informal auditorium on the ground floor, the Gary Hume painting gallery above, through to the British Pub, which occupies the top floor. The brass railing reappears now and then, leading one up the central spiral towards the pub.
COURTYARD AS DESIGN GENERATOR
BOOKSHELVES
INTIMATE/EXPOSED
BRITSH PUB
SUPPORTING BLOCKS
CIRCULATION
RINGS OF USE
SPIRAL-UP
AUDITORIUM
EXHIBITION SPACES
► INTERIOR VIEW ACROSS THE CENTRAL ATRIUM. GARY HUME'S PAINTING 'SNOWMAN', IS FRAMED BY AN OPENING IN THE BOOKSHELFS.
The top floor is taken over by the pub which wraps around the atrium. The shorter sides of the atrium are used as the 'library of spirits', with alcohol bottles displayed on shelves.
Bookshelves line the two longer sides of the atrium on the ground, first and second floors.
The atrium is also used as a permanent gallery for the display of paintins of Gary Hume. A small informal seating area is situated on the ground floor of the atrium. ◄ 1:50 MODEL OF THE CENTRAL ATRIUM SPACE
▲ INTERIOR VIEW UP THE CENTRAL ATRIUM. GARY HUME'S PAINTINGS ARE DISPLAYED ON THE WALLS.
In order to prevent direct sunlight from entering the atrium space where Gary Hume's artwork is exhibited, southfacing curving fins are installed to diffuse the light.
The placing of the exhibition spaces on the top floors allows for them to be lit naturally using the diffused light, coming through the clerestory window strip.
The timber bookshelves in the central atrium are also equipped with whitepainted light-shelves, which help the natural light penetrate deeper into the building.
The south-west and south-east facing windows are equipped with timber shading devices, which minimize solar glare and prevent excessive heat gains during warmer months.
The seating area within the auditorium can also be day-lit through the slit clerestory window located above the stalls.
ENVIRONMENTAL STRATEGY
SOUTH ELEVATION
YOGA, BODY + ARCHITECTURE YOGA RETREAT AND ACCOMMODATION IN THE SMALL VILLAGE OF BICTON, EAST DEVON
The brief for this project was to design an Iyengar yoga centre and retreat accommodation at Bicton Earth in East Devon. The building was to respond aptly and imaginatively to the physical context as well as the cultural aspects of the practice of yoga. As a joint project between architects and engineers the proposal evolved out of a synthesis of both the poetic and the pragmatic aspects of design.
The two primary materials used are masonry and timber. The concept of the structural liberation of timber from the brickwork, serves as an allegory for the practice of yoga, which lets the individual break free off the constraints of society and culture to become more connected with the natural elements.
▼ A CONCEPTUAL SKETCH
▼ EARLY DESIGN SKETCHES
THREE BUILDING AXES
The layout of the buildings is determined by three main axes identified during the process of site analysis. While the yoga studios and the supporting spaces lie on the main axis - running from the north-west to the south-east, the accommodation blocks are laid out on an axis perpendicular to that. The diagonal pathway, serves as the entrance point into the centre of the complex.
DEVONIAN PRECEDENT: ALIGNING THE BLOCKS ALONG A CENTRAL SPINE
Separation of functions in a typical longhouse.
DEVONIAN PRECEDENT:
Prominent chimney on the front facade.
◄ VIEW DOWN THE ENTRANCE RAMP LEADING TOWARDS THE CENTRAL ARRIVAL AREA ◄◄ ONE OF THE THREE ACCOMODATION BLOCKS. THE TIMBER BAYS PROJECT OUT BEYOND THE MASONARY STRUCTURE.
Photographs of the 1:200 model of the scheme.
13 12
2
12
1
12 3 4 8
5
7
6
9
0
5
10
▲
GROUND FLOOR PLAN
▼
LONG SECTION
20
11
30m
1 MAIN RECEPTION/OFFICE 2 TOILETS
10
YOGA STUDIO: 3 RECEPTION 4 TEACHERS' ROOM 5 LIBRARY 6 CHANGING ROOMS
7 TOILETS 8 PLANT ROOM 9 MAIN STUDIO 10 SMALL STUDIO 11 NATURAL SWIMMING POOL
ACCOMMODATION: 12 COMMON ROOM 13 PLANT ROOM
1
12
▲ INTERNAL VIEW OF THE LARGE YOGA STUDIO. THE NORTH-FACING ROOFLIGHTS FLOOD THE ROOM WITH EVEN LIGHT.
3
5
▲ EXTERNAL VIEW OF THE SWIMMING POOL AREA AT THE TERMINATION OF THE JOURNEY.
6
9
11
CENTRAL SPINE Similarily to the central spine running through the main complex of buildings, 6 East was also designed along a strong spine-like corridor.
FRONT/BACK The site clearly has a disctinct front and a back. To the north-east it faces the busy bus stop, to the south-west, a service road leading to 6 East. Further south it offers views of the University Park.
1ST YEAR
2ND YEAR
3ND YEAR
SERVICE
FOUR TOWERS The building comprises four towers - three main ones housing each of the years; the fourth one housing all services.
SPLIT LEVELS To facilitate greater visual integration between the years the towers are at split levels to one another, thus offering more intimate views and more interesting perspectives.
SHEAR The building is ‘pulled’ south-wards slightly towards the peaceful greenery of the University Park.
EDUCATING AN ARCHITECT A N E W B U I L D I N G F O R T H E D E PA RTA M E N T O F A R C H I T E C T U R E ON THE UNIVERSITY OF BATH CAMPUS ▼ NORTH FACADE
▼ SOUTH FACADE APPROACHED FROM THE MAIN ENTRANCE
The brief for this project was to design a new undergraduate building for the Faculty of Architecture and Engineering at the University of Bath. With the current 6 East building no longer fit for purpose, the Faculty needed a new teaching/studio block to house Years 1, 2 and 3. The site chosen for this development site no. 2 - adjescent to 6 East.
CIRCULATION
STUDIOS
OFFICE BAYS
BOOK SHELVES
PERSPECTIVE SECTION LIBRARY
YEAR 2 STUDIO
YEAR 1 STUDIO
YEAR 3 STUDIO
YEAR 2 STUDIO
YEAR 3 STUDIO
YEAR 2 STUDIO
YEAR 3 STUDIO
CRIT SPACE
WOOD-WORKING WORKSHOP
LASER CUTTING WORKSHOP
YEAR 1 STUDIO
CAFE
▲ AN ISOMETRIC VIEW OF A TYPICAL FLOOR LAYOUT
▼ INTERIOR VIEW OF ONE OF THE ATRIA, SHOWING THE INFORMAL LECTURE THEATRE AND THE CAFE.
▼ INTERIOR VIEW OF A TYPICAL STUDIO.
▲ INTERIOR VIEW OF ONE OF THE ATRIA. A CRIT IS TAKING PLACE ON THE GROUND FLOOR.
1
2
3
4
5
6
7
8
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
► 1:10 SECTION THROUGH EAVE: 1. Floor buildup (from top down): Carpet floor finish 58mm screed 50mm rigid insulation Concrete slab 2. 75mm insulation 3. 100x25mm treated SW battens 4. 20 mm timber panel
► 1:40 SECTIONS THROUGH OFFICE BAYS
PRODUCED BY A
12
13
14
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
SECTION AA’
SECTION BB’
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
◄ ISOMETRIC SECTION THROUGH OFFICE BAY
15
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
15. HW window frame filled with wool insulation 16. 125x75mm structural frame member 17. Double-glazed fixed window
16
11PRODUCED 10BY AN AUTODESK EDUCATIONAL PRODUCT
17
▼ 1:100 PLAN
A
A’
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
10. Zinc roofing panel 11. HW furring pieces to create a 3° slope 12. Galvanized steel UA bolted into conrete beam supporting ceiling structure 13. 90mm insulation 14. Veneered plywood panelling
9
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
5. 20mm HW timber fascia panel 6. 38x38mm treated SW battens 7. Breather membrane 8. Timber spreaders with 75mm insulation 9. Insitu concrete downstand beam
B
B’
LIGHT SUPERSTRUCTURE VS. HEAVY PLINTH
VERTICAL CIRCULATION
MEASURING UP TO GEORGIAN BATH A VISITOR CENTRE TO BATH’S FAMOUS ROYAL CRESCENT
The brief for this project was to design a visitor centre to the Royal Crescent - a major tourist attraction in the City of Bath. The approach to be taken in the design process is a deterministic one, meaning that all design decisions must be based upon and justified by a thorough analysis of the site and context. Given the immense historical value of the surrounding buildings and the varied topography of the site, there is a great abundance of material to inform the building design.
INVISIBLE VS. MONUMENTAL
ZONING #1
SHOP/ SERVICES
▲ EXTERIOR VIEW FROM THE FIELD ▼ STEEL PAVILION FROM STREET LEVEL
▼ THE INSIDE OF THE PAVILLION CAFE +VIEWS
ZONING #2
DISPLAY AREA
RURAL VS. URBAN
URBAN
RURAL
final destination: the Royal Crescent
The Royal Crescent sits at the very junction of where the urban, imposing architecture of the City of Bath, meets the natural landscape - now a public park, in Georgian times, a grazing field.
the Circus VISITORS’ DISTRIBUTION The diagram represents the level of observed tourist activity around the area in front of the Royal Crescent. The larger the red circle, the bigger the number of observed tourists at that spot.
DUALITY OF THE CRESCENT Like most Georgian buildings in Bath, the Royal Crescent also has two distinct facades: from the front it appears symmetrical and orderly thanks to the regular rhythm of the columns, while the back hides an eccentric mixture of eclectic styles.
JOHN WOOD’S TRINITY PROCESSION In the wider city context, the Royal Crescent is a part of an important urban concept conceived by John Wood comprising Queens Square, the Circus, and the Royal Crescent as the culmination of a grand, up-the-hill procession.
Queen’s Square
VAULTED BASEMENT Beaneath the road each house at the Royal Crescent has its own system of basements some of which are vaulted.
EXTERNAL VIEW FROM THE SOUTH EAST CORNER OF THE FIELD
PERSPECTIVE SECTION
INTERIOR VIEW OF THE DOUBLE HEIGHT EXHIBITION HALL
INTERIOR VIEW OF THE DOUBLE HEIGHT EXHIBITION HALL WITH A SMALL SCALE MODEL OF THE CITY OF BATH
▲ MEETING HALL
▲ CAFE
▲ LIBRARY
Domburg ZEELAND
A B E AC H S I D E C O M M U N I T Y PAV I L I O N I N S P I R E D BY T H E A R C H I T E C T U R E O F LO U I S K A H N
IN LOUIS KAHN’S FOOTSTEPS
The brief for this project was to design a community centre for the coastal town of Domburg following the architectural style and philosophy of Louis Kahn. Domburg is a small seaside resort on the North Sea. During the 1953 floods, the region of Zeeland was devastated by high waves overwhelming the sea defences. This development project is meant to put the town back on the world map and put behind its citizens the gruesome legacy of the events of 1953.
The legacy of the 1953 North Sea Floods still remains strong and vivid in the minds of the citizens of Domburg. The building is both a monument to the heroic efforts and community spirit displayed by them in the period following the flood, as well as a solemn reminder of the mighty power of the sea, lurking behind the dykes.
▲ CHANGING ROOMS/SHOWERS
▲ SWIMMING POOL
► The arcades are raised two steps above the rest of the spaces in order to emphasize their role as the ‘meeting spaces’ and communication halls, tying all the spaces into one. This difference in levels is also meant to evoke the unique topography of the region where towns and villages are separated from the sea by long stretches of dykes.
▲ ISOMETRIC CEILING VIEW Inspired by the drawings of Auguste Choisy.
▼ ISOMETRIC AERIAL VIEW SECTION 1:1000
A Indoor swimming pool B Outdoor swimming pool C Changing rooms D Main square
E Library F Cafe G Offices H Main hall
B
E A
C
H
D F
PLAN 1:1000
G
◄ In plan, the building is a simple rectangle resting upon an irregularly-shaped plinth. The tartan grid sets up a system of columnated arcades enveloping a number of spaces - some of them open to the sky, creating simple courtyards; others, containing rooms, which serve the various functions of the community centre.
Ties: Elegance Simplicity Sculpture (wave) Patters (grid) Warping the grid Cyclical (loop)
Private
Tying the tie (the ritual)
Public
WUNDERKAMER* A PLACE FOR MY FRIEND’S TIE COLLECTION
PLAN
ELEVATION
*WUNDERKAMER wun·der·kam·mer/ˈvoondərˌkämər/ Noun: A cabinet, or room, where a collection of curiosities and rarities is exhibited
SECTIONS
The brief for this project was to design a timber pavilion used by a friend - Albert - to store his collection of ties. The pavilion is to be situated in Albert’s garden. Albert is a real tie aficionado. His collection includes over 1000 of them and spans over all the wondrous colours, patterns, textures, and permutations of those, the tailor’s mind could imagine. He usually puts his tie on just before he leaves to work.
A tie, by its very nature, is imperfect, ever so slightly different with every knot. The form, the angles, the curvature all vary... It is for this reason that the orthogonal grid is slightly skewed in relation to its surroundings.
WARPING THE GRID The house - i.e. the starting place for the morning journey is positioned to the south of the pavilion, while the garage - i.e. the user’s destination in his morning ritual - to the east. This arrangement prompts the user to take a path, which leads him around the pavilion, letting him marvel at the dynamic shadows cast by the rising sun.
CYCLICAL: MAKING THE LOOP The user subsequently enters the pavilion through the entryway situated at the northwestern corner. Having put a tie on, he exits and walks south - then east - thus completing the loop laid out for him.
Photographs of the 1:20 model
◄ ILLUSTRATIVE MASTERPLAN SHOWING THE EXTENTS OF THE REGENERATION SCHEME
BU
RG
S ES
PA
RK
▼ QUICK 3D REPRESENTATIONS OF THE SCHEME
The project was a competition bid for a regeneration scheme involving both masterplanning work and more detailed design proposals. Given the scale and time frame of the project, the design team was quite large, comprising 3 architectural practices, a landscape architect and various other consultants. Allies and Morrison were appointed as the main masterplanners but we were also responsible for more detailed design of some of the Phase 1 buildings. The project got me acquainted with the technical aspects of residential masterplanning as well as housing design. Given the scope of the bid, my work encompassed both the overall, urban design of the scheme, as well as, drawing in the internal layouts of individual flats.
REGANERATING THE AYLESBURY ESTATE ▼ SOUTH ELEVATION OF PHASE 1
▼ TYPICAL FLOOR PLANS OF PHASE 1 BUILDINGS
▼ AN AXONOMETRIC DRAWING OF THE MASTERPLAN
St Paul’s Square
St Mary's Square Ground Floor Plan
St Margaret's Square
First Floor Plan
► ILLUSTRATIVE MASTERPLAN OF THE SCHEME
Second Floor Plan
▲ QUICK 3D REPRESENTATIONS OF THE SCHEME
REGANERATING THE GASCOIGNE ESTATE For this project Allies and Morrison was appointed as a masterplanning consultant by Levitt Bernstein - the architects of the first phase of the development.
My main job was centred around the development of a Revit model - not only drawing the blocks, but also parametrizing them, in order to produce intelligent schedules and issue drawings.
Towards the end of my time on the project I was put in charge of drawing up a more detailed study of a secondary school proposed as part of the scheme.
▲ ENTRANCE VIEW DURING THE DAY
▲ ENTRANCE VIEW AT NIGHT
PINESGATE OFFICE PARK Feilden Clegg Bradley Studios have been appointed as the architects for this office scheme located in Bath’s Western Riverside development area. The building would offer 113,000 sq ft of flexible Grade A office space as well as an underground parking garage. Given the World Heritage context of the city, special care was taken to develop a sensitive response to the building’s surroundings.
◄ AERIAL VIEW OF THE BUILDING SEEN FROM THE NORTH
PERSPECTIVE SECTION
▲ CENTRAL ENTRANCE SPACE
ALEXANDRA PALACE ▼ BBC CINEMA FOYER
Feilden Clegg Bradley Studios have been appointed to lead the design team for the HLF Project at Alexandra Palace. The refurbishment focused on the East Wing which, despite being partially derelict, contains the very popular Ice Rink. Surrounding the rink in a U-shape are the BBC Studios to the south, the Theatre to the north and the East Court to the east.
▼ CENTRAL ENTRANCE SPACE
▼ THEATRE FOYER