MADE @ CLUMBER - Final Interior Archtecture & Design Project

MADE @ CLUMBER.

desn30173

(2020) ‘Completing a degree in a global pandemic’

Jed salmon - N0672645

CONTENTS.

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Master plan A look into my brief, client, target audience and site outlining how I plan to respond to each influence within my design proposal.

Function Outlining my thinking behind my chosen function, exploring how it connects to my site, my client and my target audience.

Design proposal A collection of orthographics to explain my design with relation to the existing alongside some key precedence.

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Bar space Outlining the more intricate design details and choices within my bar space, backed up with key precedence and visuals.

Observation space Outlining the more intricate design details and choices within my observation space, backed up with key precedence and visuals.

Focus area (Tasting sky-space) A more detailed look into my tasting sky space and Sensory deprevating tunnel, with details and visuals to explain the atmosphere and function backed up with precedence and research

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Process space Outlining the more intricate design details and choices within my process space, backed up with key precedence and visuals.

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External An overview of the external appearance of my proposal, looking into the approach and cladding through visuals and backed up with precedents.

Clumber park ‘revitalized’ Just a few years ago the National trust launched a 10 year programme to rejuvenate one of the Trust’s finest properties. Clumber Park Revitalized will see the estate and its surrounding landscape restored to its former glory, while simultaneously improving its use for today,

MAS TER PLAN.

with increased visitor attractions and facilities in order to ensure its safety and conservation well into the future.

Restoring the park’s Historic Landscape, that was Carved from Sherwood Forest will be a large part of this master plan. once one of the largest examples of a designed landscape in the UK, the years have stripped away many of its grandest features and orchestrated views.

This will include land reclamation of the woods that surround the lake in order to re-instate the parks pristine pleasure gardens.

Obviously by doing so, many secrets and

lost treasures of the park have been lifted from obscurity. Along side this physical action the national trust has committed to a programme of seasonal activities and events that will attract and enrich the experience of the parks visitors.

My proposal will work as part of this masterplan to ensure that it will maintain relevance well into the future.

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OUR BRIEF “The Major Project will explore the use and function of Clumber Park today” The RE-IMAGINED brief is about you and how as a Millennial, you can keep Clumber Park as a relevant place to visit for your age group and younger generations to come. We want you to create a sustainable, economical and successful visitors’ venue which will make Clumber park an even more desirable place, encouraging a new generation of repeat visitors for the next 50 years.

OUR CLIENT The National trust Founded in 1895, The national Trust is an independent charity and membership organization for environmental and heritage conservation in the UK. While their interests firmly lie within restoration and conservation, the trust invests heavily into its customer experience through a calendar of events, discovery centers and other interactive structures throughout their sites.

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Target Audience ‘Millennial’ and ‘Generation z’ Financial times defined the millennial generation as “the next core market”, making up roughly 25% of the uk’s total population. A study by Harris Group found that 72% of millennial’s favour experiences over material possessions when it comes to their spending habits, specifically when it comes to ones that revolve around the food and drink market, where a 2019 foodspark study revealed that They spend a whopping 13% of their income in restaurants and bars.

Design requirements do’s and dont’s of this project By taking what is outlined on this page I want to ensure that my design proposal will provide a sustainable and economical visitor attraction that will both appeal to our clients ethos of conservation and heritage while simultaneously appealing to the millennial market by targeting their interests and habits, ensuring a proposal that is focused on experience.

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1:5000 Site model

1:500 Site model

1:200 Site model

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1 : 5000 site Model

1 : 500 Sit

Gray Card

Gray card and

Area : Clumber Park

Area : Gas House

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te model

1 : 200 Site model

d brown paper

Plaster cast

Area : Gas House

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The Gas House woods Named after my chosen structure (depicted below) the gas house woods cover an area to the north of the clumber park estate. The trees that make up the gas house woods are protected by the uk’s woodland trust and will remain as a woodland throughout the Clumber park revitalized master plan rejuvenation of the park and estate. We can see from the analysis of historic maps that these woods would have once housed other supporting structures to the gas house throughout its varied function history, however most of these have since been lost.

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Aesthetics In order to respect the context of my project I plan to clad my interventions using dark materials where possible, allowing my design to remain contemporary within its form but blend with its context through its use of materials that are sympathetic to its surroundings. I want my proposal to use materials made available from one of the parks many land reclamation projects, that see the clearance of woodland to re-instate a more designed landscape. Doing this will help my project create links to the park and follow the national trusts ethos of conservation and environmentalism.

Across the road Currently, the area across the road from the gas house is used as an overflow car park for the park. This area contains trees of a higher protection specification that have been fenced in for their protection.

My proposal will see a link created to this area, enhancing its use for visitors , past that of an overflow car park. My design will help provide unique views of these protected trees and hopefully help educate as to why they have earned this protection.

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THE GAS HOUSE

Garden Tea Rooms WALLED Kitchen Gardens

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mid1800’s - LATE 1800’s GAS HOUSE Distillation (through coal gasification), storage and distribution of coal gas

LATE 1800’s - 1930 Blacksmiths housed the forge, produced intricate metalwork such as the gates seen around the park and made shoes for the many horses

1930 - 2020 Joiners Shop Currently houses the parks joiners and handymen who produce timber goods for use in the park.

2020 Made @ clumber A functioning commercial distillery paired with an immersive gin tasting and drinking experience, aimed at attracting younger generations to the park

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Gasometers

Extending downwards

A gas holder, or gasometer is a structure used to house gas at near at-

As these structures stored the gas at atmospheric pressures, they

mospheric pressures. These large circular structures usually consist

themselves became dynamic, with their inner tanks rising from the

of a large imposing frame surrounding a tank and have recently become

ground as it filled and recessing back in as it emptied. It is this dynamism

a popular restoration project for modern homes in the UK. One example

that inspired me to explore extending downwards into the earth, in

being the Kings Cross Gas holders project, which converted two large

order to revoke the language of the lost gasometers within my design

Gasometers to high end residential spaces.

proposal,

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Shrouded in mystery During my visit to the gas house I didn’t actually know what the structure was. There were no indicators of the sites history and previous uses. There were no supporting structures around apart from a group of workers cottages.

Loss of IDENTITY Upon learning the identity of the mysterious structure I noticed the lack of storage that there would have been for the gas produced at

1890

the building. after looking at historical maps of the site I learnt that two gasometers once stood behind the structure. These icons of the British industrial age would have not only helped age the structure but help to form its entire Identity.

Sense of place Another feature of the site that shocked me for a national trust property was its lacking in terms of a sense of place. The gas house appears to be isolated from the park, the building appearing ignorant to the amazing views that surround it. I want to ensure that within my proposal, I help link the structure to the park through implementing specially considered entrances and exits, and help realize the potential of the views it has to offer.

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Exploring protrusion Taking the idea of the gasometers and exploring the effect of recessing the footprint of the gas house structure into its context. then isolating parts of the plan to recess further and to create variable height within my design.

Materiality : Plaster (Textured by mould)

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GLASS HOUSE Revitalized as part of national trust’s Clumber park master plan, the glass house was originally built for the growing of plants of a warmer climate.

The Glass house features a Victorian heating system that stretches the length of it’s two wings that allowed for viticulture of grapes and berries that would have been fueled by the Gas house of the time.

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Walled kitchen Garden Many country estates in the UK feature a walled kitchen garden akin to that found at clumber. They were once used to provide the residence with food, flowers and herbs.

These walled gardens worked so well by creating an enclosed micro-climate within its four walls, free of rolling frosts, surface runoff and animals.

The walled kitchen garden at clumber among many other crops, would have once been used to rear Juniper saplings through cold periods, Juniper of course is the main botanical used within the Gin distilling process.

It would have been the botanicals grown in this garden and glass house that would have fueled many of the subsequent duke’s house parties, gatherings and more outlandish escapades.

Upon discovering the Clumber estate’s link to the production of various grapes, berries and other botanicals I was keen to investigate further and build my project on this basis.

I was further drawn to this concept upon discovering the Victorian heating system within the adjacent Glass house, which would have been fuelled by the coal gas produced across the road at the old gas house.

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VIEW ONE •

Gas House woods

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Gas House cottages

WHAT THIS MEANS

VIEW TWO •

Walled kitchen gardens

•

Garden tea rooms

•

Clumber Estate

•

Cricket Grounds

While the direc-

With this knowl-

tion of these

edge I plan to

views has already frame specific

VIEW THREE

influenced the

elements of these

structure and

views to improve

placements of

the structures

•

Walled kitchen gardens

specific functions connection to the

•

Protected trees

within my designs, greater site of

•

Saint Mary’s church

with an aim of

•

Pleasure gardens

keeping client facing areas towards view 2 and 3, I can now take this further within my realisation.

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Clumber Park.

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From Clumber estate This route can be made by both motor vehicle or by foot, this will probably be the most used by customers as it lies on the side that houses the main entrance to the park, the actual clumber park estate and the two primary car parks.

This approach also houses some of the parks biggest current attractions such as the Glass house, dukes garage bike rental and garden tea rooms. It would be important to mark my structure along this route to both raise awareness and cash in on existing visitors to these facilities.

This should be the side in which my entrance is located as to make it as easy to find by customers and draw in passers by.

From Hardwick village While this route can be used by both motor vehicles and by foot, it will most likely carried out on foot. it is less likely to be used by customers but more used by staff who have residences within hardwick village.

Therefore it is less of a priority to have the main entrance located on this side of the premises.

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RE-instil Distillation It is important to me that the function of this structure and of my proposal is in line with the values of the national trust and the master plan they have outlined for clumber park within “clumber park revitalized’.

In order to do so I think the most important thing is to draw on the park and the structures past outlined earlier

FUNC TION.

within this document.

I have decided to bring the old gas house into the 21st century by re-instilling distilling into its function, swapping the coal gas of Victorian Britain for the most popular spirit of today.

This will not only be sure to appeal to the younger target audience that the National trust ARE SO KEEN to attract to clumber but also coincide with their vision for the clumber of the park, by

revitalizing a currently mis-used and wildly under-appreciated structure.

This function does not end at the walls of my chosen structure, it will help to create a cohesive narrative throughout much of the park, tying in the functions of the walled kitchen gardens, glass house and old clumber estate.

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The ginaissance

The Experience

As Millennial consumers now hold a majority in the

As outlined within my analysis of the target consum-

alcohol consumption market it is fair to say that any

er, millennial prefer to spend their money on experi-

recent major trends would have been influenced by

ences rather than material goods.

their buying actions along with the growing number of I am keen to ensure that my proposal will meet this

GEN Z consumers following suit.

factor, and function as more than just a distillery.

This hold over the market means that by analysing

I want my design to offer visitors to the park the

these trends, we can gain a better understanding of

chance to not only experience a functioning distillery

the consumer.

and learn its links to the park and its history but to also gain the ‘proper’ experience of gin.

Total gin sales in the UK hit £1bn in 2016, and the number of distilleries has increased by 127% in five

I want to offer a curated tasting experience, focused

years to 315 in total. For context, this means London

on sensory design that will amplify gins impact on the

now has more distilleries than the whole of England

senses and hopefully result in a better understand-

had in 2010!

ing.

Gin is showing no signs of going anywhere with the juniper spirit still in ascendance – Brits spent £36m on gin just in the week before Christmas 2017 – and whilst some bartenders may be tired of it, consumers are still keen to embrace the new and exciting spirit as it comes to market. With Weatherspoons holding their first ‘Gin Festival’ in 2019.

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BRANDING. MADE @ CLUMBER I chose this name for my project as it works on multiple levels.

1. It clearly displays the function of my design, showing that something is ‘made’ 2. Its makes an emphasis on the importance of the location to the project. By having clumber in the title people are reminded of the national trust site.

3. Makes reference to the brief of attracting a younger audience through the use of ‘@’ 4. Creates opportunity for application across other national trust sites ‘MADE @ LOCATION’

LOGO 1. References entrance tunnel, integral to my design 2. Isometric = Architectural 3. Easily Iconised (iso @ signtions

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Experiential & Functional The subsequent pages of this section documents my design proposal for the Old gas house at clumber park. These designs are the result of everything you have seen so far, throughout this communications book and my previous research, processing and realisation books.

DESIGN PROPOSAL.

As you will see, this proposal has two prevailing design influences. The first being functionality of this space as a distillery, and the second being the customer journey.

The entire project has been designed to draw people throughout the structure as gin through a distillery, traveling through tight tunnels into wide open spaces, spiralling down wards and back up, all at varying speeds and orientations.

I have ensured the functionality within this space through consulting industry experts, striving towards what I understand to be the optimal layout for a 3 still distillery while ensuring that passing visitors cause minimal impact upon the functionality.

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Scale: 1:100 @ a3 Sitting neatly within its context, my design (for the most part) hides within the confines of the existing walls of the gas house, choosing to extend downwards into the earth rather than outwards.

GROUND FLOOR PLAN.

A blackened steel tunnel extrudes through the aperture of the existing doorway to the gravel track that connects my site to the road, acting as the hose of a vacuum sucking visitors into the structure. the interior layout of this floor revolves around the views the site have t0 offer, ensuring that client facing spaces and spaces in which they will dwell are towards the south of the site.

The entrance tunnel extends across the structure into a bar and connected seating area that is designed around these specifically framed views. Alternatively, along this tunnel,

the user is encouraged to break off and traverse an internal bridge, this bridge suspends the user over the distillery and allows them to view it from above. this also connects the vertical circulation space (aging room) and two accessible toilets, along side a bottling room, who’s entrance is kept separate for food hygiene laws.

Existing

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New

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Scale: 1:100 @ a3 Extending downwards into the earth, this whole floor of my proposal is new to the site. The footprint largely follows the footprint of the floor above, stepping in by 100mm in spaces that are double hight.

LOWER FLOOR PLAN.

AS highlighted on the plan, the user will enter this floor using the scissor staircase within the aging room. Here they will transcend the barrel clad walls and pipes pumping into the bottling room above.

This space then transitions into my process room, a walkway guides the user back under the bridge, avoiding the path of the working distillers and into a long dark sensory deprevating tunnel.

The double hight process room houses three separate still systems for production and development and as I will explain later in the book, it has been designed for optimum efficiency in this function. A door, hidden

to the passing tourists, connects the space directly to a large refrigerated storage room.

As the tunnel extends under the road above, it culminates and opens up into a light filled sky-space, where users can partake in a curated gin tasting experience.

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LONG SECTION Scale: 1:100 @ a3

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Bridge The bridge suspended across the processing space will provide the user with dramatic views of the distilling process.

Tunnel

Sky-space

The long dark connecting tunnel with help clear the mind and

Filled with light and clean air, the sky-space offers the per-

prepare the users senses for the tasting experience.

fect environment for gin tasting.

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SHORT SECTION. Scale: 1:100 @ a3

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Skylight A thin skylight stretches across the edge of my processing room, cascading light across the polished copper stills, highlighting their intracity and materiality within the space.

Double - height space A double height space allows for bigger stills. These larger still transcend the levels of the structure and fill the space at a scale more appropriate than if they were confined to one floor. Also larger stills just look cooler, so thats a bonus.

Materiality As throughout the entirety of this project the existing brickwork has been retained where possible. Here in this section, the existing and the new are contrasted in their materiality, creating a visible divide between the floors.

New site cast concrete walls and a polished concrete floor highlight the new and the brick the old.

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Existing retained

Contrasting entrance

Concrete o

The same philosophy has been applied outside as within, wher-

The contrasting entrance is in a different language to the

My separate tasting sk

ever possible the existing has been retained and celebrated

rest of the building from this angle, this will trigger peoples

be shrouded in mystery

rather than removed.

attention and draw them in like a vacuum.

and no visible connectio

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obelisk

ky-space that rises from the ground will

y,due to its distance from the structure

on.

LONG ELEVATION Scale: 1:100 @ a3

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Tunnel This elevation shows again how the black steel tunnel extends out towards the path. The colour and texture of the tunnel work in contrast to the materiality of the existing to highlight my new interventions.

Transition My extension sits within the bounds of the crumbling existing brick wall. Recessing my new wall system behind the existing allows for a smooth transition between the two while appeasing the design philosophy of respecting and retaining the existing without being pastiche

Black clad extension In the same way that the tunnel creates contrast, my charred timber extension balances the design. This references to the 2010 fire that destroyed a large percent of the structure in its materiality while also appeasing to the national trusts environmentally conscious ethos.

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SHORT ELEVATION. Scale: 1:100 @ a3

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creating a relaxed drinking environment for visitors to “made @ clumber”. The space

This bar area can be used

is constructed around two

to serve customers of the

main framed views of the

distillery experience or

park, a corner window seat

accessed by keen passers by.

Bar space

Observation space

This space is focused on

that pictures the Garden tea rooms, kitchen gardens and clumber estate and a horizontal eye height slit that frames the spire of saint Mary’s chapel, cutting through the trees.

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Alongside it’s conventional bar serving area this space offers a space for small intimate gin experiences for those who are keen to learn more about gin and its pairings.

Tasting sky-space

Processing space

Extending directly from the entrance tunnel the user is suspended 3 meters above a functioning distillery, filled with light, smells and sound.

This bridge allows customers a unique birds eye view of a distillery, this will help them to engage with the experience without hindering its functionality.

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The main attracti0n, accessed by a long dark tunnel that stretches beneath the road outside, the tasting sky-space offers customers a unique completely curated gin tasting experience. This space has been designed purely with its function in mind with great considerations made to help enhance the users sense of taste and smell.

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Experiencing space Cave

Architect: Antony Gormley Location: Royal Academy (London, UK) Date: 2019 Gas distillation is a process consisting of a very specific set of movements and spaces to transport and transform its fuel from input to output. I want to explore how architecture can mirror a process or journey.

This project expands the interior of the body into a space we can inhabit.

Gormley has described Cave (2019), as “my form of architecture”; he has always thought of the built environment as our “second body”, an integral part of the human condition today.

Through the use of rolled steel Gormley has created a body in which we can travel through, consisting of dark and tight spaces , contrasted by open light spaces.

Available at: www.royalacademy.org.UK/exhibition/antony-gormley

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MATERIALS.

I plan to retain the existing brickwork faรงades

Any part of my design that extends downwards

Shou Sugi Ban (charred timber) will be used as

on the ground floor level where possible.

into the earth will be lined with site cast con-

cladding for the exterior of new interventions.

crete.

This could be made from timber harvested as part of the parks land reclamation.

Although not a structural material,

Timber will also play a similar role,

copper will play an important role, as

with the exposed trusses featuring

this is what my stills will be made from.

within my design along with lining other

Stills are made from copper for its sub-

touch points.

tle effect on flavour and conductivity.

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PRIMARY. Black anodized steel will be used throughout the interior for the construction of my ‘gormley’ interventions but also other details.

Small amounts of steel will be used throughout my design, such as distilling equiptment and other exposed services.

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Extending directly from the dark and domineering entrance tunnel the user is suspended 3 meters above a functioning distillery, filled with light and the smells and sounds that come with it.

This internal bridge, suspended from the rafters Allows customers a unique birds eye view of a distillery,

PROCESS SPACE.

helping to engage them with the whole experience without hindering its functionality. This bridge is also key for the circulation of the space, enabling customers to travel between my Antony gormley inspired tunnels to reach accessible facilities and scissor staircase to transcend the levels.

At ground level the external walls of the existing will remain untouched in line with my design philosophy of retaining the existing, However the sub terrainian extension will follow a different set of rules.

As will be explained in the upcoming

pages, this area is focused on function. Designed alongside an industry professional and master distiller, this distillery will house 2 production stills and another development still. This will allow for sustainable production of a product but also enable the trialling of new flavours or limited edition batches. Furthermore I have taken great care to ensure efficiency within the design, un interrupted by passing visitors.

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Process “A series of actions or steps taken in order to achieve a particular end�

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Suspended bridge Provides dramatic views of the distilling process without interrupting it

Double height Allows for the implementation of more scale appropriate stills and they just look cool

Raised Stills Improves the functionality of the space as a distillery, making it easier to fill, empty and clean the stills

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Internal bridge Burgos Railway Station

Architect: Contell-MartĂ­nez Location: Burgos, Spain Date: 2016 This precedence informed a key feature of my design. I wanted to offer the experience of bird-eye views over the processing space, to encourage visual engagement without infringing on the spaces ability to function as a distillery.

An internal bridge is a suspended corridor, mine will connect two other Gormley like steel corridors and hang, suspended from the rafters with walls at 1100mm tall that will match the style of the hand rails surrounding the stairs. this refurbishment also sets the precedent for the treatment of my interior, ensuring that the existing structure is respected and enhanced by any new interventions.

Available at: www.archdaily.com/873855/burgos-railway-station-refurbishment-contell-martinez-arquitectos

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Multi - height distilling Distilleria Puni

Architect: Werner Tscholl Location: Glurns, Italy Date: 2012 While This precedent helped to inform my function as a distillery, the main thing that I have taken away from it is the treatment of the distilling equiptment.

By having a design, built around the stills, which allows them to transcend the levels within a structure does not only make the space more functional (by allowing production size stills into smaller spaces) but also helps to encapsulate the user within the experience of the distillery.

Available at: www.architizer.com/projects/puni-distillery

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Layout Architect: Jed Salmon Advisor: Wayne Asher (master Distiller) Date: 2020 As mentioned earlier, the design of the lower ground floor distillery was heavily influenced by conversations held with an industry professional and master distiller. it was from these conversations I was able to ascertain the process of distilling, the order of the steps and the equipment required for each. This meant that I was able to conclude at a optimal workspace for a distiller, which I then applied to my design, adjusting for the space available in the site and allowing for the desired number of stills.

These conversations also provided me with valuable industry knowledge that I would have otherwise not considered, such as raising the still height to 900mm to allow for easier loading, emptying and cleaning of the stills, again improving functionality.

More information about Wayne is Available at: www.redsmithdistillery.com

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At the end of the dark entrance tunnel that extends through the aperture of the existing doorway, This bar area can be used to serve customers of the distillery experience or accessed by keen passers by.

This area sits within the bounds of my new ground floor extension in the south east corner of the site. despite this I have strived to ensure the interior works cohesively with the existing by

BAR SPACE.

re-using bricks from the removal of interior planes to stagger the transition between existing and new. I have also ensured a seamless transition between the two by opting to implement a new polished concrete floor across them both. the rest of the palette is consistent with the rest of the design proposal, ensuring this with bespoke site cast bar and tables and scaffolding back bar display.

Alongside it’s conventional bar serving area this space offers a space for

small intimate gin experiences for those who are keen to learn more about gin and its pairings.

There is also a raised bar height seating area screened off by a slatted wall that offers a more dynamic seating option for clients. This bar height seating is situated opposite my glass pivot door that connects the outdoor timber walkway and seating area.

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Bar “An establishment for the sale of alcohol and other drinks, to be consumed on the premises�

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Seated view Emphasising the most important view of the structure by building in a corner window that is also a window seat encourages people to dwell and bask in the view.

Bar space

This visual depicts the transition between the bar space and seating / observation space. To the right over the service bar you can

between the external and internal languages. You can see how this helps form the raised bar height seating focused towards the p M a d e

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n see how the black steel tunnel extends into the space, this is masked by the slatted timber wall, produced in the same methods as the cladding thus making a connection

pivot door.

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A Corner view East Street Library

Architect: We made that Location: London, UK Date: 2018 As my proposal’s layout is centered on basing client facing spaces towards the sites best views, it was important to me that I find precedence of how to incorporate a cover window seamlessly into a space.

This precedence shows how a corner window seat can be incorporated into a seating space, it shows that by lowering the sill height to seating or table level it will blend with the furniture without clashing, creating a clean and slim-lined view to the outside and from the outside.

Available at: www.archdaily.com/908123/east-street-library-we-madethat

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Adjacent to my bar area lies my observation space, This space is focused on creating a relaxed drinking environment for visitors to “made @ clumber”.

The space is constructed around two main framed views of the park, a corner window seat that pictures the Garden

OBSERVATION SPACE.

tea rooms, kitchen gardens and clumber estate and a horizontal eye height slit that frames the spire of saint Mary’s chapel, cutting through the trees.

The cast concrete bay of built in seating mimics the language of those present within my tasting sky-space. this seating provides space for lager parties to use this venue but can also be used by multiple smaller parties as a shared drinking experience. the entrance tunnel runs along the back of this seating with skylights above it, this method of non - direct

lighting will disperse and reflect into the space, resulting in an overall softer an more relaxing experience which works well with the function.

Having the entrance tunnel extend through this space helps to disrupt the linear nature of the rooms and disrupt the classic ‘room by room’ structure the client will expect to see.

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Observation Perceiving (something) and taking time to register it’s significance or beauty.

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Framed skyline This window draws the eye to focus on the horizon, highlighting the spire of Saint Mary’s cathedral cutting through the trees.

Alternative aperture

This visual depicts a seated view from the sky-space seating bay. It shows how I have implemented alternative window apertures an

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nd treatments to achieve very different results within the same space. Showing how the different types of seating and windows define the function of the space.

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Slit window Hyderabad house

Architect: Rahul Mehrotra & Ashiesh Shah Location: india Date: 2017 As my proposal’s layout is centered on basing client facing spaces towards the sites best views, it was important to me that I find precedence of how good designers do so.

This precedence shows how an architect has used a horizontal slit window, set at a seated eye height to frame a horizon. The architect explains that this is a good way to “emphasise the unique view” and still hold control over the light within it.

Available at: www.architecturaldigest.in/content/collaboration-rahul-mehrotra-met-ashiesh-shah/

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The main attracti0n, accessed by a long dark tunnel that stretches beneath the road outside, the tasting sky-space offers customers a unique completely curated gin tasting experience. This space has been designed purely with its function in mind with great considerations made to help enhance the users sense of taste and smell.

The access tunnel works so well due to its complete contrast to the spaces at

FOCUS SPACE.

either end of it. Beginning in the sensory overwhelming processing space, filled with light sound and smells and ending in the tasting sky-space, a sensory controlled and considered space.

By extending the walls of the tunnel just over a meter into the space it creates a more interesting transition, leaving you suddenly in the middle of the space upon exiting it.

Once again I had chosen to use a polished

concrete floor throughout the rooms to help with consistency and aid with the fluidity of movement through the spaces.

A recessed 150mm gravel filled channel runs the edge of the tunnel and into the sky-space, this is used to help dimly light the edges to help with direction and create somewhere for water to drain.

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Experience “an event or occurrence which leaves an impression on someone�

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EXPERIENTIAL DESIGN. The Phenomena of designing space centred on user experience is known as ‘responsive’ or ‘sensory’ architecture (Maria n.d.). Author, designer, and educator Maria Lehman suggests the importance of architecture’s evolution to this discipline, explaining that “by targeting the senses through each modality, architecture can unleash its potential to really help those who experience it in real-time” (Maria n.d.).

Within my focus space I have evoked this discipline of design , using my knowledge to enhance the experience of gin tasting. using what i learned throughout my dissertation on this subject I have made specific design choices to achieve this superiority in experience.

Visually I have ensured the space is well lit with an emphasis of natural light, through the implementation of the skylight. this open skyspace aperture will mean that the space is circulated with fresh air filtered by the parks rich fauna, this will help to enhance a persons ability to taste subtle notes within the gin.

Audibly I have recessed the space into the ground and isolated it from the rest of my structure. I have also used a palette of rougher, more industrious materials to reduce reflection of sound. This silence will help the user avoid distraction and again enhance the users sense of taste.

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VISUAL OLFACTIBLE AUDIBLE GUSTATORY HAPTIC M a d e

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Curated experience A member of staff will be based in this room to guide a small, controlled group of customers through a curated gin tasting experience.

Tasting Sky-space

This visual depicts how the sky-space typology can be applied to the function of gin tasting experiences. Showing how the natural l experience.

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light, minimal palette and overall simplicity result in a relaxing and calming environment that enhances the users sense of taste and smell, resulting in a superior Gin

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Sensory design By factoring for sensory design, light has been controlled upon approach to subdue the visual sense in order to heighten the users sense of taste and smell

Contrasting Connection

This visual shows how I have explored the concepts of space and scale within this part of my design. Traveling from one light and o sense of scale and mimic the experience of gin moving through a still.

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open space to another would not feel so impressive without experiencing the opposite inbetween. Transitioning from open to tight and back to open will distort the users

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Sensory deprivation tunnel 18 feet and rising Architect: Studio octopi Location: London, UK Date: 2013 Every person has a mouth that contains a hard and soft palate, a tongue and inner cheeks. All of these parts contain anywhere from 1,000 to 10,000 taste buds. Learning how to cleanse your palate and taste flavours can help to enhance the taste buds and allow you to pick up on the tiniest of flavours in gin.

Just as a clear palate is important for tasting, a clear mind is just as important when undergoing new experiences. A clear mind will help a person to take in more information, and build stronger mental connections.

The length and dimly lit nature of this tunnel will encourage the user to focus on what they are experiencing and prepare them for what lies ahead.

Available at: www.dezeen.com/2013/03/03/18-feet-rising-offices-with-tunnel-studio-octopi/

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Sky-space Deer park shelter

Architect: James Turrell Location: Yorkshire sculpture park, Sheffield, UK Date: 2006 “A Turrell Sky-space is a specifically proportioned chamber with an aperture in the ceiling open to the sky. Skyspaces can be autonomous structures or integrated into existing architecture. The aperture can be round, ovular or square.�

-James Turrell Having a space so intensely focused on the senses, with regard to controlling natural light and scale, inspired me to continue this concept and push it towards a consumer function. I wanted to recess my sky-space into the ground for acoustic improvements and to distort the views from within, this all helps to focus the users senses onto their taste and smell, the ones most important for carrying out experiences such as gin tasting.

Available at: www.y sp.org.UK

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BY AN AUTODESK STUDENT VERSION

DETAILS.

Recessed light well and drip guard Detail Recession at the top of the seats that will house a light that will cascade up the wall in contrast to the light from that of the skyspace that drops down to the centre of the space.

Cambered floor and seating shadow gap detail Shadow gap at the bottom of the perimeter seating that creates the illusion that the seating itself is floating. This shadow gap also hides a drainage channel that collects the runoff from the cambered floor.

PRODUCED BY AN AUTODESK STUDENT VERSION Tapered skylight sill edge detal The edge of the skylight is tapred to create the illusion of an edgeless picture, a key feature of skyspaces.

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PRODUCE

I wanted to apply the same design ethos of respecting and celebrating the existing to the external elements of my proposal as I had to the internal, however I also wanted to avoid any new interventions appearing ‘pastiche’ aiming to ensure an air of contemporary design.

My entrance will be the first thing noticed by upon ap-

EXTERIOR DESIGN.

proach, with my Antony gormley inspired blackened steel tunnel extruding through the aperture of the existing doorway. This bold design choice in completely in contrast to the building in its contemporary nature, however it complements the existing by not interfering with it or even touching it, leaving it totally in tact.

This approach has also been applied to my extension to the right of the property where I have re-used bricks salvaged from the removal of the interior planes to stagger the wall and create a smoother transition into the new charred timber clad extension. This

is extenuated by my choice to recess the new wall within this, slightly reducing floor space but massively increasing the external appeal.

Finally by extending this new cladded roof over the areas of the structure who’s roof had been lost in a recent fire I am able to tie the building together and create a more cohesive exterior.

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Contrast “the state of being strikingly different from something else in juxtaposition or close association�

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Entrance tunnel The connection to the outdoors was particularly important in this project as the surrounding context is one of the uk’s Grade 1 registered parks.

Drawing in the user

The black tunnel is the first notable feature of my proposal upon approach, this contrasting tunnel provides the function of makin

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ng my design instantaneously recognisable, it will draw people in from the road acting like a vacuum extending through the aperture of the existing doorway.

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TREATMENT OF EXISTING Dovecote Studio

Architect: Haworth Tompkins Location: Snape Maltings (Suffolk, UK) Date: 2009 This structural renovation by Haworth Tompkins “evokes the ghost of the existing� yet upon closer inspection reveals itself to be brand new.

The part of this project that I like is how the new structure sits within the crumbling walls of the old, providing a nice transition between the two styles, that respects the existing.

Available at: www.haworthtompkins.com/work/dovecote-studio

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TREATMENT OF the new Black House

Architect: Buero Wagner Location: Lake Ammersee (Munich, Germany) Date: 2019 Chosing to clad my new interventions with Shou sugi ban will enable my design to work as a part of the park rather than struggle to stand out, at risk of looking odd and mis-placed.

Charred timber cladding offers many other benefits that both strengthen my concepts and aesthetic of my proposal. one of these being that it can be constructed with timber from the park itself, from that gained by one of the parks land reclamation projects that sees trees felled back to their original plots..

Available at: www.dezeen.com/2019/04/01/black-house-buero-wagnerblackened-wood/

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Exploded Isometric Made @ Clumber

Designer: Jed Salmon To finnish, I wanted to present my project as a exploded isometric. This simple visual shows how my new interventions intertwine with the existing to culminate into what is my final proposal.

This visual also does a good job of showing how my proposal interacts with its context, using limitations such as the bounding road as an oppertunity to do something different.

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THANK YOU.

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Thank you, the reader, for taking the time to read this book. This project has been a labour of love for me, exassabated by the current global situation.

I would love to hear what you think of my proposal and get in touch with any questions at all.

Jedps@outlook.com

Jedsalmon.iad

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