Portfolio for UCL Bartlett MArch Architecture Part 2_Jordan Panayi

Portfolio

Bartlett | Faculty of the Built Environment

Selected works 2017 - 2022

BA (Hons) Jordan panayi

Contents

References:

Amin Taha [Groupwork]

Amin@groupwork.uk.com +44 7725086244

Alex Cotterill [Groupwork]

Alex@groupwork.uk.com +44 7986869475

Rhys Jones [Jestico+Whiles]

Rhys.jones@Jesticowhiles.com +44 7967598658

Awards:

RIBA president bronze medal nominee (2021)

Royal Academy exhibiton (2022)

Featured in Dezeen magazine (2021)

Featured on RIBA and RIBA education social media (2021)

Awarded 100% for 2nd year design project (2020)

Awarded 100% for 2nd year Technical design (2020)

UCA internal drawing prize (2020)

LONDON SCHOOL OF STONE MASONRY

Project | 06

Abstract

A satellite stone masonry school that serves london in future construction, whilst simultaneously paying homage to the last creative out-priced by post olympic regeneration developers in Hackney wick (Stonemasons yard). The project questions the current use of stone by reimagining time old techniques, and marrying them with new technology, to form a contemporary language for ‘The new Stone Age’ - Londons next normal.

Today, 71% of quarried stone becomes waste during extraction and shaping. This proposal looks to rethink this process by using 100% of extracted stone through four departments of construction within the school: Traditional, Digital, Restoration and Revolution.

The underlying narrative of the project is one of enlightenment, from public to apprentice to master. Using allegory expressed through details and material interfaces, earning the right to experience the building in its many forms. The details are designed to tell a story of learning - of material, of structure, of craft and of tectonics. The essence behind the journey to enlightenment is an allegory of my own as a student of architecture.

LONDON SCHOOL OF STONE MASONRY

Project 06 | Massing and form finding

1. Collage of forgotten local craftspaces within hackney wick

2. Forming a contemporary language of stone from past

3. Early massing models - conversation with the material

4. 5x5m Stereotomy floor to calculate cutting geometry

5. Hand carved refined stone forms derived from stereotomy

5b.

LONDON SCHOOL OF STONE MASONRY Project 06 | Hierarchy and sequencing

1. Floorplans expressing shift in axis to relate to its user

2. Longitudinal section expressing hierarchy of inhabitants

3. Close section of traditional masons enlightenment dome

4. Close section of seminar courtyards overlooked by inhabitants

5. Close section of digital dome space guided by light

LONDON SCHOOL OF STONE MASONRY

Project 06 | Choreographing haptic experiences

1. Stereotomy chamber casting light onto plaster etchings

2. Perspectives illustrating the journey to enlightenment

3. Axo of digital choreography department carving stone

4. Axo of stereotomy chamber and seminar courtyard

5. Axo of digital master mason overlooked by students

Jordan Panayi 05

Abstract

Canterbury cathedral has required many phases of restoration since it’s construction in 1070, one of the largest of these being the 8 year long restoration programme currently being undertaken today. These restoration phases are only going to become longer and more frequent as the Grade listed cathedral continues to age.

‘The outpost’ proposes a series of semi-enclosed shelters that sit sympathetically along the Roman built canterbury walls surrounding the cathedral. In phases of restoration these empty outposts become inhabited by masons serving the restoration, providing them with a prime location to access the cathedral.

As the individual masons inhabit each outpost they become unique to their user using timber stereotomy as a substructure to aid their movement and activities within the outpost, eventually leading to a entirely bespoke shelter crafted to the minute details of the users anatomy, resulting in the user himself fiting within an existing structure stereotomically calculated in the same way a restored piece of stone must sit amongst an existing structure.

“1:2 Hand carved piece of canterbury cathedral” Caen Limestone Jordan Panayi 06

1. Masons movement within outpost mapped to anatomy

2. In location view of arrival to outpost from canterbury

3. Path and storage of dimension stone through outpost

4. 1:500 network of outposts along existing cathedral wall and path to serve canterbury cathedral restoration

The Outpost Project 05

The mason becomes stereotomy

1. 1:5 detailed section expressing bespoke inhabitation

2. Taxonomy of masons equipment and spot heights

3. 1:10 Plan view through inhabited living space

4. 1:10 Section through inhabited outpost on wall

Jordan Panayi

Carving restoration piece

The masons process

Abstract

Chartham has an ornate sense of honesty innevitably felt when experienced first hand. Honesty through nature, honesty through structure and honesty through local community - in the form of a papermakers factory and its workers at the heart of the villages historical success.

A community of local artisans live and work together continuing to maintain these 3 tiers of embedded honest culture, Whilst simultaneously introducing a new educational system, marking the beginning of a new artisan. An artisan that is neither traditional nor digital, but the result of a combination of the two, obtained through living and working with a local master and in-turn providing a sustainable future for the culture of chartham village.

River stone base with CNC mapped Timber massing

Jordan Panayi 09

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Jordan Panayi 10

Jordan Panayi

2.

Learning the ropes

Abstract

‘learning the ropes’ aims to be a solution to overcome the post pandemic recession the entire globe is experiencing the effects of today. Without a system put in place to combat this recession, the world remains isolated once again with large businesses declaring bankruptcy and a standstill in the development of knowledge worldwide.

have forged a new architectural language that provides a system for communities to return to their heritage and earn an income whilst having an opportunity to continue developing knowledge and learn new skillsets. This proposal notices the value of knowledge, time and the touch of the human, archiving the crafts that are currently listed as endangered and under threat of the forecasted recession. These crafts contain skillsets that are suitable to produce an entirely sustainable language for the future of architecture as the project can be grown and continues to exist only with the maintenance of the user.

Crafts such as Pottery, Blacksmithing, Clog making, Watchmaking and Ropery interact with one another, combining attributes to form an architecture that is whole and complete. Rope is at the center and the soul of this Woolwich proposal, revisiting a time of culture and success that was the Woolwich ropery, which goes without any recognition in the Woolwich we see today.

Laser cut timber formwork dressed in hand spun rope

Jordan Panayi

Learning the ropes

Project 03 | Rope as a language

1. Location plan illustrating key cultural locations near site

2. Forecast recession following series of covid lockdowns

3. 1800’s map of site showing loss of historic rope yard

4. Research into WBA solutions to previous recessions

5. 1:500 CNC topography model with cast massing of site

6. Initial site mapping and adjacencies overlayed on model

Please use QR code to see Technical guide on rope as a language

Jordan Panayi

Learning the ropes

Project 03 | Rope as a representation of time

Rope becomes a direct representation of time being linear yet cyclical and if able to be produced continuously it becomes time itself. This project proposes a new plane of time, event based time (T-0000). A time that is the result of an action or an event such as the time taken to make a piece of rope continuously. In this way the project becomes timeless, as the craftsman continuously produce rope and lay it around themselves to form structures and define spaces. As the continuous construction enters different eras of craftsmen, new interactions of knowledge occur resulting in a different construction method. The hazy transitions between a floor, a wall or a roof reflects the element of time, how there is a distortion and blend between eras as it becomes one continuous undulating form.

1. Abstract plan expressing rope maker forming structure

2. Abstract plan expressing blacksmiths forming structure

3. Abstract plan expressing potters forming structure

4. Layers of craftsman overlayed to form a combined form

5. Imagery of drawing machine in use to form abstract plans

6. Hand made rope making machine used to spin yarn into 3 strand rope used throughout the project.

Hand made drawing machine forming layers of time through construction

Jordan Panayi

Learning the ropes

Project 03 | An imagined reality

1. Floorplan at T-4800 with 5 crafts forms in collaboration

2a. Imagined realities derived from knowledge of roper

2b. Imagined realities from knowledge of roper + potter

2c. Imagined realities from knowledge of roper + Clogmaker

3. 1:200 section at T-4800 through 5 craft forms

Working plans - drawings in continuous construction

Project 03 | Seasons of

slacking

1. Final model at T-6700 | Rope . Plaster . Timber . Leather

| Technique 015_B

2a. Maquette of roper hall undulating form

2b. Maquette of clogmakers arching timber entrance

2c. Maquette of rope sewn with leather to provide shelter

2d. Maquette of void space forming Technique 007_A

2e. Maquette of inhabited ropers space | Technique 001_A

T

5800

Jordan Panayi

16

Professional work

Groupwork | Finchley road (RIBA stage 3-5)

My role in this project has been for the past 18 months, and continues to be, to work closely with one other project architect as-well-as the wider design team developing detail and GA drawings for construction and tender packages, leading some of these packages myself. This includes an entire M&E and fitout model following discussions with design consultants and relevant engineers, whilst simultaneously producing self motivated image making to assist with key design decisions.

1. M&E modellling throughout scheme for stage 4/5 design

2. Central staircore internal renders for design review

3. Apartment M&E model to coordinate design with engineers

4. Internal fitout package completed for tender

5. GA section through appartments and central stair

6.

Render showing finchley road street view in context

317 Finchley road, West Hampstead N 51’ 33’ 00 W 00’ 10’ 58

317 Finchley road is a residential/commercial stone exo-skeleton structure divided into 3 blocks comprised of 22 high end apartments in West Hampstead.

Jordan Panayi

Professional work

Groupwork | Greville street (RIBA stage 5)

A ground + six commercial project comprised of stripped back interiors to existing structure in its most raw state, with a 2 storey CLT extention above. The patinated perforated mesh facade constructs a memory of the building that once previously sat at 24 greville street. with intricate classical details recreated in folded metal sheets only to reveal its contemporary form once seen up-close as the facade becomes semi-tranparent leaving the memory slightly lucid and interpretive.

My role on this project was to work along side one other project architect to see out the project at stage 5 with regular site visits and snagging reports as-well- as making final finishing decisions to complete the narrative as a whole. This included producing imagery for the client to advertise the space to potential leasers.

1. Elevations determining patination on mesh facade

2. Site photos during snagging showing patinated mesh

3. Renders produced for meetings held with leasers

4. Renders produced for meetings held with leasers

5. Typical 1st to 4th floor plan

6. Typical 5th and 6th floor plan

External wall detail section

North elevation

South elevation

West elevation

East elevation

Jordan Panayi

Professional work

Groupwork | Cow shed (RIBA stage 0-3)

The Cow shed in Widford, South Oxfordshire is a renovation of an existing heritage-listed cow shed and mill house, along with 3 further structures introduced within the expansive landscape. The proposal suggests a continuation of the local castle boundary stone walls disappearing and reappearing in the landscape when required to from a space.

My role in this project was to develop a package of design intent drawings and massings to present to the client and our collaborative partners for this project AAU anastas Architects. The design intent was then handed to Anastas to carryout a series of design exercises which they returned to us with a resolved stone vault system to incorporate in our design as seen in the images to the right.

1. In location view from across the river at night.

2. Close up material detailing, expressing reveales in volume

3. Prototype constructed by AAU Anastas for Venice biennale

4. 1:25 detail section through proposed stone vault

5. GA section through the proposal addressing the river

6. GA plans of existing cowshd and further 3 volumes

3.

4.

6c. First floor

6b. Ground floor

6a. Lower ground floor

5.

1.

2a.

2b.

The Cow Shed, South Oxfordshire N 51’ 48’ 14 | W 01’ 36’ 19

Selected competitions

Castle park | Stage 1 and 2 competition winner

1. Render of proposed castle park scheme from park

Role as lead visualiser to complete Stage 1 which went on to win a residential competition in Bristol town center. The scheme focuses on high quality design with a carbon negative stone exo skeleton and CLT floor plate construction in collanoration with local landscape architects

Graz Bridge | Public footpath + cycle bridge - pending results

1. In location view showing the experience on the bridge

2. Site plan of footpath+cycle bridge next to existing autobahn

3. Sections illustration pre tensioned construction technique

Assisting colleagues and a small team of architects from a local Austrian architecture firm to complete competition entry. Held a design development exercise with structural engineers to form a pre-tensioned structural stone bridge that is a carbon negative alternative to concrete.

2. AJ journal featuring Castle Park win

3. Render of proposed castle park scheme from riverside

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3b.

3a.

3c. Jordan Panayi 20

Selected competitions

Royal Academy | 2022 exhibitor

Took lead role to design and make a narative based model outside of contracted hours to communicate our practice ethos. The model looks to express the full lifecycle of stone combined with timber and how we can minimise CO2 emissions with simple practices from cradle to cradle

Drawing inspiration from the stone technology developed in the previous bridge competition, I lead and designed a 3-part 1:5 prototype design to be exhibited in the RA and design museum this summer. The model uses CNC cut stone to express the raw finished, hand carved Key stone.

1. Hand carved limestone model featured in RA exhibition

2. Hand carved limestone model featured in RA exhibition

3. Render of proposed model at stage one digital review

1. Hand carved limestone model featured in RA exhibition

2. Hand carved limestone model featured in RA exhibition

3. Render of proposed model at stage one digital review

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1.

3a.

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2. 3b. 3b. Jordan Panayi 21

Royal academy + Design museum | 2023 exhibitor pending results

Recreational Making | Hand carved + Lathe spun bud vase

As a piece of self-motivated research carved two vessels, one by hand and one by lathe. The results developed an interest in the values and ethics we develop for an object and subsequent space it creates. This inspired my undergraduate thesis to uncover the values of these spaces.

1. Oil paint on canvas - 24” x 36”

2. Close-up detail of oil painting

3. 3-portraits acrylic painting on reclaimed wooden table 1.5m

Experimenting with further mediums to expand my skillset and opportunities for future illustrations. The brief for these paintings were to select 3 challenging techniques - Self portrait, reflections and water to recreate on canvas and reclaimed materials to be displayed in a home.

1. Hand carved bud vase - White walnut

2. Hand carved bud vase - White walnut

3. Bud vase spun on wood lathe - Spalted birch

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3a.

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2. 3b.

3b. Jordan Panayi 22

Painting | Experimenting with Arcylic and oil paints

Jordan Panayi (BA hons)

Bartlett | Faculty of the Built Environment