Juan Felipe Lopez Arbelaez Design Portfolio / Stage 3
Juan Felipe Lopez Arbelaez B4016558 ARC3001 Architectural Design Academic Portfolio BA (Hons) Architecture 2016/2017 Newcastle University
The Very Hungry Caterpillar -6-
Part One -10Apologia -12Primer -16Staging -40-
Part Two -60-
Revised Work
Apologia -62Realisation / Refinement -66-
New Work
Integration of Technology -106-
Epilogue -122Key Texts / Precedents -124Charrette -128-
Supplementary Documents Technology Reports Written Works Dissertation
Celebration Pieces
The Very Hungry Caterpillar Andrew Campbell Farrah Colilles Regen Gregg Daniel Hill Katie Longmore Juan Lopez Rebecca Rowland Sirawat Thepcharoen Wai Yip Tsang Carmill Wang
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The studio approached Stage 3 with a very grounded approach. TVHC asks to revitalise a derelict site in an area of Glasgow primed for redevelopment that will be housed by two seemingly opposing entities: a cultural and commercial client. The design should respond to both the pre-established tension between these two groups and the various nuances of an area. At every stage, we (the architects), are asked to look towards the future in such a manner that through design considerations and approaches, the proposed development is not only safeguarding the success of the clients’ activities and of the design itself; but also of the local area by taking advantage of the site prominent situation to provide local and city-wide changes and benefits. The studio was encouraged to develop our own stance on an architecture of preservation and restoration as a key driving force behind the project; where I focused on adaptability and distillation to provide this. The year culminated in McAlpine Plaza; a revolutionary approach to a mixed-use development that provides a socially, culturally and environmentally conscious alternative to the existing model.
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“This studio will focus on helping something grow, evolve and flourish�. Andrew Campbell
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Part One
Apologia Primer Staging
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Apologia
Semester 1 was “an opportunity to gain a realistic understanding of how projects develop and evolve from a thorough understanding of the pre-existing conditions and limitations�. Author
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Reflection As part of the Stage 3 design curriculum, students had the opportunity to select the design studio they’d be working under. What I found most appealing about ‘The Very Hungry Caterpillar’ is the fact that one can truly benefit from the project outline in relation to the future time spent in industry. The brief aims to achieve a symbiotic relationship between two clients under very realistic situations and limitations. Semester 1 was divided into two main phases, Primer and Staging, both of which took a very grounded and thorough architectural approach in line with the studio brief. During Primer, there was a focus on group-based survey work and architectural theorem in relation to both preservation and restoration in a very speculative manner towards the site. The collective studio work aimed to present a very clear and detailed representation of the site as it currently stood in order to create a bank of resources that the entire studio could utilise when creating the individual propositions for how the space could be re-imagined with minimal architectural intervention. This balance between the two kinds of work produced in this period proved to be very useful as it perfectly illustrated how to correctly identify the potential for renewed value of a seemingly derelict space and the necessary real-life processes that must be undertaken. The Staging phase encouraged a greater degree of independence as the initial iterations and preparations towards the final grad project began to emerge. With the introduction of the clients; designs needed to consider how the clients would function effectively as singularities but also how they would interact and coexist within the same boundary. By understanding the clients’ approach to their work and their ethos, and how these two could be interrelated, an indication of the spatial qualities and aesthetics began to emerge out of the necessity to house such a breadth of processes and activities in a logical and refined manner. Semester 1 was an opportunity to gain a realistic understanding of how projects develop and evolve from a thorough understanding of the pre-existing conditions and limitations; and how these can be used to inform the aesthetic direction in a conscientious and feasible manner. The main driving force behind Semester 1 was to identify and focus on the essence of an idea which worked towards highlighting the innate potential and importance in all architectures through their capabilities to be continuously re-purposed.
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Primer
Callibrating the approach.
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Current Site
Glasgow / Scotland McAlpine Street - Washington Street The Site Plan opposite shows the immediate context to the site that the studio will be focusing on for the year. It demonstrates the extent of the developable area around the existing building and highlights the fact that any intervention will have a much larger knock-on effect in the wider area.
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Presently the site is very dilapidated, but within exists great potential for retaining certain aspects and restoring or renovating them. Its current use is a post-industrial metal reclamation site. Scale 1:500 -19-
Site Photos
The site visit was an opportunity to see and experience the essence of the location we’d be working with for Stage 3. The main objective was to obtain key information that would be relevant for Primer and beyond.
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Condition Survey McAlpine Plaza
Symbol
Defect
Repair
Water Damage
Dig out any damaged brickwork back to the undamaged parts and patch up what is left. Fillers, made up of spare and/or cut bricks, can be used to patch up the damaged areas once the damaged brick is removed. When damage is extensive the whole face of the brick will need to be removed. The damaged brick face is then replaced, usually with a half brick cut lengthways, and sealed in place with mortar. If the brick is entirely beyond repair then the whole thing will need to be taken out and a new brick will take its place. To ensure the brick matches the original take a sample to a brick manufacturer. For water staining you can remove the stain using a commercial brick cleaner and a stiff-bristled brush to scrub the stains, and then rinse the bricks with clean water.
Vegetation
Mosses can be removed relatively easily from a building by physically removing the plant, and then in some cases chemical control may also be appropriate. For larger plants, the main aim is to kill the roots of the plant so that when it is pulled out the roots don’t remain in use. To do this, use herbicides or weedicides such as Weedol Rootkill Plus to treat the soil and cause the plant to die from the roots upwards. It can then be removed. Also, the plants are clearly getting moisture from the wall, so using water resistant paints would prevent any further growth of plants. This will require a professional who will need to locate where the water is getting into the wall and plug the hole to ensure there is no moisture feeding the roots. For plants with extensive root systems there can be more problems and therefore more issues with removal. Dealing with this vegetation involves more planning and looking in to preventive maintenance, particularly with regard to rainwater disposal systems and proactive pruning. Where large roots are removed there has to be some backfill, as mortar, brick and/or render may be taken with the plant as it is removed. There should be a maintenance plan in place which requires bringing professionals in to help. For example, rainwater gutters should be cleaned manually every 6 to 7 months to ensure that they do not over flow and allow water to be misdirected onto the building.
Cracks
Clean all crumbling brick and mortar from the crack with a chisel and hammer. If the crack runs through a brick widen the break using a chisel angled into the crack to enable you to clean the inside of the crack to its full depth. Remove debris using a wire-brush, and flush it thoroughly using water. The crack can then be filled with mortar. To ensure the mortar colour matches the original a colour test can be done by mixing a small amount of mortar and spreading it onto a scrap of cardboard where it will dry quickly to show its true colour. Mortar colouring can be added to the mortar as necessary.
Finishes and Render Defects
Cut away the bad render using a chisel and hammer, and rake out any debris and areas immediately surrounding. Brush out loose dust and apply the new render in thin coats ensuring it is well pushed in beneath the undercut edges of existing plaster.
Missing Bricks and Stone
Replace missing brick or stone with a new one that matches the old. Seal with mortar. The bricks need replaced with bricks with the dimensions 220mm X 75mm X 120mm; 1100mm X 290mm X 120mm. For the stone wall, stone of any size can be used to fill the gap, as the wall is made up of stone in various sizes.
Graffiti
Spray on some solvent, lightly rub with steel wool and then wipe clean. Repeat as necessary until graffiti is removed. Then use antigraffiti paint such as Graffiti Magic Anti-Graffiti Paint to paint the surface.
Rainwater Goods
The problem originated as a result of missing gutter supports, so first these need replaced. If the old pipe is damaged cut out the broken section of the pipe and replace it with new pipe. If the pipes are cast-iron use a reciprocating saw with a metal cutting blade to cut out the broken piece of pipe. Alternatively, the whole pipe can be replaced with a new aluminium or cast-iron pipe.
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Existing Site Drawings All the images in the following pages were drawn from the ground up using measurements taken by ourselves from the site visit without using CAD blocks i.e. brick by brick, stone by stone. This was done to encourage the studio to gain a thorough understanding of the site and give our drawings a personal identity.
Existing North Elevation Car Park
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Restored North Elevation Car Park
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Renovated North Elevation Car Park
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East Elevation McAlpine Street
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West Elevation Washington Street
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Short Section McAlpine Street
Key Sections These show off the key tectonic parts of the building where the intricacy of the building fabric isn’t immediately noticeable when viewed from the outside. It is important to note that currently it is not a closed building envelope which is due to its current purpose as a metal reclamation yard.
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Short Section
Washington Street
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Long Section Car Park
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The Metal Workshop
Upon visiting the site, the exposed metal frames and the raw metal being grouped by kind, texture and colour highlighted the raw innate beauty of the material – something which has greatly influenced both the individual site re-imagination primer proposal and graduation project.
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Developmental sktech exploring the inhabitational sequence for the individual primer proposal 1. Site as it is. 2. Material to be separated from unwanted to wanted. 3. Unwanted material cleared, wanted material kept. 4. Construction of pieces takes place. 5. Pieces are placed in space. 6. Performance of music. 7. Gallery of sculptures opens to public. 8. Pieces are sold. 9. Site is left vacated ready for redevelopment.
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The Metal Workshop A space to bridge the transition of the historic post-industrial past towards a hopeful new artistic future. The site is to be vacated of all the machinery and metal paraphernalia associated with its current use so that the remaining warehouse and structure becomes an exhibition and performance space. Inside, it would be divided into a metal sculpture gallery and a hand-crafted metal instrument performance space. All of the works showcased would be created by the employees of the metal reclamation company; while the future artistic client interested in the site would be involved in the creative and construction process of the pieces showcased to aid the employees who are working on them. Tickets for the performances and allowing the metal sculptures to be purchased at the end of the temporary event is how the unique and exciting collaboration and learning opportunity between two groups of people with a vast, yet different knowledge in regards to working with and handling metal would be celebrated. All profits from the exhibition would be divided evenly amongst the employees with the aims to either motivate them into continuing exploring a new artistic career path or to secure greater financial stability in the future. The aim is for the general public to enjoy a unique experience of music and art originating from the same space by the most unexpected makers; from the most unexpected sources; in the most unexpected setting. The idea takes inspiration from both the city of Glasgow; a city revelling in the art inhabiting the spaces of its industrial past; and from ‘Les Machines de L’Ile de Nantes’, a cultural and interactive exhibition that reimagines sculptures and their subject matter and media. Both the music and the art would play a symbiotic relationship helping the appreciation of one another by improving the overall atmosphere of the space.
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Existing Site Model
Its purpose was to encourage thinking in an individual manner with identical constraints for the studio; scale (1:200), subject and two key materials to create an individual interpretation of the site. Subsequently, the models were personalised by implementing an addition that communicated the essence of our proposals.
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Opposite
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Site Potential
Situated at the SW edge of Glasgow city centre, the site location benefits from a great access to rail and road transport links. The neighbouring context is predominantly office space which correlates to the main occupation of the graduation project. The site is prime for redevelopment as various other sites have their own similar mixed-use proposals going through the planning process which will help embed the proposal more seamlessly. To accommodate McAlpine Plaza, the site has been expanded to the north and south to provide a more effective building programme comprising of a shopping promenade to the north and a publuc plaza with underground site access to the south.
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My Primer proposal, The Metal Workshop, saw me vacate the current site, leaving only the emblematic element, the exposed steel frames and boundary walls to be filled by a world inhabited by metal to be used as an adaptable exhibition and performance space to activate and integrate the local community. Primer taught me how to view space as a constantly reconfigurable volume, an aspect that has been carried forward through to McAlpine Plaza in a very fundamental way.
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Staging
Establishing the Parameters.
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Introducing the Cultural Client
A grass-roots client group have negotiated a four year lease for the street level space and a relatively small grant to refurbish some space for their needs. They will be known as the cultural client.
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Rachel MacLean
Sebastian Mary Tay
Edition Scotland
Exposes Darker Elements of Society
Human Interaction with Ideological Landscapes
Heritage
Dystopia
Atmospheric Landscapes
Grotesque
Colour
Shock Factor
Weather
Green Room for Filming
Working/Filming/Installation Studio
Make-Up Room/Storage for Costumes + Props Recording Booth for Audio in Films
95m2
Graphic Patterns Serene
Office Space for Management and Sales
Dark Room for Developing Photographs Material Store for Media/ Tools/Lights 190m2 -43-
75m2
Paulin Watches
Walker + Bromwich
My Bookcase
Traditional
Interactive
Community
Local/National
Installation
Trust
Environmental Practices
Human Purpose
Social
Sculptural/Artistic
Locational
Mutual Benefit
Office Space for Management and Sales
Working/Installation Studio
Office Space for Management and Sales
Material Store for Media/ Tools/Lights
Small Space for Lectures and Talks (Storage for Products)
75m2
190m2 -44-
95m2
Cultural Client Building Programme
Private Spaces
Adaptable Spaces
Public Spaces
Clients’ Individual Required Spaces Computer/Printing Room Photography Studio Product Machinery Space Product Design Studio
Artist Shared Gallery Product Shared Gallery Kitchen
Entrance Space (Social Space + Shared Library) WC’s + Showers Unheated + Event/Social Spaces
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Cultural Client Spatial Allocation
Public Spaces Total Area
Adaptable Spaces Circulation + Services
Individual Client Space
Scale 1:500 -46-
Introducing the Commercial Client
A global investment firm has purchased the building and land with a number of representatives acting on their behalf. This company are supportive of the arts and culture and agree to let out the lower volume of the site to the cultural client and aided them by providing a small amount of grant funding to refurbish some spaces which will allow for studio accommodation. They will be known as the commerical client. Shown opposite is the logo developed for the proposed development, McAlpine Plaza. It depicts the building’s emblematic cores as complementary to one another to represent the aspect of mutually beneficial duality found within.
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Commercial Client Personal Brief
TEMPORARY CITY “an approach with a static future vision, in other words, leads to disillusion and failure because it is often not able to adapt to its changing context” “a permanent condition in which all interventions are by definition temporary until such time as they are proven successful and acquire a more permanent form”
2
4 NOT A PLAN, BUT A SCRIPT
RIFT
“where traditional instant urban development works from a plan or a blueprint”
“there is clearly a rift, a gaping breach between ambition and reality”
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“within such a framework, rules do not suffocate but they create spaces within which a great degree of freedom remains”
1
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3
1 To avoid a disparity between ambition and reality in terms of the physical scale of the project, the proposal has been designed to not meet imposed construction deadlines. Instead it encourages its construction to be drawn out, only intended to be added as and when needed. This ‘phased’ construction approach will enable the site to be increasingly occupied as opposed to waiting for the full volume to be ready so that it allows the immediate neighbourhood to be activated in a social, economic and cultural sense and encourages further development to prevent any rifts between architecture and its users/location.
4, 5
The concrete cores provide constructional benefits and ease of access to meet building regulations and structural feasibility. They provide aesthetic balance as otherwise it would result in a disparity between the two main volumes in the site’s footprint by having one of them unnecessarily dense and the other remaining blaringly baron. They can also be interpreted in an ideological sense; they embody the duplicity of the project by linking the two sides to the proposal: the cultural with the commercial. It will force interactions to develop a successful coexistence between cultural and commercial clients. This will ensure the project’s real success can be appreciated on a much larger scale than just its immediate site.
1, 3 To ensure that the new model for subletting commercial space works, a degree of freedom in terms of its occupation is introduced. Here the tenants can interpret the volume given however they see fit by placing and arranging prefabricated extension modules to efficiently expand and contract the available space when needed.
2 My response to ‘Rift’ has heavily informed the design. The arrangement of the spaces was influenced by the footprint of the existing structures. It was originally intended that the volumes would completely be contained within this footprint so that when viewed from above it would hide the current buildings. However, due to structural and environmental requirements; the arrangement now enables select views down to the original site. Irrespective of these changes, the strong correlation between the plan of the commercial and cultural clients helps to ground the design proposal to the site.
1, 2, 3 The fixed lower commercial volume will provide a continuous inhabitation of the space allowing the existence of the proposal. The additional volumes will be adaptable in both short term and long term use to mimic the multi-tenant occupancy of the cultural client. Here longer term tenants (potentially affiliated to an overarching commercial client) will lease out these spaces that they will choose how to appropriate to best meet their requirements, thus creating a new model for subletting commercial spaces spearheaded by the volumetric framed spaces.
3, 4 A focus on creating public spaces throughout the proposal will allow anyone to benefit from experiencing the best qualities of the site as opposed to reserving them for a select few groups. The concrete cores provide an un-hierarchical access to the various levels to promote social equality between the cultural, commerical and public entities within the proposal.
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3 The prominent use of defined volumes lends itself to them being stacked and creating defined but connected layers within the proposal. These layers all relate to its situation and helps the proposal to embed itself into the urban fabric more effectively and convincingly.
1, 2
Alongside the shorter term tenants, an extension of the overarching commercial client, will be the stage for a new approach to the corporate/ public relationship in which the commercial client will actively make an effort to invite its consumers to test, design and create prototypes whose findings will be fed back to the company and inform actual developed products for general use. This will take place in the frame that sets itself apart from the others by having a dramatic cantilever and not forming part of the main outline. This is so that it can be read as a unique space that is very conspicuously attempting to make a big deal about itself in an effort to break the preconceived ideology that there needs to exist a clear and distinct separation between corporate entities and the general public.
1, 2, 3 The commercial volume aims to cater to the end user, whomever they may be by providing a defined script, the module, and set framework, the stipulated maximum leasable volume. The configurable volumes will enable a flow of tenants that results in a gradual and constant development of the building as this freedom prevents the suffocation of social, economic and cultural progress that the building could have if it were too user-specific.
Initial Approach to Preservation East Elevation McAlpine Street
An overwhelming majority of the existing walls and features will ideally be retained in an effort to be respectful and mindful of the innate beauty and value in all built structures that has been brought to light through carefully calculated design interventions.
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North Elevation Car Park
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Short Section McAlpine Street
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Short Section
Washington Street
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Final Approach to Preservation
Scale 1:500 -54-
Thinking Through Making
As part of Thinking Through Making Week, a brick was designed that would be used whenever any of the existing ones could not be reused as part of the renovation/restoration process. The smooth surface correlates to the notion that it clearly isn’t a native site brick but the depressed rough centre acknowledges the importance of heritage in even the smallest of scales.
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Shown opposite are the portions of wall where the designed brick will be used.
Scale 1:500 -57-
The designed brick establoshes up a playful tension between the two surfaces and acts as subtle indicator of this aspect to my project to the viewer of the faรงade.
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Part Two
Apologia Realisation / Refinement Integration of Technology
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Apologia
Semester 2 “provided the opportunity to utilise the supplementary modules to further enrich, justify and substantiate decisions which led to the final graduation project�. Author
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Reflection During the second semester of Stage 3, there was a greater emphasis on refining the initial designs into a compelling and fully realised proposal which presented the site’s potential from our own point of view. Having established my own personal brief to the project, it was now a matter of resolving every aspect of the proposal and pushing the possibilities of how people will use and interact with each other in the space under two key approaches towards the design: adaptability and distillation. Throughout this semester aspects of the proposal, namely variable upper volumes and the functionality of the cores were continuously questioned and subsequently redesigned. It is this “restless reinvention” which inevitably became a theme in the final iteration whereby providing a guide and set framework which distils all elements of design, structure and atmosphere to its essentials, the proposal was now able to provide a rational and convincing new approach towards the mixed-use leased-space inhabitation model. It was at this stage where work done in other modules, as well as research into architectural precedents began to feed directly into the graduation project in both theoretical and practical respects. The Theory into Practice essay, “The Dilemma in Preserving Architecture” highlighted the potential to establish McAlpine Plaza as a ‘test chamber’ which serves as the testing ground of a radical new approach towards preserving architecture to become an exemplary piece of architecture which promotes a shift in the field. The dissertation, “Building Bogota” showcased the importance and duty that architecture must not be subservient to itself but instead should provide a wider benefit beyond the site boundaries – in essence, I had to consider what McAlpine Plaza could do for both its clients but also, what it could provide the city and citizens of Glasgow too. The architectural technology submissions highlighted the practical opportunities to deliver a structurally feasible project which showcases its potential for adaptability and an environmental awareness in an aesthetically pleasing manner. Semester 2 provided the opportunity to utilise the supplementary modules to further enrich, justify and substantiate decisions which led to the final graduation project presented in the forthcoming pages.
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Realisation / Refinement
Welcome to McAlpine Plaza.
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McAlpine Plaza
Site Plan
McAlpine Plaza
The name takes inspiration from the road from which people will enter the complex, McAlpine Street, as it is closest to the heavier footfall areas of Glasgow. Historically, plazas have been social spaces where people from all backgrounds and purposes interact and coexist in harmony. My project, with the newly inaugurated public open space fronting, will endeavour to do the same to provide the perfect intersection between the cultural and commercial worlds.
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A
C -AASection -BBWest Core
D
C B
D
-CCConstruction Detail -DD‘The Core’
B
A
Scale 1:500
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Conceptual Model
Scale 1:200 The model shows the interaction between the cultural (lower) and commercial (upper) client volumes. The solid volume represents the main commercial tenant while the void volumes represent the adaptable space for the commercial sub-tenants.
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Conceptual Model
East Elevation McAlpine Street
Opposite
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South Elevation Broomielaw
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West Elevation Washington Street
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North Elevation Car Park
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Materiality As the main structure of the added volumes is steel frame, involving complementary materials such as concrete and glass to finish the envelope of the upper structures continues to establish the playful tension with the lower spaces. This mirrors the playful tension between cultural and commercial clients inhabiting the site.
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Section (Far Right) -AA-
West Core Section -BB-
Sections The sections best highlight the regularity of the steel frames that make the building form possible. The arrangement of the cores and the steel frame enables the commercial client to seemingly hover delicately and respectfully above the cultural space in an attempt to change the perception that corporate entities have complete disregard for anyone else’s interest except their own. This presents the commercial client’s approach as one of more inviting and considerate towards the local community.
Scale 1:100
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cultural client
the stage
fixed commercial client
variable commercial clients
expansion pod
viewing platform
Basement
Cultural Client
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Ground Floor Cultural Client
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Mezzanine ‘The Stage’
Unexpected Interactions Here anyone can explore the space and gain a closer appreciation of the restored frames and a better understanding of the cultural clients’ work as the skylights which enable sunlight and natural ventilation also allow the public to look into their studios. The stage can also be used to house various functions such as sculpture gallery, food festivals or even private events in coalition with The Core Nightclub. A retractable clear screen will shield people from adverse weather to ensure usability is maximised year-round.
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‘The Stage’ Adaptable Inhabitation
AM
PM
Sculpture Space Live Performance Venue Street Market Public Use
Sculpture Space Live Performance Venue ‘The Club’ Extension Space
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Frame Usability The retention of the frames provides a unique advertising opportunity where either the commercial clients can selfpromote or, alternatively, they can rent out the space to other companies where the monies can be reinvested back into their spaces or used to set up community projects and fellow start-ups.
Opposite
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Opposite: Walker + Bromwich studio space where the general public can observe their creative process from ‘The Stage’.
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Opposite
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Lower Fixed Volume Key Commercial Tenant
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Upper Fixed Volume Key Commercial Tenant
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Double Height Office Space in fixed volume. The office spaces provide a unique view of Glasgow as instead of being embedded in the city centre, people are able to get an unobstructed view of the skyline. -90-
Variable Volume
Typical Commercial Sub-Tenant
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Typical variable volume office space with expansion pod in the background. -92-
The ‘Test Chamber’ Alongside the sub-tenants, an extension of the overarching commercial client, will be the stage for a new approach to the corporate/public relationship in which the commercial client will actively make an effort to invite its consumers to test, design and create prototypes whose findings will be fed back to the company and inform actual developed products for general use. This will take place in the frame that sets itself apart from the others by having a dramatic cantilever and not forming part of the main outline. This is so that it can be read as a unique space that is very conspicuously attempting to break the preconceived ideology that there needs to exist a clear and distinct separation between corporate entities and the general public.
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McAlpine Cores The McAlpine Cores are a feature that will not only eventually become emblematic of the project (much like the frames were from the original site) but will also become a reference point for people within Glasgow. For this to happen, the cores play various roles in my proposal shown in the diagram opposite.
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The cores provide structural integrity as they help to anchor the steel frame in the right places. Furthermore, they enable ease of construction of the expansion modules in the commercial client as the cranes only extend to a max. 25m, meaning two cranes are needed and therefore two cores are required. The cores concentrate both circulation and service distribution across the entire project to meet regulations. The embody the concept of duality in my project: two clients, two site volumes and two concrete types to provide a visual balance to the site. The concrete used in the cores is has a pink hue due to the addition of a certain aggregate. This warmer colour makes them more inviting and less imposing than their size might suggest, but it is also to distinguishes them from afar to signal the fact that they differentiate themselves from the other spaces as cultural, commercial and public entities can interact with them. The Viewing Platforms at the top of each give people a 360 experience to Glasgow, unique to the city. This is to combat the fact that certain vantage points are only reserved for certain members.
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McAlpine Cores The West Core is taller and has a much more ‘open’ atmosphere to its viewing platform.
West Core
The East Core is shorter and has a more ‘protected’ atmosphere. This is to encourage people to experience both in a manner to draw them up, down and across the proposal, forcing more social interaction between groups of people, proven to help local community and economic development.
East Core
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‘The Core’ The East Core houses a unique nightclub experience, The Core. A narrow space runs from the basement to the viewing platform, where the 300mm thick reinforced construction provides the ideal foundation for mitigating the propagation of sound during its use. The nightclub would also enable greater intensification of the usage of the site by housing activity in it for longer. The lack of residential spaces nearby would not be affected by such a venue. Consequently the proposal appeals to a wider demographic, boosting community inclusivity and activation. During summer ‘The Core’ can expand out into ‘The Stage’ space as part of music festivals or private events.
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Section -DDScale 1:100 Rendered Perspective Section of ‘The Core’ showing the basement, ground floor and a typical intermediate floor. -99-
McAlpine Cores Floor Plans
Scale 1:200
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Movement Through Tension The distinct atmosphere of the McAlpine Cores and the spatial arrangement of McAlpine Plaza act as the motivators for moving the general pulbic through all aspects of the development. In this way, they are taken through a journey where the various playful tensions are experienced and celebrated as a way attracting the city to the building; and then drawing people in and through the space. Tension Lines Duality of Clients Cultural Client Studio Mix ‘The Stage’ Inhabitance Core Circulation Meeting Points Approcoach to Preservation Designed Brick
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Left: View from Washington Street (S)
Right: Close Up Areal View -102-
View from M8 -103-
Opposite: View from Washington Street (N) Above: Areal View -104-
Opposite
Integration of Technology
“Working towards integrating architectural technology in my design, greatly assisted the overall design development�. Author
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Structure
Phased Construction Process To avoid a disparity between ambition and reality in terms of the physical scale of the project, the proposal has been designed to not meet imposed construction deadlines. Instead its chosen construction strategies encourages its construction to be drawn out, only intended to be added as and when needed. This ‘phased’ construction approach will enable the site to be increasingly occupied as opposed to waiting for the full volume to be ready so that it allows the immediate neighbourhood to be activated in a social, economic and cultural sense and encourages further development to prevent any rifts between architecture and its users/location. The drawing on the opposite page is a combination of the work submitted as part of Architectural Technology ARC3013 Part 2; and revised work done as part of the portfolio submission.
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Existing Structures
Current site is dilapidated resulting in varying wall heights within same stretch of wall. Various elements are not structurally sound. Main structural systems here are brick and masonry wall with an exposed steel frame structure.
Scale 1:500 -109-
Renovated Structures and Site Alterations Expansion of site to include shopping promenade and plaza.
Frames have been restored and exposed by having them clad in Polycarbonate.
A small amount of movement of earth was required to create an access ramp to the basement housing deliveries and access to building and lift services.
970mm reinforced in-situ concrete ground retaining wall to enable creation of access ramp and basement.
Deep pile concrete foundations to support main concrete cores.
Scale 1:1000 -110-
Primary Structure
Commercial Client: Steel Frame
Cultural Client: Reinforced In-situ Concrete
Cores: 300mm Reinforced Precast Concrete Scale 1:500 -111-
Secondary Structure
Top of Concrete Cores with Steel Support Columns
Concrete Slabs
Cantilever Support Cross Bracing
Concrete Underside Support Radiating Out From Core
Scale 1:500 -112-
Building Envelope
Floor to Ceiling Glazing
Exposed Structural Systems and Expansion Pods
Scale 1:500 approx. -113-
Construction and Materiality Air Gap
The output from Thinking Through Making week also forms part of this section of the integration of technology.
Backer Rod
Please refer to Pg.55-59. The drawing on the opposite page, Construction Detail Section -CC- is a combination of the work submitted as part of Architectural Technology ARC3013 Part 2; and revised work done as part of the portfolio submission.
Sealant
Corrosion Resistant Vertical Pin to Secure Panels and Avoid Penetrating Air Gap
Scale 1:50
Reinforced Precast Concrete Panels
Scale 1:5 -114-
Reinforced Pre-Cast Concrete Panels
Polycarbonate Roof Panel
Concrete Cold Roof
Retractable Screen
Reinforced In-Situ Concrete with Underfloor Heating
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My building’s atmosphere will be strongly driven by the structural and tectonic honesty. The inherently ‘heavy’ aspects will remain as such, an example of this being the reinforced precast concrete cores which will be perceived as monolithic. What is naturally light and lean yet rigid such as the exposed steel frames will also be left exposed wherever possible. The expansive use of glazing aids to further this. The contrasting yet successful marrying of structure sytems mirrors the contrasting clients inhabiting the site in a symbiotic manner. In spite of the highly industrial nature of the structure in terms of its aesthetics, the building will not feel ‘cold’ as through the addition of an aggregate to the concrete cores to give them a red hue and recolouring the frames in the cultural client to their original yellow; it will help ‘warm’ the nature of the space to make it more inviting both internally and externally. Text Taken from: Architectural Technology ARC3013 Part 2.
Commercial Sub-Let Expansion Module
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Environmental Strategies and Services
The diagram on this page is a combination of the work submitted as part of Architectural Technology ARC3013 Parts 1 and 2; and revised work done as part of the portfolio submission.
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Studio Specific Technology
The Condition Survey was undertaken to give us a realistic insight into the process, level of detail and care required in actual conservation projects. The results from the Condition Survey would be implemented to stabilise the building to make it fit for its purpose when we all suggest our proposals later on in the year. Please refer to Pg.21-26
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Summary For a building to be successful, the designer must develop architectural design and architectural technology strategies simultaneously. It is therefore paramount that the design informs the kind of technologies that will be implemented; so, that in turn, the technology then enables the design intent to be achieved in a feasible, efficient and environmentally conscious manner. To summarise, a symbiotic relationship between the two must be established early in the creative process of any project. Examples where technology has been profoundly integrated into McAlpine Plaza’s design are evident at first glance. The final form is a result of utilising the chosen structural system, steel frame, to the maximum of its capabilities and its appropriateness towards the site, minimal intrusion, whilst being heavily influenced by the initial aesthetic form intent. With regards towards the construction and materiality, the integration of technology is also very apparent and its approach made possible following in line with the decisions made for the structural system. As the building is intended to be built in phases over time, with the possibility to be modified at any point of its life, most of the materials are left raw and exposed to facilitate access and maintenance; while considerations for on-site construction machinery had to be made. The dimensions and allocations of the spaces were calculated so that they would enable environmentally conscious strategies to be implemented such as natural ventilation and maximising natural daylight. Undertaking Part 1 was very helpful as it encouraged further research into alternatives additional to the ones initially presented which resulted in a more well thought out graduation project as some of the original solutions were discarded or altered in the final iteration. This is because it highlighted various opportunities to better implement certain responses to the various elements of the scheme; particularly towards its structure and its response to environmental strategies and services. Many of the design precedents selected featured a strong link in both of their aesthetic and technological qualities towards the building. Moving forward, however, these were only used as foundation blocks that were then tailored to convey the conceptual purposes of the design. Some of the key adaptations include the substitution of prefabricated modules for exposed frame elements that can be efficiently built into and eventually deconstructed. This was done to better resolve the building structure by standardising many of the construction elements which inherently altered the design of the building. This had the added benefit of providing a more achievable structural approach to what is an already ambitious proposition and a stronger adaptability concept. Another alteration was the strengthening of the integration of environmental strategies by providing more systems that reduce the need for non-renewable sources of energy by maximising the opportunities presented by the site itself; this once again changed the overall design. In a development, such as this, where the structure is extensively exposed and plays a fundamental conceptual, schematic and aesthetic role; and thusly all following project elements stem from this, working towards integrating architectural technology in my design, greatly assisted the overall design development.
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Epilogue
Key Texts / Precedents Charrette
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Key Texts / Precedents
These have informed the development of the Graduation Project.
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Key Texts
1. Brick Dan Cruickshank and William Hall (2015)
London, UK
Phaidon Press Limited
7. ZUS: Schieblock ZUS
(2009) Rotterdam, Netherlands ZUS
2. Jujitsu Urbanism David Kohn
(2009) Wales, UK MADE: Materials, Architecture, Design, Environment
3. Design Thinking IBM (2017, ongoing as of) NY, USA IBM
4. Junkspace Rem Koolhaas (2002) MA, USA MIT Press
5. New Tricks With Old Bricks The Empty Homes Agency (2008) London, UK The Empty Homes Agency Ltd.
6. Preservation is Overtaking Us Rem Koolhaas and Jorge Otero-Pailos (2014) NY, USA GSAPP Books
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Precedents
Bernard Tschumi
Herzog
Le Fresnoy / Tourcouing (1991)
& De Meuron
Switch House / London (2016) Utlisation of vantage point in concrete towers to create a ‘carved out’ viewing platform giving unique views of Glasgow.
‘Soft’ approach to the form and structure of Commerical Client to not disrupt existing structures.
Renzo Piano + Richard Rogers + Gianfranco Franchini
OVA Studio Hive- Inn / International (2014)
Centre Georges Pompidou / Paris (1977)
Volumetric framed structures to enable constant adaptability and aesthetic approach to stacked masses.
Building structure as an exoskeleton to double as a deocrative function to counterbalance overly regular form.
Jabornegg & Palffy + Cackett & Burns Dick
Herzog & De Meuron CaixaForum Madrid / Madrid (2007)
BALTIC 39 Studios / Newcastle (2012)
Underside of building providing both a visual and structural function. Addition of sublte geomtric moments in proposal amongst regular forms.
Aesthetic approach to combining exsisting and new materials to create a cohesive style through a limited pallette.
David Chipperfield
Liu Chiongxiao
Neues Museum / Berlin (2009)
Tianmen Mountain Restaurant / Guilin (2011) Structural approach to glazing triangular roof above viewing platform.
Extensive approach to preservation and renovation throughout site.
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Charrette
Silence of the Senses.
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Breathing Space The annual Charrette incorporates students from across all stages of the school arranged into various groups for week-long creative projects; the culmination of which, is celebrated at the end where all are invited to spectate, interact and experience the creations from each of the studios. Within my Charrette group, Silence of the Senses, there were various sub-teams all playing vital roles in the collective strive towards a common goal – to create temporary spaces under a common theme: isolation and intensification of the senses. As architects, we are entrusted to create spaces that establish a relationship with both the built and natural environment. In this charrette, the spaces aim to expand upon this notion by considering the interaction with our immediate environment; perceived by our senses so that we may find a new form of experiencing the celebration of Charrette. Breathing Space: My sub-team chose to subvert the day’s experience – instead of providing collective atmosphere, the temporary structure offered a respite from the sensory attack of all the other groups by providing a solitary space. The shape was chosen to attenuate the noise within the room; and was tailored to fit one person at a time. The material and lighting enabled the activities of the outside world to be projected around the person as they isolated themselves from the rest. Moreover, it sheltered them from being spectated by others; thusly, allowing them to take a step back from the experience to focus on themselves without feeling completely removed from the day. The internal qualities therefore provided the antithesis of the usual charrette created not by removing senses, but by altering how sound, touch and visual are perceived by an individual in specific relation to the preconceived notion of how Charrette should ‘feel’. This provided a truly personalised, contemplative and subdued moment to the day: a much needed, breathing space.
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Studio The Very Hungry Caterpillar
B4016558