Fish Island Artists’ Exchange Centre by Kat Ballo
Contents
Site and Proposal Introduction p. 02 The Olympic Fringe p. 05 Mapping the Lea Valley p. 06 Mapping Hackney Wick and Fish Island
p. 13
Character Study of Hackney Wick and Fish Island Fish Island: Before and After Brief 1: Mapping the Island
p. 24
Brief 2: A Room on the Island
p. 37
Brief 3: Colonizing the Island
p. 53
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p. 26 p. 30
Site and Proposal Introduction
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Site and Proposal Introduction
Growth These images are of Fish Island in the Lea Valley, situated next to the 2012 Olympic site. The image on the right is a figure-ground of the existing conditions, while the image on the left shows how a network of lighter and smaller buildings may develop in-between the existing fabric of the island. These are buildings which grow in the cracks, like a weed in the sidewalk. It is not about razing the existing to the ground, but rather, creating a finer grain which can work alongside what is already there.
Art The inhabitants of Fish Island are primarily artists, and together Hackney Wick and Fish island have the highest density of artists in Europe. The proposed buildings act as additional artist’s studios and event spaces. They create a symbiotic relationship with the existing arts infrastructure, not only by adding to it, but by preserving the uses of the existing artist’s network.
The Proposal The project I am proposing for Fish Island is called the Artists’ Exchange Centre (AEC). It begins as a small temporary outdoor room. The Artists’ Exchange Room is an outdoor classroom, a stage during the Hackney Wicked Festival, and a place to exchange and store physical goods, such as art supplies. Dependent on the success of the outdoor room, more structures can be built which would develop to form a colony of light timber sheds. Over time Artists’ Exchange Centre could grow and move throughout HW & FI. These structures fit in-between and alongside existing buildings and act as venues for art making, participation, and viewing. The aim of the proposal is to support and foster the already creative community found in the area. In full fruition, the Exchange centre would have the amenities of a small arts university, but in place of tuition, the exchange of cash would be largely replaced by the exchange of services. For example artists would train community members, community members might run events, and events would partially fund the centre. v
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The Olympic Fringe
View from Greenway looking North down the Lea Cut
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The Olympic Fringe
Olympic Fringe The focus of our Unit’s work has been on the Western edge of the Olympic Park. This area which lies low in the Lea Valley resembles a chain of loosely connected islands sculpted and intersected by motorways, railways, and water. Since London won the Olympic bid, this Western edge has been labeled the “Olympic Fringe”. This ominous nickname is very telling of the way we as Londoners think of this area. It has been the Lea Valley and East London long before it was the Olympic fringe. In order to ensure a positive future, we cannot ignore its past. As a Unit we started the year by investigating, recording, and mapping the existing conditions of our chosen insular sites. In doing so we hope to add to the notion of Olympic Legacy, rather than what could become an Olympic Aftermath. Legacy vs. Aftermath Legacy has been a key factor in designing the London Olympic Park. There have been many long-term Olympic failures in the past of our global history, some as recently as the 2004 games in Athens, which saw the park abandoned after the mere two weeks of games. These cautionary tales are the driving force behind the movement for Legacy and hopefully by thinking about it early on will ensure it is not overlooked.
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Mapping the Lea Valley Scale: 1-40,000
1. Islands of East London 2. Topography 3. Green Spaces and Connections 4. Location of Art Facilities 5. Grain and Density Figure Ground
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Mapping the Lea Valley
1. Islands in East London 7
Mapping the Lea Valley
2. Topography 8
Mapping the Lea Valley
3. Green Links 9
Mapping the Lea Valley
4. Arts Facilities 10
Mapping the Lea Valley
5. Grain and islands 11
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Mapping Hackney Wick and Fish Island 1. High Street Patterns 1-15,000 2. Arts Facilities 1-10,000 3. Arts Facilities in Relation to Conservation Areas 1-10,000 4. Growth Patterns of Fish Island 1-10,000
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Mapping Hackney Wick and Fish Island
1. 1-15,000 High streets in black, Hackney Wick and Fish Island shown in red 14
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Mapping Hackney Wick and Fish Island
Art Studios and Galleries 2. Art Studios and Galleries 16
Mapping Hackney Wick and Fish Island
Conservation Area Proposed Conservation Extension Art Studios and Galleries 3. Arts and Conservation Overlap 17
Mapping Hackney Wick and Fish Island
Fish Island Greenway Art Studios and Galleries
3. Fish Island and Art Studios
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Mapping Hackney Wick and Fish Island
1860
1890
1910
1950
1960
2012
4. Historical Growth Patterns
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Character Study of Hackney Wick and Fish Island
Fish Island’s industrial past is very evident, and it is still home to both heavy and light industries. As a result, the streets are not made for interaction because they are designed for vehicular access. With the influx of artists, these wide and relatively quiet streets act as outdoor galleries for art.
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Character Study of Hackney Wick and Fish Island
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Character Study of Hackney Wick and Fish Island
Stour Space (an artists collective) as seen on a normal day and during the Hackney Wicked Festival.
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Character Study of Hackney Wick and Fish Island
Despite the overall industrial character, there are moments of domesticity.
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Character Study of Hackney Wick and Fish Island
Though Hackney Wick and Fish Island are literally on the fringes of the Olympic Park, they should not be thought of this way. In fact these “fringes” are actually quite established islets, where as Muf architecture has stated “exception is the norm”. Each island has its own unique characteristics, which makes it hard to generalize about the “fringe”.
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Character Study of Hackney Wick and Fish Island
One example of the exception being the norm is graffiti. Elsewhere in London, CCTV is found on every corner, and easily deters any street vandalism and art. However, in Hackney Wick and Fish Island, where there are significantly less CCTV cameras, graffiti is the norm. Not only is it prevalent, but it is used as street signage and as a means of creating public spaces.
The canal front and a Pill Box from the war are celebrated and become stopping points along the way.
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Fish Island: Before and After
Photography studies of Fish Island taken by Local Photographer Chris Dorley-Brown
Greenway Western entrance 1999 & 2011
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Fish Island: Before and After
Fish Island NE corner 1999 & 2011
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Fish Island: Before and After
Ironworks 1986 & 2011
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Fish Island: Before and After
Cadogan Court 1958 & 2011
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Brief 1: Mapping the Island
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Mapping Fish Island 1-2000 Maps 1. Isometric buildings and fold out canal elevation 2. Art as Signage and marking 3. Texture and pattern mapping
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1. Isometric 33
3. Art 34
2. Textures 35
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Brief 2: A Room on the Island
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Doors of Fish Island
Opposite page: the door is used as a “stamp� or building foot-print to generate different forms.
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1-1000 Door Stamping Exercise
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Q: I asked a few artists what they wished they could change or add to Fish Island, and most replied that and art supply shop would be very convenient. A: My proposal is an Artists’ Exchange Room which also provides minimal shelter as an outdoor classroom. The Artists’ Exchange Room can also act as a point of attraction throughout the year. A one of the festivals that take place.
Communal kitchen and storage
Artist’s studio
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One man’s trash is an artist’s treasure. Abandoned mannequin’s arms and some old plastic spoons might not sound like artist’s supplies, but they could easily be incorporated into creative projects. There are over six-hundred artist’s studios on Fish Island. If each one gave a surplus item, artifact, or even a unique piece of refuse, the Artist’s Exchange Cabinet would be filled. An artist could walk in with some old canvass and walk out with buttons for an installation. There is potential behind every door.
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1-1000 Existing Site Plan showing ground mural and artists’s studio buildings shown in red.
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Elevation of the Party wall at 1-500 which acts as a backdrop to the festival.
A mural painted on the ground of razed buildings for the Hackney Wicked Festival, with the party wall in background.
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1- 500 Plan with Proposal in Red
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Perspective looking East towards Stadium 45
1-50 models testing the space
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Brief 3: Colonize the Island
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1 : 500 Model with old and new sites
1-500 Paper site Model showing both sites
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1-1000 Site Plan with Proposals shown in red
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1- 500 Site Model
1:750 Canal Elevation
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1:1000 Canal Elevations Exploring Possible Growth Patterns
Existing
Room growing and moving on the island
Artist’s Exchange Center Network of buildings shown growing and moving over time
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1 : 500 Existiing site model
1-500 Paper Model of Existing
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1 :500 Site model with proposal
1-500 Paper Model of Existing with Proposal
1 : 500 Existiing site model
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1-200 Ground Floor Plan with Grid Structure
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1-200 First Floor Plan
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1-200 Second Floor Plan
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1-200 Third Floor Plan
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Fold Out Plan 1 : 200
Victorian Stable
Block
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Mid 20th Cent war
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West h
Resid
East house
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1- 400 Fold Out Plan 70
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Fold Out Plan 1 : 200
Block
Mid 20th Cent warehous p
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Resid
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East house
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Victorian Stable
Hi co stor nv ica er te l bri d in ck s to t ph ora ot ge og sh ra ph ed yd ar
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1- 400 Fold Out Plan, Alternate Views 71
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1-150 Elevation of Existing Southern Facade
1-150 Section showing reveal treatment of historical wall
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1-100 Section Fragment showing Artist’s Exchange Room nested in the proposal 74
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1-100 Section showing lean-to structure
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1-40 Wall Section Detail Wall Composition: Three coat lime wash finish. 20 mm lime render. 270 mm hempcrete sprayed onto stud wall. 140 mm x 50mm timber studs at 400 mm centres. 12 mm gypsum reinforced fire board. eS llaW lacipyT 02: 1
:noitsopmoC llaW hsawemil taoc eerhT redner emil mm 02 s etercpmeh mm 072 mit mm05 x mm 041 fnier muspyg mm 21
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1-20 Partition Wall Roof Section Detail Roof Composition: Western red cedar shingles. 50 x 25 mm treated softwood battens 120 mm on center. 50 x 50 mm treated softwood battens 400 mm on center forming ventilation gap. Breather membrane. 100 mm insulation made from hemp and recycled cotton between 100 x 50 mm treated softwood battens. 9 mm fire protection board. 175 mm insulation made from hemp and recycled cotton between 175 x 50 mm treated softwood rafters at 400 o.c. Vapour barrier. 12.5 mm plasterboard ceiling
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1 : 100 Main courtyard and entry point
1-100 Model showing main entry into courtyard 1 : 100 x-xhnage space and coutyrad
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1 : 100 x-xhnage space and coutyrad
1-100 Model showing next sequence of arrival and the Artists’ Exchange Room
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1 : 100 Western elevation of West house
1-100 Model Showing internal courtyard and existing brick shed
1 : 100 Western elevation of East House and courtyard
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View on site of existing brick shed
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1-100 Structural Framing Model, View from across the River Lea
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Steel Hanging Structure by Old Ford Lock
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1 :20 model showing Olympic Stadium accorss the River Lea
1-20 Model of Cafe Bar with Stadium to the East
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1:20 model of cafe & bar
1-20 Model of Cafe Bar
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Collage Showing Access 1 : 20 model showing points of enry in relation to cafe/bar
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1-20 Model Night Scenes
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Standard double door
Main entry condition- double door
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Smallest of four window Sizes Smallest window
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