Year 2 Architecture Portfolio (2.2) PART 1

1. Site Analysis.

Manchester + Ancoats.

Pollard Street, Manchester, M4 7JA

Ancoats is located to the east of Manchester, just past the Northern Quarter, and is known as the “world’s first industrial suburb”. Its name derived from the Old English ana cots, meaning “lonely cottages” and the first recorded name of the settlement is Elnecot in 1212. While undergoing significant change in the recent years, the mills and factories remain unmoved, but are now converted into offices and elegant apartments. The southern part of Ancoats has been rebranded as New Islington by property developers Urban Splash. In recent years this area has undergone significant regeneration which has acted as a ‘buffer zone’ between the city centre and the areas of deprivation and run down industrial units beyond.

Pollard St, Manchester, M4 7JA.

This map provides a closer look of Ancoats’ location in Manchester, highlighting key locations nearby. It shows how the site is located in New Islington and how the Ashton canal runs alongside it. From the size of the buildings on the map, it is clear that site is near a residential area, as it is made up of smaller buildings, compared with the bigger blocks in the city centre.

Meso Context.

Zooming in

This map shows the site with a closer look at the direct context. This site is surrounded by Ashton Canal, Pollard Street and Beswick Street. The main access is from Pollard street, but there are opportunities to create greater connectivity, such as via the canal.

The Site.

A closer look at the surroundings

The site borders Ashton Canal and two old repurposed mills. Weeds grow up the side of the bank, making the site border look overgrown and uncared for. Further along the canal you can see the new apartment blocks by Urban Splash, and opposite the site are the newest townhouses. This has created quite a contrast in building type.

Katherine Nancarrow _Group 2

The Site in Volumes.

1:500 site model

The making of the physical model means you can view the space right in front of you and see how each building fits together into the surroundings. Volumetric studies then begin to develop, considering the sun paths and shadows from the tall buildings surrounding the site. From making this model, I fully analysed the form of the site from the exact shape of the canal to the roof pitches to the varied building heights in the area.

Katherine Nancarrow _Group 2

Site Photos.

Exploring the site visually

I have mapped some key photos around the site such as the neighbouring hope mill theatre. The meanwhile use of the site is as a car park; for theatre guests and people working in the buildings on the site.

Katherine Nancarrow _Group 2

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Serial Vision.

Gorden Cullen inspired analysis

As I travel around the site it is clear that there is a huge mix of building typology; from mills to abandoned sites to council housing to the urban splash new builds. Ancoats and New Islington is an area of huge contrast and divide. When walking, the streets were virtually empty of both cars and people. There is a feeling of abandonment in the air. The area feels as if it needs to refind its sense of community.

Katherine

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of the Past.

Katherine Nancarrow _Group 2

A more perfectly ugly spot you shall not find between sunrise and sunset. Fancy a street, one side of which is all mills, huge square piles of mills, with six, seven and eight tiers of foul and blackened windows, the grimiest, sootiest, filthiest lumps of masonry in all Manchester…

Angus

Reach of the Morning Chronicle’s description of Union Street in Ancoats in 1849

1870 Ancoats Photo (Gaskell House, 2020) Ancoats

Site History.

1200

Elnecot

In 1212, the first recorded mention of the settlement as Elnecot; meaning ‘lonely cottages’. The first market is recorded in 1282.

Ancoats Hall

In 1596, Ancoats Hall is erected by a rich family called The Mosley’s. It remains in the family for the next two centuries.

1780

1500 Trade boom

Ancoats remains as fields and cottages until the family eventually leave the old hall. A trade boom and population increase begins.

1800

Industrial suburb

In 1804 the Rochdale canal opens which leads to the rapid development of mills and industry in the area. Ancoats becomes the “world’s first industrial suburb” as thousands of workers move to the area - a new urban working class.

1890

Little Italy

Ancoats starts to be known as “Ancoats Little Italy” as over 2000 Italians move in. The area becomes the home to the manufacturing of Domenico Antonelli & Sons pianos in 1895 and they pioneer the British ice cream industry with the arrival of their gelato recipes.

1900

Decline + depopulation

Industry peaks and the area suffers decline following the start of WWI. Depopulation happens after WWII, particularly during the slum clearances of the 1960s.

2000

Urban Splash invasion

Regeneration by Urban Splash begins, and in 2022 it is home to young professionals and an abudance of growing independent businesses. It’s voted 13th coolest place to live in the world, yet there is still much divide and deprivation.

Katherine Nancarrow _Group 2

A timeline of the site’s history with a collage to illustrate it

This 1794 map of Manchester is by William Green and shows a series of open fields divided by Shooters Brook (a tributary of the Medlock). The faint dotted lines represent the proposed infrastructure to compliment the planned Ashton Canal. The plot of land the site is located on has yet to be arranged.

Rapid industrialisation is shown by the densely packed buildings near the Ashton canal such as mills, a hydroelectric plant, a galvanising factory and a wire works. The south section of Ancoats has been developed into the large Ancoats Hospital complex. The site itself is occupied by the Beswick Street Silk Mill.

The site is still surrounded by mills (predominantly cotton) however, the mill on the site is now called Medlock Printing Works. Some of the housing on the neigbouring greenspace has been removed.

1794

1890

1920

Changing Land Use.

Historic mapping

A visual analysis of how the site and its surroundings have changed through time from an area of fields and cottages in 1700 to an industrial area in 1800.

A lot of the housing has been removed and replaced with cul de sacs council estates, with more open space. The site is still occupied with the mill but now has the name Hope Mill, which is the name it has in present times. The late 1900s saw unreconisable changes with the area developing into the Cardroom: canals became disused.

1950

Land Use Map.

What building uses make up Ancoats?

Ancoats and New Islington are heavily made up of residential areas. Urban Splash have regenerated a lot of abandoned/run down areas in Ancoats and built a mixture of townhouses and apartments. There are also many old mills which have either been abandoned or converted into private workspaces. Restaurants and bars are dotted about as well as religious spaces and schools to compliment the residential areas.

Key.

Katherine Nancarrow _Group 2

Where are the theatres near the site?

TYPOLOGIES ON SITE

1. Hope Mill Theatre

2. Play Fire Studios

3. Hope Mill Comminity Club

4. Hope Mill Recording Studios

5. White Bear Recording Studios

ANALYSIS

Mapping Typologies. Key.

In mapping exisisting infrastructure for performers in Manchester, I have learnt that the site in Ancoats is adjacent to many creative studios. The Northern Quarter, a neighbour to Ancoats, also houses many performance and practice venues. Ancoats’ art scene is up and coming, highlighting the importance of a project such as this to house these performers.

Katherine Nancarrow _Group 2

Dance Studios Drama Studios Theatres Music Studios Live Music Venues

Physical Networks.

Rail, wheels and framework

Mapping the physical networks near the site has shown that there are good transport connections such as a the metro tramlink that has two stops (New Islington and Holt Town) 5 minutes away. Bus routes also pass close by the site and there is on street parking available. This shows that the performers living in the accomodation have opportunities to travel into Central Manchester to reach the various theatres. However, there is still a need for safer transport, especially at night, calling for a new initiative such as a shared taxi scheme.

Katherine Nancarrow _Group 2

3D Mapping.

Further examination into the buildings and space around the site

These maps show the urban morphology and infrastructure of the site and surrounding areas. Directly around the site the buildings vary from 5 to over 20m (Hope Mill Theatre) which means I will have to consider the overshadowing of the site. Fortunately the buildings around the site do not require views as a lot are storage units, meaning I can build at similar heights.

There is also green space near the site and the Ashton canal runs right alongside it which creates connection opportunities.

Katherine Nancarrow _Group 2

Society Map.

Socio-economic maps

This map shows the different society statistics of the areas around the site. Directly around the site there is a low percentage of owned housing and a high percentage of people living alone. Just south of the site, the percentage of apartments decreases from 53% to 18%. Overall, only 24% of houses are owned. This highlights the housing shortages and affordability crisis’ in Manchester. In conclusion, my proposal will form affordable temporary housing for theatre performers near the city and provide a communal gathering space open to all to share the enjoyment of theatre together.

COUNCIL HOUSING

The council houses near the site are arranged in cul de sacs, with a crossover of space around the houses. The access points mix together, but each house has it’s own main access and private outdoor space.

Residential Typologies.

Identifying types of housing near the site

SEMI-DETACHED HOUSING URBAN SPLASH TOWN HOUSES

The semi-detached houses are arranged in a courtyard-like format with a road in the middle of them. Each house has the same road access but then splits off to their own space. Units arranged in twos.

The new Urban Splash townhouses adjacent to the site are arranged in rows. They share the same road as well as the same garden. Each house has a small private garden that is open to the communal space, encouraging social interaction.

URBAN SPLASH APARTMENTS

The Chips building by Will Alsop is an example of the apartments in the area. The block of flats is arranged as three blocks placed on top of each other at different angles. It creates a unique shape, with consideration of sunlight and views.

Katherine Nancarrow _Group 2

Urban Splash. The divide in community

In the 1960s and 70s, Ancoats saw huge rates of decline and depopulation. The cobbled streets turned to cotton slums, houses were torn down and jobs disappeared. In the 70s, the council’s response and antidote was ‘suburban estates’, yet this in fact was the start of the 20 year decline. Manchester’s Cardroom Estate was an area of extreme deprivation, having lost its pubs, shops and even the local primary school. While many of the residents on the estate still love their house, the area was rich with crime; drug dealing, stolen cars, breaking and entering. The result was an estate where people lock themselves in after dark. Despite this, the people that are left have long-standing roots, strong family ties and an even stronger sense of community.

Interview.

An interview with a lady working in the local chippy

In 2002, Urban Splash Developers won the opportunity to transform the area and renamed part of Ancoats ‘New Islington’. They worked with architect Will Alsop to design the masterplan of housing, social housing, apartments and family homes, alongside businesses, offices and public squares.

“there’s only one loser and that’s the next generation”

“we used to know everyone around and that’s going”

It is clear that the regeneration has brought a lot of life and people back to Ancoats and was crowned the “13th coolest place to live in the world” by Time Out magazine. However, it has also not solved a lot of the problems, but just increased the divide. The new housing provides for young professionals, but the residents of the old council estates feel segregated from the new area and new people there.

“all this £500m investment into the area yet there’s still food banks round every corner over here”

Katherine Nancarrow _Group 2

“there’s a big divide between communities and we’ve lost our community”

“It’s not the building of the new houses that’s the problem, it’s what happened in 80s and 90s when they sold all the council housing”

Masterplan sketch

Initial masterplan sketch by architect Will Alsop.

Comparison Photo Urban Splash’s transformation of the cardroom.

Photograph Photo of Tony’s Chippy in Ancoats.

Sun Path.

Exploring light and shadows on the site

This 3D map shows the sun path around the site. In the winter months, the site is mainly in shadow due to the low height in the sky, but Hope Mill Theatre which is over 20m tall recieves sunlight. This creates an opportunity to bring light in through an atrium or light chimney. In Summer, the light is most prominent in the shaded area as shown by this diagram, meaning this would be the optimum place for the housing units.

Most well-lit section of site

Katherine Nancarrow _Group 2

Climate + Wind. Temperate Oceanic Climate

The prevailing wind comes from the West or South-West throughout the year. Therefore, my building could consider cross ventilation from South/West to East via operable openings. Climate research shows that temperatures rarely exceed 20C in the warmer months, and can be as low as just above freezing in the Winter. Precipitation is generally high and constant, averaging on 80mm monthly. As a result, glazing will be optimal for passive solar heating as risk of overheating is relatively low. Cross-ventilation and shading/overhangs will control this when temperatures are high. Effective drainage is also important to manage the rainfall, such as a green roof and opportunities for recycling water.

Crossventilation through site

Strengths/Opportunities

SWOT Analysis.

Using SWOT analysis to identify the main creative drivers and parameters

Weaknesses/Threats

Katherine Nancarrow _Group 2

Opportunities.

If wall removed, access would be free-flowing from Spectator Street which creates an opportunity to expand landscaping proposal to encompass that empty land and connect site.

21.8m at back of site has unobstructed views over 5m which would be optimal for the housing on site so they have more view and lighting opportunities.

Site Conclusions.

Views.

If elevated, there will be views above the adjacent building along the canal to buildings such as the Chips building and Stubbs Mill by Urban Splash.

Looking out to canal and beyond to green and residential area of Ancoats.

Gap in building provides a connection and view towards Beswick Street.

View over adjacent building would enable unobstructed views and light if proposal is elevated over 5m.

Connections.

Connection with Pollard Street entrance - only 9m wide so project elevation won’t be fully visible. Creates opportunity for an inviting street entrance.

Site next to Hope Mill Theatre’s canopy entrance. Creative driver is to connect these two spaces by extending canopy and designing a new one for both.

North-West end of site sits on the canal line which could drive a water connection or access to site via canal. Possibility for performance space to be sit here.

KEY Connections

Views

Horizontal Measurements

Vertical Measurements Opportunities

Katherine Nancarrow _Group 2

2. Position.

Themes. MEMORY

How does Ancoats live in the memory of Mancunians? A place overlooked or seen as derelict since the depopulation in the 80s? Since the regeneration, much life has been breathed back into it, with Time Out naming it as the “13th coolest place to live in the world” in 2018. Yet, many still see Ancoats beyond it’s small areas of gentrification: as a long lived community rich with industry and history.

A DIVIDE : DERELICTION + DEVELOPMENT

As I walk around the site, Ancoats and New Islington, there is a clear divide in the area. One minute you are staring up at the latest Urban Splash quirky townhouse, and then as you turn the corner, metal fences are stamped with signs advertising the nearest food bank. The new connecting canal has been landscaped, with regular maintenance to keep it tidy, yet Ashton canal that runs along the site is rife with litter and overgrown shrubs growing up the decaying red brick walls. There is almost a sense that these parts of Ancoats have been forgotten about. Few people walk the streets and there is a strange empty, eeriness feeling. How can we show the people living here that they’re not forgotten? How can we use something as simple as ‘theatre’ to bring people together, and in doing so help reduce this divide in the community?

A UNITED COMMUNITY

There was a time when the whole population of Ancoats was the urban working class, and in that they were united. In my interview with the locals, they talked of how they “used to know everyone around”, and how this is disappearing. With my proposal, I want to create a space that encourages social interaction, and that can bring all the people of Ancoats from all backgrounds together to enjoy the arts. While we can’t bridge this gap in development easily, we can begin with society and community.

Collages.

Response to the problems performers face regarding accomodation

THE PROBLEM IDENTIFYING

The current issues facing housing for performers

AFFORDABILITY OF ACCOMODATION

There are many issues facing performers when it comes to housing. Performers are giving grants by Equity which is the official trade union for actors, singers, performers, directors, choreographers, designers, stage managers and other creative workers in the UK. Yet these grants aren’t enough for the performers to afford safe and decent accommodation. With performers staying in “touring digs”, which are usually rooms that locals let out, there are often many issues with safeguarding, covid-hygiene and safety. Performers such as Shobna Gulati and George Sampson are calling out for a complete overhaul of the “fundamentally flawed” touring dig system and have listed changes they demand to see. These demands include:

An increase to the touring allowance on Equity contracts

Touring theatre companies to arrange accommodation for actors

Flexibility for performers who would rather receive the Equity subsidy and book their own accommodation

Theatres to take a greater responsibility for keeping digs lists up-to-date and inspecting digs

Theatres to look at renting properties on a year-round basis to provide affordable accommodation to actors

The last demand is particularly relevant to my project. My proposal would see a safe, affordable accommodation for theatres/ individual performers to rent out when touring Manchester.

POST-PANDEMIC COVID HYGIENE

In a post-pandemic world, hygiene and COVID safety is as important as ever. A lot of people letting out their homes for use as “theatre digs” have withdrawn or performer’s accomodations have been cancelled last minute. These issues with security and safety are increasing and it calls for reliable accomodation.

WOMEN’S SAFETY

There are also safety issues regarding women or other minorities as safe transport back to digs is never provided or safe inspection of the accomodation. Greenwood, who sits on Equity’s Womens’ Committee says that there is a need for “a major shift in the industry’s attitude to duty of care towards all members but especially towards women”. In response “They’ll say: ‘We don’t have money or time to ensure you have a taxi home from the theatre, or ensure we can send a runner or a producer to check out the digs list’. That’s the problem we always come up against: they say they don’t have time and they don’t have money”. As a solution I aim to include a transport initiative as part of my proposal that provides group taxis for the residents staying in the units.

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In a “fundamentally flawed” system, a complete overhaul is needed

FOR PERFORMERS MANIFESTO A

Setting the stage for what’s to come

The Problem.

Performers travelling with theatre’s are constantly concerned about accommodation; they are plagued with caution about their uninspected, and unsafe “digs”. Not only that, Manchester is the victim of a huge import in money, investment and regeneration which is completely outpricing artists from the city centre. Theatre digs getting further and further from the city centre mean a transport cost issue for performers too. A change is needed to support the arts and performers. The COVID-pandemic has seen so much loss for this industry, but in a post-pandemic world, they need to be recognised for their contribution to society, and supported by Equity, the government and theatres.

The Proposal.

I propose a housing complex comprised of 9 units that forms a temporary home for performers working in Manchester. The units will support people living alone up to families or friends of 6. Living with performers from the same production can increase safety as they can travel together, so having this as an option is important. There will also be a public-facing element such as an indoor or outdoor theatre that will be open to the whole community of Ancoats to come together and enjoy the arts. It is clear that there is a lot of segregation within Ancoats due to the recent regeneration by Urban Splash, but I strongly believe that theatre should be without divide and is for everyone. Overall, I want to design a calming and inspiring space for performers to live, practice and rewind in, and for the community of Ancoats to live the stories that theatre has to offer.

Katherine Nancarrow _Group 2

A Manifesto for the Environment.

The built environment is responsible for 39% of global greenhouse gas emissions As architects, as declared by RIBA president Alan Jones (2019), we are “the guardians of the built environment”, so it is our responsibility to embody sustainability in every stage of design. Following the UK governments new law to bring greenhouse gas emissions to net zero by 2050 in 2019, RIBA launched it’s 2030 Climate Challenge. We need to respond with transformational adaptation that rethinks how our cities are designed.

In response to the UN Sustainable Development Goals, RIBA released their own Sustainable Outcomes to guide architects. These include:

ARCHITECTS ARE GUARDIANS OF THE BUILT ENVIRON

net zero operational carbon net zero embodied carbon sustainable water cycle sustainable connectivity + transport

sustainable land use + ecology good health + wellbeing

sustainable communities + social value

sustainable life cycle cost

I intend to implement these sustainable goals by sourcing recycled and low embodied carbon materials, creating a modular design to increase building and transportation to site ease, recycling water systems and provide green spaces. I will prioritise placemaking, by designing a building that embodies it’s users identity and that forms a secure and safe temporary home for performers. The public facing element will be a vibrant mixed-use space to be open to all, promoting community, social interaction and the enjoyment of the arts.

Who are Theatre Performers?

Identifying the client

When addressing the brief, it is salient to first identify who the client is and what their needs are. Theatre performers are my chosen client and on a daily basis they sing, act and dance in shows accross the country. Manchester has numerous theatres where performers will travel to for a short period of time while their show runs, meaning adequate and safe housing for them is essential for this timeframe.

Theatre.

thee-uh-tuh (n.)

a building with a stage in it, on which plays, shows, and other performances take place.

Performer.

per-for-mer (n.)

a person who acts, sings or does other entertainment in front of audiences.

Actors. Singers. Dancers.

How to Design for Performers?

What are the needs of performers and how can we build for them?

Environment. Manchester Residential Guide. Client.

• sufficient daylighting

• natural ventilation

• maximise views

• managing noise levels

• manage risk of flooding from canal

• construction quality

• sufficient space, light and storage

• resilience and adaptation to climate change

• waste management

• respecting quality of manchester in heertiage, materialiy, design and views

• sense of community

• relationships between streets and spaces

• accessibility

• connection with landscape and nature

• space to practice their art

• comfortable living to rewind and relax

• an inspiring and encouraging atmosphere

• privacy

• social interactions with public and other performers

• safety - to provide a well lit and safe temporary home

Interview on Performers + Covid...

“a lot of the shows we produce tend to be musicals and they tend to have some local performers but the majority tend to be based around the UK so it would require accommodation - theatre digs”

“private landlords who might just cancel on you last minute”

“there is a callout to Equity to look at producers and companies supporting performers with booking accommodation”

“all of a sudden digs disappeared so it wasn’t even a case of not being able to book digs, most people that had a spare room didn’t want a strange person in their house either, from a COVID point of view”

“there’s a lot of deprivation immediately, there’s a lot of regeneration so its where two worlds collide... access to the arts, especially musical theatre, is a privilege, there’s not a lot of families that can afford it... we launched the theatre school very much with it being in mind that 50% of the places are completely free for the local children”

“Manchester is the victim at the moment of a huge import in money, investment, regeneration, its like we’re outpricing artists out of the city centre”

“I think that’s something we’ve learnt over the pandemic is that the arts and escapism, education, changing people’s perceptions of humanity through art is a really good thing and it does work”

...with William Whelton

William Whelton is the Co-Founder and Executive Director of Hope Mill Theatre, Manchester.

Hope Mill Theatre.

What is Hope Mill Theatre and what do they do?

HISTORY

Hope Mill Theatre is a cotton mill dating from 1824, which was redeveloped in 2001 and now houses a range of creative industries including Hope Mill Theatre.

THE THEATRE

The theatre opened in 2015 and has since become one of the most successful and reputable independent venues in England. They have an affordable theatre school that promotes inclusivity and the benefits of theatre. Their mission statement is to “enrich, educate and entertain our community by providing a uniquely superior theatre experience; allowing both audiences and artists alike to be inspired, ambitious and to share stores and enlighten lives through the power of theatre.”

COLLABORATION

With my project being situated next to the theatre, it brings opportunities to collaborate with them. There could be physical connections to the theatre such as shared entrances, as well community initiatives like the taxi scheme, or affordable performances.

Katherine Nancarrow _Group 2

3. Exploration.

DYSON INSTITUTE OF ENGINEERING + TECHNOLOGY VILLAGE

Malmesbury, UK WilkinsonEyre, 2019

This village has been created for undergraduates at the Dyson Institute of Enginnering and Technology. The modular housing pods are made of CLT and are stacked on top of each other to maximise views and light. The prefabricated units enable rapid construction on the site. Arranged two to three-stories high, the modular facades are welcoming and appealing.

Units Section

Showing stacked units up onto landscaped bank

Prefab Precendents. Analysing prefabricated and modular housing

HABITAT 67 (RESTORED)

Montreal, Canada

Safdie Architects, 2018

Originally designed as the Canadian Pavilion for the World Exposition of 1967 as experimental solution for high-quality housing in dense urban environments. The units are prefabricated and modular to reduce housing costs. In 2018, Safdie completed the refurbishment of the 1960s concrete building to keep in line with contemporary standards of sustainability and energy conservation and to protect it against weathering.

Circulation

This drawing shows how the units are layed out in plan and the route of circulation between units

Some pods are cantilevered by up to three metres, challenging the structural properties of CLT

Timber left exposed through pod’s internal spaces which creates a warm and natural living environments

Units Plan

Pods measure 8mx4m with open plan accomodation

Section

The units are stacked on top of each other, stacking upwards and backwards to enable views for all residents. This is a concept that would be effective for my design to allow each units a view of the canal

Pods harness CLT’s thermal massing and provide high quality and energy efficient living spaces

Natural ventilation with large triple-glazed windowswindows angled to give each resident an expansive view across campus. Pods externally clad with aluminium rainscreen panals

These diagrams show how the units stack on top of each other and their shape. Each unit has the same L-shape but is rotated at different angles. Exterior balconies extrude from each unit.

Katherine Nancarrow _Group 2

Axo Diagram

Concept. Experimental concept sketches

These sketches show my intial design responses to all the research I had gathered. Some key ideas include the arrangement of theatre seating so that everyone can see the stage at all times - I want to explore if I can arrange the units like this so that they all have an unrestricted view at all times. If they are raised up, this could allow public access underneath, separating public and private.

Unit Programme.

Space schedule

My proposal will include 3 type of housing unit: unit 1 for 3-6 people, unit 2 for 2-4 people and unit 3 for 1-2 people. There will be 3 of each unit equalling 9 units in total. Each unit will be designed with a mezzanine level, however this could change with futher investigation and experimentation.

Programme. Space schedule

These isometric drawings show the key spaces of my proposal outside of the housing units and their dimensions in order to determine how they will fit into the site. The defining categories are theatre spaces, communal spaces and ancillary spaces.

BIKE STORAGE

7.2m x 7.5m x 3m

TOILETS INDOOR 1.8m x 2.5m x 3m

INDOOR PERFORMANCE SPACE

11m x 11m x 3m

OUTDOOR PERFORMANCE SPACE

15m x 6m x 4.5m

INDOOR COMMUNAL SPACE 7m x 7m x 3m

Key.

Ancillary Space Communal Space Theatre Space

Katherine Nancarrow

Volumetric Studies.

Exploring arrangements on site model

Using my physical site model, I photographed and drew over the image to test out some basic and initial volumetric studies. These drawings show the basic programme of a performance space, the housing units, an outdoor space and an entrance, testing my concept of stacking the units upwards and backwards. The curved unit arrangement follows the shape of traditional theatres, however would be a more challenging form to explore alongside modularity.

Bubble Diagrams. Exploring spaces and connectivity

This shows a more detailed proximity diagram, thinking more about all the different spaces required and how they can fit around each other. The bubble plan diagrams show the units stepping back as the level gets higher and a theatre space outside and inside. The inside theatre can be located underneath the units.

KEY

Units

Circulation

Public Space

Performance Space

Ancillary

Proximity Plans + Section.

Initial sketch plans

These diagrams show experimentation in plan and section to scale. From working out the overall size of each element I can play with different layouts and arrangements. Inspired by the stepping of theatre seats so that each unit has unrivalled views out to the outdoor stage, the units step back and increase in height. The indoor performance space will be below with a light chimney bringing light into the space. Things to further explore include private/public circulation.

Katherine Nancarrow

Sequence Diagram. Exploring form in response to the site

These diagrams show the steps I have taken to reach my concept design, in response to the site. Key considerations include providing views out to the canal and beyond for the units, access below the units for the public, and allowing sunlight to access each unit.

Katherine Nancarrow _Group 2

Iterations. Drawing and modelling

These drawings show some 3D iterations, exploring form and arrangement. Considerations include how I will provide temporary covering for the outdoor space and how the units sit in relation to each other.

Katherine Nancarrow _Group 2

Modelling. Drawing and modelling

I cut out some wooden blocks the same dimensions as the units at 1:500 to physically play with their arrangement in relation to each other and the site. I tried out various stacking methods such as stacking the same size unit on top of each other to using different sizes. Considerations include maximising space for the indoor theatre and how light is going to reach the back of the units.

Katherine Nancarrow _Group 2

Circulation. Drawing and modelling

Using my most successful unit arrangement, I have sketched over photos to explore how the units will be accessed, and how the theatre space might fit under the units. I need to explore futher the circulation between and to the units and how to separate the public and private access points.

KEY

Housing circulation

Public circulation

Katherine

Unit Plan Iterations.

Drawing and modelling

These drawings show my initial unit plan iterations, trialling out two different options for each size. Unit 1 has 3 bedrooms, unit 2 has 2 bedrooms and unit 3 has 1 bedroom. All designs show two levels with a mezzanine level, however to improve access for disabilities, I want to trial out more designs with just one level.

GA Iterations.

Exploring in plan and section

For my initial floor plans and section, I have reduced the units to volumes and started to consider how the building and other programmes will fit together. The theatre space is on the ground floor, will a movable separating wall between it and the cafe space. Doors open out onto the outdoor space to create natural cross ventilation.

Katherine

Units Precendent.

Exploring examples of housing units fitting into a grid

AULA MODULA

Paris, France, Studio Belem, 2020

This project rethinks traditional housing for changing lifestyles post COVID-19 such as incorporating “livework” into the design. The spaces are flexible and lively and fit into a big timber grid - they promote shared spaces and social interactions between its residents. Each apartment has workspaces, with each home facing the common courtyard. The living units are arranged differently and support different sized groups of people - families and friends co-living.

Inspiration

In my project, I need to consider practice space for the residents, so having flexible space would be successful. A modular unit arrangement would be effective, once I have designed a grid that fits into the site.

Unit Isometric

A drawing to show an example of the modular units. Each module is approximately 4mx4m and they can be configured in different ways. The spaces are also flexible such as being able to divide the spaces using movable doors and being able to retract furniture such as beds into the wall.

Grid layout

This drawing shows how the units fit into the grid and how each arrangement is slightly different. Some units are bigger as use more modules, while others are smaller. Internal courtyard is used as communal space.

Katherine Nancarrow _Group 2

Grid 1 Grid 2 Grid 3

Refined Grid (1) Refined Grid (2)

Finding the Grid. Structural frame investigation

I have experimented with a 8x8m grid and how it will fit into the site. I have modelled it and thought about how the units will fit into the frame - the structural frame will provide the support for the units to slot into. To develop this further I need to explore different unit arrangement iterations in the chosen grid.

Katherine

Unit Iso The modular units will sit into the frame.

Chosen Grid 8x8m steel frame grid