MAKER/ SPACE 1.2 SITE ANALSYIS PRODUCT PROGRAMME RESOLVING EXHIBIT Katherine Nancarrow Group 7
SITE ANALYSIS // SITE CONTEXT
MAKERSPACE 1.2
ARNDALE CENTRE
PICCADILLY GARDENS
MANCHESTER ART GALLERY ST PETER’S SQAURE
LOCATIONAL CONTEXT SCALE 1:5000
This map shows significant locations near the site location (shown in red)
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Katherine Nancarrow // Group 7
MAKERSPACE 1.2
SITE ANALYSIS // SITE CONTEXT
SITE PHOTOS These photos show notable buildings/spaces that surround the site. Postindustrial red brick buildings are in abundance, with the newer Mal Maison Hotel echoing this traditional style with its red brick accented facade. The site itself is derelict and is currently being used as a car park. The old bank that stands next to it is not in use. It is clear that this site is in need of rejuvenation.
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Katherine Nancarrow // Group 7
SITE ANALYSIS // SITE CONTEXT
MAKERSPACE 1.2
SITE ELEVATIONS
PICCADILLY ELEVATION 1:400 @ A3
GORE STREET ELEVATION 1:400 @ A3
Katherine Nancarrow // Group 7
MAKERSPACE 1.2
SITE ANALYSIS // SITE HISTORY
HISTORY OF THE SITE The building on the corner of Chatham Street and Roby Street is dated back to 1910. Its original tenant was the Manchester & Salford Boy’s & Girl’s Refuges and Homes Society. The upper two floors of the building provided accomodation for children for short periods whilst their situation was investigated by the Committee of the Refuge. Today Chatham Street is a quiet, side street off Piccadilly, but in the 19th Century it was a much busier place.
Katherine Nancarrow // Group 7
MAKERSPACE 1.2
SITE ANALYSIS // SITE HISTORY
SITE LANDUSE HISTORY 1890s
1950s
2021
This map shows that the existing street pattern and development of the site was well established. The site is completely developed with multiple buildings within it. There is a bank on the corner of Piccadilly and Chatham Street. The commercial services include a Pawnbroker and a Hairdressers. Tramlines are also shown along Piccadilly.
The Bank seems to have extended into the buildings behind since 1890. There is another bank on the other corner of the island site. Overall, you can see that the number of buildings has reduced by them joining to create bigger ones. Furthermore, the tramlines have been removed on Piccadilly possibly to make room for more car and bus traffic. The Grosvernor Hotel has opened on the South-West corner of the island site.
A lot has changed in the site. It now only consists of three buildings and a car park. The derelict car park marks the site for my proposal. The bank still exists, but is now left empty. In addition, the Grosvernor Hotel is now the Waldorf Pub.
Bank
Commercial
Various
Boys’ and Girls’ Mission
Factories
Hotel
Pub
Katherine Nancarrow // Group 7
MAKERSPACE 1.2
SITE ANALYSIS // LANDUSE
SITE LANDUSE This map highlights the different landuse around the site. Retail, food & drink, education and commerical are important uses to identify as my product will inspire a building that will make, sell and educate people about it (with the addition of a cafe). Noticeably, there are many retail shops nearby, meaning shoppers are likely to be in the area and visit my building.
Site Location Retail Food & Drink Hotels Residential Non-Residential Commercial Education
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Katherine Nancarrow // Group 7
SITE ANALYSIS // LANDUSE
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PARKING Parking
BUS ROUTES Bus Route Bus Stop Sports Shops Retail
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SPORTS SHOPS AND RETAIL MAP This map highlights the presence of sports shops and other retail near the site. As I will be designing a SELL section in my building, where my chosen product, surfboards, will be for sale, it’s important to realise the proximity to other similar shops. People who are interested in a surf shop are likely to be interested in other outdoor activity shops or general retail as well. In my survey, I found that Pure Electric (a bike shop) have a shop one more side street up Piccadilly. Furthermore there are about 5 other outdoor activity shops in the area.
TRANSPORT MAPS The exploded site maps show parking, bus routes and bike routes. These are important to locate, as they show how my building will be located. Driving, public transport and bikes are the main way to travel, and my research shows that there are bus and bike routes that travel directly past my site. Furthermore, there are many places to park, meaning my site is easily accessible to everyone. In addition as the bus routes pass my site, passengers will be able to look into my building when they pass, therefore it’s important to consider this in my design process.
BIKE ROUTES Bike Route
Katherine Nancarrow // Group 7
MAKERSPACE 1.2
SITE ANALYSIS // LANDUSE
Trees Private Public Abandoned Primary Roads Secondary Roads Tertiary Roads
GREEN SPACE AND ROADS This map shows the green areas around the site as well as the main routes through Manchester. From my research, I found that most trees are planted along the primary travel routes. My site is on a primary road so therefore there are more trees situated there, in contrast with tertiary roads where there is little greenery.
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Katherine Nancarrow // Group 7
SITE ANALYSIS // SUN PATH
Sunset
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21st June
21st December
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Sunrise
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SUN PATH DIAGRAM
SHADOW ANALYSIS
This map shows the local sun path and how it moves around the site. In the morning, the sunlight shines on the corner of the site, and as the day goes by, moves around the back of the site. This mean’s the site will get most light on the facade in the morning. Furthermore, the south side of the building will get most daylight, which will be beneficial for the making space.
I modelled the site using SketchUp, and simulated the sunpath round the site. The Mal Maison Hotel’s height means the site is in shadow quite a lot, meaning it will be important to build high. Also to maximise natural light in the building, glass facades will be successful.
Katherine Nancarrow // Group 7
MAKERSPACE 1.2
SITE ANALYSIS // ATMOSPHERE
EMOTIONAL RESPONSE The site is currently occupied by an abandoned car park. It is overgrown and the old bank adjacent has grafiti all over the bottom of it’s walls. This makes the site feel abandoned and unsafe. However, the grafiti of the old bank juxtaposes with the wall art on the side of the Waldorf Pub, as the Waldorf’s is intentional art that has been commissioned, whereas the grafiti represents crime. It gives a negative perception to the site.
Katherine Nancarrow // Group 7
SITE ANALYSIS // MATERIALITY
MAKERSPACE 1.2
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Katherine Nancarrow // Group 7
SITE ANALYSIS // SITE MODEL
MAKERSPACE 1.2
SCALE 1:500
Katherine Nancarrow // Group 7
SITE ANALYSIS // CONCLUSIONS
MAKERSPACE 1.2
POINTS OF INTEREST AND CONCLUSIONS
Position of entrances into the buildings around the site. Shows me that my entrance should be either coming from Piccadilly or Gore Street, or even on that corner to encompass both streets.
Shape of site. Current site has corner slightly cut, so could use this in my design to create a cut back entrance and cantilevering upper floors.
Shadow diagram showing how the Mal Maison Hotel’s height means shadows are cast onto the building. As a result need to make the most of the light the building gets and build at a similar height as the old bank.
Arrows show the views out from the site. The main view is looking out along Piccadilly, from the corner of the site.
Shape of site from Gore Street. Should build higher than the Waldorf Pub.
Transparent materials on the Gore Street elevation will maximise natural light penetration. A south facing saw tooth roof will allow sun to light working spaces without it being direct and harsh.
Katherine Nancarrow // Group 7
MAKERSPACE 1.2
PRODUCT // SURFBOARD
SURFBOARD DIAGRAM
SURFBOARD HEIGHT CHART
Katherine Nancarrow // Group 7
PRODUCT // SURFBOARD
MAKERSPACE 1.2
WHERE CAN YOU SURF IN THE UK?
Thurso East, Scotland
Pease Bay, Scotland
Saltburn-by-the-sea, NY, England
Port Neigwl, Wales
Gower Peninsula Beach, Wales
Croyde Bay Beach, Devon
Polzeath Beach, Cornwall
Bournemouth Beach
Watergate Bay, Newquay
Bantham Beach, South Devon Fistral Beach, Newquay
Katherine Nancarrow // Group 7
MAKERSPACE 1.2
PRODUCT // SURFING HISTORY Bilbo Surfboards is formed by locals where they built boards in a small factory on Pargolla Road, and they were sold from a ting surf shop called The Surf Centre on Fore Street. Trevor Roberts, from Newquay, learnt lifeguarding and surfing skills from the Aussies and his son Grishka later grew up to be one of the most recogniseable faces of British surfing and a European Professional Champion.
1929
1963
1983
The beaches of Newquay and Cornwall are unexplored. Lewis Rosenberg and co have travelled from London to try out their wooden bodyboard’s. Inspired by newsreels of their Australian cousins surfing. Turning point for surfing and many people wanted to try it too.
1990
There was a surfing boom in the 90s. The whole world was captivated with the sport and the industry was built up around clothing lines and accessories (Quicksilver and Fat Willy’s). Surfing competetions were starting to spring up.
After WWII, surfers were a very rare sight on Cornwall’s beaches.
Jimmy Dix, a dentist from Nuneaton, is the first person to get hold of a real surfboard in Britain. He is fascinated by the Hawaiian surfers, especially famous Duke Kahanamoku who he asks for specifications for a board. In return Duke sends him an actual 13-foot Tom Blake surfboard as a gift. A few months later, Dix heads to Newquay and catches the attention of ice cream man Pip Stafferi. Stafferi makes a copy and learns how to surf, becoming a celebrity in town.
1935
Roger Mansfield dubbed the town ‘Surf City’ in a magazine article he wrote in 1983.
Brits were captivated by the Australian’s brightly coloured fibreglass boards and when Aussie lifeguards Bob Head, Ian Tiley, John Campbell and Warren Mitchell came to Newquay in April 1962, they changed the surf scene of Cornwall forever. They caught the attention of the youth of the town and with the influence of the Beach Boys on promoting the surfers lifestyle, everyone wanted to have to go.
1960
1966
2020 May 1966 welcomes the first British true surfing professional, Rod Sumpter. He grew up in Australia and helped kick-start the Newquay scene from worldwide experiences
Katherine Nancarrow // Group 7
PRODUCT // SURFING HISTORY
ANCIENT
ANCIENT
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ANCIENT
First contact 300AD. Polynesisans migrate to Hawaii bringing their culture. Their boards were flat and solid planks of wood
1810 Design characterised by the deviation from local hardwoods to experiment with different woods such as redwood
1930 Tom Blake revolutionises surfing when he creates the first hollow surfboard
1938
1939
Advancements in materials technology driven by WWII such as development and refinement of plastics, plastic foam and fibreglass, fuel experimentation in surfboard design/ construction
1957 The first bigwave surfboard is produced, constructed from balsa, fibreglass and resin
1961 Around mid-60s, the all-fibreglass fin and later the hard plastic fin replaces the “wood-andfibreglass+ designs. 1967 is known as the year of “The Shortboard Revolution”
1969
1975
Gerry Lopez and Jack Shipley found ‘Lightning Bolt’, which becomes a worldwide sensation. In 1979, engineer Michel Barland invents the first computerised shapingmachine
Glen Winton popularises the ‘quadfin’. Design changes focus on creating thinner, lighter and narrower boards
2005 Development of CAD/CAM software allows creation of computer designed surfboard shapes
Katherine Nancarrow // Group 7
MAKERSPACE 1.2
PRODUCT // SURFBOARD MAKING PROCESS
METHOD 1 (CEMENT MOULD)
METHOD 2 (HAND CRAFTED)
1. FOAMING THE CORE
1. MAKING THE BLANK
The foam core, known as the ‘blank’ is formed in a large two-piece cement mould in the rough shape of a surfboard. When the mould is heated, liquid polyurethane is poured in which triggers a chemical reaction creating a dense, white foam.
Extruded Polystyrene of Expanded Polystyrene foam sheets are glued together using polyurethane glue and held to dry with clamps.
METHOD 3 (CNC MACHINE)
2. ADDING THE STRINGER A stringer is made out of a thin wood such as plywood. The foam block is then cut in half using a hotwire. Then the stringer is glued in between the foam blocks and held together with clamps. The blank is now complete and ready for shaping.
2. ADDING THE STRINGER When the core hardens, it’s cut in half. A stringer (made of wood or fibreglass), is glued in the middle, and the two pieces are clamped together. Stringers provide stiffness and help keep the board from breaking in half.
STEP 1 MAKING OF THE SURFBOARD BLANK (Various methods)
Katherine Nancarrow // Group 7
PRODUCT // SURFBOARD MAKING PROCESS
MAKERSPACE 1.2
7. APPLYING THE FILLER COAT AND ADDING THE FIN A second coat of resin is then applied that causes it to harden completely. The fin is secured with fibreglass tape and a laminating resin. When both sides are dry, a small hole is drilled through the tail to attach the leg leash.
5. FIBREGLASS CLOTH
3. SHAPING THE BLANK After the outline of the finished board is traced and then cut with a saber saw. The surface is then smoothed and contoured to its final shape with a power planer. No templates or automatic machines can do this job.
Once the blank is blown clean, acrylic paint is applied directly to the foam with a spray gun or air-brush. When the paint is dry, fibreglass cloth is laid over the surface of the blank and cut to fit.
4. SANDING A power sander removes any ridges left by the planar, and the stringer is countoured wiht a hand plane. Rough sandpaper is used to shape the sides, and then the blank is given a final sanding with fine paper.
STEP 2 SHAPING THE BLANK
8. FINAL FINISHING 6. LAMINATING THE OUTER SHELL Next, laminating resin is spread over the fibreglass cloth using a rubber squeegee. This process is known as glassing. When the deck is finished, the board is flipped and the process is repeated on the bottom. A second layer is then given to the deck for more strength and wear resistance.
STEP 3 LAMINATING THE OUTER SHELL
Any excess resin is carefully sanded away. Then the board is blown clean with compressed air to remove any residual sanding dust. Decals or colour graphics are now added and then the final coat of gloss resin is brushed onto the board. The board is set aside for 12 hours to harden and finally it is wet sanded with very fine sandpaper, then rubbed, buffed and polished.
STEP 2 FINAL FINISHING
Katherine Nancarrow // Group 7
PRODUCT // PRECENDENTS
MAKERSPACE 1.2
OPEN SURF SHOP & CAFE CORNWALL 2019 BY EMILY AND MARK ANDERSON This former surfboard factory has been transformed into a cafe and shop. The space is open plan and the ceilings have been restored to their original industrial forms. Double height spaces enables surfboard displays to grow. Inspiration has been taken from the coast and the space is very light, bright and “open”. I am inspired by this design, and it will help inform my internal vignettes. I like the very calming colour scheme and materals used. For example to ratten and untouched wood brings a very organic and natural feel that I want to echo in my design. I think the double height ceilings are also successful, as well as the open beams. Furthermore, the display of the surfboard above the counter is minimalistic and effective.
Katherine Nancarrow // Group 7
PRODUCT // VIGNETTES
MAKERSPACE 1.2
Katherine Nancarrow // Group 7
PRODUCT // VIGNETTES
MAKERSPACE 1.2
Katherine Nancarrow // Group 7
PRODUCT // VIGNETTES
MAKERSPACE 1.2
Katherine Nancarrow // Group 7
PROGRAMME // BUBBLE DIAGRAMS
MAKERSPACE 1.2
PLAN PROGRAMME Ancillary Circulation Education Sell Make
Katherine Nancarrow // Group 7
MAKERSPACE 1.2
PROGRAMME // BUBBLE DIAGRAMS
BUBBLE FLOOR PLANS
SKETCH FLOOR PLANS
Storage Circulation Sell Make Educate W.C. Staff Space
BASEMENT
G/F
1/F
2/F
Katherine Nancarrow // Group 7
PROGRAMME // BUBBLE DIAGRAMS
MAKERSPACE 1.2
PICCADILLY ELEVATION
GORE STREET ELEVATION
ELEVATION PROGRAMME Ancillary Circulation Education Sell Make
Katherine Nancarrow // Group 7
MAKERSPACE 1.2
PROGRAMME // VOLUMETRIC STUDIES
G/F
1/F
2/F
Sell Education Make
Katherine Nancarrow // Group 7
PROGRAMME // VOLUMETRIC STUDIES
MAKERSPACE 1.2
SUN PATH ANALYSIS Sell Education Make
Katherine Nancarrow // Group 7
PROGRAMME // AXONOMETRIC FLOW DIAGRAMS
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CIRCULATION Staff Customers Product
Katherine Nancarrow // Group 7
PROGRAMME // INITIAL PLANS
BASEMENT
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G/F
1/F
2/F
Katherine Nancarrow // Group 7
PROGRAMME // INITIAL SECTION
MAKERSPACE 1.2
Katherine Nancarrow // Group 7
RESOLVING // FORM PRECEDENTS
MAKERSPACE 1.2
NOVA RUDA KINDERGARTEN
HEYDAR ALIYEV CENTER
This Kindergarten is wrapped with a double skin facade made of fibreglass. The inner building is covered by a fibreglass-clad wooden frame and the whole structure is then wrapped by a steel and fibreglass shell. The gap between the two layers forms a terrace space. I espescially like the glowing lantern-like effect is acchieves when it gets darker outside. This is something I want to explore in my facade - a design that plays with transluceny and light.
The building’s form is made of a wave-like shell built from a steel space frame and glass-fibre-reinforced concrete panels, concealing the vertical supports wihtin the walls. I am inspired by this design, because it is soft and flowing, which I think mirrors the sea’s waves, relating back to my product (surfboard). In my design I want to explore this wave shape in the facade.
PETR STOLIN ARCHITEKT CZECH REPUBLIC 2019
ZAHA HADID BAKU, AZERBAIJAN 2012
Katherine Nancarrow // Group 7
RESOLVING // DEVELOPING PLANS
MAKERSPACE 1.2
Katherine Nancarrow // Group 7
RESOLVING // DEVELOPING PLANS
MAKERSPACE 1.2
SURFBOARD MAKE SCHEDULE Pre-Production Board Shaping Board Finishing Storage
Katherine Nancarrow // Group 7
MAKERSPACE 1.2
RESOLVING // PLAN CRITIQUE
BASEMENT
G/F
Katherine Nancarrow // Group 7
RESOLVING // PLAN CRITIQUE
1/F
MAKERSPACE 1.2
2/F
Katherine Nancarrow // Group 7
MAKERSPACE 1.2
RESOLVING // PLAN DIAGRAMS
GROUND FLOOR
BASEMENT
FIRST FLOOR
Public
SECOND FLOOR
Private
Customer Flow
Goods Flow
Staff Flow
Access
Katherine Nancarrow // Group 7
RESOLVING // STRUCTURE
MAKERSPACE 1.2
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6.3
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6.3
6.3
WORKS PARTNERSHIP ARCHITECTURE (WPA) PORTLAND, OREGON, USA 2015
This small commercial building has a superstructure of engineered timber. The columns and beams are visible through the glass curtain wall. The design highlights how wood is starting to take over from steel and concrete, praised for its sustainability, quality and speed of construction
Inspired by WPA’s construction of a glulam structure, I used their structural grid as guidance for creating my own.
Katherine Nancarrow // Group 7
MAKERSPACE 1.2
RESOLVING // SKETCH MODEL
1:100 SKETCH MODEL I created this model using grey card and wooden sticks to form the rough structure of my building using columns. This helped me visualise the space, and the use of double height floors on the G/F and 2/F. Furthermore, my taking internal photos of model, I realised that having an open plan at the front of the building, with the private areas at the back is successful. The cantilevering levels above the G/F is effective and creates a more dynamic structure. Furthermore, the diagonal cut back on the G/F creates an effective and obvious entrance.
Katherine Nancarrow // Group 7
RESOLVING // STAIR DESIGN
LINDVALL A & D
VILLA J2 PAINTED STEEL SPIRAL STAIRCASE AND TIMBER STAIRS
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MEI ARCHITECTS
MCONDALDS, ROTTERDAM
Both of these stair precendents are smooth and clean winding spiral staircases that are both prominent features in their respective spaces. The McDonalds stair’s are especially a feature stair, which I am inspired by. A big central spiral staircase would enable draw in people’s attention from outside, provides views down into the ground floor, and is flowing like water.
Katherine Nancarrow // Group 7
RESOLVING // STAIR DESIGN
MAKERSPACE 1.2
SPIRAL STAIRCASE DESIGN Floor to ceiling height: 5200mm Ground floor to first floor height: 5500mm Riser height: 196mm Stair width: 2000mm Outside diameter: 5000mm Inside diameter: 1000mm Sweep: 360 degrees Materials: painted white steel and timber
Katherine Nancarrow // Group 7
RESOLVING // STAIR DESIGN & CIRCULATION
MAKERSPACE 1.2
CIRCULATION SECTION
FIRE STAIR DESIGN
ISOMETRIC
SECTION
PLAN
Fire Stairs Goods Lift Spiral Staircase
Katherine Nancarrow // Group 7
RESOLVING // MATERIAL AND FORM
MAKERSPACE 1.2
BEHNISCH ARCHITEKTEN
KARLSRUHE INSTITUTE OF TECHNOLOGY GERMANY 2020
Translucent polycarbonate panels encase the concrete and timber laboratory at the Karlsruhe Institute of Technology. It has corrugated plastic cladding and a distinctive irregular sawtooth roof that echoes the industrial buildings that surround it. I am inspired by this saw-tooth roof, as it is effective in a factory setting, but there is a contemporary twist to it as the shape is slightly modified in comparison to a traditional sawtooth roof. Furthermore, polycarbonate cladding has been used which creates a nice translucent effect. Polycarbonate is also a sustainable (easy to recylce), cheap and easy to construct material, therefore it would be a good material to use in my building facade. The saw-tooth roof has been constructed from what appears to be glulam or timber beams that exposed, contributing towards the industrial feel of the space. Glulam beams would work well in my building and saw tooth roof as they are exposed and have a natural effect which reflects my surfing and organic theme.
Katherine Nancarrow // Group 7
RESOLVING // FACADE DESIGN
MAKERSPACE 1.2
A polycarbonate translucent sheet is attached to the facade on the first and second floors, extending up to the saw tooth roof. Windows cut out from facade span over two floors. The ground floor is made up of a glass curtain wall
The polycarbonate sheet has been cut into a wave, which plays with light and translucency. In the day, windows covered by the polycarbonate will have privacy, and at night, light from the inside of the building will change the visibility of the windows from outside.
This design has a more experimental saw-tooth roof design. The windows also span across three floors. This plays with proportion effectively and creates an interesting perspective.
The polycarbonate wave sheet has been cut into two here to further trial out light effects on the facade. The saw-tooth roof is a single tooth, however I think this would’nt let in sufficient light.
Katherine Nancarrow // Group 7
MAKERSPACE 1.2
RESOLVING // FACADE DESIGN
TEST 1 Polycarbonate sheet formed into a wave at the top. This design would mean no windows above the ground floor would let in/out visability or views, but would let in light.
TEST 2 The polycarbonate sheet has a wave at the top and bottom. This design creates privacy with the polycarbonate for the consultation space on the first floor as well as the meeting and design room on the second floor, which is a good use of the material.
TEST 3 The polycarbonate wave has been slightly stretched here, making the wave more elongated. I think this is less effective.
Katherine Nancarrow // Group 7
RESOLVING // FACADE DESIGN
MAKERSPACE 1.2
TEST 1
TEST 2
The curtain wall extends to the back of the building up until the deliveries entrance at the back on Gore Street. This means that all of the open plan space on the ground floor is open to the street to look into. The polycarbonate doesn’t extend up to the roof.
I have tested the polycarbonate sheet to extend up to cover the side of the saw-tooth roof. This creates a more continuous and consistent design, that is very clean.
TEST 3 I have added more windows, so as to cover up all the columns inside the building. I think this is more effective and also mirrors the front facade window design.
Katherine Nancarrow // Group 7
RESOLVING // FACADE MATERIALITY
MAKERSPACE 1.2
HERZOG AND ME MEURON LABAN CENTER LONDON, ENGLAND 1997
The structure is enclosed in a double-skin facade with a 60cm ventilated cavity between two layers. The outer skin, which provides thermal insulation and acts as a visual screen, consists of polycarbonate sheeting - either transparent or in different colour tones. The coloured coating was applied to the rear face of the inner layer of sheeting, which lends the skin a pastel-like, three dimensional effect and forms a visual aid to orientation. The inner skin consists of translucent double glazing. The double-skin facade creates a subtle reciprocity between inside and outside: the colours of the facade panels shimmer internally, while externally one sees the shadowy forms of the dancers in the evening. Similarly to this building, I want my polycarboate facade to experiment with translucencies through the use of windows sometimes covered and other times not covered by the polycarbonate sheet.
Katherine Nancarrow // Group 7
RESOLVING // FACADE MATERIALITY
MAKERSPACE 1.2
Tall glass windows spanning up the first floor to 3370mm up the second floor. Glulam and CLT floor beams visible through windows.
Polycarbonate sheet with 90% light transmission fixed onto exterior cladding of building. Lets in light, but by covering some windows it allows for privacy as well as revealing the full windows at night when interior lights are on.
Zinc exterior cladding to achieve a clean, dark finish that contrasts against the large windows and curtain wall system below.
Glass curtain wall system, stick glazing. Interfaces with edges, and adjacent materials formed by metal flashings.
Suspended surfboards as a corner window display.
Polycarbonate sheet fastened on using aluminium clamps. Acrylic coating overcomes yellowing overtime.
Katherine Nancarrow // Group 7
MAKERSPACE 1.2
RESOLVING // DEVELOPED PLANS
BASEMENT
GROUND FLOOR
FIRST FLOOR
SECOND FLOOR
Katherine Nancarrow // Group 7
RESOLVING // DEVELOPED SECTIONS
MAKERSPACE 1.2
SECTION AA
SECTION BB
PICCADILLY
GORE STREET
Katherine Nancarrow // Group 7
MAKERSPACE 1.2
OUTPUT // ELEVATIONS
PICCADILLY FRONT ELEVATION
GORE STREET SIDE ELEVATION
Katherine Nancarrow // Group 7
OUTPUT // 1:50 BASEMENT PLAN
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Katherine Nancarrow // Group 7
MAKERSPACE 1.2
OUTPUT // 1:50 GROUND FLOOR PLAN
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10 m
Katherine Nancarrow // Group 7
OUTPUT // 1:50 FIRST FLOOR PLAN
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10 m
Katherine Nancarrow // Group 7
MAKERSPACE 1.2
OUTPUT // 1:50 SECOND FLOOR PLAN
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10 m
Katherine Nancarrow // Group 7
OUTPUT // 1:50 SECTION
MAKERSPACE 1.2
Katherine Nancarrow // Group 7
OUTPUT // 1:50 SECTIONAL MODEL
MAKERSPACE 1.2
Katherine Nancarrow // Group 7
OUTPUT // 1:50 SECTIONAL MODEL
MAKERSPACE 1.2
View from the first floor looking out onto Gore Street.
Spiral staircase spanning from the ground floor to the first.
Close up view of the saw-tooth roof looking down onto the second floor.
Skylight in the surfboard glassing room of the second floor.
Looking down into the CNC machine room through the window in the ceiling.
Meeting room on the second floor with translucent polycarbonate walls to increase privacy.
Katherine Nancarrow // Group 7
OUTPUT // 1:50 SECTIONAL MODEL
MAKERSPACE 1.2
Katherine Nancarrow // Group 7