PORTFOLIO kenji ikegaya part 1 welsh school of architecture
YEAR 3 ALCHEMY HAFOD PROJECT site photos
LONG SECTION THROUGH SITE
PARK
EDUCATION
OVERVIEW SITE The site exists on a section of the Hafod Copperworks complex. Now derelict and forgotten, most of its structures have been buried or stripped. Existing buildings are hidden in excessive vegetation, while the ground has been poisoned due to years of industry. ZUMTHOR- WITCH TRIALS
ZUMTHOR - HOUSING FOR ROMAN RUINS
Three grade II listed buildings exist on site: - Vivian Engine House (empty) - Musgrave Engine House (engine intact) - Locomotive Shed (empty) BRIEF To imbue site with purpose in the form of a heritage center and communtiy housing. INTERVENTION To utilize listed structures to act as “nodes” for three renewed programme on site: Education, Communtiy and Purpose.
LOUISIANA ART GALLERY
PARC DE LA VILETTE
COMMUNITY
- Education: heritage centers and unearthed ruins - Community: retail, restaurants, housing and ampitheater communal space, - Purpose: art studios that transform site into both park and gallery.
PURPOSE
RESEARCH FOR MAPPING THE RUINS
DIAGRAM OF FURNACES FROM THE BOOK “COPPEROPOLIS” BY STEPHEN HUGHES
EARLY 1900S AERIAL PHOTO FROM COFLEIN.GOV.UK
DIAGRAM OF FURNACES FROM THE BOOK “COPPEROPOLIS” BY STEPHEN HUGHES
EARLY 1900S AERIAL PHOTO FROM COFLEIN.GOV.UK
TIMELINE HISTORICAL MAP 1:500
TIMELINE HISTORICAL MAP 1:500
MAPPING THE RUINS
intaining its functionality and al artifacts, with huge potene is a mystical ruin of its ndustrial revolution and recwe can attempt to “rebirth”
s and residents can engage s will be expressed via ruinous state by “touching
ntrasting elements in the form explore the site and interact ral at first, it is revealed to be over the ruins of the site. By sent, and propose that one al Swansea artworks and hisaces will act as exhibition paansea’s “glory” had on its Rebirth” stage will be an using for a lightweight worka’s golden era of copper sing will also be present and pper smelting constructions.
In order to effectively utilize the memory and heritage of the Hafod site, an appropriate level of research was required. The ruins of Hafod were mapped and studied, utilzing aerial photographs, diagrams from educational books and Coflein (online database for the National Monuments Record of Wales). The image on the left shows the layers of possible ruins underneath the site, with newer more intact ruins shown darker and older, less intact ruins shown lighter.
SCREEN CAPTURE FROM COPPEROPOLIS DOCUMENTARY COMMISIONED BY THE ROYAL COMMISION ON THE ANCIENT AND HISTORICAL MONUMENTS OF WALES.
its future be one of continboth cultural and historic
THEORY
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me a propelling force when it because of form which acnt functions over time.
RESEARCH FOR MAPPING THE RUIN
DIAGRAM OF FURNACES FROM THE BOOK “COPPEROPOLIS” BY STEPHEN HUGHES
EARLY 1900S
centered on an urban arte.
relationship between monu-
SCREEN CAPTURE FROM COPPEROPOLIS DOCUMENTARY COMM COMMISION ON THE ANCIENT AND HISTORICAL MONUMENTS OF
n artefact changes over time.
ed points and the only sign
Colin Rowe
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should be applied strategian nurture itself.
lage City Proposal: City ast, present and future. Laymaller designs rather than ngeibility, and total design.
SCREEN CAPTURE FROM COPPEROPOLIS DOCUMENTARY COMMISIONED BY THE ROYAL COMMISION ON THE ANCIENT AND HISTORICAL MONUMENTS OF WALES. Currently Listed Buildings 2012-
Still present in the 1960’s
Still present in 1950’s
Still present in the 1910’s
Still present in the 1890s
MAPPING MODEL By creating a conceptual model of the potential artefacts and possible decking that might be formed, the site begins to organize itself, with artefacts clustering around engine houses. Pylons were inserted in the form of nails to conceptualize how the pylons could interact with the artefacts, as well as how they could help define routes. m: copper embossing, grey card, plasticine, nails, corrugated card
PROCESS
The following diagrams showcase the logic and philosophy behind the design.
1. Current state of the site: artefacts hidden by unctronlled excessive vegetation. Site can provide programme for: Education, Community and Purpose.
musgrave engine house vivian engine house retaining wall gas container
locomotive shed
1. Current state of the site: artefacts hidden by uncontrolled excessive vegetation. Site requires programme for : Education, Community and Purpose.
2. Mapping the scale of Copperopolis, in order to access the memory of the site.
2. Mapping the scale of Copperopolis , in order to allude to the memory of the site.
3. Education: Copper clad steel pylons reflect the steel columns that provide the framework of the Hafod site. Site furnace plinths reflect the footprint of the furnaces on the Hafod site.
3. Education: Copper-clad steel pylons reflects the steel columns that provided the framework of the Hafod site. Site furnace plinths reflect the footprint of the furnaces on the Hafod site.
4. Education: Artefacts act as bookmarks for excavated programme on site. Nurbs surface is draped on top of ruins. Engine house acts as node for education.
potential ruins to be excavated
4. Education: Artefacts act as bookmarks for excavated programme on site. Nurbs surface is draped on top of the ruins. Engine house acts as node for education.
5. Education: Excavated programme allows for permeability and accidental access. Encouraging visitors to interact with actual unearthed historical artefacts on site.
cantilevered section exposes the layers of vegetation and soil on the current site.
5. Education: Excavated programme allows permeability and accidental access, encouraging visitors to interact with actual unearthend historical artefacts on site.
pylons are offset and dense in areas that routes do not cross
pylons flood empty Vivian engine house and are absent where the engine used to be, accentuating its absence.
6. Pylons are swept through them main spine of the site, with avenues coming off and clustering at important historical artefacts e.g. furnaces and engine houses. Pylons change density to allow routes through the site.
6. Pylons are swept through the spine of the site, with avenues coming off and clustering at important historical artefacts e.g. furnaces and engine houses. Pylons change density to define routes through the site.
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7. Pylons change height and programme depending on historical artefacts and views. They act as symbolic interpretation of trees, reinvigorating vegetationin a controlled, yet natural manner that respects the scale of the site.
pylons have slots for upside down planters, allowing for community fed vegetation.
pylons lose height when certain views are viable from boardwalk, can subsequently be used for seating. pylons gain height around furnace plinths, forming partial enclosure
pylons become structural, mirroring the musgrave engine house and providing structure for visitors center.
7. Pylons change height and programme depending on historical artefactse and views. They act as symbolic interpretation of trees, reinvigorating vegetation in a controlled, yet natural manner that respects scale of Hafod site.
8. Community: Gas container retaining wall acts as node for community. Visitors are led behind the retaining wall to reveal ampitheater that allows access to community: Housing, restaurants and retail. Community is therefore influenced by Hafod artefact.
ampitheater utilized in the summer, with engine house and chimney as backdrop.
housing
community led retail
black marble memorial to the families of hafod, reflects burnt out furnace on opposite side of wall.
8.Community: Gas container retaining wall acts as node for community. Visitors are led behind the retaining wall to reveal ampitheather that allows access to community: housing, restaurants and retail. Community is influenced by hafod artefact.
9. Purpose: Locomotive Shed regains its validity in the form of art studios that are connected to the rest of the site via a reinvigorated railroad track. Artwork is hosted on furnace plinths. Artwork and supplies, as well as disabled users utilize the rail system.
9. Purpose: Locomotive shed regains its validity in the form of art studios that are connected to the rest of the site via a reinvigorated railroad track. Art work is hosted on furnace plinths. Artwork and supplies, as well as disabled users utilized rail system.
Park: multipurpose space, leads visitors in
Furnace plinths: provides stage for art made in on site art studios
Engine Houses: heritage center, exhibition, entrance to excavated ruins
Retaining wall: provides link to housing, retail, restaurants, stages communal ampitheater space
Locomotive shed: art studios, cafe, art is delivered to site via railway line
DESIGN In designing the masterplan, it was important to sensitively utilize important historical artefacts from the site’s past. On the left important historical artefacts are symbolized in copper. They provide the nodes or anchors to the three programmes that exist on site.
1.
2.
3.
4.
5.
PYLON LOGIC
6.
7.
1.
Pylons define routes. Double formation pylons block access while single formation pylons encourage permeability.
2.
Pylons create avenues. Trees provide canopy within avenues. Avenues are either park or gallery spaces.
3.
Pylons accentuate voids. Pylons accentuate missing elements of current site by allowing voids. e.g. missing engine in Vivian Engine House.
4.
Pylons provide framework. Pylons become pitched frames at points and provide structure for both Musgrave Engine House roof and heritage center.
5.
Pylons stress significance. Pylons gain height around significant artefacts and elements of site, stressing their importance and forming enclosure.
6.
EXCAVATED LOGIC NURBS surface is draped over excavated ruins, creating floowing space that is permeable yet simultaenously protects ruins.
7.
RAIL WAY LOGIC Railway runs along main spine of site, with secondary “pods� coming off at avenues to either drop off disabled users or heavy artwork. artwork is secured to gallery plinths via the use of heavyweight pins.
PYLON MODEL This model shows how the pylons intreact with the ruins underneath. The pylons cluster around significant historical artefacts, and are thus densest around the engine houses. Potential significant furnaces and ruins that lie underneath the site are modeled with copper embossing. m: copper embossing, grey card, piano wire, corrugated card
PARK
In the park phase of the site, the pylons house communal upside down planters, these planters help to simultaneously control and encourage plant growth. plants grow downards and purify the poisonous soil metaphorically and literally.
This diagram shows the timeline and possibilities of the upside down planters. As time goes on the soil becomes less poisonous and richer with nutrients via phytoremediation.
EDUCATION
G floor plan of engine houses, heritage center and excavated programme. multiple staircases to excavated progamme encourage exploration.
Vivian Engine House: Entrance
Musgrave Engine House: Heritage / Visitor Center
Excavated programme
UG floor plan of engine houses and excavated progamme. ruins lie on top of poisoned soil
VIVIAN ENGINE HOUSE
The Vivian Engine House manifests itself as a place where the pylons crescendo, intesnifying in height and density, forming pitched frames and creating a semi - enclosure. Visitors enter through the void left by the steam engine.
BOARDWALK
Pylons crescendo at furnace footprint plinths, forming enclosures and accentuating theri significance. These plinths house art work made on site. Diagrams to the right showcase conceptual alternatives ranging from pylons reducing height as they get closer to the plinths.
HERITAGE / VISITOR CENTER The visitor’s center reflects the pitched roof of the Musgrave Engine House, with pylons providing the structural framework for the intervention. The Musgrave Engine House acts as an exhibition devoid of intervention, in stark contrast to the Vivian Engine House.
EXCAVATED PROGAMME LOGIC The excavated programme logic is as follows: the surface is lifted over the ruins, while the surface around the ruins is depressed. This creates a perforated typology that allows for protection and permeability. The desired effect was created by utilizing 3Ds Max to createa NURBS surface over the ruins.
EXCAVATED PROGRAMME After applying the excavated progamme logic, a “leftover” form was left puncturing the site from the opposite direction. This form was utilized to showcase the different layers of soil on the site, acting as a “slice” through the site, informing visitors of the numerous layers of soil on the site.
COMMUNITY
The curved retaining wall acts as the “joint� and mid point of the site, as well as acting as the link to the site and the community that lies above it. Visitors are forced to interact with the memorial to the Hafod families, as well as intreacting with the poisoned soil that the retaining wall lies on. Thus visitors come to terms with the consequences of the site.
HOUSING TYPOLOGY Housing on site manifests itself as social housng that runs along the ruined retaining wall of the old canal. Each housing unit allows for views onto the site, encouraging exploration and reinforcing the link between the site’s heritage and its present programme.
MARKETPLACE AND AMPITHEATER
Communal martket stalls radiate from the ampitheater, creating a communal space that is staged by the ruins of the site.
PURPOSE
G floor plan of Locomotive shed and art studios. Revolving doors encourage permeability and heat control in the Summer. Bottom floor utilized as temporary gallery space and provides transition between art studio and railway link.
1st floor plan of Locomotive shed and art studios. Art studios arranged in variety of sizes according to use. Open ended spaces for artists to customize and utilize. Mezzanine allows visitors to observe artists at work. Sliding doors allow easy transporation of materials and art work.
LOCOMOTIVE SHED ART STUDIOS Fully glazed roofing and art studios allow for maximum daylight, as well as allows visitors to view artists at work.
Artwork made in art studios are fed to the railway via the use of scissor elevators and revolving doors.
ARCHITECTURE TECHNOLOGY
= Additions to Script
DPM 3 Tasks 2 & 3
WEAVING ROOFSCAPES
RIBBON WEAVE & FORCE FIELD
Aim: Expanding & customising a parametric weave to create a weaved surface with varying amplitudes. Application:
= Additions to Script
Creating a roof that undulates with varying amplitudes at specific points according to the users specification. I.e a weaved roof that becomes more porous as the amplitue of the weave increases.
Fig 1.9 Ribbon weave series as control point is moved across the splines.
utility RibbonForceField "RibbonForceField" Fig 1.0 Manual Ribbon Weave (utility RibbonForceField "RibbonForceField" ( global mySplineShape global mySplineShape myRibbon •Step 1-Taking the Ribbon Weave Utility Script myRibbon = 10 global amplitude amplitude global steps = 20= 10 •Step 2– Experimentation - Affecting the amplitude through changing fixed = Additions to Script values in the ribbon weave script steps = 20 global sweepMod sweepMod global range = 100 Fig 1.9 Ribbon weave series as control point is moved across the splines. •Step 3- Combination with a force field script global range = 100 controlPoint utility RibbonForceField "RibbonForceField" controlPoint global minValue =0 utility "RibbonForceField" ( •StepRibbonForceField 4- Applying the ribbon weave & force field script to multiple splines minValue ==040 global maxValue ( global mySplineShape WEAVING ROOFSCAPES utility RibbonForceField "RibbonForceField" global maxValue = 40 mySplineShape •Step 5- Applying the force field script to a weaved surface global myRibbon The( script starts byobj defining our script as SplineShape) a “Ribbonforcefield script.”objThe fn spline_filt = ((classof obj == or (classof ==existing line)) myRibbon = 10 global amplitude global mySplineShape utility RibbonForceField "RibbonForceField" fn spline_filt obj = ((classof obj == SplineShape) or (classof obj == weave script, while the added global variables are variables that haveline)) been amplitude 10 global steps = 20=Precedents global myRibbon Additions to Script ( utility RibbonForceField "RibbonForceField" pickbutton selectControlPoint_btn "Select Control Point" and adapted for use in=our global steps = 20 sweepMod global amplitude 10 script. Global parameters such as the range, contr global mySplineShape ( pickbutton selectControlPoint_btn "Select Control Point" readonly:true edittext controlPointName_tf "Control Point:" text:"NONE" sweepMod global range = 100 the existence of a control global steps = 20 point that has influence on the weave. This influence 1.9 Ribbon weave series as control point is moved across the splines. global myRibbon mySplineShape edittext controlPointName_tf "Control Point:" text:"NONE" readonly:true pickbutton selectSpline "Select Spline" width:140 filter:spline_filt range = 100 global controlPoint globalThe sweepMod maxValue.” minValue and maxValue limit the amplitudes to certain values wh tility RibbonForceField "RibbonForceField" global amplitude = 10 myRibbon pickbutton selectSpline"Spline: "Select "Spline" width:140 filter:spline_filt edittext selectedObject text:"NONE" readonly:true width:138 controlPoint global minValue =0 global range = 100 the influence ofselectedObject the=control tility RibbonForceField "RibbonForceField" 20= 10point. global amplitude edittextsteps "Spline:" "range:[1,1000,steps] text:"NONE" readonly:true width:138 spinner steps_spinner "Steps: type:#integer minValue ==040 global maxValue global controlPoint utility RibbonForceField global mySplineShape global Fig 1.6 Bodegas Ysios, Alva, Spain. Fig 1.7 Southern cross "RibbonForceField" Victoria, Fig 1.8 The Meiso no Mori Musteps = 20 spinnersweepMod steps_spinner "Steps: " range:[1,1000,steps] type:#integer amplitude_spinner "Amplitude: " range:[1,1000,amplitude]type:# global 40andstation, Santiago CalatravamaxValue Australia.= Grimshaw Daryl Jackson nicipal Funeral Hall in Gifu, Japan. global minValue = 0 Toyo Ito ( global myRibbon mySplineShape global =line)) 100"Range: sweepMod amplitude_spinner "Amplitude: " range:[1,1000,amplitude]type:# spinner range_sp "type:#worldunits range:[0,1000000,range] The script starts byobj defining our script as SplineShape) a “Ribbonforcefield script.”range The variables define the original ribbon fn spline_filt = ((classof obj == or (classof obj ==existing global maxValue = 40 global mySplineShape myRibbon = 10utility global amplitude global controlPoint range = 100 range_sp "Range: "type:#worldunits range:[0,1000000,range] spinner minValue_sp "Min Value: "type:#worldunits range:[0,1000000,mi RibbonForceField "RibbonForceField" fnscript, spline_filt ((classof obj ==variables SplineShape) or (classof obj == line)) weave whileobj the= added global 1are variables that have been extracted from the Force field script Patel, Karimah Hassan & Kenji Ikegaya global myRibbon amplitude global Jaisteps = 20= 10utility global minValue = 0 minValue_sp "Min spinnercontrolPoint maxValue_sp "MaxValue: Value:"type:#worldunits "type:#worldunitsrange:[0,1000000,mi range:[0,1000000,m ( pickbutton RibbonForceField "RibbonForceField" "Select Control Point" fnasspline_filt objcontrol = ((classof obj ==minValue/maxValue SplineShape) or (classof obj == line)) for selectControlPoint_btn use in=our the range, point and allow global amplitude 10 script. Global parameters suchglobal steps = 20 and adapted global sweepMod maxValue = 40 minValue = 0 spinner maxValue_sp "Max Value: "type:#worldunits range:[0,1000000,m button generate_button "Generate" enabled:true width: 140 height:50 global mySplineShape ( pickbutton selectControlPoint_btn "Select Control Point" readonly:true edittext controlPointName_tf "Control Point:" text:"NONE" the existence of a control point that has influence on the weave. This influence is defined by the “range, minValue and global steps = 20 sweepMod global range = 100 global maxValue = 40 button generate_button "Generate" enabled:true width: 140 height:50 point is moved across the splines. global myRibbon mySplineShape edittext controlPointName_tf "Control Point:" text:"NONE" readonly:true pickbutton selectSpline "Select Spline" width:140 filter:spline_filt pickbutton selectControlPoint_btn "Select Control Point" global sweepMod range = 100maxValue.” global controlPoint The above function is picked as do aobj filter to ensure thatofonly fn obj =utilized ((classof == function SplineShape) (classof objsplineshap == line)) The minValue limit thewidth:140 amplitudes tospline_filt certain values while the range determines theorradius on selectSpline obj "RibbonForceField" global amplitude =and 10 maxValue myRibbon pickbutton selectSpline "Select "Spline" filter:spline_filt edittext selectedObject "Spline: text:"NONE" readonly:true edittext width:138 controlPointName_tf "Control Point:" text:"NONE" readonly:true global range = 100 Fig 1.0 shows an initial model of the above aim achieved via manually adjusting the amplitude of a nurbs surface and extracting the ‘ edge loop’ splines.
RIBBON WEAVE & FORCE FIELD
Fig 1.1 Step 1
BBON WEAVE & FORCE FIELD Fig 1.2 Step 2
Fig 1.3 Step 3
Fig 1.4 Step 4
Fig 1.5 Step 5
DIGITAL PARAMETRICS
UV allows for the swapping of weft and warp splines.
CONCLUSION
Fig 2.0 From Top Left: original nurbs weave script, non generated nurbs surfaces and control point, series diagrams as the control point is moved across the nurbs weave.
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The script we have produced essentially produces a non uniform weave which has plentiful application in design. For example, exterior faรงade design, as we have modeled it for, as well as imaginative structural solutions for complex geometries. The way the script is structured means that it can be tailored to respond to exterior conditions via the force field script. For future development we would like to see this script developed so it can incorporate multiple control points, so that multiple factors can affect the weave, thus resulting in more complex design solutions.
YEAR 2 VERTICAL STUDIO BIG SPAN
To read the site in a more manageable scale we created a 1:10 site plan, to help locate the focal point of the structure and how the structure will engage with the site.
OVERVIEW
Having decided that the main part of the structure should face the commemorative plaque we mapped out the outline of the decided structure BRIEF To utilize pre cut timber beams in order to create arranging it around parameters. a built installation that imbues the garden the with SITE Temple of Peace gardens, devoid of real purpose, contains a few benches and a memorial stone.
purpose and encourages visitor interaction.
INTERVENTION A series of frames typologies were created, allowing for long, short, dense and permeable frames. These typologies were bolted together to create a installation that leads visitors in, and allows them a seat to address the memorial stone, as well OurThe main idea towards the as framing a view of the garden. installation structure was to split it into remained on site for two weeks.
3 categories - threshold, enclosure, and view point or place. We tried to represent this in a Photoshop montage showing how the visitor could be drawn into the site and experience enclosure and how through the creation of this pavilion they could get in touch with the main purpose of the garden as a peaceful place.
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Construction Sequence Using the model truss design, and reconfiguring the truss type according to the truss developments stage, we developed a step by step sequence for the construction process, which was used in an onsite format for reference when constructing the full size structure.
FRAME TYPOLOGIES
CONCEPTUAL DEVELOPMENT
Truss combinations take three different forms. Firstly, the bench truss combination, secondly, the “sweep” connecting the double truss to the bench and thirdly the “sweep” from the double truss addressing the arch, which we term the “threshold” The bench truss combination works due to a C frame truss interlocking with a D frame truss, both slightly leaning towards each other and forming a self supporting structure. A A/C frame locks onto the left side and a E frame locks onto the right side, exaggerating this leaning effect. These structures all interlock, creating a self-sufficient structure. The main effect we attempted to achieve was a “swoop” in the top beams of the A/C, C, D and E trusses. Thus this is why the trusses “reduce” in height, from the tall A/C frame to the lower E frame. This concept is carried throughout the structure. The A/C frame and the C frame are braced with cut 1/2. C-frame to the left, 3. A/C-frame leftare braced 4. E-frame locks intobench right with5. A-frame on its side timber, creating a low bench, while the Dlocks and Einto frame creating a high back support. interlocked with bench D-frame side through, which in turn supports threads through back of The entire structureside then supports an A frame that threads a D frame
on right
bench
truss.
The red dots indicate where the connection is located along the axis. The yellow dots represent where the
other locks holes onto are drilled. piece of timber is drilled location, makingonto it an easier9/10. process. 6. E-frame end Each 7. Double truss goes to- in the same 8. A-frame threads D-frame and C-frame of thread 5 gether - A/H-Frame sharing A-end of double truss interlock at bottom-front the top member
11. A-frame threads through to stabilise 9/10
12/13. D & E-frames slot into thread 11
14. C-frame leans on double truss and truss 7 15/16. A & A/C-frames thread together and lean on 14
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Health and Safety Considerations not
showed us that the use of
off the structure, but also taped off the archway entrance. Rope was used as a boundary and further threshold. Additional signs stressing the fragility of the structure as well as signs stating that CCTV was in operation helped ensure the safety of the structure overnight, and to our relief, the structure survived the night. It helped influence the design as safety considerations meant that the structure was designed to be structurally sound at all times.
Thus health and safety was only part of our exclusive input during the project. Through the whole project, we coordinated well with the other teams aiming to achieve a successful group result. So even though our responsibility towards health and safety issues was significant, out general experience in terms of group work and harmonic coordination was also significant.
responsibilities
we
did
hardhats to was the very legitimate, we believe that The expect, finalhowever design responds conditions identiand that safety considerations we adapted aptly. Our job took are very important. found threshold extra role as construction fied on inanthe site investigations. A We loose out that we were adaptable and continued as we found ourselves that health and safety is not in charge of ensuring not only our draws you from the entrance of the only garden along limited to the safety of our team team members safety, but the mates, but also the After safety of passing safety of to any potential overnight the axis the temple of peace. the structure overnight, and any visitors. We cordoned off the site visitors thatthe pass by.structure a knot of with the the use of blue nylon andpoint through tallest of danger signs, however during Whilst we that had roles as health the night our structure collapsed. timber forms an enclosure reorients the oband safety coordinators, we Most of our teammates blamed helped just as much asthe others attention on vandals,Here and thusawebench set out server. refocuses back the construction side of things. to create a greater threshold We helped create trusses, and and barrier between public park out to the garden and significantly the inscriptions at its enin both the initial space and the structure itself. We design (model making), design used actual safety tape (black on trance. changes, and final construction. yellow) and not only cordoned
Our roles as health and safety coordinators required us to not only acquire safety equipment such as hard hats and gloves, but to also oversee safety considerations during construction. This included ensuring everyone was wearing a hardhat, wasn’t carrying too much and was behaving in a safe, appropriate manner. Climbing was limited to structures that were stable, and I am glad to say that no accidents occurred. Most of our teammates cooperated with our insistence of hard hats on the construction site, and those who did not cooperate were not allowed to be near the trusses. For the most part, people wore hard hats, and if they did not we would intervene and either give them a hard hat, or, if they did not want one, ask them to help from afar. I am glad to say that almost all of our team cooperated with our safety considerations, used hard hats, and acted in a safe, mature manner. The gloves also proved unnecessary, as the timber finish was smoother than expected. As we
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the project progressed, saw ourselves obtain
The collapse of the structure
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Kenji Ikageya and Julia Baltsavia
YEAR 2 SUMMER PROJECT RENNIE STREET
OVERVIEW SITE Trinagular plot of greenery along Rennie Street, Cardiff. Site situated between low and mid income housing. BRIEF To reinvigorate site with purpose, alleviating social tensions and retaking the street for communal use. INTERVENTION In accordance with Herman Hertzberger’s view of the street as the “glue” between communities and as a “playground” the street’s role as a playground and communal space is legitimized - a semi enclosed roof provides a sense of enclosure. The street is pedestrianized, with children encouraged to play and interact. Parents are able to look after their kids and interact with one another from the decking. The green plot is extended to allow areas for sunbathing and park activities.
The section below shows the transitional activities from day to night. The roof slopes upwards allowing for different scales of interaction. The wall that seperates the low and mid income housing is now utilized as a structure kids can climb, and personalize with plants or art, rather than a barrier.
The secton below shows the appropriate scale of the strcture, the semi enclosed nature of the space and the variety of interactivty that exists on site. The decking area can be seen to allow for interaction.
YEAR 2 BARRY PROJECT physical lighting model
1900
1921
OVERVIEW SITE The site exists on Barry’s Magistrates Court, centrally located, however surrounded by low income housing and low qualitiy retail. BRIEF To create an intervention that will alleviate Barry’s social issues, such as emigration and youth dissatisfaction.
1970
2011
INTERVENTION In an effort to appeal to as many social demographics as possible, music was chosen as a unifying programme for the site. A Musical Academy Center was designed for the site. Utilizing locally produced slate, the structure is an appropriately heavy element along the street, however is lightweight and spacious once entered.
The site boundaries were analysed to allow for views into the site, views out of the site, and easy access. The street adjacent to the site is pedestrianized to allow visitors to filter through onto the site.
CONTRASTING PROGRAMME The design itself is split in two programmes, the aboveground programme and the belowground programme.The above ground programme contains conventional concert programme such as concert halls, reception and cafe, while the below ground programme contains musical studios and underground concert halls. These contrasting programmes are linked via the use of cymatics, that run through the site. If a band utilizes a rehearsal room belowground, cymatics will begin to visualize the sound for visitors above ground.
This section through the site shows the light, open nature of the above ground programme, and the darker nature of hte underground programme.
DIGITAL DAYLIGHT MODELLING Utilizing 3DsMax, digital daylight modelling is analysed for the underground programme for different periods of the day. For parts of the day (morning) when daylighting is sufficient, artificial lighting is not required.
JUNE 1st 9am
4pm
DECEMBER 31st 9am
4pm
YEAR 1 HOUSING AND RETAIL PROJECT
physical form finding model
OVERVIEW SITE The site exists by Cardiff bus station, on a vacant plot of land. BRIEF To utilize natural form finding to create a housing and retail complex with detailed housing typologies. INTERVENTION The natural form of Tafoni was utilized to allow for permeability in the form of views and access in the retail and housing complex.
TECHNICAL DRAW MATERIAL STRUCTURE 5 KENJI IKEGAYA, JAI PATEL, KARIMAH HASSAN, ELLIOT
DESIGN PROPOSAL TECHNICAL DRAWINGS
LANDSCAPING AND R
MATERIAL STRUCTURE 5 KENJI IKEGAYA, JAI PATEL, KARIMAH HASSAN, ELLIOT JEFFERIES
FORM DEVELOPMENT LANDSCAPING AND RETAIL GROUND FLOOR 1:200 PRAXIS:MODULAR
DESIGN PROPOSAL TECHNICAL DRAWINGS MATERIAL STRUCTURE 5 KENJI IKEGAYA, JAI PATEL, KARIMAH HASSAN, ELLIOT JEFFERIES
Using praxis, modular forms to create a logical approach. Here tafoni is interpreted as arches where perforations are entry points. Modular form lended itself to small scale, not the large .scale needed
DESIGN PROPOSAL These images showcase both physical TECHNICAL DRAWINGS
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and digital tafoni form finding. The physical model was created by molding plasMATERIAL STRUCTURE 5 tacine around balloons, and popping KENJI IKEGAYA, JAI PATEL, KARIMAH the HASSAN,cast ELLIOT JEFFERIES them once was completed. The physical model was unique as it allowed for views throughout the structure, and created dynamic and random perforations. The digital model was created using 3DsMax and is useful as it shows the layers of permeability and possible parametric nature of tafoni.
These images show the application of the principles of tafoni. “View cones” and access are carved out of the building massing and correspond to primary routes throug the site, as well as important view points. Using a grid created by these perforations, a landscaping conceptual diagram showcases how benches and water features can exist on site and complement the perforations.
LANDSCAPING AND RETAIL GROUND FLOOR 1:200
LANDSCAPING AND RETAIL GROUND FLOOR 1:200
LANDSCAPING AND R
LANDSCAPING AND RETAIL FIRST FLOOR 1:200
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PROCESS
RESIDENTIAL - SECOND FLOOR
A-A’
B’
A
A’
B
RESIDENTIAL - THIRD FLOOR
B-B’
RESIDENTIAL - FOURTH FLOOR
DESIGN The design proved to be versatile, allowing for permeable public space within, and easily adaptable retail and housing units. The structure itself is a heavy weight structure, which is counter pointed by its cones of permeability and lightweight balconies.
RESIDENTIAL - FIFTH FLOOR
ELEVATIONS 1:200
NORTH FACING FACADE
RESIDENTIAL - SIXTH FLOOR
RESIDENTIAL/RETAIL- SEVENTH FLOOR
2 1 2
4
3
3
ROOFTOP 2 1 2
4
5
3
3
1. 2. 3. 4. 5.
Gym Bars Restaurants Pool Roof terrace
SOUTH FACING FACADE
Lasercut model showing layers of balconies as well as general massing and landscaping
HOUSING UNITS IN CONTEXT
LIMITATIONS
-Only two facades (North and South) have access to exterior, (sunlight, airflow, and views) due to concrete load bearing walls. Both bedrooms and kitchen must have access to exterior. -Small floor plan area in second floor.
POSSIBILITIES
North facing facade
South facing facade
Context within building
PRECEDENT STUDIES
Hanasaki House, Yokohoma. MoNo
Japanese Townhouse, Tokyo. Keiji Azihazawa
PLANS B’
First Floor B
House in Chiba District, Japan. Makoto Shin Watanabe and Yoko Kinoshita.
Kaze No Oka Crematorium, Nakatsu Japan. Fumihiko Maki
A
Second Floor
-Possibility for light, views and airflow to flow through building effeciently, social interaction. -Interesting view to North (Wood st,Cardiff Central) and South (River Taff, Cardiff Bay).
A
B’ 6
2
3
5
4
1
A’ 1. Sliding door entrace 2. Bedroom
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8
N
Four housing typologies were designed, based off of Le Corbusier’s Unite d’Habitaiton housing typology. These interlocking units allow for glazing on both sides of the unit, allowing for improved ventilation, daylight and views. B allowing for In designing one of the four housing typologies, a lightweight, floating staircase was selected as its main feature, to capitalize on the permeability of the unit.
PLANS
A
Second Floor B’
B
N
A
First Floor B’
B 6
2
5
4
3
1
A’
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1. Sliding door entrace 2. Bedroom 3. Ensuite toilet 4. Bedroom 5. Ensuite toilet 6. Kitchen/Dining area 7. Storage area 8. Living room 9. Toilet 10. Balcony
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9
10
SECTIONS A-A’
A’
B-B’
1
4
1
6
8
10
ELEVATIONS North facing elevation- shutter variation
South facing elevation - shutters variation
5
2
DETAIL SECTION
MATE
Staircase, floor wall detail
Glazing and shutter detail
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7 3
5
6 1
2
4
3DS RENDERING North facing elevation
1. Horizontal exterior shutters (sitka spruce). The shutters are charred to reduce fire dmaage. 2. Triple glazed double sealed windows 3. Thermal breaks 4. Weatherstripping 5. Main cable 6. Stability cables 7. Rollers The horizontal shutters operate via a winch that controls the cables alongside it. The cables attached to the rollers control the pitch of the shutters, while the main cable in the middle causes the shtuters to retract or be fully deployed. The two supporting cables help stabilize the shutters so that wind does not affect it as much.
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8
2
1 3 4
11 7 10
6
5
9
The floating staircase was designed by combining two floating staircase precedents. The staircase uses the Interior rendering showing balustrade and wall as structural elements, allowing for floating steps and a lightweight frame.
1. Timber finish flooring (birch) 2. Treated wood sleepers 3. Rigid insulation 4. Concrete 5. Polystyrene 6. Steel dowels 7. High density plastic bearing strip 8. Plaster finish 9. Cavity insulation 10. Gypsum wall board 11. Plaster 12. Glazed steel (painted black) 13. Timber treads The first 10 treads of the stairs are structurally supported by the glazed steel, which acts as a balustrade and as a structural support. The treads are simultaneously supported by the concrete (as they cantilever from it) and the steel balustrade. As the staircase bends, the black glazed steel present in the concrete portrudes out to support the remaining 8 treads. The remaining treads have steel supports on both sides which meet the flooring. The steel acts as a platform for the timber treads.The steps do not touch the glass, however appear to.
materiality
help stabilize the shutters so that wind does not affect it as much.
3DS RENDERS OF HOUSING UNIT
3DS RENDERING
10
9
and the steel balustrade. As the staircase bends, the black glazed steel present in the concrete portrudes out to support the remaining 8 treads. The remaining treads have steel supports on both sides which meet the flooring. The steel acts as a platform for the timber treads.The steps do not touch the glass, however appear to.
North facing elevation
Interior rendering showing materiality
View to the North, application of floating stairs
Shutters closed, view from balcony
DIAGRAMS Section showing shadows and inhabitation