2.1 by Konrad Koltun

2.1

SOUND ChIME SCAPE PHASE ONE:

(

PHASE TWO:

Konrad Koltun |11071356| Function+Process: F[x] | | Winter Garden Pavilion at Dunham Massey (SOUNDSCAPE + CHIME)

Function+Process: F[x]

INTERVALS x

(

INTRO Duc tion

A t th e b r ie f w a s r e le a s c la w , P o la n d a n o u t th is little p r o

tim e d d I je c

e I w h a t o

w h e n a s in d to c v e r th

th e W ro a rry e re .

It to o k m e s o m e tim e to gure out h t the rie king e to o n tie th t in w ith a p o te n tia l p r o b le m w ith in W r o c la w I c o u ld h a v e p o te n tia lly s o lv e . niti thought out re e igning oc u top hich trugg e to h n e the ount o peop e u ing the t the e ti e eing e tre e ke p ce hich e ne ho peop e h n e a n d p e r c e iv e w e a th e r. p ro m u I fo w e it b

H o w e v e r, m y re s e a rc h v e d th a t th e b u s s to p s w e r e n â&#x20AC;&#x2122;t c h o f a n is s u e in W r o c la w a n d u n d a d iffe r e n t s p o t w h e r e a th e r a n d s o c ia l p e r c e p tio n o f e c o m e k e y ...

In tr o d u c tio n

TABLE OF CONTENTS

D E S C O N T E C S U M

C o n te n ts

IG N _ C E P H N IC M A R

P R O C E S S T _ P R O P O S IT IO N A L _ D R A W IN G S Y _ A N D _ R E F E R E N C E S

1 0 1 8

DESIGN PROCESS

C o n c e p t

F u n c tio n + P r o c e s s : F [x ]

CONCEPT PROPOSITION

f(x) = group reading w h e n x = s u m m e r + g o o d w e a th e r + c h ild r e n

f(x) = shelter w h e n x = s u m m e r o r a u tu m n o r w in te r o r s p r in g + r a in

f(x) = chess gam x = s u m m e r o r a u tu m n o r

F 1 0

P r o p o s itio n

me arena w h e n w in te r o r s p r in g + a d u lts

f(x) = debating ring w h e n x = s u m m e r o r a u tu m n o r w in te r o r s p r in g + c o n tr o v e r s ia l lo c a l a u th o r itie s d e c is io n

f(x) = warming bench with coke w h e n x = w in te r + h a r s h te m p e r a tu r e etc.

F u n c tio n + P r o c e s s : F [x ]

TECHNICAL DRAWINGS

Tessellation Pattern 1:10 @ this format

1 2

D r a w in g s

AXO / Assembly Method 1:20 @ this format

F u n c tio n + P r o c e s s : F [x ]

AX O 1 3

/ As

an 20 @ A3 Roof plan 1:20 @ this format

1 4

D r a w in g s

Section AA 1:20 @ this format

Section AA 1:20 @ A3 F u n c tio n + P r o c e s s : F [x ]

1 5

Front elev 1:20 @ this format

Elev @ A3 1 6

D r a w in g s

Side elev Front Elev 1:20 @ this format 1:20 @ A3

Side Elev 1:20 @ A3 F u n c tio n + P r o c e s s : F [x ]

Sect 1:20 1 7

1 8

D r a w in g s

Site plan 1:1250 @ this format

Site plan 1:100 @ this format

F u n c tio n + P r o c e s s : F [x ]

1 9

SUMMARY D u e to tim g o o d e q u ip m e n t fo r ce there re e o f th is - lik e la c k o f p th e v is u a lis a tio n s .

e c o n s tr a in ts a n d la c k o f th e d u r a tio n o f d e s ig n p r o fl in the pre ent tion e o p le a n d m o r e c o n te x t in

H o w e v e r it w a s s till a g o o d p r a c tic e b e fo r e th e y e a r s ta r te d a s it la te r o n in fo r m e d m y s s k ills in th e D u n h a m M a s s e y p r o je c t.

S u m m a ry

REFERENCES D a v i d H a r v e y , 20 1 2. R e b e l C i t i e s : F r o m t h e R i g h t t o t h e C i t y t o t h e U r b a n R e v o lu tio n . 1 E d itio n . V e r s o . G e o r g e O r w e l l , 20 0 8 . A n i m a l F a r m . E d i t i o n . P e n g u i n B o o k s . G e o r g e O r w e l l , 20 0 3 . 1 9 8 4 ( T u r t l e b a c k S c h o o l & L i b r a r y B i n d i n g E d i t i o n ) ( S ig n e t C la s s ic s ( P b ) ) . E d itio n . T u r tle b a c k .

F u n c tio n + P r o c e s s : F [x ]

Keep flicking through...

2.1 Winter Garden Pavilion

SOUND SCAPE PHASE ONE:

INTRO DUCT ION

T h is p r o je c t in v in te r - y e a r c o m p e titio n to 5p a v ilio n s o n th e p r e m is N a tio n a l T r u s t - a c h a r ity o r g a n is a tio n w h ic h p r e s e E n g lis h h e r ita g e . 6 s tu d io g r o u p y e a r c o n s is te d o f 3 0 s tu e a c h . T h a t w a s th e n d iv 5in n e r g r o u p s m a k in g a o s itio n o n e a c h s ite in D M a s s e y. W e w e re g s m a lle s t s ite - E a n d w e d e c id e d to m a k e o u t o f it, th e te a m is l o w s : H o l l y Co n n o l l y M ic h a e lK e n n e d y K o Y u s u f Sh e g o w .

In tr o d u c tio n

o lv e b u ild e s o fu n d rv e s

d f

a e d

s in th e d e n ts id e d in to p ro p u n h a m

iv e n th e th e re fo re th e m o s t a s fo lM a ttIliffe n ra d K o ltu n

TABLE OF CONTENTS

C O N T E X T C O N C E P T L I ST ENI NG P A N SI L ENCES C R E SO U ND W A L L S E A S O N A L _ D R P R O P O S IT IO N A S S E M B LY C O N S T R U C T IO R IS K _ A S S E S M M O D E L S L E G A C Y J O U R N A L

C o n te n ts

E L S E N A W IN G S N _ D R A W IN G S E N T

8 1 0 11 1 2 1 6 1 8 2 0 2 8 3 4 3 8 4 1 4 2

6 D u n h a m M a s s e y V is ito r s g u id e

CO NT EX T

C o n c e p t

2 .1 C o ld L ig h t P a v ilio n 7

M ic h a e l K e n n e d y , p h o to s b y H o lly C o n n o lly

CO NCEP T - E SCA P E F R O M T H E C I T Y D u n h a m M a s s e y

M a tt Iliffe , H o lly C o n n o lly

D u n h a m M a s s e y

M a n c h e s te r

. i gr ro tt i e i p i e

LISTENING

M a tt Iliffe , H o lly C o n n o lly

FABRICATION/ASSEM

SILENCE

ilence encourages listen andppreci in turn i ence encour ge u to i ten us n intoturn to reflect te n tore reflect ct.

appreciate and react 8

M a n c h e s te r

etail o the ra e

Construct 8 r or the plywo or the base S O U N D SCA P E p r o v i d e s a n e s c a p e f r o m t h e or the sound or the pro ec C o n c e p t

D u n h a m M a s s e y

M a n c h e s te r

D u n h a m M a s s e y

m y s e lf,e d ite d b y H o lly C o n n o lly

M a n c h e s te r

c ity , th e d ig ita l w o r ld , th e r a in , th e jo u r n e y .

2 .1 C o ld L ig h t P a v ilio n

S it, s ta n d , lie d o w n : e s c a p e fr o m th e w o r ld .

m y s e lf, e d ite d b y M a tt Iliffe

L I ST ENI NG P A N E L S

m y s e lf a n d g r o u p

x 2

1 0

L IS T E N IN G P A N E L S ./S IL E N C E S C R E E N

SI L ENCES C R E E N

m y s e lf, e d ite d b y M a tt Iliffe

THE SILENCESCREEN:

Dun Du Dun u h ha ham am mM Ma assey sse sey ha se as sa alllways alw ay y be ys bee en na pla p lace ce o off p pe pea e ea ace ce for fo orr Ma Mancu anc ncu ccun cunia niia nia an ns ns. ss.. SO SOU S OUN OU ND NDS DSC DS CAP CA AP APE, with itth th itits lis li iste is tten en e ning in ngp ng pan pa an a ne els ls, sil sillen enc e n essc nc scr crre c een ee en an en and so sou s ou o ound und ndwa wal a l, iiss de es esi ssig gn gne ne ned tto o em emp e mphas ha asi sise ise is se this. this th iis. ss.

Ex E Exp xplor xp plore lor lor lo ore Lis L i ten is tte en e n Mak M Ma ake some ak so om ome me no me noise s se Hav Ha av a ve some some me m e fun fu un

Basic plan of the pavilio on Possibilty for logos, such as National Trust, MSA, or prospective sponsors

DERIVING THE LISTENINGPANELS:

2 .1 C o ld L ig h t P a v ilio n

SOUNDSCAPE

Dunham Massey has always been a place of peace for Mancunians. SOUNDSCAPE, with its listeningpanels, silencescreen and soundwall, is designed to emphasise this. Explore Listen Make some noise Have some fun

SO U ND W A L L

m y s e lf, e d ite d b y M a tt Iliffe , in itia l la y o u t b y H o lly C o n n o lly

T h e p ly w a r e la s e r e n g r a M T h is a d d s a n o th e r

th e s o u n d w a ll c e p t im a g e s o f n h a m M a s s e y. to a n d a n o th e r in v e s tig a te th e s o u n d w a ll. T h e s e p a n e ls c o u ld b e u s e d in th e le g a c y o f th e p r o je c t, fo r e x a m p le , s o ld a s s o u v e n ir s .

e le m e n s u re s th a n o th tra n s p a

o o d e le m e n v e d w ith th e a n c h e s te r v la y e r o f in te re a s o

T h e s o u n d w ts m a d e fr o m d iffe r e e s o u n d is d iffe r e n t e r. T h e th r e e d iffe r e r e n t a c r y lic , o p a q u e

ts o n c o n s D u re s t n to

a ll is a s s e m b le d fr o m n t m a te r ia ls . T h is e n a t a n y o n e p o in t fr o m n t ty p e s o f p a n e l a re : a c r y lic a n d p ly w o o d .

T h e a rra n g e m e n t o f th e c o m p o n e n ts h a s b e e n c a r e fu lly s e le c te d to ‘tu n e ’ th e w a ll. T h e p itc h o f th e ‘n o te ’ is d ic ta te d b y th e le n g th o f th e c o m p o n e n t.

m y s e lf w it h t h e g r o u ’s in p u t

1 2

S O U N D W A L L

T h e m o d e l illu s tr a te d h th e s o u n d w a ll w ill w o r k : th e a c o u q u a lity is v e r y p le a s in g a n d c a lm s e q u e n c e o f to n e s p r o d u c e d is g d is c r e te a n d w o u ld s it in h a r m o n y w ith th e a m b ia n c e g a rd e n a t D u n h a m M a s s e y.

2 .1 C o ld L ig h t P a v ilio n

M a tt Iliffe

T h is 1 :5m o d e l o f th e s o u n d w a ll d e m o n s tr a te s its m o v e m e n t w ith o r w ith o u t h u m a n in te r a c tio n . T h e w a ll c o m e s a liv e a n d c r e a te s e v e r c h a n g in g v ie w s o u t o f a n d in to th e p a v ilio n ; a n im a te d b y a c u r io u s p a s s e r - b y , a n in q u is itiv e y o u n g m in d o r e v e n th e w in d . o w w e ll s tic in g . T h e e n tle , o f th e

1 3

m y s e lf, e d ite d b y v a r io u s

m y s e lf, e d ite d b y Y u s u f S h e g o w

S O U N D SCA P E

1 4

AA AA N

S O U N D S C A P E

M a tt Illiffe , I p r o v id e d th e s e c tio n

SO Drill

SOUNDWALL:

Drill holes into the side of the frame

2 .1 C o ld L ig h t P a v ilio n

1 5

SEA SO NA L D RA W I NG S

S O th e c o n w in

U N D S C A P s e a s o n s . T te m p la tiv e te r w in d s a

E w ill a d a p h e s ile n c e e n v ir o n m e n d fra m e s

t a n d g s c re e n n t to s h fro s ty v

ro w th ro u g h p r o v id e s a e lte r fr o m ie w s .

T h e lis te n in g p a n e ls e n c o u r a g e e x p lo r e r s to s tr a in to h e a r th e m u te d s o u n d s o f a u tu m n a n d e n jo y s u m m e r in a ll its g lo r y . T h e s o u n d w a ll r e c r e a te s th e a n im a tio n o f s p r in g a n d a llo w s v is ito r s to in te r a c t w ith th e s o u n d s o f D u n h a m M a s s e y.

M ic h a e l K e n n e d y , e d ite d b y M ic h a e l K e n n e d y a n d H o lly C o n n o lly

1 6

S e a s o n a l D r a w in g s

2 .1 C o ld L ig h t P a v ilio n

1 7

g ro u p e ffo rt

P RO P O SI T I O N

1 8

P r o p o s itio n

2 .1 C o ld L ig h t P a v ilio n

1 9

m y s e lf

A SSEM B L Y

2 0

A s s e m b ly

M a tt Illiffe , c a lc u la tio n s b y m y s e lf

Materials for construction:

4x(6x2440x1220)mm 4x(3x2440x1220)mm Plywood Sheets 42x(3000x75x47)mm 10x(2400x75x47)mm Timber Beams 4x(3x1000x600)mm Acrylic Sheets

570xScrews 4x Bolts

30000x3mm Cord 14x Corner Joints

2 .1 C o ld L ig h t P a v ilio n

2 1

M a tt Illiffe , g r o u p c o n s u lta tio n s

2 1

x8 for: 41 Wood Acrylic

Detail of the frame bein

3 Plain

Detail of the cross beams be

For the plywood panels

2 2

For the acrylic panels

x1 A s s e m b ly

M a tt Illiffe , g r o u p c o n s u lta tio n s

ng screwed together

eing screwed onto the frame

2 .1 C o ld L ig h t P a v ilio n

2 3

M a tt Illiffe , g r o u p c o n s u lta tio n s

Rope and pegs to secure to panels to the frame

2 4

Detail of rope being used to fix the soundwall panels to the frame

A s s e m b ly

M a tt Illiffe , g r o u p c o n s u lta tio n s

Detail of the plywood strips being nailed to the cross beams

2 .1 C o ld L ig h t P a v ilio n

2 5

Detail of panels bolted top

Detail of panels bolted

Detail of the roof pan

2 6 A s s e m b ly

M a tt Illiffe , g r o u p c o n s u lta tio n s

d together at the

d together at the bottom

nels bolted together

2 .1 C o ld L ig h t P a v ilio n

2 7

Panel Layout Details:

m y s e lf, e d ite d b y M a tt Iliffe

m y s e lf

CO NST RU CT I O N D RA W I NG S

2 8

A s s e m b ly /C o n s tr u c tio n D r a w in g s

2 .1 C o ld L ig h t P a v ilio n

2 9

m y s e lf

F l o o r P l a n 1 : 50 @ th is fo r m a t

m y s e lf, e d ite d b y M a tt Iliffe

R o o f P l a n 1 : 50 @ th is fo r m a t

S ite P la n 1 :2 0 0 @ th is fo r m a t

3 0

C o n s tr u c tio n D r a w in g s

m y s e lf

S e c t i o n s 1 : 50 @ th is fo r m a t

2 .1 C o ld L ig h t P a v ilio n

3 1

m y s e lf 3 2

C o n s tr u c tio n D r a w in g s

1 : 50

2 .1 C o ld L ig h t P a v ilio n

3 3

M a tt Illiffe

RI SK A SSESSM ENT

What are the hazards?

Who might be harmed?

How has this influenced the design?

the

3 4

NSTRUCTION/ASSEMBLY

Injury sustained during Those constructing the Panels are all a manageable assembly of panels pavilion size and weight (includes dropping heavy panels on feet) Back injury due to heavy lifting

Those constructing the Materials which are comparitavely light pavilion specifically have been chosen those lifting components into place

Injury sustained Those constructing the e have incorporated What further action must be taken? By whom? When? oints and fixings through pavilion, which we have prior knowldege of into hammering, nailing, specifically those inthe design, building the structure involves Correct assembly and all in direct Everyone assisting Date of construction or use ofguide other followed, tools volved the use of power tools and otherwise only assisting in construction to have practiced in construction assembly of the panels when absolutely necessary prior to on-site assembly. Panels will off be site handled by no fewer than 3 people. Everyone involved in construction must wear Injury sustained during Those constructing the Used materials and tools we are familiar appropriate footwear. off-site assembly while panels with, and avoided dangerous components.

What furth

Correct assem assisting in co prior to on-sit handled by no eryone involv appropriate fo Ensure all inv practiced corr ponents off si of heaviest pa site. Assign lif Suited Everyone invo prior experien prior to in-situ ust ta e ext ate safety measures R is k a A s s e s s m e n t

Everyone invo follow protoco

What areWhat the are the Who might bemight be Who hazards?hazards? harmed?harmed?

How hasHow this has influenced the this influenced the design? design?

Injury sustained during Those the Panels all a manageable Injury sustained duringconstructing Those constructing the are Panels are all a manageable assemblyassembly of panelsof panels pavilion pavilion size and size weight and weight (includes(includes dropping dropping heavy panels feet) on feet) heavyonpanels

DURING CONSTRUCTION/ASSEMBLY

Back injury dueinjury to due Those constructing the Materials which arewhich comparitavely light Back to Those constructing the Materials are comparitavely light heavy lifting pavilion specifically have been chosen heavy lifting pavilion specifically have been chosen those lifting those lifting components into placeinto place components Injury sustained the e have oints andoints fixings Injury sustainedThose constructing Those constructing the incorporated e have incorporated and fixings through through pavilion, pavilion, which wewhich have we priorhave knowldege of into of into prior knowldege hammering, nailing, nailing, specifically those in- those thein-design, structure involves involves hammering, specifically thebuilding design,the building the structure or use of or other volved involved direct in direct the use ofthe power tools andtools otherwise only usetools of other tools use of power and otherwise only assemblyassembly of the panels absolutely necessary of thewhen panels when absolutely necessary off site off site

What further be must taken? Whataction furthermust action be taken?By whom? By whom?

When? When?

Correct assembly guide followed, and all and Everyone assisting assisting Date of construction Correct assembly guide followed, all Everyone Date of construction assisting assisting in construction to have practiced in construction in construction to have practiced in construction prior to on-site Panels will be will be prior toassembly. on-site assembly. Panels handled by no fewer than 3 people. handled by no fewer than 3Evpeople. Everyone involved construction must wear eryone in involved in construction must wear appropriate footwear.footwear. appropriate Ensure allEnsure involved constrcution have EveryoneEveryone assisting assisting Date of construction all in involved in constrcution have Date of construction practicedpracticed correct lifting position com-with In construction correct liftingwith position comIn construction ponents off site. Keep sustained handling handling ponents off site. Keep sustained of heaviest panels topanels a minimum while on while on of heaviest to a minimum site. Assign tasks to those site.lifting Assign lifting tasks most to those most Suited Suited EveryoneEveryone involved in construction has had has Everyone assisting assisting Date of construction involved in construction had Everyone Date of construction prior experience and ade and uateade training in construction prior experience uate training in construction prior to in-situ assembly.Those hammering prior to in-situ assembly.Those hammering ust ta e extra and appropriust taresponsibility e extra responsibility and appropriate safetyate safety measuresmeasures

Injury sustained during Those the Used materials and toolsand we are Injury sustained duringconstructing Those constructing the Used materials toolsfamiliar we are familiar off-site assembly while panels with, andwith, avoided components. off-site assembly while panels and dangerous avoided dangerous components. constructing the We also kept all intricate be constructing the We also kept all cutting intricatetocutting to be panels panels done by the la by er the cutter ini itoe expodone la to er cutter ini i e exposure to dangerous cutting devices sure to dangerous cutting devices Splinters Splinters or other or other Those constructing the Wood be treated sanded to down to Those constructing thewillWood will beand treated anddown sanded injury sustained from pavilion specifically ensure it ensure is smooth doesand not does have not an have an injury sustained from pavilion specifically it isand smooth handling handling the woodthe in- wood those wood uneven sur ace orsur sharp in- handling those handling wood uneven ace textures or sharp textures volved involved the structure. in the structure.

EveryoneEveryone involved in construction must EveryoneEveryone involved involved Date of off-site involved in construction must Date of off-site follow protocol pay close attention to in off-site construction follow and protocol and pay close attention to in off-site construction the assembly guide construction the assembly guide construction

Dangerous or the The the majority intricate delicate Dangerous or Those constructing Those constructing The of majority of or intricate orcondelicate conadverse weather struction struction can be done adverse weatherpavilion pavilion can off be site, doneminimizing off site, minimizing conditions may posemay a pose a the chances of the pavilion damconditions the chances of thebeing pavilion being damhazard during aged hazard during aged construction construction

Appropriate clothing and footwear involved involved Date of construction Appropriate clothing and footwear EveryoneEveryone Date of construction (including(including boots with a grip sole) should in construction boots with a grip sole)beshould be in construction worn at all times worn at all times

All those All involved construction will be willEveryone involved involved Date of construction those in involved in construction be Everyone Date of construction re uired to when necessary in construction re wear uiredgloves to wear gloves when necessary in construction

Y u s u f S h e g o w , e d ite d b y M a tt Iliffe a n d H o lly C o n n o ly

2 .1 C o ld L ig h t P a v ilio n

3 5

WHEN IN USE 3 6

What are the hazards?

Who might be harmed?

Hands becoming caught within the sound wall Rope fraying or becoming damaged and thus impeding the function of the sound wall People may attempt to climb on the structure

Members of the public

People may lean on the structure, either the listening walls or the sound wall Sharp corners or edges injuring those playing the soundwall

Members of the public

The sound wall itself, members of the public

Members of the public

How has this influenced the design? The sound wall has been thoroughly tested to made sure there are no gaps small enough for hands to get stuck Have used strongest possible rope and tested extensively to ensure it is able to resist pulling and cutting

Components used to make up the listening walls are long and flat and would not facilitate climbing Cross-bracing has been used to ensure all walls are strong

Members of the public, Everyone assisting in construction and specifically those staff playing the soundwall

R is k A s s e s s m e n t

M a tt Illiffe a n d Y u s u f S h e g o w

Occaisonal checks of the pavilion Occaisonal checks of the pavilion to ensure soundwall to ensure thethe soundwall hashas notnot sustained gap-inducing damage sustained anyany gap-inducing damage Occaisonal checks of the pavilion Occaisonal checks of the pavilion to to ensure rope remains ensure thethe rope remains in in good condition good condition

whom? By By whom?

When? When?

Everyone assistingDate Date of construction Everyone assisting of construction in construction in construction andand staffstaff Everyone assistingDate Date of construction Everyone assisting of construction in construction in construction andand staffstaff

Y u s u f S h e g o w , e d ite d b y M a tt Iliffe a n d H o lly C o n n o ly

What further action must taken? What further action must be be taken?

Occaisional checks of the pavilion Those designing Date Date of construction Occaisional checks of the pavilion to to Those designing of construction ensure listening walls have become pavilion, ensure thethe listening walls have notnot become pavilion, staffstaff damaged damaged Thorough testing to ensure no extra Those designing Prior Prior to construction Thorough testing to ensure no extra Those designing to construction stability is needed constructing stability is needed andand constructing pavilion pavilion Check prior, construction Check prior, andand postpost construction to ensure all corners suitable to ensure all corners areare suitable

2 .1 C o ld L ig h t P a v ilio n

Everyone assistingDate Date of construction Everyone assisting of construction in construction in construction andand stafstaf

3 7

m y s e lf, m o d e l a s s e m b le d w ith H o lly C o n n o ly a n d M ic h a e l K e n n e d y

M O D EL S

3 8 M o d e ls

2 .1 C o ld L ig h t P a v ilio n

3 9

4 0 M o d e ls /L e g a c y

m y s e lf, m o d e l a s s e m b le d to g e th e r

M a tt Illiffe , g r o u p c o n s u lta tio n s

L EG A CY

LEGACY Components of the SOUNDWALL bearing the concept images could be sold or given away at the end of SOUNDSCAPE; a souvenir for those who enjoyed it to remind them of visiting Dunham Massey and SOUNDSCAPE.

2 .1 C o ld L ig h t P a v ilio n

4 1

C o lle c tiv e g r o u p w o r k

J O U RNA L

It s e e m e d k e y to m e to g e t m y g r o u p to w o r k to g e th e r r ig h t fr o m th e s ite , e s p e c ia lly w h e n w e w e r e a g r e e in g o n th e c o n c e p t. T h is w a s to k e e p e v e r y b o d y e n g a g e d th r o u g h o u t th e d u r a tio n o f p r o je c t, s o e v e r y o n e t h o u g h t t h is is t h e ir id e a a s w e ll a s g r o u p â&#x20AC;&#x2122;s a s o p p o s e t o w o r k in g f o r s o m e o n e e ls e â&#x20AC;&#x2122;s id e a . W e w e r e s p e c ia lly a ttr a c te d b y th e s o u n d o n th e s ite , a s th e r e s e e m e d to b e n o v ie w s to fr a m e e tc . a n d w e w e r e a ls o in itia lly in s p ir e d b y d r a g g in g p e o p le o ff th e ir r o u te a n d m a k e th e m th in k a b o u t w h a t th e y â&#x20AC;&#x2122;v e s e e n .

P h o to b y M ic h e a l K e n n e d y

T h is la te r le a d to a fr u itfu l b r a in s to r m in g w h ic h le a d to in te r e s tin g o u tp u ts .

4 2

J o u rn a l

2 .1 C o ld L ig h t P a v ilio n

4 3

4 4 J o u rn a l

m y s e lf, H o lly C o n n o lly

T h e a m o u n t o f w o rk th a t w e n e e d e d to p r o d u c e w ith in th e a m o u n t o f tim e g iv e n s e e m e d r e m a r k a b le . T h e r e fo r e th r o u g h m y e x p e r ie n c e in w o r k in g w ith s u c h a s s h o r t tim e s p a n I w a n te d to e m p h a s iz e th e n e e d o f s e ttin g a s e r ie s o f p a r a m e te r s w h ic h w e p a s s th e d e s ig n p r o c e s s th o u g h , w h ic h in tu r n p r o v id e s a s o m e k in d o f c o n c r e te o u tp u t, fo r w h ic h th e r e w o u ld b e p le n ty o f p o s s ib le s o lu tio n s . W e w peci c n u a d v a n ta g e . W e fo rc e a c o n te m e n c lo s u r e th a t

a n te d to e h t s a w th e p la tiv e e n w a s o n th

b e e x tr e m e ly s ite on the ite to our o p p o r tu n ity to r e in v ir o n m e n t th r o u g h e s ite a lr e a d y .

O n th is p a g e y o u c a n s e e th e e r i gr n o e th t e ne n re ne the peci u itie th t e nte to a c h ie v e .

Enclousure m y s e lf

Listen/ Enclousure Enclousure

Breakaway

Listen/ Enclousure

Enclousure/ Silence

Journey

2 .1 C o ld L ig h t P a v ilio n

4 5

S a lo m é V o e g e lin d e b a te s ‘L is te n in g a s a n a c tiv ity , a n in te r a c tiv ity ’ a n d th a t ‘N o is e s tr e tc h e s L is te n in g to a n e x tr e m e ( ...) s ig n ify in g p r a c tic e o f lis te n in g th a t a r tic u la te s th e fr a g ile r e la tio n s h ip b e tw e e n e x p e r ie n c e a n d c o m m u n ic a tio n .’ T h e N o is e m a k e s u s a n tic ip a te S ile n c e w h ic h a llo w s u s to b e ‘a u d ib le to [o u r s e lv e s ].

W e w a n te d to c re a te a b r e a k a w a y fr o m th e jo u r n e y a n d th e c ity through u ing ite peci c enc o ure n noi e p i ing th e m . e nte to o peop e to e in contro o the proce hich i ppe ing to chi ren ho on t o ten i ten r ther the nt to b e h e a rd . what seems like

T h is p a g e s u m m a r is e s o u r c o n c e p t w h ic h I h a d b a c k e d u p w ith o e theoretic re e rch.

SILENCE brings out

m y s e lf

initiates

makes anticipate

LISTENING

brings out

LISTENING TO SELF

*Sound as an activity, interactivity.

NOISE by Salomé Voegelin 4 6

J o u rn a l

m y s e lf

''The need of quiet, the need of air, the need of exercise, and..the sight of sky and of things growing seem human needs, common to all men'' Octavia Hill

}

''T h e n e e d o f q u ie t , t h e n e e d o f a ir , t h e n e e d o f e x e r c is e , a n d . . th e s ig h t o f s k y a n d o f th in g s g r o w in g s e e m h u m a n n e e d s , c o m m o n t o a ll m e n '' O c ta v ia H ill

2 .1 C o ld L ig h t P a v ilio n

{

Still apply in digital era and there is a strong need of thinking.

S till a p p ly in d ig ita l e r a a n d th e r e is a s tr o n g n e e d o f th in k in g .

4 7

4 8

J o u rn a l

P h o to b y

m y s e lf, c o lle c tiv e e ffo r t

P h o to b y Y u s u f S h e g o w

W e w e n t v e r y q u ic k ly fr o m th e d e s ig n s ta g e to te s tin g o u t o u r s o lu tio n s . O u r c o n c e p t o f th e p a v ilio n r e s p o n s iv e to th e e n v ir o n m e n t a n d fe a tu r e s h a d to h a v e a n e x tr e m e ly c a r e fu lly a n d p r e c is e ly d e s ig n e d s o lu tio n . T h a t â&#x20AC;&#x2122;s w h a t I b e lie v e d iff e r a s t u d io p r o je c t f r o m a r e a l p r o je c t . U p u n t il t h e n w e a ll w o r k e d o n t h e p r o je c t c o lle c t iv e ly , o n t h e r ig h t h a n d s id e t h e r e â&#x20AC;&#x2122;s m y s e lf in t h e w o r k s h o p .

2 .1 C o ld L ig h t P a v ilio n

4 9

50 J o u rn a l P h o to b y Y u s u f S h e g o w

m y s e lf

A fte r th e in itia l te s tin g th e jo s ta r te d b e in g a llo c a te d to p a r tic u la r te m e m b e r s . W e p la y e d to o u r s tr e n g th s the on fluent orker n fo r e I h a d th a t jo b a s s ig n e d to m e . N re te kin lu tio n o f th e te m p la te s a ront en A t th e s a m e tim e w e fu n c tio n a lity o f th e p a v ilio n w e p a v ilio n w o u ld lo o k lik e a n d w h h e. he o e e nite

tr ie d to d e v e lo p th e w e r e w o r k in g o n h o w th e a t s p a tia l q u a litie s it w o u ld he pe ith th t.

a tu r a lly th is b r o u g h t o n m o o ike the tructur p a v ilio n , p r o v id in g la s e r n d p r o v id in g d r a w in g s fo e igner in our te .

b s a m a n d I there-

e o th e r re oc u ttin g r th e

W e tr ie d to r e m a in a s a g r o u p hen e ere oing p rticu r t k in or er to e e to con u t the ork. n though a t th e b e g in n in g th e r e w a s a p r o b le m w ith p u n c tu a lity a n d p r o d u c in g o u tp u ts a n d it d is a p p e a r e d to w a r d s th e d e a d lin e d a te I s till oun it i cu t t ti e ec u e e ie e in p u ttin g a n in itia tiv e o f m o r e th a n 1 0 0 % o f ork in. I fo u n d th a t b y c r e a tin g th e en iron ent o e er o ork together cert in peop e took it too iter n re fe lt th e n e e d to b e in fo r m e d o r p a u s e th e ork u t or other te e er to ook t it. hi o intro uce ck o tru t into our g r o u p a t tim e s .

m y s e lf

p rt ro ork o ten h e lp e d w ith th e p r e s e n ta tio n a n d v id e o a s w e ll, p r o v id in g c e r ta in s h o ts a n d a n im a tio n s in th e r e . I b a s ic a lly tr ie d to b e e n g a g e d w ith e v e r y th in g a s c o r e o u tp u ts n e e d e d to g o through progr e.

2 .1 C o ld L ig h t P a v ilio n

J o u rn a l

P h o to b y Y u s u f S h e g o w

L ik e I m e n tio n e d b e fo r e a t th e e n d o f th e d a y a ll th e o u tp u t th a t c a m e th r o u g h a t th e e n d w a s r e m a r k a b le d e s p ite s o m e tim e s it b e in g la te . A s e e m e d to ticu r n p a r t o f it a n

p a rt fo rm h a v e ta k output d M a tt m

C A D m e a n d M a tt e n th e r o le o f ty in g p a r together i ph ic a n a g e d th e p r e s e n ta tio n .

I c o n s ta n tly n e e d e d to p r o v id e d r a w in g s in fo r M a tt to e d it a n d a t th e s a m e tim e I w a s r e c e iv in g c e r ta in b its fr o m H o lly , M ic h a e l a n d Y u s u f. A lo t o f th e tim e th e w o r k n e e d e d to e re ne in ter o thing ike te e tio n p a tte r n s e tc . D e s p ite m in o r p r o b le m s w ith o u t s t r a t e g ie s w e t r ie d t o r e s p o n d t o o u r t u t o r â&#x20AC;&#x2122;s c o m m e n ts , s o a fte r w e h a d m a d e a 1 :2 0 m o d e l w h ic h s e e m e d d e lic a te w e d e c id e d to c r e a te a little 1 :1 s e c tio n to p r o v e th a t in fa c t th e p a v ilio n th a t w e a r e m a k in g w o u ld b e ro b u s t. n the n crit e i not recei e a n y b a d fe e d b a c k a n d w e w e n t a h e a d to s h o w o u r w o r k to D u n h a m M a s s e y w ith con ence.

2 .1 C o ld L ig h t P a v ilio n

J o u rn a l

T h e p r e s e n ta tio n to D u n h a m e i ere itt e to the n crit. e n e e d e d to r e a lly p r e p a r e o u r s e lv e s fo r th e tim e s lo t w e h a d b e e n g iv e n , b e in g 2 m in ute . E v e r y b o d y h a d s o m e th in g to s a y n it igne to h t e ocu e on in n o poke out the tructur s o lu tio n a n d o th e r m a jo r d e ta ils , a lth o u g h e er one e to pe k or e ch other. t the en e ere not cho en n think it ec u e e ent or o ething uite c e ic n theoretic o t a n d p e r h a p s in th e p r e s e n ta tio n w e d id n â&#x20AC;&#x2122;t e m p h a s iz e e n o u g h h o w fu n o u r p a v ilio n cou h e een to ttr ct c ient to unh e.

2 .1 C o ld L ig h t P a v ilio n

SUMMARY 56

S u m m a ry

I a m e x tr e m e ly h a p p y w ith th e p a v ilio n th a t w e c a m e u p w ith a n d I w o u ld n â&#x20AC;&#x2122;t h a v e c h a n g e d a n y th in g if I d id it a g a in . T h e w h o le p r o c e s s ta u g h t m e w o r k in g in a te a m fo r a c o m m o n o u tp u t m o r e th a n a n y th in g . t i cu t o eti e to get cro the princip e o orking in a g r o u p , a lth o u g h a t th e e n d o f th e d a y I w o u ld s till c a ll it a g o o d c o o p e r a tio n . I th in k th a t th e o n ly p a r t I le t m y s e lf d o w n w a s c r e a tin g th e jo u r n a l, m a k in g it in b e tw e e n a ll th e w o r k th a t w e w e r e d o in g p r o v e d a lm o s t im p o s s ib le a n d it is s o m e th in g n e e d to th a t I n e e d to im p r o v e o n . N o t a h u g e a m o u n t o f r e fe r e n c e s s h o w s th a t w e w e r e in te r e s te d in c r e a tin g s o m e th in g q u ite u n iq u e a n d th e r e w a s n â&#x20AC;&#x2122;t m u c h p r e c e d e n ts fo r it e ith e r.

REFERENCES S a lo m e V o e g e lin , 2 0 1 0 . L is te n in g to N o is e a n d S ile n c e : T o w a r d s a P h ilo s o p h y o f S o u n d A r t. 1 E d itio n . C o n tin u u m . C a le b K e lly , 2 0 1 1 . S o u n d ( W h ite c h a p e l: D o c u m e n ts o f C o n te m p o r a r y A r t) . 1 E d itio n . T h e M IT P r e s s . ( P h o t o p a g e 4 5) S te v e n M a r c u s , 1 9 0 0 . E n g e ls , M a n c h e s te r a n d th e W o r k in g C la s s . 1 S t E d itio n E d itio n . L ittle h a m p to n B o o k S e r v ic e s L td .

2 .1 C o ld L ig h t P a v ilio n

Keep flicking through...

2.1 Winter Garden Pavilion

PHASE TWO:

ChIME 1

INTRO DUCT ION

A fte r D u n h a m M a s s e y s h o r tlis te d a n d th e n c h o s e n th e final pro ects to be built the rest of the teams ere given the opportunity to oin them. roup as by default ho ever assigned to hime as it re uired 6 people to participate due to its cost and complicated design. Working on this pro ect allo ed me to look up ho to manage such a big group from the side. hat allo ed to actually s e e m o r e m is ta k e s in th e d e c is io n m a k in g th e n I w o u ld h a v e if managed the pro ect myself. he pro ect re uired around to be developed a n d c e r ta in th in g s n e e d e d to be changed. ecause of a poor tessellation pattern decided to assign myself to the detail team.

In tr o d u c tio n

TABLE OF CONTENTS 4

* p le a s e h a lv e if v ie w in g o n p d f i.e . p a g e 6is 3

C H IM E B U S IN E S S _ P L A N R IS K _ A S S E S S M E N T C O N S T R U C T IO N _ D R A W IN G S J O U R N A L

C o n te n ts

}

A ll w o r k p r o d u c e d b y th e C h im e g r o u p

1 0 1 2

6 8

2 6

CHIME

INITIAL TEAM G E O R G IN A N G E O R G E W IL L O L IV IA P S O P H IE H O D S T E V E W IL L W IL K IN

A IS IA M A IN G E K IR S O N

H S

E K

2 .1 C o ld L ig h t P a v ilio n

BUSINESS PLAN

BUILD SCH ‘C h im e ’ a im s to b r in g to g e th e r th e m a g ic o f D u n h a m M a s s e y ,in te g r a tin g th e p a s t a n d p r e s e n t in a d e s ig n th a t a llo w s e x p lo r a tio n a n d e n g a g e m e n t w ith th e p a r k . It s h o w c a s e s a k e y fe a tu r e o f th e h o u s e in th e g a r d e n , b r in g in g th e tw o to life . W e w th a t w e re u s e d a n d w a n te d to b y th e s h a p e o c o n s tru c te d fro T h e a rc h e s re a

e r e ta k e n b y th e r e c u r r in g im a g e r y o f th e s e r v ic in th e h o u s e . W e fe lt th e s e s u c c e s s fu l in b r in g in h a r n e s s th is to c r e a te a n o u td o o r a ttr a c tio n fo r a f th e s e r v ic e b e lls , w e c r e a te d th e a e s th e tic o f ‘C m s ta in e d m a r in e p ly w o o d to e c h o th e b a r k o f th c h o v e r th e p a th to fr a m e th e v ie w o f th e m o a t a

e s y s te g th e h ll th e fa h im e ’. e s u rro n d th e

m s a n d b e lls o u s e to life m ily . In s p ir e d T h e la y e r s a r e u n d in g tr e e s . w ild life .

W ith m u s ic a l im a g e r y a n d s o u n d s , ‘C h im e ’ c a p tu r e s th e e s s e n c e o f D u n h a m M a s s e y a n d p r o v id e s a fu n a n d in te r a c tiv e r e s p ite fo r a ll v is ito r s .

! ! ! ! ! SHIIIIIIIITTTTTTBA!

B u s in e s s P la n

HEDULE

2 .1 C o ld L ig h t P a v ilio n

RISK ASSESSMENT

T h e d e s ig n o f â&#x20AC;&#x2DC;C h im e â&#x20AC;&#x2122; h a s c o n s id e r e d b u ild a b ility a n d s a fe ty fr o m th e o u ts e t. H o w e v e r, a s w ith a ll b u ild in g s th e r e a r e s o m e s a fe ty m e a s u r e s to b e u n d e r ta k e n d u r in g p r e fa b r ic a tio n , c o n s tr u c tio n , tim e o n s ite a n d r e m o v a l. W h ils t in th e w o r k s h o p , d s o th o s e in v o lv e d w ill b e s u p e r v is e r e q u ir e d to w e a r e y e p r o te c tio n . F o c a u s e in ju r y a n d s o g lo v e s w ith b e p r e v e n t s p lin te r s fr o m o c c u r r in g a n th e s tr u c tu r e is o n th e s ite . A s th e b p r e fa b r ic a te d . In o r e m o v a l, th e r e a r e th r e e p e o p le . D u e th e m in to p la c e . H s u p p o r t th e s te p la e r e c tio n a n d r e m o a n d e v e r y o n e w ill

s a w s a n d h a m e d te c h n ic ia n c u ttin g o f c o m e v e r, a ll c o m p ls o p r o te c t v is

m e r s w ill b e u s e a t a ll tim e s , a n d p o n e n ts , s p lin te o n e n ts w ill b e s a ito r s fr o m th is r is

d a n d w ill b e rs m a y n d e d to k o n c e

u ild tim e is lim ite d ( s e e s c h e d u le ) , th e d e s ig n is fo r la y e r s to b e r d e r to a v o id a n y in ju r y fr o m h e a v y liftin g d u r in g a s s e m b ly a n d fo u r la y e r s to e a c h c o m p o n e n t s o th e y w ill b e s a fe to lift b e tw e e n to th e h e ig h t o f th e a r c h e s , s te p la d d e r s w ill b e r e q u ir e d to h e lp lift o w e v e r, th e s e w ill b e u s e d w ith c a u tio n a n d o n e p e r s o n w ill a lw a y s d d e r to s e c u r e it. T h e r e is a p o te n tia l h a z a r d o f s tr u ts fa llin g d u r in g v a l, b e fo r e th e y a r e in p la c e . T o lim it th is r is k , h a r d h a ts w ill b e w o r n b e in v o lv e d in m a n e u v e r in g e a c h a r c h fo r m a x im u m s ta b ility .

C h im e w a tr ip h a z a r d s o r p a r ts a t a ll tim e s to a v o id h a z a r d is th e p o s s ib M a s s e y s o v is ito r s w

1 0

r ills , n a ils , d b y a tr a in llo w in g th e w o rn . H o w d th is w ill a

s d e s ig n e d w ith n o o th a t c a n b e s tu m b le u n n e c e s s a r y tr ip p in g ility o f s lip p in g o n w e ill a lr e a d y b e w e a r in

b s c u re e d g d in to . A c le . O n c e th e t g ro u n d . T g a p p r o p r ia

e s a n d s o th e re a re n o o a n a n d tid y s ite w ill b e m s tr u c tu r e is in p la c e , th e h is is a h a z a r d a c r o s s D te fo o tw e a r a n d c lo th in g

b v io u s a in ta in e d o n ly u n h a m .

B u s in e s s P la n

RISK

Injury whilst using workshop equipment

All Personnel involved in the build

Injury caused by splinters and sharp corners from cut plywood

All Personnel involved in the build

Injury caused by lifting heavy sections of structure

All Personnel lifting heavy objects during the build

Injury caused by falling from a step ladder

All Personnel involved in the build

Injury caused by the struts as they are lifted overhead

All Personnel involved in the build

Tripping over components left on the ground during the build Injury caused by ropes hanging in structure

2 .1 C o ld L ig h t P a v ilio n

PERSONS EXPOSED

All Personnel involved in the build

Visitors to site

SAFETY PRECAUTIONS All persons required to wear protective eye wear and gloves. Supervision from trained technician and first aider at all times. All persons required to wear protective gloves. All components to be fully sanded to eliminate sharp corners/splinters. All layers to be fixed together in manageable groups so that they are not too heavy to lift. No fewer than 3 people lifting each component. One person supporting step ladder at all times when in use. All persons required to wear hard hats. Maximum number of people involved in lifting legs to ensure stability and safety Components will remain in one place until required in the build, reducing number of places where tripping is possible. All ropes with be secured to the inside wall of the structure using eye screws.

Toxicity of wood stain used may be a hazard

All Personnel involved in the build

A non toxic stain will be used

Slipping on wet ground on site

All Personnel involved in the build and visitors

All persons required to wear suitable footwear. All visitors will be aware of these conditions and dress to suit.

LEVEL OF RISK (1-5)

SEVERITY (1-5)

CONSTRUCTION DRAWINGS

1 2

C o n s tr u c tio n D r a w in g s

2 .1 C o ld L ig h t P a v ilio n

1 3

1 4

C o n s tr u c tio n D r a w in g s

2 .1 C o ld L ig h t P a v ilio n

1 5

1 6

C o n s tr u c tio n D r a w in g s

2 .1 C o ld L ig h t P a v ilio n

1 7

1 8

C o n s tr u c tio n D r a w in g s

2 .1 C o ld L ig h t P a v ilio n

1 9

2 0

C o n s tr u c tio n D r a w in g s

2 .1 C o ld L ig h t P a v ilio n

2 1

2 2

C o n s tr u c tio n D r a w in g s

2 .1 C o ld L ig h t P a v ilio n

2 3

2 4

C o n s tr u c tio n D r a w in g s

2 .1 C o ld L ig h t P a v ilio n

2 5

JOURNAL I w a s a s s ig n e d to th e d e ta ils te a m b e c a u s e o f e d g e o n te s s e lla tio n p a tte r n s w h ic h w a s s u p p o s e d to b e e c o n o m ic a l w a y o f c u ttin g th e p ie c e s o u t o f p ly w o o d s h e m a r in e p ly w o o d s h e e ts w e r e s u p p o s e d to b e u s e d a n d I as confident that ith my idea e could had halved it.

m y h e e ts w a

e x p e r ie n c e a n d k n o w llp fu l in c r e a tin g a m o r e . A t t h e t i m e 60 x 2 5 m m s e s t i m a t i n g 60 % w a s t e . I

P h o to b y S im a O k la h

ery uickly though as told that if the pavilion is sponsored the idea look a t s k e tc h ) w o u ld n o t b e im p le m e n te d a n d I w a s q u ic k ly a s s ig n e d to d o in g fo u n d a tio n d e ta ils w h ic h w e r e s u b je c t to c o n c e r n b y e n g in e e r s .

2 6

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m y s e lf 2 .1 C o ld L ig h t P a v ilio n

2 7

P h o to b y S im a O k la h

T w e lv e m o r e p e o p le a ls o tr ie d to p a r tic ip a te in th e d e ta ilin g o f th e fo u n d a tio n s a n d s o I d e c id e d th a t w e w o u ld b r a in s to r m o v e r o n e s h e e t s im ila r to h o w I m a d e e v e r y o n e b r a in s to r m in p h a s e o n e o f th e p r o je c t.

2 8

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A fte r th e c o n s u lta tio n s a c o u p le o f p e o p le w e r e a s s ig n e d th e jo b to a c tu a lly produce details for the foundations and as specifically assigned to the details of th e le g s . A s it p r o v e d la te r o n I e n d e d u p d r a w in g b o th d e ta ils in fa c t.

2 .1 C o ld L ig h t P a v ilio n

2 9

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2 .1 C o ld L ig h t P a v ilio n

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PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

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Section @ 1:20

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2 .1 C o ld L ig h t P a v ilio n

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Plan @ 1:20

3 3

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O n a s tu d io to c u t d o w n th e c o s ts tu rn e d o u t to b e th a t G a m o u n t o f s h e e ts d o w w h ic h fo llo w e d m y id e c o m p le te th a t a n d h e h a v e it p r e c is e ly d o n e

3 4

s e s s io n w e e v e n m o re e o rg e - th e n to 3 8 th ro a . F ro m w h d id n o t a s k .

d is c u s s e d in th e b e c a u s e o f th e la m a n a g e r o f d e ta u g h c r e a tin g a te a t h e to ld u s , it to fo r a n y h e lp w ith

d e ta il g r o u p h o w c k o f m o n e y a n d it ils a lr e a d y c u t th e s s e lla tio n p a tte r n o k h im 2 d a y s to it a s h e n e e d e d to

J o u rn a l

G e o r g e W illia m s , e d ite d b y m y s e lf

T h e jo b th a t fo llo w e d th a t w a s to s e t th e la y e r s u p w ith h o le s s o th a t w h e n th e y r e a c h th e C N C r o u te r th e b o lt h o le s w o u ld a r r iv e p r e - d r ille d a n d s a v e a lo t o f tim e a n d e ffo r t. T h is tim e G e o r g e a s k e d fo r h e lp a n d I m a n a g e d to c o m e o f u p w ith a s y s te m o f d o in g it s o th a t o u tp u ts fr o m a ll 4p e o p le w e r e c o n s is te n t, w h ic h m a d e it e a s ie r fo r G e o r g e la te r to la y o u t.

2 .1 C o ld L ig h t P a v ilio n

3 5

3 6 J o u rn a l

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C le v e r w e b s ite to c o lle c t m o n e y in c lu d in g m y n a m e

P h o to b y m y s e lf

A t th e tim e o f w r itin g th is th e p r o je c t is s till u n d e r c o m p le tio n a s w e a r e s till w a itin g fo r tim b e r fr o m th e C N C e n g in e e r in g c o m p a n y b a s e d in L iv e r p o o l to a r r iv e . I th in k th a t th e r e w a s a s e r ie s o f q u ite u n fo r tu n a te e v e n ts th a t c a u s e d th e c o n s tr u c tio n d a te to b e p o s tp o n e d . H o w e v e r, g iv e n th e a m o u n t o f p e o p le a n d ta le n t th a t C h im e m a n a g e r s r e c e iv e d , th is p r o b le m s h o u ld h a d b e e n o v e r c o m e w a y q u ic k e r.

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2 .1 C o ld L ig h t P a v ilio n

a p p ro a c w o rk e rs r e a lly n e re m a rk a s la c k in te a m a w e re p g ro u p s p ro p a g th in g s

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I th in k th a t la c k o f C O N S T A N T fo c u s o f s o m e o f th e g p e r fo r m a n c e fr o m th e r e s t o f th e te a m - fo r in s ta n c e th s fa r a s I r e m e m b e r w a s a r o u n d s tu d io q u ite o fte n , a n d u b lis h e d o n t h e b lo g o r t h e g r o u p â&#x20AC;&#x2122;s F a c e b o o k p a g e , a s w h ic h d id a d a ily u p d a te o f th e ir a c tiv itie s . T h e d o c u m e a n d a in te r v ie w s w h ic h is q u ite c r e a tiv e , b u t n o t e n o u g h to d o .

m a n a g e rs c a u s e e d o c u m e n ta tio n y e t o n ly fe w o f th e m o p p o s e to o th e r n ta tio n te a m d id w h e n th e re a re o th e r

3 7

3 8

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I w a s a ls o in v o lv e d in o n s ite a s s e m b ly w h ic h to o k lo n g e r th e n w e th o u g h t b u t w a s q u ite fu n d e s p ite r a in a n d h e a v y liftin g . Y e t a g a in c e r ta in th in g w e n t w r o n g o n th e s ite including finding out that the original team did not measure the s ite p r e c is e ly w h ic h m a d e th e le g s w h ic h w e r e fr a m in g th e v ie w r e d u n d a n t in th a t r e s p e c t a s th e y e n d e d u p fr a m in g th e tr e e . T h e v a r n is h tu r n e d o u t to b e w a te r end had to leave earlier so didn t actually to u c h e s , h o w e v e r m a k in g th e e n tir e p r o je c t h delightful because of all the difficulties that

2 .1 C o ld L ig h t P a v ilio n

s o lv a b le a n d in th e itness the final a p p e n w a s q u ite e encountered.

3 9

J o u rn a l

2 .1 C o ld L ig h t P a v ilio n

SUMMARY 52% instead of 70%...

J o u rn a l

I th in k th a t a t th e e n d o f th e d a y I m ig h t b e e m p h a s iz in g a little b it a b o u t th e la c k o f p e r fo r m a n c e fr o m th e m a n a g e r s . O n th e o th e r h a n d th e r e a r e a lo t o f p e o p le w h o a r e n ’t m a k in g it in to th e m e e tin g s e tc . th e m a n s o rte d a th a t th e a c tu a lly

P e r h a p s it ’s t o d o w a g e r s I w o u ld d o a n y n d g e n e r a lly it a lr e a d m a n a g e r s d o n ’t q u ite b e in g b u ilt a n d th a t w

It w a s s u c c e s s fu l p r o je p e r ie n c e a n d e x tr y in g to r e a lis e

a c c t, a m a p

tu a lly a fte r p le s r o je c

ith th in y te b e e a

d e d ic a tio n a s w e ll, in th e p o g I p h y s ic a lly c a n to g e t th is a c h e s m e a lo t in th a t r e s p e lie v e th a t o n e o f th e ir p r o je c r e a ll r e s p o n s ib le fo r it.

s itio n s o f p a v ilio n c t. I th in k ts is

q u ite v a lu a b le to b e o n a s lig h tly le s s b e in g o n A te lie r [z e r o ] a s it g iv e s a lo t o f e x o f w h a t s h o u ld a n d s h o u ld n o t b e d o n e w h e n t.

A t th e tim e b e in g h o w e v e r, th e b u ild d a te is T u e s d a y 2 0 th o f N o v e m b e r a n d w e a r e a ll a im in g a n d h o p in g th a t e v e r y th in g w ill g o s m o o th ly fr o m n o w o n . !!! U P D A T E !!! We finally ended up building on the 26th of November due to further difficulties and the build took slightly longer then predicted.

52%

A fte r d o in g s o m e a r e a c a lc u la tio n s I g a th e r e d th a t w e w a s te d o f th e m a te r ia l w e b o u g h t w h ic h is a b o u t w o rth o f m o n e y , a n d it w o u ld h a v e b e e n if it w a s n ’t fo r m y in te r v e n tio n .

70%

2 .1 C o ld L ig h t P a v ilio n

£1 500

REFERENCES U n fo r tu n a te ly I h a v e n o r e fe r e n c e s fo r th is p h a s e o f th e p r o je c t a s a ll m y in p u t w a s b a s e d o n th in g s I le a r n e d fr o m m y g r a p h ic d e s ig n e d u c a tio n ( in te r m s o f te s s e lla tio n s ) .

hanks for icking through.