150203524 Portfolio Liam Rogers Stage 1 Newcastle University School of Architecture K100 2015-2016
University Documentation above the learning summary.
Learning Summary
LIAM KIERAN ROGERS
150203524
C B B B
This portfolio is a collection of my best and favourite pieces of work that I have completed throughout the year, following a series of projects. These projects include aspects of design, theory, history and technology being tested through a variety of outputs. Work marked with a red asterisk is work that I have added to or altered since the final review of the provision-al grade being given. Most of these changes will be in response to the feedback that was given post final review, with comments being orientated around unfinished work rather than the quality which is down to my own time management rather than poor ability. This is something I struggled with particularly in the Beyond the Frame but have since improved throughout the completion of each individual project since, this allowed time to go back and work on some
aspects I missed at the time when the project was live. On each design project I seemed to have focused too hard on an individual characteristic, for example in the beyond the frame I spent too much time doing analysis and research of the painting, whilst in the reading room project I spent too much on technical drawings, paying less attention to model making which I have since gone back to complete. On the Row House Living I feel I spent too much time model making and not enough time time on the technical drawings, again I have gone back to alter in reply to the feedback I was given. I do feel that this port-folio shows these thoughts in a positive light showing the potential I have, if I continue to improve upon my time management. After all the negativity I have truly enjoyed this year, it has been the best year in terms of education I
have had, purely because I love the challenge it presents. I have learnt so much more than I expected too and wish to continue that in my future years at the University. In a lot of the projects I have challenged myself to explore different mediums during the year through representation whilst also testing materials and technique throughout my model making with improvement being seen chronologically over the year. Next year I want to continue to improve my time management and perhaps my drawing abilities as I believe I don’t use it often enough for the final output, the reasoning for this is I like to have things rendered further through modelling and photography, but would like to push my boundaries. Thank you for the opportunities I’ve had this year and I hope you enjoy my portfolio.
Cherry trees stand in the quad outside the Architecture building.
Introduction This is my portfolio which was created for my Stage 1 review at Newcastle University. The work contained show’s gradual improvement of architectural practice through various mediums. Not all of the work is in chronological order with most following the university’s documentation ordering seen on the previous page.
Introduction
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Contents AP1
Contents and Declaration
AP2
Learning Summary Document
AP3
Original Design Submissions Charette Beyond the Frame Reading Room Project Row House Typology Row House Living
AP5
Non Design Module Coursework ARC1011 Introduction To Architectural History ARC1012 Principles and Theories of Architecture ARC1013 Architectural Technology 1.1 ARC1014 Architectural Technology 1.2 ARC1016 Architectural Representation ARC1016 Digital Representation
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Charette
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The process was tedious but effective.
Charette: Process
Charette week was a rather interesting experience, I didn’t quite understand the reasoning until the point in which we were able to go and explore the other shows. I was part of the fashion show labelled ‘Nu Baroque’ and was paired with two older students in second and third year. The design was based around a garment made out of curved cardboard triangles and thin wire, this related well to a masquerade style as the mask helps conceal identity.
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Charette: Show
Extracts from the Charette week video, by A2 Photography.
As the rest of my group refused to do the cat walk I had to take one for the team and do it myself, allthough looking back it was worth it. Above are some shots i extracted from Steven Lennox’s video. The video was mainly based around the show so it was good to look back and see everyone i have met over the year in the video, knowing at the time i hardly knew any of them. I wasn’t able to take any pictures as i was in the show unfortunately .
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Room Beyond The Frame
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Room Beyond The Frame
Two Women Beside a Linen Chest, with a Child by Pieter De Hooch.
The Room Beyond the Frame was my first major design project in which each individual was given a painting by Pieter De Hooch to study. The aim was to develop a narrative of the journey through the adjacent rooms to the studio of an artist. The painting i was given is called “Two women beside a linen chest, with a child�, De Hooch loved to leave hints and hidden messages in his painting making for some intersting analysis.
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Room Beyond: Analysis
Sketchbook extracts showing analysis with some design process.
Most of my time in this project was spent developing a solid narrative in my sketchbook with some examples being shown above. I compared the hints from the painting to other artist works such as Vermeer who was just a prominent at the time, to create what i believe to be a strong story.
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Some basic 1:20 models to help visualise the space and develop a concept.
Room Beyond: Sketch
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Room Beyond: Analysis
Design idea pages the showing process along with various designs.
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Room Beyond: Model
Final model to the left, rafters on the right, 1:20 models.
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Room Beyond: Model
Two images showing the studio layout in the attic, 1:20 models.
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Reading Room Project
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Photography exploring the experience and feeling generated by the site.
Reading Room Project
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St Teresa’s Church across the road from the site.
Reading Room: Precedents
The Reading Room was to be based just between Heaton Road and King John Street in Heaton, Newcastle. The site used to connect the two roads in accordance with historical records but is now a relatively quiet suburban street. Large variations of people pass through the site throughout the day by both bike and foot, whilst also being a major route for children after school making the reading room perfectly placed for educational purpose. The images to the right show St Teresa’s Church on Heaton Road with the spire and windows being of particular interest in terms of influence. This church massively inspired my final design as will be seen on the forthcoming pages with its vertical window frames and spire. The site has been capped off at aproximately four metres so that the view of the buildings either side are not obstructed impeded from use.
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Images of a 1:200 site model i built to explore initial concepts.
Reading Room: Site
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A 1:200 concept i created to depict texture and form.
Reading Room: Concept
I created this concept as i wanted to obtain an interesting concrete texture for my building to add some complexity to that of a minimalist material. The minimalism hints at its surrounding influences so that it fits in well but can still be defined as its own building rather than blending with the brick tererace just like the church.
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1:200 scale models showing several ideas to help influence a final design.
Reading Room: Concepts
After some further conceptual work i fused the ideas together to create a master mock up of all my ideas that would just need to be rationalised. The mock model (to the right) was also heavily inspired by my secondary source precedents with the main application being that of a roof spanning the sites width, potentially using the walls either side as additional support.
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This image and its predecessor reveal a developed mock model.
Reading Room: Mock
The verticall window frames that line the front of the building portray vertical scale to make the building feel bigger and more prominent than its restricted four metre height. The main bookshelves will be seen on the frontal facade due to the large glass panes that sit between the verticall frames. This will give the building a feel of public and private spaces as you travel clockwise the space becomes more private. My favourite aspect of this design is the minimalism presented by the facade. One of the major design flaws in this mock was the alleys that were created either side, to counteract these i doubled the space on the left side and added windows into the group reading area as it was the more popular route.
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Reading Room: Analysis
My sketchbook shows the majority of my skectches and research.
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Reading Room: Digital
The two images portray a small part of light exploration through digital format.
I had to test the lighting of the site and the shadows created to help influence my design positively. To do this i decided to use a website called sunarc and a programme called sketchup which allowed me to accurately place the site facing the the correct north allignment and positioning. Finally i studied the light changes throughout the year
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I created a model of my nook design to help illustrate its design.
Reading Room: Nook
One of the main points made in the final review was too create a nook model in addition to the technical drawings i presented, this would help illustrate the design and nature. The two bottom nooks are easily accessible for either disabled people or people who just dont want to climb, whilst the upper nooks create a sense of adventure to interest children.
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Reading Room: Left
Side elvation and section showing use of space and design.
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Frontal elevation of my reading room insitu.
Reading Room: Elevation
One of the bigger design decisions was based around a three door entrance with a large curtain door design rising a large majority of the four metre limit, dictating whether the reading room is open or closed. The automatic sliding doors either side of the entrance help stop any wind issues that arose during my research.
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Section being viewed from the back showing nooks and group reading room.
Reading Room: Section
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The frontal elevation of my final model.
Reading Room: Model
The final model follows the restraints of the sites width connecting the two walls with a panning roof, this roof is supported by large concrete walls as seen in plan on the right hand side. The roof is lined with skylights in various places to flood daylight into the spaces rather than dealking with lots of direct sunlight. In relation to my feedback i have added an extra skylight above the left hand side of the nook to shed more light to help open up the lower portion.
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Final plan of the reading room.
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Row House: Typology
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To the left a sketch model is pictured whilst to the right the finished model is shown.
Row House: Typology
Row House Typology was in my opinion one of the most beneficial projects on the course, it gave me a chance to work within a group having influence on primarily the A3 booklet but also helping with the final model. I liked this project because it gave me a chance to learn new skills from others but also teach new skills to individuals I worked with. For this project we were given Le Corbusier’s Villa Cook to study and build a model of. Since the final review I have added some more features to the site in general to help portray its row house style rather than that of a detached house, this worked well as it really helps you focus on the design of the facade. Above is a mock model which was created mainly to understand the buildings interior.
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I have illustrated the booklet design through several mock up pages to help the I have illustrated the bookviewer understand how the let design through several pages work together as a mock up pages to help the spread rather than an inviewer understand how the dividual page. The back pages work together as a cover of the booklet was spread rather than an increated using thick carddividual page. The back board and concrete texture cover of the booklet was spray paint. The reasoning created using thick cardfor this was to make the board and concrete texture viewer feel and understand spray paint. The reasoning how the building looks for this was to make the through its square facade viewer feel and understand and also how the building how the building looks feels to bring you closer to through its square facade it through a different sense. and also how the building feels to bring you closer to it through a different sense. A building is meant to be interacted with not read about and this is what i wanted to show.
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Shots of the finished booklet and favourite pages.
Row House: Typology
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Row House: Living
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Old images of the site and its surroundings, i do not claim ownership of these.
Row House: Living
I found these old uncredited photos on google images. The top image shows the site when it was originally built on with terrace housing, they were eventually torn down as it soon became a heavily industrial style landscape as evident from the images on the right. The actual site is now empty other than The Cumberland Arms remaining at the end of James Place Street on its lonesome.
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These are present day images i took around the area relating back to the old.
Row House: Area
The images i took around the site today show that the area of Ouseburn has never strayed far from its roots with classic cars still being seen all around the valley. The factory style is something i could take influence from as large windows are needed for the house concidering the width of my personal allotment only being five metres. I have included half the party walls to make it fair as i understand there would be similar buildings either side of mine.
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Some sketches showing initial thoughts on form and hierachy of space.
Row House: Analysis
In my meeting with the client she stated how blue was a colour of interest which coincided with the old glass work sculptures that could be seen all around the valley, an example of this can be seen to the left. The two images above show parts of my early design process and secondary source precedents research.
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My second sketch model and a concept for the final model.
Row House: Sketch
The two images above are both of my second sketch model with the top showing the pull out wall concept for the mock model. I did this to help understand the transitional space and smaller rooms hidden within the structure. The design was based around the rising structures of the valley visable from the site, reflecting its opposite. The studio for the client seems to float between the two party walls allowing for the car to be parked further into the site helping in terms of security.
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Mock model composing any thoughts before the final model.
Row House: Mock
When pulling into the car parking spot you are greeted with views through the house to the valley beyond, it gives you a feel for where everyone is in the main living areas to really emphasise that coming home from a busy day. The floating studio sits above the rest of the structure meaning work feels detached slightly from the home where the pressures of work dont follow. When Tracey (client) is in her studio she will have the best views to help inspire her to produce better art.
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Internal perspective drawings of the courtyard into the kitchen and outside roof garden.
Row House: Perspective
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Row House: Plans These plans were originally drawn and rendered at 1:50, they have been scaled down to fit the parameters of the portfolio. I also reworked the plans.
Studio Floor
Second Floor
First Floor
Ground Floor
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My final section that I reworked based on feedback, originally 1:50.
Row House: Section
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Olson Kundig/Steven Holl, these are not my images i do not claim ownership.
Row House: Precedents
Secondary sources were a large part of this project as they inspired me to create some new and innovative concepts. The left image shows a large windowed wall that opens up to the lake in front, i took this inspiration to create two large windowed walls that rotate to meet in the middle to create a canopy over the courtyard space for change in weather. The second image helps explain the blue oxidised copper in the model, this is used for privacy purpose and light reduction.
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Images showing details and interior perspectives of spaces in the house.
Row House: Model
I kept the window style consistent throughout the design creating a modern use for the factory style seen throughout the valley. The images with the woman in make up the studio space whilst the right image shows the view through the entrance to help explain that the space will be bright due to the large constant windows at either end. Since the final review i have worked on this space to give it more purpose as seen in my plans, nooks and cupboards line the space.
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Large shot of the completed final model without secondary party wall.
Row House: Model
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This is my final model with the secondary party wall removed showing a large majority of the rooms. I opened up the rotating doors as i wanted to actually show that they do rotate around an axis in the model. The large parting wall that joins the transitional space and smaller rooms to the main rooms of the house is removable to help expose the inner workings but for the purpose of this photo i left it in, with my favourite room in the house is the double height kitchen space that opens up.
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Architectural History
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Identify an element or space within your building or its grounds with qualities that particularly interests you and, making use of observational drawings, diagrams, photographs and description, explore it in relationship to one or more of the following: historical development, social/ cultural context and use, other similar examples, use, spatial qualities and experience, materials and craftsmanship, construction, symbolism. I have chosen to study the church of Fountains abbey in North Yorkshire, England for my history essay as it captivated my interest due to several architectural elements, these of which I will discuss in this essay. These elements will be explored in relation to historical development, spatial qualities and symbolism that I have discovered through my research and own personal experience. The abbey’s precinct expanded over 70 acres and now lies on a world heritage site (Figure 1) which narrates its story in tangent with other historical elements, such as the introduction of the medieval deer park and elegant Georgian water gardens. Today the abbey including its church lies in ruin labeled as a Grade one listed building yet is still one of the largest and finest preserved Cistercian monasteries in the country. The site attracts around 300,000 visitors a year who want to experience the well-engineered views and architectural prowess for themselves, most without understanding the journey and stages from poor too rich in which the abbey faced throughout history to even achieve its stone attributes. After a difference of opinions between some monks at St Mary’s abbey in York a thirteen monks was extradited from the abbey. In 1132 these thirteen Monks travelled to establish a new frontier Cistercian monastery 3 miles south west of Ripon, they wanted to follow the notion of Cistercian order which was a stricter expansion of the Benedictine monk’s culture. They began in the wood of Herleshowe as St Benedictine taught that: “You will find in woods something you will never find in books – stones and trees will teach you a lesson you never heard from masters in the schools.” This indicated a rather brutal way of living in comparison to what would be perceived as normal living conditions at the time. The monks were supported by Thurstan the Archbishop of York who gave them the land to establish the monastery along with knowledge in relation to wooden construction in accordance with Cistercian practice. The first church to be built on the site was that of wood and was most likely two stories tall being used almost as a temporary option. This original structure doesn’t hold mention in many contemporary records as it was quickly replaced
by stone around 1136, due to this reasoning there isn’t many specific details. The first stone church as aforementioned were a more permanent point of expansion, built by Abbot Richard who was the founding father of the new monastery. The stone church was built with the help of lay brothers taking advantage of their physical attributes in both agricultural work and manual labor in building. The design at fountains was more typical of Cistercian early churches which were cruciform in plan but with a relaxed crossing, at the end of the presbytery a short square is introduced to house the alter and small rectangular transept chapels. (Figure 2) Albeit similar in style It was still small in comparison to other churches that were built at the time as read in this extract: “unlike its successors had a short nave without aisles, and the transepts were mere adjuncts, walled off from the main body of the church.” It became too small as the community grew with the increase in lay brothers and choir monks, and with the addition of a fire in 1146 the scene was set to allow the third abbot, Henry Murdac to expand the cloister buildings as part of the damaged stone church whilst also expanding upon the Nave. The foundations of the damaged church were used to assist in the building of this larger scale design (Figure 3), with work being finished in 1170. This meant a large majority of the structure we see today was complete with this new Abbey’s church took large influence from other English Abbey’s such as Sawley and Rievaulx, with the additional attributes of a mother house it allowed daughter houses and so forth to be built elsewhere such as further north into Scotland. “The result is like Rievaulx, with unvaulted transept and nave, unarticulated aisle walls and transverse vaults, through with the flanking chapels probably extended to form an echelon plan, and with English elements such as the crossing tower and columns with attached shafts and scallop capitals.” The sheer scale of this new church is an aspect in particular that interests me as on my visit you could really feel the sense of power and awe this part of the abbey portrayed to anyone who would gaze upon it (Figure 4), even in its ruined state. I can only begin to imagine the impact it would have on someone between this time and the 16th century with its ever growing stature as a mother house for the Cistercian order in England. This is taking into consideration the modern mind influenced by todays skyscrapers and mega structures as having the ability to influence that mind, which is what the monks were implementing as a point of symbolism in relation to the showing of wealth and power. In the Late 15th century more alterations were made to
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the abbey as Abbot Huby built a large tower at the end of the north transept which still stands today as a powerful reminder of the Abbeys influence and power in the region. The tower was influenced by the period of tower building in northern England towards the end of the medieval era overlapping with periods such as the Renaissance. When approaching the site from the visitor center you are initially in view of the top of this tower and as you decline into the valley the structure grows and grows, increasing in stature. Dramatic light effects (Figure 5) are created in the Abbey with the absence of a roof due to its derelict form but these still could be perceived as rather accurate dependent on the position of the sun and time of year you visit as the larger gable ends would lay housing to monolithic windows which would flood the church with direct and ambient light to create a space that feels even larger in scale than it truly is. Another realization of symbolism in the church can be derived from the need for light that seemingly indicated the start of the gothic era. The monks saw light as a manifestation of the holy spirit and began to implement and rule that light should be imperative for a church of this new era. This means the windows were made as large and as frequent as possible whenever reconstruction was needed. The timing of the abbey’s historical development from rags to riches really captivates the imagination with the clashing of so many eras including that of: Gothic influence, medieval architecture and the renaissances art and culture really makes this time period unique, which is represented in the church’s spatial qualities that interest me. The Abbey itself coincided with the growing influence of the churches power in England, as evident from my previous discussion and after almost 400 years was to be dissolved along with others throughout England by Henry the 8th, leaving it to lie in ruin. The site lay abandoned for the next 200 years until it was bought in the mid 18th century for £4000 by the Aislabie family. “William Aislabie (1699-1781) inherited the Studley Royal estate in 1742 and began a grand scheme of joining the family lands with the Fountains Estate which he acquired in 1767 and landscaping the entire property as one huge estate and park.” Finally, it was bought by the national trust in 1986 to become a world heritage site (Figure 6). Understanding the historical development of the site in relation to spatial quality and symbolism has helped further pushed my understanding of architectural practice and its journey has truly captivated me. Even today it is still a beautiful site and stands as a reminder of the power that religion has over us.
Essay to the left with question and some photos from the location.
History: Essay
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Principles and Theories
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Choose a building that you admire and that you know well. Try to explain, in 1500 words, with illustrations if appropriate, what it is about the building that makes you feel that it is good. Principles and theories lectures always present admirable marvels of the architectural world that display present convention and set the ideology of what we perceive as an exceptional building, some structures just have a certain quality that allows them to stand above the rest creating this factor of exceptional design. This quality in my opinion can be seen in structures such as; The Walt Disney Concert Hall by Frank Gehry, The Heydar Aliyev Center by Zaha Hadid and The London Zoo Penguin Pool by Berthol Lubetkin. The only thing wrong is that none of these favourable examples have the influential effect on me personally like my chosen building, The Imperial War Museum North. This museum is located in Greater Manchester, England which is where I had lived all my life before moving to Newcastle, it was designed by Daniel Libeskind and constructed in 2001. At this time I was five years old yet I only first experienced the building at around seven years of age. Recalling this first experience is easy for me as it was more of a memory of family relations than a memory of architectural admiration, which is realistic coming from the mind of a seven year old. My Grandma Janet was the instigator of my regular visits to the museum, having been before she decided to take me and my younger brother one autumn weekend. The excitement upon approach was a key factor for me as an Ex-Iraqi Army T-55 tank sits outside dwarfed by the striking vertical shard, allowing you to see the Manchester skyline from high up. In the main exhibition space within the ground shard lies the large open plan area which has sheer height and unpredictable patterns, evoking awe and exploration. The large walls allow for projectors show stories in an audio-visual manor for the visitors and seem to have been one of the main considerations within the early design process. Inspired is the feeling best equipped to describe the reason for my liking of the building from such an early age. I was inspired to explore and learn resolved from the use of architecture through a manor I wasn’t aware of at the time. Moving through the years I still visited the museum with or without my Grandma as the experience never seemed to get old. At this point in time I had started secondary school and began to develop a higher level of understanding of war in the last century so the museum became more a place of understanding and research. When visiting I would approach the building thinking about the type of tank on
display and its history, whilst the more childish side of me would begin to excite about reliving the experience of the viewing platform. When inside I began to have more respect for the type of environment that had been created as this building was predominantly designed with the exact intention of creating an educational space perfect for taking in the information on display. At this time I still didn’t fully recognise the building as the exceptional building as I was too busy taking my notes and pictures for school history projects. The closest I most likely got to thinking about the building itself was the wonder of how the jets, helicopters and other exhibition pieces had been put on display? Were they disassembled then reassembled inside? Or were they present before the structure was completed? Questions that I have never reconsidered up until now, having never found out. Yet the alterations of these feelings continued to evolve. Later in this period of my educational life I took up Engineering as one of my options, in which I was presented with again another alternate perspective in which to view the building. When passing through the main skewed entrance you are able to look up and admire the huge triangular truss’ that travel from one side of the vertically standing shard to the other creating almost a repetitive pattern leading the eye further upwards thus exaggerating the height of the space, whilst presenting a feeling of understanding. This understanding is perhaps of the extensive mathematics and physics that had gone into the design of the structure by Daniel Libeskind and his practice, I understand it must have been frustrating also as some of the funding was cut for the project and the design had to be altered several time to accommodate for the loss of finance. We proceed through the years in which I may have changed but the building has not, the exhibition remains the same yet my grandma would still persist to take me every now and again. Moving onto Sixth Form I took design orientated courses in which Architectural research was my personal choice of study. For the subject research of precedence was essential for a successful project, so it only made sense to look at Architecture close by in Manchester. The first and only building that I could think of was the museum as if it was a sudden realisation that this structure had always looked the way it did but it had never occurred to me how fantastic it was. The way in which I had always interacted with the museum was always with the experience of the interior and rarely with the exterior as if it did not exist. In my mind it was always the interior that exited me but that time was different, it was also one of the first
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times I had been without my Grandma which allowed me to interact and experience the building with almost a fresh mind. I began to understand more thoroughly what Daniel Libeskind meant when he told the visitors what he desired at the buildings opening “create a building ... which emotionally moved the soul of the visitor toward a sometimes unexpected realization”. After further research into not only Daniel Libeskind but the building itself I began to develop a new feeling which actually began to make me feel almost liberated and free from social convention. The building is of a deconstructivism style which means the actual construction of the design was led by the deconstruction of another component through semiotic analysis. This type of analysis provides a sense of meaning to who or whatever is the result. In the case of the museum the analysis was of a world gripped by patterns of conflict, using three of the broken shards as his inspiration for the exterior of the building. What I found interesting about this when researching was the story behind the concept “When Libeskind came up with the broken-globe concept, he dropped a teapot (the nearest object to hand with a spherical shape) out of his studio window in Berlin and used the broken pieces as inspiration for IWM North’s three shards.” These three shards all represent a sequential aspect of conflict which was detrimental to the positioning and layout of the museum with the entrance with the large vertical shard being representative of the battles of the air allowing you to feel the elements with being so high up, the exhibition space curving down and grounding the structure showing that the structure has weight allowing it to feel heavy and sturdy and finally the water shard tracing the path of the Manchester ship canal which lies parallel to the structure waving up and down just as the fluidity of water it mimics providing a more relaxed feeling. Earlier in my life I had touched on the skewed entrance to the museum as a transitional space which is simply passed through to reach another space of interest, this was likely miss leading away from the idea that the entrance itself isn’t an interesting point in comparison. Whilst this is not the case as it is one of the first things to influence you without you knowing it is doing so, as it skews downwards to the left you are led away from the right inside turning as you feel inclined to follow the lay of the slant. When thinking about it, I was provided with a feeling of disorientation and unease which links well to the theme of conflict and war. When in the main exhibition space a volunteer working at the museum had told me about how the room actually slopes downwards and contains no right angles
culmination of various feelings gained over several years of different perceptions from almost fresh eyes in each context. I believe it was also a realisation of time and knowledge with every visit I actually learned something new from the museum, be it through the history of war and conflict or that of the structure that did not change. My Grandma had a large influence in this process as she was the one who began my development and perhaps was the reason I became so interested in Architecture. But the structure itself does influence my feelings like Libeskind set out to do from the beginning although without my Grandma I may never have experienced this building and may have never be influenced towards this career choice. The influence of this exceptional building has left me with a final feeling of gratitude not only towards my favourite building but my Grandma also.
Principles: Essay
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Poster to the left with some leftover images that were not used to the right.
Principles: A1 Poster
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Architectural Technology
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Exploded diagram of Reading Room Project showing structure hierachy.
Technology 1.1: Diagram
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Diagram of my reading room i produced to help explain the maths.
Technology 1.1: Maths
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A view from the artists studio in the Row House Living project.
Technology 1.2: View One
Project 1 13.05.2016
Operator Telephone Fax e-Mail
Room 1 / Light scene 1 / Summary
Height of Room: 2.400 m, Maintenance factor: 0.80 Surface Workplane Floor Ceiling Walls (4)
Values in Lux, Scale 1:65
U [%]
Eav [lx]
Emin [lx]
Emax [lx]
u0
/ 85 70 85
2718 3051 1722 2051
1142 74 852 146
5179 5527 2920 4745
0.420 0.024 0.495 /
Workplane: Height: 0.750 m Grid: 128 x 128 Points 0.500 m Boundary Zone: Illuminance Quotient (according to LG7): Walls / Working Plane: 0.640, Ceiling / Working Plane: 0.626.
The first room I will look at is the large industrial style window in the studio that gives panoramic views of the valley south of the site. Dependent on the activity this window can be shuttered off with a perforated oxidized copper shutter from the right to diffuse direct sun light. The main focus of the studio is to allow the client Tracey to do her paintings and carry out manual art practice. In the client meeting she stated that she would like flexibility in the spaces in her home hence the advantages of both panoramic views and diffused light when need be. On the opposite side of the room lies a window of similar specification and qualities with a smaller window next to it, this can be opened up completely to access a hook for winching up large canvas’ whilst allowing fresh air into the room so it doesn’t get too hot and uncomfortable (counteracting the potential heat generated by large expanses of glass). These two windows allow lots northern light into the space creating the perfect environment for painting. A skylight also implemented into the roof to reinforce the industrial feel whilst giving an uninterrupted framed view of the sky above.
Pure daylight scene, no luminaires involved.
DIALux 4.6 by DIAL GmbH
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A view from the gaming room in the Row House Living project.
Technology 1.2: View Two
Project 1 13.05.2016
Operator Telephone Fax e-Mail
Room 1 / Light scene 1 / Summary
Height of Room: 2.350 m, Maintenance factor: 0.80 Surface Workplane Floor Ceiling Walls (4)
Values in Lux, Scale 1:90
U [%]
Eav [lx]
Emin [lx]
Emax [lx]
u0
/ 85 70 85
734 663 464 557
418 147 297 3.98
1962 3191 1068 1618
0.570 0.221 0.639 /
Workplane: Height: 0.750 m Grid: 128 x 32 Points 0.500 m Boundary Zone: Illuminance Quotient (according to LG7): Walls / Working Plane: 0.758, Ceiling / Working Plane: 0.629.
The second room was the gaming room that was labeled as controversial in the final tutorial as the tutors beleived it didnt work as it was too small. Pure daylight scene, no luminaires involved. I have chosen to study this room to help show it does work well personally being one of my favourite spaces in the house. The image on the left shows the view out of its window which as shown would be of the valley in winter periods but off lush greenery in the summer. The main window spans from floor to ceiling to expand light deeper into the space. Above the desk and sofa are small sky lights to highlight the key fatures of the space whilst again framing the sky above. The image on the right portrays some nice lighting effects that can be created in the summer sunsets. DIALux 4.6 by DIAL GmbH
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Analysis of the artists studio with DIAlux pending alterations.
Technology 1.2: Studio
Inital Studio space light study diagrams.
My initial studies show that as predicted my room’s daylight factor was way too high for the style of room. The average daylight factor came out at 17% with the average needing to lie between about 2 - 5% for an overcast sky. Anything over 7.5% is too bright meaning my room is 9.5% over the limit. In this initial model under project manager I selected Daylight properties and set the Window Glass at a transmission of 90% for single glazing. I wanted to experiment the effects that the usage of more glazing would have on the studio for future reference. The first image shows the room from above with mild shading indicating the darker parts of the room whilst the images to the right show more graphically where the problems lie particularly with the north side of the rooms brightness.
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Gaming room analysis with DIAlux .
Technology 1.2: Gaming
Knowing I needed to improve my Studio Room I moved onto my initial studies of the Gaming Room saving the improvements for part 2b. The lighting in this room was deemed to be perfect by DIALux as the average lay nicely between the 2 - 5% needed. At the lower end of the spectrum the result came out as 3.32% which works well with the gaming use of the room as direct light is not needed. This outcome was made possible due to the shape of the large window being tall and thin. When gaming you don’t need much light as you work with the light emitted from the screens, so this room will be perfect for Tracey’s kids to take use off, as she informed me they were avid gamers. The room isn’t too close to the trees on site but still gives a nice hint of the external environment as the structure is on the other side of the street and on the third floor (similar height to the studio). This meant the trees were not an issue when working in DIALux. The two right hand diagrams back up this average light being carried through the room with only part of the desk being brightly lit at times. In contrast to the studio study I added double glazing in this room as i believed the daylight factor would most likely be ok. This means the windows have a trnasmission of around 80% in comparison to the 90% given by single galzing.
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Diagrams showing the improvement in average daylight factor.
Technology 1.2: Improve
As DIALux registered the studio room with a daylight factor of 17% I needed to drastically reduce the amount of windows I had designed the room to have. The priorities for me and the clients’ interests were the industrial style window that gave the panoramic view for the valley and the large window which could open up to access the exterior mechanism for aid with bringing the canvas’ or other materials up to the studio without having to struggle with the stairs, this window also allowed fresh air which is a necessity. This left me with one option which was to remove the skylights from the design, this idea wouldn’t have massive implications on the design as they were barely visible from the exterior. After removing these skylights, I was left with a largely reduced daylight factor but it wasn’t enough so I changed the windows to triple glazing which gave a transmission of around 70%. This gave me a final daylight factor of 9.53% when I redid the calculations which was again still way too bright.
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Next I decided I had to reduce the scale of the large back industrial window drastically. I left a thinner opening to the right with storage next to it which gave the room a new dynamic and a less box like feel in consequence, whilst leaving the large individual window on the left which is still fit for purpose. For the panoramic window I removed the floor to ceiling concept I had initially wanted as I didn’t want to sacrifice any more northern light. I raised the window off the ground slightly to keep the old industrial form used in the modern environment evident. This gave me a final daylight factor of 4.97% which worked perfectly, as you can see from the graphics an average of just below 5% is carried well through a large majority of the room. This now means the client will have a better environment for her painting whilst also keeping the key design features I wanted from the beginning.
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Architectural Representation
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Representation: Booklet
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These images are not the most life like but are my favourites.
Representation: Favourites
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Digital Representation
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Digital modelling process and final A1 presentation.
Digital Rep
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Thanks to my family for supporting me throughout my first year at university.