POR TFO LIO PORTFOLIO 2020 PART II ARCHITECTURAL ASSISTANT
LYDIA WHITEHOUSE
PROFESSIONAL EXPERIENCE
A
F
Levitate
B
C1
E
100mm
D
C2
Key Plan 1:1250@A3
PRIVATE HOUSING, ALFRISTON
red brick chimney metal roofing timber cladding brick and flint walling
This project was for 7 new-build homes in the South Downs National Park, in Alfriston, East Sussex. I was responsible for creating, amending and modifying the working drawing package in Vectorworks, building the virtual model, creating 3D comparison Views and the diagrams for the Pre-App Sketchbook document. I also made 1:500 physical models comparing different options, and a 1:200 model by hand.
existing building outline
47.71
47.44
45.81 43.36
new boundary hedging
43.63
mixed native boundary hedging
43.16
41.26
40.74
40.30 Datum: 40.00m.
38.40 House D House C1 (House C2 beyond)
(House E beyond)
House F
House B
3 King's Ride Cottages)
1
Proposed Section 1:200 @ A3
1. Scaling from a print of this drawing will only give approximate dimensions due to inherent inaccuracies in printed media. Where accurate dimensions are required please refer to the Architect. 2. Proposed works are based upon survey information provided by others. The Architect is not responsible for discrepancies in survey information. 3. All dimensions to be checked on site prior to commencement of any works, and/or preparation of any shop drawings. 4. All co-ordinates, levels, dimensions and discrepencies are to be reported to the architect. 5. All temporary works to be responsibility of the contractor. 6. This drawing to be read in conjunction with all relevant Architect's drawings, specifications and other Consultant's information.
CLIENT:
DRAWING TITLE:
Mr S Carr, S & F Carr
Proposed Short Section
Sussex
SCALE:
DRAWING NUMBER:
1:200@A3 -: 22.12.17: for Pre-Application
DRAWING ISSUE AND REVISION:
PROJECT:
King's Ride, Alfriston
and Daughters
1712_GA200_-
26 LLOYD BAKER STREET LONDON WC1X 9AW UK TEL: +44 (0)20 7833 4455 LEVITATE ARCHITECTURE AND DESIGN STUDIO LIMITED, Registered in England: company number 3985247, Registered office: No. 3 Acorn Business Park, Keighley Road, Skipton, North Yorkshire, BD23 2UE ISO 9001:2000 CERTIFIED
TRENT BASIN This project was for a series of both new-build and custom-build homes in Nottingham. The custom-build units aim to allow future residents to design their home by selecting options (for example 2 or 3 storeys, the position of the living room) to generate a standardised home, where main components like the staircase and riser are fixed. My role consisted of developing 2D drawings of the new build homes, creating a virtual 3D site model and individual home models, rendering and photoshopping visuals, compiling work into client ‘sketchbooks’ and building the physical model.
OTHER PROJECTS: NATIONAL TRUST CAFE, DORSET The early proposals for a new cafe on a sloping coastal site for the National 1620 Middle Beach Cafe Trust. The site was surrounded by ancient woodland and WW2 ‘dragons teeth. Studland Included physical modelling, 2D drafting, collating presentation materials and proposals for a woodland ramping walk.
3D MODELLING AND VISUALS
WORKING DRAWING PACKAGES
Creating complex models in 3D Vectorworks and creating rendered views for the extension of a listed hotel in Exeter and new sports hall for Swanbourne House School
Drafting the full planning drawing package for the extension and reconfiguration for a listed house in Park Terrace, Nottingham, and the redevelopment of its garden house.
POLLARD THOMAS EDWARDS PTE is a large practice of about 150 people, specialising in large mixed-use housing projects, and more recently Education and Third-Age sectors. Over this placement, I was primarily involved in the Planning Application submission of Former Hounslow House, consisting of 293 residential units and a large commercial space. I was also involved in a residential project on Green Lanes and a combined school retrofit and new residential scheme in Hounslow. My responsibilities included producing diagrams and drawings for Pre-App and D&A documents, creating and amending working drawings over the project and producing virtual models in SketchUp.
TM ARCHITECTS TM Architects are a small practice specialising small and medium-size mixed-use and multi-tenure housing schemes. I was given a high level of responsibility in the practice and worked on a range of projects, including an 80-house scheme in Grays, Essex with significant ecological and landscaping requirements, the design of Wheelchair Adaptable flats for the elderly in Barnet, London, and the preparation, concept and developed design of 48 flats and residential space next to the canal in Camden, London.
THE EMPIRE REPARATIONS COMMISSION Part II Thesis Design Project
2024
THE COMMISSION IS ANNOUNCED
FEBRUARY
GENERAL ELECTION
A new government is formed with progressive values.
THE ERC IS ESTABLISHED
An internal board to lead work on the new Centre on behalf of the government and ERC is created.
PUBLIC FEEDBACK RECEIVED
Public opinion is received on-line and the designs are exhibited nationally
JANUARY
DESIGNS REVEALED TO THE PUBLIC
2029
FEBRUARY
GENERAL ELECTION
MAY
Current government aims to be re-elected
OCTOBER
GOVERNMENT BUDGET
JANUARY MARCH SEPTEMBER
MAY
PLANNING APPLICATION SUBMITTED
MEMBERSHIP WORKSPACES COMMUNITY SPACES
DEBATE CHAMBER
Further funding can be committed to completion of new centre
JUNE OCTOBER START OF WORKS
SHORT-LIST AND JURY ANNOUNCED
2028
RIBA STAGE 4
2026
LIBRARY
EXHIBITION ROOMS OFFICES
INSTRUCTION TO PROCEED: DRAWING PACKAGES PREPARED
INTERNATIONAL DESIGN COMPETITION FOR NEW CENTRE OPENS
JUNE
AUDITORIUM OFFICES
FEBRUARY
COMPETITION WINNER ANNOUNCED
RIBA STAGE 4
CLIENT BOARD CREATED
MAY
2027
OUT TO TENDER, REVISED FOLLOWING VALUE ENGINEERING
2025
CHAMBERLAIN CLOCK
RIBA STAGES 1-3
The Prime Minister pledges to create a new commission and learning centre to fully examine and take action on the UK’s empirical legacy in their election manifesto.
THE PREMISE
CREATING A SAFE SPACE TO DISCUSS DIVISIVE TOPICS
The Empire Reparations Commission (ERC) is a fictitious government agency based in Birmingham’s Jewellery Quarter, that looks to provide a platform to tackle divisive topics surrounding the UK’s empirical legacy. The Commission would be responsible for advising government on how to decolonise, from how Empire is taught in schools to whether the UK should be paying reparations to former colonies. Typically, government spaces are the least appropriate places to have these conversations, as they are covered in empirical imagery, but also based on deeply ingrained practices of exclusion. Even spaces built today often have physical and social boundaries which can discourage the public from taking part. A de-institutional design agenda is therefore followed, which combines the commission with community facilities and allow for public participation. The programme combines commission workspace and traditional means of community engagement, alongside event spaces, community amenities, and shared areas for continued research and learning.
Filled with empirical symbols, + hugely tied to the exclusivities, hierarchies and traditions of Empire.
MANIFESTO AND RESEARCH
Unfit for re-examining the breadth of ties to colonialism
ENVIRONMENT + TECHNOLOGY MANAGEMENT, PRACTICE + LAW
Even without this, social and physical boundaries still exist across the typology
THE COMMISSION - AN INSTITUTIONAL TYPOLOGY -
LEARNING, THEATRE AND COMMUNITY SUPPORT - SPACES CRITIQUING THE NORM -
A HYBRID TYPOLOGY - EMPOWERING EVERYONE TO TAKE PART IN THE CONVERSATION -
THE CONTEXT Our studio adopted a feminist methodology and the theme of care to champion inclusive design in our projects – following the tagline ‘Include the Excluded’. This influenced our briefs and methodology.
Yukon 1896 South Africa 1867, 1886 California 1848
I became particularly interested in care as a subjective and political act. By asking who is caring for who, we can begin to see the power structures at play and ask the question: who is not being cared for in our cities. This is particularly relevant to the remembrance of Empire and modern movements to decolonise our practices.
FEMINIST STUDIO:
INCLUDE THE EXCLUDED PROJECT DRIVER
LOCATION:
STUDIO THEME:
CARE
CARE IS COMPLEX
/kɛː/ noun, verb
From Feminist Studio Agenda
Standard definitions highlight its dual meanings “caring for...“ “taking care to...”
METHODOLOGY
...is considered a ‘feminine’ trait. ...is providing for the welfare of someone or something. ...is undervalued and under appreciated. ...is a full-time job. ...about looking after others. ...often works oppositely to justice. ...can be for things or people. ...is using serious attention to do something correctly. ...means protecting the natural world too. ...can be applied to the city as a whole. ...is about providing for the most vulnerable people. ...could be applied to the site ‘as found’. ...is providing protection. ...is a form of maintenance. ...is respecting everyone‘s needs. ...is about looking after yourself too. ...establishes a sense of ownership over things. ...looks different for different things. ...is a verb and a noun. ...is political. ...cannot only be applied once. ...is sharing things, food and resources. ...is not spread equally across the world. ...is about being passionate. ...ultimately reflects structures of power. ...can be unfair. ...is emotional. ...can be ‘uncaring’. ...is hard work. Care in ...is a core human trait. architecture can be a methodology
Our expansion of the definition
BIRMINGHAM
This can be a darker theme than first thought
JEWELLERY QUARTER CITY CENTRE
EXPLORING THE JEWELLERY QUARTER This Jewellery Quarter developed alongside Birmingham’s industrial expansion in the 1800s to become a hub for jewellers and metal workers, particularly concentrated in the ‘golden triangle’. This neighbourhood is hugely tied to Empire, as not only did Rhodes create the modern diamond industry, but the Victorian fashion of wearing jewellery grew out of an increasingly wealthy middle class. Its separation from its surroundings by the inner and middle ring road, and the decline of the industry in the 1970s has created a historic bubble on the edge of the city. Many of its factories are now listed and a conservation area is in place.
THE EMERGENCE OF THE QUARTER
JEWELLERY QUARTER CITY CENTRE
ISOLATION FROM THE CITY BY THE RING ROAD
1970s DECLINE LEAVING LARGE NUMBER OF HISTORIC WAREHOUSES
RELIANCE ON THE ROMANTICISED IMAGE OF THE ‘MASTER CRAFTSMAN’
EXPLORING THE JEWELLERY QUARTER
EXCLUSIVE
Today, the Quarter is arguably being heavily cared for by the city. Large levels of investment are transforming it into a thriving neighbourhood. However this is also becoming gentrified, creating an exclusive bubble in Birmingham for wealthy and often white young professionals.
TOY TOWN GENTRIFIED CURATED
It’s important to recognise this development relies heavily on a romanticised version of the area’s heritage to market itself of the master craftsman working away in his studio rather than acknowledging the more complex reality and alternative histories of this industry.
10 JQ is
Submitted for Planning (or in Pre-App) Planning Application Approved Currently on Site
th
MOST GENTRIFIED UK neighbourhood
Acknowledging the Jewellery Industry’s relationship to colonialism
DISRUPTING THE QUARTER Understanding the colonial continuum
The project ultimately aims to combat the area’s monoculture by placing this commission in the quarter - disrupting this narrative and offering an alternative history. This defines the relationship between the building and its immediate and wider context.
Therefore, the project both challenges the typology of government spaces through its de-institutional design agenda and challenges its context, employing a series of subversive disruption tactics to shape the design.
Re-imagining the craftsman in the workshop as women and immigrants in manufactories
DE-INSTITUTIONAL DESIGN AGENDA
DISRUPTING THE QUARTER’S MONOCULTURE
Recognising other communities using the Quarter today
SUBVERSIVE DE-INSITITUTIONAL DESIGN TACTICS
1 2
PROGRAMME SITE CHOICE
3
RETROFIT
4
COURTYARD
5
ENTRANCE SEQUENCE
6
SPATIAL ARRANGEMENT
7 8
PERMEABILITY AND PARTICIPATION SECURITY
9
GRANDEUR, STYLE AND SCALE
10
APPROACH TO ENERGY
THE SITE The site’s location was chosen with disruption in mind. It is prominently positioned at the crossroads of the quarter’s two high streets, facing the Chamberlain Clock, named after the former Colonial Secretary Joseph Chamberlain. The context is made up largely of listed Victorian brick buildings. On Tenby Street North, a listed building called ‘The Wedge’ borders the site. It also provides long views back to the city centre.
CHAMBERLAIN CLOCK
THE WEDGE
CHAMBERLAIN CLOCK
ROSE VILLA TAVERN
1m 2m
5m
10m
15m
20m
PROPOSED SITE 1980s Brick Bullion Store
1960s Concrete Frame Building
EXISTING SITE 1960s Concrete Frame Building
EXISTING
1980s Brick Bullion Store
PROPOSED
CHAMBERLAIN CLOCK
NEW BUILD NORTH BLOCK BASED ON EXISTING FOOTPRINT RETROFITTED NORTH BLOCK
PARTIALLY DEMOLISHED 1960S CONCRETE FRAME
NEW BUILD SOUTH BLOCK
DEMOLISHED 1980S BRICK BUILDING
RETAINING THE EXISTING FRAME The site currently houses a 1980s brick Bullion Store and a 1960s concrete building. This disrupts its immediate context in both material and function, as well as not following the quarter’s wider geometry. Retaining and repairing the concrete building was the first subversive disruption tactic employed - embracing overlaps and negotiation through the relationship between the retrofit and new build.
THE NEW BUILD BLOCKS Extra accommodation replaces the demolished buildings, lining the high streets to form a protective edge and maintaining a polite attitude to its neighbours. Along the north, this aligns with the wider context’s massing and restores the street line. To the south, the block is planned to minimise the building’s depth, while maximising wind driven ventilation and solar gains. Multiple iterations of its form were explored to ensure it didn’t overshadow the remaining site and responded sensitively to the context.
1 2
5m
10m
15m
PROPOSED
20m EXISTING
PULLING MASSING BACK TO THE SOUTH
TAPERING THE BUILDING’S EDGE
ADJUSTING THE HEIGHTS
FIRST FLOOR
VIEWS TO THE JEWELLERY QUARTER
THIRD FLOOR
RETROFIT: STRUCTURAL APPROACH The retained concrete building is extended vertically using CLT, leading to a gradual height increase across the site. It is treated as a contained lightweight box placed on top of this existing structure, and massing and material decisions reinforce this relationship. The frame is disassembled, demolished and repaired, and then clad to improve thermal performance. The frame’s loadbearing capacity is unknown, so new structural walls are built to support the box within the frame, allowing for a hybrid material language. These are marked as new through using a concrete with recycled brick aggregate.
MAINTAINING VERTICAL GRID
CREATING A HORIZONTAL BREAK
DIFFERENTIATING THE FRAME
PANELISED MASSING
4
THE CLT BOX. The remaining pre-fabricated CLT is brought to site and assembled to create the upper floors.
3
NEW LOAD BEARING WALLS. The gable ends are re-instated and new internal loadbearing partitions made by recycling concrete and casting the walls in-situ. These brace the existing structure and support the extension above.
2
STRUCTURAL ADDITIONS. The concrete frame is insulated and clad in precast concrete panels, and floor plates are also left exposed for thermal mass. New CLT cores are craned into the frame, and the front façade is extended to retain the building line.
1m 1
DISASSEMBLY OF CONCRETE BUILDING. Internal fit-out is removed to expose concrete, allowing for full structural analysis. Reusable features such as windows are carefully removed for reuse elsewhere.
RETROFIT
NEW BUILD
2m
5m
10m
NEW BUILD: STRUCTURAL APPROACH This material language is translated to the new build north and south blocks. These rely primarily on an internally exposed CLT and Glulam structure, and are clad in treated copper to complement the surrounding brickwork while marking them as new too. To add thermal mass, new loadbearing walls from the brick aggregate are used occasionally, and floors are made of a composite concrete and CLT panels.
EXISTING CONCRETE
PURE CLT CONSTRUCTION
NEW CONCRETE LOAD-BEARING WALLS (SUPPORTING TIMBER EXTENSION)
PURE TIMBER (GLULAM AND CLT)
PURE CLT CONSTRUCTION
NEW COMPOSITE CLT + CONCRETE UPPER FLOORS
CLT CORES EXISTING CONCRETE FLOOR SLAB PURE CLT FLOOR
NEW GROUND-BEARING CONCRETE SLAB NEW COMPOSITE CLT + CONCRETE UPPER FLOORS
NEW CONCRETE LOAD-BEARING WALLS (SUPPORTING TIMBER ROOF)
THE SPATIAL ARRANGEMENT The project’s massing is broken and treated as a series of buildings, so the internal, protected courtyard is opened, making the building permeable at street level by allowing routes through. This is a public space, and contains public amenities at ground level. It becomes a place for different users to cross paths and interact and replaces the single grand and intimidating entrance sequence of institutions with multiple smaller entrances. This allows areas to be directly accessed, integrated into the wider neighbourhood and opened independently of each other.
WORKFORCE
INCIDENTAL VISITORS
WORKFORCE REGULAR VISITORS
REGULAR VISITORS
INCIDENTAL VISITORS
THE BROKEN COURTYARD
LANE 139.3m
FR
ON
TD
ES
K
RE
TA
31m2
17m2
RE
IL
UN
ITS
38m2
TA
IL
UN
KITCHEN
42m2
BA
RC
OU NT E
R
ITS
30m2
LOBBY
ERICK
FRED
CAFE
STRE
TY ENTRANCE FOYER
ET
SECU NE
RITY ZO
EXHIBITION SPACE
RDING
RECO ROOM
OOM
R CLASS
STORE
DEBATE BER CHAM MAIN PTION RECE
139.9m
N
Library 5m
10m
20m
THE SPATIAL ARRANGEMENT
50m
Retail Area
N
Library 5m
10m
20m
50m
Office Space
Cafe
Exhibition
Community Facilities
Community Facilities
Public Engagement
Membership Area
THE DEBATE CHAMBER
THE DEBATE CHAMBER The double-height Debate Chamber is treated as an Engagement Tool, supported by visitor facilities including a dedicated reception, flexible exhibition and public engagement showroom to learn about the proceedings, and viewing areas for those who wish to engage at a distance rather than be in the room. Closed Classrooms are also linked at ground and first floor, allowing for closed sessions with school and citizen groups.
ES
N
EXH
IBIT
ION
AR
EA
ERI ALL GG WIN VIE
LOBB
Y
139.9
m
139.3
m
FREDERICK STREET
S
EXHIB ITIO SPAC N E
ENTR ANCE FOYE R
UNIT
STORE
RY
SECURITY ZONE
RECORDING ROOM
BOO
KSH O
P
17m 2
S
AIL
RET
DEBATE CHAMBER
K
DES
38m 2
ANE
NT
FRO
NE L WAR STO
SEMI-OPEN
42m 2
BAR
COU
NTE
R
CAFE
30m 2 31m 2
CLOSED
MAIN RECEPTION
EN
UNIT
KITCH
AIL
RET
8m
R’S
ITO
UN
VIS
MM CO
STO R
E
ITY
AR
EA R ECE SEC PTI UR ITY ON ZON E
The room itself is highly flexible, allowing it to be reclaimed by the community outside of event times. The relationship to security is also subverted. Where traditionally, barriers and checks occur at the front entrance and act as both a physical and psychological barrier for visitors, security is instead hidden within the building and only used at select times.
FULLY OPEN
FREDERICK STREET ENTRANCES
WICKER ISLAND COMMUNITY SCHOOL Part II Design Project
This project centres around the re-imagining of Sheffield’s currently isolated and under developed Wicker District as Wicker Island, a child-friendly space that prioritises people, nature and play. Using the design of an open-access primary school, the district is activated and regenerated by providing key community amenities and coping with the area’s high flood risk. The project further explores the studio’s theme of play in drawings to express key design ideas throughout.
EXPLORING PLAY ALONG THE SITE LOOKING T0 THE CITY
As a studio, we explored Sheffield’s Steel Route, which followed the historic shopping high street through Sheffield City Centre. Using the studio theme of ‘Play’, we aimed to re-imagine it as a playful space.
PARTICIPATING IN THE CITY
I became interested in how spaces could become playful with minimal interventions, and how children specifically are good at imagining spaces with play already in mind. This led to further exploring how the Wicker could help enable children to better understand their surroundings and play over the whole city.
A GATEWAY TO EXPLORING THE CITY FURTHER
“...No matter how we might consider play potential [in our designs]...children will continue to interpret them in their own way” COLIN WARD
MOORFOOT
THE PEACE GARDENS
THE MOOR
BURNGREAVE
CASTLEGATE
SAVILE STREET
SPITAL HILL
FARGATE
THE WICKER
THE WICKER The Wicker District forms a key point physically, historically and socially along the route, as the transition point between City Centre and suburbs. However, it is not currently celebrated. While in the past, this axis through it has been a strong point of arrival.
NATIONALITY % Who are Asian, Asian British - Pakistani
Today the building of the ring road segments this and cuts residents off from the centre. The area as a whole has then become more dominated by cars, and has been further degraded by a lack of investment and destruction during heavy flooding in 2007.
1823
URSUL A SCHEME
THE MASTERPLAN A masterplan is therefore devised to outline the project’s aims in relation to these wider opportunities for improvement in the Wicker. This includes strengthening the connections through the Wicker by re-instating the high street, making more space for people by removing cars at specific times, allowing nature to re-enter through tactical parks and flood basins, and then using the school to create a series of destinations in the Wicker itself. [to unlock the wicker as a key space for children, reimagined playfully by all, kickstart further playful regeneration projects]
1
2
3
4
AN OPEN-CONCEPT SCHOOL This regeneration is achieved through an open-concept primary school. Buildings are arranged along a semi-public route through the Wicker and opened to the ‘real world’, encouraging students to use the urban environment rather than be limited to the school site. These further champion freedom in the classroom through inquiry-based learning and shared spaces between year groups. Many of these shared school facilities double as community amenities outside the school day, allowing them to activate the Wicker across the whole year for adults and children. The design project itself focuses on one building, containing reception and admin facilities for the school, art and workshop areas and one year groups classrooms.
ADULT MAKERS CAN USE WORKSHOP FOR PERSONAL PROJECTS AND CLASSES
CHILDREN USE THEIR COLLECTED ITEMS AND FOUND OBJECTS IN CRAFT ACTIVITIES DURING SCHOOL DAY
ITEMS ARE BROUGHT, MADE AND SOLD IN THE SCRAP SHOP
THE FLOODED SCHOOL The school buildings are positioned to form a series of flood basins across the Wicker modeled on the previously mentioned URSULA Scheme. This means the design embraces water through its form and material treatment, channeling it through the playground and allowing the lowest floor to be sacrificial at exceptional times. The building implements a ‘Bathtub and Pirate Ship’ concept - where the lowest level is constructed of poured resin and beveled, while services and storage are contained in an elevated timber frame structure.
CLASSROOM
ADMINISTRATION AND OFFICES WORKSHOP
ART ROOMS
DRY CLASSROOMS AND SHARED WORKSPACE
SKYLIGHTS AND RAINWATER COLLECTION
ROOF [acts as second escape route in flood]
SPECIALISED ART CLASSROOMS
SMALLER PODS PLAY MEZZANINE MAIN ART ROOM
SHARED IT FACILITIES
WORKSHOP MEZZANINE
WORKSHOP AND SCRAPSHOP
OFFICES
SCHOOL RECEPTION
THE FLOODED SCHOOL Embracing flooding within the building allows for the creative re-imagining of classroom spaces, from lifting storage and windows above the flood line using pulleys, to lifting gutters to hand height and wall-mounting taps to clean walls and provide a post-flooding cleaning strategy. The materiality is further embraced by cladding higher levels in copper, allowing the building to weather over time.
LITY
WICKER ISLAND
DISSERTATION: SEPARATION ARCHITECTURE INVESTIGATING SPATIALISED ORIENTALISM IN MARRAKECH
PLACE DU 16 NOVEMBRE
This dissertation explored ongoing links between the French colonial urbanism of ‘dual-cities’ and social structures in Marrakech, through situated fieldwork alongside extensive archival research in both French and English. Particular attention was paid to the impact of heritage and modern tourism, questioning the extent to which the built environment continues to promote colonial thinking by simplifying space compared to race. In 1912, France became joint Protectorate of Morocco, and, over 44 years, used urban planning and architecture as a tool of domination and control. Unlike in Algeria or Tunisia, traditional medinas across nine major towns were preserved, with exclusive western-style neighbourhoods built beyond the boundary walls. This became known as the ‘dual-city’ where local services were doubled-up, creating two distinct centres. Now, 100 years since France’s building project began, the motivations for dual-city planning are examined in relation to the philosophical ‘Other’ - discussing ideas of ‘Orientalism’, authenticity, and physical and social separation through architectural language.
BAB NKOB (THE NEW GATE)
BAB DOUKKALA (THE GATE BETWEEN)
8
7
GUÉLIZ
6
MEDINA 1
5 4
VILLE NOUVELLE
3
2
MELLAH
L’HIVERNAGE
KASBAH
LIVE PROJECTS TOMORROW’S HIGH STREET Working alongside Sheffield Civic Trust, we designed a vision for Sheffield’s city centre through a ‘series of pearls’ along its historic linear high street. Our brief proposed 11 social projects to draw people back to the centre, and ‘bookends’ to open connections back to isolated neighbourhoods. These were purposefully provocative to start a conversation, but also phased with smaller interventions, allowing the Trust to both inspire and gain support from the public while negotiating with the Council to implement more realistic changes. Our team created an Events Kit for the Trust. This included a 2 minute Vision video, posters, postcards and an App (to help the vision reach a wider audience). We also created three booklets: first explaining our Project and the Trust for future communication with the Council, then collating our broader research on high streets in an accessible format, and lastly highlighting our specific analysis and manifesto for Sheffield’s High Street.
MAKING MEERSBROOK Meersbrook Hall is a multi-era Grade-II listed Manor House in southern Sheffield, which once housed the Ruskin Museum. Our role focused on developing a collaborative bottom-up vision for the Hall’s future with our clients; local charity ‘Heeley Trust’, community group ‘Friends of Meersbrook Hall’, and the ‘Guild of St George’. We identified three keys ideas for our project to have a lasting legacy; to ‘Raise Awareness’ – showcasing the existing activities offered at the Hall, ‘Demonstrate Demand’ – collecting evidence of the community’s needs and wants for the Hall’s future, and ‘Create a Vision’ – creating a phased building and site-wide programme supported by this evidence and in line with our clients’ need for a sustainable community asset which honours the building’s heritage. A large part of our project included running consultation and public events over the Guild’s ‘Makeover Week’, which allowed us to gather this evidence and receive feedback on our vision. We also produced a project journal, building proposal, models, engagement material and 9 minute film. Our clients are able to use these outputs to secure their lease and gain further funding for the Hall’s future.
SELECTED WORK
SKETCHING Recent work has included sketching and drawing abstract ‘Maps’. The first was ‘Bath Uni Archi-Land’, drawn as a part of my personal reflection for my final project at Bath, which was later featured in our Yearbook and the AJ Student Show edition.
MODEL MAKING Selection of models built across Part I and 2, ranging from hand-cut card detailed models studying partial sections and elevations, to wooden site models built in the workshop.
RENDERING Visuals created for my final Part I project using SketchUp, V-Ray and Photoshop. This project proposed an industrial park centred around making and reading books in Dorchester, retrofitting existing Victorian warehouses and proposing sensitive new additions following the historic pattern of industrial yards on site.
THANK YOU
FOR YOUR CONSIDERATION lydwhitehouse@gmail.com