Bricolage An Alternative Mark-Making Physical Music Making Do .Turning On With ideas like Musique Concrète and the Lo-Fi aesthetic, people have made do with what they had to hand to make music. Artists operating in this field will be invited to take up residence in the building and fill blank rooms with their clutter from which they extract a bricolage of sounds. They will also share their processes with young and perhaps disadvantaged people, also using the building, navigating their own path through the vast spectrum that music holds. Like the artist’s objects the building is composed as an ephemeral collection of elements; each with its own spatial and material characteristics. These are assembled on the site, working with its hints. A free circulation allows the occupants to collage spaces together, making their own connections or leaps, forming shifting relationships between the elements. It is a place that does not bow to the predictions of latent circumstances but uses them in its own way.
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This was our first exercise. It would be something that brought interest to the site before the building was stood. ~ I discovered a new city from a different approach. Some of its streets and alleys were flowing, some just trickling away and some dried up. I proposed four new channels into the site, to activate it using mechanisms such as intrigue, vantage, blurring of surroundings, and pressure differences to draw people in.
The discovery and activation of this place would occur in three stages of events
View of the site.
The Fields arranged in group site model.
‘The Music Courtyard’
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I was after a certain balance of functions. (It’s low and the music isn’t elevated. Moving to it though; in your strut to the bar. There are dark tables where we sit down after the walk there and drink for the place to fill up. People are dancing and I ask the guy what it is to. He points at the label, gives me a name to find it the next day. We got right the way across the room and lean against a warm wall by the end. )
Each came with their own conceptual framework. I began by creating intense atmospheres, with only a few ideas of volume and little on form, building a kind of stage set for each. I developed material and spatial characteristics and gradually specified the four rooms, enriching the drawings over and over again.
Stage Sets and Materiality & Construction Diagrams
bricolage rooms
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prefabricated plywood boxes clamped into frame
Eternit Natura fibre cement cladding
steel spiral staircase
steel frame screw pile foundations
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transparent polycarbonate circulation space
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Circulation spaces of the Bricolage Rooms.
The inside of the Experiment Stage might look a bit like Yoshi Wada’s sound installation for the AV Festival.
experiment stage
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timber slats
exposed reverberation stair fixings for stage lights
sound installations
ramp from Curation Studio
corrugated fibre cement roof
steel door and wall set into Experiment Stage frame
steel portal frame
inner satin curtain
sliding plywood panels
outer satin curtian
Early drawing of the Curation Studio.
Views of the exterior.
curation studio
PTFE roof with quilted rock wool insulative layer
Electri city
Natural cros s ve ntil atio n
leaning timber posts fixed to head of screw pile swiveling and tilting connection
Natu ral cro ss ve nt ila tio n
leaning panels Danpalon translucent insulation timber frame embedded re-routeable lighting and electricity
Gripple cable tensioners
steel cables plywood walkway/ working platform resting on light steel truss spanning between posts
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The spaces had grown as separate elements. How would they come together? I started thinking about their evolution on site; in sequence. It was a kind of symbolic gesture as to how much each element represented ‘making do’. * What then became important was where the elements joined and how other functions could be possible at these points. Between the main rooms I established spaces for participation and appropriation, functional relationships for moving props and equipment, an auditorium. But, like the composition of a collage, the users might change them round and discover other ways in which the elements could work together. Site manual and joints
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joint 1. Participation Space and Viewing
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Market Entr ance
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Curation Stud io
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joint 3. Courtyard and Echo Stair
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Users circulate the building collaging the spaces together. The loose connections betw fit together best and establish relationships between them.
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ween the elements allow people to work out the ways in which they might
Details, Plans, Sections
upper level and roof detail 1 : 10 steel I beam 305 x 165
SnapLok wall capping 260 x 86.5 x 2mm roofing felt 6mm
steel J-channel 86 x 82 x 142mm
steel I-beam 152 x 81mm UPVC gutter 54 x 115 x 3mm timber joists 150 x 47 @ 600mm
hex-head anchorbolt ø10.5 x 100
internal shutter plywood 1170 x 1000 x 9mm timber spacers 10 x 10mm softwood frame double glazing 780 x 780m rubber seal
steel tube 5mm
Eternit Natura fibre cement panel 12mm
prefabricated timber panels weather treated plywood sheathing = 18mm timber studs = 150 x 47 @ 600mm vapour permeable waterproof membrane rock wool insulation = 150mm vapour check layer plywood sheathing = 12mm
aluminium Omega/ Zed profile 40 @ 600mm aluminium Zed/ Omega profile 40 @ 600mm
between the boxes 1 : 10 prefabricated timber panels weather treated plywood sheathing = 18mm timber joists = 150 x 47 @ 600mm vapour permeable waterproof membrane rock wool insulation= 150mm vapour check layer plywood sheathing = 12mm
steel I-beam 305 x 165 panel fixings ø 6 @ 600mm
Eternit Natura fibre cement panel 3040 x 1200 x 12mm
steel J-channel 86 x 82 x 142mm
sliding door steel rail steel frame plywood = 12mm
aluminium Zed/ Omega profile 40 @ 600mm
external shutter Eternit Natura fibre cement panel = 2500 x 1220 x12mm aluminium Zed profiles = 40mm
steel I-beam 152 x 81mm
steel sill 10mm
waterproof membrane steel I-beam 305 x 165mm
screw pile ø 60 x 1700mm
lower level and foundation detail 1 : 10
steel plate 7mm QUIK-Connect Interface
East - West Section
North - South Section
1 : 100
1 : 100
Catalogue of models
001. Fields arrangement Bamboo, card, foil, masking tape, paper, wax.
002. Site model Foam board, polystyrene, tiling grout. Market Entrance canopy Bamboo, masking tape, newspaper, magazine cover, wax.
003. ‘Music Courtyard’ model Seven wax panels with inset string and bamboo reinforcements, melted together.
004. ‘Music Courtyard’ model (melted) Two wax panels with inset string and bamboo reinforcements, melted together.
005. ‘Orchard’ model Bamboo, masking tape, wax.
006. Wax collection point Card, masking tape, wax.
007. Bricolage Room set (dismantled) Various objects and collages.
008. Experiment Stage set (dismantled) Various objects and collages.
009. Market Entrance + Physical Music/ Participation Space set (dismantled) Various objects and collages.
010. Curation Studio set (dismantled) Various objects and collages.
011. Bricolage Rooms model Card, perspex, softwood.
012. Bricolage Rooms model Card, couscous, foam board, paper, thread,.
013. Bricolage Rooms model Card, paper, perspex.
014. Bricolage Rooms detail model Card, paper.
015. Bricolage Rooms detail model Card, paper, perspex.
016. Massing model Bamboo, card, graphite, masking tape, recycled paper pulp, tissue paper.
017. Experiment Stage model Foil, satin, thread.
018. Experiment Stage model Bamboo, card, foil, masking tape, satin, thread.
019. Massing model Bamboo, card, graphite, masking tape, softwood,
022. Curation Studio model Bamboo, card, masking tape, nails, paper, softwood, thread, tracing paper.
020. Curation Studio model Bamboo, card, masking tape, paper, phosphor-bronze coated steel guitar strings.
021. Curation Studio structural model Bamboo, masking tape, softwood, thread.