Slaughter in the Skies: Manifesting Atrocity by Matthew Holbrook

RESUME

MATTHEW JAMES HOLBROOK RIBA PART II

PERSONAL STATEMENT

EDUCATION

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I have recently ﬁnished the ﬁnal year of my Masters of Architecture Part 2 Degree at the University of the West of England. I have been awarded a Distinction in the Design Studio Unit where my thesis project questions the disjunction between humanity and taboo, between the contextless and the urban environment, through the typology of a slaughterhouse. My project was awarded the RIBA Presidents Silver Medal Nomination Award, and the RIBA Wessex Commendation Award, and featured in the UWE Arch@20 Exhibition.

September 2014 – June 2016: University of the West of England

Throughout my education architecture has been the natural progression with strengths across academia with particular interest and successes in ﬁne art, the sciences, mathematics and English literature/language. I consider architecture the natural amalgamation of such, harmonious with the skills I have academically exhibited and reﬁned; enthusiastic to develop and pursue further through my professional career.

- RIBA Presidents Silver Medal Nomination Award - RIBA Wessex Commendation Award - UWE Arch@20 Exhibition Select

MArch; Master of Architecture, awarded DISTINCTION RIBA Part 2 Accredited Awards:

September 2008 – June 2012: University of the West of England Bachelor of Arts; Architecture and Planning; awarded 2:1 RIBA Part 1 Accredited + RTPI Part 1 Accredited

CONTACT ME

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September 2001 – June 2008: The Crypt Grammar School

29 / 03 / 1990

A Levels 175 Longford Lane, Longlevens, Gloucester, GL2 9HD

AS Levels

GCSEs

Art Biology

A B

Art Biology

B B

English Language English Literature

A* A*

Mathematics

Mathematics Physics

B B

Physics Art

A* A

Biology

Chemistry Mathematics Statistics D.T - Graphics History I.T Religious Studies

A A A B B B C

07792 828 496

Extra-Curricular Awards - Lower Sixth Art Prize 2006-2007 - Upper Sixth Art Prize 2007-2008 - UK Junior Mathematical Challenge - UK Intermediate Mathematical Challenge - UK Senior Mathematical Challenge - AS Level Biology Olympiad

matthewholbrook@live.co.uk

https://uk.linkedin.com/in/matthew-holbrook-22967757

DESIGN SKILLS

WORK EXPERIENCE

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Programmes

February 2013 – August 2014: Roberts Limbrick Architects Practical

The Carriage Building, Bruton Way, Gloucester, GL1 1DG

Sketching Figure Drawing

Part 1 Architectural Assistant

Model Making Painting Proﬁcient Writer .....................................................

- Volunteered during a hard economic time for work experience, however I was oﬀered a full time 18 month contract after half a week to stay on with the practice - Primarily worked as part of the Residential team - Extensive Masterplanning, House + Apartment Design, Multiple DAS, Consultation Events, Site Visits - Commended on my handling of my key project, often point of contact between consultants + clients

Areas of Experience April 2012 - June 2012: Allford Hall Monaghan Morris [AHMM Architects] Master Planning (have used in past employment) (attended basic introductory workshops)

The Tobacco Factory, Raleigh Road, Bristol, BS3 1TF

Urbanism Residential

Part 1 Architectural Assistant

Planning

- Commenced with a 6 week placement and was invited to stay for a further 2 weeks paid to continue project - Worked with a team on the Waverley School project - Masterplanning, Location Studies and Analysis, Block Design, Feasibility Report, Site Visits

Conceptual Thinking

OTHER WORK / SKILLS

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SOCIAL & HOBBIES

............................................................................................................................................................................. June 2010 - June 2015: Abercrombie and Fitch Model An innovative and trend-setting company that I was involved with for many years, from working in the Hollister store in Bristol and Gilly Hicks store in Cardiﬀ, to featuring in model casting shoots and oﬀered shoots internationally; always engaging with clientèle in person representing the brand.

Clean UK Driving License

Experience with Windows OS + Microsfot Oﬃce

Experience with customer/client contact

Music

Strength & Conditioning

YouTube

Cinema

Sketching

Fitness

Coﬀee

Cooking

Fashion

MATTHEW HOLBROOK / 2016

Thesis Project:

Slaughter in the Skies Manifesting Atrocity through an Exhibition of Exposure

RIBA Part 2 Portfolio

University of the West of England MArch 2 Urbanism Unit 2016

Matthew James Holbrook

Manifesto: The Metamorphic City

The Metamorphic City exists as a product of the evolution from monotonous urban mundanity, the impingement and suffocation of creativity through meaningless ‘non-place’. Such anthropological spaces of transience are unable to captivate any significance to be regarded as ‘a place’ and thus prompt questions as to their nature, their existence. The metamorphic city thrusts the ideals of health and sustainability not simply as fashionable terms, but as intrinsic qualities to the future urbanism. The ability to adapt and constantly evolve spontaneously to the current culture is imperative for the successful and organic growth of a city, for both the collective and individual inhabitant. The framework supporting the Metamorphic City draws upon a multitude of urban design precedents and principles, manifesting the theoretical and the practised. Three fundamental schools of thought govern the

Metamorphic City; metamorphosis towards spontaneous adaptation, the social platform, and the transition of non-place to place. Each branch interweaves with the others, providing a collaboration driven core to the scheme, evolving away from the monotonous nature of institutionalised single use provisions.

The Global Issue: Obesity

The issue of obesity is not new to the modern age, rather it has been around ever since there has been a human race; before MacDonald’s, Burger King, Coca Cola and so forth. There are even evolutionary reasons as to why body fat storage has been selected for in individual populations; people who store energy are more likely to survive periods of famine. However, none of these reasons explain why over the last 30-40 years as a collective population we have gone from obesity statistics as anomalies, to an obesity epidemic. It has always been considered the individuals’ responsibility to manage their own weight, their food consumption and their level of energy expenditure through exercise, and this is not to say one should not take an element of responsibility. However, when something goes so horrifically wrong at a global scale with the majority of the population becoming overweight, we must question this model and look outside to the societal, environmental forces that are shaping obesity. These external factors attack from multiple angles. The modern lifestyle has drastically restricted physical activity compared to the past, with a whole host of ‘advancements’ to save labour, cars, the computer and so

forth, the modern human being has no need, and more increasingly no desire, to be physically active. Furthermore, a growing pharmaceutical market and overexposure of antibiotics and hormone altering treatments and chemicals that we are not yet sure of the repercussions, and their effect upon the balancing mechanisms within the human body. Arguably the most significant change is that of the food environment we are now situated within. During the late 1970s the USA pushed for a reduction in fat consumption from 40% to 30%, and this was achieved. However, whilst the fat consumption went down, the overall calorie intake, especially carbohydrate, especially sugar, soared through the roof. The western diet now, a surplus of fast food, processed, preservatives and sugar filled, are accessible 24 hours a day 7 days a week. This is now the industrialised global diet: it’s cheap, its portable, has little/no depreciation, and has been designed to taste good, to keep people eating. These social-environmental factors have given rise to the perfect storm; the confluence of restricted physical activity, exposure to chemicals and pharmaceuticals, and the industrialised global diet, causing the obesity and metabolic syndrome ball to start rolling over the last 30-40 years.

The Slaughter Process Typological Context

Exposure Architecture and Concealment

Humanity is experiencing a prevalent disconnection with the food we eat, and this project aims architecturally to address this cultural fracture. It is fundamental that people understand where our food comes from, and the processes involved before it reaches our plate. Only with an understanding of such can people be re-engaged and empowered to make educated dietary decisions. Arguably the greatest disconnection between us and our food is in the meat we consume. Whilst just taking the plastic wrapped and boxed steaks, chicken wings or pork chops off the shelf, how many of us really understand what we are purchasing? The more and more choice people are being given to avoid considering the origins and processes of meat, the more the disconnection grows, fuelling a culture of recognising pre packed, wrapped and boxed food products as the norm. The architecture of the project is materialised through an obligation to reconnect humanity with the flesh and structure of what we eat, engaging the user into the process of which any consumer is already a part of, in a much more personal and eye opening way. How would our attitude, as a collective culture, differ if the slaughter process, which preludes all of our meat based foods, was not concealed in warehouses out of sight, but in direct eye of the urban realm?

Proposed Bristol Arena Site South of Site Housing, pass through Site towards City Centre

Bristol Temple Meads

Existing Site Plan 1:5000

The Dichotomy of ‘Site’ Urban/Cultural Context

The urban context for the project poses an interesting consideration for a number of reasons. The building is manifesting the disconnect from humanity that the slaughter process embodies; and as such is embodying the ‘contextless’ that the contemporary slaughter industry has become by architecturally disregarding any sense of conformity. However, this operation of depersonalised, decontextualized slaughter is to be broadcasted, and thus projecting this abstraction in the public’s eye is the primary objective of the project. Therefore,a dichotomy exists in the project manifesting the contextless, through exposure within a busy urban context. The building is situated within the city centre region of St Philips Marsh, which has a long industrial history including a past steelworks, offering a historic nod towards the nature of the slaughterhouse and the site typology. The location also places itself in an optimal situation for exposure, with the adjacent network existing with Temple Meads, the major hub of public transport in Bristol, and surrounding by housing to the south and the rest of the city centre to the north. Furthermore the new Bristol Arena is proposed on a site directly opposite the site along with new footbridges, heightening even further the presence around the site. The real physical ‘site’ for the act of slaughter however is arguably the skyline itself, the boundless expanse residing over the city of Bristol whereby any existence is in stark contrast to the nothingness surrounding. Furthermore the context for the project is cultural, even political, questioning and challenging the site of our consciousness in which we collectively chose to ignore and yet depend upon.

Proposal Site Model

Exhibition of Atrocity Artistic Research and Concept Model

In proposing that the slaughter process, an unspoken, bloody and perhaps barbaric act, becomes available to the public eye, I started researching how the grotesque and the shocking have been displayed, or exhibited in the domain of art. Perhaps the most famous of such artists is Damien Hirst, in particular his pieces involved dissected animals exhibited within glass boxes. One can immediately see a strong parallel with his work and the idea of displaying acts of slaughter, perhaps also within glass ‘boxes’ or rooms, scaling Hirst’s work from exhibitions within a room to the room itself. Another example of utilising the shocking and the bloody, juxtaposed with an articulate glass framing, can be found with Marc Quinn’s ‘Bloodhead’. Drawing his own blood over a period of year, Quinn froze and when he had a sufficient volume he defrosted his own blood, poured into a cast of his head and refroze. Kept within a glass case with in built freezer system, his ‘bloody self-portrait’ is visually captivating yet unsettling. Perhaps another more profound correlation with the slaughter process could be read when considering the idea of one’s own ‘bloody portrait’, in the case of slaughter the blood which has been shed in order to feed oneself.

Wooden Concept Model: Abstracting the Carcass

Building Materiality as a Metaphor The building materials are a metaphor for the idea of the carcass itself; a raw, ‘skeletal’ architecture that embodies the notions of the subject matter within the building, expressed through its construction. The skeleton is expressed through areas of open steel framing, muscle and tendons through tension cables, with an emphasis on exhibition and reveal, through expanses of glazing drawing precedent from the artistic domain of showcases and exhibition. The exposed building services too, ducts and pipes resembling the tissue, veins and matter of a partially ripped apart animal. These initial studies and references to anatomical subjects provoked a substantial amount of thought to the frame and mass of the building, areas read as an open structure, and then opposing areas of enclosure.

Modelling early ideas of abstracting simple repetitive forms and drawing anatomical reference to ‘mass and frame’

A significant amount of time was invested into researching a host of architectural/structure. The prevailing theme explored is the duality of mass against frame, as introduced from the anatomy studies previously. The precedents begin to create an architectural language that is to be used in the project. Early concept image exploring a world of steel and the slaughterhouse

Early concept image exploring a world of steel and the slaughterhouse

Dock Cranes Animated Structures Through a progressive series of conceptual and structural modelling the idea surrounding the features of suspension became more prevalent. A traditional construction style crane was not considered suitable as the idea is for ‘mechanical arm’ like structures to be commencing the slaughter process, representative of the detached ‘plucking’ of food processing from an abstract position. Therefore old ship yard dock cranes were explored, featuring more of an arm like hoist system. Furthermore, the precedent above from Bristol harbour-side features a strong correlation with the other precedents explored in terms of the relationship of mass and structural elements. Furthermore the industrial steel clad gives the entire piece an aesthetic of which I seek to emulate and scale up to that of an entire slaughterhouse.

Modelling early ideas surrounding the skeletal structure and potential facade/suspension elements

A Mechanical Monstro[city] Conceptual Form The role of sacrifice, slaughter and consumption has historically played a central part in a cultures values, and development. The premise of hunting, killing, cooking and eating was a personal, human scale experience conducted by the individual or the family, facilitating not only an intrinsic understanding of how to prepare food from fresh, but a fundamental knowledge of what we ate. Even with butcheries and local stores, meat was fresh and accountable and local. However in more contemporary times the meat production industry has exploded into a globalised industrial network whereby produce undergoes varied processing at different locations across the map. This massively complex and convoluted journey from where the meat originated, then processed, and finally made available for consumption has made it all but invisible and subsequently untraceable.

Furthermore the personable, cultural significance of the process has been obliterated through the emergence of an overly mechanical, industrial and ultimately unhuman process driven by more machine than man. To further shatter this connection between us and the cultural significance of the acts around consumption, the machined process is taken away from the locality, the people, and concealed behind wall usually in rural settings, facilitating a â&#x20AC;&#x2DC;out of sight out of mindâ&#x20AC;&#x2122; philosophy, pushing slaughter out of our collective cultural consciousness and into an unspoken taboo. What if an architecture was to marry these two conditions, the industrial and mechanical, but instead of hiding away out of sight, was thrust into the populated urban realm? Could we still ignore it?

Modelling proved a huge componant of the design process, constantly changing and demonstrating new ideas, construction model at 1:100

Slaughter in the Skies: Manifesting Atrocity through an Exhibition of Exposure

The proposal manifests the mechanical, industrialised and ultimately depersonalised attitudes towards slaughter that humanity is increasingly subjected to. The mechanical monstrosity orchestrates a vertical slaughter-line in the sky, haunting over the centre of Bristol and hoisting the otherwise invisible taboo into the skyline, in a theatrically horrific spectacle. The disconnection of slaughter from our culture is symbolised through the wrenching of the architecture from the ground, inviting the public to leave grounded societal conformity and ascend into the structure; whereby the slaughter process is exhibited through a curation of intimate relationships between occupant and slaughter. The project ultimately seeks to create theatre, drama and controversy surrounding the taboo of slaughter. Whilst previously invisible and ignored, the notion of exposure probes our capacity as a culture to accept what previously we collectively concealed.

Indicative Site Section

Presence on the Site The Significance of Height

As introduced previously, it is fundamental to the premise of the scheme that the building stands out among its architectural and natural context, manifesting the ‘contextless’ of the slaughter industry in the public eye. As can be seen the structure stands far taller than its neighbouring buildings, with the main body of the slaughterhouse starting considerably over the roof height of most surrounding architecture. This height serves another purpose in addition to its disjunction with the immediate context, and that is drastically increasing the distance the building is observable by. With the top of the slaughterhouse measuring almost 60m above ground and the pivot point of the crane arms at 75m, the structure is on the periphery of view from a considerable distance, spreading its ruptured narrative across Bristol’s sightline.

Cider Press

Slaughterhouse

Sustainable Protein Research Centre

3D Printing Workshop

Innovative Building Research Centre

Stun > Crane > Bleed > Blood Collection

The story begins with the cattle being led to the pasture on the ground, under the slaughterhouse. When required cattle are herded towards where they will be stunned. Following the stunning, they are hoisted up the exterior of the building, theatricalising the traditional hoisting onto the suspended rails. The large, mechanical crane arms plucks the cows from the ground, and eventually lowers them into the building through a loading bay through the roof. Once inside they are transferred to the internal rail system. The first destination here is to the bleeding atrium. Here, whilst still unconscious the throat is slit and the rail then moves the bleeding bodies over an open atrium, creating a horrific yet spectacular fall of blood, the height of the entire building. At the bottom, the blood gathers and drains down into external blood collection tanks, visible from the ground outside, allowing people to read when slaughter is occurring. Once drained of the blood, the rail moves the cows round into the primary slaughterhouse block itselfâ&#x20AC;Ś

Carcass > Butchery > Cooking > Consumption

Following the aforementioned stages of the slaughter process, the carcasses travel down through the glass transition rail, penetrating to the exterior of the building, heading down to the refrigerated storage block below. Here, the meat is moved along to a series of storage rails, where the meat will undergo the â&#x20AC;&#x2DC;agingâ&#x20AC;&#x2122; process, where the meat matures its flavour. This process typically involves the meat being kept at a low temperature and steady internal conditions for 11-30 days. Once the meat is suitably aged, the meat finally begins to travel up the building, this time through the consumer block above. The first stop is the butchery. Here the carcass is butchered into the respective cuts of meat by traditionally trained butchers. Above the butchery is the kitchen, housing the necessary equipment to cater for the top floor and final destination for the meat, the steakhouse. The full cycle of pasture to plate is complete, through the slaughterhouse in the sky.

Elevation Breakdown

Expressed Floor Levels, cue towards permanent human occupancy

large mechanical Crane Arms situated above the lift shaft structures dominating the skyline Footbridge from slaughterhouse to consumer block echoes the overall steel structure construction Steel box unit windows Steel box unit windows

Expressed Ducts, Flues and Pipework

Absence of windows on consumer block forces views onto the slaughterhouse, opposing the blind consumerism

Office Block

Expressed Core

Bleeding Glazed Atrium

Expressed Core

Slaughterhouse

Plant + Storage Below

Consumer Block

(at A2)

Above demonstrates how the steel box window units have been designed into the facade of the building, in elevation and perspective. They add a real element of relief to the facade, supporting the language of the corrugation.

A selection of steel box unit windows at varying sizes and aesthetics

Facade - Corrugated Steel + Box Windows

The corrugated steel provides the base industrial aesthetic, and in order to further this I explored a range of industrial window typologies, and arrived at a steel box window design, cutting through the facade. In addition to a nod towards industrial heritage, the punching unit adds a level of relief to the elevations, echoing the stepping creating by the corrugated steel itself. Adjacent are some precedent studies whereby a similar window design has been utilised through ranging scales and aesthetic.

Aesthetic quality of weathered industrial corrugated steel cladding

(at A2)

Mechanical Services

Electricity - there is clearly a large degree of machinery and electrical apparatus operating within the building, perhaps the most notable are the mechanical crane arms upon the lift used to initiate the slaughter process. Lines running from the mains up into the building are centralised and distributed to power such apparatus

Mechanical Ventilation - process requires a large amount of ventilation to keep the air quality clean and suitable to work in. Considerable sized extraction ducts have been supplied under every floor plate taking air to the external of the building, further contributing to the building’s metaphor of the industrial, mechanical ‘being’ and reference to the exposed anatomy of an animal.

Cooling Towers - upon the roof in addition to the water storage tanks are cooling or ’chiller’ units, which remove heat from water through vapour-compression and then used to cool equipment and so forth. The ambient heat is then discharged through steam, further aiding to the industrial nature of the building in the skyline.

Water Tanks - process involves a considerable amount of water and thus a storage must be supplied in the event of a mains failure in order to maintain operations

Blood Tanks - as the exposed bleeding atrium exists largely toprovide the theatre surrounding the exposure of the taboo of slaughter in a dramatic fashion, it is also passively getting the bloodfromthetop of the building to the bottom. Here the bloodsimply drains down into collection tanks where it can be distributed to be used by third parties.

Plant Room - due to the heavily serviced nature of the building a large plant room centralises the operations. Whilst usually located at the centre of a building, here the choice to separate created a more compelling idea and aesthetic of the externally exposed services having to travel around the building whilst still maintaining a rational, logical distribution,

(at A2)

The Approach Volume of Slaughter As one approaches the slaughterhouse, they are guided round to an opening in the corrugated steel perimeter walling, varying in heights to allow views into areas and maintain mystery in others. The wall folds inwards revealing the entrance cores, on immediately to the slaughterhouse and one up into the office block and ultimately the commencement of the entire process. Hanging below the central atrium are three large glass tanks, reminiscent of water storage tanks. These however do not hold water, but blood. Blood that has fallen freely from the very top of the building in a truly horrific yet encapsulating waterfall. From these tanks the blood is collected and distributed to be used in medicine, food and so forth as to avoid waste. The open display of these tanks also stands as a powerful reminder at ground level as to the nature of slaughter, and fights the notion of hiding the whole discipline from sight.

Above: View towards primary approach to entrance of the slaughterhouse,

Below: Schematic section demonstrating the blood storage tanks beneath atrium

Ground Floor Plan Extracts, 1:200

View looking up underneath Consumer Block

Wrenched from the Ground Ground Level Steel â&#x20AC;&#x2DC;Bone-Yardâ&#x20AC;&#x2122; The wrenching of the building from the ground serves multiple functions. Conceptually, it symbolises the cultural disjunction between the acts of slaughter from our everyday grounded experience, its distinct separation from our urban realm. This therefore offers the ground level as free, open (mostly) space. This space is then occupied for the pasture, keeping the cattle before their inevitable ascension into the building. From an urban consideration this greatly improves the urban density of the scheme, in stark contrast to the traditional single story sprawl of slaughterhouses.

First Floor Plan Extract, 1:200

The effect as experienced from the ground is a space of large, penetrating steels shooting up into the sky, creating a space reminiscent of a prehistoric bone yard, drawing precedent back to the original anatomical studies.

Initial Idea, Exhibiting Slaughter

The Bloody Atrium The Bleeding: Initial Idea and Development The idea that the bleeding of the cattle would be dramatised and made into a feature was developed very early in the project, initially as a central area that perhaps visitors could circulate around, observing the violence in the middle, as shown above. This idea evolved into the bleeding atrium as documented earlier, maintaining the notion of the bleeding being expressed boldy, and to make it even more observable by featuring the process within glass instead of a central room. The sketch to the left demonstrates the development of the suggestion of being able to venture through this bleeding atrium, providing a truly horrific immersive experience.

Concept Sketch,The Bleeding Atrium

Above: Schematic section A - A,

Below: Seventh floor plan extract

The Sky Bridge From Slaughterhouse to Consumerism After the visitor has journeyed through the various stages of slaughter down the levels of the building, they find themselves at a transition point, from slaughter to their ultimate position in the process,the consumer. The contemporary slaughter and meat production industry has an exponentially large gap between the act of slaughter and the consumer purchase and consumption, and thus the transition point in the building needs to embody this disjunction. Therefore, the transition point is not simply a door or corridor, but takes the form of a sky bridge. The break from internal to external magnifies the real-world divide within the process, readjusting the visitors view from close up acts of slaughter to a view over the approaching restaurant/kitchens, and also of their wider context of the area. The bridge leads to a single lift shaft which takes them down onto a roof terrace platform, from which they may ascend back upwards into the restaurant block through the butchery and kitchens.

Above: View walking along the sky bridge from the slaughterhouse towards the consumer block

Steel Coping Metsec Steel Rail

Corrugated Steel Cladding Mineral Wool Insulation 200mm Bolt Fixture

Mineral Wool Insulation 200mm Rigid Board Insulation 100mm Box Gutter leading to slope away

In-Situ Concrete Floor Slab upon Steel Deck Steel I Beam 500mm depth

Steel Deck Bolt Plate between I Beams

Rigidity from OSB

Wooden Batten

Internal Steel Clad Finish

Wall to Ceiling Detail, 1:20

The Roof Terrace Transition Following the sky bridge the lift shaft brings the visitor down to a roof terrace level which acts as a transitory level before re-ascending back up vertically into the structure through the butchery, kitchens, and ultimately the steakhouse. The roof terrace area is intentionally relatively bare, accentuating the piercing columns that support the sky bridge, the cores adjacent and the rest of the structure above and below. The effect is almost a reflection on what is left after the act of slaughter, a ’court of bones’ stripped of all flesh, mimicking the bone yard experience at ground level.

The Steakhouse: Interior and Detail The steakhouse stands as the ‘destination’ after the journey through the slaughterhouse. The only view from the steakhouse is back over the slaughterhouse itself, as a constant reminder as to the origins of the food we consume, whilst we consume. The fittings in the steakhouse take cues form the slaughterhouse itself, from the chained lights and the stainless steel tables. The ceiling construction is exposed from the inside as detailed below.

A view within the Steakhouse, interior harnessing elements from the slaughterhouse in a contemporary culture ambiance

A view looking up at the slaughterhouse from the south-east corner

Design Up to the Final Crit

The facade has been a subject whereby it has developed over the project. The images over the following pages demonstrate the initial response, a largely Lebbeus Woods style de-constructivist fractured facade. The fracture between our collective culture and the slaughter industry was to be materialised through the facade with a series of irrational and disjointed steel cladding panels. However after reviewing it was felt that the building addresses this fracture and disconnection in more subtle, powerful means and the facade should follow the logic expressed elsewhere. Whilst this approach was subsequently dropped it did prompt my thinking more towards the facade in a much more logical fashion, as critically this option lacked the integration with the structure and the internal of the building. The following pages demonstrate a sample of the work I experimented with d produced as a result of the above rationale before moving forward to the finalised design.

Final Crit Presentation Wall Display + Models

Initial facade modelling, exploring a de-constructivist form through a series of irregular panels

Thank You. Contact: Matthew James Holbrook matthewholbrook@live.co.uk