Design Portfolio ARC3001 Darcy Norgan 17034896 Future Cities 2019-2020 Stage 3
Contents Illustrated Reflective Report
4-7
Chirette week
8-9
Primer
10-25
Staging
26-61
Case Study
62-65
Realisation&Synthesis
66-133
Cultural Bibliography
134-135
Bibliography
136-137
List of Figures
138-189
ILLUSTRATED REFLECTIVE REPORT
consequences of privatising public land, highlighted by the Kings Cross redevelopment, fuelled my interest in city development. Consequently, I decided to specialise in the studio ‘Future Cities’ for my final year. I initially saw the false advertisement of projects as a corporate issue. However, from my research into the Baltic Triangle developments, it became apparent that smaller businesses are also guilty of creating misleading advertising and online presences. (example)?
Throughout the year, I have noticed a progression in my critical analysis of city developments and associated businesses. City developments and the local councils or governments invested in the project want to sell an idealistic concept to the citizens, whether this is for political, economic or social gain. The Baltic Triangle doesn’t differ from redevelopments of other post-industrial zones, the initial businesses and intentions of the area are often creative and community based. However, it does not take long until the unique environment is exploited. Over my degree, I have learnt to investigate the claims of redevelopment manifestos and to not take them face value. I started off becoming interested in pseudo-space development in 2nd year when my ARC2024 focused on the Kings Cross redevelopment. The idealistic, false advertisement and the
When focusing on co-work precedents in primer, it was interesting to note the disparity between ethos and final approach to providing these spaces. What became apparent was the different environments provided by a community-led business compared to economically led spaces. For example through seeing businesses first hand such as Granby Redevelopment Liverpool and researching Second Home, London Fields I was able to spot the difference between a generic community business and a project created to benefit the personal needs of the local community.
ALTIC TRIANGLE
BALTIC TRIANGLE Development Framework
December 2017 Baltic Triangle Development Framework
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Figure 1: The Baltic Triangle 2017 Framework front cover
Figure 2: Cadence Luxury appartments, Kings Cross Redevelopment
Throughout this period, I was writing my dissertation about the similarities between club typology and cellar typologies. The dissertation questioned why an environment with a typology similar to a cellar creates a platform for societal lib-
Figure 3: Granby Four Street redevelopment
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eration. Throughout this project I learnt that rave culture started in the urban cellars of East Berlin’s abandoned buildings. Temporary Autonomous Zone by Peter Wilson educated me on the human need to escape the pressure of society in the modern individual. Festivals are some of the best examples of temporary autonomous zones outside of the city whilst club spaces behave like temporary autonomous zones within the urban environment.
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Realisation allowed me to explore ways autonomy can be promoted within a work environment. The layout and materials can affect a user’s response to the space and influence a person sense of autonomy within the building. I have created an environment that promotes self-government by providing spaces that users can adapt and personalise to their own needs. Furthermore, materiality can communicate the ethos of the scheme to users. I incorporated an exposed Glulam structure and CLT walls, creating a friendly inviting environment that is core to the scheme. This use of timber creates a warm inviting atmosphere. The structure of my project became important in communicating the themes of the building complex. The ARC3010 tech report gave me the opportunity to form these design decisions into a viable structure, I specifically found the 1:20 section useful in understanding how the compo-
nents relate to each other on a micro-scale. It was during the realisation of my 1:20 I was able to grasp how an exposed Glulam frame and exposed services would connect and be portrayed. The ARC3015, Theory into Practice essay brought my focus back to the exploration of human interaction with the built environment through perspective drawings. When I began the early stage of designing the building, I would often struggle to create ideas. By experimenting with perspectives and drawing the micro environments I wanted to create, I was able to produce layouts from them. While researching and doing the ARC3014 essay I learnt a lot about the nature of working in practice and the professional standards which have to be complied with.
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CHIRETTE WEEK
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On the first day we walked around Newcastle with large pieces of paper and charcoal. We took rubbings of the different architectural patterns we could find. In doing this we became aware of the patterns , that often go unnoticed, that cover the facades of our city.
After collecting the rubbings, we contemplated their arrangement within our exhibition space. The aim was to create a continuous pattern maps and textures could be projected onto. The projector was positioned near the door, so when someone entered our space their silhouette would become part of the instillation.
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Figure 4: Second Home London Fields, Facade
PRIMER: SECOND HOME LONDON FIELDS, A NEW WORKSPACE BY CANO LASSO ARCHITECTS
Second Home London Fields is the 4th project by Cano Lasso. The project repurposes an existing 1970s educational building. The redesign is inspired by Frei Otto’s biophilic and bright style. Overall the whole building contains 500 plants hanging from the high ceilings and placed on desks. The airy feel is then enphasised by the skylihghts that cut through many of the floors.
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Hackney Wick is the 4th project by Cano Lasso. The project repurposes an existing 1970s educational building. The redesign is inspired by Frei Otto’s biophilic and bright style. Overall the whole building contains 500 plants hanging from the high ceilings and placed on desks. The airy feel is then enphasised by the skylihghts that cut through many of the floors.
Figure 5: Second Home 1st floor desk space
Figure 6: Second Home Roof top play kids ground
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Figure 7: Second Home nursery space
Figure 8: Second Home entrance hall
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“This innovative working environment aims to address the changing pattern of work, acknowledging the shrinking gap between home and work. It reflects the importance of networking, community and collaboration. This type of workspace has a growing role and importance in London’s economy.” The above quote is taken from the planning application for the Second Home locationed in Hackney
Figure 9: Second Home facade
Figure 10: Second Home hot desk space
This is Second Home’s first project to include a nursary which is operated by N Family Club. The project intends to reduce the amount of parents (especially woman) who drop out of work to raise a family, due to a lack of effective child care schemes.
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Polycarbonate walls, corrigated partitions and plants provide the structure for the internal layout of desks, pods and casual seating. A tangerine coloured floor compliments the brightly coloured furniture. The facade is clad in a ETFE sheet inspired by the German architect Frei Otto who was well know for is biophilic tensile designs.
Figure 11: Second Home hot desk space
Second Home London Field continiues with the companys biophilic theme, with a abundance of plants, natural light and organic shapes. The site also runs off 100% green energy.
16 Figure 12: Second Home cafe area
Figure 13: Second Home cafe plant display
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“The architects have done a brilliant job of designing this building with children in mind - as well as adults. It’s a real step forward for workspace design,� (Levy, 2020)
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PRIMER: FIRST SITE TRIP - CELEBRATORY
On our first trip to Liverpool we visited a collection of buisnesses in the Baltic Triangle. The picture to the left is taken of the eatery and bar within an events space called Constillations. The complex is due to closed-down for appartment redeveoplment and is a prime example of the unique buisnesses that will be lost within the Baltic Triangle Redevelopment Framework. Whist reading the redevelopment framework it is stated that the Baltic can be “regenerated
successfully with new developments that can accommodate those new uses but also provide scope and space for growing the existing business community� (Regenerating Liverpool 2020). As you walk around the area hoarding boards are found regularly, surrounding the many new developments. Cranes fill the skyes, whilsts a collection of creative busnesses and cafes fill the once abandoned industrial buildings bellow. 21
This 3D collage of the Baltic Triangle portrays some of the typical buildings and structures found in the area of liverpool. I’ve reconstructed buildings within the site onto a triangular platform, which plays on the areas name. The yellow and black striped boarders symbolise the drastic and hazardous change the Baltic Triangle is undergoing. I’ve included the hoarding and fencing however, the boards surround the entire site, symbolising how the whole are is going under reconstuction. All imagery, such as gig posters and graffiti were photographed from the area. The pubs signage and bar images refer to the culture which may be soon lost along with the nightlife and creative atmosphere.
Above: shows the graphics on a hoarding board which surrounded a new development. The project was of a new block of luxury appartments. ( All photos are my own )
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Liverpool Mayor: “The area’s position as one of Britain’s fastest-growing digital and creative hubs is something the city takes great pride in and we want to nurture this to ensure its future as a major engine in our economy.” (masterplan for Baltic Triangle | Regenerating Liverpool, 2020)
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STAGING
Staging allowed me to fully contemplate my program and the intensions of the scheme before visualising the project. This encouraged me to prioritise the program and functions of the building. By preventing myself from entering the design stage, the building’s functions and program informed the structure and layout. Throughout this period, I decided on a multi-purpose scheme which responded to the Baltic Triangle Frame-
work’s aim to solidify the area as a creative hub. Within this time I contemplated the relationships between each space and how this would affect hierarchy through a variety of mediums.
which is happening in cities across the UK. During staging I researched into ways of reducing membership cost through creating a scheme which profits 24 hours via the restaurant and events space.
Primer allowed me to understand the basic needs of a co-work business, introducing me to the variety of the users’ work-space needs. Although Second Home is an affective business it is also a prime example of the elitist gentrification 27
THE PAST, THE PRESENT AND THE FUTURE OF THE BALTIC
(History of Liverpool and the Baltic Triangle, 2020)
THE PAST, THE PRESENT AND THE FUTURE OF THE BALTIC
(History of Liverpool and the Baltic Triangle, 2020)
THE PAST, THE PRESENT AND THE FUTURE OF THE BALTIC
Liverpool City Enterprise Zone Knowledge Quarter Mayorial World Heritage Site World Heritage Site Biffer Zone Principal road network/connections Merseyrail stations South dock systems
Half of the Baltic Triangle is situated within the World Heritage Buffer Zone. However, this has done little to help protect the nautical industrial buildings which contribute to the unique image of the Baltic. The Baltic Triangle has a long and important history within the area of liverpool. Queens Dock was one of the most crutial docks throughout the industrial revolution. What brought Liverpool such popularity during the era of the salve trade was its position between Africa and the Americas. Similarly to many of England’s coastal cities, Liverpool’s history and architecture are entwined with the slave trade. Liverpool, like other cities, has been left with the remnants of the industrial era and now faces the challenge of adapting to modern needs. Warehouses can prove challenging to reoccupy for accomidation schemes. On the other hand there open planned layout and high ceilings are benifical for clubs, offices and the creative industries. It is key for my scheme to not only prevent the loss of industrial buildings but to also create a design which will compliment and fit into the existing framework.
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This collage shows the industrial buildings which survived the Second World War bombing but still are not listed or protected by the local government. One of these buildings is on my site. My project aims to referbish and protect the abandoned textile factory from demolishment.
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Grade II* listed buildings Grade II listed buildings Unlisted buildings that crontibute to the character of the area Buildings of neutral twonscape value Buildings which detract from the character of the area Open, cleared sites used either for storage, surface car parks or otherwise vacant New buildings under construction on time of survey
The graphic on the top left shows the amount of buildings within the Baltic Triangle which are not protected. As the area becomes more and more developed these buildings should be a top priority to protect. Since the survey was taken many of the unlisted buildings have now become sites of redevelopment, however, a small amount off these designs pay tribute to the areas’ historical past.
Offices
Industrial/manufacturing
Retail
Leisure ( pubs, nightclubs,cafes)
Hotels
Residentual apartments
Student accommodation Community buildings
Vacant
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950m to liverpool central train station
Love Lane will be directly affected by construction in referance to noice pollution and construction congestion. Using the abandoned car park for the site office an other proceedures could restrict distruptions to the busness.
china town 425m
Abandoned car park
liverpool cathedral
River Mersey
Queens dock mersey river queens dock Mersey river Queens Dock Mersey River Queens Dock Mersey River Queens Dock Mersey River Queens Dock Mersey River Queens Dock Mersey River Queens Mersey River Queens Mersey River Queens Mersey River Queens Mersey River Queens Mersey River Queens Mersey River Queens
-Asbestos -Toxic/Hazardous substances bellow the car park effecting foundations Dock Dock Dock Dock Dock Dock Dock
- there may be a need for a complex bracing system when the timber beasm and flooring is removed Abandoned dump yard could be cleared for storage
- Existing building
The site sits at the heart of the Batlic Triangle, just south of the city centre, 170m North East of Queens Dock. This will mean the foundations will have to be pile foundations. This allows the pile foundatiosn to reach deeper soils which adequate bearing capasities.
Due to increased threats from climate change, cities now face the challenge of rising sea-levels, food insecurity, extreme weather events and limited fresh water supply. These threats can be tackled in architecture by including features such as storm water run off management, heat managment strategies and grey water usage. 37
The Baltic’s image is formed from the industrial revolution and the eras’ architectural needs. The buildings which still remain, have become precious within society today due to their unique structure and facades. One of the unique aspects of industrial design is the brick work patterns. These industrial warehouses and factories are key examples of facadism within functional design. Consequently, my project embodies the importance of facade design, whilst staying within the restrictions of an economical project.
The image below shows the facade of the Baltic Creative, another creative co-workspace in the Baltic Triangle. The design involves the repurposing of an existing warehouse, which is similar to the approach I have taken for my own project. Due to the site restrictions, the build includes an added floor created by polycarbonate roof extension.
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FIELD TRIP: LIVERPOOL & TURIN
The field trip to Liverpool and Turin helped me understand the different approaches cities have towards development. Turin’s general approach to redevelopment differs from the UK’s. The city seems to value existing buildings and more commonly reclaim and redevelop the structures present within the city. We visited Businesses which focused on community and local engagement schemes both in Liverpool and Turin. What interested me was the similarities between the Granby
workshop and redevelopment (Liverpool) and Via Baltia (Turin). Both schemes have adopted a friendly environment created by colourful mismatched interiors. The workspaces provided were adaptable and left space for personalisation. When exploring the variety of co-workspaces, I was able to see how schemes with higher membership prices were represented through restricted colour schemes and fixed furnishings as a way to control the image of the business. 41
FIELD TRIP: BALTIC TRIANGLE
FIELD TRIP: GRANBY FOUR STREETS Around the Baltic triangle murals and wall art are part of the image of the area. Many companies have paid for murals on their buildings.
The Baltic Creative is a competing co-work company. However they have been critisised for having high membership prices producing an elitist enviroment. Similar companies have become more common within the area contributing to the gradual gentrification of the area.
Construction work is a common sight in the Baltic Triangle, Often existing next to boarded up and abandoned buildings. Many of the completed buildings contained little refernce to the Baltics image or direct surroundings.
To the left is an image of an award winning bakery one street away from the chosen site.
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Granby winter garden is part of a community-led redevelopment project. The aim is to develop the area whilst paying tribute to the areas’ cultural heritage. This project not only reclaimed the architecture and culture of the area but simultaneously provided employment to locals. Due to Granby Four Street’s relativly small budget, buildings which have not yet been reclaimed are still celebrated.
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FIELD TRIP: THE BLUECOAT
The Bluecoat was part of my field trip case study. It was interesting to learn how long rented art spaces and workshops have existed. Whilst walking around the building and its workshops I started to realise how little space certain activities needed. This led me to later illustrate a variety of workshops to help me understand the equiptment and floor space needed. (These illustrations can be found on page ...)
FIELD TRIP: TOOLBOX
Toolbox was one of the larger co-workspaces which contained vast amount of desk space, team rooms, lecture spaces, yoga classes and more. When going back to research the buisness it was interesting to see the difference between there online image and what I experienced. The bottom left, annotated image was found on Toolbox’s website, the rest were taken by by myself during the visit to Toolbox.
Figure 14: Toolbox hot desk space
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PRECEDENT: VIA BALTIA TURIN
“Via Baltia has the aim of being able to integrate commercial and production activities with particular attention to socializing and building solidarity and quality relationships. (Nobili, Via Baltea 2020)
Figure 15: Via Baltea courtyard view into rentable room
It was at Via Baltea that I first saw reclaimed school gym flooring which inspired me to incorporate the same process into my design. Via Baltea’s friendly, sustainable ethos was consistant throughout its materiality, colours and furnishing. The courtyard added to the projects easy way finding and inviting enviroment as many of the rooms windows faced into it.
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The collective does have a colour theme of bright blue, however, this was often disregarded when creating murals and furnishings. One of the rooms is occupied by a carpenter who is able to lodge for free by maintaining the complex.
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FIELD TRIP: VIA BALTEA
This watercolour is of the 1st floor desk spaces. What I found interesting was that the only consistant object provided within the space are the office chairs. The shelves. desks and draws are mismatched and each customers desk is marked with personal photos, plants and storage.
This watercolour is of the largest room in the complex which is called the party room. This can be rented out for events and celebrations of different sizes with the help of the home made partitions. Home-made acoustic absorbers are also fixed to the roof. Around the edges of the room are stacks of chairs, a collection of sofas and vintage lamps. “Barrier Laboratories is managed by the cooperative Sumisura sc... Sumisura sc is a cooperative founded in 2007 that operates in the area of urban regeneration and redevelopment and local development, made up of architects and social workers who work in an integrated way, putting the different professionalisms in the system; deals with the commercial management of the spaces of the community hub (cafeteria, spaces for courses and activities).” (Nobili, Via Baltia 2020)
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PROGRAM EXPLORATION
Up and coming artist New Beginners Students Local
Events Music Community Club
space required
gallery
resteraunt
club work work work
workshop
Adaptable Friendly Relaxed Creative
Comfort food Recipe of the day Locally sourced
co-work space and studios
space required
Workshop Wood Metal Printing
Although many of the co-workspace busniesses in the Baltic Triangle refered to themselves as creative hubs, their facilities often only provide for online buisnesses and team meetings. Furthermore, to become a member of these spaces there are no checks on whether your buisness contributes to the creative industries. I felt there were a lack of spaces that allowed for art and products to be produced on a small scale. The Baltic Triangle was largly built on the production of goods. One of the aims of my building is to reteach locals DIY and creative skills as well as providing a space for members to exhibit their work . 51
The workshop spaces included in the complex will use specialised equipment which each space will need to be designed around. In regards to the wood and metal workshop, health and safety needs to be considered. Often machinery will be within a marked zone that only the user may step inside. Storage will also need to be provided, where the use and storage of material can be monitored by a technitian and kept in a usable condition.
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When producing this perspective I became aware of the amount of storage needing in printing workshops. Shelving need to be provided for inks and paints along with space for drying and washing-up. As paints are being used the flooring and surface should be easy to clean. Users shouldnt be made to feel uncomfortable if spillages or stains are made. The materials chosen could purposisly show marks and spillages, evolving through usage.
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The private rooms in the program will be designed for a variety of creatives. It should be possible for a member to adapt the space to suit their needs. The rooms must be big enough to store clays, sewing machines, paints and canvases. Each room will come with shelves, a desk and a chair. Members will not be restricted on what furniture they bring in, or what they put up on the walls.
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The pottery workshops will need to include kilns. This may require concrete flooring and fire resistant walls. The kilns could be possitioned near concrete walls to achieve thermal storage. Some artists may not have private rooms to store work in. The space should provide storage or lockers for people to protect their belloings.
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My second celebratory piece (as seen to the right) examins the relationship between my spaces. The co-work space and workshop instillation hexagons 1 and 2 sit on higher platforms as they will be core spaces within the complex. The model helps me visualise the furniture which will be needed within a space as well as the materiality of each area. The model helped me contemplate the different material needs each space would have; Workshops - durable concrete, The galleries - white walls, Co-workspaces’s reclaimed school gym flooring
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2 1
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My initial experiments with massing focused on optimising sunlight, I experimented with stepped massing in an attempt to allow the most sunlight to enter each building and the courtyard. The massing examples on the right created a long alley-way between the Buildings which would often be dark. The middle right massing allows more light to entre the courtyard and the northern block.
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The 3 block deign allows for a variety of access routes into the building. As the site is in close proximity to a number of key roads, a variety of entrances is beneficial. The seperated blocks helps to communicate the projects multi-diciplinary scheme. Users will often only use certain areas of the complex within a day, the different entrances reduces the distances needed to travel to reach the desired location.
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FIELD TRIP CASE STUDY REPORT THE BLUECOAT
We visited The Bluecoat on the second Field trip to lievrpool. Its located in the heart of Liverpool and looks out onto Liverpool one shopping centre. The building’s 4 wings where occupied by a variety of differnt buisnesses and workshops. I found it intersting to see such a traditional building become occupied by tailors, music shops and key cutters, to name some.
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REALISATION & SYNTHESIS
Using the site photos and analysis produced in staging, I started to define the massing and facades of the project. The use of precedents at this stage became key within my design process as I started to visualise the project into a 3D structure. Throughout the design process I used a variety of 3D experimentations along with 2d perspective drawings to help me visualise my ideas on both a micro and macro scale. It was within Re-
alisation that I was able to test the program and how the spaces would interact.wz
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One of my initial ideas was to form a courtyard, encased by the new developments. I wanted these structures to sit in seemingly separate blocks, whilst providing views to the opposite sides to the building complex. Through carefully positioned windows a user would be able to see spaces on the other side of the building being inhibited
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From an early stage of Realisation, I had decided on enclosing 2 polycarbonate blocks within the old textile factory. I initially tried twisting one of the blocks, but this led to difficulties with site boundaries. On top of this, the blocks connection to the polycarbonate cube, disrupted the cubes continuous faรงade, seen from within the textile factory.
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PRECEDENT: BROWN HART GARDENS LONDON
“ A notable challenge was to achieve a balance between contemporary intervention and architectural hertiage. New features, including stairs and a lift, needed to feel as though there were an integral part of the scheme and not simply bolted on.� (project showcase/2016)
Figure 16: Brown Hart gardens cafe
Figure 17:Brown Hart gardens plan
This project deals with the limitations of creating a green space on an urban locked platform. By using water features and raised boxed plants, the city square is still effective in making a relaxing environment. The boxes can be easily maintained and adapted throughout the seasons. The plant boxes double up as seats meanng the garden can comfortably hold more people.
Figure 18: Brown Hart gardens site section
The double use plant boxes will help tackle the limited space available in my courtyard. 71
COURTYARD DEVELOPMENT
The ground floor Initially had 3 separate entrances. One of the first issues was that the courtyard could become a short cut for passers-by, meaning the courtyard could start to feel over exposed. Secondly by allowing access from so many directs the circulation routes became the dominate factor of the space. This could be tackled with fixed furniture; however, adaptability has always been a key theme of the project. Allowing furniture to be removable, makes it a possible outdoor events space.
When the west entrance is closed off, the circulation between buildings becomes less disruptive on the courtyard. To push circulation routes further away from the seating I originally planned to include raised beds but this took away from the adaptability of the space. The galvanised steel fence will compliment the galvinised corricated facades of the bridges. One of the reasons I used a fence instead of building a wall was to allow more light into the courtyard. The majority of the side are created by tall buildings, but the fence provides a view of the street above. There is also a higher chance that the courtyard will be used by the general public if they are able to see the space while they walk past the building. 72
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COURTYARD DEVELOPMENT
By pushing the fence back, space is provided for the workshops back doors. These garage doors are large enough for stock to pass through. The bridge above protects the deliveries of stock from the rain and allows technicians to travel between the workshops via the back route if necessary.
Storm water planter
Plants
Growing medium
The finale sunken, smaller courtyard
Filter Fabric Drainage/storage layer Insulation waterproof membrane Protection board Roof decks
(Author ARC3013)
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PRECEDENT: AYLESBURY ESTATE REGENERATION LONDON
“The tree planting strategy seeks to create an urban forest character, retaining existing trees and introducing a large number of new trees within the streets and open spaces to soften the built form, provide seasonal character, introduce habitat into streetscapes, and ensure that every property will look out onto tree.� (project showcase/2016)
The regeneration project plans to create 4200 homes.The frameowrk plan states that the urban estate should knit into the surrounding areas. This goal will be achieved by opening up the estates layout and incorperating 3 new squares and 13 parks. The new road layouts will fit into a traditional street typology by becoming more suburban.
The image below depicts and outdoor space with water features and plenty of foliage. This kind of lanscaping doubles up as storm water managment.
Figure 19:Aylesbury outdoor redevelopment plans
Although I cannot completely agree with the regenrations approach to developing the estate, such as their need to reject an estate typology, to hide its true purpose, providing affordable housing. The use of greenery and spaces which encourage walking and cycling is an interetsing concept which I would like to incorperate into my design. Figure 20: Aylesbury outdoor redevelopment plans
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MASSING + FACADE DEVELOPMENT
Using my research and site readings from staging, I focused on creating a pointed roof, inspired by the shapes found in industrial designs. A saw-tooth shaped roof references the warehouse typologies whilst optimising northern sunlight for co-work spaces.
The use of economic industrial materials is core to my building’s aesthetic internally and externally. Galvanised corrugated steel was present in many of the new developments in Baltic. Using corrugated steel pays homage to the cites’ industrial past. The corrugated texture will be mirrored internally through the use of extruded polycarbonate sheets. One of my initial ideas was to have the building clad in corrigated steel from the 1st floor up. The bottom right shows my window frame development. Initially, I aimed to copy the textile factories arch. As the design progressed, I refernced the original building window design through size and spacing.
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MASSING + FACADE DEVELOPMENT
I started off with pointed, triangular roofs, however I felt these contrasted with the existing buildings’ delicate facade. In these facade tests I used a laser cutter and layers to help me visulise depth. As extruding window fames become more prominent in my design I wanted to explore how this I would look in 3D. (3D elavations depiected to the left).
Within the new facades I incooperated a fence which would surround parts of the building complex. When first approaching the project I wanted to create the sense of new structures sitting within the envelope of the old textile factory. This lead me to the concept of an exterior envelope which would encompass the complex. The use of a fence could surround the lower level windowless facades. In my earlier facade and massing designs the skye lights often faced towards the south, causing issues with thermal gain in summer.
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MASSING + FACADE DEVELOPMENT
The existing textile factories facade is made from a variety of aged brick. Although a similar mixed colour brick facade can be used on new projects. Trying to recreate this aged brick effect can often look eerie, unless executed with recycled old bricks. To stay within my projects budgets an economically viable, uniform brick will be chosen. I have used colour samples from the existing building to ensure my projects brick will compliment the textile factory.
The bottom right elevation test court my eye, however, these elevation tests are out of context and dont respond to the surrounding red brick buildings.
When working on more complete elevations I experimented with brick patterns. On the left, stack bond brick runs horizontally, parallel to the bridge and fence. I felt this brick pattern helped the eye run along the faรงade of the building. However, the building would not be seen from this angle by the users and passers-by. When negotiating the viewpoints of someone on the street below, a vertical line created by stack bond brick would be more effective in pulling the views gaze up.
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MASSING + FACADE DEVELOPMENT
As the elevation shows, the North East block sits 1000mm below ground level. This was beneficial for the floor relationships between the new block and the textile factory. This design decision also helped create the sunken courtyard. By sinking the courtyard, the space is no-longer just a transitional space between buildings. The courtyard’s boundaries have become clear and separated of from the surrounding pathways. The drop also provided sufficient headspace bellow the southern bridge which works as a seating area in the day and evenings. This burn orange colour sample was taken from the aged polluted bricks on the textile factory. Its lack of bright orange tones means it doesn’t clash with the concrete base.
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1:20 section detail 17034896 FUTURE CITY
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PROGRAM + LAYOUT DEVELOPMENT
This image represents the industrial programs within the scheme. The workshops and club/ event space
This image represents the office/desk enviroments including the private rooms
This image represents the leisurely activities in the program: the gallery and restaurant
Although the club space could be organised along with the leisure activities, the space won’t be inhabited in a similar way or at similar hours. The diagrams show my programs developments. Similar activities have been largly restricted to floor for ease of circulation.
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PROGRAM + LAYOUT DEVELOPMENT
The diagram on the left shows the spaces most commonly used in day time hours. The blue represents public space whilst the pink represents the space used by members. The scheme allows members to occupy the space without rarely needing to enter the public programs
Pink shows the spaces that are private. These spaces will only be assessable with a membership card. The membership card is necessary to keep other members of the public safe and separate from the workshops. New Members will receive workshop inductions, before receiving a card.
The red signifies the club space and its 4-storey void. This is a semi private space as some events may be ticketed
The diagram on the left shows the spaces most commonly used in night time hours. This includes the Event space and bar. The gallery will occasionally be open late, due to events.
88 (Author ARC3013)
The blue represents public space
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PROGRAM + LAYOUT DEVELOPMENT
PRECEDENT: GOLDSMITHS ART GALLERY LONDON
“The tree planting strategy seeks to create an urban forest character, retaining existing trees and introducing a large number of new trees within the streets and open spaces to soften the built form, provide seasonal character, introduce habitat into streetscapes, and ensure that every property will look out onto tree.� (Morris,Dezeen 2020)
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The perspective on the right was drawn at an early stage in Realisation. I used the sketch as inspiration for the atmosphere I wanted to create. In the image I show the combination of a variety of materials and textures ,such as timber, which become key aspects of the buildings’ image.
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PRECEDENT: VITOE HQ AND PRODUCTION BUILDING ROYAL LEAMINGTON SPA
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OLD PLANS AND THEIR CIRCULATION IS-
OLD PLANS AND THE INOR CHANGES
Club/Event space
Bar/Resteraunt
Workshops
Gallery
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PRODUCED BY AN AUTODESK STUDENT VERSION
Co-work space/Private rooms
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In this 1:50 I wanted to focus the inhabitation and materiality of the space. Each space within the new blocks should provide a surface for adjustments and personalisation. The vast wooden walls hangings of pictures and flyers.
This section is no longer accurate to the final design. not to scale 0mm
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In this 1:50 I wanted to focus the inhabitation and materiality of the space. Each space within the new blocks should provide a surface for adjustments and personalisation. The vast wooden walls hangings of pictures and flyers.
This section is no longer accurate to the final design. 103
1:100 1ST FLOOR PLAN
1- Club/Events space, reception and cloak room 2- Bar, storage 3- wood and metal workshop 4- Pottery workshop 5- Wood and metal storage 6- Pottery storage
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1:100 2ND FLOOR PLAN
1- Club/Events space, DJ decks 2- Print/Lino workshop 3- Co-work social space 4- Co-work desk space 5- Private art rooms
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1:100 3RD FLOOR PLAN
1- Gallery space 2- Restaurant kitchins 3- Bar 4- Restaurant
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1:100 GROUND FLOOR PLAN
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PROGRAM AND MASSING
Gallery Vertical Circulation Resteraunt Club/Event space Co-work Workshops
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USER PROFILES
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USER PROFILES
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USER PROFILES
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USER PROFILES
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SOUTHERN ELEVATION
CULTURAL REFLECTION
The Prada Foundation has since become one of my favourite buildings. This may have been due to one of the tutors explaining all the aspects of the design I would have otherwise looked over or because of the magnitude of the exhibitions it held inside.
The use of glass boxes, and unreachable stairways influenced my design, especially in refernce to the club space.
Another architect and I, stayed and explored Milan for another day. In this day we took a self led tour of the fascist architecture pressent throughout the city.
Throughout the year i’ve been researching into the privatisation of public land within cities. This publication includeds a variety of redevelopments which have helped me understand the different approaches that can be taken when redeveloping our cities.
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List of Figures
Figure 10: Levy, N., 2020. Cano Lasso Completes Second Home London Fields. [online] Dezeen. Available at: <https://www.dezeen. com/2019/06/24/second-home-london-fields-co-working-offices-interiors-cano-lasso/> [Accessed 3 June 2020].
Figure 1: Regeneratingliverpool.com. 2020. [online] Available at: <http://regeneratingliverpool.com/wp-content/uploads/2017/10/BalFigure 11: Archello. 2020. Second Home London Fields | Cano Lastic-Triangle-Development-Framework-Final-Version-Dec-2017.pdf> so Architects | Media - Renders - 4 | Archello. [online] Available at: [Accessed 3 June 2020]. <https://archello.com/story/74494/attachments/renders/4> [Accessed 2 June 2020]. Figure 2: Cadencekingscross.co.uk. 2020. Cadence King’s Cross - The Building | Cadence King’s Cross. [online] Available at: <https://caFigure 12: Archello. 2020. Second Home London Fields | Cano Lasdencekingscross.co.uk/the-building> [Accessed 9 June 2020]. so Architects | Media - Renders - 4 | Archello. [online] Available at: <https://archello.com/story/74494/attachments/renders/4> [AcFigure 3: Assemble. 2020. Granby Four Streets. [online] Available at: cessed 2 June 2020]. <https://assemblestudio.co.uk/projects/granby-four-streets-2> [Accessed 1 June 2020]. Figure 13: Archello. 2020. Second Home London Fields | Cano Lasso Architects | Media - Renders - 4 | Archello. [online] Available at: Figure 4: Archello. 2020. Second Home London Fields | Cano Las<https://archello.com/story/74494/attachments/renders/4> [Acso Architects | Media - Renders - 4 | Archello. [online] Available at: cessed 2 June 2020]. <https://archello.com/story/74494/attachments/renders/4> [Accessed 2 June 2020]. Figure 14: Toolboxoffice.it. 2020. Options And Prices | Toolbox Coworking. [online] Available at: <https://www.toolboxoffice.it/en/ Figure 5: Levy, N., 2020. Cano Lasso Completes Second Home Lonoptions-and-prices/> [Accessed 3 March 2020]. don Fields. [online] Dezeen. Available at: <https://www.dezeen. com/2019/06/24/second-home-london-fields-co-working-offices-inFigure 15: Nobili, M., 2020. Salone Delle Feste. [online] Viabaltea. teriors-cano-lasso/> [Accessed 3 June 2020]. it. Available at: <https://www.viabaltea.it/spazi/salone-delle-feste> [Accessed 15 June 2020]. Figure 6: Levy, N., 2020. Cano Lasso Completes Second Home London Fields. [online] Dezeen. Available at: <https://www.dezeen. Figure 16: Location House. 2020. Brown Hart Gardens. [online] com/2019/06/24/second-home-london-fields-co-working-offices-inAvailable at: <http://www.locationhouse.co.uk/location/brown-hartteriors-cano-lasso/> [Accessed 3 June 2020]. gardens/> [Accessed 15 June 2020]. Figure 7: Levy, N., 2020. Cano Lasso Completes Second Home London Fields. [online] Dezeen. Available at: <https://www.dezeen. com/2019/06/24/second-home-london-fields-co-working-offices-interiors-cano-lasso/> [Accessed 3 June 2020]. Figure 8: Levy, N., 2020. Cano Lasso Completes Second Home London Fields. [online] Dezeen. Available at: <https://www.dezeen. com/2019/06/24/second-home-london-fields-co-working-offices-interiors-cano-lasso/> [Accessed 3 June 2020]. Figure 9: Levy, N., 2020. Cano Lasso Completes Second Home London Fields. [online] Dezeen. Available at: <https://www.dezeen. com/2019/06/24/second-home-london-fields-co-working-offices-interiors-cano-lasso/> [Accessed 3 June 2020]. 138
Figure 17: Landezine.com. 2020. Brown Hart Gardens By BDP « Landscape Architecture Platform | Landezine. [online] Available at: <http://landezine.com/index.php/2015/03/brown-hart-gardens-bybdp/> [Accessed 15 June 2020].
Figure 20: LLP, H., 2020. HTA Design - Aylesbury Estate Public Realm. [online] Hta.co.uk. Available at: <https://www.hta.co.uk/project/aylesbury-estate-public-realm> [Accessed 15 June 2020]. Figure 21: Frearson, A., 2020. Assemble To Design An Art Gallery At Goldsmiths College. [online] Dezeen. Available at: <https://www. dezeen.com/2014/07/28/art-gallery-goldsmiths-assemble-converted-bathhouse/> [Accessed 15 June 2020]. Figure 22: Archpaper.com. 2020. Goldsmiths-Baths-By-Assemble-Architecture - Archpaper.Com. [online] Available at: <https:// archpaper.com/2018/11/assemble-masterfully-plays-with-history-intheir-design-for-a-london-gallery/goldsmiths-baths-by-assemble-architecture/> [Accessed 15 June 2020]. Figure 23: Flickr. 2020. Goldsmiths Centre For Contemporary Art. [online] Available at: <https://www.flickr.com/photos/padraiccollins/43547367420> [Accessed 15 June 2020]. Figure 24: ArchDaily. 2020. Vitsœ HQ And Production Building / Vitsœ And Martin Francis. [online] Available at: <https://www.archdaily.com/882389/vitsoe-hq-and-production-building-vitsoe-andmartin-francis> [Accessed 15 June 2020]. Figure 25: ArchDaily. 2020. Vitsœ HQ And Production Building / Vitsœ And Martin Francis. [online] Available at: <https://www.archdaily.com/882389/vitsoe-hq-and-production-building-vitsoe-andmartin-francis> [Accessed 15 June 2020]. Figure26: ArchDaily. 2020. Vitsœ HQ And Production Building / Vitsœ And Martin Francis. [online] Available at: <https://www.archdaily.com/882389/vitsoe-hq-and-production-building-vitsoe-andmartin-francis> [Accessed 15 June 2020].
Figure 18: Landezine.com. 2020. Brown Hart Gardens By BDP « Landscape Architecture Platform | Landezine. [online] Available at: <http://landezine.com/index.php/2015/03/brown-hart-gardens-bybdp/> [Accessed 15 June 2020]. Figure 19: Construction Enquirer News. 2020. Green Light For 3,500-Home Aylesbury Estate. [online] Available at: <https://www. constructionenquirer.com/2015/04/28/green-light-for-3500-homeaylesbury-estate/> [Accessed 15 June 2020]. 139