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Contents Amended work New work Illustrated Reflective Report 4

Primer 10

Staging 30

Exemplar Scenario: Working in the City

Field Trip, Liverpool

Initial Site Visit The Baltic Triangle, Liverpool Hannah Carson Student number: 160134063 Studio: Future City Big thanks must go to my tutors, Luke Rigg and Kieran Connolly, who have made this year extremely enjoyable. Thanks for all the support, encouragement, tips and tricks and reassurance you have given me along the way!

Celebratory Piece

Case Study Report Field Trip, Turin An ‘honest’ design approach

Charrette 6

‘7 Rules to a Happy Hot-desker’

Soft Studio The Flip & Sit Study Buddy

Celebratory Piece

Realisation 72

Synthesis 108

Thinking Through Making Week

A day in the life of Steve Blundell

Development of sections

A day in the life of Lucy Simpson

Development of plans

A day in the life of Tim Hardy 1:50 section

Cultural Bibliography 140

Appendix 146

Bibliography 150

Conclusion List of Figures 151

Illustrated Reflective Report Stage 3 has taught me to be critical in my approach and decision making and helped me to develop my own style. I have been encouraged by my tutors, Luke and Kieran, to have a critical view and really think about what aspects are important to me as a designer, resulting in a project that I am pleased to say I am proud of (a goal I wrote in the Entry Questionnaire at the beginning of this year, in the ‘Aims & Objectives of Stage 3’ box). A major part of this year for me has been based around developing the representation of my work, my style. My research in the Primer phase of the project started with the analysis of marketing techniques, where corporations would use ‘set-up’ scenes over laid with Photoshop editing, and hyper-real rendering to sell their spaces. I noticed that a common marketing technique is to show the heavily rendered rooftop views and communal spaces with wide angle lenses. My analysis of the typical flat layout, shown here, comparing the rendered perspective view against the less advertised floor plan revealed uncomfortable truths about the lack of space one would have, highlighting the themes of misrepresentation and dishonesty. This was a particularly important part of the process for me, as someone once fooled by all the gloss. The representation of my Primer celebratory piece was used as a tool to be critical about the luxury developments I had been analysing, that existed on our site for the year, The Baltic Triangle, Liverpool, UK. By inhabiting the basic floor plan with the life of someone I expected to live there, perhaps a business woman, adding her wardrobe and dressing table, the floor plan became cluttered. This showed the apartment to be less desirable as it once appeared. I felt that my drawing considered and represented the life of someone living there in a more realistic and truthful way than the perspective image achieved.

We made our first site visit during the Primer phase, the Baltic Triangle, a post-industrial, alternative hub with creative indie start-ups in the former red-brick warehouses. My studio, Future City, soon determined our critical stance, which is about preserving the character which is slowly being wiped out by characterless developments. The following quote summarises the issue, “Cities are often guilty of killing the goose that laid the golden egg by allowing the creative heart of a city to be smothered by commercial development”, (Armstrong, 2003, cited by Jones, Wilks-Heeg, 2004).

Figure 1: Parliament Square perspective image

In November, our studio went on a field trip to Liverpool to revisit our site, and then to Turin, where we visited Toolbox CoWorking Office, which became a key precedent for my project. They acknowledged a key consideration for the individual hot-desker, and their different types of desk working. Here, the different rooms were thoughtfully designed, so that the spatial arrangement and materials used encouraged a certain experience, for example, a heavily soundproofed small room to encourage loud games. Figure 1a: Parliament Square flat layout

As well as this idea of the honest, ‘lived-in’ inhabitation, it was also important that my drawing combated the hyper-reality of the perspectives, which is why I made the decision to keep it as a simple line drawing. I thoroughly enjoy drawing and sketching, so I really enjoyed creating this celebratory piece, imagining myself in the shoes of someone living there. 4

Exploring the site, we picked up a strong sense of identity, but noticed the invasion of the new luxury high-rises. These luxury developments seemed to ignore the needs of the community, and so I carried forward my focus on the individual, and much of my site analysis took place ‘Through the eyes of a Baltic Triangle hot-desker’; the brief I developed for my project was to build a CoWorking office for ‘hot-deskers’, individual employees who use a shared desk as and when they require it.

Inhabitation and analysis of flat layout

Firstly, this led to the development of my Programme, different types of hot-desk users with different demands and needs for the spaces, as illustrated here. Secondly, to be critical about and conclude all the research I had undertaken so far, it led to the development of what I labelled, my “honest design approach”, which I think means two things: 1. I want to be honest in my representation and develop a drawing method that shows a truthful, untouched representation of a space 2. A spatial honesty, like Toolbox, where the arrangement and tectonics strongly encourage a type of working.

Viewing the site ‘Through the eyes of a BT hot-desker’

Toolbox CoWorking Office, hot-desking types

My programme

Towards the final part of this year, we developed the technical aspects of our schemes. The ARC3013 Technical module developed the specific interior details of my scheme. It explored the question - which materials and surface finishes will work together to influence a specific environment of working?

500mm

Staging celebratory piece, 7 Rules

In the Staging phase of the project, I developed my ‘7 Rules for a Happy Hot-desker’. This was made up of 7 different interior spaces, which I argued would accommodate for the different demands of my varied programme. The differing spatial and material strategies of each space aim to create a specific working environment. My design strategy for the remainder of the year was based around these 7 internal views, designing a scheme from the inside, out. The Theory into Practice essay, completed in February, introduced me to the work of Caruso St John’s architectural practice, which has since provided an extremely influential example of representation methods; the drawings communicate key aspects of a scheme very successfully, without the need to use hyper-real rendering to convey materials. There is a simplicity to the drawings - they serve to architecturally communicate the scheme. Furthermore, the ambiguity of the line drawing prevents any false or untrue expectations of a space to be made, contrasting hugely with the perspective images used by the luxury high rise marketing.

This technical detail drawing shows the pitched roof of the timber frame, zinc clad building of my scheme . This is a space an individual can use alone, to have thinking time (relating to Rule 1 of my 7 Rules). The surface finishes intend to express a calmness, stripping back the intensity to reveal the structure, as outlined in the technical report and later in this portfolio.

1000mm

ARC3013 detail

In the Synthesis phase of the project, I was able to utilise the work I had done for ARC3013 along with the influence of Caruso St John’s work, to represent the specific material qualities of the spaces, in more detail than before. The series of ‘day in the life’ drawings (shown below), again tried to think about the individual, and what their day might include. The combination of plan, perspective and sectional analysis shows the spatial qualities more clearly. I also relate back to the initial 7 Rules from Staging, showing how these 7 different interior spaces have come to realisation in the scheme. I hope that the cross-referencing and connections made between these different views (plan, section, perspective) shows the care I have taken to ensure the space works in all aspects for the individual. I have really enjoyed designing with this focus on the individual user, as I feel like it has brought an intimacy to my work.

Figure 2: Caruso St John internal render

I attempted to practice this style of representation in my own work, and continued to develop it over the course of the year. My initial attempts taught me that A day in theto life of Tim Hardy my future drawings needed include much more detail, in order to truly convey material and tectonic qualities.

Interior view, quiet space

I’m excited by the prospects of a career in the design industry, creating spaces and environments that can positively influence people’s daily lives.

Rule 5

LOVE LAYNE BREWER

Rule 2 6

Warehouse interior view

‘A day in the life’, Synthesis Review

Charrette ‘Soft Studio’ For Charrette Week, October 2019, I keenly opted for this group, ‘Soft Studio, which involved designing and creating our very own ‘soft’ furniture for working environments. I have always been interested in office culture and how they are designed, and was fortunate to gain some experience in the field the summer before. My time there sparked the question: how can an office be designed to influence efficiency, productivity and creativity? This charrette expored the use of ‘soft’ furniture in such environments; I thoroughly enjoyed coming together around the table, bringing new ideas and photos of our research into the discussion.

The ‘Flip & Sit’ Study Buddy A soft seat With the desire to utilise any unwanted material, and working at the fast pace that Charrette Week is famous for, our design quickly came together after finding a few large blocks of foam. After testing different shapes we could make with the foam, we discovered that an ‘L’ shape could provide two alternative ways of sitting. We imagined this chair could act as a ‘buddy’ during the long nights in the studio, when one is tired of sitting at a desk and wants a softer seat, or simply when someone is in need of a hug. Just ‘Flip & Sit’!

Initial stitching to tell users of the ‘huggable’ feature

Stitching the ‘L’ shaped pillow case

Cut out ‘head holder’ for a cinematic experience

Our ‘Flip & Sit’ Study Buddy

Primer As a studio, we explored different Scenarios, and I was pleased to get my preferred choice of ‘Working in the City’, keen to further my knowledge on designing for working life. In the first part to this section, we developed an Exemplar Case Study booklet. I was excited to explore the extremely prominent company in the industry, WeWork, that provide flexible leases on office spaces/desks for small enterprises and startups. I soon found that the bright lights and trendy furniture began to wear off as my research revealed some uncomfortable truths about the reality of the spaces. During this phase, we visited the Baltic Triangle in Liverpool, UK, home to our site for the year. I was struck by the immense number of hoardings that lined the streets, anticipating new developments of luxury apartments and large tower blocks. I found that the rendering of the hoardings were fake and untrue, and the reality was not as luxurious as it first seemed. I analysed the apartment spaces to reveal uncomfortable truths about these highly expensive flats which are mostly inaccessible to the people of the area. Clients for these apartments often don’t live in these apartments as their primary home, making the area increasingly empty. The community requires attention, but they are being neglected for profit and future developments.

Scenario: Working in the City Exemplar Case Study - WeWork The WeWork website represents each office space from around the world with a series of pictures of communal areas, kitchens, bars and hot-desking spaces. However, we rarely get an insight into how the space is experience by the user.

While the company pride themselves on being an international yet local workplace due to their similar ‘friendly’ interior style across the world, it can be argued that the office spaces are ‘placeless’. It’s often just a token piece of art that represents their location.

Additionally, by removing the ‘filter’ effect, colours and renders from these different WeWork office interiors, it becomes increasingly difficult to differentiate these international offices apart from one another.

Cape Town

Dublin

Misrepresentation and Dishonesty The communal spaces shown previously are prominent features when it comes to advertising a space. Floor plans for these office spaces aren’t readily accessible, however the release of plans for a floor plan in North Carolina show that the photos on the website only represent a small area of the floor plan. The rest of the space is ‘efficiently’ packed with desks, leading to questions of WeWork’s consideration for the individual user. The analysis of this particular floor plan, where I took a small section of the space and inhabited it in the way a hot-desker uses it, revealed truths; different spaces lie just a wall divide away.

Figure 5: Marketing image of cafe, WeWork Stonewall Station

The only thing to influence how the space should be used is the furniture within it, and the spatial configuration seems thoughtless. This made me think about the different spatial and material qualities that would influence a certain type of working. Figure 3: Marketing image of WeWork, CapeTown

Figure 4: Marketing image of WeWork, Dublin

Figure 6: Floor plan, with cafe highlighted in yellow

Focus

Sketches of spaces, reducing them of filters/effects

Discuss

Relax

Inhabited sketch of the floor plan showing the simple wall divide that separates these different spaces

Representation vs. Experience WeWork Precedent 1 St. Katherine’s Way Location: Located opposite the Tower of London and next to Tower Bridge, this WeWork office has luxurious views of London. This extremely central location also has the benefit of the St Katherine’s Dock Marina, which lies to the east of the building.

Through the Eyes of a ‘Hot Desker’

Attracting talent: The workplace environment has changed in recent years. When jobs were sparse, there was no desire for companies to attract employees. Now companies must attract the top talent due to the competition of other firms. Amenities unique to this building include: - outdoor space - event space - showers - bike storage - constant supply of coffee and fruit water

Credit to weworkblog.com Using the words and photos from a reviewer of different WeWork ‘hot-desking’ spaces, I was able to compare the marketing images, with the space as experienced.

but instead uses the photos from the ‘hot-desker’. This shows a visual comparison of ‘represented vs experienced’.

I have tried to create a more realistic representation of the space. The photo montage shows the section through the two WeWork floors of this building; one floor shows the space using the pictures from the website, and the other pieces together the same space,

Pros: great views, lots of plants, mixed dress-code

Represented

Figure 7: Marketing image of St. Katherine’s Way

Figure 8: Office highlighted in orange

The interiors are homely, attractive, and professional, and look similar to most other WeWorks around London, and elsewhere. Perhaps there is a lack of thought about the interiors, and instead there is a set style that is copied and pasted into other locations? The representation of the office spaces should be compared closely to how the space is experienced by the users in a ‘non-photoshoot’ scenario, in order to determine if the work space is successful. 16

Figure 9: Marketing image of St. Katherine’s Way

The ‘hot-desker’ shares his own pictures, and gives his pros and cons of the space, which are as follows:

Cons: hot-desking area too small, poorly connected to

tube station, long queues for barista coffee, uncomfortable chairs

VS. Experienced

Figure 10: Photo montage showing represented VS experienced WeWork, 1 Katherine’s Way, London 5

The page overleaf attempts to ‘re’-represent this office space, using the hot-deskers personal opinion (from weworkblog.com), likes and dislikes, to create a more honest picture.

Through the Eyes of a ‘Hot Desker’ Quotes from review, available at: www.weworkblog.com

Through the Eyes of a ‘Hot Desker’

“long queue for barista coffee”

Represented Figure 11: WeWork, 1 Katherine’s Way, London

VS.

Experienced

Figure 12. WeWork as experienced by user

“chairs were not comfortable”

Represented Figure 13: WeWork, 1 Katherine’s Way, London

VS.

Experienced

Figure 14. WeWork as experienced by user

“long walk from tube station”

“hot-desking area was small”

Through the Eyes of a ‘Hot-Desker” Mixed media collage representing the office space as experienced by a WeWork Member

The Baltic Triangle, Liverpool, UK

Through the Eyes of a ‘Hot Desker’ There is a clear difference between how the offices are represented, to how they are experienced in reality. Camera angles and aesthetically pleasing filters can create a false image of the space, when in reality the experience of the space is entirely different.

seems to be a lack of truth behind the representation of their office spaces.

Initial site visit, October 2019

The sketches aim to represent the space as experienced by the hot-desker, a true representation of the office. When people use the space, work in, live in and move within it, different qualities become apparent; this open plan office gets busy and loud, qualities that are not advertised or shown on the WeWork website. There

Character

Through the Eyes of a ‘Hot-Desker” Mixed media collage representing the office space as experienced by a WeWork Member

VS.

Characterless

The Baltic Triangle, Liverpool, UK The Misrepresentation of Marketing

Initial site visit, October 2019

Through the Eyes of a â&#x20AC;&#x2DC;Hot Deskerâ&#x20AC;&#x2122; From the research of the WeWork Precedent, I learnt about the power of clever marketing, and how often the information and pictures we are shown do not show us the whole truth about a space. The release of the floor plan, and the exploration of the space through the eyes of the hot-desker revealed uncomfortable truths about the hidden realities of these sought after office spaces; comparing the images from the individual with the edited photos from the marketing team led me to ask questions about the honesty of these corporate businesses.

Character

VS.

On the theme of representation, reality and experience, I went to the Baltic Triangle wanting to further my knowledge on marketing and advertising to discover if the developments we see going up around the site are honest in what they represent. I specifically looked at the hoardings which advertised these new places of luxury living, with the aim of looking deeper inside to reveal the truth behind the heavily rendered images.

Characterless

Photos of hoardings around the Baltic Triangle

Hoarding Precedent

Parliament Square, luxury residential tower block in The Baltic Triangle Seen in both the WeWork precedent and this luxury development, a common marketing technique is to show the shared, communal spaces, rather than the personal and ‘used’ spaces, like an office or bedroom. This leads to a misrepresentation of the space; in both cases the images are ‘set-up’, either as a photoshoot, or as a photoshopped render. This contrasts greatly with the floor plans found hidden in the documents on the local planning portal: unrendered, untouched. Figure 18: Parliament Square marketing photos

Inhabitation of the floor plans reveal uncomfortable truths: 1. Close proximity of living area to dining 2. Dining table squashed into corner

Marketed

Misrepresented

3. A lack of space for daily chores, such as ironing, which then encroaches on living area 4. Front door may open onto a trip hazard: the open dishwasher

Figure 15 & 16: Parliament Square marketing photos

Figure 17: Parliament Square apartment plan Image credit to Falconer Chester Hall Architects Image found on Liverpool City Council Planning Portal Application reference: 16NM/3109

Inhabitation of floor plan

5. Dressing table not put in initial plan, a necessary place for storage and daily routines; the space available is limited so a thin desk has been squeezed in 6. A lack of storage space would lead to a cluttered floor 8. Very small wardrobe 9. Potential clash of door swings 10. Small and crowded utility room Figure 19: Parliament Square marketing photos

11. Not many kitchen surfaces for food preparation 12. Dining area encroaches on living area, which isnâ&#x20AC;&#x2122;t shown in the marketing photo 13. Only one sofa fit in when I inhabited it, unlike shown on the original plan 14. Very little storage space

Figure 20: Parliament Square marketing photos

Celebratory Piece Misrepresentation and Dishonesty For my celebratory piece for the Primer phase, I made a hoarding, using the marketing images as seen in the Baltic Triangle, and hung the original plan and my inhabited plan in front. The three hanging pieces revealed a disconnect between the marketing and the reality of the space being sold, just as I discovered through my research of WeWork.

PA R L I A M E N T SQ

The research in the Primer phase revealed key themes of misrepresentation and dishonesty, aspects I want to counter in my own representation of my work.

P R O U D LY B R O U G H T TO YO U B Y

Celebratory Piece - The Hoarding Hoarding created using Parliament Sq. marketing images referenced previously

Staging My brief for this phase is to design a new office space for the Baltic Triangle. The Staging phase has led me to continue my focus on the individual and be critical about how the Baltic Triangle may be perceived by these people who use the space everyday. This personal, intimate research into the way people use a space has been helpful in showing me what people might demand, and has led me to try and pinpoint how a new building will benefit the community. Analysis of the Baltic Triangle Development Framework has revealed that many small local business operate within the Baltic Triangle, yet there are few opportunities for them to interact. Unhealthy food chains mostly dominate this area and the community would benefit from more spaces for leisure. However the sad truth is that developers are refusing to consider the people on this personal scale, and are still not providing what they require as individuals and as a community.

â&#x20AC;&#x153;Cities are often guilty of killing the goose that laid the golden egg by allowing the creative heart of a city to be smothered by commercial developmentâ&#x20AC;? Louis Armstrong, CEO of RICS (BBC News, 2003) - cited in Capitalising Culture ( Jones, Wilks-Heeg, p. 354, 355

Field Trip - Liverpool November, 2019

Granby Workshops

Everyman Theatre

Many lessons can be learnt from the Granby Workshops, a project with community at the heart. Architects practice Assemble worked with the local residents and rebuilt the once derelict houses into workshops for local artists, and community spaces.

Retaining the character of this once nineteenth-century chapel was important to architects Haworth Tompkins as well. Many features of the original chapel remain, and in addition the architects have added new touches will further celebrate this sense of character and community, that they made sure wasnâ&#x20AC;&#x2122;t lost in a new building.

We visited this renovated space, now a winter garden. It was a truly enjoyable space to be in, full of character, and can now be enjoyed by the community once again.

The most obvious example of this is evident on the facade, where the portraits of over 110 local residents stand proudly. Additionally, I thoroughly enjoyed the interior feel, with the textured concrete formwork providing a tactile touch to the reception space, along with welcoming, low ceilings on entrance and connecting mezzanine spaces above.

Figure 21: Granby Workshop

Photos from site visit - Winter garden

Photos from site visit

Field Trip Case Study Report At this part of the field trip, my group visited our chosen building that we would be writing a report on for our Case Study Report.

Photos from site visit

The Bluecoat New performing arts wing by Hans van der Heijden In WWII, the original H-shaped floor plan was destroyed by the bombing of the city. Therefore, the extension would attempt to rebuild this part of the building, reflecting on and remembering the lost history of the building.

The design approach wanted to celebrate the old and new, which is why the new wing aims to mirror, but not replicate the Queen Anne style. Just like the previous buildings we had visited, it again seemed crucial that the character was preserved, in order to retain the cityâ&#x20AC;&#x2122;s rich history.

Field Trip Case Study The Bluecoat Creative Community

Studio Relevance//Spatial Sequence Studio Theme - Community I have combined these two sections as there is a strong link between the spatial sequence of the Bluecoat, and a key theme we have explored, community. The main reception, garden and courtyard are free for all to access during opening hours, with no pressure to purchase anything.

The Creative Community was set up with the aim of supporting the creative industry; it consists of three parts, retailers, artists and industry workers. The relationship between artist and the community is enjoyed mutually, with the public able to enjoy the work promoted, and the workers enjoying what the Bluecoat gives back to the community, sharing spaces together. With strong links to the city, and a rich diversity of artists, the workshops thrive and productivity and creativity is increased.

This public access directly through the building, connecting the North and South sides, increases the footfall in the building; this allows the public to pass the gift shop, which sells the products of the resident artists, giving them the opportunity to promote their work to more people.

“We all come and meet in the corridor and meet in the kitchen and swap ideas, the doors are open and we flow in and out of one another’s spaces and we pass on opportunities wherever we can; there’s a proper feeling of community here.” Bluecoat artist

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Photos from site visit -workshop

Bluecoat artist

Studio Relevance//Spatial Sequence The Spatial Sequence is designed to improve the space for the users and the wider community, however it has its issues:

The performance space, often used for private shows/conferences, cuts off the natural circulation of the gallery spaces. Garden

lle

Co ne

The Garden - A place for all to use, however it has become a short-cut since the Liverpool One development completed.

Hanover Stre

Diagram showing direction of footfall

THE VOID

The void works as an exhibition space but not as a circulation space, going up and along on each floor, returning down the same route and staircase.

GALLERY 3

SP AC

GALLERY 2 GA

LLE

THE VOID (GALLERY SPACE)

Gallery 1 is the largest gallery, has an abundance of natural light and can be spatially flexible. Shutters can make the interior space dark and smaller if necessary. THE VOID

Gallery 2 - Situated on a busy street with close proximity to Liverpool One, having access here would increase the visits to the galleries. However due to humidity control the door is kept closed and used for loading. 38

Gallery 1 & 2 are the most visited galleries due to ease of access, but there is an issue with the circulation for Gallery 3 as one has to return via the stairs down the same route. As a result, Gallery 3 is is the least visited. Spatial arrangement and circulation, (vertical in yellow & horizontal, blue)

Field Trip - Turin November, 2019

Office precedent - Toolbox Visiting Toolbox CoWorking office was a highlight of my trip. The questions I was asking in Charrette Week - how can an office be designed to influence efficiency, productivity and creativity? - were answered here. Toolbox was a very successful example of an office which has something for all type of workers, be it creative, computer based, working alone or in groups. I thoroughly enjoyed our tour in which we witnessed the variety of spaces, which all specifically catered for an individual type of working.

Toolbox has become a very influential precedent for my project. The hot-desking studies show the multiple types of workers that this office caters for, ranging from technical work, workshop based, single laptop users etc... Each area of Toolbox was thoughtfully designed so that the spatial arrangement and materials/textures used influenced a specific environment of working.

Toolbox: Hot-desking types Photos from site visit -workshop & office

Spatial & Material Strategy Examples of the different rooms which influence specific environments for working: 1. Exciting textured walls to encourage sociable, fun activities

4. Semitransparent walls to prevent the isolation of work spaces

2. Sound proofed rooms for loud games and stress relief

5. Well lit, airy, breathable indoor spaces with comfy chairs and greenery to relax and unwind

3. Quiet, private rooms behind dense layers and feature doorways, ie. a hobbit hole

Reflections on the WeWork hot-desker Misrepresentation and Dishonesty A key precedent I studied in Primer is the WeWork offices. The analysis of this particular floor plan, where I took a small section of the space and inhabited it in the way a hot-desker uses it, revealed truths; different spaces lie just a wall divide away. In comparison with Toolbox, I realised that the only thing to influence how the space should be used is the furniture within it, and the spatial configuration seems thoughtless. This made me really think about the different spatial and material qualities that would influence a certain type of working, a question I would take forward into my own scheme. Floor plan or WeWork, Charlotte, US

Sketch of highlighted yellow area

Photos from site visit to Toolbox

An â&#x20AC;&#x2DC;Honestâ&#x20AC;&#x2122; Design Approach

Honesty in Representation

Spatial Honesty

My research has shown that often digital renders are false and often conceal the truth about a space.

In a spatial sense, this means the tectonic language would translate into a series of defined areas that each inform different types of work, as seen in the Toolbox example, in contrast to what was revealed in the WeWork and Parliament Sq. floor plans.

Therefore, I have developed a drawing method that attempts to be honest about a space and reduce the image to a simplified line drawing. This form of representation acknowledges it is not a true depiction of reality, but an attempt to engage the viewer with the architectural drawing.

Programme: The Baltic Triangle Hot Desker Viewing the site through the eyes of a hot-desker... As the property developers made obvious their disregard for the local people, I made a conscious decision to try and view the site through the eyes of a hot-desker in the Baltic Triangle, using my site analysis to discover what they really need in a new CoWorking office.

Private meeting areas Quiet Enclosed/safe/small

A booth/desk Efficient Short-stay desk

Technical/intricate Concentration Conversational space

Creative Loud Inspiring and comfortable

Collaboration Loud Open and spacious

Workshop Practical Open and spacious

Unfocused Atmosphere Public

Focused Conversational (phonecalls to clients) Organised

The different types of desk workers that make up my programme, with their specific qualities needed to work

Creative Collaborative Inspiring

Site collage, with hot-desker

My Aim To create an honest and relate-able workspace that enhances the character of the Baltic Triangle

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sW enâ&#x20AC;&#x2122;

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My Primer research revealed that these developments can be deceitful, concealing uncomfortable truths, so my scheme aims to respond to this by creating a workspace that is honest and designed for the individual user.

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The Baltic Triangle Development Framework acknowledges the area as being characterful due to its industrial past, which has left red-brick warehouses dotted around the site. Despite this, the new developments that are being built and proposed donâ&#x20AC;&#x2122;t appear to relate to the rich history of the Triangle.

In an area beginning to be overtaken by generic, highrise, luxury developments, my scheme sets out to retain the character of the area and be personable and honest in its outlook, strongly relating to the people currently working in the area.

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Located fairly centrally in the Baltic Triangle, and just a short walk to Liverpoolâ&#x20AC;&#x2122;s centre, this makes the site an appropriate place for a new CoWorking space. It maintains a good relationship to the city, and connecting

cities, to ensure business can thrive, and also sits comfortable within the Baltic Triangle, giving the local people who work there a strong sense of identity, character and belonging.

Site

A unique area of character The site, which lies between Bridgewater Street and Kitchen Street, is currently a private car park. Its critical adjacency is a vacant former warehouse, which was highlighted by the Baltic Triangle Development Framework for its unique character of the Baltic. The Framework analysed the surrounding buildings, highlighting the buildings that detract from the character to those that are more ‘neutral’.

Site

Site photos

Heritage Assets - Baltic Triangle Development Framework (2017, p. 24)

KFC

Site

Bridgewater Street Buildings which detract from the character of the area

Open sites used for car parks

Unlisted buildings which contribute to the character of the area

Buildings of ‘neutral’ townscape value

Buildings which detract from the character of the area

10m

20m

Buildings of ‘neutral’ townscape value

Critical Adjacencies Adjacent to the site are the two warehouses which were highlighted in the development framework for their unique character; proposals on the site should aim to glorify these buildings of interest to promote the rich industrial history of the area.

Figure 22. Vacant former warehouses, Baltic Triangle Development Framework (2017, p. 25-26)

Through the eyes of a hot-desker... The streets bordering the site are mostly industrial, with some food outlets (KFC) and a bar (Love Lane Brewery.) Walking through the area can feel quiet and isolating due to the many closed off garages and lack of ground level fenestration. Site drawings, by Coekin, (2020)

Site collage

Figure 23: Site, Bridgewater Street carpark and vacant warehouse

1:200 Site Model We made a site model, which would help with massing studies and with our general understanding of the site and the scale of neighbouring buildings and new developments. The sketch shows the initial ideas coming to life, influenced by the local roofscape and the desire to bring circulation through the site.

Our site model in process, 1:200

Assessing the site - initial ideas

Land Use Analysis

Offices Industrial/manufacturing

The Baltic Triangle Development Framework

Retail Leisure Hotels Residential apartments Student accommodations Community buildings Vacant/derelict Vacant (temporary car parks) Vacant (not in use) Land currently public open space

Land Uses local to the site:

Learning points:

Businesses: 7. Blundell Street Cafe & Artists' studios 8. Riverside Screenprint 9. Lantern Theatre 12. Castle Fine Arts 13. Black Lodge Brewery 15. Eyre & Elliston Electrical Wholesalers 17. Antonis Bakery 18. Baltic Kitchens & Bathrooms

Many small local businesses operate within the Baltic Triangle, yet there are few opportunities for them to interact. Unhealthy food chains dominate this area. The community would benefit from more spaces for leisure, and green spaces

Food outlets: 6. McDonald's 11. KFC 14. Baltic Bakehouse Leisure: 10. 24 Kitchen Street Green spaces: The 'HUB'

Land Use - Baltic Triangle Development Framework (2017, p. 14)

KFC

Site elevation along Bridgewater Street

A day in the life of a Baltic Triangle Hot-Desker...

An improved day in the life of a Baltic Triangle Hot Desker...

Using the analysis of the Land Uses addressed previously, as outlined by the Baltic Triangle Development Framework, I mapped out how I imagined the day in the life of a Baltic Triangle Hot-Desker might be.

I wanted to speculate how the area could be improved generally, or specifically how my scheme could improve the local area:

12pm - he might want to get some fresh air for lunch, but it is raining and there is no sheltered area outside 5pm - after work, a community meeting point would be great, but local spaces have been taken over by property developments

10am - their day could start with breakfast and a coffee at the Baltic Bakehouse. However, this individual missed the morning rush of customers and therefore has to eat his breakfast alone.

7pm - time to grab some food for dinner...

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5pm - a community area could be a part of my scheme, allowing locals and hot-deskers to socialise and interact, eat and drink together

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10am - perhaps there is a community run cafe, which is situated near the office and open to the public so there is a higher footfall

12pm - the local green space, the hub could have food vans, supporting local food vendors

Brief: On a personal scale 7 rules for a happy hot-desker -

7 interior spaces which accommodate for the different working needs of my programme

Rule 1 A space that is quiet and enclosed to encourage individual focus

Spatial & Material Strategy Small, focused, enclosed, sound proofed and quiet, textured and soft

Rule 2 An environment to encourage intense collaboration and creativity

Spatial & Material Strategy Larger space with low ceilings to prevent feeling overwhelmed, an open area with smaller spaces to gather and cluster in teams Materials range from textured fabric and furniture finishes to natural brick walls, giving interior & exterior sense of place to promote louder working

Materials including fabrics, wood flooring (bamboo), fibres/natural materials to enclose ceiling, both flat and undulating surfaces, smooth & textured, a calm yet intense space

Rule 4 Well connected spaces to eradicate lonely working, with views inside and outside

Spatial & Material Strategy Connecting viewpoints and opportunities to pass others and interact through the circulation of the building. Framing view outside to the surrounding heritage to give sense of place within the Baltic Triangle.

Rule 3 A social space for community activity to inspire and relax

Spatial & Material Strategy Double height hub with overlooking opportunities to connect different areas and different people. Low ceiling areas to welcome Wall materials from the previous space (brick) could be continued into this area to increase the flow and permeability between spaces. Exposed timber frame structure for noise insulation and natural aesthetic 62

Rule 5

Spatial & Material Strategy

Rule 6

Private spaces for noisier collaboration and teamwork

Behind layers, sound absorping, natural materials such as exposed wood, large wall thickness and low ceilings to create a secure environment, hidden away

Quiet green areas to enjoy and be peaceful

Materials and finishes to be neat and natural, with views outside and a fine boundary between the interior and exterior as to not make the smaller space feel claustrophobic

Spatial & Material Strategy An interior/exterior space both sheltered and uncovered, plants and seating, landscaped to encourage quiet moments Materials are calming and natural and also allude to the industrial history of the area with the use of materials such as corrugated iron

Concept

FOCUSED

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A permeable space for the community to use, a place to move through and pause, visual moments to improve the understanding of the building, making it legible to the public, industrial materials to celebrate the Balticâ&#x20AC;&#x2122;s history

Spatial & Material Strategy

RIO

A central courtyard accessible to the community of the Baltic Triangle to act as a social hub, meeting point, and a place to eat and socialise

Rule 7

NOISY

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Celebratory Piece My celebratory piece for Staging became a fold out booklet which showed the spaces of my â&#x20AC;&#x2DC;7 Rules for a Happy Hot-Deskerâ&#x20AC;&#x2122;. The undulating card helped to put the spaces into realisation, increasing the flow from space to space. This method further emphasised the different qualities of the spaces and how they interact with one another. My design strategy going forward was to design a scheme centred around these 7 spaces, designing from the inside, out.

Critical Text Through placing my focus on the viewpoint of a hot-desker, unlocking their demands and opinions on a personal scale, a truth has been revealed about current working culture and also how this fits into the site of the Baltic Triangle. Looking at precedents such as WeWork and Toolbox provides a contrast in themes, where one is profit driven and centred around the social appearance of a space filled with shiny lights and furnishings, attracting business through freebies and amenities. The other considers the people who will use it on this personal scale, understanding how they work in order to provide environments that can be used and appreciated successfully. Spatial and material strategies are honest, visually announcing a different environment in each space.

IOR

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An honest workspace in the Baltic Triangle will be legible in its spatial and material strategy, being clear and understandable from street level to the surrounding community. Each room aims to influence a certain type of atmosphere through the consideration of meaningful structure and tangible surfaces, allowing the individual worker to connect with the spaces and use them to suit their needs.

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A soft boundary between the exterior and interior is also important to a site where many of the peripheries are closed off, making the area feel isolating. The scheme should have permeable layers to reveal private spaces within, disclosing spaces of quiet focus or loud collaboration. This boundary aims to be beneficial to the community of the Baltic Triangle, allowing them to pass through a central core of the building, bringing life and activity within. The use of urban materials will celebrate the history of the site, and glorify the critical adjacencies of historic buildings, heightening the sense of place of the workspace.

FOCUSED

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Realisation The Realisation phase involved the development of the interior spaces of my scheme. Reflecting on the lessons learnt from Staging allowed me to come up with a series of different spaces, each with different qualities that have the aim of evoking different types of working. It became important during this phase to define the details of these interiors. What gives a space a buzz? What makes it honest? How can materials be used to influence a certain working environment? The ARC3013 Technical Report which coincided with the later stages of Realisation, helped me to answer these questions with considered studio specific research. In this section, I went into the details of three different spaces, to determine the material and tectonic strategies for each spaces. Additionally, Thinking Through Making Week encouraged the exploration of materials, where we presented our work at the end of the week. Thinking about the qualities of different materials, and getting hands on with the making, was a great way to help us understand the ways in which we can use them in our own designs. In my case, how to use different materials in the interiors so that there is a tectonic quality to the spaces.

ARC3013 1:20 Detail with interior details

Thinking Through Making Week Office Planting Wall Divide I decided to design and make a wall divide for an office space, with opportunities in it to have planting. Planting and green space is said to improve the well-being of individuals, so it is important offices can incorporate them into the spaces. If an office has no access to a garden, this could be a happy alternative.

Using unwanted pieces of timber that I found in the workshop, I arranged the wood in different ways to create a divide, within a timber frame, with permeable aspects to maintain a level of connection to the other side of the divide. I cast the timber frame into a textured plaster cast, which formed the plant pot of the divide.

TTMW Exhibition, group photo

Precedent Study

FRAC Nord-Pas de Calais, Dunkerque, by Lacaton & Vassal

Initial drawings

Paris architects Lacaton & Vassalâ&#x20AC;&#x2122;s design of a translucent structure that mirrors a former shipbuilding workshop very much influenced the initial massing of my scheme. FRAC is located on the port of Dunkerque, and the extension restores and further enhances the historic uses of the building, without overshadowing it. The extension is home to large collections of contemporary art, and honours this with large open exhibition spaces.

Figure 29: Elevation of FRAC

Influenced by the success of this precedent, which celebrates the character of the warehouse while adding a modern extension, the initial elevation of my scheme mirrors the warehouse in its form and fenestration, but uses different materials to create a more varied street scape.

The massing attempts to break up the streetscape and provide an undulating form that can be accessed from the three available peripheries of the site. It differs from the surrounding context due to the central courtyard, a public space that connects the private spaces of the scheme.

Figures 25, 26, 27, 28: Lacaton & Vassal: FRAC

ARC3013 Site responses

Initial massing responses

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Sketching the mass within the context allowed me to develop a proposal that was largely influenced by the surrounding roofscape of our site, an area with rich industrial history. Throughout the realisation phase, the massing of my scheme became more refined, shown in the sketches below. Having a central courtyard was a key aim from the early stages of the design, allowing the circulation to enter through this green space.

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Site analysis extract from ARC3013 Contribute to the character Detract from the character Neutral townscape value

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Contextual response extract from ARC3013 - roofscapes

Circulation response extract from ARC3013

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Massing responses to site analysis extract from ARC3013

Development of sections & interior spaces March, 2020

Renovated warehouse space

Exposed timber frame interiors - Office

Through an iterative process, I decided to make the warehouse space double height, with a walk-able first floor platform to keep a flow of interest and people running through this part of the building. Encouraging the circulation through this double height space should increase the footfall on both the ground and first floor. This space has been in development from the initial iterations of the design process, working sectionally and in perspective simultaneously.

Another interior space I was keen to develop was this smaller office space, which has a more intimate feel and is closely associated with the timber structure. Furthermore, large panels of glazing maintain views out onto the courtyard and warehouse, keeping it included and connected.

Bridgewater Street

Site 0

View from first floor balcony into warehouse

Initial 3D modelling of interior space

Initial section iteration

Initial 3D modelling of interior space

Development of sections March, 2020 Exposed Glulam frame interiors - Cafe Similar to the previous space, in the adjacent building, I was keen to develop a space which again had an exposed timber structure, but this time the space would be less intimate, at a larger scale. I tested the cafe out as a double height space, with a mezzanine overlooking, to create noise and atmosphere of people walking between offices, having corridor catch ups, and enjoying a coffee downstairs. The larger glulam frame could perhaps provide seating opportunities in the cafe also, as shown in the example of Freemenâ&#x20AC;&#x2122;s School. Figure 30: Freemenâ&#x20AC;&#x2122;s School Swimming Pool / Hawkins\Brown

Cafe Bridgewater Street

Kitchen Street

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Influenced by the Granby workshop winter garden, and Bluecoat community garden, the courtyard became the focal point of my scheme and provides an additional green space to the Baltic Triangle, free for all to use and enjoy. Via the access through the reception, Kitchen Street and Bridgewater Street are better connected, hoping that a through flow of people will bring a buzz, energy and life to the ground floor.

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At this point I wanted to reflect on some of my Staging research, where I viewed the site through the eyes of a hotdesker, and considered their daily routine.

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On reflection, it can be argued that my scheme has addressed the issues raised previously, and in an effort to improve the area, it includes:

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- a community run cafe, a place to have lunch with others - a courtyard open to the public during working hours - a double height warehouse coworking space which can also be used for community events - & bike storage amenities to encourage healthy living

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1:100 Ground Floor Plan Development The following pages show my process of designing the floor plans of my scheme. I have included the initial iterations, the Realisation review plans, and the plans I presented for the Synthesis review, which shows their changes over the course of the year. *My final plans which have been amended since the Synthesis review will follow in the next chapter

Circulation at both ends

Initial iterations orientated around a central courtyard

Cad furniture redesigned Storage now built into seating

Social seating areas Furniture divides space into zones

Realisation Review GF Plan with basic inhabitation and ‘CAD block’ furniture

Synthesis Review GF Plan with specifically designed furniture

Development of ‘Quiet’ space, alongside an early exterior view perspective sketch

1:100 First Floor Plan Development The first floor plan is entirely walk-able, in order to connect the three buildings. The aim of this was to encourage a flow of people so that they interact and keep these more sociable spaces full of people, conversation and interaction.

A walk-able first floor allows cut-through opportunities to the courtyard

Initial iterations with walk-able first floor

Redesign of ‘pod’ spaces for meetings

Ballustrade added to mezzanine

Realisation Review 1st Floor Plan

More ‘casual’ working opportunities in corridors

Synthesis Review First Floor Plan

1:100 Second Floor Plan Development The main improvement made to this floor was the development of the interior spatial arrangement. As shown, some of the office spaces were underdeveloped at the Realisation review. However, by creating a purpose for these spaces for the Synthesis review, for example the addition of a studio space, a greater variety of workspaces is provided, as was evident in the Toolbox precedent.

Realisation Review 2nd Floor Plan

Improvement to natural light entering this room

The addition of flooring and furniture gives room a purpose

Acknowledgement of timber structure to increase tectonic interest

Interiors tailored to accommodate for creatives

Synthesis Review 2nd Floor Plan

1:100 Third Floor Plan Development The main change to the third floor plan was the addition of extra voids, which further complemented by ARC3013 ventilation strategy. By cutting out these voids in the warehouse space, the natural cross-ventilation would be encouraged.

Voids assist natural ventilation

Circulation more efficient Big improvement to CAD furniture Connected corridor ‘hubs’ and private ‘loud spaces’

Realisation Review 3rd Floor Plan

Voids break space into zones and assists with natural ventilation

Synthesis Review 3rd Floor Plan

ARC3013 Programmatic Summary

Structural Strategy

Sustainability Strategy

ARC3013 April, 2020

“Blue - Primary structure - Steel and timber frames, and block-work cores, and single story load bearing masonry wall reception

In the ARC3013 Technical Report, I developed a sustainability strategy which considered three aspects: embodied carbon, operational carbon, and the circular economy. Here are extracts from my research.

Flexible space 110m2

Coworking space 80m2

Orange - Secondary structure - Perpendicular floor structure, joists

Rentable space 40m2

“Embodied Carbon”

“The carbon embodied in the production and form of the building must be kept to a minimum, by re-using materials, and future proofing the structure so it can be disassembled and re-used. By renovating the structure on site that already exists, the use of energy and natural resources is reduced, as well as the waste materials sent to the landfill. “ (Carson , 2020a)

Yellow - Tertiary structure - Cladding structural systems, such as wooden battens and joists to which the cladding connects” (Carson, 2020a)

Coworking space 50m2 (each)

Meeting pods 20m2

Warehouse on site

“Operational Carbon”

Coworking space 40m2

LETI Climate Emergency Design Guide. p. 16

Pods 14m2 10m2 6m2 Coworking space 40m2

“Circular Economy “

Deck 60m2

“Timber frame will be locally sourced, leading to lower embodied carbon construction.

Courtyard 100m2 Event 130m2 Cafe 80m2

Quiet workspace 40m2 (each)

ARC3013: Programmatic summary

“As shown in the diagram, there must be a balance in operational energy output and renewable input. My scheme will be heated using a geothermal system, a ground source heat pump buried deep under the site, supplied to underfloor heating pipes and trench heaters. Electricity will be supplied by the photovoltaic panels in place on the south pacing pitched and flat roof.” (Carson , 2020a)

Timber frame construction Diagram from ARC3013

According to LETI Climate Emergency Design Guide’s understanding (p.47), new commercial office developments have the opportunity to reduce energy consumption in the following ways: - Reduce internal gains - Natural ventilation in Summer - Demand controlled ventilation - Use heat pumps - Reduce glazing area” (Carson , 2020a)

ARC3013: Structural strategy diagram, axon, showing primary, secondary, tertiary structure

1:20 Detail & Elevation ARC3013 April, 2020 In the critical reflections part of the ARC3013 Technical Report, I wrote about how the module title â&#x20AC;&#x153;integrating constructionâ&#x20AC;? was particularly appropriate for my concept, due the interior tectonics being a significant part of my design. It was interesting to explore the ways I could integrate the timber frame into the design of the interiors, for example as a bookshelf, a built in desk, or providing a place to hang a bike helmet. I thoroughly enjoyed understanding and developing the intricacies of this 1:20 detail and elevation. It was key to have the timber frame exposed so that the interiors could benefit from their aesthetic and tectonic appeal. The representation of the elevation in this hand drawn way was an attempt to present the materiality without the need for a photo-real render.

ARC3013: 1:20 Technical detail & elevation

I explored ways in which the timber frame could be integrated into the design of the interiors; in this example, I thought the gaps between the frame could be filled with horizontal timber shelves and made into a bookcase.

ARC3013 Part Elevation extract

ARC3013: Section extract showing interior

Studio Specific Technical Research ARC3013 April, 2020

“ARC3013 Acoustic study - Window seat detail” “The drawing shows the intermediate floor between a quiet meeting room and a co-working space above. This part explores the acoustics, choosing materials which will absorb the sound and prevent unnecessary noise transfer, working with the decoration and furnishing of the space.” (Carson , 2020a)

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Figure a. “HUSH acoustic systems This elevated floor structure should reduce sound transfer between floors.” (Carson , 2020a)

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ARC3013 Section 4 Studio Specific 100

I have chosen to include extracts from this whole section of the ARC3013 because it significantly developed the interiors of my scheme. In this section, I explored the idea of “integrating construction” further. I went into the specifics of surface finishes and materials, interested in how how they could provide different experiences. I was particularly thinking about how the three different interior spaces I designed could work with the structure, and provide a specific space using the material finishes chosen. I felt that in all three examples, the timber frame offers a different purpose due to the combination of materials around it.

Figure b. “Exposed CLT frame W 300mm, with 12mm plaster board Specifically sound resistant, this plasterboard will line the walls of the first floor workspace.’ (Carson , 2020a)

Figure c. “Acoustic baffles to make the space feel more secure and intimate, hung in line with horizontal beams.” (Carson , 2020a)

Figure d. “Seat cushion provides an additional soft touch and further acoustic sound absorbers.” (Carson , 2020a)

ARC3013 Section 4 Studio Specific 101

“ARC3013 Tectonic investigation of furniture design” “Built in standing desk”

“This drawing shows the intermediate floor between the double height cafe space and artist studio above. The product selection aims to achieve a slick, smooth, well-finished aesthetic, working with the furniture design of a standing desk that blends within the structural columns of the glulam frame.” (Carson , 2020a)

Section location highlighted in yellow

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ARC3013 Section 4 Studio Specific

Figure e. “Surface finish enables easy maintenance, easy clean, waterproof.” (Carson , 2020a)

ARC3013 Section 4 Studio Specific

Figure f. “This flush panelling system aims to hide the services from the cafe space below, lowering the ceiling in line with the exposed timber beams, to create a flush, continuous timber ceiling.” (Carson , 2020a)

Figure g. “Desk design based on product image. Fits flush within the timber beams providing a sheltered, private workspace, working with the buildings structure, creating a relationship between worker and their environment.” (Carson , 2020a)

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“ARC3013 Surface finishes study” 0

“Thinking pod” “This drawing shows the pitched roof of the timber frame, zinc clad building. This is a space an individual can use alone, to have thinking time. The surface finishes intend to express a calmness, stripping back the intensity to reveal the structure.” (Carson , 2020a) Figure h. “The timber trusses will be uncomplicated with painted white timber slats, running perpendicular to the structure. This breaks up the aesthetic and provides a calming interior experience”. (Carson , 2020a)

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Figure i. “Window reveal aims to subtly highlight window frame, naturally emphasising the natural light into the pod. “ (Carson , 2020a)

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ARC3013 Section 4 Studio Specific

Figure j. “Natural light is important to this room, to promote a sense of calm. The skylight is thermally insulated, and can be opened for natural ventilation through both windows.” (Carson , 2020a)

Figure k. “This wall partition aims to separate this room, creatively displaying spaces for planting, to provide a softened, natural pod to think in.” (Carson , 2020a)

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Theory into Practice ARC3015 March, 2020 Detailed Representation “We seek to articulate these specific conditions in a project whose spatial qualities come directly out of this special place by the lake.” -Caruso St John Architects (2011)

Figure 33: Caruso St John (2011) Figures 33, 34 and 35 show images of the Caruso St John residential scheme Oberes Kandergrien . Due to its beautiful lakeside location, the main concept was to maintain views out onto the lake. Delicately drawn flooring textures, ‘lived-in’ furniture, and precise surface finishes and details create a scene that is easy to understand. Without the need to represent the scene in a hyper-real way, the concept is successfully translated. There is a sense of ambiguity that comes with the simplicity and accuracy of the line drawings.

“This example shows how a sense of ambiguity leads to a more successful way of architectural communication.” Carson, (2020b)

Figure 34: Caruso St John (2011)

Influenced by these drawings, I made my first attempt to represent my scheme in a similar way. On reflection, being critical about my own work, I can conclude that my attempt would have been more successful with a higher attention to detail, for example of window frames, structural systems and flooring textures. This is something I have been working to refine, and my perspective views in the following chapter hope to demonstrate this.

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Perspective view of my scheme - initial attempt influenced by Caruso St John style

Figure 35: Caruso St John (2011)

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Synthesis The Baltic Triangle CoWorking Office The Synthesis review gave me the opportunity to explain my scheme from start to finish, highlighting our studio’s critical stance which is about community and preserving the character of the area. It gave me a chance to reflect on all I learnt from the Primer phase, such as the WeWork precedent where I determined that the only thing to separate a lounge area from a focused meeting room is the furniture and a simple wall divide. My brief was set up around providing specifically designed spaces for the individual user, which attempt to create the right working environment in all aspects of the design, not just the furniture put in it, but spatially, and tectonically. My design approach was strategic, designing a scheme based around these 7 key interior spaces. This chapter demonstrates how these 7 different interior spaces have come to realisation. Throughout the design process, I have been developing my ‘honest design approach’, exploring a representational style, the line drawings, and the tectonic and material qualities of the spaces. However, as discussed in my Synthesis Review, perhaps truthful, precise ‘honesty’ in the form of line drawings to represent a space, comes with an extremely high level of accuracy in the detail that is needed. This is a design and representational approach that will undoubtedly need time to refine, but it has been fascinating to me exploring this theme over the course of the year. The chapter that follows presents my scheme, in a style that I will continue to develop as a designer.

Reflections on Staging

7 rules for a Happy Hot-Desker

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Rule 2

Rule 5

Rule 6

A space that is quiet and enclosed to encourage individual focus

An environment to encourage intense collaboration and creativity

Private spaces for noisier collaboration and teamwork

Quiet green areas to enjoy and be peaceful

Rule 3

Rule 4

Rule 7

A social space for community activity to inspire and relax

Well connected spaces to eradicate lonely working, with views inside and outside

A central courtyard accessible to the community of the Baltic Triangle to act as a social hub, meeting point, and a place to eat and socialise

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Sketch of scheme, view from south

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Synthesis Review Feedback

Ground Floor Plan

Rule 3

I have taken on board the feedback from my Synthesis review, which commented on the landscaping of the courtyard. Since then, I have amended it to include the appropriate potted planting, and outdoor seating areas that can be enjoyed by workers and the community.

Synthesis Review Landscaping

Amended Landscaping after feedback

Bridgewater Street

Kitchen Street

Rule 7 Rule 1

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Ground floor plan in context, showing new landscaping, pedestrianised street and bike stores

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Ground Floor Plan

First Floor Plan

1. Collaboration space 2. WC 3. Storage 4 Reception 5. Quiet space

1. Balcony 2. WC 3. Storage 4 Roof garden/walkway 5. Reading space

6. Courtyard 7. Cafe 8. Kitchen

6. Hot-desking 7. Mezzanine 8. Meeting ‘pod’ 117

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Kitchen Street

Bridgewater Street

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Second Floor Plan

Third Floor Plan

1. Corridor ‘pods’ 2. WC 3. Storage 4. Office foyer 5. Private hot-desking

1. Corridor ‘pods’ 2. WC 3. Storage 4. Void 5. ‘Thinking pod’

6. Small office 7. Lounge 8. Art Studio 9. Rentable office 10. Loud rooms

6. Small office 7. Tech workshop 8. Kitchenette 9. Team meeting room 10. Loud room

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Rule 3

A day in the life of Steve Blundell Tim Hardy

Baltic Triangle - Hot-desker profiles

The following series will show ‘A day in the life’ of three individuals who work in The Baltic Triangle CoWorking Office. I have linked specific parts of the scene with the location in plan. I have also related it back to the initial rules I set out in Staging, showing how these 7 different interior spaces have come to realisation in the scheme.

- Requires a space to hold daily catch-ups with his team, and a more private space to communicate with clients

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- Public relations specialist

Steve Blundell

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- Graphic designer

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- Requires sociable spaces to meet with clients and a well connected “hot-desk”

A central courtyard accessible to the community of the Baltic Triangle to act as a social hub, meeting point, and a place to eat and socialise St

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A social space for community activity to inspire and relax

Well connected spaces to eradicate lonely working, with views inside and outside

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Tim Hardy - Public relations specialist - Requires a space to hold daily catch-ups with his team, and a more private space to communicate with clients

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A day in the life of Lucy Simpson es

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Quiet green areas to enjoy and be peaceful

Lucy Simpson

- Aqcuisitions editor - Requires a focused, undistrubed â&#x20AC;&#x153;hot-deskingâ&#x20AC;? space, and opportunities to meet with others during breaks

Kitchen Street

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Rule 7 Ground Floor

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Kitchen Street

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A space that is quiet and enclosed to encourage individual focus

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Rule 7 Rule 1

Ground Floor

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A day in the life of Tim Hardy

LOVE L AYNE BREWER

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- Public relations specialist - Requires a space to hold daily catch-ups with his team, and a more private space to communicate with clients

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An environment to encourage intense collaboration and creativity

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Private spaces for noisier collaboration and teamwork

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Perspective View of Quiet Space This perspective view looks out onto the courtyard from the ‘quiet space’, a room with multiple ‘hot-desk’ spaces. This is an example of the representational style that I have been working to refine over the past year, influenced by another example by Caruso St John.

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Rule 1 Plan of ‘Quiet Room’

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Bridgewater Street

Figure 36: Caruso St John - City Office Building Study

Perspective View of Warehouse This perspective view looks out onto the courtyard from the â&#x20AC;&#x2DC;collaboration spaceâ&#x20AC;&#x2122;, located in the renovated warehouse.

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Conclusion

South Elevation of scheme in context Originally 1:100

In the style of Caruso St John Elevation Figure 37: V&A Museum of Childhood

In my Synthesis review, we discussed the definition of ‘honesty’ in relation to my representational technique, deciding that in order to be truly honest, the precision and detail included must be completely accurate, otherwise the risk of misleading the viewer still remains (an issue evident with the Parliament Sq. marketing images, as discussed in Primer). Due to this, to develop my methods further and conclude this final chapter, I

have again taken influence from Caruso St John’s work and elevation rendering style (see fig. 37), where they use colour, textures and shadows to further express the materiality. This ensures the image can be easily understood by the viewer, all the while maintaining the delicacy and subtleties of hand-drawing. Here I have attempted to paint the picture of my scheme in this way, to clearly indicate the materiality of the exterior.

Cultural Bibliography That’s not a stick, that’s a log, by Gerard Taylor, (2018)

Welcome to ‘Living Office’, by Herman Miller “No matter what kind of job you do, whether alone or together with others, this is how work gets done. in every workplace around the world you’ll find people engaged in the following 10 activities” (Chin, 2013) Pinpointing these specific activities is what I attempted to achieve with my 7 rules for a Happy hot-desker, defining the different spaces people need for these different ways of working.

A helpful book which reflects on the office trends, past and present. I was particularly interested by the idea that “The power of design is to humanise the workplace’.

Activities = 7 rules for a Happy Hot-Desker 140

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Atelier Bow Wow Behaviorology & Graphic Anatomy

FUTURE OFFICE by Nicola Gillen

After the Realisation review, I was recommended these books as a great example of line drawing; Bow-Wow conveys the materiality very successfully, all as detailed line drawings.

This book combats the idea that many have believed for decades, that the office space is on the verge of extinction, stating the ways offices have rapidly changed and adapted with evolving technologies of the future. This seems even more appropriate today, with COVID-19 threatening the office as we know it, however I still believe people will always need to interact to work the most efficiently, and the trends will continue to adapt so that this interaction happens.

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Thinking Through Making Workshops Plaster Casting with Hope Stebbing

Visit to The National Theatre ARC3060, January, 2020 Photos from my visit to the National Theatre, which was my case study for my dissertation. I took particular interest in the very beautiful textured concrete formwork, especially as from a distance, a large majority of the population dislike these â&#x20AC;&#x2DC;monstrositiesâ&#x20AC;&#x2122;. Being in the building was a fanstastic experience; so rich, powerful and overwhelmingly textured.

I wanted to play with textures, and used modelling clay to create three different moulds.

Working with Bamboo with John Naylor I found it very interesting learning about the sustainable and structural qualities of bamboo. We had a go at making our own structures too, very simply with elastic bands.

Own photograph of the National Theatre - refurbished interiors

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Appendix

ARC3001 FEEDBACK SHEET

Synthesis (& Realisation) : 55%

STUDENT NAME:

Hannah Carson (160134063)

DATE:

26/27.05.20

STUDIO:

Future City

REVIEWERS:

Kieran, Juliet Odgers and Ivan Marquez-Munoz

OUTPUTS: Fully declared project illustrated through highly-resolved celebration images with supporting documentation and process work.

CRITERIA:

COMMENT:

Research and Criticality

Thorough research, well articulated during the review. Its great to see you use your spatial 'rules' effectively and it sets up an interesting method for designing. Do make sure to discuss and articulate your research clearly in the portfolio (I think it's already there and I have confidence you will do a great job).

Process

You demonstrate excellent control of your process of the designing and the methods you have implemented are appropriate and interesting. One thing to explore in the folio is how you explain why you are using line drawings to represent majority of scheme - the notion they true / honest might be too simple.

Resolution

Ahigh resolution has been achieved. Plans / spatial design of scheme is very well resolved and is a logical translation of research / process. You should key day in the life against plans in portfolio - draw protagonists on plan. Also consider how you could convey tectonic qualities of scheme in portfolio.

Representation

Very good range of drawings to represent your ideas.The thinking behind using line drawings is sound, but perhaps not fully explained yet - something to work on in the portfolio. You should consider producing additional images that more accurately convey materiality of internal and external spaces.

Studio Specific 01: Scenario Development â&#x20AC;&#x201C; how does

Excellent. Areally deep and thoughtful response to your scenario and also the brief / programme you have set yourself. Well done!

Studio Specific 02:

Much of you social agenda centres around the types of people / users who would use your building. Potentially your protagonists are too similar in terms of demographics / occupation. Could you make them more broad demographically to show the spatial inclusivity and flexibility of your scheme?

How thorough is the research? How successfully and originally has this been embodied in the work? Is the work reflective and critical?

Research & Criticality

Adva

nced

Has an appropriate methodology been utilised? Does the work demonstrate control of the process? Adva

Studio Specific 02

nced

Adva

Process

How resolved and complete is the work?

Basic

How clear and appropriate is the range of representation techniques used to investigate and communicate? How successful is the formatting of the portfolio?

Adva

nced

Adva

Studio Specific 01

Resolution

your proposal relate to your chosen scenario in response to theoretical ideas, spatial use and architectural ideas related to form, scale, material choice and material expression?

Adva

nced

Specific

Representation General

Social Agenda â&#x20AC;&#x201C; how does your proposal demonstrate a clear and original social agenda in response to the studio brief, site(s) and wider societal concerns?

KEY NEXT STEPS / PRIORITIES / REFERENCES: 1.

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Elevation details - it would be worthwhile produce a more detailed elevation study in the portfolio. You can refer back to your ARC3013 explorations, but the key thing seems to be ensuring you can convey material palatte / texture - look at elevation drawings by Caruso St John / Sergison Bates.

FORMATIVE LETTER GRADE 2.

Courtyard design needs further development - feels a little unclear at present. Should it be gated with a timetable when open and closed?. Planting strategy - is a tree in the centre appropriate?Can you have more access from GFfloor space?

Representation of materiality. Though the thinking / research behind line drawings is very clear and appropriate, you might want to consider developing a couple of images which really convey material / tectonic quality of both interior and exterior of your building.

X A B C D E

76-100 66-75 56-65 46-55 36-45 0-35

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Proccess - iterations

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A day in the life of Steve Blundell

A day in the life of Lucy Simpson

A day in the life of Tim Hardy

Rule 5

LOVE L AYNE BREWER

Rule 2

Bibliography The AOC Spatial Constitution Available at: https://www.theaoc.co.uk/ Atelier Bow Wow (2007) Graphic Anatomy Atelier Bow Wow (2010). Behaviorology Art and Gentrification Available at: https://discovery.ucl.ac.uk/id/ eprint/1349264/ The Baltic Triangle Development Framework (2017) Available at: http://regeneratingliverpool.com/ wp-content/uploads/2017/10/Baltic-Triangle-Development-Framework-Document.pdf Carson, H. (2020a) ARC3013 Technical Report: Integrating Construction. Carson, H (2020b) ARC3015 Theory into Practice Coekin, J. (2020) Group drawings of site Chin, 2011 https://www.designboom.com/design/industrial-facility-locale-living-office-for-herman-miller/ Herman Miller: Available at https://www.designboom. com/design/industrial-facility-locale-living-office-for-herman-miller/ Gillen, N (2019) FUTUREOFFICE: Next-generation Workplace Design. Granby Workshop Available at: https://assemblestudio.co.uk/projects/ granby-workshop

List of Figures Jones, Wilks-Heeg, Capitalising Culture: Liverpool 2008 (2013) Available at: https://journals.sagepub.com/ doi/10.1080/0269094042000286846 p. 354, 355 Taylor, (2018). Available at: https://issuu.com/gerardtaylor/docs/_that_s_not_a_stick__that_s_a_log_ PERSPECTA 47:ECOTECTONICS Available at: https://oo-t.co/PERSPECTA-47-ECOTECTONICS-Publication Parliament Square: https://www.parliament-square.com/ https://www.docdroid.com/Yt2gUoD/parliament-square-info-pack-pdf#page=5 WeWork Reviewer. Images and quotes available at www.weworkblog.com www.weworkblog.com, http://weworkblog.com/1-stkatharines-way-review/

Fig. 1, 15, 16, 18, 19, 20: Parliament Square perspective. Available at: https://www.docdroid.com/Yt2gUoD/parliament-square-info-pack-pdf#page=5 Fig. 1a, 17: Parliament Square plan. Available at: https://www.parliament-square.com/ Fig. 2: Caruso St John. Available at: https://www.carusostjohn.com/ projects/oberes-kandengrien/ Figure 3: Marketing image of WeWork, CapeTown. Available at: https://www.wework.com/en-GB/buildings/80-strand--cape-town Figure 4: Marketing image of WeWork, Dublin. Available at: https:// www.wework.com/en-GB/buildings/charlemont-exchange--dublin Figure 5: Marketing image of cafe, WeWork Stonewall Station. Available at: https://www.wework.com/en-GB/buildings/615-s-college-st--charlotte Figure 6: Floor plan, with cafe highlighted in yellow. Available at: https://www.charlotteagenda.com/89087/coworking-giants-wework-industrious-unveil-floor-plans-pricing-timing/ Figure 7 & 9, 11, 13: WeWork images. Available at: https://www. wework.com/en-GB/buildings/1-st-katharine-s-way--london Figure 8: Map view available at: https://www.google.com/ maps/place/WeWork+1+St+Katharine’s+Way+-+Coworking+%26+Office+Space/@51.5075639,-0.0759199,553m/data=!3m1!1e3!4m5!3m4!1s0x4876034825469545:0xf48d309f45cee7 1c!8m2!3d51.5075639!4d-0.0737312 Figure 10, 12, 14: Experienced images, available at www.weworkblog.com, http://weworkblog.com/1-st-katharines-way-review/ Figure 21: Granby Workshop available at: https://granbyworkshop. co.uk/about/ Figure 22: Available at: http://regeneratingliverpool.com/wp-content/uploads/2017/10/Baltic-Triangle-Development-Framework-Document.pdf Figure 23: https://www.google.com/maps/place/Liverpoo l/@53.3959231,-2.9832639,88a,35y,358.25h,33.49t/data=!3m1!1e3!4m5!3m4!1s0x487adf8a647060b7:0x42dc046f3f176e0 1!8m2!3d53.4083714!4d-2.9915726

Figures 25, 26, 27, 28 29: Lacaton & Vassal: FRAC. Available at: https://www.archdaily.com/475507/frac-of-the-north-region-lacaton-and-vassal Figure 30. Freeman’s school swimming pool. Image available at: https://www.archdaily.com/885514/freemens-school-swimmingpool-hawkins-brown Fig: 33, 34, 35. Available at: https://www.carusostjohn.com/projects/oberes-kandengrien/ Figure 36: Caruso St John - City Office Building Study. Available at: https://www.carusostjohn.com/projects/miniver-house/ Figure 37: Caruso St John - V & A Museum of Childhood, 20022007. Available at: https://www.drawingmatter.org/sets/drawing-week/caruso-stjohn-venice-architecture-biennale-2018/ Figure a - 1. 3. https://www.ribaproductselector.com/ Docs/8/11758/external/COL918476.pdf Figure b - https://www.madeindesign.co.uk/prod-led40-pendant-l-70-cm-oak-by-tunto-refled40o70p.html?esl-k=sem-google|nu|c325975629976|m|k739213348065|p|t|dc|a60861341410|g1680429030&gclid=Cj0KCQjwy6T1BRDXARIsA IqCTXo4x8UaKD-UK9Q-K-VDTduL_qAo-55CAG1yUMxrgzhPYJTDuVDVT64aAgGEEALw_wcB#zoom Figure c - https://soundcontrolservices.co.uk/product/acoustic-baffles-fabric-wrapped/ e - https://www.ribaproductselector.com/Docs/2/03322/external/ COL412548.pdf f - http://www.stil-acoustics.co.uk/Timber-Acoustic/index.html g - https://sit-stand.com/extra-height/176-yo-yo-desk-pro-2-plus. html?gclid=CjwKCAjwv4_1BRAhEiwAtMDLsh585QtxtAZx9wmxNo5OSfZIDFnJlLJhulpRQ-nUGtppP_yiUkTxExoCBVAQAvD_BwE h - https://br.pinterest.com/pin/210684088796128594/?amp_client_id=CLIENT_ID(_)&mweb_unauth_id=%7B%7Bdefault.session%7D%7D&from_amp_pin_page=true i - https://www.pinterest.com/pin/418834834068917117/ j - https://www.ribaproductselector.com/Docs/7/27447/external/ COL853351.pdf k - https://officesnapshots.com/2019/05/22/zendesk-offices-madison/

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