Architectural Portfolio Marc Justin Gutierrez | 170236319 Newcastle University | BA Architecture Stage 3 | Studio: “Rituals� 2019 - 2020
STAGE 3 ARCHITECTURAL PORTFOLIO
CONTENTS
Marc Justin Gutierrez | 170236319
Charrette
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Primer
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Studio Field Trip
40
Staging
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Thinking Through Making
76
Realisation +Synthesis
80
1:20 Technical Section
128
Cultural Bibliography
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Newcastle University | BA [Hons] Architecture Studio: “Rituals” | Final Year Graduation Project 2019 - 2020
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REFLECTIVE ANALYSIS Looking Back at Stage 3....
As my final undergraduate year is coming to an end, I’m beginning to look back at the past 8 months thinking about moments I have enjoyed, overcome and learned from. One of my key aims this year was to improve my digital skills on Illustrator and Photoshop despite being confident in using pens and pencils to represent plans, sections, elevations and other key drawings and as a result of practicing over the summer and over the academic year, I think I have made a large improvement since second year. My studio of choice Rituals, enabled me to further explore my interest in community led initiatives whilst taking inspiration from Scandinavian and Japanese architecture, looking at simple, clean yet functional forms internally and externally. The primer project at the beginning of the year was key in helping me to identifying my approach to my graduation project being a design project on the same site and having a direct relationship to my final program.
Realisation Review Pin-up and Design Iterations
As a keen traveller, our trip to Finland was one of the best travelling experiences I’ve had. It was a fantastic opportunity to experience buildings and their architecture by Alvar Aalto, Steven Holl, Juhani Pallasmaa and many others from around the country whilst having the enjoyable company of peers from the studio. Furthermore, having the chance to meet associates from LMA (Lahdelma & Mahlamaki Architects) gave us the chance to discuss ongoing or previous projects such as the Lusto Forest Museum, getting an first-hand insights and experience informing some aspects of my design such as being surrounded by nature and focusing on the views from the window. My favourite part of the trip was visiting Imatra and Punkaharju. Not only did we get to see beautiful buildings such as the forest museum and the Church of the Three Crosses, we also got the full Finnish experience of the snow and staying overnight in cabins with saunas! The realisation and synthesis stage of the year was built around my key concept of meditation from primer. With my concept being informed by the site and past experiences and through thorough design strategies and iterations, it ultimately led to my final design. Manifesting and culminating the ideas of therapy through craft and mindful experiences. Though not being able to produce as money models as I would have liked due to time constraints and COVID-19 restrictions, I still
plan to create my final model along with a few others over the summer as an ongoing learner and admiration for the craft. The other modules have also further developed my understanding in details within buildings, architectural approach and theory.The ARC3013 module was something I was worried about due to lack of digital skills but through practice, effort and long nights I managed to make a huge difference from my draft section to my final hand-in which was something I’m proud of. Unexpectedly, I enjoyed writing my dissertation though not a keen writer myself. As I was researching and testing my topic, examining current construction techniques and comparing them against sustainable and advanced technology such as 3D printing/Additive Manufacturing. A field with huge interest of mine and something I aim in going into in the future along with humanitarian architecture. I had the opportunity to visit the Institute of Advanced Architecture in Catalonia and see the work they have been doing first hand over the past few years and its capabilities in the near future. Concluding, I would like to thank my tutors Craig Gray and Kati Blom along with the workshop staff for their guidance and endless support over the year. I am excited for the future and look forward to applying all the skills valuable information I have learned at Newcastle University in practice.
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INTRODUCTION
CHARRETTE | 03 “Gathering� The highstreet spotlighted is Coatsworth Road in Gateshead, a busy neighbourhood trade run that caters to both discrete communities and several overlapping and mixing cultures. The street is notable being a mixing point of residential neighbourhood and busy shopping centre, and is characterised by the numbers of pedestrians who stop and chat, often in the road holding up traffic. Our Charrette employed a series of digital and 36mm analogue photographic and filmic techniques to consider the value of the high street, in particular areas which have little or no commercial value but may perform social functions as meeting points which in turn have profound impact on the social and generative potential of the area.
CHARRETTE
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THE COMFREY PROJECT
CHARRETTE
As a group, we physical and ephemeral imprints from the site, mapping its past, present and speculative futures through a series of demonstrated analogue and digital techniques such as 8mm and 16mm film, pinhole photography, photograms / contact prints and hand made 16mm structural film animation loops. We also visited the Comfrey Project, a local charity which helps refugees and asylum seekers through horticultural activities promoting health and well being. With use of field recording techniques to gather documents of sound in the space, we gathered all our images and materials together from the workshops and the various groups who worked on each technique will form the content of a sculptural installation of prints and projections – each aspect coming together to survey the present and re-engineer and imagine aspects hitherto unnoticed; offering insight into the street’s possible future iterations.
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FINAL EXHIBITION
CHARRETTE
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PRIMER Understanding Everyday Rituals
The primer project was key in helping me identifying my approach to my design over the rest of the year. Due to being a small project on the same site as our graduation project, it allowed me to develop concepts and carry a foundation on from early in the year. Our Japanese and Scandinavian influenced studio shaped my approach to material and craftsmanship such as the few models I made during this stage.
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INTRODUCTION
Rituals Learning the Tea Ceremonies of Japan Our brief for the Primer phase looked at everyday mundane rituals and the social analysis, tangible and intangible aspects and craft behind a ritual. The ceremonial tea ritual of Japan was one that we analysed as a group, understanding the social relationship between the hosts and the guests of the ceremony and how the Japanese culture produces anticipation through the use of a walk through the garden approaching the tea room. This garden prepares the guest for the unknown which can be seen as the most important aspect of the ritual.
PRIMER
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JAPAN 2018
PRIMER
Japan Visit (Summer 2018) Experiences from Japan During the summer of 2018, I was lucky enough to have the chance to visit Japan and also some tea rooms whilst I was there. The images on the left show the journey a guest has to undertake through the garden before reaching the tea room and being greeted by the host. I also found myself visiting calm and rural areas away from the city, meditating by surrounding myself with water and focusing on the sounds and smells of nature, cleansing my mind as a result due to the lack of distractions from man-made noises or objects.
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JOINERY WORKSHOP
PRIMER
JAPANESE JOINERY WORKSHOP
In Liverpool with Hugh Miller At the beginning of the semester we also travelled down to Liverpool as a studio to is a timber craftsman, specialising in Japanese joinery and who is also a graduate from Newcastle University. The crafting process was an important aspect to our studio, consisting of detailed processes of sawing, chiselling and joining individual parts to become one. A key part of Japanese architecture is the fundamental and haptic use of timber which enabled an understanding of the space one is present in and experience it.
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SITE VISIT
SITE VISIT The Blyth Peninsula, South East of Northumberland Our site was based in the Cambois peninsula in Blyth. A long man-made strip of land with disused remnants of the historical past of Blyth’s industry. Upon reaching the site, it became immediately apparent to me despite the exposure to natural elements of rain, wind and water, how peaceful and tranquil the peninsula was in comparison to the main city where we walked around before making our long journey here. Being on site reminded me of my visit to Japan and how I found myself doing similar things in Blyth: focusing on the sounds of the waves crashing against the concrete walls and paying attention to other natural senses which weren’t apparent to me whilst in the city.
PRIMER
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SITE VISIT
PRIMER
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SITE SKETCHES
PRIMER
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SITE ANALYSIS
North Sea
PRIMER
Abandoned Silos
Wind Turbine
River Blyth
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NAREC Energy
Main Road to Centre (Keel Row + Bus Station)
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SITE ANALYSIS Understanding the Context
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Shipyards
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ORE Catapult (Renewable Energies)
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Looking at the wider context surrounding my site, the majority of the buildings are residential due to Blyth being a working class town. Though a lot of the past industries have closed such as coal mining, causing a substantial amount of jobs being lost, newer green energy industries such as the ORE Catapult and NAREC who are creating and testing the use of wind turbines along the coastal sea front of Blyth. With the river running in between the city and the peninsula, it creates a difficult access route to the site as there isn’t a direct entry available from the city, requiring either a 30 minute bus journey with a 10 minute walk or a personal vehicle.
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SITE SECTION (GROUP WORK)
PRIMER
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INITIAL CONCEPT
PRIMER
The Ritual of Meditation Primer Concept Ideas With the site being away from the main city and exposed to elements, it allows for the beauty of Blyth’s natural landscape to be rediscovered without any distractions from man-made noises or objects apart from the disused silos. I wanted to focus on the ritual of meditation for my primer and use it as a stepping stone for my graduation project. For my primer project, I concentrated on 3 of the 5 senses being touch, sight and hear and empahise these senses through a series of small rooms which vary in its opacity. The closed room would emphasise the sense of sound through a small cutout on one of the walls and eliminating the ability to see or hear.The sense of sight would be enhanced by the room being fully glazed eliminating the sense of sound or touch.
Town Centre
Chosen Site
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KEY MOMENTS
The Long Journey to Site
PRIMER
Glimpses of Past History Remnants
(Pre-Ritual) Waiting Area & Mind Preparation
(Post-Ritual) A Cleansed Mind
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FINAL FLOOR PLAN
PRIMER
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FINAL SECTIONS
PRIMER
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FINAL MODEL @ 1:100
PRIMER
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FINLAND
FINLAND STUDY TRIP Visiting Finnish Typologies Our study trip to Finland enabled me to develop a greater understanding of Finnish and Scandinavian approach to architecture and their designs for a temporal space. We visited the works of Steven Holl, Alvar Aalto and Juhana Pallasmaa and others whilst on our trip. My attitude towards material choices for my graduation project has taken a more organic and natural approach due to the trip and visiting so many buildings that utilise timber internally and externally at both intimate and larger scales creating a more welcoming space than the use of heavier concrete or masonry. Furthermore the use of natural lighting in many of the buildings we visited became another one of my key priorities for my design.
STUDY TRIP
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ST. LAWRENCE CHAPEL
STUDY TRIP
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ST. LAWRENCE CHAPEL
STUDY TRIP
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ON-SITE SKETCHES
STUDY TRIP
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STAGING Graduation Project Running alongside our dissertation studies and our technology module, Staging was an intense part of the year where I began to develop my program thoroughly with relationship to the wider context and local people, forming early massing studies, initial design concepts and using my primer project as the foundation I’m going to build upon.
“ The true secret of happiness lies in taking a genuine interest in all the details of daily life.”
- William Morris
PROGRAMME RESEARCH
Blyth’s General Population (2018)
STAGING
0-19
20-39
40-69
69+
9,269
9,017
10,281
9,984
Developing on my concept of meditation during Primer, I spent some time researching why people meditate and the benefits it has towards our health and well-being. Mental health today is a big issue, with increasing numbers of both sexes and from a range of ages from age 5 to 50+, it can become quite severe when it results to a life being taken. With further research, its estimated that 23% of the NHS’ activity is related to mental health problems, however only 11% of their total funds are able to support those in need of mental support. This issue along with issues of unemployment, low level qualifications and high numbers of those seeking benefits raises concern as more and more people are being given pills to help with their mental state which aren’t as effective as therapy sessions with an expert.
Education Statistics (% of People)
Target User Group
Mental Health Statistics (% of People)
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HISTORY RESEARCH
STAGING
BLYTH’S HISTORY The Past and Present of Blyth’s Industrial Timeline What makes Blyth well known is its industrial history, from having exported 3 million tonnes of coal in 1900, salt trade to countries around the world before-hand, to making ships which peaked during the first half of the 20th century, with production of ships used in both World Wars such as the HMS Ark Royal in 1914 which was the first aircraft carrier created in one of the 5 drydocks it boasts.
Coal Mining
Salt Mining
Ship Building
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HISTORY RESEARCH
STAGING
The decline of its industry began during the 1960’s with its railways closing down and the demand for coal decreased with a rising usage of renewable energy instead. 2003 saw the last 4 industrial chimneys being knocked down, with all its collieries closed, railways abandoned, Blyth exists today as a dormitory town, serving as a commuter belt for Newcastle and North Tyneside. However, its port is still active, exporting forest products such as paper and handling various cargo from around the world throughout the year.
Fishing
Renewable Energy
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PROGRAMME RESEARCH
STAGING
Const. Method
Brief Description
Advantages / Disadvantages
Carvel
Individual tapered planks edge to edge and fastened to a framework.
Requires high skills, expensive materials, traditional caulking between planks or glued splines and heavy framework.
Clinker
Individual tapered planks with overlapping edges fastened to transverse timbers.
Requires high skills, expensive materials. Requires regular maintenance and is difficult to repair. Can suffer from leaks as the hull gets older..
Cold Moulded
Several layers of thin veneers of wood glued to each other over a jig or framework.
Fairly high skills and maybe the production of a jig that becomes redundant. Also uses expensive materials produces a very strong monocoque hull shell. Difficult to repair.
MEDITATION THROUGH CRAFT
Conventional Contemporary
A Hands-On Method of Therapy Hands-on craft can be seen as a method of meditation or therapy for some people as it provides a tangible piece of evidence that they aim to achieve and focus on working towards. My chosen craft is boat building as a link to Blyth’s ship building past and close proximity to the river enabling the testing of these boats once complete. The boat building workshop will be part of a 2 week scheme/program in association with my design where 4 individuals who may be struggling with their mental health can take part to learn a new skill and at the same time ease their mind of any stress or worries they may bring with them. The 2 week program the individuals embark on will entail creating a series of wooden boats through 2 different processes: Stitch & Tape and Strip Planking alongside other people for the opportunity for teamwork to be present and new friendships to be made and continued after the program.
Material Wood
Advantages / Disadvantages
Stitch & Tape (Stitch & Glue/Tack & Tape)
Pre-shaped panels of plywood stitched edge to edge giving a multi-chine shape with ply frames added.
Can use low cost materials, requires low skills and only basic tools. The quickest, cheapest and easiest form of construction. requires the use of epoxy joins which can be messy. Good for lightweight hulls.
Ply over Frame
Plywood glued/fastened framework.
rigid
Moderate skills required - does not need extensive tools - takes longer than stitch and tape due to the conventional framework. More expensive in smaller boats than stitch and tape but perhaps less so in larger plywood boats. Heavy weight construction.
Strip Plank
Parallel strips of wood glued edge to edge over a temporary building jig and covered in glass/epoxy or wood veneer.
Western Red Cedar is usually used (though not always) which is expensive - moderate skills required but more expensive/time consuming due to the building jig required. Fairly easy to repair. Fairly lightweight.
Clinker Ply
Similar to traditional clinker but with joins between planks glued with epoxy rather than copper clench nailed.
Requires expensive materials (ie high quality multi laminate plywood), high skills and extensive tools (ie. rebate planes etc). Not easy to repair. Lightweight construction.
Easily available in various different qualities.
over
a
May be used by those with both low and high skills. Can be worked with fairly basic tools as well as with very sophisticated tools. Can be used in less than perfect building conditions. Strength and stiffness and can be joined together using both simple and more sophisticated methods and glues etc. Ease of repair depends on construction method.
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PROGRAMME RESEARCH
The Boat Building Process
“Strip Planking� is one of the methods that will be taught to those who are on the program due to low cost materials (not using red cedar) and tools required to create a relatively small boat. The process starts of by creating the jig for the boat which are panels of ply acting as the mould for the wood. The front of the boat also requires steambending in order to curve and streamline the boat when in water. The jig panels of varying sizes depending on the area of the boat, are then spaced evenly and held in place by clamps whilst strips of timber are cut and glued edge to edge. Once all strips have been placed, excess or longer strips are cut and sanded down to eliminate any rough edges or discrepancies within the strips before being covered in epoxy.
STAGING
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PROGRAMME RESEARCH
STAGING
Hear Touch See
Feel Taste
MINDFUL MEDITATION Sensory Focus
Types of Meditation Mindful Meditation
Mindfulness is the process of paying more attention to the present. By practising mindfulness techniques, a person can learn to slow their thoughts and teaches people how to be calm and connect with the moment. It can be beneficial for mental health and help to ease stress. Mindfulness-Based Cognitive Therapy (MBCT) is good for mental health with studies proving that it can be as effective at preventing the recurrence of depressive episodes as antidepressants. As well as a physical and tangible form of therapy (boat building), I wanted to carry my concept from Primer of meditational rooms onto my graduation project. These spaces will enable to provide users of the workshop (during any time or breaks away from the workshop) and the public a space of contemplation with views out onto the North Sea both inside the building and within any exterior gardens to reconnect with nature.
Brief Description Paying attention to your thoughts as they pass through the mind and not judging the thoughts or become involved with them. Simply observing and taking note of any patterns. This practice combines concentration with awareness. Helpful to focus on an object or your breath while you observe any bodily sensations, thoughts, or feelings. This type of meditation is good for people who don’t have a teacher to guide them, as it can be easily practiced alone.
Focused Meditation
Focused meditation involves concentration using any of the five senses. For example, can focus on something internal, such as breathing, or you can bring or listen to external influences to help focus attention, such as counting beads or listening to the sounds of waves. This practice may be simple in theory, but it can be difficult for beginners to hold their focus for longer than a few minutes at first.
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CRAFT EXPLORATION
EXPLORING A THERAPEUTIC CRAFT
Clay Pot Making I wanted to explore the idea of meditation through craft during any breaks I was having from any architectural related work. As boat building would’ve been interesting to do, unfortunately I or the school’s workshop had no access to enough space or all the materials and tools required which resulted in me experimenting with pottery. Over a week, I created a series of mugs and cups of varying sizes using a lazy Susan (manual turntable) which I found very fun and calming to do. However, due to Covid-19 lockdown restrictions, I was unable to fire the pots and glaze them.
STAGING
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MANIFESTO
STAGING
DESIGN MANIFESTO + PROJECT AIMS - To help any individuals in the local area who are struggling with any mental issues by providing a space for meditation away from the centre. - To heighten the experiences of meditation through rooms of a focused sense. - To provide craft skills to various age groups through boat building workshops. - To improve Blyth’s social economic statistics in employment, mental health and education. - Create welcoming spaces through contemplative architecture that are practical, tactile and which have subtle changes and variations at a human scale to elevate the design from a humble hut.
Body
Mind
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PROGRAMME
STAGING
Study Spaces
Therapy Rooms
Library
Lecture Room Kitchen Cafeteria Toilet
Garden Space Foyer
Spatial Relationships When developing the program for my building, I wanted to create a series of different volumes at both human and industrial scale to aid in differentiating the public and the private spaces. The workshop also needed to be in close proximity to the gallery/exhibition space where the boats made in the workshop would be exhibited, furthermore acting as a buffer space for public and private interactions.
Exhibition Space
Information Hall
Yoga Hall
Therapy Rooms
Toilet
Hydroponic Garden Delivery Bay
User Accomodation
Staff Accomodation
Office
By fragmenting all parts of the program, I identified how they would all be connected spatially and visually with regards to environmental aspects and overall experiences of the space.
Workshop
Viewing Deck Introduction Room
Reception + Jetty
Boat Storage & Launch
Wood Storage
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TYPOLOGY RESEARCH
Design Typology As a result of part of my scheme being boat building, I immediately began researching Finnish and other Scandinavian typologies of boat houses as well as precedents in Britain such as the Windermere Boat Museum by Carmody Groarke, utilising shared techniques and responses to their unique site conditions as well as material choices. As part of the studio brief, the main construction material for our building had to be timber which provides a lot of benefits to both the environment being sustainable and requires much less carbon dioxide to produce than concrete or masonry structures.The speed of construction using timber is also much more efficient as prefabricated glulam columns and beams as well as CLT panels can be manufactured off-site, delivered and assembled on site allowing the interior to be exposed to natural elements for a shorter duration which is needed for a site in Blyth.
STAGING
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SITE MODEL
STAGING
Site Model at 1:500 To kickstart my design layout, I created a 1:500 site plan model consisting of hand cut layers of card as the landscape with 3D printed parts representing any man made structures on the site. By creating a massing model, I was quickly able to see how my design would sit within its context.
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INITIAL CONCEPTS
Initial Concept Sketch At the beginning of the project, I initially visualised a series of pitched roof buildings with the apex of the pitch clearly visible from the city rather than its sides. Furthermore, I needed a jetty or a new docking area to create a much more accessible means of entrance to the site through the use of a ferry service rather than requiring a 40 minute journey from a bus and then on foot. As I wanted the program to be about escaping the city and focusing on the natural scenery of the peninsula, I originally visualised the back wall of the building being closed off from the city and rather open up to the sea. However, this later changed to allow western light into the building during evening as people would be finishing from the workshop, giving them the oppurtunity to see the sunset within rooms of the well-being centre to discuss their day in the workshop before heading back to their accomodations.
STAGING
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MASSING STUDIES
STAGING
Initial Massing Studies at 1:500 Once creating a series of pitched roof models in varying volumes defining public and private areas, I tried and tested various configurations, mixing and matching some together whilst keeping the same principles of the main public element located at the top of the hill which provides the best views on the peninsula and the boat building workshop lower down to provide ease of access to the river. The top configuration looked at having a relatively small building with the workshop which would act as the reception for ferry users. The middle configuration primarily aimed at having all smaller volumes at the top of the hill alongisde the public building. The last iteration primarily focused on creating a courtyard space within the smaller volumes to provide a more private area for users and staff away from the public.
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MODEL MAKING PROCESS
THINKING THROUGH MAKING WEEK Exploring Timber Tectonics Thinking through making week was an oppurtunity for us to start working with materials we were interested in pursuing for our building and to create a tectonic study with those materials. With my building primarily made out of timber, I decided to create a folding door which could be used in the workshop and the gallery when moving boats from one space to the other. The door provides a small area being taken up from any movement and seamlessly folds onto the other side. The QR code on the right will take you to a video of the door in motion (use your camera app)
TTMW
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FINAL EXHIBITION
TTMW
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REALISATION & SYNTHESIS Design Development
The Realisation and Synthesis stage of the year was built around my key themes from Primer which were then developed through Staging, informing my design strategies and ultimately leading to my final design. A culmination of my concepts and craft with further help from the technology helped me in creating the necessary finer details within the building and show the contrasts between the workshop, wellbeing centre and the accommodation areas.
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DESIGN DEVELOPMENT
Final Massing Configuration + Initial Sketches Developing on from my initial concept drawing, I looked at the progression of spaces that the a person on the 2-week boat building program may go through, initially starting of alone and oneto-one meetings with a therapist, moving onto a slightly bigger space where they will meet the other 3 people on the program and then into the largest volume being the workshop where they will spend a lot of time interacting with materials, tools and each other.
REALISATION + SYNTHESIS
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SKETCH MODEL STUDIES
REALISATION + SYNTHESIS
Exploring Pitched Roof Strategies Furthermore, I explored different styles of roof pitches that allowed varying amount of natural light through which could be used throughout different volumes.
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KEY PROCESS DRAWINGS
REALISATION + SYNTHESIS
Plan Development Moving on from massing studies, at 1:200 I started creating the axis lines for my design. At first, the workshop was drawn orthogonally with the river edge of the site and the other volumes at the top of the hill following the axis line of the peninsula. The private areas such as the accommodation for staff and users were also placed furthest away from the jetty to discourage any public arriving and making their way into private spaces. Using the landscape as part of my design also provides a natural descend towards the workshop or ascend towards the well-being centre and other private spaces.
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KEY PROCESS DRAWINGS
REALISATION + SYNTHESIS
Plan Development This plan of the design begins to place internal walls within the building and allocating both private and public garden spaces and pushing the private volumes up towards the edge of the land rather being placed in the centre of both edges. Furthermore, I start visualising the building rationalised as shown in the small sketch in blue pen on the left hand side of the drawing as well as the initial idea of a long holistic ramp that would work its way up the hill and towards the wellbeing centre taking inspiration from Japanese gardens and their ideology of suspending the approach to the building and creating a journey.
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UPDATED SKETCH MODEL @ 1:200
REALISATION + SYNTHESIS
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KEY PROCESS DRAWINGS
REALISATION + SYNTHESIS
Sectional Development One of the key elements that I developed thoroughly in my building was the connection between the workshop and the gallery in the well-being centre and how it lends itself to the rest of the building. Initially, there were two floors allocated to the gallery but a 3m high exhibition room would be too small as seen in the top sketch. Furthermore, as the level difference between the top of the hill and the lowest ground is 6m, excavating that much soil and placing retaining walls along the whole area would require a lot of concrete (and energy). Therefore, I removed the first floor gallery room, and pushed up the ground floor by 3 metres to create one double height space.
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KEY PROCESS DRAWINGS
Interior Details and Exterior Landscaping Internally, I wanted the glue laminated columns and beams exposed and visible to its inhabitants rather than hidden away as well as the CLT wall panels. The practicality, tactility and durability of these internal spaces both in the workshop and well-being centre was something I wanted to express. In addition, the gallery and the workshop would have more industrial atmospheres rather than welcoming and clean spaces unlike the rest of the building. With galvanised steel columns and beams that extend through the main structural frame fitted with a gantry crane enabling boats to be moved and raised to higher levels for different angles of viewing of the boat for specific details. To solve the 3 metre level change between the workshop level and the gallery, I designed a plinth with a feature staircase and a ramp with direct access from the workshop to the gallery for moving the boats.
REALISATION + SYNTHESIS
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CONTEXT PLAN AND SECTION
Building Within Context Nestling into the site and between the two large industrial structures of the silos and the wind turbine, the design of the building is kept unobtrusive with volumes that resonate with human interactions and program functions.
REALISATION + SYNTHESIS
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EXTERIOR RENDER (VIEW FROM CITY)
REALISATION + SYNTHESIS
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FINAL PROGRAMME AXO
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REALISATION + SYNTHESIS
Well-Being Centre A public facility with spaces such as quiet meditational rooms which looks out to sea, study rooms, lecture theatres for talks on mental health and a cafeteria to enhance social integration and to create a hybrid of public and private interactions.
Boat Building Workshop + Galler y On a 2-week programme, 4 individuals work together with craftsmen to create a series of small boats using craft as a means of meditation. These boats once completed are then exhibited in the gallery for public viewing before being launched into the river, celebrating success, self worth and teamwork.
Accommodation + Recreational Spaces Housing the 4 individuals on the programme and 2 permanent site staff members with private facilities such as the yoga hall for morning meditation before starting their day and the hydroponic farm to grow fresh on-site fruits and vegetables.
Arrival Facilities The reception greeting arrivals using the ferry service from the centre, and saying farewell to the visitors upon their departure with sheltered waiting stands help keep them safe from natural elements. DEPRESSION
BREAKDOWN
STRESS
TROUBLED
ANXIETY
SECTION C-C
REALISATION + SYNTHESIS
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REALISATION + SYNTHESIS
GROUND FLOOR PLAN
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1. Arrival Pier 2. Reception 3. Main Entrance Ramp 4.Meeting Room 5. Workshop Office 6. Boat Building Workshop 7. Launching Docks 8. Slipway 9. Delivery Bay 10. Exterior Access Lift 11. Plant Room Access 12. Boat Gallery 13. Service Lift
+3m
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REALISATION + SYNTHESIS
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B
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FIRST FLOOR PLAN 18
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14. Public Viewing Balcony 15. Ramp Resting Area 16. Main Entrance 17. Cafeteria 18. Kitchen 19. Mental Health Information Hall 20. Sheltered Garden Space 21, Hydroponic Farm 22. Changing Rooms 23. Yoga Hall 24. User Living Space
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REALISATION + SYNTHESIS
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SECOND FLOOR PLAN
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25. User Bedrooms 26. Staff Living Space + Bedrooms 27. Library 28. Meditational Rooms 29. Multi-Use Space 30. Exterior Balcony 31. Study / Meeting Rooms 32. Lecture Theatre
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WORKSHOP RENDER
REALISATION + SYNTHESIS
*
110
111
SECTION A-A
REALISATION + SYNTHESIS
*
112
113
114
PERSPECTIVE SECTION (B-B)
REALISATION + SYNTHESIS
115
*
116
INTERIOR RENDER (28 ON 2F)
REALISATION + SYNTHESIS
Contemplative Spaces Contrary to the industrial atmosphere in the workshop, these contemplative spaces allow the public or people from the program a quiet space with minimal furniture to create as few distractions as possible to take place whilst collecting their thoughts and cultivating their awareness with the present moment through views out to the vast ocean ahead of them.
117
EVENING RENDER
REALISATION + SYNTHESIS
*
118
119
TIMBER WEATHERING STUDY
REALISATION + SYNTHESIS
*
*
120
121
122
THE USER’S JOURNEY
STARTING THEIR JOURNEY Arrival Day The user’s journey begins at the pier, upon their arrival, they are greeted at the reception before being guided to the main entrance ramp. At 120m long, the slow, holistic procession marks the initiation of their 2 week journey of a healthier mindset before being shown the spaces they’ll be spending a lot of time in both mentally exercising their mental health and physically.
REALISATION + SYNTHESIS
123
THE USER’S JOURNEY
MIDWAY THROUGH A Week Before the Exhibition Halfway through their journey, their days have become routine: Waking up, doing some morning yoga or meditation, a 2 hour crafting session in the workshop, lunchtime break or catching up with a therapist follwing joining the public for a lecture on mental health before heading back to the workshop working on their boats along with the technicians. Finishing off the day, watching the sunrise in the librar y before sleeping or taking a walk freely alongside the barriers of the peninsula.
REALISATION + SYNTHESIS
*
124
125
126
THE USER’S JOURNEY
THE FINAL DAY A Time for Celebration To conclude their journey, they star t of the day in the workshop or galler y preparing the boats they have completed over the 2 week meditation through craft program either made by themselves or with one or more of the other individuals. During lunch, they then meet their friends and family in the cafeteria before guiding them to the showroom to celebrate their journey showing tangible accomplishments as well as their mental health improved through the spaces within the building and the program they took par t in. These boats are then launched into the river back in the workshop at a by the group during a ceremony.
REALISATION + SYNTHESIS
127
128
TECHNICAL DETAILS
1:20 SECTIONAL DETAIL ARC3013 Tectonic Integration
Within my sectional detail produced for ARC3013, I wanted to convey the difference in interior spaces between the gallery and the main public realm through the existence of large industrial objects such as the galvanised gantry crane, exposed services in one space and not the other as well as showing the exterior garden space. The 3 different settings and environments create various interactions with the building, people and the natural landscape that they’re surrounded by.
ARC3013 INTEGRATION
129
130
TECHNICAL DETAILS
131
ARC3013 INTEGRATION
1
2
3
10
11
12
13 1
2
4 5
3 4 5
6
6
7
7
8
8 9
9
10 EXTERIOR WALL TO ROOF JUNCTION
11
WITH WINDOW + SKYLIGHT
12 13 14
14 1. 45MM DOUBLE GLAZED WINDOW 2. 70MM X 200MM TREATED LARCH ROOF GROUND FLOOR TO INTERIOR
BOARDING
BALCONY JUNCTION
3. 35MM X 35MM ROOF FIXING BATTEN
1. 480MM X 200MM GLULAM COLUMN 2. 45MM DOUBLE GLAZED WINDOW 3. 70MM X 200MM TREATED LARCH FACADE BOARDS 4. STEEL FIXING FOR CABLES 5. 40MM X 30MM FIXING BATTEN 6. CONCRETE PILE CAP 7. ACODRAIN 8. 300MM X 150MM GLULAM BEAMS 9. 50MM PLYWOOD 10. 21MM TIMBER ENGINEERED FLOORING BOARDS 11. 45MM INSULATION WITH UNDERFLOOR HEATING 12. 30MM FERMACELL 13. 158MM CLT FLOOR PANELS 14. EXPOSED SERVICES
4. BREATHER MEMBRANE
15 16
17
5. 15MM SHEATHING BOARD 6. 90MM WOODFIBRE INSULATION 7. 140MM WOODFIBRE INSULATION 8. VAPOUR CONTROL LAYER 9. 158MM CLT WALL PANEL TO ROOF PANEL 10. 50MM SERVICES VOID 11. 15MM PLYWOOD 12. 40MM X 50MM BATTEN 13. EXTERNAL FOLIAGE (NATURAL SHADING) 14. BLACK PPC ALUMINIUM LINTEL 15. RECESSED WINDOW BLIND 16. 45MM DOUBLE GLAZED WINDOW 17. BLACK ALUMINIUM WINDOW FRAME 18. 480MM X 200MM GLULAM COLUMN 19. 480MM X 200MM GLULAM BEAM
18
19
132
DISSERTATION STUDIES
CULTURAL BIBLIOGRAPHY Research Trip to Barcelona, Spain
During June 2019, I had an amazing opportunity to travel to Spain and visit IAAC (Institute of Advanced Architecture of Catalonia) who are a leading school of architecture dedicated to developing working construction methods in the field of sustainable global housing through additive manufacturing as part of my dissertation research. They have been tirelessly working on using clay with several organic additives to enhance its structural capabilities without firing the clay. Their ‘Building Architecture Continuity’ project along with many others such as ‘Digital Adobe’ have researched and demonstrated the possibilities of using sustainable informal materials in construction by creating 1:1 prototypes of walls that adapted its morphology to localised structural and climatic needs. Upon visiting IAAC’s school, I had the pleasure of being able to walk around and see their work in person, seeing both small and large-scale experiments that worked but also failed and also sitting through two master students’ presentation on 3D printed furniture and the other on reinforcing concrete during extrusion.
ARC3060
133
134
135
REFERENCES
BIBLIOGRAPHY + LIST OF ILLUSTRATIONS Bach, D. A. Wood: Architecture Today (2018) Cadwell, M. Strange Details (2007) Galindo, M. Wood Architecture & Design (2012) Tiainen, J. Wood Architecture in Finland (2007) Tarja Nurmi (2013) Finnish Architecture with an Edge. Venturi, R. Complexity and Contradiction in Architecture (1998) Sennett, R. The Craftsman (2009) Bachelard, G. The Poetics of Space (1969)
Images and Illustrations that are not my own: Page 70 - Red Boathouse (Unable to retrieve original link) - Windermere Jetty Museum, Carmody Groarke [Available here: https://www.carmodygroarke.com/ windermere-jetty-museum/] Page 135 - Building Architecture Continuity, IAAC [Top right & bottom - available here: https://iaac.net/ project/building-architecture-continuity/]
Thank you.