MORGAN WILD PORTFOLIO
CONTENTS
INTRODUCTION 1
YEAR 1: A PLACE FOR CRAFTING 3 January 2013 - May 2013
YEAR 2: THE METAL, THE LYRICAL AND THE SURFACE GEOMETRY January 2014 - May 2014
7
YEAR 3: THE BOOKSHELF 15 September 2014 - November 2014
YEAR 3: THE NEW BRUTALISM
21
YEAR 3: RECYCLE. REGENERATE. REINVENT
25
November 2014 - December 2014
December 2014 - May 2015
PART 1 EXPERIENCE 39 June 2015 - Present
PRISON PROGRESS 43 November 2015 - February 2016
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‘The road to freedom was always the coastline - to the edge’
Edgy Cities By Steve Higgingson
MORGAN WILD
MORGAN WILD
I am currently living in Liverpool - where I attended university. I have now lived in this port city for three and half years, it is where I chose to stay once I graduated and I am now working in the business district of Liverpool. Living in a city was a big change from the countryside but I have grown to love it. The port nature of the city allows for many different people, cultures and places within a relatively small area.
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My name is Morgan Wild, I grew up in a small town in West Yorkshire called Hebden Bridge, a bohemian town well known for its large range of unique shops and artists. Growing up here has shaped me as a person; I have witnessed how communities support each other during the good times such a organising events in the park like the annual Blues Festival. But also through the bad times, such as the many times in which the town has been hit by floods. Most recently the boxing day floods devastated the town. But it picked itself up and by the next day everyone was out cleaning and rebuilding the community.
The places that I have lived, studied and worked have all had their influences on me as a person and have helped me develop my own ethos towards architecture. I believe that, as architecture is a fundamental part of peoples day to day lives, it needs to be beautiful as well as functional. I believe architecture should always be enjoyable for the those who inhabit it - whether it be social housing or a national theatre. Architecture is key in the development of the modern world. It changes how people interact, creating meeting places, forming social condensers, plus the environmental consequences of the design and the occupation after completion.
INTRODUCTION
MORGAN WILD
YEAR 1
SEMESTER 2: A PLACE FOR CRAFTING Individual Project
January 2013 - May 2013 Grade: 1st
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The brief for this project was to design a place for crafting in one of four locations in Liverpool city center. We were then expected to chose one of these locations, and specify the craft we would be designing for. My chosen craft was Japanese paper making. This meant studying the craft and understanding the process. The Japanese paper makers are passionate about their job; they live and breathe their craft. The main focus of the design was based around celebrating paper. To envisage this I design the habitable space around a glass atrium. Within this space the paper would be able to dry from the heat of the sun streaming into this space. By wrapping the building
around the glass atrium this allows the paper to be tendered to by the paper maker, but also to be seen, admired and advertised to the public who are walking past the site. The paper becomes the heart of the building. The site is passed by the public via either the covered walkway or the public garden that lines the site. The site that I chose was located in between a square and a busy street, this was another reason to turn the building in on it self as the internal spaces become more private and quiet. Thus allowing the paper making process to be done in a tranquil environment (see process below).
Model photographs
Japanese paper making process
A PLACE FOR CRAFTING
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Sectional model
A PLACE FOR CRAFTING
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A PLACE FOR CRAFTING
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Section Drawing
A PLACE FOR CRAFTING
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YEAR 2
SEMESTER 2: THE METAL, THE LYRICAL AND THE SURFACE GEOMETRY Individual Project
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January 2014 - May 2014 Grade: 1st
The starting point for this project was to chose an object that was going to be the source of our imagination. Once we had chosen our object we were encouraged to explore its qualities and then explore the three titles of the brief.
3D scan
Microscope image of Abalone Shell.
Abalone Shell
THE METAL, THE LYRICAL AND THE SURFACE GEOMETRY
MORGAN WILD
My starting point was the Abalone shell. The surface texture of the shell and colour was what interested me the most and what I went on to explore. I started by putting the Abalone shell into a 3D scanner, producing the images which allowed me to explore it’s multi-faced surface. I then went on to explore how I can recreate this with my chosen metal - Brass. The Brass can be patterned using vinegar and salt creating vibrant colours and beautiful patterns across the surface. I created many models through experimentation with this process.
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Hand patternated brass
The composition of brass can vary between 55-95% copper depending on the characteristics desired in the final product. Brass with high levels of copper is normally produced from electrically refined copper which is at least 99.3% pure whereas brass with low levels of copper are normally produced with less expensive recycled copper alloy scrap. When the brass is being manufactured with copper alloy scrap it needs to be analysed in order to determine the levels of materials within it, this allow the recipe for brass to be determined depending on the brass being produced. The second compound in brass is zinc which varies between 5-40%. The amount of zinc within the brass determines the strength and hardness of the finial metal, however it make the brass more susceptible to corrosion and more difficult to form. Other materials can be added to improve certain characteristics within brass. Lead can be added to improve machinability but lead leakage can occur which will cause the brass product to become toxic. Tin can also be added to improve resistance against corrosion. Metals such as iron are added to improve the strength of the brass by making the internal grain structure smaller which allows the brass to be shaped by forging. Other materials such as manganese, silicon and phosphorus can be added. Brass has a low melting point- 900°C, allowing it to be cast and worked easily enabling brass to be used in various forms. The malleability of brass is much higher than it’s base metals also the combination of metals give brass an acoustic quality.
Development models
THE METAL, THE LYRICAL AND THE SURFACE GEOMETRY
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South Elevation
I then chose elements of the models I had made to create a pier structure that grows out of the rock formation and that leads down to the sea. The wall to the pier allows the space to be habitable in high winds and the panel has angle triangulated protrusion with glass behind it, allowing light down into the space. These light wells refract the light down into the space creating a dynamic space that changes every time a person visits. The space is ever changing.
Roof plan
Development model
THE METAL, THE LYRICAL AND THE SURFACE GEOMETRY
MORGAN WILD
The form reaches out to the sea and begs to be part of it. The brass is used in this context because it would patternated over time. The wind and salt air would batter the surface of the brass and create amazing patternation over time. The location would change throughout the year, day and hour. The tide would rise and fall across the site, which is why I have design the structure to have three different levels, allowing it to still be used whatever the tide. The roof can be used to as a walkway when the tide is at its highest, the middle walkway when it is mid tide, and all the walkways when the tide is at it’s lowest.
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North Elevation
Photo of handmade model: shows the roof structure leading out to sea
THE METAL, THE LYRICAL AND THE SURFACE GEOMETRY
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Tide levels
THE METAL, THE LYRICAL AND THE SURFACE GEOMETRY
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YEAR 3
SEMESTER 1 : THE BOOKSHELF Individual Project
September 2014 - November 2014 Grade: 1st
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The aim was to create a library as part of a poets retreat just outside the city centre of Liverpool at the Garden Festival Site. The site has views out over the river Mersey and the topography is that of a bowl with the land falling away toward the river. I produced a scheme that intends to celebrate the poets that visit the site and celebrating their books. I designed the building around a bookshelf with every wall within the building serving as a bookshelf. Even the exterior walls are formed of bookshelves but with glass panels to separate the inside from the outside. Within the building the bookshelves divide up the space, creating different types of work zones. With reading zones, which are quite and tucked away but also more noisy and communal areas for exchanging ideas. Site Photos
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Ground Floor and Roof Plan
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Internal View
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Section: showing the layers created inturnally using the bookshelves
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THE BOOKSHELF
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CONSTRUCTION DETAIL A. 250x250mm Structural reinforced concrete column, primary structure, surrounded by 140mm of insulation, vapor barrier, damp proof membrane. The external covering is a 12mm Glass Reinforced Concrete Cladding. B. 500x100mm Larch timber with cut out ends creating a 200x25x100mm junction to connect to the concrete column using 200mm stainless steel nails. C. 200x100mm Larch timber with cut out end creating a 200x25x100mm junction to connect to the concrete column using 200mm stainless steel mails. The timber is coated in Nitrocellulose Lacquer creating transparent coating protecting the timber from the natural elements.
The Bookshelf Construction Detail 6046AR Morgan Wild
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coated in Nitrocellulose Lacquer creating a transparent coating protecting the timber from the natural elements.
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P. 40mm xed double glazing unit set into a stainless steel P. 40mm hinged opening double glazing unit frame with silicone sealant attached to the structural conset intocrete a stainless steel frame with silicone column sealant attached to the structural concrete Q. 40mm hinged opening double glazing unit set into a column.stainless steel frame with silicone sealant attached to the
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Axonometric Section of wall and roof Junction R Axonometric Section of wall and roof junction Scale 1:5
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External View of Library
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YEAR 3
SEMESTER 1 : WHAT WAS ‘THE NEW BRUTALISM’ REALLY ABOUT? RAW CONCRETE? FRANK FUNCTIONALISM? OR GRITTY SOCIAL REALISM?
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History and Theory Module November - December 2014 Grade: 1st
Figure 1
The ‘New Brutalism’ movement developed in a post-Second World War Britain. The war caused severe damage to the major cities, and social housing was in short supply. With the newly elected labour government setting up the welfare state, mass social housing was put up around the country with the brutalist style quickly becoming the state architecture. The movement developed from the key ideas of Le Corbusier, mainly the ideals of the Unite d’Habitation at Merseillies [Figure 1], the reinvention of the street and the raw concrete facade. It was from this structure that the name Brutalism arose, ‘beton-brut’ meaning raw concrete. But the young generation of architects in Britain who where part of New Brutalism wanted not too copy these ideas but to reinvent and improve them. The architects realised they needed to design structures that were large to accommodate the mass of homeless people but also used minimal materials. The Britain that they were living in was very different after the war, than it had been before. People where still living on rations and this included materials, they needed to find materials that where cheap and efficient. In this essay I am going to look at three housing development schemes; The Golden Lane entry by Peter and Alison Smithson, Alton West Housing by London County Council Architects and the Park Hill development by Jack Lynn and Ivor Smith. By looking at these examples I am going to try and explore what the New Brutalism movement
in Britain is really about, raw concrete, frank functionalism or gritty social realism. Peter and Alison Smithson were the first architects to champion the title ‘New Brutalism’ after they designed the Hunstanton School in 1950. The design concept behind the school was produced by ‘determination to make the whole conception of the building plain and comprehensible. No mystery, no romanticism, no obscurities about function or circulation.’[1]. These ideals moved with them into their design entry for Golden Lane Housing scheme in 1951. The competition was won by Chamberlin and Powell and Bon, which was fairly mainstream modernism in design compared with the Smithsons’ entry which was far more radical in its approach. ‘The radicalism lies in a attempt to see what they were designing as a complete environment for human beings, not just the provision for a certain number of bedrooms, living rooms, kitchens and so forth, packaged into acceptable architectural composition.’ [2]. The Smithsons’ where aiming to design a habitat not a space, one of the main aspects of the scheme was the ‘street deck’. This can be related back to Le Corbusier’s Unite d’Habitation, the Smithsons’ felt that the weakest part of the scheme was the internal corridor that connected the apartments, this point was weak due to the lack of natural light. In the proposed scheme they moved the ‘street deck’ to the exterior of the building and
THE NEW BRUTALISM
Figure 1: Le Corbusier; Merseilies, Unite d’habitation. Elevation. 1952. Elevations and sections Figure 2: Alison and Peter Smithson; City of London, Golden-Lane Housing, competition design, 1952. General Plan at Street deck level. Figure 3: London County Council Architect’s Department; Roehampton, Alton West Housing, 1959. Gable walls of slab blocks Figure 4: London County Council Architect’s Department; Roehampton, 1959. Site Plan. Figure 5: London County Council Architect’s Department; Roehampton, 1959. Detail of stairwaypassage and end staircase of block of shops. Figure 6: London County Council Architect’s Department; Roehampton, 1959. Slab Block seen from central Lawn.
Figure 2
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Figure 3
Figure 5
Figure 6
estate in Roehampton, The estate was an early example of a mixed development, there was blocks of flats, terrace housing, maisonettes and old peoples homes all set onto a large sloped green site with views of Richmond Park [Figure 5]. The main feature of the estate are the four blocks of apartments [Figure 4], which have a clear visual connection to the ‘Unite d’Habitation’. The four blocks where located on site to allow each dwelling to have a south facing facade and a view of Richmond park . The two storey apartments that are slotted into the concrete frame, create a rhythm along the facade of the building showing the function of the building by exposing the structural elements and recessing the dwellings, distinguishes the primary structural elements from the secondary structure. The structure divides up the building into the individual living units, allowing you to determine from the outside the change in resident. Areas of the facade that are clad are done so using a precast concrete cladding element, which creates a precise repetitive rectangular geometry. These elements have been left with a ruff surface, in it raw state, adding interest to the facade [Figure 6], detailing the building without embellishment. The LCC wanted to celebrate the modern era and having considerably greater technical resources than the team behind the ‘Unite d’Habitation’ they were able to develop the technologies at the forefront of design not just copy and rework the traditional Victorian and picturesque architecture of Britain. [Figure 5] A major part of the design was the large amounts of open space which was left between the concrete structures, creating communal green space that could be enjoyed by the residents of the Roehampton estate. In a interview from a resident, ‘I think it is exceptional because they have not bunched it all together they have left us the lovely space here, where we do hold a festival every year and there is space between everything, your not condensed, I think it is a lovely area..... They are all individual types there not just one lot of concrete jungle, you’ve got your own units, I think that’s different.’ [7]. From the feedback off the residence you can see that Brutalism is not just about creating concrete blocks but instead about how these blocks relate to he landscape [Figure 7] and how this can humanise the architecture and create a habitat for people to live in. Out of the three examples that I am talking about in this essay, the alton housing estate is the only one that has been successful in the long run.
“HELPING TO BUILD THE IMAGE OF A BUILDING MORE CONCERNED WITH’ LIFE’ THAN WITH ‘ARCHITECTURE’.”
In 1959 The young architects at the London County Council designed the Alton west housing
THE NEW BRUTALISM
The last housing scheme I am going to look at is the Park Hill development in Sheffield, like the alton estate, the site was located on a hill. Park Hill was designed in 1961 by the young architects Jack Lynn and Ivor Smith who were working for the Sheffield Council, the scheme was to rehome the people who currently lived in the area by producing a thousand flats on the site. At the time the site was home to the worst slum in Sheffield, ‘In the 1930s it was known by local people as ‘little Chicago’ because of the levels of violent crime there.’ [8]. Lynn and Smith jumped at the
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Figure 4
enlarged it. The street deck was seen in other architects work most notably the work of Jack Lynn and Ivor Smith who designed the Park Hill development in Sheffield which I will talk about later on in this essay. The ‘street deck’ aimed to have certain philosophical, psychological and architectural consequences, ‘the deck was intended to function socially and psychologically in the manner of the street which- in working class areas in Britain- is the main public forum of communication, the traditional playground for children, and the only public meeting space available for mass meeting and large-scale sociability.’[3]. The street deck was also meant to bring back humanity to the modernist housing block by the creating of a community with this concentrated pedestrian circulation. The Smithsons’ believed that to achieve this, the street deck needed to be continuous and if it was necessary to go down to the ground at any point it would remove any sense of it being a street and reduce to being a corridor. But in order to achieve this the housing was placed in one structure that then had to be bent and branched in order to locate it on the site [Figure 3]. Resulting in a building that could not be understood from any one particular outside viewpoint like the single liner block of the Unite d’Habitation. The Golden Lane project was meant to work with the natural topography of the site, and by working around the local needs it would develop into a network of c o n t i n u o u s buildings adding to the existing fabric of the city. ‘Although the emphasis on community, f l e x i b i l i t y, adaptability, and pedestrians is laudable, the decoupling of residential life from the streets ultimately has proven disastrous for cities.’[4]. This can be seen the Smithsons’ built project at Robin Hood Gardens which is due to be demolished. The Smithsons’ architecture was not solely about social aspect of design and social issues that where facing Britain at this time but also about the materials that there buildings where made of. The ‘as found’ aesthetic was promoted by the couple, the raw quality of the material that they used, not just concrete but also brick, glass and steel. Peter Smithson said ‘Brutalism is not concerned with the material as such but rather the quality of the material, that is with the question: what can it do? And by analogy: there is a way of handling gold in Brutalist manner and it does not mean rough and cheap, it means: what is its raw quality?’[5]. The raw quality of the material that the Smithsons’ strive for within their architecture became one of the ideals that new Brutalism is based on, the ‘as found’ aesthetic. This raw material aesthetic grew from the ethically views of the Smithsons’, ‘Brutalism tries to face up to a mass- production society, and drag a rough poetry out of the confused and powerful forces which are at work. Up to now Brutalism has been discussed stylistically, whereas it’s essence is ethical.’[6].
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MORGAN WILD challenge to design the new housing estate, with there beliefs deep in the ethics of Brutalism they want to design a housing scheme which would create a modern way of living but keep the community spirt that was found within the slums that currently resided on the site. Like the Golden Lane project of Alison and Peter Smithson, Park Hill also used the idea of the ‘street deck’. The street deck was used to unify and humanise the extensive housing [Figure 8], ‘Four, twelve-foot wide pedestrian promenades thread through the whole complex joining its various extremities; on the upper most it is possible to walk for 10 minuets without retracing ones steps.’ [9]. The deck was made this wide to allow small trucks for deliveries to be made along it, milk and bread, allowing the deck to be used like a conventional street, ‘But no faster wheeled traffic to menace the playing children or gossiping adults,’ [10] [Figure 9]. The apartments are arranged to allow each dwelling to have the best orientation possible this means that the street deck at certain points had to penetrate through to the other side of the structure, at these junctions the architects aimed to emulate the street corner by creating mini piazzas [Figure 10]. To enhance the idea of community within the new housing scheme people who where rehomed within it where placed next to there original neighbors and the original street names where used to name the ‘streets in the sky’. ‘Jack Lynn said “the interiors was allowed to determine the exterior pattern of solid and void and that he is happy with the result” but more in the mood of one who sees it helping to build the image of a building more concerned with ‘life’ than with ‘architecture’ .’ [11]. The structure followed the miesian concept of ‘form follows function’ with the building being designed to hold a specific function, housing, and the outside skin represented these functions. The facade grid of Park Hill is the defining feature of the building and the philosophy ‘keep things raw and essential rather than embellished’ [12] has be implicated here to create a functional building that celebrate the human and the habitat that he creates for himself. ‘The moral crusade of Brutalism for a better habitat through built environment probably reaches it culmination at Park Hill.’ [13] The estate has deteriorate over time, mainly with the collapse in the steel industry in Sheffield, the main employer for people living in Park Hill, with mass unemployment and lack of maintenance the estate quickly became a ‘no go’ area. ‘The maze of alleys and walkways made it a perfect place for muggings; there was also problems with drugs, poor noise insulation....The spirit and tradition of the pre-war communities faded away, as the original residents aged and eventually dies.’ [14]. But in 1997 Park Hill was grade II listed and in recent years has been redeveloped, with phase one of the development being nominated for the Stirling prize in 2013. The redevelopment includes making most of the flats privately owned and leaving only a few as social housing. This has been introduced in a hope to improve the social aspects of the housing estate.
Figure 7
they need to rebuild and reinvent. The social housing the was designed to rehome these people was going to have to be cheap but the brutalist architects didn’t want the people of Britain to live in low quality accommodation. This lead them to start design using raw materials, often concrete due to it normally being the cheapest and most readily available, celebrating the materials natural beauty and the function and the structural strength of the materials. They used the tough economic times to stretch themselves, experimenting with new design. In a hope to create a new modern Britain. The case studies I have looked at show me that ‘The New Brutalist’ movement started out based on social aspects; rationing, mass homelessness, and the need to be inexpensive. But as the movement developed and more examples of the style were built it became more of an aesthetic based movement with the raw materials not essentially concrete being used to create monumentally functionalist buildings. The idea of celebrating modern technologies, new materials and exposing structure has stayed with many new architects, this can be seen in newer movements such as High Tech. Many people tried to copy this stylistic approach but they were poorly constructed and designed, this increased the public dismissal of the style and it slipped of into history. ‘The face of the world does not conform to the Brutalism aesthetic, but the conscience of the world’s architecture has been permanently enriched by the brutalist ethic.’ [15]
New Brutalism was about how modern architecture built by the state could help rebuild a modern Britain after the war. With not enough houses to accommodate the population and the areas of social housing that were currently populated rife with crime and poverty the government realised
THE NEW BRUTALISM
Figure 8
Figure 9 Figure 7: Sheffield City Architect’s Department; Sheffield, Park Hill development 1961. Air-view from the south-west. Figure 8: Sheffield City Architect’s Department; Sheffield, Park Hill development 1961. Children play on one of the streets in the sky. Figure 9: Sheffield City Architect’s Department; Sheffield, Park Hill development 1961. Site Plan (showing street decks in solid black)
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‘THE FACE OF THE WORLD DOES NOT CONFORM TO THE BRUTALISM AESTHETIC. THE CONSCIENCE OF THE WORLD’S ARCHITECTURE HAS BEEN PERMANENTLY ENRICHED BY THE BRUTALIST ETHIC.’
MORGAN WILD
YEAR 3
SEMESTER 2: COMPREHENSIVE DESIGN PROJECT Individual Project
December 2014 - May 2015 Grade: 1st
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The initial brief for this project was to design a structure that would promote redevelopment of the Stanley Dock area of North Liverpool. The dock has become dilapidated since dock trade was reduced but the site is now undergoing a radical change. The space is surrounded by land which is going to be developed by the Liverpool Waters scheme. With the surrounding warehouses being developed into a hotel and apartments, meaning an influx of people to this currently run down and obsolete area. I chose to develop the narrow site between two warehouses, this was a challenging site that was not only very narrow but also extremely long. My starting point was to look at the history and development of the city of Liverpool.
Liverpool has a unique identity, a city on the edge, consequently it has always had a ‘rhythm of its own’, a city that has differed to the national norms. It has always been working to effect radical change within and in recent years this has been done ‘particularly using the creative field- in arts, culture and sport’. The radicalism in Liverpool has always been associated with the waterfront, the edge, the view to the new world. The city has under gone large amounts of regeneration in the last decade which can been seen around Albert Dock and through being crowned capital of culture in 2008 proving it was a city that was not defeated by the loss of industry to its port. But this regeneration was very centralized and large parts of the city are still suffering from poverty.
RECYCLE. REINVENT. REGENERATE.
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The Radical Edge
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ecycle egenerate einvent
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1848
1911
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Stanley dock was built
1715
The first dock in Liverpool is built
Liverpool transport strike
1893
The Overhead railway opens
RECYCLE. REINVENT. REGENERATE.
1981
The Toxteth riots take place
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1988
The redeveloped Albert Dock was opened
2012
Peel Holding announce 30 year long redevelopment scheme for Liverpool
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FUTURE UNKNOWN
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2004
The Liverpool docks were declared a World Heritage Site
2008
Liverpool is made the Capital of Culture
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The Future of Liverpool is looking bright, with the population rising for the first time since the collapse of the dock trade. The major development for the city in the future is the Liverpool Waters scheme presents by Peel Holdings. This would be the biggest single-ownership port city development scheme in Europe and they want to develop the north dock area of the city. But will this help the city? The majority of the area that Peel Holding propose developing is in the World Heritage site/the buffer zone, the plans that have been put forward already have cause UNESCO to put the site on the Heritage sites in danger. This means that if the project continues the Liverpool docks could lose their world heritage status. The future of Liverpool is in the hands of the inhabitants. Are they going to let the new construction of the Liverpool water scheme go ahead or are they going to fight against it? I believe that the scheme may work in Liverpool but in order for it to
Devlopment Collages and Site Photos
RECYCLE. REINVENT. REGENERATE.
work more influence from the city needs to taken into consideration. But how do people get involved with the project? How do they adapt the scheme to benefit the city as much as possible? Leading me to design a three element structure that would become a social hub for the people who are already living in the area; allowing them to have an active role in the development of their city. The space will also encourage social interaction by having spaces for debates and performances to take place, art and photography exhibitions and educational spaces. The space will become a hot-bed for the radical thinkers of Liverpool, the ideas and conversations happening here could lead the country to reformation.
‘BUT BENEATH THIS BRAVE NEW REGENERATED CITY THERE ARE STILL MANY PROBLEMS AND, WITH THEM, A VAST UNDERCURRENT OF GRASS ROUTE ACTIVISM THAT IS FIGHTING TO REBUILD THE CITY FROM THE GROUND UP.’ Liverpool: city of radicals By John Belchem and Bryan Biggs
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RECYCLE. REINVENT. REGENERATE.
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1:200 Roof Plans
Roof Plan
1:500 Street Plan
‘THERE IS NO ARCHITECTURE WITHOUT PROGRAM, WITHOUT ACTION, WITHOUT EVENT.’ Architecture and Disjunction Bernard Tschumi.
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To design in the alleyway the buildings either side need to be considered as they look out on to the space. I have drawn grids over the facades of the existing buildings following the existing grids. Then overlayed them and connected certain points to create a form, I have chosen to use the number three to dictate the object number. This is because the space needs an entrance point, a node of interest internally and an exit point. In order to understand the forms that were created from the grid I drew them as three dimensional objects, adding the concept structure to the forms and how they might touch and interact with the existing buildings. I also looked into the lighting conditions within the street, thinking about how their forms block, reflect and capture light.
Development Model
RECYCLE. REINVENT. REGENERATE.
MORGAN WILD The space needs to be adaptable to different uses. From the occasional parties/ music concerts happening at street level to the everyday use of local people wanting to come and use the artist studios and library. The street space is very adaptable because it is a clear space this allows different events to take place. Also because of the amount of external structure, objects could be suspended creating a spectacle within the street.
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The pods that run the length of the street can move along the
End of the street
Entrance
Looking Up
Section at night: shows how the space can be transformed into an event space.
RECYCLE. REINVENT. REGENERATE.
street, running on rails. This allows the space to become very adaptable and versatile. By pushing the pods together you can make different spaces depending of the event happening at street level weather is be a small debate or large music concert. To allow constant access to the pod structures there are elevated walkways that run the length of the site.
A - 6mm Pilkington Glass with 16mm 90% argon-filled cavity: outer skin 6mm Suncool OW Pilkington glass. - Bespoke Aluminium glazing fixture: silicon sealant -150mm square hollow section -Bolted back to 160mm Square Hollow Section: secondary structure B - 10mm toughened Pilkington single pane glazing - Bespoke Aluminium glazing fixture: silicon sealant - 200mm Square Hollow Section - Bolted back to 500mm Square B Hollow Section: Primary Structure C – 20mm Plywood board treated with Chromatid Copper Arsenate Electric Underfloor Heating system 70mm Sheep’s wool insulation 190mm Reinforced Concrete Slab D – 200x300mm steel I section with integrated service voids fixed back to primary structure using a thermal break to reduce the thermal bridge Exposed services run along ceiling LED light fixture E – 12mm Plywood cladding with glued junctions fixed back to concrete floor Solar blind system on runner to guide blind on an angle 100x 300mm steel angle 75mm sheep’s wool insulation F – Maintenance catwalk: 600x50mm grating 600mm tapered steel cantilever 50x50mm Steel angle 500x500mm Square Hollow section G - Pilkington aluminium glazing fixture 50x50 steel angle 500x500mm Square Hollow Section
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MORGAN WILD
Exploded Axo
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Exploded Axonometric Drawing
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Site Location Plan
RECYCLE. REINVENT. REGENERATE.
MORGAN WILD
‘THE PULSATION OF THE CITY LIFE IS FAST, SO WHY NOT THAT OF ITS ENVIRONMENT? IT REFLECTS RISE AND FALL, COMING AND GOING... CHANGE. SO WHY NOT BUILD FOR THIS?’ ARCHIGRAM PETER COOK
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1:500 Ground Floor Plan
View up the street
RECYCLE. REINVENT. REGENERATE.
MORGAN WILD
PART 1 EXPERIENCE FALCONER CHESTER HALL ARCHITECTS Liverpool Office June 2015 - Present
After finishing my undergraduate degree in architecture I began a Part 1 Placement at Falconer Chester Hall Architects. I got my placement after one of the directors saw my work at my university degree show and I started on the 22nd June 2015. Whilst being at FCH I have worked on many projects, from feasibility through to construction. I have worked with a range of architects in the office, as well as the directors, and have developed a reputation for being able to produce work quickly and to a high quality. A selection of projects I have worked on are below:
Renshaw Hall
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Cains Brewery: A master-planning scheme that involves six new build blocks containing 1200 new apartments and the change of use from a closed brewery into a luxury hotel. Some of my roles within the project were to create visuals and drawings for presentations with the client. Renshaw Hall: A 292 student bed and 60 apartment/hotel bed scheme in Liverpool City Centre. I was given the responsibility of running the project through the planning stage. With a tight time frame to prepare the submission for planning I co-ordinated the consultants and design team while preparing the Design and Access Statement and regularly liaising with the client. Through good organisation I manged to balance the demands of the consultants with the ongoing design development and producing brochures and materials for presentations with the client and the preapplication meeting.
Cains Brewery master plan
Norfolk Street: A 100 studio apartment scheme in Liverpool; I worked on this project at construction stage, producing detailed strip sections through the facade. Cains Brewery perspective
PART 1 EXPERIENCE
MORGAN WILD
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Norfolk Street Phase 2: Elevation
Norfolk Street Phase 2: Strip Section
Norfolk Street Phase 2: CGI
PART 1 EXPERIENCE
MORGAN WILD
Chancery House: CGI
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At tender stage I have worked on Chancery House; a refurbishment of a listed building into luxuary apartments and commercial space in the Liverpool City Centre. The scheme also includes the provision of a new building at the back of the site which links with the listed building at the front by capping the roof. On this project I have spent time working up the general arrangement plans and producing technical drawings and information on stair and door details.
Chancery House: Construction section of the Stairs
PART 1 EXPERIENCE
MORGAN WILD
Dale Street, Manchester: Development Sketchs
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Nursery Design: Ground and First Floor Plans Proposed Elevation
Dale Street, Manchester is a bid scheme which I worked on at FCH. I created the development images for the scheme which were particularly significant as the site had a history of rejections from planning for not been sensitive enough to the existing built context. I have worked on many projects independently at feasibility stage but one of the most enjoyable ones was a small nursery scheme (left). The brief was to extend and redesign an existing house in the outskirts of Liverpool. Because the end user is going to be children it allowed for the spaces to be playful and exciting.
PART 1 EXPERIENCE
MORGAN WILD The Progressive Prison aims to counter the growing rates of recidivism in the United States by creating a prison environment that promotes self-betterment and reminds prisoners of their potential to make an important contribution to society. The scheme is a direct response to existing practices within incarceration that damage and dehumanise their inhabitants.
PRISON. PROGRESS.
Community A central flaw with incarceration in the US is the vast juxtaposition between the prison environment and modern day society. This scheme aims to reduce that gap by creating a parallel community within the prison walls. A cohesive society is envisaged within the prison through presenting opportunities to the inmates that allow their own development, socially and technically, while also bettering the situations of their companions around them. The flow chart (left) explains the proposed transition through a prison sentence, potential opportunities and incentives:
GROUP WORK COMPETITION ENTRY
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November 1015 - February 2016 Combo Competitions are an ideas based competition, the submission requirements was to produce an A2 sheet. The brief was to try and fix the problem with recidivism in prisons, the given site was the Arizona Desert, USA. The work was completed by myself and one other part 1 architectural assistant. Much like in real society; inmates have the option to work. Jobs have a direct response to the needs of the prison and its inhabitants. While there are incentives there will always be a risk for the prisoner to lose what they have gained - thus ensuring consistent progression.
Those lacking skills can learn languages, mechanical skills, cooking, etc in the learning areas to prepare them for work.
Through contributing consistently inmates can earn non-transferable credit that allows them to rent improved accommodation permitting them more independence. Inmates become more self-reliant, developing skills and traits that put them in better contention for dealing with life after prison.
The community congregates around the central hub where inmates can integrate between shifts and take part in leisure and social activities.
PRISON PROGRESS
The basic layout of the prison campus enforces this progression: Living quarters on the outer ring > Working and Learning facilities > communal spaces in the Central Hub. Sustainability The proposal promotes the development of the prison into a self sustaining community through social and environmental systems. Environmental: The form of the proposal induces integrated solar shading and passive solar heating as well as natural cross ventilation to reduce the energy requirements of the campus. The wide and shallow form allows for the distribution of Photovoltaic panels across the site. An allotment, maintained by the inmates as an available prison occupation, contributes to part of the overall food demand on site. Social: The idea of creating a community that services itself was one of the leading factors in the design. While the incentive to work and better one’s own situation is prevalent, the work done directly contributes to the running of the prison. This results in prisoners seeing the results of their own efforts - as well as a sustainable model. Examples of work are: maintenance of solar panels, servicing prison transportation, electrical maintenance and plumbing. Grounds keeping, kitchen work, cleaning and running the laundry reduce the need to bring in external contractors.
MORGAN WILD
In anticipation of a rising prison population the layout allows for potential expansion within the existing footprint. The use of modular concrete units allow for efficient and accelerated on site construction.
The scheme integrates passive solar techniques within its form. The outer ring of living quarters are stepped to provide shading from the hot summer sun while allowing warmth during winter months.
In an attempt to promote independence and reduce any feelings of being trapped, prisoners are granted access to much of the site during the day to contribute through work, learning or social activities. Guards and staff can monitor activities from upper floors and guard points.
The basic layout works as a parallel town: living area > workplace > town centre.
Site Plan Outer Ring: Cell Type 01, Cell Type 02, sally port, visitor admin Inner Ring: Mechanical workshop, garage, laundry, learning rooms, library, food store/shop, allotment, exercise pitch. Central Hub: Canteen, Common room, visiting rooms, phone rooms, gym, basketball court, medical facilities/ access, kitchen, staff entrance/ admin facilities/ access to upper floors.
Cell 2 Through a working contribution to society inmates can earn accommodation space that affords them more independence and self reliance. Blocks are shared with three others, while each bedroom is dual aspect and has its own bathroom. Access is from the first floor into a communal lounge and kitchenette where inmates have the option to prepare their own meals. Cell blocks are identified by their small external spaces that provide more privacy to the downstairs bedrooms.
PRISON PROGRESS
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Cell 1 The standard cell type that prison life begins in. Blocks contain 24 or 48 inmates with communal showers shared between 8. All rooms are allocated desk space and book storage.
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‘A desire for a life of creativity and not conformity’ Edgy Cities By Steve Higgingson