Portfolio / 2018 by adamlegge

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ADAM A LEGGE

ARCHITECTURAL DESIGNER PT. I

A D A M A . L EG G E - PA RT 1 A R C H I T EC T U R A L D E S I G N E R

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adam.legge@hotmail.co.uk 11 Lutton Place, Edinburgh, Scotland 07445 202330

ADAM A. LEGGE PROFILE I am an architectural designer, graduating f rom the University of Edinburgh in July, looking for a role as a Part 1 Architectural Assistant. Having been at university for four years, I have continued to develop and widen my interest in architectural and design. I would describe myself as a detail-oriented person with great organisational skills, who enjoys working in a thought-provoking work environment. I am keen to expand my foundational skills and develop more robust architectural knowledge that a job within the profession will provide.

TECHNICAL SKILLS Rhino AutoCAD Flamingo

EDUCATION University of Edinburgh MA (Hons) Architecture (First Class) 2018

Buro Ole Scheeren, Berlin Intern, Design Team March - August 2017

Perth High School 2008 - 2014

Member of the design team working on two high profile projects.

Advanced Highers - A, C Highers - A, A, A, A, B, C Standard Grades - 1, 1, 1, 1, 2, 2, 3

LJRH Architects, Dundee Intern April 2011

V-Ray SketchUp Adobe Creative Studio Hand Modelling Laser Cutting 3D Printing iMovie Adobe Premier Pro

ARCHITECTURAL EXPERIENCE

AWARDS / RECOGNITION

Shadowed an architect, undertaking tasks such as modelling, creating, plans and evalauting sites.

University J R McKay Silver Medal 2018 Awarded to the top MA (Hons) student - nominated ESALA Studio Representative Studio 4 / 2016-17

OTHER EXPERIENCE Inchture Village Hotel, Inchture Waiter Summer 2016

Revit (Want to Learn)

Treasurer Edinburgh University Basketball Club / 2016-17

Tasty Bites Restaurant, Dundee Waiter Summer 2015

Grasshopper (Want to Learn)

School

Live Active Camp, Perth Lead Basketball Coach July 2013

PERSONAL SKILLS

Duke of Edinburgh Award Gold, Silver, Bronze

Communication Organisation

Sports Leader UK Level 2 Award Community Sports Leadership

Problem Solving Self-Motivation Teamwork

Prefect School / Year Six / 2012 House Sports Ambassador School / Year Six / 2012

VOLUNTEERING Perth Phoenix Basektball Head Coach / U16 Division 2 August 2013 - August 2014 Perth Phoenix Basektball Assistant Coach / U14 Development September 2011 - August 2014

E U C A LY P T U S G L O B U L U S - N E W T O N G R A N G E , S C O T L A N D - A R C H I T E C T U R E

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EUCALYPTUS GLOBULUS EU C ALYP TUS

(Noun) 1. A fast-growing evergreen Australasian tree that has been widely introduced elsewhere. It is valued for its timber, oil, gum, resin, and as an ornamental tree.

2018 - Academic project AD: Tectonics Studio 3 Tutors: Chris French Maria Mitsoula

The Lady Victoria Colliery has left numerous material and immaterial traces across the post-industrial landscape of Newtongrange, with coal mining having a detrimental impact on the human body. Chronic Obstructive Pulmonary Disease (COPD) is aggravated by coal dust, leaving those affected with an enduring tangible trace of Newtongrange’s industrial past. Exploration into COPD, among other respiratory diseases has uncovered the untapped potential of landscape to aid patients. Despites it’s outlandish introduction, the proposition of growing a forest of Eucalyptus trees, growing to heights that rival the Colliery’s chimney stack, seeks to use the valued commodity because of its essential oils and timber as a commodity that can revitalise Newtongrange’s economy in a symbiotic manner. This commodity would require several functions like woodsman, forest management etc. to upkeep this industry, however this project concentrates on two key buildings that exists parasitically to the Eucalyptus forest. Despite the manner in which this forest exists is speculatively unknown, the project does presuppose that the research centre extracts valued essential oils from the leaves of the giant trees through steam distillation. Alongside the growth of Eucalyptus trees and other important plants, the support centre will offer practical, emotional and social assistance to patient with respiratory problems. Through utilization of various thresholds that transverse scales, alongside measures such as Corten steel, this project’s setting / situation provides a productive measure of the landscape it inhabits. Concurrent with the building’s program this project will reformulate the previously exploitative situation into an alternative process of symbiosis, where landscape and man fuse to address respiratory diseases. Because of its celebrated unknown existence, the Eucalyptus tree can also be used in parallel with the utilisation of Galanthus Nivalis in the group’s exploration of Newtongrange, as a measure. Therefore, this project uses the tree to provide an explanation of the project’s situation, in relation to its cultivated landscape, and how to enter the project, literally and thematically.

year 4

E U C A LY P T U S G L O B U L U S - N E W T O N G R A N G E , S C O T L A N D - A R C H I T E C T U R E

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RESEARCH BUILDING

SUPPORT BUILDING

The research building uses a corten roof (highlighted in red) to measure itâ&#x20AC;&#x2122;s setting: the landscape it inhabits interacts with the corten, weathering according to its specific setting.

Concurrent with the research centre, the support building measures itâ&#x20AC;&#x2122;s landscape. As well as a measure, the two roofs mark the public entrance to the buildings, the parallel to one another creating an architectural dialogue.

year 4

E U C A LY P T U S G L O B U L U S - N E W T O N G R A N G E , S C O T L A N D - A R C H I T E C T U R E

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year 4

CONSUELLING SPACE

HERBARIUM

The crucial space of the support building, the consuelling spaces offer a environment to provide emotional and physical treatment to the patient. The space also overlooks its sister buildingâ&#x20AC;&#x2122;s productive garden, enforcing the links between human, body and nature.

Embedded into its landscape, the herbarium provides a space of storage for pressed flower samples from the gardens. This two floored room is the celebrated space of the scheme, thus its positioning within the two Corten roofs.

E U C A LY P T U S G L O B U L U S - N E W T O N G R A N G E , S C O T L A N D - A R C H I T E C T U R E

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EXPLOIT ( NOUN )

PERSPECTIVE SECTION AA

A key aspect of this project demonstrated through the Eucalyptus tree is the reformulation of exploitation in a symbiotic manner. Similarly, the gardens grow several species of flowers to provide the research centre with numerous experimental prospects. Because of its thematic reformulation of abuse by the colliery’s past, it takes the form of the investigation into this, constrained in the same absolute manner as clay by the para-site model’s edge.

BUILDING ORIENTATION

PERSPECTIVE SECTION AB

The off angled arrangement of the two buildings are positioned because of the arrangement of the three key productive spaces. In parallel with the gardens, this building takes up an absolute constraint, with only the counselling spaces and Chaparral production area breaking this. This ‘override’ of the setting is a demonstration of the importance and value of these spaces to the project’s composition. As the setting is arguably the primary constraint, it is earmarked by the growth of snowdrop within, a symbolic reference to the group’s thesis.

ELDER (SAMBUCUS NIGRA) While the elders drop the canopy to height that is more comprehensible than the Eucalypti, the entrance seeks to bring the building users into the canopy level. Through leaving the forest floor, this elevation is a figurative entry into the intermediary setting where the user is clear of thoughts.

year 4

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E U C A LY P T U S G L O B U L U S - N E W T O N G R A N G E , S C O T L A N D - A R C H I T E C T U R E

PARA[SITE] AXONOMETRIC

PARA[SITE] PLAN

year 4

E U C A LY P T U S G L O B U L U S - N E W T O N G R A N G E , S C O T L A N D - A R C H I T E C T U R E

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GROUP FINAL EXHBITION

PARA[SITE] AXONOMETRIC

year 4

A R C H I T E C T U R A L R A D I C A L I S M - L AT I N A M E R I C A - A R C H I T E C T U R E & R E S E A R C H

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ARCHITECTURAL DISSERTATION ALEJANDRO A REVANA / I NFO R M A LI TY / R A D I C LA I S M

Question Evaluating the replicability of Alejandro Aravena’s controversial incremental social housing proposal in Chile, to large-scale informal environments that exist within other Latin American cities, within an approach that considers the nature of recently emerging radical solutions to these environments.

2017 - Academic project Architectural Dissertation Tutor: Dr Soledad Garcia-Ferrari

OTHER RADICAL SOLUTIONS

Innovative. Ingenious. Clever. Just a few of the superlatives that critics have attributed towards Alejandro Aravena’s incremental social housing. He reformulated the question that the Chilean housing policy presented: how to purchase land, implement infrastructure and build a house for US $7,500 per family. Instead of asking what house size can be delivered within the budget, Aravena asked how much of a good middleclass house could be produced; the answer being half. Yet, while some critics heap reverence upon Aravena’s solution, there are several critics that question the architectural statement that providing only half a house sends. The idea of providing half a house and the structure for subsequent expansions is radical in the context of a profession that delivers full buildings, but is commonplace in context of large scale informality. In informal communities all over the world, inhabitants build their homes themselves, with potential for growth. However, Aravena’s creation was generated in an informal settlement with only 100 families, whereas other informal settlements in Latin America are quantified by the thousands. Within these informal environments, there are several examples of approaches towards informality that Justin McGuirk describes as radical, not because of their political ideologies but because of their methodologies. Tools such as the acceptance of pre-established contexts and community participation become parallel with their concern over aesthetic qualities. Focusing on the conceptualisation of informality in Latin America and exploring a discourse into recent radical approaches that large-scale informal environments generate, this paper established analytical criteria to apply to the analysis of the replicability of Aravena’s incremental housing as a potential approach to these informal environments. THE HALF HOUSE

year 4

INTERN / BURO OLE SCHEEREN - BERLIN, GERMANY - ARCHITECTURE

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INTERN / BURO OLE SCHEEREN INTER N

(Noun) 1. A student or trainee who works in order to gain work experience or satisfy requirements for a qualification.

2017 - Practical Experience Buro Ole Scheeren Berlin / Design Team Project Leader: Nina Sattler

Over six months working with BĂźro Ole Scheeren I was a member of a design team which worked on two main projects: Dean and DeLuca & Riverpark tower, Frankfurt. Gaining knowledge on factors such as project management and specifications, this placement period was a prolonged exposure to the real world of architecture. The placement solidified my desires to join the architectural profession, alongside stirring my interests in graphic design. Along with help draft construction drawings, various other tasks helped develop fundamental architectural skills.

RIVERPARK TOWER / FRANKFURT

Riverpark Tower A new residential high-rise in Frankfurt, commissioned by GEG (German Estate Group AG). With a height of almost 100 meters, this tower focused on sweeping views of the cityâ&#x20AC;&#x2122;s skyline and riverbank. Working on this project, I completed digital modelling alongside creating various physical models. Also, because of project stage this proposal allowed a brief introduction to how offices engage with clients at earliest phases of design.

THE STAGE / DEAN & DELUCA

placement

K L E I N FA S H I O N S C H O O L - S E L K I R K , S C O T L A N D - A R C H I T E C T U R E

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ROOF AND BRICK SURFACE

KLEIN FASHION SCHOOL FAS HIO N

(Verb) 1. A popular or the latest style of clothing, hair, decoration, or behaviour. 2. Use materials to produce something.

RUNWAYS

PERMANET KLEIN EXHIBTION 2016 - Academic project AD: Explorations Studio 4 Tutors: Kevin Adams Maria Mitsoula

Due to the deteriorating state that the Klein Studio is presently in, the Galashiels Fashion School, where Bernat Klein had an impact on the teaching when he was alive, have decided to purchase the Klein Studio and surrounding site. To return the Klein Studio to its former glory, the decision to use the Klein as a functioning studio for the master level fashion students. This decision was taken to accommodate the Galashiels Fashion Schoolâ&#x20AC;&#x2122;s ambition to be prominent within the British Fashion education. This scope of ambition needs a building that can exhibit the great work the school in a functional, yet expressive manner.

THE KLEIN STUDIO

Using the language from studying the Klein Studio this buildings aims are as followed. Firstly, to create a design that captures the signature characteristic of the Klein Studio, the vertical planes, and to explore how this acts in dialogue with it. Secondly, similarly to how the Klein Studio acts as a magnifier for its surroundings, to create a building that works with surroundings but aim to also capture and embody its surroundings.

THE KLEIN FASHION SCHOOL

year 3

K L E I N FA S H I O N S C H O O L - S E L K I R K , S C O T L A N D - A R C H I T E C T U R E

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GROUND FLOOR PLAN

ELEVATION

SECTION

year 3

K L E I N FA S H I O N S C H O O L - S E L K I R K , S C O T L A N D - A R C H I T E C T U R E

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SECTION

year 3

V I N Y L L I B R A R Y - R O M E , I TA LY - A R C H I T E C T U R E

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V I N Y L L I B R A R Y - R O M E , I TA LY - A R C H I T E C T U R E

PERFORMANCE SPACE

VINYL LIBRARY LIBR AR Y

(Verb) 1. A collection of films, recorded music, etc., organized systematically and kept for research or borrowing.

LISTENING SPACES

2. A series of books or recordings issued by a company as a set.

THE VINYL STAIRCASE

2016 - Academic project AD: AnyPlace Studio 3 Tutor: Dele Adeyemo

Tasked with designing a library in Rome, this project was explored against an individually defined brief. From a previous series of explorations, I chose to investigate the physical experience of music, that is lost in this digital media age. Housing a collection of vinyl within a central design feature, the vinyl staircase, the building also offers performance and recording spaces. The accumulation of these three programs, the vinyl library seeks to reinvigorate the lost physical experiences between the principal activities of music. Listen By viewing the building as one that had the ability to reunite music with the physical experience. Arguably the most important aspect of music is listening, and to accommodate this activity we would need a rational system that would allow ease of finding records, achieved by the vinyl staircase. After the user finds a record to their taste they would go to a listening space. The space on the vinyl staircase alongside the group and individual listening spaces would provide an adequate environment to enjoy the vinyl. Also as one of the goals of the library is to integrate the community with music there will also be an exhibition spaces.

PUBLIC LOBBY & CAFE

Record A building full of â&#x20AC;&#x153;visible connectionsâ&#x20AC;?, I aim to create a place where music artists, who share the sentiment about vinyl and the importance of the physical connection with music, can come from around the world and record a vinyl that can be placed in the collection. Perform Finally, they should have a space for performance, the third key aspect of music, that allows the artists who just recorded to give a public performance. I envisage this to be a small and intimate yet it should still be greatly connected with the public to encourage them to come and listen to not just the vinyl but also the artists.

RECORDING AREA

year 2

V I N Y L L I B R A R Y - R O M E , I TA LY - A R C H I T E C T U R E

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UNITING THE 3 KEY ACTIVITES OF MUSIC

V I N Y L L I B R A R Y - R O M E , I TA LY - A R C H I T E C T U R E

THE VINYL STAIRCASE A PHYSICAL EXPERIENCE

EXISTING & SECONDARY PIAZZA A COMMUNITY OPPORTUNITY

The existing piazza is a key social space, that can add as a intermediately space between the library and the public space.

THE SEQUENCE OF ACTIVITIES

THE ORGANISATION

THE ACTIVITIES UNITED

year 2

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Brow s

Enter Shop

V I N Y L L I B R A R Y - R O M E , I TA LY - A R C H I T E C T U R E

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Place on Pla Start Vinyl Rela

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A Linear Process

THE VINYL STAIRCASE To accommodate the activity of listening and allow ease of finding records, achieved by the vinyl staircase. After the user finds a record to their taste they would go to a listening space.

year 2

C A S T L E P A V I L I O N - D I R E LT O N , S C O T L A N D - A R C H I T E C T U R E

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TECHNOLOGY AND ENVIRONMENT

SECTION

ENVIR ONM E NT

(Verb) 1. The surroundings or conditions in which a person, animal, or plant lives or operates. 2. The natural world, as a whole or in a particular geographical area, especially as affected by human activity.

2016 - Technology and Environment Technology and Environment 2B: Direlton Castle Project Leader: Dimitris Theodossopoulos

A relatively modest timber walkway design that wraps the edge of the ruins, this minimal intervention was carefully considered as it required several group exercises: structural calculations; detailing timber joining techniques; preparing construction drawings. The totality of this investigation results in a scheme that would carefully join with the ruins below, preserving the material heritage of Direlton Castle.

Joint Exploded Axonometric

Wall Exploded Axonometric

ROOF DETAILING

4 4

While continuing to work in a group, my individual interest was the tectonics and assemblage of the pavilion wall. Drawing the wall in an exploded axonometric demonstrated important understanding of how a wall would be assembled. Similarly, this understanding was tested by created an annotated section that aims to convey the location of crucial elements in the wall, for example, the breather membrane or insulation.

Wall Exploded Axonometric

7 1

6 3

4 2

5 2

1. 12.7mm Pla 2. Polyethene 3. 110mm Thic 4. 100x100mm 5. 100x100mm 6. Breather Me 7. 250x200mm 8. 50x25mm T 9. 120x50mm T 10. 50mm Oak

2 6 3

1 4

1. Column 250x250mm 2. Primary Beam 250x200mm 3. Assembled Wall 4. Steel ‘T Shape’ Girder with bolts on column in single shear. Girder is slit and connected with bolts

4 3

1. Column 250x250mm 2. Primary Beam 250x200mm 3. Assembled Wall 4. Steel ‘T Shape’ Girder with bolts on column in single shear. Girder is slit and connected with bolts

WALL SECTION

year 2

S T R A N G E LY FA M I L I A R - E D I N B U R G H , S C O T L A N D - A R C H I T E C T U R E

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STRANGELY FAMILIAR FAMILIAR

(Adjective) 1. Well known from long or close association. SITE PHOTO / PORTOBELLO BEACH

2. Often encountered or experienced; common.

2014 - Academic Project AD: Assembly Studio 1 Tutors: Jane Paterson Jamie Henry

Asked to create a studio and house for a photographer, Strangely Familiar provides an extended period of time (five weeks) to understand the scheme. This extension allows undertaken of explorations into the architectural assemblies in the design but also allows deeper understanding of the designs concepts utilised in my design. The requirement of a dual functionality challenged the subject of living and working in one space, developing essential skills like thresholding and boundaries alongside the focus on tectonic assemblages.

PHYSICAL MODEL

To best utilise the requirement of a 100m2 house that contained a living space and working space this scheme placed living above the ground floor, with all windows having mechanical controlled timber shutters. This project was interesting to as it allowed me to consider the relationship between space and body. As this was a home-based workspace the photographerâ&#x20AC;&#x2122;s working environment was envisioned to be intimate but also functional. Interestingly, despite this intimacy the shutters can create in this studio, the opening of the shutters produces a clear visual relationship between the house, promenade and Portobello beach.

SITE ELEVATION

year 1

K L E I N FA S H I O N S C H O O L - S E L K I R K , S C O T L A N D - A R C H I T E C T U R E

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BRICK / CHANGING FACILITY Designed to challenge the conventions set by the project name, modesty, where one would expect a sealed box when changing but this project instead uses windows with the external side coated with a reflective sheet to prevent seeing in.

MATERIAL WORLD MAT ER IA L

(Noun) 1. The matter from which a thing is or can be made. 2. Cloth or fabric. CONCRETE / BOATHOUSE

3. Information or ideas for use in creating a book or other work.

With my fascination with the variation of form and aesthetic that concrete can have, this design through its materiality employment and programme answered the question of how to use the program to allow dual functions: storing and launching boats with ease into the river; observing the action in a protected area.

2014 - Academic Project AD: Assembly Studio 1 Tutors: Jane Paterson Jamie Henry

Brick | Modesty Box Designed to challenge the conventions set by the project name, modesty, where one would expect a sealed box when changing but this project instead uses windows with the external side coated with a reflective sheet to prevent seeing in. While this project wouldn’t actually be built because of this provoking discomfort however it was an interesting experiment to consider the idea of subverting the unexpected but also architecture’s effect on the user comfort, for example, would they initially be awkward and then change once they realise they can’t actually be seen. Concrete | Boathouse With my fascination with the variation of form and aesthetic that concrete can have, this design through its materiality employment and programme answered the question of how to use the program to allow dual functions: storing and launching boats with ease into the river; observing the action in a protected area. Entering on the first floor allowed the design to work with the slope, but also promoted the split function, with the observation isolated on this floor.

STONE / BATHOUSE The main theme for the bathhouse was the correlation between relaxation and descension. As the activity of the bathhouse revolves around a user sitting in the water, but also usually ‘in the ground’, this design focused on prompting the user to descend through its functions, concluding in the bath.

Stone | Bathhouse The main theme for the bathhouse was the correlation between relaxation and descension. As the activity of the bathhouse revolves around a user sitting in the water, but also usually ‘in the ground’, this design focused on prompting the user to descend through its functions, concluding in the bath. As this ‘spa’ was also for a small scale hotel I was keen to relate the scale of the building to the body scale. TIMBER / TEAHOUSE Timber | Teahouse Through the investigation the activity of the teahouse I uncovered the highly ritual based activity that drinking tea was. Because of this research, I was keen to use my design in a stripped back and unobtrusive manner. Timber, a natural material, was utilised alongside large uninterrupted windows to explicitly promote the relationship between the nature and the user. The accumulation of this building’s scale, material choice and form I though was appropriate because of the intimate and highly personal experience that a teahouse holds.

Timber, a natural material, was utilised alongside large uninterrupted windows to explicitly promote the relationship between the nature and the user. The accumulation of this building’s scale, material choice and form I though was appropriate because of the intimate and highly personal experience that a teahouse holds.

year 1

M V S - V A R I O U S L O C AT I O N S - P H O T O G R A P H Y

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MY VISUAL SKETCHBOOK S KETC HBOOK

(Noun) 1. A pad or drawing paper, for sketches. 2. A physical place for the collection of ideas.

During my placement and over the last year I have developed an interest in photography. Through curating an Instagram account, I have exhibited some of my favourite pieces of work. Looking through lens on my various travels has led to a different experience of the spaces, teaching me the importance of understanding my and other pieces of architecture deeper. THROUGH THE CAMERA LENS

personal