PREENA MISTRY
STAGE III
ARC3001 2014-2015
BA ARCHITECTURAL STUDIES
CONTENTS
THE LIGHT INSTITUTE
A Matter of Light
TIME CAPSULE SANCTUARY
Thinking Through Making &
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Graduation Project
CHARRETTE WEEK
Learning Experience: Studio and Personal Objectives Being in a year-long studio (Matter of Light) allowed the same theme to be dominant in both projects. I feel I have met the studios aims of designing spaces that create a relationship between Material and Light; offering spaces with contrasting light and atmospheres and using light to emphasise materiality in both projects. My personal aim was to learn how to communicate Light and Materiality clearly and effectively within presentations and models, whilst incorporating building programme and activity. Working in Richmond throughout the year allowed me to gain a deeper understanding of the town context. We were able to revisit similar themes and ideas in both projects: the market square being a key focus in both projects, creating coherence throughout the portfolio. Thus I learned how to relate well to context, one of the strongest aspects of both designs; they are both public buildings that create new routes through the town with a programme that allows for one to become part of the community. Visiting buildings in Tenerife show us how to respond to Topography and the use of Materiality, Light and Programmes within Public Buildings. The influence they had on the choice of material, light and movement in my design became prevalent when writing the Principles and Theories essay. This experience strengthened the internal elements of the design, utilising personal experience to create the desired atmosphere.
The initial phase of Graduation Project was learning to Photograph effectively, adjusting exposure, aperture and shutter speed to capture an image with control. One of the studio aims was to undertake photographic exploration, I believe the Photo-book shows how I have met this successfully. Photography connects the themes of Material and Light together, using light to emphasise or hide features of a material. Overall, I can see an improvement in the photographs I now take. Towards the end of second year, I enjoyed the opportunity of incorporating my own brief into the design. This year the flexibility of making our own brief, meant I was able to integrate research on Environmental Psychology, done in the Dissertation module, when designing the Light Institute. Working within a field I was interested in kept up my enthusiasm for the project. Over all, the programmes for both projects are imaginative and strengthened the designs. Throughout the degree, I have struggled with technical detailing; a weaker part of both projects. However, gaining information Library Resources and our Technology Tutor, the 1:50 Detail Section for The Light Institute was successful. Learning from the first semester, where detailing was too simplistic, I chose to cut through an appropriate space showing enough information in one drawing. Considering structure of the design from an early stage aided design decisions and vice versa. Similarly, I had never considered the environmental impact of my design to the degree I did for graduation Project, I tried to change and improve parts of the design to encourage natural ventilation and utilise thermal mass, incorporating elements we learned last year. Throughout the course I have been more successful at resolving internal spaces rather than external. Although they needed improving, by the end of Graduation Project I had a better grasp of creating external spaces and understood their importance; I was pleased with the external Photo-montage I produced. (Left). My learning experience has been enhanced by tutors, my peers, and self reflection within Sketchbooks; all of which have aided design development strengthened by constant criticism.
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LEARNING SUMMARY
Responding To Feedback A major point within feedback from The Time Capsule Sanctuary related to improving communication; to increase contrast in the whole presentation to show the difference of Light within each space. More clarification was needed in showing the programme and circulation around the building; although I had provided diagrams, they were very simplistic and could not be understood easily. To improve, I edited the section creating clearer establishment between dark and light spaces. Drawing up new axonometric diagrams allowed me to show internal circulation with relation to programme and light more clearly in a three dimensional view. Although I had established a connection to the context of the town, providing views to landscapes and Richmond’s castle, this was not communicated effectively; to improve on this I created internal perspectives showing how rooms will frame the view and diagrams to show scale and context. Finally, the use of materiality was represented differently in several drawings, I have now responded making all drawings coherent, using the same texture and emphasising how the material corresponds to light. I feel these changes have strengthened the project.
The weakest parts of both projects have been creating tension within external public spaces. To resolve this in both cases I have made parts of the building larger or smaller to create a tighter threshold at certain points. The space around the Sanctuary now pushes and pulls people through and The Light Institute creates a tighter threshold on the route to the Church, providing a point to appreciate the view. By making the external space of the CafÊ larger, I have created a central space that dominates the other; thus responding to feedback to create a difference in the external spaces. By changing this I learned the importance of shaping external spaces and believe I have improved these to create a more exciting experience. Learning from mistakes within Semester One’s Presentation, I felt my communication skills of the Final Graduation Project Presentation improved greatly; the drawings portrayed light, materiality and Activity clearly and effectively, meeting my personal aim for the year. I have learned the importance of diagrams; in some ways they become more important for communicating elements of design than sections and plans themselves. Future Objectives Looking back at second year work, I can see huge improvement in communication and design skills, using a combination of hand drawing and software to establish my own style that I feel is coherent throughout the year. These skills can only improve further in practice and hopefully within the Masters degree. Through my learning experience at university I have discovered personal interests within the field of architecture. Using the skills in software, drawing, model making and problem solving I have developed, I hope to one day work on the design of educational environments; a topic I achieved well in within the dissertation module.
I have learned to always display perspectives from a human eye, another criticism I have improved: making internal perspectives within the portfolio the stronger images in both projects. (Above)
Reflecting upon the year I have identified both strengths and weaknesses within my designs and how I have overcome or improved them. I have also met both the studio and personal aims that I wished to achieve. Using feedback I receive from the year I hope to improve my portfolio further; I believe portfolios are life long and I will carry on adding what I learn and create throughout life.
YEAR DESIGN REPORT | A Reflective Account of the Year
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1:500 ELEVATION THROUGH TOWN
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50m
THE LIGHT INSTITUTE
A Photography Institute & Photo-therapy Centre for Richmond, Yorkshire |7|
Both to develop our skills in Photography and Gain an understanding of the Context and Urban Fabric of Richmond, we partook in “Photomapping.� This process taught us how to think analytically about what we are photographing, slowing the process down to maximise the use of our cameras. Adjusting exposure, Shutter Speed and Aperture allowed us to capture Movement, highlight Textures and exaggerate light or Shadow, giving us more control of what we were photographing; combining the themes that would inform our design: Matter and Light.
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PHOTOMAPPING | Ground-scapes & Tapestries, Richmond
PHOTOMAPPING | Site Identity & Approach, Richmond
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Responding to the city context, placement of a towered element in the institute, creates a connection between the Castle and St. Mary’s Church, creating a Beacon for incoming residents and tourists, establishing the institute as a public building.
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SITE ANALYSIS | Responding to Town Context: Connecting Towers
ALL ROUTES LEAD BACK TO MARKET SQUARE
CONNECTING CHURCH, TOWER AND LIGHT INSTITUTE
The Site is identified with a relationship to the Castle and Church with potential for a route through it. These diagrams explore massing strategies and their relationship to the surroundings.
1:500 NOLLI PLAN Scheme Three: Maximum Footprint
MASSING MODEL IN SITE
THE LIGHT INSTITUTE RICHMOND
SITE ANALYSIS | Creating Routes
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MASSING STRATEGIES | Routes and Public Spaces
Each massing model represented different strategies but with element that occurred repeatedly, Creating a route that through people from Market Square, through the site and to the Church through the middle of the masses. Initially this route was very straight, then developed to create tension and direct relationship to the path of the church: Also incorporating levels of the site with ramps.
MASSING STRATEGIES |Key Development Models
The First Mass appeared to be the most successful: Creating an internal, sheltered space away from the main road. A central route from the market Street to the Church and a towered Element to attract the public. This was developed further, stretching and connecting the long mass to “hug� the site and arranging the tower to minimise obstruction of views. Finally it was refined further to allow routes around the site.
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1:1000 NOLI PLAN | Public & Private Buildings and Routes 100m
1:1000 ROOF PLAN | Connections to Urban Fabric 100m
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1:250 GROUND FLOOR PLAN Photography Studios -Lecture & Study - Archives- Social Space-Dark Rooms 5m
Each Studio offers a Unique Light Condition. The first provides complete darkness, allowing for manipulation of artificial light. The second offers diffused light, with the use of U Glass. Research showed that small roof opening provides shallow illumination and wider provides deep penetration of light, two studios are dedicated to this. Finally both window and roof light provides even distribution of light. Each studio is placed to begin with darkness and become increasingly lighter.
As each studio increases in light, the circulation space does the opposite, creating a gradual relationship between “inside” and “outside” spaces. The ground floor is articulated with “medieval” like circulation, weaving in and out of spaces, much like the street-scape of Richmond.
CIRCULATION AND LIGHTING CONDITIONS | Photography Studios & Medieval Circulation
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1:250 FIRST FLOOR PLAN Library - Digital Lab - Cafe- Gallery - Phototherapy Reception 5m
The Photo-Library is Placed above the lecture theatre and computer cluster, looking down upon a double height quiet reading area, creating a relationship with the neighbouring rooms. The stairs within the circulation space are cast from concrete; whilst the lecture theatre steps are made from Timber- both lined up against the U-Glass a transitional relationship between materials is achieved. In addition, silhouettes of activity can be seen through the translucent U-Glass.
TEACHING
INDEPENDENT STUDY
PRINT & DEVELOP
EXHIBIT
LIGHTING THE CORNERS | Varying height and light of spaces; Library & Social Spaces
The library frames a view of the castle, which can also be seen from the ground floor, creating a connection to the History of Richmond. Windows are placed high up on the Northern side to allow for natural reading light, without damaging books.
As the circulation space on the ground floor increases in Light, the height increases, creating a driving force and flow through the building; complimenting the “Educational Journey�.
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FIFTH FLOOR
Group Phototherapy
Phototherapy is a method of counselling using Photographs. It is defined as “A catalyst to deepen insight and enhance communication during therapy or counselling sessions in ways not possible using words alone.� There are several types of Phototherapy, housed in separate rooms within the tower, using: Group Counselling Sharing photographs with others
FOURTH FLOOR
Past and Family Album Phototherapy
THIRD FLOOR Portrait Phototherapy
Family albums Photographs from the past. Self Portraits and Portrait This room is taller, containing a sliding wall to create a longer room, allowing the distance needed to gaze upon something from a distance. Photographs of Objects, landscapes and secondary images (ie. Magazine Clippings.)
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SECOND FLOOR
Secondary Image Phhototherapy
1:250 PHOTOTHERAPY TOWER PLANS 5m
Rotating Form to Provide Views within Counselling Rooms
PHOTOTHERAPY TOWER | Angled to Frame Views to St Mary’s Church, The river, The Castle and Culloden Tower
Stacked Like Boxes with Steel Frame Structure
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According to Research by Ulrich, providing views of Landscapes creates a positive and calming atmosphere. Therefore, within the Phototherapy Counselling Tower, each floor containing a therapy room is angled to face a particular landscaped view. The Second Floor is angled to face St. Mary’s Church, The Third faces Richmond’s famous River Swale with it’s background of greenery. The Fourth Floor frames a view of the Castle in it’s context, with a long wide window. Finally, on the top floor, with the height of the floor being 22m above ground, a view to Culloden Tower and it’s surrounding landscape can be seen, with the window parralel to the angle that the tower faces.
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PHOTOTHERAPY TOWER|Landscape Views Create a Relaxing Atmosphere
PHOTOTHERAPY TOWER | View Up the Tower from Ground Floor
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1:100 SECTION PHOTOTHERAPY TOWER | Circulation, Light, Materiality &Programme 10m
Culloden Tower
Richmond Castle
River Swale
DIAGRAMATIC MODEL OF CIRCULATION | Stairs are designed to provide visitors with view as they arrive on a new floor
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Experimenting with casting gave me a deeper understanding of creating texture within concrete. Using Clay and fibreoptic wires, I created Translucent Concrete inspired casts that allow small amounts of light to shine through. Gluing down a piece of rough cut timber allowed for an imprint to transfer in to the plaster.
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MATERIALITY RESEARCH | Creating Moulds for Plaster and Concrete experiments
Seeing the success of the timber imprint, I researched this further and with inspiration from buildings visited in Tenerife and precedent research, I became interested in using the directionality of the timber boards to create movement.
MATERIALITY RESEARCH | Imprints on Plaster, Texture and Light
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Using various methods of creating molds for plaster, I experimented with imprinting the surface texture of plaster and concrete. Here the use of String and Sand created a “bush hammered� concrete effect, whilst a plastic perforated mould created a bumpy but uniform texture.
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MATERIALITY RESEARCH |String, Sand & Plastic Mould Experiments
Embedding stone into the plaster created a bumpy, Earthy Texture, contrasting against the smooth texture of plaster. Photographing the casts in a controlled lighting environment allowed for the manipulation of highlighting textures and exaggerating shadows, themes from the Photomapping that followed in to the design.
IMPRINTS ON PLASTER | Experiments with Light and Texture using Stone - Timber - Fibre Optics
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Ceramic Store and Studio by Sanbuichi Architects (Left) uses a combination of Timber and Board Formed Concrete on ceiling, floor and wall surfaces; a precedent that became a drying inspiration behind material choice in The Light Institute. The way the directionality of the timber and formwork creates horizontal or vertical movement became fundamental in the design of circulation. PRECEDENTS Botanic Gardens (Left) in Tenerife is a newly built visitors centre. The entrance was lined with board formed concrete, lit from above by what appeared to be a floating ceiling, illuminating the texture. This inspired the underground Archives (right) within the institute , lighting only the circulation spaces from above, highlighting the imprint of the wall and keeping photographs protected in the dark.
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MATERIALITY | Influence and Inspiration on Materiality and Light in Archival Space
Board Formed Cast-Insitu Concrete
Weathered Douglas Fir
U-Glass
These diagrams show how the material of the institute changes as the lighting conditions vary. Dark spaces have cast in-situ walls, whilst Lighter spaces have weathered Douglas Fir Cladding. The transitional elements between these points are constructed from U-Glass.
MATERIALITY LIGHT & PROGRAMME | Axonometric Diagrams of relationships between these elements
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5m
1:50 TECHNICAL SECTION |Showing Activity, Structure, Materiality & Light within the Social Space, Dark Rooms & Digital Lab
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Ventilation Strategy: Using Stack Effect To Drive Ventilation
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Using Concrete as Thermal Mass to Prevent Overheating
ENVIRONMENTAL STRATEGIES | Preventing Overheating using Thermal Mass and Natural Ventilation The Stack Effect can occur within most parts of the Institute, using roof openings to drive warmed air up through the building. Dark Rooms would be Mechanically Ventilated as this is a controlled environment. A Pipe puimping fresh air from the surface to the lower floors would be needed in some spaces. Concrete floors in the tower are used as a thermal mass, absorbing heat during the day and releasing it at night.
Timber Mould to Create Board Form Concrete
Re-Use of Form-work As Weather Douglas Fir Cladding
ENVIRONMENTAL STRATEGIES | Re-Use of Timber Form-work within Building
Combining with Cast In-Situ Concrete to create Seemless Connection
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Underground parts of the Institute are constructed from Board Formed Cast In-Situ Concrete for the continuity, moving with the medieval weaving circulation. Weathered Douglas Fir is used when the building appears above ground and in lighter spaces, this Timber is re-used from the form work and attached to lightweight steel frame studs that sit within the concrete, creating a seem-less connection between the two materials.
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DEVELOPMENT OF PUBLIC BUILDING | Massing, form, Structure and Internal exploration
The Entrance to the Public Gallery is shaped to invite people in, taking people in gently whilst providing shelter before entering the threshold. The Gallery is shaped with two routes that both lead to the cafe; one on the ground floor offers diffused light from above, with flexible wall displays, whilst the other ramps up to the first floor of the cafe. This exhibition is artificially lit , to protect photographs from damage and is thus for more permanent exhibitions.
GALLERY SPACE| Creating routes and movement through the Gallery and providing adjustable light
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10m
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1:100 LONG SECTION |Showing Light, Materiality and Activity within the Archives, Cafe, Exhibition and Phototherapy Tower
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The Cafe-Bar is situated in the “heart� of the site, with several access points and a large external seating area. The idea is that both external and internal routes lead to the this space; both climbing the ramp of the gallery, under the gallery and via steps and ramps externally. The cafe, very much like the exhibition would not just be for all local people to exhibit work or sell their confectionery; creating a very communal spirit. The Artificial Lights within the Gallery Space (far Right Diagrams) Are adjustable to allow for the lighting of any size photograph without damaging it, if it is there for a long time. The top diagram shows the relationship between and process between photographing to exhibiting the work in section.
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CAFE PERSPECTIVE| Materiality, Programme and Light
PRINT EXHIBIT
PHOTOGRAPH
DEVELOP
WHITE CEILING/WALL
LIGHT SOURCE
ADJUSTABLE LIGHT SETTINGS
1:200 SITE SECTION | Photograph - Develop - Print - Display
10m
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1. Mass Hugging Site , Creating Internal Sheltered Space
2. Tower Element to Connect to Towers and Draw in Public
3. Separating building on surface to create Route to Church
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4. Establishing Routes Around Site and From French-Gate. Articulating Building to inform internal Spaces
DESIGN SUMMARY| Dominant Themes and Development through Massing
EXTERNAL PERSPECTIVE | Public Use During Day Showing Cafe, Exhibition, Photo-therapy Tower (Right) & Photography Studios (Left)
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1:200 ELEVATION THROUGH TOWN
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10m
A MATTER OF LIGHT
A Time Capsule Sanctuary for Richmond
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To familiarise ourselves with the context of Richmond, our initial task was to create our interpretation of a group of Richmond houses, in a Monolithic Style. The Group of houses designated were sloping with a very complicated roof-scape. In order to create a more monolithic form I decided to simplify what I could see, my looking at the original group of houses from different perspectives.
USING ROOF CONTOURS TO DETECT SHADOWS AND HIGHLIGHTS
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Initially I simplified it down to highlights and shadows, exaggerating the steepness of highlighted elements of roofs and flattening out shadows (above). The next one changed widths showing change of size with change of perspective. The roof-scape was simplified to create two distinct but joint forms.
MONOLITHS| Re-interpreting Urban Form and Connecting Forms with Context
The simplified roof form showing the group of houses from a sizing perspective was the more successful monolith. To make the form more monolithic, I decided to use one solid material to depict it. Concrete being a solid, heavy material was my initial experiment, (above.) Unfortunately the roof could not be carved. Following the idea of changing perspective, I re-cast the model using wax, a material that appears solid and weighty, when in reality is light and has a warm glowing quality once lit from beneath. (Right). This also allowed the roof to be cared, asif the monolith was carved from the ground.
MONOLITHS| Wax Carved Monolith, Changing Perspectives
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Our initial Site Visit to Richmond, Yorkshire included a visit to Richmond’s Castle. Capturing the light and materiality within photographs and sketches ignited ideas for the concept and use of materiality within the Sanctuary. The deep openings that create a focussed framed view onto the landscape, were influential in the use of thick walls in the design. As well as the way the material is highlighted by the opening; using only natural daylight and creating a metaphysical presence.
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RICHMOND CASTLE | Inspiration from Texture and Thick walls at Castle Visit
I became fascinated with the way corners of surfaces were shaped in a jagged, layered and stacked effect, this Sketch shows the way the natural stone textured and weathered creates a an irregular outline. Creating openings that would highlight the texture of the wall and create shadows, moments of light and complete darkness because the forefront of my design intentions. Instead of using stone alone, I decided to use sandblasted concrete; which reveals the stone aggregate within the mix, using a contrasting material that still incorporates the richness of Richmond’s material.
RICHMOND CASTLE | Light Emphasising Texture of Material and Shadows
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This site was chosen as the best place to build due to it’s relationship with the market square, beautiful Richmond Landscape and possible views of Landmarks such as the Castle. Several routes lead to the site, and with it being just behind the Market Square, it is a short distance from the centre of town. With Culloden being further down the hill, the site being raised on a hill has the opportunity to provide views down to Culloden Tower and it’s surrounding scenery. The footprint of the site allowed for the shaping of public shapes and routes.
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SITE VISIT | Choosing Site Due to Positioning: Close to Market Square with possible views of Castle and Landscape (Shown Left)
The site is ful of a variety of textures and materials, the neighbouring buildings are a variety of stone, brick and concrete., as well as having a dry stone wall and abandoned house on site; leaving room for reuse of both buildings and materials. The entrance to the site immediately had a feeling of invitation to explore and find out what is inside; as showin the the plan, an almost courtyard like space sits at the back of the site.
CHOSEN SITE| Mixture of Textures on existing wall and house & an Invitation to Explore
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The site is tucked away, but the programme for the sanctuary is to be a public building. My initial massing models were about creating enough height to be seen from the Town Square. However, to just “peek above� to create curiosity and therefore attract the public to the site. I wanted to create a building that looked different from every angle, changing the perception of the tower as you walk to it ; a concept taken from the monolith project. The massing models were about creating layers, either vertically or horizontally; inspired by the stacking of stones in the castle.
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MASSING MODEL | Experimenting with Form and Public Spaces
Another reason for creating a tower was to gain enough height to provide views over the surrounding buildings. The diagram on the left shows how I began thinking about providing views to the castle and Culloden tower all on different levels; whilst still keeping the rule s of form I had initially established. By placing the form in the middle of the courtyard space, I began thinking about creating movement around the building and the users journey to the entrance. This lead to thinking about creating an almost “hidden� entrance through the existing house on the site.
DEVELOPING MASSING STRATEGIES| Connections to town Context and Routes through the SIte
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MASSING DEVELOPMENT | Connecting Tower to Town Context
The previous models became very complicated,; and so the simplification process began. The dominant elements within the scheme were: Creating an underground connection in to the tower from the house, providing external and internal views of Culloden Tower and The Castle. This model was still quite unsuitable, as I was thinking of using stone as the building material, shapes such as these would be too complex. This made me begin thinking of using concrete, to allow for more flexibility. I started to divide the mass up in to “future” “present” and “Past” rooms housing each capsule respectively, as indicated by the form and elevation
INTERACTION of MASSING WITH SITE | Visualising public spaces & Creating different View of Tower and Different Angles
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Experimentation with texture and materiality helped me gain an understanding of construction, aesthetics and atmosphere of the Sanctuary. Casting the concrete block above shows how light could emphasise texture that achieved by formwork. The stony texture was very successful and inspired the idea of using sandblasted concrete for the final design.
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MATERIALITY EXPERIMENTS| Casting Concrete Textures
We drew 1:5 Sections showing construction, materiality and atmosphere of an internal space. I chose to cut through where the past time capsule would be placed, “a room for reflection”. I wished to create seating within thick walls of the tower, making the user feel surrounded by the heavy stone, almost like a cave. Development of this is shown belowcreating contrasting texxtures inside and out.
ATMOSPHERE AND MATERIALITY SECTION | Experimenting with mixed media to portray “wall seat”
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Peter Zumthor’s Chapel (Left) was influential in the shaping and use of light in the sanctuary. Thick gravity walls anchor the tower down whilst providing space for seating, desks and shelving within the walls. The tower increases in Light as you climb higher, whilst matching the functions of each room. A single light beam shines down one half of the tower in to the past time capsule room, a “room for reflection” highlighting the surface of the wall, similar to the chapel.
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INSPIRATION FROM PRECEDENTS| Peter Zumthor’s Bruder Klaus Chapel
Inspired by Herzog and De Meuron (left) I decided to use sandblasted Concrete, as the existing wall on the site would be demolished, I would re-use this stone as the aggregate, and this would be revealed once sand-blasted, connecting to the town’s use of material.. This gave the opportunity of creating a relationship between matter and light.
CHOICE OF MATERIALITY | Sandblasted Concrete using Recycled stone Aggregate from the Site- Inspired by Schaulager by Herzog and De Meuron (Left)
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Creating Route Around Building
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Moving to Maximise Sun
Making Point of Sun a Larger Space
Creating Tension in Entrances/Exits
As development continued, I began to think further about the circulation around the site as well as the internal spaces. By keeping the stairs central, there is a constant view in to the triple height space. The diagram (left) shows how I resolved the shape of the building to create tension and a “sun spot� to create a more inviting route and a place to pause or sit. I began to simplify the design down to the basic elements I had established and incorporated a programme: ordered to match the light qualities of each space. The Light increases as the tower gets taller.
MODEL DEVELOPMENT | Experimenting with Internals & Programme
1:50 SECTIONAL MODEL |Transition from Dark Underground to Light Top Floor Space.
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VIEWS AND CONTEXT | Diagram of which spaces provide Certain Views: Culloden Tower, Castle and Market Square
1:1000 FINAL ROOF PLAN | Routes to site and relationship with town context
100m
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|64| 1:100 PLAN | UNDERGROUND Audio Visual Shrine to the Drummer Boy 10m
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1:100 SECTION | Activity Materiality & Light within all spaces of the Sanctuary
10m
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1:100 PLAN |GROUND FLOOR Entrance and public Time Capsules & Past and Future Time Capsule 10m
PAST & FUTURE TIME CAPSULES | A Room for Reflection
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The Past Time Capsule is located in the floor, to Keep it safe and allow for people to look down upon it in Reflection: Thus the room is named the “Room for Reflection.” As Shown above, a single beam of Light Shines Down, highlighting the Texture of the Sandblasted Concrete and revealing the Stone- Creating a metaphysical presence. The Future Capsule is Located in the Wall, within an “Exhibition Window”, lit with North Light.
SECOND FLOOR |Book Exchange
FIRST FLOOR | Archives
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1:100 PLANS 10m
BOOK EXCHANGE | A Space For the Public to Leave or Take Books for Free
Following from the theme of the Time Capsules - leaving an item behind, this space allows for people to leave or take books of any kind for free, or to simply sit and read. The deep walls allow for shelving and Window Seats to sink in to the wall. The timber used for shelving is recycled from the Form-work.
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FOURTH FLOOR | Office Mezzanine
THIRD FLOOR | Time Capsule Workshop
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1:100 PLANS 10m
TIME CAPSULE WORKSHOP & OFFICE | A Space to Build Your Own Time Capsule
The Workshop contains tools and Materials to Build Your Own Time Capsule Box, which is then Stored and Kept Underground in the “Personal Time Capsule” Wall. This area is Staffed and so a Mezzanine Office is placed above. Both Floors have External Access to A Balcony that Provides Views to Culloden Tower (As Shown Above). At this height, Both Rooms also Provide Views of The Castle & Market Square.
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Window Desk
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Window Seat
Small Exhibition Box
Large Exhibition Box
WINDOW CATALOGUE | Desk - Seat - Exhibition
As you climb up the staircase of the sanctuary, you can look down upon the triple height space that houses the Past Time Capsule. Within the wall opposite, Exhibition Windows are placed with personal items that are valuable to the residents of Richmond. This matches the idea of leaving behind Time Capsules underground for yourself or family to open up one day in the Future. There are only four types of Window that make up the facade of the Sanctuary. (Left Page) The Exhibition Windows have two sizes as shown on the page opposite. They are shaped to channel the light through the box to illuminate the object inside. They can also be artificially lit at night. Desk and Seat Windows also line the walls on several floors, providing the office and workshop with views, a place to sit and write and also daylight.
EXHIBITION BOX| Perspective of Exhibition Window seen from the Archival floor
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Entering Buillding Through Existing House
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Entering Building Through Ground Floor
CIRCULATION DIAGRAMS | Two Entrances to the Building Provide Different Routes and Experiences of Building The Staircase on the ground floor acts as a barrier between the two rooms, the Past Time Capsule Room being Slightly raised, this creates new opportunities for Routes, similar to the streets of Richmond. The Diagram On the Right Shows an alternative entrance on the Ground Floor, Circulating through the Tower and Leaving Via the Underground: Where they would place their newly made Capsule.
Mezanine Office & Material Store
External Balconies: Views to Culloden Build Your Own Time Capsule Workship Free Book Exchange
Walk-in Archive & Office
Future Time Capsule Room Past Time Capsule Room: Room for Reflection Audio/Visual Shrine to Drummer Boy Public (Personal) Time Capsule Store
Activities In Building Correlate to Activity
Frequency and Size of Openings Increase as Tower Rises
PROGRAMME DIAGRAM & EXTERNAL CIRCULATION | Programme in Relation To Openings of Facade The Programme Matches the Light Qualities of the Tower. Public As the Walls get Thinner, the Rooms get progressively Lighter, Time Capsules and Archives need protection and thus are on the lower, darker grounds, placed in walls and in the ground. Tne Archives, Book Exchange and Workshop respectively increasing in Light to in order to function.
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1. Creating Tower that Can be seen from Square
3. Creating Public Space Around Tower
5. Establishing Underground Connection with Existing House
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2. Changing Shape of Tower to Create Tension
7. Creating Mezzanine Level, integrating programme and Articulating Roof
4. Moving tower to Allow for External Spot
6. Creating Balcony to provide View to Culloden
DESIGN SUMMARY | Diagramatic Over-view of Design Decisions
EXTERNAL PERSPECTIVES| Route To site and View of Tower from Distance to Attract Public
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CHARRETTE WEEK & THINKING THROUGH MAKING Designing Flat-pack Cardboard Furniture for VAMOS Festival Experimenting with Casting Textured Plaster and Concrete
Dimensions
1100
To Aid the Quick and Flexible furnishing of VAMOS pop-up festivals, we were asked to design flat-pack furniture from reinforced Cardboard. We designed a multi-functional element that could be stacked and transformed in to various furnishings. Our Ikea Inspired manual shows how the cross module is constructed and used as a chair, storage, shelves, desks or bars. The idea was for it to be cheap, easily recyclable and transportable; Vamos festivals pop up around the country for only a few days, providing music, food and drinks.
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ASSEMBLY MANUAL| Simple Carboard Flat Pack Furniture for VAMOS festival
FINAL DISPLAY | Our 1:1 Demonstration Chair and “Admin” Room Example
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FILM / SOCIALISING
A
The Versatility of the the Cross or “Cruz” shapes (inspired by the Latino origins of the festival) allows from them to be stacked both vertical (right) and flat (far page) . The reinforcement means that it is strong enough to take human and object weight. Here three scenarios are depicted that often occur within Vamos Festivals : Cinema/Private Film Booths Wine Bar Office and Admin By flipping the Bar Tables, a private booth can be created for Films. Rotated back again and combined with the cross storage system, a wine rack and thus bar is created. Final used in an ordinary manner, the chairs and tables can be used and joined together for meetings for any number of people; creating an office space for festival workers to plan the festival within.
Our original concept was to create one single block that could be mult hub. We were tasked with focusing on the admin role of the Key to our design process was for the unit to be quickly
‘Cruz’ translates to ‘Cross’ in Spanish, which reflects the cross shape d about, stacked and rotated t |82|
DESIGN IN-USE EXAMPLES | Showing the Versatility of the “Cruz” Furniture Design
Stac Stacked together, the individual crosses can be used as a flexible she form the support for tables. Placing the cross upright with the top fi supply for events, film screenings and comm
DESIGN IN-USE EXAMPLES | Film, Wine Bar, Office and Storage
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CASTING WITH PLASTER | Experiments with Netting, Wire and Latex
The Casting Workshops taught us how to make quick setting Concrete using PVA Glue and Plaster within the mix; this made the concrete set within 15 minutes. We experimented with many types of textures, Rock, slate, Wire, String and using Latex to pour plaster and cast. The final outcome was a cityscape concreteblocks. This was useful for both projects this year as much of the inspiration for materiality came from photographing casts, to manipulate the exposure of the texture upon surfaces.
CASTING WITH FAST SETTING CONCRETE | Embedding Rocks and Stones to Create Textures and Patters
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