WORK / LIFE JUNE 2017 PROJECT ORANGE
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INTERTWINED NARRATIVES: PEOPLE + PLACE
IN OUR HOUSE
A SHORT STORY ABOUT A CARPET
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128/PAGES CATALOGUE. PROJECT ORANGE ARCHITECTURE & DESIGN
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POSTING IDEAS
“Designers who become creative innovators have all found a way to second-order learning: a process of observing themselves as learners and taking charge of the curation of themselves as learners� Leon van Schaik
PO box 1
“Architects need to give their tacit working design methologies a voice, this involves stepping back from design and looking critically at what they do, articulating their particular ways of working and analysing their tactics.� –Kester Rattenbury, Architectural Review, 2014
Tutti frutti, manchester
THE COPYRIGHT DESIGN AND PATENTS ACT 1988 THIS DRAWING IS THE COPYRIGHT OF PROJECT ORANGE Ltd AND MUST NOT BE COPIED OR REPRODUCED, IN WHOLE OR PART, BY ANY METHOD WHATSOEVER, WITHOUT THE PRIOR WRITTEN APPROVAL OF PROJECT ORANGE Ltd NOTES
UP
ALL SETTING OUT MUST BE CHECKED ON SITE ALL LEVELS MUST BE CHECKED ON SITE ALL DIMENSIONS MUST BE CHECKED ON SITE DO NOT SCALE FROM THIS DRAWING THIS DRAWING MUST NOT BE USED ON SITE UNLESS ISSUED FOR CONSTRUCTION
Unit 2 2bed total area = 100m2 Unit 3 1bed total area = 65m2 UNIT 3
Unit 4 3bed total area = 102m2 UNIT 2
4m
Unit 5 3bed total area = 121m 2
4m
UNIT 5 UNIT 4 private terrace to unit 4 3.4m
SECTION 1
3.2m Date
Init.
Revision
PROJECT ORANGE 2nd Floor Block E Morelands, 5–23 Old Street, London EC1V 9HL t 020 7566 0410 f 020 7566 0411 Project URBAN SPLASH TUTTI FRUTTI BOOKEND
Drawing PROPOSED 7APTS SCHEME THIRD FLOOR PLAN
Drawn HW
Date 03.06.08
Job No.
Drg. No.
0805
103
Scale 1:100 @ A3 1:50 @ A1 Rev.
THE COPYRIGHT DESIGN AND PATENTS ACT 1988 THIS DRAWING IS THE COPYRIGHT OF PROJECT ORANGE Ltd AND MUST NOT BE COPIED OR REPRODUCED, IN WHOLE OR PART, BY ANY METHOD WHATSOEVER, WITHOUT THE PRIOR WRITTEN APPROVAL OF PROJECT ORANGE Ltd NOTES ALL SETTING OUT MUST BE CHECKED ON SITE ALL LEVELS MUST BE CHECKED ON SITE ALL DIMENSIONS MUST BE CHECKED ON SITE DO NOT SCALE FROM THIS DRAWING THIS DRAWING MUST NOT BE USED ON SITE UNLESS ISSUED FOR CONSTRUCTION
UNIT 7
private terrace to unit 6 (behind)
UNIT 5
private terrace to unit 5
UNIT 4
UNIT 1 private terrace to unit 1
Date
Init.
Revision
PROJECT ORANGE
commercial space
2nd Floor Block E Morelands, 5–23 Old Street, London EC1V 9HL t 020 7566 0410 f 020 7566 0411 Project URBAN SPLASH TUTTI FRUTTI BOOKEND
Drawing PROPOSED 7 APTS SCHEME SECTION 1
Drawn HW
Date 03.06.08
Job No.
Drg. No.
0805
200
Scale 1:100 @ A3 1:50 @ A1 Rev.
THE COPYRIGHT DESIGN AND PATENTS ACT 1988 THIS DRAWING IS THE COPYRIGHT OF PROJECT ORANGE Ltd AND MUST NOT BE COPIED OR REPRODUCED, IN WHOLE OR PART, BY ANY METHOD WHATSOEVER, WITHOUT THE PRIOR WRITTEN APPROVAL OF PROJECT ORANGE Ltd NOTES
Unit 1 2bed 2 total area = 101m
ALL SETTING OUT MUST BE CHECKED ON SITE ALL LEVELS MUST BE CHECKED ON SITE ALL DIMENSIONS MUST BE CHECKED ON SITE DO NOT SCALE FROM THIS DRAWING THIS DRAWING MUST NOT BE USED ON SITE UNLESS ISSUED FOR CONSTRUCTION
Unit 2 2bed 2 total area = 100m Unit 3 1bed 2 total area = 65m Unit 4 3bed 2 total area = 102m Unit 5 3bed 2 total area = 121m Unit 6 3bed total area = 120m Unit 7 3bed 2 total area = 129m
Date
Init.
Revision
PROJECT ORANGE 2nd Floor Block E Morelands, 5–23 Old Street, London EC1V 9HL t 020 7566 0410 f 020 7566 0411 Project URBAN SPLASH TUTTI FRUTTI BOOKEND
Drawing PROPOSED 7 APTS SCHEME 3D MASSING
Drawn HW
Date 03.06.08
Job No.
Drg. No.
0805
000
Scale NTS
Rev.
Theory by design conference
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–Johnny Appleseed
THEORY BY DESIGN CONFERENCE / OCTOBER 2012 ANTWERP
LEARING FROM THE REAL
3 Cut away section and birds eye plan view, Hoxton Hotel, London.
1 PO Box cover. 2 Project Orange studio, London.
2
ment of individual students rather than a list of core skills. This shift changes the paradigm of gaining knowledge through training, to a broader sense of education as a personal journey. Thus the responsibility for an individual to navigate the map of architectural education is critical to their own identity. However, a funny thing seems to happen when students come to take their final professional exams (in UK it is after two years in practice with further course work fitted in around this), where they become so focussed on becoming a professional they discard their formative education. This is the hinge point where theory succumbs to practice. Our aim was to invite staff to re-connect with discourse through reflection and critical analysis which we recognise is not something that always sits easily within practice.
often wordy prose justifying increasingly complex geometries. However towards the millennium the appetite for theoretical justification seemed to become polarised between the Academy and the Profession. When we set up practice in we felt a great deal of pressure to define ourselves. In terms of our academic peer group this meant through adopting a theory or position. Yet looking at the modest work we were engaged in we soon decided to do the opposite and to just start designing – often intuitively – to see what happened. This led to a surge of creativity and to some extent a relief at being able to start again. Taking this break was a strategic move that allowed the rhetoric of theory to be replaced by the language of design. As a practice we realised we were interested in a broad spectrum of architecture and design opportunities, and while we saw our contemporaries often specialising in certain sectors, for instance schools or residential, we committed ourselves to be as eclectic as possible in our experimentation and research. Early on we decided that we would treat each project on it’s own terms, and to account for them as stories or narratives. This vehicle allowed for a freedom of expression without dogma, and yet required the architecture to be coherent and accountable. It was not so much that there was a lack of motive, framework or ideology; it was more that there was a resistance
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A Theory of Theory As a student at Cambridge during the ’s there was no shortage of available theories. While post-modernism was running its course there were signs of a new, fragmented architecture that was driven by the AA in London and the MOMA Deconstruction Show in New York. New forms and new ideas, often following on from the field of literary criticism, led to lengthy and
1
440
3
and even fear, to make connections between projects in case the absence of a common thread, or style even, suggested an absence of rigour and intellectual provenance.
PO Box The decision to interrogate our own work came at a time of global financial crisis and although we were busy enough, we felt it would be an opportunity to invest in a piece of research. We were interested to see whether we could develop a cohesive document whose authorship was genuinely collective while holding up a critical mirror to the practice. We had no idea at the outset what the result would be other than a series of essays. Yet even though the content had not been written, there was a sense in which the very act of pushing this line of enquiry in itself was a valid intellectual process asking the question; “Why do we do what we do?”. Coming as it does from the inside, it would initially appear that the answer should be clear. Yet implicitly it challenges the orthodoxy of authorship and how the act of reflection might reveal new insights into the process of design. Initially there was some resistance from the staff who saw 441
it as an extra-curricular chore, and some said it was like being back at school again, which in some ways was intentional. In order to establish some kind of critical distance, after agreeing the general topic of research with each member of staff, I involved Dr Matthew Barac, himself a teacher of theory, to provide some mentorship and to edit the work. This collaboration proved very fruitful and staff responded positively to having an outsider discuss and help shape their views. In order to unpack the process further I propose to examine three case studies.
Part 2: Case Study 1/Inside the Box by Barry Stirland This essay questions the nature of architecture when constrained by the tight parameters of an interior brief, in this case a sqm hotel room. (fig. ) Project Orange had been asked to develop a concept room for a fashionable hotel in London looking to expand its brand. Our own winning presentation had been in the form of a magazine,
PO box 2
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Zone, India
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THE BAZAAR DOWN
BAR
POOL
LOBBY
EXTERNAL ENTRANCE
BANQUETING
EXTERNAL ENTRANCE
WC
BANQUETING
IN
PRE-FUNCTION/ MEDIA LOUNGE BAR
READING LIBRARY
KITCHEN
SPECIALITY RESTAURANT
LOUNGE
LED SCREEN
FLEXI-LOUNGE
WC
ILLUMINATED WALL
GAMES
MEETING WALL
LOUNGE BAR
LOCAL EXPERTS
WELCOME TO THE ZONE
DJ
DJ AQUA BAR/ LOUNGE
GYM
INFORMATION
MULTI-FUNCTION
LOBBY
CONCIERGE
RESTAURANT
LOBBY
GREEN
INTERNET
CURATED BOARD
BUFFET COUNTER
beauty flash
CORE
TERRACE
WC KITCHEN WC
SPA
LED SCREEN
CORE
POOLSIDE CABANAS
UP
BOH
BOH
WC/ CHANGE
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NOTE: DRAWING INDICATIVE ONLY ALL STRUCURE, CONSTRUCTION & FINAL LAYOUTS TO BE DEVELOPED LOCALLY.
BLUEPRINT ZONE LAYOUT To be adjusted to suit site
Blueprint update
06.01.14 Date
EE Init.
A Revision
1st Floor, Cosmopolitan House 10A Christina Street, London EC2A 4PA T: +44 (0)20 7739 3035 F: +44 (0)20 7739 0103 www.projectorange.com Drg. No.
Rev.
120 BY THE PARK
A
Project
1206 ZONE HOTEL INDIA Drawing
GENERIC BUILDING FACADE SHORT ELEVATION Job No.
Drawn
Date
1206
EE
10.12.2013 1:100 @ A3
Scale
THE COPYRIGHT DESIGN AND PATENTS ACT 1988 THIS DRAWING IS THE COPYRIGHT OF PROJECT ORANGE Ltd AND MUST NOT BE COPIED OR REPRODUCED, IN WHOLE OR PART, BY ANY METHOD WHATSOEVER, WITHOUT TH PRIOR WRITTEN APPROVAL OF PROJECT ORANGE Ltd NOTES
ALL SETTING OUT MUST BE CHECKED ON SITE ALL LEVELS MUST BE CHECKED ON SITE ALL DIMENSIONS MUST BE CHECKED ON SITE DO NOT SCALE FROM THIS DRAWING THIS DRAWING MUST NOT BE USED ON SITE UNLESS ISSUED FOR CONSTRUCTIO
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Barnes, London
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N
LY RI C
RO
SE
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AD
ST
AN
NS
RO
AD
AD
M
EL R
O
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RN ES
HIG HS
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58 BARNES HIGH STREET LONDON, SW13 9LF SITE PLAN
N
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58 BARNES HIGH STREET LONDON, SW13 9LF GROUND FLOOR PLAN
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Shoreham Street sheffield
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PROJECT ORANGE Residential Bin Store
1200
2
1270x1000 [1100 litres]
1265x750 [660 litres]
Commercial Bin Store
8 Person lift 1100 x 1400 mm
(Part M min. requirements)
1
APPROX. FLOOR AREAS:
Residential Bicycle Store Commercial Bicycle Store
1265x750 [660 litres]
1500 x 1500 mm unobstructed turning space
1500
MAIN ENTRANCE
B1 UNIT 1: 91 SQ M
192 SHOREHAM STREET SHEFFIELD, S1 4SQ
1270x1000 [1100 litres]
B1 UNIT 2: 156 SQ M PROPOSED PLANT WELL FOR AIR SOURCE HEAT PUMPS
B1 UNIT 3: 91 SQ M B1 UNIT 4: 183 SQ M
3724
NOTE: OPTION AVAILABLE TO COMBINE UNITS 1&2 AND 3&4, TO CREATE TWO LARGER B1 UNITS PROPOSED LINE OF POSSIBLE SUBDIVISION BETWEEN UNITS
PROPOSED GROUND FLOOR
1500 x 1500 mm unobstructed turning space
(Part M min. requirements)
8 Person lift 1100 x 1400 mm
SOLAR WATER HEATING PANELS
PROPOSED ROOF PLAN
4
1200
3
GREEN ROOFS
PROPOSED LINE OF POSSIBLE SUBDIVISION BETWEEN UNITS
PROPOSED FIRST FLOOR
A
1500 x 1500 mm unobstructed turning space
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C
B
1500 x 1500 mm unobstructed turning space
8 Person lift 1100 x 1400 mm
(Part M min. requirements)
8 Person lift 1100 x 1400 mm
(Part M min. requirements)
5
6
7
–Johnny Appleseed
PROPOSED SECOND FLOOR
PROPOSED SECOND FLOOR
OPTION 1 (RESIDENTIAL)
OPTION 2 (B1)
C
A
APPROX. FLOOR AREAS:
1500 x 1500 mm unobstructed turning space
8 Person lift 1100 x 1400 mm
DUPLEX A: 132 SQ M (70+62)
(Part M min. requirements)
B
APPROX. FLOOR AREAS: B1 UNIT 5: 132 SQ M (71+61)
DUPLEX B: 127 SQ M (67+60)
B1 UNIT 6: 128 SQ M (69+59)
DUPLEX C: 196 SQ M (103+93)
B1 UNIT 7: 201 SQ M (108+93)
NOTE: OPTION AVAILABLE TO EITHER HAVE 3 DUPLEX OFFICE UNITS OR 6 SEPARATE OFFICE UNITS (3 ON EACH FLOOR)
PROPOSED THIRD FLOOR
PROPOSED THIRD FLOOR
PROPOSED FLOOR PLANS SCALE 1:150 @ A1
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Nedous hotel, Srinagar, india
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Layout and mechanical requirements TBC
Covered entrance from Alfresco
Entrance from Pool
POOL CHANGING & WCS ALFRESCO DINING
LUGGAGE STORE
Mechanical requirements TBC
PANTRY / BOH
New beamed ceiling
GM OFFICE
SMOKING ROOM
RECEPTION WCs
24HR RESTAURANT
POT WASH / BOH
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SPECIALITY RESTAURANT
PANTRY / POT WASH / BOH
FAMILY LOUNGE
BAR DISPLAY KITCHEN
PRIVATE DINING ROOM
FOR COMMENT ONLY WORK IN PROGRESS
ENTRY
Bag Scanning New beamed ceiling Arches created between columns
–Johnny Appleseed SUBMISSION - LIGHTING DESIGNER 07.07.15 CHANGES - CLIENT MEETING 07.04.14 Date
HR HR Init.
B A Revision
External lighting to Architect's specification
1st Floor, Cosmopolitan House 10A Christina Street, London EC2A 4PA T: +44 (0)20 7739 3035 F: +44 (0)20 7739 0103 www.projectorange.com Drg. No.
Rev.
SK06.1
B
Project
MY FORTUNE HOTEL SRINAGAR, KASHMIR Drawing
HERITAGE BUILDING GROUND FLOOR PLAN Job No.
Drawn
Date
Scale
1310
HR
JUNE 2014
1:250 @ A3 1:125 @ A1
THE COPYRIGHT DESIGN AND PATENTS ACT 1988 THIS DRAWING IS THE COPYRIGHT OF PROJECT ORANGE Ltd AND MUST NOT BE COPIED OR REPRODUCED, IN WHOLE OR PART, BY ANY METHOD WHATSOEVER, WITHOUT THE PRIOR WRITTEN APPROVAL OF PROJECT ORANGE Ltd NOTES ALL SETTING OUT MUST BE CHECKED ON SITE ALL LEVELS MUST BE CHECKED ON SITE ALL DIMENSIONS MUST BE CHECKED ON SITE DO NOT SCALE FROM THIS DRAWING THIS DRAWING MUST NOT BE USED ON SITE UNLESS ISSUED FOR CONSTRUCTION
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Chelsea flower show
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1st Floor, Cosmopolitan House 10A Christina Street, London EC2A 4PA T: +44 (0)20 7739 3035 F: +44 (0)20 7739 0103 www.projectorange.com Drg. No.
Rev.
WD024 Project
GLOBAL STONE 1312 RHS CHELSEA FLOWER SHOW Drawing
HIMALAYAN ROCK GARDEN COLUMN 3D VIEW Job No.
Drawn
Date
1312
OW
20.01.2014 1:20 @ A3
Scale
THE COPYRIGHT DESIGN AND PATENTS ACT 1988 THIS DRAWING IS THE COPYRIGHT OF PROJECT ORANGE Ltd AND MUST NOT BE COPIED OR REPRODUCED, IN WHOLE OR PART, BY ANY METHOD WHATSOEVER, WITHOUT THE PRIOR WRITTEN APPROVAL OF PROJECT ORANGE Ltd NOTES
Columns at Baijnath Temple, India
ALL SETTING OUT MUST BE CHECKED ON SITE ALL LEVELS MUST BE CHECKED ON SITE ALL DIMENSIONS MUST BE CHECKED ON SITE DO NOT SCALE FROM THIS DRAWING THIS DRAWING MUST NOT BE USED ON SITE UNLESS ISSUED FOR CONSTRUCTION
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–Johnny Appleseed STRUCTURAL DESIGN TO BE RESPONSIBILITY OF CONTRACTOR
1st Floor, Cosmopolitan House 10A Christina Street, London EC2A 4PA T: +44 (0)20 7739 3035 F: +44 (0)20 7739 0103 www.projectorange.com Drg. No.
Rev.
WD017 Project
GLOBAL STONE 1312 RHS CHELSEA FLOWER SHOW Drawing
HIMALAYAN ROCK GARDEN Structure Isonometric 2 Job No.
Drawn
Date
1312
OW
17.02.2014
Scale
THE COPYRIGHT DESIGN AND PATENTS ACT 1988 THIS DRAWING IS THE COPYRIGHT OF PROJECT ORANGE Ltd AND MUST NOT BE COPIED OR REPRODUCED, IN WHOLE OR PART, BY ANY METHOD WHATSOEVER, WITHOUT THE PRIOR WRITTEN APPROVAL OF PROJECT ORANGE Ltd NOTES ALL SETTING OUT MUST BE CHECKED ON SITE ALL LEVELS MUST BE CHECKED ON SITE ALL DIMENSIONS MUST BE CHECKED ON SITE DO NOT SCALE FROM THIS DRAWING THIS DRAWING MUST NOT BE USED ON SITE UNLESS ISSUED FOR CONSTRUCTION
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Summer House, Moscow
1 2 3
PORTAL SCULPTURE
3 2 1
FEATURE WALL 0.000
Steps up onto raised deck
Steps up onto raised deck Gate D.SG.06 W.SG.05 D.SG.09
W.SG.04
R.SG.06
VIEW
W.SG.10
D.SG.05
D.SG.04
R.SG.04
-0,150 0,000
W.SG.03
R.SG.05
FRUIT TREES/ CUTTING GARDEN
FORMAL GARDEN W.SG.06
D.SG.03
W.SG.02
D.SG.02
CHILLERS/ BIN STORE
R.SG.03
11 10 9 8 7 6 5 4
-0.500 Steps down from deck
3 2 1
INFORMAL DINING
-0,150 0,000
3 2 1
Steps up onto deck
0.000
D.G.16
1
2
3
-0.500
3
D.SG.07
0,000 0.000 Step down from -0,100 corridor
2
-0,150 0,000
3 2 1
1
2
8 7
W.SG.19
3 2 1
R.SG.01
2 1
SERVICE/ STORE
24 D.SG.08
3
Steps up to deck 3
3 3
15 14 13 12 11 10 9
W.SG.07
TIMBER DECK
0,000 -0,100
16 17 18 19 20 21 22 23
R.SG.07
0.000
R.SG.02
15 14 13 12 11 10 9 8 7 6 5 4 3
1 2
W.SG.01
-0,300 -0,520
D.SG.01
15 14 13 12 11 10 9 8 7 6 5 4 3 2 1
CONTEMPORARY ASIAN GARDEN
GARAGE W.SG.08
1
-0.300
3
-0,300 -0,450
ENTRANCE
1
2
2 3 4 5 6 7 8 9 10 11 12 13
0,000 -0,100
1
VIEW
Steps up onto deck
TREE & SWING SEAT
YARD
BASKETBALL HOOP LAWN -0.400
-0.500
3
DRIVEWAY
VIEW
-0.335 -0.500
1
ENTRANCE GARDEN
PLAY AREA GATE
VIEW
VIEW
SCULPTURE VIEW -0.500
OUTDOOR KITCHEN
2
Step up to yard
GATE
Secondary Entrance Hall Kitchen / Diner
Food prep area / store
Cloakroom
Garage
WC Dining room
Hallway
Family Room
Study
Entrance / stair hall
Living room
Under -stairs cupboard
Bathroom En-suite
Driver / Staff / Guest accomodation
Bedroom
Bedroom 2
En-suite
Bedroom 1
Dressing room Master En-suite
Hallway Master bedroom En-suite
Bedroom 3
Games room
Terrace
Rathbone market, London
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tre aS
on
tre yS
ar M
M et Av yC iar
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et
e
los
ad
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Ma ud
g kin
r Ba
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Bywell Place
A13
–Johnny Appleseed N
Phasing Plan 0
10
20
30
40
50
Phase One - Vermillion - CZWG Phase Two - Aurelia - CZWG Phase Three - Lumire - Project Orange
HAM
NEW
WAY
et
N
SOU TH N ATIO
LEV
ST E WE
SCALE BAR: 0
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2
4
6
8
10
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Moscow office
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Key
Relative difference from current proposal
Retail
+ 221m2
WC's
Light wells bring natural light into the building
Line of security
Technical areas located off a private corridor with external access
New skin built around adjoining building to align with main warehouse. Cladding to suit elevation.
Office
- 304m2
Cafe/Catering
- 67m2
Tech Area
+ 16m2
Machine rooms relocated next to adjoining building. One room will replace the enclosed office unit.
Larger retail units placed either side of the entrance
Option for secondary entrance created to improve access from car park
“Type a quote here.”
110 A
Entrance
110 A
N
0
10m
Issued for Comment Issued for Comment
20m
10/01/14 14/01/14
BGS BGS
A
Office reorientated to mirror the other corner
–Johnny Appleseed The cafeteria is split in two to accent the two distinct structural orders of the original building
Date
Init.
Revision
1st Floor, Cosmopolitan House 10A Christina Street, London EC2A 4PA T: +44 (0)20 7739 3035 F: +44 (0)20 7739 0103 www.projectorange.com
Additional access to internal street created on the south facade
Lift shafts orientated to address both entrances
Informal shared meeting area
Drg. No.
Rev.
100
A
Project
MOSCOW OFFICE Drawing
PROPOSED PLAN GROUND FLOOR
Public
Private
Job No.
Drawn
Date
1313
BGS
12.12.13
Scale
1:500 @ A3
THE COPYRIGHT DESIGN AND PATENTS ACT 1988 THIS DRAWING IS THE COPYRIGHT OF PROJECT ORANGE Ltd AND MUST NOT BE COPIED OR REPRODUCED, IN WHOLE OR PART, BY ANY METHOD WHATSOEVER, WITHOUT THE PRIOR WRITTEN APPROVAL OF PROJECT ORANGE Ltd NOTES ALL SETTING OUT MUST BE CHECKED ON SITE ALL LEVELS MUST BE CHECKED ON SITE ALL DIMENSIONS MUST BE CHECKED ON SITE DO NOT SCALE FROM THIS DRAWING THIS DRAWING MUST NOT BE USED ON SITE UNLESS ISSUED FOR CONSTRUCTION
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PO box 3
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3
1. STYLE
INTRO “What is architecture if it is not alchemy? Take base materials: stone, wood, sand, water, metal and, following a set of cryptic instructions, impenetrable to common folk, turn it into a dwelling. No wonder then, that masonry is not just the art of constructing buildings, both rather a guardian of arcane secrets, passed down orally from time immemorial. […] Setting out to transmute base metals into gold, alchemists promised not mere buildings but boundless riches, eternal youth and a universal solvent.” Leigha Dennis
I came across this quote a few weeks ago while preparing for some teaching, and in the back of my mind was something my wife had said to me earlier that morning:“Isn’t it funny that we have these rectangles, designated spaces that we come back to every day. Sometimes we go outside for a bit, or visit other people’s rectangles for a while, but then we come back to our own.” My wife is a sculptor and we think differently. This is a good thing. And of course she is right; when you think past the practicalities and efficiencies, beyond the human habitual nature, it is quite funny. That is why I am so fascinated by people and (their) space; the relationship is incalculable and immeasurable. I find delight in the indeterminacy, in the intangibility and the complexity. For me the reward and satisfaction comes from learning about things, and starting conversations rather than projecting solutions. This is exactly what PO BOX is about: not just starting focused conversations but poking the beast, irritating the oyster, cultivating unique thought and expression from their mighty young workforce. This kind of research is more about vaccination than it is about cure and the practice of architecture needs a much more regular dose!
2. DEBATE
3. STANDARDS
4. VISUAL CUES
5. TECH/FUTURE
6. SOCIETY
Gem Barton
7. PROFESSION
CONTENTS Framing Windows Christopher Ash
4
Don’t Think. Feel Guido Vericat
10
A Tale of Two Planning Committees Jamie Hughes
14
Heritage Pasts & Presents Rachael Moon
18
Back of Beyond Ian Ritson
24
Does Size Matter? Barry Stirland
28
Spaced Out Thomas Bend
34
Colour Alesia Sirokina
40
A Stream of Visual Consciousness Ruth Silver
46
Growing Up Emma Elston
50
“Avon Calling!” Tom Partridge
56
Home Away From Home Holly Rees
60
Home/work Billy Sinclair
64
Do It Yourself Josh Piddock
68
Home Truths James Soane
74
22
IR
BACK OF BEYOND Ian Ritson
23
As the price of land has increased over the preceding decades in London many backland or infill sites that were once financially unviable have become ripe for development. These backland sites are often challenging to develop but as many emerging and established London based architects are demonstrating these sites offer a rich source of opportunities for contemporary architectural expression, which can enrich the context as they react, respond and emerge from their unique physicality. In this short piece I would like to explore why these developments are of interest to architects and why architects are best placed to design buildings for these sites. Trail blazers such as the architectturned-developer Roger Zogolovitch of Solidspace explains in his recent book ‘Development as Art’ how he will wander the streets of London looking for these backland sites, which often have an interesting history. At times these left over sites are products of societal shifts. For example in the nineteenth century the most prevalent housing type was the terrace to the exclusion of all other housing types. When Victorian developers constructed rows of terraced houses there would often be small offcuts of land where two rows would meet at an awkward angle. It wasn’t worth the builders’ time to think of a way to use this land and therefore it was simply left, often being filled by single story jerry-built buildings used as garages or for industry. These developments are in contrast to other large-scale regeneration projects being carried out in London such as the 2012 Olympic Park, which involve wholesale site clearances.
^ Office Entrance, Foundry Mews, Barnes
Backland sites must respect and enhance their surroundings, where there are well-established communities who naturally wish to resist change. Convincing a local community and a local planning department to allow a new development is often the first hurdle after a site has been identified as financially viable. Another shift in society that has freed up plots for development has been the recent decline in car ownership leading to an increase in redundant garages. Project Orange were appointed in 2012 as the architects to redevelop a former MOT garage on a backland site in Barnes, South West London. The scheme comprises eleven one and two bedroom flats with office space on the ground floor. The planning process was protracted by the local planning department’s rejection of a contemporary design in favour of a more vernacular design that made reference to the site’s light industrial heritage.
IR
44
45
A STREAM OF VISUAL CONSCIOUSNESS
Ruth Silver
RS
Images are addictive. Along with millions of others I absorb online property images daily; Rightmove, The Modern House, Apartment Therapy, Dezeen and Pinterest. In fact, my husband and I even have a pinterest page ready for precedent images for the interior of the house that we don’t yet own. This addiction is not surprising; we live in an image rich society. We have unprecedented access to visual material, both digital and tangible like never before. Given that now practically every mobile phone is also a camera, there are more photographs being taken than ever before. For businesses, your image profile matters. Take going out to a restaurant for example; chances are you have already looked up the map for how to get there, looked at the street view to make sure you know what the outside looks and I’ll bet you’ve looked up the restaurant itself so that you know what the interior looks like. The die-hard image geeks among us have probably looked at a few photos of the food they serve and will probably take a photo of their own plate of food when they get there. That’s a pretty healthy helping of images for starters, without even trying particularly hard.
The rise of applications like Pinterest has seen a dramatic increase in people collaging images together to help inspire anything from their wedding to their own home. The carefully curated grids of images are inspiring online users to make clear, calculated design decisions, what they like and what they don’t like. This is a positive thing. Instagram is also dramatically on the rise indicating that people are not only thirsty for images, they are responding to streams of images in favour of streams of text.
RS
Until recently, one of my office roles was looking after the Project Orange website, updating project material, publishing new projects, news pieces and press. It got me thinking about how many images actually exist on the web and how many images are uploaded every day? The answer astonished me, so much so in fact that it seemed appropriate to represent this and some of my other findings as a sort of image of its own. The info-graphic, a hybrid between text and image is a fast growing industry. Specialist “information designers” are becoming more and more sought after to simplify and communicate even the most complex information to a wide-ranging audience, yet more proof that people respond to images over text. ^ Diagram: Are You Image Conscious?, Ruth Silver
51
Growing Up Emma Elston
I’ve lived in London for 26 years but haven’t ever lived above the third storey. In this sense I have much in common with the majority of urban Londoners estimates vary but somewhere between only 5%-9% of Londoners live above the fifth floor and London typically is a lowrise, mid density city, unlike peak urban centres such as Hong Kong or New York. All this could be set to change, with planning applications for high-rise buildings above 25 stories in April 2016 reaching 128 – almost double the number proposed in the whole of 2015. As someone whose own three story flat is scheduled for demolition to make way for a 46 storey luxury tower, I confess to a having a vested interest in the highrise debate, but will temper this with a professional objectivity. Touted as the only solution to ever increasing densities in today’s urban centres, can we look at this typology as a source of inspiration for the future?
EE
What affect does high-rise living have on the quality of spaces and the psyche of residents? If the twentieth century was the realisation of the deep-rooted desire to live high above ground, aided by the inventions of the elevator and steelframed construction methods, then the twenty-first century must consider the implications of this upwards movement, on both design and social criteria.
^ Collage: Growing Up, Emma Elston
EE
56
57 Now even the postman is due to be relegated to the history books. In the not-too-distant future our purchases will be airlifted to us by a super-smart drone infrastructure, using data collected through our smartphones to anticipate when we are home. The connection between customer and retailer are direct and immediate – the inefficiencies of human interaction removed.
Tom Partridge
....my late grandmother would loudly exclaim, answering the door to her bungalow.
TP
Even in my moody teens this rather worn out joke would reliably draw a wry smile. But the iconic Avon caller who once roamed the local cul-de-sacs was not only a popular icon; she performed a social function beyond that of a saleswoman. As well as empowering women to work flexibly and earn their own income, the Avon caller was a familiar, friendly face, reliant on creating community connections in order to sell her wares.
This ongoing transformation in the way we shop reveals something of architecture’s complex relationship with wider societal and technological changes. As we increasingly shop without leaving the house, our homes are decoupling themselves from reality. This has become manifest in the homes we build, with hotel-like lobby spaces and long corridors creating spatial segregation between front door and street; private and public.
Since 1959, when Avon expanded into the UK, the idea of shopping at home has been totally transformed. In 1979, English entrepreneur Michael Aldrich invented online shopping. His invention, Videotex, was developed throughout the 1980s but would soon be replaced by the World Wide Web.
TP
By 1995 both Ebay and Amazon were online, transforming the way we shop from home. While the Internet and the postman replaced a journey to the shops, the Avon lady and associated culture fell into decline. Community connections and chance interactions were not only removed from our high streets but from our doorsteps as well.
^ Illustration: Yesterday: Community Connections on the doorstep, Tom Partridge
68
o It 69
When we think of the term DIY, the connotations that spring to mind are domestic and amateur.
D
Architects often separate this from architecture on the grounds of professionality and scale, but DIY is the only gateway that most people have to any control of the built environment around them.
Yourself
DIY is an accessible gateway to architecture for the masses, but does DIY constitute anything more to architects?
Josh Piddock
What is DIY architecture? + How might architects engage with it? Architects are often portrayed as autonomous creatives and buildings their medium for artistic expression. Romanticised views of the profession plague mainstream culture, yet the public, and most laymen, might in reality only become engaged with architects through public consultation, or if they’re lucky enough, a house extension. In reality, and as I’m finding out at the beginning of my career in practice, architecture is far removed from the public perception of glamorous upscaled DIY.
JP Illustration: The ladder of DIY by Josh Piddock
Constraints may exist in the form of processes, time-scales, hierarchies, risk, compromises, cost cutting, contractor cartels and procurement vehicles. Ultimately the business of architecture as a professional service mostly comes down to profit on the part of all stakeholders involved and can seem a long way from those idealistic associative attractions initially cited. Despite this, as long as design retains and builds value, there will always be opportunities for architects engaging with DIY practices to emerge and innovate at a variety of scales, whether that be through design, procurement or even the rewriting of the stakeholder map itself.
JP
Estate Agency In an effort to offer more creative and flexible homes we undertook a more experimental approach with a live project to see if we could push the idea of customisation with a developer client. Until recently it used to be possible; you could choose your kitchen and bathroom for instance. Not any more as it is apparently too expensive. What if we figured out a range of materials that had similar properties (thickness, cost, robustness etc) that could be substituted easily without any substantial changes? To do this we created a single rendered view and exchanged the materials to illustrate the completely different ambiences that could be achieved – brick or timber floor, white or coloured kitchen, blue or yellow walls, exposed or closed ceilings etc. Each image conjured up a different sense of ‘home’. While this met with enthusiasm, the predictable argument came back that it was too costly. What transpires is that it is not the price of the materials or even the workmanship – it is the headache and expense of project managing differences.
JS
Next, inspired by the Masters Housing in Dessau, we moved to an even simpler concept – what if we clad the apartment in materials that could be painted: kitchen doors, blank doors, MDF panels, plaster walls etc and created an app where potential clients could play with the colours and textures of their apartment. This was presented to the marketing team, who responded that they were concerned people might choose the wrong colour which would be detrimental to the development.
Maybe there could be 2 or 3 different ‘looks’ over the whole development. What can they mean? We are left feeling that the role of the architect/designer is marginalised and that design is merely the packaging for a financial exchange.
Homing instincts So we have to work in other ways. We have to be less transparent. We need to become double agents and practice our resistance incognito. Not because we disdain our clients but because we believe there is more to offer. Does this sound arrogant? It could do, but that is not the starting point. Our evidence base is that the designs we have undertaken for individuals are more creative and that the outcomes are specialised, personal and negotiated. In our own homes we chop and change, we personalise, we refresh and we live in spaces we have designed. Our instincts therefore lead us to see that the lack of design, the basic material choices and inflexible layouts in larger developments work against the idea of allowing families to create their own home. Look at the apartments in the Barbican with their strong aesthetic that is robust, resilient and characterful compared to our own specifications, where we often end up with painted plasterboard, engineered wood flooring, plastic switches, particle board cabinets and cheap down lights. Little of it is recycled or recyclable and there is a 10 year lifespan dictated by the NHBC insurance cover. We therefore need a new commitment between client, architect and purchaser to provide a home of lasting value. We need a manifesto.
HOME-i-FESTO Design SPECIFY MATERIALS houses and that are aesthetically rich, resource-light and that can be repurposed. housing that are NO MORE LANDFILL FOR THE FUTURE. robust, resilient Use design to and can be knocked about in the future.
A place to go
o u t s i d e
F O R G E T maximise the local I N T E G R A T E D situatioN. TECHNOLOGY
From window sizes through to storage, the specificity adds value.
is more than just a projecting deck or balcony. Creating a connection to nature means designing a garden however small.
This changes all the time and is a gimmick. Install services that can be exchanged in the future.
Consider
wear & tear in 25 years time, even in 50 years time. From the outside to inside design details that can be
repaired, in the kitchen. Every home needs a proper re-finished UTILITY ROOM modified
Never
76
WASHING MACHINE
have a
(not a cupboard). Minimum size 1200x2000mm.
and
by real people
(not specialists).
If you cannot achieve any of the above, then design a well considered shell, with the minimum requirements so people can buy cheap space in which they can craft their own homes.
Js
NH HOTEL 257
LEISTON 265
266
PLOT 4 TYPE E PLOT 3 TYPE B
PLOT 2 TYPE A 235 1
Attached Barn
102 sqm
3b5p
Type B
Attached Barn
118 sqm
3b5p
Type C
Attached House
135 sqm
3b6p
Type D
Detached House
135 sqm
3b6p
Type E
Detached House
192 sqm
4b8p
Type F
Terraced Cottage 106 sqm
3b5p
Type G
Terraced Cottage 86 sqm
2b4p
UND
ARY
PLOT 1 TYPE D
Type A
SITE BO
243 1
Phase Two
572 sqm
Total
1576 sqm
SEN T
220 2
N
CON
PLOT 5 TYPE A
INE
220 1
1004 sqm
OUT L
230 2
PLOT 10 TYPE F
PLOT 11 TYPE G
PLOT 12 TYPE G
PLOT 13 TYPE G
PLOT 14 TYPE F
PLOT 6 TYPE B 230 3
230 1
Phase One
20.01.17 19.01.17 12.01.17
LANDSCAPE UPDATED PROPOSALS UPDATED LANDSCAPE UPDATED
PLOT 7 TYPE C
Date
PLOT 8 TYPE A
C B A
TB TB TB Init.
Revision
PLOT 9 TYPE A
1st Floor, Cosmopolitan House 10A Christina Street, London EC2A 4PA T: +44 (0)20 7739 3035 F: +44 (0)20 7739 0103 www.projectorange.com Drg. No.
Rev.
200
C
Project
ABBEY VIEW 105 ABBEY ROAD, LEISTON Drawing
SITE LAYOUT PLAN GENERAL ARRANGEMENT Job No.
Drawn
Date
Scale
1613
TB
22.12.16
1:500 @ A3 1:250 @ A1
THE COPYRIGHT DESIGN AND PATENTS ACT 1988 THIS DRAWING IS THE COPYRIGHT OF PROJECT ORANGE Ltd AND MUST NOT BE COPIED OR REPRODUCED, IN WHOLE OR PART, BY ANY METHOD WHATSOEVER, WITHOUT THE PRIOR WRITTEN APPROVAL OF PROJECT ORANGE Ltd NOTES ALL SETTING OUT MUST BE CHECKED ON SITE ALL LEVELS MUST BE CHECKED ON SITE ALL DIMENSIONS MUST BE CHECKED ON SITE DO NOT SCALE FROM THIS DRAWING THIS DRAWING MUST NOT BE USED ON SITE UNLESS ISSUED FOR CONSTRUCTION
SWAN 274
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“Type a quote here.”
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OBAMA
Down to Earth “When it comes to understanding the challenges faced by climate change and gender equality, architects need to stand firmly on the earth: both are issues of human rights.�
Chapter 19 by James Soane
TH TH E E FU SI T D UR E O EI F S EQ O U N A LI TY
“Type a quote here.”
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#LOVEISLOVE
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“Type a quote here.”
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END “Type a quote here.”
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