RL
SITE INFLUENCES
SITE STUDY OF LAYERS, EXPOSURE + VEIWS
north facing elevation skyline of Middlehaven
study of layers and orientating veiws
DEVELOPMENT
crememonial approach to the crematorium STUDY OF THE LAYERING AND VEIWS FROM THE SITE
ROOFSCAPE
1:100 DEVELOPMENT MODEL
inhabited wall
approach via river boardwalk
cut throughs to allow visual connections to the chimney material palette of the site
pitched roof tranlsucent roofs rising above the exisitng
1:500 SITE MODEL
C ON T E NT S MASTERS THESIS PROJECTS: [ESALA Edinburgh University] DISTINCTION - BA GRADUATE PROJECT [Newcastle University] FIRST CLASS HONOURS PART ONE - ARCHITECTURAL ASSISTANT [MCINNES USHER MCKNIGHT ARCHITECTS] WATER CASTS - EXPERIEMENTING WITH TEXTURE OF MOURNERS TACTILE WALL
DEVELOPMENT
HAND DRAWING conceptual map of middlehaven, mapping the geology, ground textures and civic landmarks
casting explorations of mourners tactile wall, reflecting river channels and water movements. Modeling was also used ti explore the possibility of the wall becoming an inhabited structure, in which to retreat off the processional route
enclosed courtyards utiliising exisiting walls insertions raised off the ground by columns
external circulation cores to move between the levels of the insertions
My strategy of ‘ghost-like’ insertions and covered performance spaces was something that i proposed across the site as a whole. The Can Ricart site is offset from the Cerda uniform grid of Barcelona with many of its walls blocking natural access routes forcing users to meander around the buildings. In the master-plan I wanted to play off this notion of weaving through the site, thus choosing to keep and restore key walls, which now define thresholds to the courtyards and plazas i have proposed. By superimposing the matrix developed during site analysis openings were also cut through the existing buildings creating visual connections to the clock tower and chimney which allow people to orientate themselves around the site. At 1:500 (model scale) the tectonic intent behind my design is clear; The forms of the insertions are displayed along with their relationship to the existing walls and exterior spaces. Additionally the relationship of roof pitches can also be observed, with the new insertions just rising above the walls. The model’s materially highlights the contrast between the existing heavy construction and the light, modern and almost clinical insertions shown in a translucent material. The black indicates where existing facades have been cut through to maintain veiws and create public realms. Brown indicates the my second strategy of light intervention- re-instating the old roof structure over performances spaces.
elevated walkway
suspended walkway around performance area
MACRO
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The project aims to challenge the existing typology for crematoria design, moving away from utilitarianism and proposing the a scheme which offers a place of pilgrimage and spirituallity. The project takes you on a journey from the micro-scale of materiality to the macroscale of community planning, culminating in a fully realised building-scale proposal, informed by the previous.
SITE IMPRESSION
SITE STUDY OF LAYERS, EXPOSURE +
north facing elevation skyline of Middlehaven
study of layers and orientating
crememonial approach to the cre STUDY OF THE LAYERING AND VEIWS
ROOFSCAPE
1:100 DEVELOPMENT MODEL
material palette of the site
memorial
approach
memorial
FINAL MODELS DETAILING THE KEY APPROACHES TO SITE BY THE VARIOUS USERS
approach
marks
study of layers and orientating veiws
crememonial approach to the crematorium STUDY OF THE LAYERING AND VEIWS FROM THE SITE
ROOFSCAPE
1:100 DEVELOPMENT MODEL
material palette of the site
WATER CASTS - EXPERIEMENTING WITH TEXTURE OF MOURNERS TACTILE WALL
casting explorations of mourners tactile wall, reflecting river channels and water movements. Modeling was also used ti explore the possibility of the wall becoming an inh
study of layers and orientating veiws
crememonial approach to the crematorium STUDY OF THE LAYERING AND VEIWS FROM THE SITE
inhabited wall
annels and water movements. Modeling was also used ti explore the possibility of the wall becoming an inhabited structure, in which to retreat off the processional route
approach via river boardwalk
DEVELOPMENT
DIES OF COLUMBARIUM LABYRINTH
DIES OF COLUMBARIUM WALLS
MATERIALITY STUDIES OF COLUMBARIUM LABYRINTH
MATERIALITY STUDIES OF COLUMBARIUM WALLS
MAQUETTE STUDY OF LIGHTWELLS
further test models, increasing the heights of the lightwells
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CONCEPT MODELS
pitched roof tranlsucent roofs rising above the exisitng
1:500 SITE MODEL
cut throughs to allow visual connections to the chimney
cut throughs to allow visual connections to the chimney enclosed courtyards utiliising exisiting walls pitched roof tranlsucent roofs rising above the exisitng
1:500 SITE MODEL
My strategy of ‘ghost-like’ insertions and covered performance spaces was something that i proposed across the site as a whole. The Can Ricart site is offset from the Cerda uniform grid of Barcelona with many of its walls blocking natural access routes forcing users to meander around the buildings. In the master-plan I wanted to play off this notion of weaving through the site, thus choosing to keep and restore key walls, which now define thresholds to the courtyards and plazas i have proposed. By superimposing the matrix developed during site analysis openings were also cut through the existing buildings creating visual connections to the clock tower and chimney which allow people to orientate themselves around the site. At 1:500 (model scale) the tectonic intent behind my design is clear; The forms of the insertions are displayed along with their relationship to the existing walls and exterior spaces. Additionally the relationship of roof pitches can also be observed, with the new insertions just rising above the walls. The model’s materially highlights the contrast between the existing heavy construction and the light, modern and almost clinical insertions shown in a translucent material. The black indicates where existing facades have been cut through to maintain veiws and create public realms. Brown indicates the my second strategy of light intervention- re-instating
cut throughs to allow visual connections to the chimney
insertions raised off the ground by columns
external circulation cores to move between the levels of the insertions
elevated walkway
suspended walkway around performance area
MACRO
1:200 FINAL MODEL
The central factory building features both strategies of inserThe central factory features performance both strategies of insertions,building and re-roofed space. The movement of tions, and re-roofed performance of design thinking pedestrians around space. the site The was movement crucial to my pedestrians around the scale, site was to myis design at this as crucial the building situatedthinking in the heart of my at this scale, as the building is situated the heart of my footfall. As a scheme there will be high inlevels of pedestrian scheme there will be the highinsertions levels of are pedestrian footfall. As a on columns. result raised off the ground result the insertions are raisedthemselves off the ground columns. The insertions act asonself-contained rooms with The insertions themselves act asplace self-contained circulation taking outside, inrooms doing with so they interact with circulation takingtheplace outside, in doing so they interact public yet still retain a level of privacy,with important as they the public yet still a level of privacy, will retain be used as studio space.important as they will be used as studio space. In the large performance space a series of steel por-
skylight
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A-
Sunlight studies of Northern Upper Ambulatory (Bays 6 & 7) Approximate position of sun at 11:00 - 13:00 March 2015
C MUMA llp Triforium Galleries Project, Westminster Abbey O
1:50 MODEL SUNLIGHT STUDIES
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Coronation banners at high level
Model study Monarchy Looking along the North Transept towards a grouping of wax effigies
light control to east and west sides of effigy cases
Coronation banners at high level
Heiman’s painting at end of North Transept