Robert A Cresswell - Personal Development Plan by Robert A Cresswell

Personal Development Plan Robert Cresswell 33325711

BA(Hons) Architcture Leeds School of Architecture 13/05/2014

Abstract The documentation of my past three years in the form of the Personal Development Plan has allowed me to see my progression through not only Leeds School of Architecture but through a pinnacle period of my life. This progression can be seen not only in my work but also in the way I have adapted my outlook on architecture. I believe that this passion can be seen in my realisation that architecture does not simply speak of buildings. This higher understanding allows me to creatively examine problems in a new light, which allowed my progression to be seen. During the first semester of my first year, I found the transition from believing I had enrolled in an architecture course that only looked at buildings opposed to a new world of knowledge, hard. If it wasn’t for a history in art I believe I would have fallen behind as the course included illustrations, sonnets and heavily abstract ideas. I thoroughly enjoy what I was doing at the time but failed to realise that this was a clear way of demonstrating to us as a year group that architecture is everything. Architecture is found everywhere, because at one stage in their/its existence it was designed. This informed my view on the course drastically; for instance, tasks that would initially seem “arty” or “abstract” soon became normality. Before this was realised I became frustrated as a student as I wasn’t allowing myself to understand the point of these tasks. This then informed my design work at the time. Subsequently I failed my second semester of first year. I can easily say that I have learnt my lesson. As can be seen in my final project I am of the opinion that architecture has a responsibility to inform and converse with its context. I believe this can be applied to us as people, as we need to have a responsibility to explore our context so we are able to be informed, or simply we need to explore a wider world in order to be taught. I aim to eventually extend my palette of knowledge worldwide and visit interesting and unique places where the perception of the world is different. This I know will allow me as a person to fully mature. In no way am I saying that I don’t believe I am not mature, but simply this will be my final step to me reaching my personal goals before I have an “adult” routine. As a student it is hard to stay focused and it can be seen in the stereotypical “student” lifestyle. I raise this point to outline the fact that I believe as a person and indeed as part of a year group of similar peers that the breaking of this as a stereotype was successful a lot sooner than potentially other disciplines. But that is just my personal opinion. I say this because it is noticeable to see the shift as a group and as an individual towards a more professional personality. I aim to extend this to immediate and future life, as I know that with the skills that I have developed I will leave with the ability to challenge everything to a degree of professionalism. Well I guess we will just have to see.

Leeds School of Architecture Year 1 All entries in this section were noted between September 2011 and August 2012.

Semester 1 P1-2 50x50x50, Architecture of Everyday

The first project of the year was one of observation. We had to get hold of an interesting every day object and draw it at a scale. This had to be done thoroughly and every detail was scrutanised

Following the earlir study we then portrayed the components within the object in a different light. These are my investigations in which I drew.

P3 Invisible Cities

This project was by far one of my favourites as it was the first time i realised that architecture is not just about buildings. This allowed me to read a piece of text describing a world and having to create a model based on what we had discovered.

My model shows what I later found out to be the shift between utopiaâ&#x20AC;&#x2122;s. The model investigated the space between the card objects and the shadows cast on the backdrop. This allowed a more theoretical apporach to designing a space to be utelised.

P4 City Instrument

City instrument allowed us to use a site for the first time. We were asked to document the site characteristics and due to its location (townhall leeds and surrounding area) I used the heavy influence of movement. This lead to the investigation of a zoetrope.

My Final instrument was a headmounted zoetrope that allowed the user to distort the motion around them. The paddles on the side spin the instrument as you walk, this then enables you to see the site in stop motion to break up the rhythm of movement.

This is a photo that tries to emulate the effect of the instrument. This photo was taken when adapting shutter speed.

P5 Conversation Space

Conversation Space drew on the initial site observations of P4. The project was to somehow turn our city instruments into space that could be inhabbited by the public. Above are my initial development sketches.

Alot of the time I would sketch the proposed internal visuals to understand in my own head how the space would feel and be configured. Above, sketch to show the internal characteristics.

In order to add to the characteristics of the space a material composition was investigated.

Once Materiality had been established a light study could be sketched to full analyse the correct material compostion had been implied. This was the first time in which lighting had to be considered as a design driver.

Once all the testing has been done the project was then drawn up. This was the point in which a building or instalment had been designed. Above is a section and internal render of the proposed conversation space.

Above, final model showing a section of the full design. This was accompanied by a 3m long rendered section.

Semester 2 P6 - Dwelling

Budapest Trip During the start of second semester we as a year went on a study trip to Budapest. This was the first time in which I had to plan an overseas trip and it turns out that time management skills during the travelling were better than i expected. The trip consisted of reviewing the architectural shift between Buda and Pest, making new friendships and recording site analysis for the start of second semester.

Client 1

Client 2 Béla Bartók (25/04/1881 - 26/09/1945) Hungarian Composer and Pianist. Considered one of the most importantt composers of the 20th century. Analytically assesed folk music and used these findings as a large influence on his music.. In 1908 he traveled into the Hungarian countryside to collect and research Magyar folk music, which was widely known as ‘Gypsy’ music. Was Raised Roman Catholic but in early adulthood became Atheist. He then went on to become Unitarian.

After our class trip to Budapest we had to come up with potencial clients for our new breif, dwelling. This breif enabled us to create a space based on the characteristics and requirements for any desired Hungarian client.

Upon surveying the site, I drew my first full site elevation/section. This was alo my first photoshop and drawing collaberation. This show me a whole new way to use photoshop. This became vital to the next semesters work.

P6 (2) - Eating Approach

Balázs Havasi Ensure a contemporary design is created

Béla Bartók Create a simple kitchen design

-Interesting but simple shapes

-Keep the space minimalistic

-Possible double height room

-Limited number of workstations

-Large sections of glass panels

Ensure the space can be used to compose music Create a hybrid art form (cooking and music) -Double height room to give acoustic environment -Create instruments out of kitchen spaces -Cherrywood Panelling (acoustics) -Intergrate worktops with musical values -Use the basic steel drum concept to create musical panels in the kitchen space capable of plaing notes

-Musical value to the workspace (instruments)

Conversational space (literally and musically)

Workspace is shared to ensure inspiration is recieved

-Create two adjacent workstations

-Other client has adjacent workspace

-Space must hold orchestral performance qualities

-Both clients are able to add equal input to composition

Idea 1

Idea 2 Piano

The Volume of the piano is used to house the strings which create the sound by oscilating when hit with a hammer (key). The volume thefore has the ability to house alot of major components. I believe this will provide the necessary floor space in which I am looking for.

Folk Instruments

The volume of the Kobsa is used to amplify the sound of the strings which are mounted externally. I believe this will provide the necessary amplification in which I am looking for.

Eating Space Eating Space

Single section of the “tuned metals”

P6 (2) - How it works

This this the musical worktops that feature within my eating space. In order to create different tones throughout the worktop, the panels themselfs gradually grow in size as they reach one end of the worktop.

As you can see from the diagram as the length of the steel section increases the frequency of the note decreases

They work by encasing a steel drum section or “tuned metals” within the wooden work top. This is what enables the user to create tunes as they prepare and cook a meal.

We were first required to create a kitchen in which both clients used.

This is why i have designed my panels to decrease in length as it gives a greater range of note value

Eating Eating Space Space P6 (2) - Explained

As they continue to prepare food sound fills the room.and is then amplified

This structure was designed to enable the use of the area by both clients at the same time. The sound is then reflected at the angle of the pitched roof .

During the preperation of the clients meals they would use the worktop provided. This as explained creates sound upon being used. (represented here using curved lines)

The sound is then ejected from the space through the mesh system into the surrounding area

Aforementioned, my skills on photoshop increased massively upon the discovery that you could edit sketches. Above is a section of my imposed eating space.

Sleeping Space Sleeping Space

This device sits directly central to the sleeping dwelling as it then gives both clients the same experience. This also allows the binaural beats to work at maximum efficiency

P6 (3) - How it works

This this the musical element that features within my sleeping space.

This, once played is then amplified through the space.

This works as a standard speaker system the only difference is it has the binaural beats built in and a touch screen is then able to select the mood setter you want.

The next stage of our project was to design the sleeping space for the clients.

Sleeping Sleeping Space Space P6 (4) - Explained

The binaral beats are then played through the space from a central position

This structure was designed to encorperate both clients needs as they sleep. This then acts on the clients and sends them to sleep .

The space postions the clients at optimal seperation for the effects of the binaural beats to be felt

As you can see from plan the sound is amplified through the space

Above, Section of my imposed sleeping space.

Bathing Space Bathing Space

Single section of the “tuned metals”

P6 (4) - How it works

This this the musical shower that features within my Bathing space. In order to create different tones throughout the shower, the panels themselfs gradually grow in size as they reach one end of the panel.

As you can see from the diagram as the length of the steel section increases the frequency of the note decreases

They work by encasing a steel drum section or “tuned metals” within the concrete shower space. This is what enables the user to create tunes as they shower./bathe

This is why i have designed my panels to decrease in length as it gives a greater range of note value

Bathing Bathing Space Space P6 (4) - Explained

As client 1 bathes the pool fills and upon maximum volume the water is released at a controlled rate

This structure was designed to enable the use of one space to be connected to the other. This then [asses over client 2 who disturbes the flow of water making it hit random tiles.

This then forces client two to undergo bathing at the same moment as client one. This is what creates the unique melody.

As the water hits the tiles it creates melody which is then used to sooth client one as he bathes

Above, Section of my imposed sleeping space.

This is one of my favourite visuals throughout the whole of this project as I believe that I have effectiveley shows depth, materiality and the programme of the space effectively.

Form Form

Additive Wave Initial Waveform

Standing Wave

Once we had designed all of the key elements of the design, the next stage was to configure them within a single unit.

Key Design Drivers Drivers Key Design

Waveform II

P6 (5) - Key Design Drivers

Music

Zoom that visual in and you see the true waveforms of audio

As both of my clients are musicians i have based my final design on an aspect of music

Waveform

Typical to music is waveform which is a visual representation of audio

As you can see from my plan the exterior walls have been designed with this key feature taken into consideration

Once the initial ideas had been created it was now the first time these had to be implimented within the deisng of a full building. This part was the most interesting and I feel I learnt the most configuring the spaces apposed to designing.

Final Plan P6 (5) - Final Ground Floor Plan

Above, Ground floor plan of my designed building.

Final Plan P6 (5) - Final 1st Floor Plan

Above, First floor plan of my designed building.

Final Section P6 (5) - Section

Above, Section of my final imposed space.

During my first year at Leeds School or Architecture I believe I adapted well to the challenges set not only by university but through my skills within the course including sketching, technical drawing and photoshop. This allowed me to build a solid base to tackle the impending challenges of second year. University was no the only obsticle in which I had to overcome, as many others found out moving away from home is a giant step towards becoming independant. Thoughout this year I believe I have matured not only as a person but intulectually, this again added to the foundations of beginning second year in the autum.

Leeds School of Architecture Year 2 All entries in this section were noted between September 2012 and June 2013.

Semester 1 Scarborough -Simon Warren, Des Fagen P1 - Pavilion

AD2.1 - Sea Pavilion

Salt Extraction

Research/Development Scarborough Victorian Baths

The part that has been highlighted is the part in which i will use. This solid that appears here will be salt, the raw material in which i am aiming to harvest. This will then be collected and used to created high density salt water within my Spa.

This Process can then be repeated

Collection

Salt Water Spa Beneets

-80%

Reverse Osmosis

Filtration

High Density Salt Water

My Design

Bodies of water with higher levels of salt become more buoyant, this helps to take more weight oďŹ&#x20AC; the body as you bathe. This can be seen with the Dead sea which borders Jordan, Israel and the West Bank. This body of water has a 33.7% salinity which is 8.7 times more than standard salt water.

My design uses aspects of all research. The main driver through my design would be the the use of high density salt waters encorperated with a sustainable way of producing this. The Spaâ&#x20AC;&#x2122;s salt extraction and storage is shown below.

Salt Harvester

1. Device collects sea water 2. The Machine then puts the sea water underpressure to kick start the reverse osmosis 3. The remaining liquid is then ltered as the raw salt is the collected 4. The raw materials is then stored on the roof Saltwater Pressure Chamber Freshwater Retractable Arm

With this simple formula we can see that the larger the density of the uid the more weight will become buoyant

Storage System The roof is used as the storage device for the salt, this then creates a Facade of salt in which is being utelised and enables the high density salt water to remain at a high density without monitoring.

To start the semester we were given the task to design a pavilion that would sit in Scarborough. This design gave us the feedom to explore many ideas about our personal definition of a pavilion. Through research into past traditions of the town I decided to re design a spa that sits as an extention to the old building.

Harvest

AD2.1 - Sea Pavilion Development

Above shows the sketch itteration of potential spa designs. At this point in the project i decided the spa would accomodate a salt water pool. Through processes of osmosis and reverse osmosis i was able to sucessfull extract salt from the salt water. This then was stoored on the roof. One of my favourite ideas to date as I utelised my scientific education.

Salt Water Spa 54.2756째 N, 0.3972째 W Scale 1:100

Scale 1:100

Above, Floor Plan of my designed building.

Salt Water Spa 54.2756째 N, 0.3972째 W Scale 1:100

Above, Section of my final imposed space. Because of the programme of the space and the technique of salt extraction I was able to play on strong lines through the design. This section then helped me realise that I was able to use photoshop effectively.

Semester 1 P2 - Site Model

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This part of the project allowed me to learn how to laser cut CAD Drawings. Above is the site model of the Grand Hotel in Scarborough.

Scarborough Trip The tutor group trip to Scarborough lasted 5 days in which we took tours, visited potential sites and conducted numerous sketching and quick design tasks that were done to ensure that we were taking in all possibilities for design. This trip brought the tutor group together and allowed the consolidation of relationships between tutor and student. Due to this it allowed the design project to become less daunting at the start of the second year. Overall a good way to be eased back into the long hard grind of and architecture course.

Semester 1 P3 - Museum

In this project we were assigned the task of designing a museum. Again the definition of a museum was down to our own interpretation. I finally decided on designing an interactive education center for drug abuse. This also had a rehabilitation centre to deal with the growing amount of abuse in Scarborough.

Initial ideas about form started to arise. This is due to the way in which our neutrons are transported around our brain. This was important as Drugs alter this transport network and this is what forces the user of drugs to see an altered perseption of reality.

Conceptual Development Receptor Facade

The brain communicates using neuron pulses through the brain, these travel via receptors. The receptors scatter the message along multipul pathways in order for the message to be sent and recieved in the quickest possible time. During the use of drugs the connections between receptors become altered and messages become lost/changed. This is how the eďŹ&#x20AC;ects of drugs work as you experience normal environments diďŹ&#x20AC;erently. I wanted my design to represent the alterations in the brain during the innuence of drugs as my museum was designed to educate people on the internal workings of the brain and how drugs can damage this. I then looked at how my form could be used to tell this narrative in an abstract way. Below i show the process that i took to reach my nal design for this facade and the steps i took to ensure that the receptor was correctly reinterpreted and seen in relation to my initial ideas.

Sketch of receptors

Simpliied drawing of receptors.

Architectural representation of receptors

From my initial observation of the brain, this is how this idea transpired.

Contextual Form Initial Design Process

Initial designs took in the concept of runnin the edge of the site, this alowed me to gain maximum internal oor space. The location was dictated by the access to the building as this would eradicate all uses of ramps.

I then took the exsisting shape and simpliied it in order to create a space that did not just â&#x20AC;&#x2DC;hugâ&#x20AC;&#x2122; the boundaries of the site but was able to be its own form. I then added a central courtyard in order to bring light into the internal spaces.

I then divided my space in order to create a seperate section of the building due to respect for possible private occupants. The connections between the two spaces then became bridges that connected one to the other.

In section my design started by using the the division of private and public space. This helped me establish the two tower form. Once this has been established i then proceeded to draw in aspects of the design in which i had already connrmed.

I then realised that my spaces were out of proportion. I then adapted this to ensure all intended activites within my design could be completed.

I then added my intended facade design to the sketch section. This enabled me to see how my design would start to take shape.

Above is the way in which I came up with the design of my building. This shows how both functions of the space will be utelised.

Intergrated Masterplan My proposed design uses the main aspects of my urban strategy. This is the idea of reinventing the Scarborough promenade to relink it back to its historical roots as a health retreat for the population.

I propose to explore the way in which the mind plays a part in the overall health of the body.

My design must address the problems that are local to Scarborough. This is the higher than average amount of drug missuse cases in the area. This will enable the gures to return to average or even fall to an all time low.

For this to work i need to design a centre that will educate people on the mental implications that drug abuse brings to the area. This will help stop the problem before it arises.

Above shows how I was able to intergrate my design into the proposed masterplan.

Conceptual Development Psychology of Space in Design

Through research into the rehabilhitation of heroin and crack cocaine, I realised that the process was not just based on withdrawal symptoms from the drug but the psycology of the environment in which they live. This is why I designed certain spaces that give the user support at different stages of rehab.

- Floor Plan 1:100 - -Second Floor -

- Floor Plan 1:100 - -First Floor -

- Floor Plan 1:100 - Ground Floor -

- Floor Plan 1:100 - First Floor -

Perspective Section Scale 1:100

Above is a perspective section in which I drew and then photoshoped. This image when handed in was just under 3m long. As an image this was the one in which I was most proud off throughout this semester.

Elevation North - South Scale 1:100

Above is the N-S Elevation of my building.

- Internal Courtyard View -

Above is an internal image of the imposed courtyard.

- External 3D View -

Overall I enjoyed this project, it allowed me to design something that wasnt regarded as the norm for a museum. This project and hand in also allowed me to drastically improve my time management skills, this proved useful later in the year.

Semester 2 York - Keith Andrews, Vernon Thomas IVY -Intimate Venue York

York Trip This day trip to york enabled us to review the site in which we were to propsose a design. This allowed us to fully servey the area and critically analyse what was needed in term of circulation, flood risk etc. The trip to york also enabled me to review the historical build up of such and old city. I found it very interesting, the history the urban grain and problems in which York is facing. Overall a good day trip that was definately worth seeing.

which is comparible to the underground music scene. This gives the Duchess a personal feel when watching bands and musicians. The only problem with it is that it doubles as a nightclub and cant be seen as strictly a music venue as it is multi purpose.

Intimate Venue York

The IVY brief in which i am undertaking needs to address the probems plagued with Yorks music scene. By this i refer to the constant closure of prestegious music venues that have been played by great musicians in the past. I aim to provide a perminant facility thats sole purpose is to accomodate an environment that provides a perfect venue for a wide range of music.

Proposed Foo The use of exs the design of audience and create a dens create small p surrounding a

The Duchess

ibilities are ootfall of n of new t of that ect York of music eds in

Above is a map of york, highlighted in red is the chosen site. All other annotations show major walkways through the city, and other music venues that have closed.

Design Development // Reverberation Explaination

Standard Room Reverb

The diagram below shows the typical reverberation patterns of a standard square room, as you can see towards the corners of the room the sound is dampened so audio quality is lost.

The diagram below shows the enhanced reverb qualities of a regular hexagon. The dampened audio quality of the corners is reduced as the angles of alignment is reduced which inturn enhances the audi oquality.

With the possibility of being able to adjust the size of the internal space multipul reverberation paterns can be seen which wil allow the room to become specific to performance.

In order to create a perfect acoustic environment, I utelised my knowledge of Music Technology from college to create a universal form that os able to be adapted to suit all types of music.

Conceptual Development // Creation of Form

Square I initially started with pure function of the walls. The easiest layout for this would be square as it leaves the least amount of wasted space internally.

Hexagon I then took into consideration the reverberation enhancement of adding more walls to create overlaps in the reverberation spectrum.

Octogon The addition of two more walls to create an octogon layout halfs the reverberation dampening in the room, this also reduces the internal area which allows a greater control over the acoustic value.

Above the CAD plans that accoumpany the previous iterations.

Decagon Using a decagon as the shape would enhance the acoustic value again but inturn increase the external area needed to host this sytem. It would also increase the amount of moving wall pods which inturn damage the asthetics of the space.

Design Drivers // Hyundai Hypermatrix Yeosu EXPO

Spatical allignment - Hypermatrix Wall This arrangement of structure and form allows the blocks to mimic the internal spatial loayout of the room, this can then be mimiced using these devices on the exterior also.

Central Structure Central Core

Backdrop

Acoustic Blocks Extension

Central Core Extension Arm

Casing

Internal Piston

Timing Computer

Piston Rail

Cinema

The create an adaptive space the only way to change the characteristics of a musical performance space is to change the shape and dimentions of the space. Above outlines my investigations into how i was able to achieve this.

Arm Casing

Building Programe // Spacial Arrangement

Acoustic Room

Lateral size of the room will affect amplified reverberation, in order to be able to controll this a shorter but taller space is required.

This spacial adjustment can be seen in hall 2 of the Sage, Gateshead.

Acoustic Room Moving Walls In order to further control the acoustic values of the room moveable walls are installed to change the shape which inturn changes the acoustic value

These can then be adapted to suit different types of performances that require different acoustic values

Moving Walls

Exhibition Facade

Raising of the internal space allows the occupants to inhabbit the space below providing room for services

Creating horizontal access to the space allows full circulation beneath the acousitc sace and moves servicing to beneath the enterance

Circulation

Adjusted Site

In relation to the site the offset enterance and ground floor enables the design to flow more freely through the site and enable successfull circulation through the build.

In order for this to work on site, sectinoal explorations helped me configure the spaces and establish a heirachy. This technique was effective as it helped resolve many issues in a typical public building.

Spacial Development // Arrangement of Spaces

Initial spacial requirements required the internal space to engulf the site. This first iteration of my floor plans used a horizontal form in order to retain access infront of the guildhall.

In order to allow access to the walkway infront of the guildhall i had to remove my building from the pizza express that sits to in the top left of the site.

In order to retain access from the road i had to ensure there was an offset from the pizza express building of 2m. This forced me to create a corrugated wall to keep the build private and retain access.

Views from the pizza express building would need to be compromised so the romoval of the L shaped bend in my build would allow this to be kept and keep contextual engagement.

I then rotated the building to sit perpendicular to the pizza express maximising access to the lower landscaping as the walkway infront of the guildhal was removed due to the blockade of the windows on the 2nd floor.

This drawing is part of the same iteration as the drawing to the left. This shows how i have managed to create a stepped landscape to overcome water run off and flood prevention.

Above is the plan that accoumpanied the sectional development.

Volumetric Studies // Spacial Exploration

Through the interaction of the acoustic wall pods you can see how the space can become adaptive to its users. This also shows the relationship of the internal and external form.

For the build to work the building will needs services, the collection of all spaces into one area will allow easy collaborations of the needed systems to allows these spaces to work.

Retaining of the central focal point allows a visually permable facade to encase the design. This mimics and exhibition frame.

After the creation of the wall layout you can then start to build the height of the space, This allows for better acoustic quality in the space and allow further controll of the acoustic environment

In order to sucessfully connect both spaces and allow full circulation flow through the designed space the raising of the central acoustic space is necessary. This then allows the central acoustic space to remain as the central focal point.

The focal point of the design is situated towards the front of the site in order for it to become visible from the surrounding context, thus emphasising the architectural language in which my design posseses.

Above the volumetric study that helped both the previous two studies. This was one of the first sucessfull volumetrics that contributed sucessfully to my design.

Acoustic Layout // Adaptive Space

Opera

In order to contain the acoutsic value and aid natural amplification the stage will face the enterance of the space in order to fully use the internal acoustic enhancing panels. This will then leave the rest opf the space to be used for seating.

Opera as a music genre uses large halls with mass amount of reverb in order to amplify the sound through a space. Creating an open cone shape can mimic these properties thus creating a perfect acoustic environment.

Rock

In order to facilitate the required acoustic values of the space the rock stage is made smaller in order to amplify the sound further as it has a greater distance to travel. This will also allow more people to fit in the venue. Rock as a genre uses mass amount of short distance reverberation in order to bring out the bass frequencies. This layout of internal pods will enhance these short distance reverberation creating the perfect environment for rock music.

Acoustic

For the acoustic sets small circular stages with be placed in the middle in order to facilitate the acoustic values of the short tight sound. This will also create an intimate feel to the gig. The Acoustic Genre requires a tight round reverberation in order to add to the soft sound. This can be achieved through a small confined space that will mimic the same acousitc qualities.

In order for the room to be successfull i had to ensure I knew what the room layouts would be and how they would react to the genre of music being played within the space. Above is the regurgitation of what i learnt in Music Technology, to influence my design.

Floor Plans // Ground Floor 1:200

5. 3.

1. 6.

4. 2.

10.

1. Service Enterance 2. Serevery 3. Changing Rooms 4. Cloack Room 5. Plant Room 6. Public Toilets 7. Servery Seating 8. Bi-fold Doors 9. Lower Landscaping 10. Ramp to Lower Landscaping

Final Ground Floor Plans

Floor Plans // First Floor 1:200

2. 7. 6.

Void

Void 4.

5. 5.

Void

Final First Floor Plans

1. Public Enterance 2. Reception 3. Acoustic Space 4. Acoustic Wall Plant Room 5. Acoustic Walls 6. Stairs to Lower Landscaping 7. Ramp to Lower Landscaping 8. Upper Landscaping

Floor Plans // Lower Structure Plan 1:200

1. Acousitc Space 2. Structural Ties 3. Acoustic Space Structural Columns 4. Exterior Facade Columns

2. 4.

Final Structural Plan 1st Floor

Floor Plans // Upper Structure Plan 1:200

1. Roof Beams 2. Exterior Facade Columns 3. Roof Glazing Drop 4. Structural Ties

3. 2.

Final Structural Plan 2nd Floor

Section // Perspective 1:100

Section/Revit collage. This was the first project in which i utelised the 3D modelling software Revit. This was a good addition to my architecutral based skills.

3D Views // Perspective Section Long

The 3D modelling software allowed me to assign materials to faces and utelise section cuts to provide High Definition Renders of my design. This style of showing the project was accepted well in this tutor group.

Final Images // Acoustic Space Internal

Music Venue Internal

3D Views // Enterance

Exterior Enterence

nal Images // Internal Raised

Internal Visual First Floor

Final Images // Internal Ground Floor

Internal Render Ground Floor

// Internal Bi-fold Doors

Internal Render Showing Bifold Doors.

Final Images // View From the Bridge

View From Lendal Bridge

During my second year at Leeds School of Architecture I believe I adapted well to the greater challenege of second year. This is through the exploration of new softwares and methods of using these softwares that allowed me to see that i was able to fully resolve a design with the same methods as architectural practices. The creation of a style of layout allowed me to unify my portfolio for the first time.

Leeds School of Architecture Year 3 All entries in this section were noted between September 2013 and May 2014.

Semester 1 Extra Ordinary - Hikaru Nissanke, Jon Lopez Eastgate - Leeds

To start my final year of university we were asked to travel to site and take photos of the site that meant something to us. Something that interested us.

Throughout the site exploration I notice that i was taking alot of photos that frames these snapshots of site that speak of the undesigned beauty of these utility spaces that plague the Eastgate Quarters.

As this initial site exploratoin continued i found a love for photography. After this course has finished i aspire to be able to do this in my spare time as it provides a good release.

From modelling the original image I was able to adjust the way in which I viewed this framed site. This allowed the rigorous analysis of every minute detail to scale. Such details are then easily seen by the viewer as no adaptations of the image was made. Thus eradicating the selective viewing of the observer

From the initial photos we were asked to make models that explored the photos in which we took. In this series of model i meticulously recreated every detail of these photos to gain a greater understanding of the snapshots in which i originally took.

The images above help me conv would not usually be seen by the mal use of waste pipes, beauty o the entrance and the miss placem

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As i continued to model i realised that i have enhanced my model making skills exponentially within that last 3 months. This was done simply by trial and fail. These models became the foundation for my confidence this semeseter.

The images above help me convey th would not usually be seen by the view sign-age, extruded courses of bricks door hosting several locks.

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These models coupled with photography enabled me to explerience architecture in a completely different way. This was a whole different approach to architectecture that provided a refreshing challenge.

The images above help me convey would not usually be seen by the vi sign-age and array of wires that pla

From my models i then took photos of the models that have been adapted introducing mirror planes.

What i didnt realise at the time was that i was adapting the details in the models and creating a library of components that i could utelise to create.

Initial Concept Images Photo Montages 1

These photo montages take site photos and show how they have the ability to be turned into new architectual components that can be exploited into new details for new designs. This therefore emphasizes the original value of current architectual forms on site.

From the exploration of the models with mirrors i then photoshoped these details in which i saw. These were then translated onto a 3D modeling software to show their component potential.

Initial Concept Images Photo Montages 3

Above, the second batch of components.

Concept Development Facade Compositions

The ability to see and objects architectual potencial is vital to this part of the development of the technique, as the elements in which has been montaged can be portrayed in different ways for this to be explored.

With this component various methods and uses become apparent but the one in which became more sucessful would be the exploitation of this detail as a facade opening. This is displayed above.

I then looked at how these components could be adapted to create architecture.

Concept Development Facade Compositions

With this component various methods and uses become apparent but the one in which became more sucessful would be the exploitation of this detail as an intervention within the joining of facades. This is displayed above.

Concept Development Facade Compositions

With this component various methods and uses become apparent but the one in which became more sucessful would be the exploitation of this detail as a potential change in height for a space either through ramp or stairs. This is shown above.

Facade Collaborations Component Analysis

Front Elevation

Side Elevation

As a detail I would say this would have been more sucessful if it was to be manipulated across a larger facade. This would allow me to expolit the possibility of incresing the levels of light that penetrated a facade. In this montage I believe this to be poorly utelised. This again would suffice as a learning curve in the correlation and composition of mirrored details.

This component within this design has been used for a different use rather than a device for changing levels. Within this composition I aimed to utelise it as a roof element. In this instance I see that it has become too â&#x20AC;&#x2DC;alienâ&#x20AC;&#x2122; to the initial aims of the intervention.

As an element this one derives from the building corner experimentation of the last as it takes a 45 degree mirror and places it perpendicular to the initial composition. Thus creating an overhang that can be exploited as a main enterance. The concept of this iteration works but as a composition it could be better.

From the initial concepts of creating architecture from these components i then adapted them into working facadces that could potentially be utelised during a buildings design.

Facade Collaborations

Component Analysis

In this composition of components I believe that this element in particular is utilised well when used as a corner detail. Within this specific elevation montage it can be said to be successful.

This element can be sen within this montage as too alien as i belive it to take away from the overall intention of the intervention as it hosts similar qualities of â&#x20AC;&#x2DC;spaceshipâ&#x20AC;&#x2122; architecture.

Within this elevation montage this element almost becomes lost and it takes a keen eye to be able to immediately spot this. Out of the three I believe this to be the most successful in terms of subtle manipulation of the mirrored elements.

Facade Collaborations Component Analysis

This component derived from an earlier concept. During my mirror research phases of the project I came across this arrangement of mirrors. Under first examination it was assumed that this was more a conceptual composition of mirrors but after thought it was established that this could be utilised as a structural component within design. This could be scaled to the necessary size and would be perfectly executed as a column.

Component Development Models

Adaptation of a regular staircase allows a change in level derived from my initial 3D component. With added lines of symmetry it adds to the overall design while optimising circulation between levels. This also becomes a focal point in the design.

In order to integrate my technique into the structural system of the building I created a standard ladder structure that has a central mirror line. This will be viable from below to allow a subtle but rich addition to my design.

Adaptation of typical Leeds architecture allows me to create facades that allow vast amounts of light to penetrate. This has been adapted by creating lines of symmetry within the arch. Initially a line of symmetry was added to the centre of the arch but then further manipulated by adding a second which gave me the form you see above.

The model pictured above was the first adaptation of the Leeds arch. As you can see this has been distorted by the angled mirror line through the centre. This gives a base for further adaptation.

The elevations made me then look into how these spaces or facades would continue their characteristics through the whole build.

Final Model Scale 1:20

This model shows how the spacial layout of the exterior walls react with the open plan layout of the interior. The roof has been removed on the mirrored image to easily see how the mirrored faรงades to the rear of the building work in composition.

These three photos have been chosen because they best convey the feel of the utilised components. The use of the mirror emphasises my design drivers and allows a unique viewing style to be used.

My final model tried to build on the initial models i had made of the snapshots, due to the scale of the model i was not able to fully complete this to the level of detail in which i had initially showed.

Plan

Ground Floor

4. 1.

5. 5.

1. Mirrored Facade - Extruded Brick Glazing 2. Manipulated Arch Facade 3. Mirrored Building Junction 4. Mirrored Staircase 5. Structural Column 6. Entrance

Scale 1:100

Hopefully through my plans the use of the mirror is immediately obvious.

Plan

First Floor

4. 1.

5. 5.

1. Mirrored Facade - Extruded Brick Glazing 2. Manipulated Arch Facade 3. Mirrored Building Junction 4. Mirrored Staircase 5. Structural Column 6. Retracted Floor Plate

Scale 1:100

The feedback i recieved from this stage of work was that the message and meaning in which i had first applied to my project was slightly lost through this design. Measures will need to be taken in order to rectify this before final hand in.

Elevation Scale 1:50

Section Scale 1:50

Facade Collaborations Component Analysis

Berlin Trip During the first few weeks of the second semester our tutor group went to Berlin on a unit trip. This trip proved extremely sucessful as i believe i learnt just as much in this week compared to the whole first semester. This was just down to being able to explore what was already out there. The ability to see high profile buildings and historical momuments. The Berlin Wall Memorial also held similar characteristics to that of my own design, so in terms of design work this trip helped me understand the philosophical meanings behind my design.

Semester 2 Masterplanning

To start the masterplanning process i applied my technique of using the mirror to create to maps of site to try to explore how it could be effective across site.

From these investigations i was able to see that in the majority of these images created what can be described as courtyards. This allowed me to investigate the physical and mental conditions of a courtyard.

Above are the cad plans of the mirrored maps above

This was then taken further as i tried to adapt the current buildings to create the courtyard mentality.

Scale - 1 : 100

I then looked at resin as a material, this is a visual that allows me to understand the material translation from block to building.

The next adaptation of this resin style facade was to acid etch the selected details (leading on from first semeseter) into glasing which would sit as a curtain wall. But this was said to have been moving away from the original puroppse of my project.

Scale - 1 : 100

I then looked at resin as a material, this is a visual that allows me to understand the material translation from block to building.

Above is an initial sketch plan of the imposed masterplan, obviously this will need to be precured due to the vast mass of structures that are being mirrored.

The drawing above helped me develop another way of drawing as it was a photo montage of photos obtained through satelite images. This drawing tries to show the masterplan as it develops. The critism i recieved from this piece is that the materplan has become arbitry.

With the use of a grid to allign the mirrored facades the masterplan has become less arbitry and unique spaces have been created that can be utelised in the design process. At this point in my project i began to panic due to the time left. But thanks to my tutors i was able to keep motivated.

The next few pages illustrate what i enjoy most. One point perspective is now one of my favourite styles to draw and it helps me visualise the spaces in which i create more clearly. This is as far as my design project has developed.

During my third year at Leeds School of Architecture I have started to realise that there are more than one avenue of architecture that i want to explore as a proffesional. This is due the the new way in which my tutors have worked this year. This year has been the most enjoyable due to the maturity i believe i possess over my work and the breifs that we have been given. As a professtional i now strive to taste the whole of the architecture pallette and ensure that i am doing what i enjoy.

Photography As i have progressed through the past three years i have developed a greater understanding of the art of photography. This is one that i hold close to me as i believe that it is an activity that i can get lost in for hours. This as an art form allows me to intergrate this into my university work. but what i enjoy most is the freedom to capture single moments that will go documented mentally and physically. To me photogtaphy shows a keen eye for the environment in which we live.