Portfolio Spring 2020 by Samuel Pierce

ARCHITECTURE PART 1 BSC(HONS) ACADEMIC | PROFESSIONAL

PORTFOLIO: SAMUEL PIERCE

ARCHITECTURE MArch (ARB/RIBA Part 2)

Spring 2020

e samuelcharliepierce@gmail.com p 07985738397

CURRICULUM VITAE

Graduate from the University of Bath. Focused and committed individual devoted to architectural design. History in creative education, I am a problem solver at heart. Drawn to architecture because of its impact on the place and user, excited by the intricate challenges overcome in the design process. Rigorous and precise in my approach with an organised and efficient working method, my projects yield high quality results. Ultimately concerned with the experience of the user and the connection to materials and their qualities.

ACADEMIC 2014-2018

University of Bath - Architecture BSc (hons)

2013-2014

Brighton & Hove City College UAL Foundation Diploma in Art and Design (Distinction)

2011-2013

Varndean College - A Levels Mathematics – A Physics – A

2006-2011

Varndean High School - Achieved 11 GCSEs A*-B

Graphic Design – A*

Fine Art – A*

PROFESSIONAL Lifschutz Davidson Sandilands - Architectural Assistant (July 2018 - CURRENT) Experience in a wide range of commercial/residential projects at a variety of design stages from early competition bids and planning applications to stage 4 tendering packages. Majority of my time has been spent on St Olav’s, a 100% affordable residential project in Southwark, where I have taken a large design responsibility in developing the project under directors Paul Sandilands and Adrian Bower. Apollodorus Architecture Limited (February – June 2017) - Architectural Assistant Unique residential project working within a recently established practice headed by Mark Wilson Jones, a prominent architectural historian and senior lecturer at the university. A fellow student and myself were recruited to work alongside Mark developing the early design, models and drawings for a large residential building based in Antigua for a client with a passion for classical architecture. Besides drawings I was also involved in the establishment of the practice, gaining insight into the necessary foundations of an organised and efficient workforce. Jonathan Logsdon Architects (February – July 2016) - Architectural Assistant Sole practitioner in Bath working on small scale residential projects ranging from renovations to new builds, producing drawings for a range of stages. Part of a small practice I was given a lot of responsibility in the design process, heading client meetings, contacting manufacturers and collaborating with specialists to produce construction details.

ACHIEVEMENTS Received prize for ‘outstanding design and group work’ from Arup Associates for third year group project, involving architecture and civil engineering students. Awarded prize for ‘outstanding design work’ from Oculus Building Consultancy for European city culture project ‘Musee Sans Frontières’.

PROJECTS ACADEMIC | ARCHITECTURE BSC (HONS) | UNIVERSITY OF BATH

FORGOTTEN VOICES

| p.01

Concert Hall & Pier | Weymouth Final undergraduate project (Spring & Summer 2018)

MUSSEE SANS FRONTIERS

| p.17

Cultural Museum | Marseille Third-year international project (Spring 2017)

TECHNE (BASIL SPENCE)

| p.29

Temporary Exhibition of Craft | NA Fourth-year integrated group project (Autumn & Winter 2017)

PROFESSIONAL | LIFSCHUTZ DAVIDSON SANDILANDS | LONDON

BREWERY JUNCTION

| p.39

Mixed-use residential masterplan | Watford Stage 02 planning application (Autumn & Winter 2019)

ST OLAVâ&#x20AC;&#x2122;S COURT

| p.43

100% affordable residential scheme | Southwark Competition/pre-app/stage 02 planning application (Autumn 2018 - Ongoing)

FORGOTTEN VOICES CONCERT HALL & PIER | WEYMOUTH FINAL UNDERGRADUATE PROJECT (SPRING & SUMMER 2018)

BRIEF MUSIC AS A CATALYST OF TRANSFORMATION

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3 site map site boundary the dancing platform at Cremorne Gardens | Pheobus Levin, 1864 the pier bandstand, weymouth

site boundary

As an art form, music holds a great potential to transform. Its melodies, rhythms and tones create a dialogue which transcends language, age and class to convey emotion. This manipulation of emotion allows music to transform experience, behaviour, memory and place. Architecture has a shared capacity as another art form. Space, proportion and materiality can equally impose programme and convey emotion upon the user. Sigfried Gideion considered architecture as both ‘space and time’ but the definition given by Dutch architect Aldo van Eyck, ‘place and occasion’ begins to strengthen the connection between architecture and music as both can be used to transform experience. I wanted to explore this notion of transformation and the ties between music and architecture through proposing a concert hall for Weymouth. This brief began from my prior research into the simplest of grassroots performance spaces the bandstand.

During the dawn of the industrial revolution, health & wellbeing became a growing concern. Bandstands were introduced as part of the public parks movement. These simple, cheap structures instilled culture and community within Victorian Britain. My site was chosen for its history in music & entertainment. Echoed by the remnants of the pier bandstand demolished in the 80’s. At the bookend of the georgian esplanade, this site sits on the boundary between the city & sea and it is here that I hoped to transform Weymouths connection to its context through musical programme.

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DESIGN DEVELOPMENT

initial concept image - extension of the promenade programme arangement models - acrylic & timber initial concept image - threshold conditions

INITIAL CONCEPTS AND CRITICAL RESPONSE

Initial designs explored themes of transition & ritual. Informed by critical research into the history of the music hall and its contemporary transition from wallflowers to cultural emblems.

from the context of the Georgian Esplanade my scheme sits as a solitaire piece along the coast. This limited the options of arrangements available to me as there was no clear front or back of house.

Analysing precedents which transformed the typology, highlighted the importance of programme structure and the potential of transforming the user experience. Whether the egalitarian organisation of Han’s Scharoun’s Berlin Philharmonic or the blurred boundaries & scripted experience used in Casa de Musica by OMA, the intent of the architecture can be extracted from the layering of programme and how the public, private & back of house spaces are intertwined.

Early designs also built upon the typology of the pier. Vehicles of escape & leisure, piers provided an extension of the promenade which drew the city out to sea & allowed the residents to connect with the water while also creating panoramic views of the cityscape behind. These are typically crowned with an architectural ‘jewel’ at the end, rewarding the public for their travels with a house of entertainment.

This began my first set of studies, a series of models which explored these possible arrangements accompanied by critical analysis reflecting upon the intents of the brief & the site. A key limiting factor was the site itself. Surrounded on all sides & removed

However, these structures become financial burdens as they weather & decay, informed by the light approach of the successful dRMM Hastings Pier renovation I instead chose to keep the concert hall on the shore addressing the city & freeing up the pier structure.

SITE PLAN 1:1000

INTERIM 01

INTERIM 02

TECTONIC REVIEW

6 A

7 1

2 5

section b-b

plan a-a

FINAL SCHEME TWO OPPOSING ACOUSTIC SPACES

1 concert hall 2 audience lobby 3 performer antichamber 4 control room 5 practice rooms 6 restaurant 7 gallery/function space 8 bandstand 9 public foyer/cafe

Reflecting upon the potentials of the site & my prior research into the development of the typology my scheme aimed to address these three following areas: Transform perception of music. I wanted to restore the sanctity and monumentality to the musical experience lost upon the personal listening devices and streaming services of today. The solitaire nature of the site provides this potential.

distractions of day to day life to delve into the art of the performance. The architecture should aid these transitions by carefully considering the arrangement of programme & the story of each user.

Centre of community. Music events can create a shared experience which unites people of any age or background, evoking a sense of community. This was highlighted by my contemporary issues essay into the bandstand & the success of the brass band Ritual of transition. Both the audience movement which saw music become the and musicians must prepare before a heart of towns across Britain. performance, transitioning from the

ETHEREAL EVENT

RITUAL OF TRANSITION

CENTRE OF COMMUNITY

FINAL SCHEME

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final model - timber & acryclic 1:200 perspective section b-b

EXTENSION OF THE ESPLANADE

These aims were realised in the form of an The scheme reintroduces the demolished open flexible public pier injected with musical pier & the connection it provided Weymouth programme in the form of two key spaces. to the sea. Through its public nature, the pier extends the Georgian esplanade providing The first, an enclosed auditorium that places much needed flexible public function space. music at its heart, making the community as much a part of the experience as the music. Year-round activity is ensured through two Here the audience are sheltered from the permanent performance spaces. These are harsh conditions of the exterior within an raised above the deck to ensure the pier acoustically seperated space which allows remains public, creating a lobby/cafe space them to focus upon the performance. below the 450 seat auditorium and a simple roof providing some temporal protection for The second, an open-air amphitheatre the open air amphitheatre. exposed to the elements and echoing the legacy of the bandstand. During summer The end of the deck drops to heighten the months free events will bring activity to the connection with the sea while the auditorium pier with musical performances enlivened by is wrapped in a skin of glass dissolving its the open nature of the sea. massing.

TWO OPPOSING PERFORMANCE SPACES

RAISED ABOVE A PUBLIC PLATFORM

CONNECTED WITH THE CONTEXT

PIER & AMPHITHEATRE

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perspective visualisation - amphitheatre public realm plan - pier deck a: foyer b: amphitheatre flexible pier diagrams tectonic section - amphitheatre

FLEXIBLE PUBLIC PLATFORM

At the beginning of the pier is the enclosed foyer for the auditorium which provides complete shelter from the exterior. Housing event space and supporting food and sanitary facilities, this space activates the pier throughout the year. The deck itself provides an open platform for a variety of community events, fitted with the necessary infrastructure for temporary installations, market stalls and amusements. Voids are cut into the deck to further increase the connection with the sea, reducing the overshadowing of the beach and enforcing circulation routes around its perimeter. The greenheart timber deck will weather with time producing a patina in places exposed to the rain and sun, this will subtly indicate where the areas of protection are located at both the amphitheatre and around the foyer space. .4

DUAL CONTEXTUAL RESPONSE

PROTECTED JEWEL

PERMEABLE BOUNDARIES

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CONCERT HALL LAYERS OF TEMPERED SPACE

The division of the auditorium is continued into the plan and circulation, creating two halves which each open and address the duality of the site. Each half provides separate lobbies, bars and cloakrooms to either half of the audience, resulting in a rotated plan that provides equal opportunities in programme and layout yet are made unique by their relation with the context.

perspective visualisation - pier tectonic section - permeable glass skin plan diagrams foyer plan (ground) practice spaces (1st floor) auditorium plan (2nd floor) restaurant & event (3rd floor)

This system creates layers of material changes that inherently build acoustic and visual separation toward the auditorium, aiding the ritual of preparation before a performance.

These layers are further blurred by breaking down the boundaries between them. As the glass skin and flanks of the auditorium open up, flexible arrangements are generated With the idea of transition and transformation providing control on the degree of seperation. the plan is arranged in layers. From the outside, a permeable skin shields the concert This not only allows the context to enter hall from the wind and sun. Behind that is a the auditorium visually and acoustically but layer of circulation, lobby spaces and at the also allows the auditorium to bleed into the centre, an enclosed auditorium. surrounding.

CONCERT HALL

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perspective visualisation - auditorium tectonic section - auditorium acoustic diagrams

MUSIC AT THE CENTRE

The auditorium places music at the centre of the stage creating unique yet equal experiences for the audience. Lined with warm timber which creates a striking contrast to the weathered pier deck below signifying the protected jewel within, the audience are drawn to their seats as the adjacent doors provide one final glimpse out through the opposing foyer space out to the sea.

However, simple acoustic devices are employed to mitigate flutter echo and allow for the acoustic space to be tuned dependent upon the performance.

A simple shoebox form is given for its cost effective acoustic performance. Based on two cubes the acoustically separated box is 16m wide by 32m long with a three storey height ensuring long reverberation times required for chamber hall music.

If required the reverberation time can also be extended by opening the flanks of the auditorium. This doubles the effective size of the acoustic space as the audience lobbies become antechambers at the sacrifice of acoustic separation.

Acoustic curtains housed in the upper tier absorb reflected sounds to reduce the reverberation time required for spoken word & amplified music.

CLOSED - SHORT REVERBERATION

OPEN - LONG REVERBERATION

MUSEE SANS FRONTIERS CULTURAL MUSEUM | MARSEILLE THIRD-YEAR INTERNATIONAL PROJECT (SPRING 2017)

Final third year project, a small cultural museum set within the old streets of le panier, housing seven exhibition spaces for rotating displays. Having visited the site and explored the city of Marseille I was stricken by the spatial nature of the streets and how they became extensions of the home. Understanding the way in which the various cultures of the city co-existed without conflict and how this was evidenced within the co-habitation of the streets, I therefore aimed to capture this within my scheme. As a space of both movement and conversation the street informed my circulation, becoming a vertical route which connected the exhibition spaces. This project was lucky to begin with a strong response to the site seeing a consistent design development and a finished result that fulfills the initial aims. Awarded the Oculus prize for ‘outstanding design work’.

LE PANIER STREETS OF CO-PRESENCE

1 sketch illustrating the nature of the Le Panier 2 site sketches analysing vernacular architecture 3 site plan 4 map of le panier highlighting public squares public squares site

Marseille is a hotbed of multicultural activity. Home to one of the Mediterraneanâ&#x20AC;&#x2122;s busiest ports, the city contains a whole range of political and religious ideologies.

While exploring the tall narrow streets I could instantly see how the inhabitants use the outdoor space as an extension of their home. Sketching the spatial qualities of my surroundings I was inspired by the relationship A museum of culture is typically imagined to the inhabitants had with the street. bring together all of the surrounding cultures and harmonize them. However, this is not the The sketch, included adjacent, illustrates the want of the inhabitants of Marseille as they narrow & vertical quality of the street and the have always enjoyed co-presence rather than private rooms which open up onto it, creating co-existence, where everyoneâ&#x20AC;&#x2122;s presence is a lively public space where all share the right acknowledged, never rejected. to inhabit the space as they wish. With this project I was tasked to create something which promotes co-presence and rejects racist and other anti-human rights, beliefs and attitudes. It had to reflect the cultural relations of its surroundings in the old streets of Le Panier whilst providing a positive outlook for the future.

These streets wind through the historic district. At their intersections, open public spaces provide a breath of fresh air from the narrow streets, opening up views to the rest of the town and offering places of rest & reflection. My site inhabits one of these spaces.

CONCEPT DEVELOPMENT

1. 2. 3.

intial sketch models initial plan explorations site response diagrams

MASSING & SITE RESPONSE

My initial plan of intent was to internalise the street. Using a series of narrow and large spaces to create a sense of arrival along routes in which the rotating exhibitions coexist. I began by storyboarding the experience of the user, introducing programme into key points along the route while allowing flexibility in the possible routes taken. This project was my first attempt at a highdensity, mulitlevel scheme. Models allowed me to explore the plan spatially, to analyse the staked form, understanding the impact of voids and comparing the massing within the context.

The first gesture of my scheme was to bridge the two spaces, improving their pedestrian connections & surveillance. This is achieved by extending the flank wall out, creating a solid base for the museums plant & auditorium. An external stair case provides this pedestrian connection. Upon the base the galleries & support spaces are separated, shifting the gallery spaces north for diffused light & services to the south for solar shading.

The gallery spaces are further lifted to create an open public foyer that acts as an extension of the public realm. Feathers of terracotta fins My site sat within the boundary of two public wrap the gallery spaces, further protecting spaces with opposite degrees of success. them from the Mistral winds. One, a boules club with a supportive eatery. Raised it benefits from lots of sunlight and External terraces are introduced to provide fronted by the surrounding buildings it feels external breaks through the journey of the safe & secure even at night. The other less exhibitions, allowing key views over the succesful, littered with the remains of an harbour city. abandoned playset this sunken space felt dark & lost.

FINAL SCHEME

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1:500 site model - greyboard & card plan diagram entrance level (foyer) plan third floor (restaurant & exhibition) plan top floor (admin & rooftop terrace) plan

STRATEGIC ZONING

The plan operates around a simple zoning strategy. To the south is the core, shielding the building from overheating and reducing in size as the building height increases to respond to the context.

Connecting these two is the vertical street, positioned to the west. Here it acts as a thermal buffer zone from the setting sun, reducing glare and containing views over to the Centre de la Vieille CharitĂŠ.

VERTICAL STREET

The exhibition spaces, foyer and admin spaces are all positioned to the north, here they have views which open up onto the two adjacent public spaces and further out to the context.

EXHIBITION

CORE

e d g

b c

ELEVATIONS & SECTIONS SERIES OF CONNECTED VOIDS

The terracotta facade blankets the building, reciprocating the contextual language of the vernacular roofs found in Marseille but here used as a solar shading device. This detail was inspired by the response to climate recorded through my site studies.

d g

The tessellating panels open up as they move upwards, creating a sense of progression through the vertical circulation as the quality of light changes throughout. a

The sections illustrate the spatial relationships created through the double height spaces and the vertical streets which connect them.

b c

As the exhibtion spaces extend vertically the opening external louvres allow more light and external views outward this creating a contrast of lower inward facing gallery spaces and higher gallery views with an emphasis on surrounding context.

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long section A-A (through vertical street) short section B-B (through exhibtion voids) west elevation (across boules yard) south elevation (stepped core responds to context)

a foyer b auditorium c plant d vertical street e external terrace f admin/office g exhibition

TECTONIC DESIGN EXTENSION OF THE EXTERIOR

With an aim of internalising the street the tectonic of the interiors is governed by continuing the external, hardwearing finishes internally. Inspired by the raw qualities of the nearby friche la belle de mai, a former tobacco factory turned arts district, I have chosen a palette of raw exposed concrete and wrought ironwork which brings texture to the exhibition spaces, capturing the varying qualities of light & providing thermal mass for cooling in the warm climate. .4

The muted palette provides a backdrop for the terracotta used not only as solar shading devices on the exterior but as a motif to highlight points of contact like step treads, bench tops & as wind protecting balustrades for the external balconies.

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1:50 tectonic section model perspective visualisation - vertical street perspective visualisation - upper exhibition (views) perspective visualisation - intermediate breakout cafe perspective visualisation - lower exhibtion (internal)

TECHNE (BASIL SPENCE) TEMPORARY EXHIBITION OF CRAFT | NA FOURTH-YEAR INTEGRATED GROUP PROJECT (AUTUMN & WINTER 2017)

For this project, working in collaboration with civil engineers, we were tasked with designing a temporary exhibition revolving around British craft. While encompassing a vast range of areas we chose to focus on metalwork, an intrinsic part of Britain’s industrial history. This began with the notion of learning through making. Wanting to address the lack of investment in creative education in the UK we aimed to produce a hub of workshops that created opportunities for collaboration and raised awareness on the value of craft. Rather than displaying examples of craft it would encourage others to take part, learning from specialists and developing their own deep understanding through experience. The scheme consists of two elements, a large-spanning space frame structure that creates semi-tempered flexible workshops partitioned by concrete fins which act as tempered spaces for support and studio functions. As a group project with a limited timeframe this required an efficient workflow achieved through understanding each other’s strengths and weaknesses. Tasks were correctly assigned and time organised accordingly. Most important to the schemes quality was ensuring a friendly, passionate collaborative environment that encouraged idea sharing and feedback, resulting in a scheme that was a combined representation of everyone’s contributions.

The form starts with a basic space frame structure providing a series of workshop spaces as is the case in each coastal location.

Cores providing studios and service areas are used to break up the workshops once the sizes of the workshop spaces for each location have been calculated.

The structure is positioned on site to allow for the best possible location for deliveries to the recycling centre part of the scheme. In weymouth the tram lines also lead you to the front of the building.

Courtyard spaces are created by the modification of the building volume using a grid system of the corner and straight building modules. In Weymouth this also helps the building fit better on site and respond to the differing site geometries.

.1 Pitched roof forms allow for stack ventilation in the workshops, solar panels on the roof and rooflights angled northwards.

TRANSPORT

Certain facades and roof pitches are glazed to let light in as required by the spatial arrangement of the rooms. Perforated cladding panels are added to prevent excess solar gains and for aesthetics.

DEPLOY

BUILD

BRIEF & SITE RESPONSE

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parametric model diagrams scheme phasing/legacy diagrams ground floor plan

PARAMETRIC MODEL

Our response to the brief questioned the temporary element of the exhibition, longing to use the programme as a way of introducing vital workshop space and educational structures the legacy of the scheme would be lost once the structure was demounted and moved. Instead we proposed a system that would incorporate the local tradesmen and community in up-cycling waste metalwork to create work, study and exhibition spaces which would maintain an educational structure that would promote the craft of metalwork. The legacy element of the scheme consists of two elements, a large-spanning space frame structure that creates semi-tempered flexible workshops partitioned by brick fins which act as tempered spaces for support and studio functions. *Our response involved a parametric model that would incorporate the unique site, requirements and materials available to each location and generate a form for the local community to construct.

DEPLOY

.3 TRANSPORT

BUILD

ELEVATIONS & SECTIONS RANGE OF SPATIAL QUALITIES

Cladding for the space frame structure would be sourced from recycled metal found in the local area. Untreated and exposed to the elements, the facade will come to life illustrating the many qualities of the metal. The spatial requirements for the interiors change dependent on the function within, whether it be avoiding overheating in the large fabricating side of the craft or the ample sunlight required for working with fine detail jewellery. As a result the facade panels will be adapted to suit the interior, bending and perforating to control the lighting inside or improve ventilation. 1 2 3

section A-A section B-B aerial perspective

a heavy-duty blacksmith workshop b exhibtion space c cafe/function

TECTONIC DESIGN

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35 rooflight diagrams tectonic section - rendered perspective section tectonic section - laser cut greyboard, carboard & card

MODULAR SPACE-FRAME

The space frame structure was chosen for its ability to span large distances with relatively small member sizes. This aids construction times an allows fabrication in smaller workshops & assemblies while the modularity of the structure allows it to adapt to the unique requirements of the area and site. This modularity is extended to the exterior cladding where raw-untreated recycled material can be layered and fixed directly to the structure with options of adding insulated panels or perforated panels dependent on the requirements of the interior. Roof lights have also been designed as modules that can be placed wherever necessary, providing openings for ventilation & additional light diffusers to reduce glare. Internally the space frame is left exposed, allowing the intricate connections & material qualities to dominate the spatial qualities of the space, highlighting the craft behind its final form.

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TECTONIC DESIGN

rendered perspective - jewellery workshop rendered perspective - studio/office rendered perspective - blacksmith workshop furniture axonometrics - rendered

INTERNAL REQUIREMENTS

g is rity can ter be der

6.8 FURNITURE

ore our

Studio storage Jewellery workshop tables

Blacksmith workshop gas forges

In the same way that the permanent building is made from recycled materials, the vast majority of the furniture as well as workshop tools can be made on site reusing found materials after the permenant building is erected. This can be done by anyone using the workshops under supervision of the specialists.

05/12/2017 09:19:48

Here is a selection of some of the more specialised items that would be required for our scheme. 05/12/2017 09:19:48

Studio desks

The permanent structure designated as the legacy part of the project would provide a range of metal workshops on a whole range of scales. These spaces would have varying qualities of ventilation & daylight provided by the space frame structure.

Final Report.indd 102

Jewellery workshop tables

This group project taught me a lot about teamwork. Working in a group of six from multiple professional backgrounds we wereStudio storage able to tap into a multitude of experiences and resources. However, this relied upon accurately understanding each members strengths and weaknesses, identifying who to Along the structure are brick cores which assign singular tasks to and when to open up provide secure, thermally comfortable spaces the design for future discussion. for supportive studio/office space for the programme. These brick cores also act as Spending the weeks getting to know each acoustic and thermal seperations from the other the group eventually came to a strong, different workshop spaces. trustworthy system that worked efficiently and effectively. While the final design solution The essence behind the schemes educational may be unresolved in some areas, mostly due philosophy is learning through making and to design restraints, it certainly represents this is extended into the furniture of the everyoneâ&#x20AC;&#x2122;s contributions equally and became scheme, designed to be made by the students a final product that questioned the brief and as and when required. pushed our design experience further.

School Square School Entra nce

St. alba ns rd

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PEDESTRIAN ACCESS

.2 DUAL ASPECT - TYPICAL PLAN

LANDSCAPED SPACES

BREWERY JUNCTION

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masterplan - roofplan masterplan strategy diagrams coloured elevations

MIXED-USE RESIDENTIAL MASTERPLAN | WATFORD STAGE 02 PLANNING APPLICATION (AUTUMN & WINTER 2019)

ELEVATION - ST ALBANS RD (EAST)

First experience at LDS, working under Associate Director Martin Kiefer in a team of 6 on a 1,200 home multi-functional development in Watford for Berkeley Homes. I joined the scheme at late stage 1 of the design process and saw it through to a complete stage 2 planning application. The project opened me up to the world of mass housing production and the issues faced in meeting the housing demand without compromising design quality. Following the applications progress its provided me with a unique first hand experience with the effectiveness of affordable housing criteria and the lack of power councils have in enforcing the quota in the name of â&#x20AC;&#x2DC;feasibilityâ&#x20AC;&#x2122;.

.3 ELEVATION - PENN RD (SOUTH)

My personal contributions to the project mostly revolved around elevation development & plan co-ordination. Inspired by the industrial history of the site, formerly a brewery & paget plate manufacturer, the elevations have a palette of brick & zinc, using simple cost effective motifs in brickwork to create gridded facades echoing the paget plates.

PLAIN BRICKWORK - RED

PRECAST CONCRETE SILL

TEXTURED CONCRETE PANELS

BANDED BRICKS REVEALING RELIEF TEXT

GLAZED ENTRANCE

.2 TEXTURED CONCRETE

RELIEF TEXT

TYPICAL 1 BED FLAT LAYOUT

RIBBED BRICKS PRECAST CONCRETE PROJECTING HEADERS

TYPICAL 2 BED FLAT LAYOUT

As well as producing meeting documents & presentations I was also able to run several feasibility studies for extensions of the site, planning & refining flat layouts, co-ordinating structural information from sub-consultants and generating graphics to describe programme arrangements.

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rendered bay studies - S4 material palette typical flat layouts residential facilities exploded axonometric

I even ran early design development for the two form entry primary school, a key element of the schemes planning appeal. Vertical due to its limited site coverage, the arrangement was unprecedented in the borough and required indepth demonstrations of its feasibility.

SECOND FLOOR

2ND FLOOR PODIUM

screening/meeting room residents catering area residents lobby

FIRST FLOOR gym main room male changing rooms female changing rooms PODIUM CAR PARK

GROUND FLOOR main concierge staff/FM office plant - parcel store

GARDEN ENTRANCE

planning application (ongoing - summer 2020)

pre application (summer 2019)

competition (autumn 2018)

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ST OLAV’S COURT

competition scheme ground floor plan & view pre-app scheme ground floor plan & view latest scheme ground floor plan & view site opportunities diagrams

100% AFFORDABLE RESIDENTIAL SCHEME | SOUTHWARK COMPETITION/PRE-APP/STAGE 02 PLANNING APPLICATION (AUTUMN 2018 - ONGOING)

Majority of my time has been spent on St Olav’s, a 100% affordable residential project in Southwark, where I have taken a large design responsibility in developing the project under directors Paul Sandilands and Adrian Bower. Having completed the successful competition bid in 2018 I have progressed the project through various pre-application stages with an impending stage 2 planning application. The process has exposed me to the principles of early design development, client relationships and the planning procedure.

Grade II listed St Olav’s Church adjacent. The site also sits within the protected LVMF view to St Paul’s from Greenwich Park, limiting the developable potential of the site.

The existing site is situated by Southwark Park, beside the Rotherhithe roundabout & tunnel entrance. Highlighted as a key site for development and gateway to the wider Canada Water Area Action Plan this scheme requires a high level of design & careful consideration of the context including the

The affordable provision provided another challenge to the scheme, requiring careful consideration in material and elevation development, with more recent developments looking to simplify the scheme further to increase repeatable units & further reduce building cost.

Since being appointed after the successful competition bid I have seen the project through various re-designs, running multiple feasibility studies on various schemes to find the most viable option. Multiple preapplication meetings have gone to shape the scheme, adapting to address feedback on massing & amenity design.

Rotherhithe

King’s Stairs Garden

Canada Water

Southwark Park

.4 VEHICLE & PEDESTRIAN ACCESS

LVMF STRATEGIC VIEWING CORRIDOR

LOCAL HERITAGE

This project has been my opportunity to take upon more design responsibility and with that not only have I had the opportunity to make a personal mark on the development of a scheme but gain a lot of first hand experience with the client and the different factors that go on to shape the design through the planning process, particularly government legislation & council/borough design guides & the effectiveness of the quality of information provided.

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latest plans, ground, typical and upper rendered perspective rooftop amenity plan rendered perspective ground floor plan rendered bay studies & sections rendered perspective from Jamaica Rd

.4 TYPICAL SHOPFRONT ELEVATION

CROWN ELEVATION

SHOPFRONT SECTION

CROWN SECTION