PORTFOLIO | SAMUEL PIERCE ACADEMIC | PROFESSIONAL ARCHITECTURAL ASSISTANT | PART II Summer 2022
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AutodeskTouchDesignerUnrealGrasshopperRhinoEngineBlenderSketchUpAutodeskRevitAutoCADVectorWorksMicrostationVrayEnscapeAdobePhotoshopAdobeIndesignAdobeIllustratorAdobePremiereAdobeAfterEffects
PROFESSIONAL (3 YEARS TOTAL)
Contributing to Residential/Commercial projects at a variety of scales and stages from competition bids/planning applications to stage 4 tendering packages. Majority of my experience spent developing a 100% affordable residential scheme in Southwark from competition, pre-app and full stage 02 planning applications. Apollodorus Architecture | Architectural Assistant | 2017 (Feb-June)
Unique residential project for which the practice was established, headed by Mark Wilson Jones, prominent architectural historian and senior lecturer at the University of Bath.
Bartlett School of Architecture 2020-22 Architecture MArch (ARB/RIBA Part 2) Distinction
University of Bath | 2014-18 Architecture BSc (Hons) 2:1 Brighton & Hove City College | 2013-14
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Sole practitioner in Bath working on small scale residential projects from renovations to new-builds, producing drawings and models for a range of work stages. Undertook considerable design responsibility in developing a stage 2 planning application for the conversion of the director’s home garage to produce an ancillary studio for extended family. CV BIO Samuel Pierce | Focused and committed individual devoted to architectural design. Extensive history in creative educa tion, I am a problem solver at heart. Drawn to architecture because of its impact on the place and user, excited by the intricate challenges faced within the design process. Rigorous and precise in my ap proach my designs are achieved through hands-on experimentation both physical and digital. Building models which investigate materi als directly or scripting designs to understand the underlying digital processes behind them.
ACADEMIC SOFTWARE ACHIEVEMENTS
UAL Foundation Diploma in Art and Design | Distinction Varndean College | 2011-13 A-levels | Mathematics: A, Physics: A, Fine Art: A* and Graphic Design: A*
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e: m:samuelcharliepierce@gmail.com07985738397
Arup Associates Prize | ‘Outstanding Design and Group Work’ | 2016 3rd Year Group Project integrated with the Civil Engineering Department
Lifschutz Davidson Sandilands | Architectural Assistant | 2018-2020
Jonathan Logsdon Architects | 2016 (Feb-July)
History & Theory Prize | Advanced Architectural Studies | 2021 Essay | ‘Hermetically Sealed: An Analysis of the homogenous and hetero geneous methods of ecological preservations presented in canned food & Biosphere II’ Oculus Prize | ‘Outstanding Design Work’ | 2016 3rd Year European City Culture project ‘Musée Sans Frontières’
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Rehabilitative Landscapes | YOI Portland 5th Year Design Project and Thesis (2021-22) | [p.17]02 03 04 07 06 05 Forgotten Voices | Concert Hall & Pier, Weymouth Final Undergraduate Project (Spring & Summer 2018) | [p.29] Musée Sans Frontières | Cultural Museum, Marseille 3rd Year International Project (Spring & Summer 2018) | [p.45] Deep Lock Studio | Garage Conversion to Studio, Bath Planning Application (2016) | [p.65] St Olav’s Court | Affordable Housing Scheme, Southwark Competition/ Pre-App/ Stage 02 Planning Application (2018-20) | [p.61] Brewery Junction | Mixed-Use Residential Masterplan, Watford Stage 02 Planning Application (2019) | [p.57] 01 Observer Effect | Cultural Centre and Archive, Brighton 4th Year Design Project (2020-21) | [p.5] CONTENT | 3 PROJECTS | ACADEMIC PROJECTS | PROFESSIONAL cover Isometricimage:section of studio spaces for 4th Year MArch project ‘Observer Effect’
This is the first MArch project which was completed in Unit21 under tutors Tom Holberton and Abigail Ashton. Completed during the pandemic where access to physi cal facilities was limited and face-to-face communication reduced to zoom calls, I became fascinated by the possibilities of digital interaction, producing a cultural centre for the largest social research project, Mass-Ob servation Archive. Developing a democratised design process that translates live and historic recordings of public activity into fixed form.
OBSERVER EFFECT | 5 01 Observer Effect | Cultural Centre and Archive, Brighton 4th Year Design Project (2020-21)
6 | INTERACTIVE DRAWINGS We were given the brief of ‘Uncertainty’ to which my response was the publics subjective interpretation and interaction with space. Thus, the explorative phase of my project revolved around developing live and interactive drawings with real-time multimedia package touchDe signer, in which models, digital and physical, were influ enced by the viewer, captured with webcams, body-track ing AI’s and microphones. These models established live feedback loops where the viewer is required to change their behaviour to achieve idealised forms. The first drawing presented above required three members of a zoom call to position their phone within the screen to influence the dimensions of a cube. Moving into the physical the model below used pro jective mapping and a kinect sensor to create a reactive model which distorted according to the viewer’s position. setupv:0.81u:0.89v:0.31u:0.49v:0.34u:0.85 setup kinect tracking hand position rendered view projected onto massing model hand projected onto displaced3dgeometrygeometryby handcollaborativeposition interaction zoom call tracking 2.1. BLOB 00 yx z BLOB 01 BLOB 02 scan here
Explorations into developing live interactive feedback loops between user and form led me to the brief of a cultural building that incorporated the publics activity whether directly influencing form or incorporating sec ondary recordings. Inspired by the participatory design approaches of Lucien Kroll and Walter Segal, the brief required me to develop a design approach that allowed end users to have a meaningful impact on the end result.
OBSERVER EFFECT | 7
In the final presentations of my building project, I was able to explain the concept and massing principles through these live drawings. Rather than a fixed form, the tutors and critics were able to witness their own influ ence, establishing a live feedback loop that captured the dialogue between the group.
4.3. 1. 3-way collaborative drawing 2. Projection mapped interactive model 3. Final interactive massing model 4. Touchdesigner script for final building presentation.
8 | MASTERPLAN APPROACH W N bottega observationarchive/studiolo/Workshop/Studio - Personalised spaces scaled and positioned by the end user with components placed within the boundary, including an Oriel Window and ancilary cast concrete volume. Archive - Delicate Caligraphy is calibrated into a solar shading device, creating a diffuse interior perfact for reading. protected courtyard active frontages and aspect
OBSERVER EFFECT | 9
The cultural centre is broken down into 4 key buildings which each utilise a source of activity data to influence its form, whether translating archived signatures or webcam feeds from zoom sessions. This resulted in a kit-of-parts explored in detail within Design Realisation report. Fundamentally the brief required me to understand the material and structural limitations of these components and desired spatial qualities of the programme to identify areas of freedom to unlock to the end user in the design process.
2.1. E S courtyardevents wallpartii cafe 1. Site Plan Concept Diagram 2. Massing Diagrams
Cafe
Events Hall - Modular block facade takes on personalised pieces created by as many members of the public as possible. Apertures mediate light and ventilation. - Ribbed profiles create transparent space that is articulated by zoom profiles.
13m 8.5m 4m15.5m 11m 8m 16m CIRCULATIONVERTICAL building heights entrances and circulation
my
10 | DESIGN REALISATION solar radiance x1 x1 x2 x2 y1 y1 y2 y2 3.6sqm 3.6sqm 2.7sqm 2.03sqm 1.8sqm opening size panel variants extrude taper twistzoom tracking3.2.1.
OBSERVER EFFECT | 11
As an example of how research allowed me to identify moments of public participation, the facade of the events hall takes on a language of distorted wooden boxes which based on desired solar gain and shading in the winter and summer months, are positioned, and scaled Nodeaccordingly.based design languages like grasshopper allowed me to prede termine the methods of translation based on analysis of the base massing’s form. Parametric design allowed me to accommodate the uncertainties generated through the publics participation, ensuring identified spatial and structural requirements were maintained. The window for public participation would not only be limited to the de sign stages before completion but also in the continued use and repair of the building. This is reflected in the structural layering of the ar chitecture, utilising heavier carbon costing materials in the founda tions of the structure but selecting less durable and costly materials for cladding, internal finishes, and Thisfurniture.allows the architecture to continue to reflect the evolving needs of the public and archive, rather than a fixed form it becomes a feedback loop in dialogue with the city.
1. Detailed Section and Exploded ISO of hall facade components 2. Diagrams explaining form influence 3. Diagrams explaining panel variants and their position based on solar radiance 4. Exploded ISO showing layering of timescales HALL FACADE 4.
While enjoying her 1 hour of permitted exercise under the latest COVID-19 lockdown restrictions, leader of the opposition, Councillor Nancy Platts, passes yet another building development vandilised with anti-gentrification messages. Organised protests had ensued over the evening, attended by local residents and business owners looking to retain their right to the city. At her Bi-Monthly zoom review with the GBEB, Nancy raises her observations. Other board members agree that a publically driven project would be perfect for increasing pride of place as they emerge from the pandemic. Adam Tickell, President of the Universi ty of Sussex points towards the Mass Observation Archive as great source of anecdotal insight.
MOB have just published their 12th May Diary entries for 2020. I’m sure find into the pandemic response
RADIO
we
Wow, this period of reflection has really sparked a willingness to shape a brighter future.
Exploring the collection at the Archive Nancy finds overwhelming messages of hope, kindness and a shared longing for change. Board agrees a business strategy to begin defining the brief, consulting with other board members and applying for government funding through Stage 1. uh.. yet another development that has failed to involve the context. I remember their public consultations, all PR manage ment and no meaningful engagement. No wonder why the public feel ignored.
We
Before I resign i must set in place a better framework for public engagement, this has to stop.
all
Just as people sort to shape their homes and gardens into places of serenity, we should give them the ability to shape their city. here
insights
scan
What happened to the
was
12 | STORYBOARD
Returning home, Nancy, reads the local newspaper to see the public reception of her announced resignation from her position on the council only to find yet another permitted development recieving public contestation.
there.howcan know what they want? could conduct a poll but good luck finding a consensus within a place so full of individuals. Good morning fellow brightonians, anyone seen that absolute eye-sore popping up on charles st? When did this pop up? GP that there before?
you’ll
OBSERVER EFFECT | 13 In order to illustrate the many opportunities for public participation and the differences from traditional routes of procurement, I produced a short comic book which later served as a storyboard for an animated film. This helped sell the narrative of the scheme and the ways in which public tracking data was transferred into fixed forms and later adapted through the projects lifecycle. Board agrees a business strategy to begin defining the brief, consulting with other board members and applying for government funding for Stage 1. Potential Sites owned by members of the board are identified with the final decision informed by level of initial public engagement and estimated crowdsourced funding. Design team appointed through a democratic process amongst board members and observers. Promotional videos and online CVs are shared to aid the decision. Rough Programme is outlined once the observed strategy is set. As part of the budget a marketing strategy begins to garner at tention to the project, asking for anecdotal contributions through physical and digital platforms. As the MOP refers to its contributors as ‘Observers’ so will the project team. Strange! The poster warps as we move! How should we define the scope, site and budget? Lets ask the public! This projects ambition is to completely radicalise the design process. Let’s give the people power! ...sounds risky... lets go! Hiya, do you have a minute to answer some questions about living in brighton? hmm... surely this won’t amount to any thing? This is usually just a ploy to sign off on someone else’s profit making scheme.. We already lease some of the retail units, perhaps their business could be consolidated in the final proposal. This site fits our projected cost and capacity. Okay, after assessing the scope and design we now have a rough outline strat egy for moving forward. This should be enough to begin fundraising. CV_#517 CV_#419 CV_#659 occupation: architect occupation: qs occupation: engineer “I will do everything in my nature to maximise the cooperation of the client in the design process.” “Budgets will be optimised to allow as much customisation as possible” “A simple superstructure will accommodate a wide range of spatial outcomes”
14 | VIDEO PRESENTATION 2.1. 3.
An animated film became integral to the portrayal of the imagined narratives of the project’s con ception, public participation, and continued reconfiguration. OBSERVER EFFECT | 15 Perspective Locationsscanhere 1. 2. 4. 3. 4. 1. Central Courtyard 2. Observation Archive 3. Community Hall 4. Bottega / Studiolo
Concluding project to my Part II studies, this project is a culmination of extensive research into digital architec tures and their interactions and influence over the user.
Informed by research into virtual reality and its potential application in transforming spatial and self-cognition, this YOI integrates digital architectures to aid rehabilitation of the individual.
REHABILITATIVE LANDSCAPES | 17 Rehabilitative Landscapes | YOI Portland 5th Year Design Project and Thesis (2021-22)02
18 | VR DEVELOPMENT PROGRESS scan here 2.1. key key holder player pawn
REHABILITATIVE LANDSCAPES | 19
reality
the
1. Photogrammetry scan
studio space 2. Diagram explaining components in Unreal 3. Storyboard depicting VR scenario 3.
example
Whilst researching the develop ment of the prison archetype in relation to changing social and po litical views, I tasked myself to im agine what the prison of the future may become. Inspired by Shosha na Zuboff’s Surveillance Capitalism which unveils the nefarious nature of our personalised digital devices, I set about creating VR scenarios that modified my behaviour as an architectural student. Using a 1:1 digital replica of my studio space generated with pho togrammetry, I produced a range of digital activities within unreal engine which required me to clean my desk in a fashion reminiscent of the bedspreads laid out by inmates. When placed within their designat ed positions, objects increase a tally presented within the UI. Once complete, a locker is unlocked, containing a reward in the form of a digital Simultaneouslypastry. inhabiting the physical and digital studio present ed a unique melding of realities. Navigating to the locker created an embodied spatial sensation that transformed my relationship to my surroundings. Subsequent models explored other means of manip ulating spatial cognition, altering scale, field of view, lighting and ma terial rendering quality in response to a player’s actions. condition)(wincompletiontask virtual reality (pastry)reward(modulation)movement of bedspread laid out by inmates in British prison system of
20 | THESIS RESEARCH : AAD Within my thesis I investigated spatial cognition and projection within the lense of emerging theories of radical embodiment which state that cognition is embodied, em bedded, extended, enacted and affective. Virtual reality interjects our perception with digital stimuli to create em bodied representations of space that can have profound impacts on our understanding of self, others and environ ment. The scope of my investigations were informed by a series of virtual reality setups which sought to radically alter my perception of space and self, shifting my vision to a third-person perspective, embodying virtual dupli cates and drawing at multiple scales simultaneously.
As
architects this shifting of perspective can have consider able impact on the way in which we understand space as we Researchdesign.outside of design is beginning to evidence the application of embodied representations in tackling im plicit associations such as racial biases and allowing indi viduals to undergo embodied self-dialogue from third-per son perspectives. Within my carceral architecture these embodied representations could provide unique insights to the self and unlock freedoms to the individual that aid their rehabilitation.
VISIONDISEMBODIED perspectivefirst-personrelocated Go-Pro Video Stream DisplayHead-Mounted Go-Pro Video Stream View inside of HMD View inside of HMD perspectivethird-persondistanced 1. scan here
REHABILITATIVE LANDSCAPES | 21 Taking a photogrammetry scan of my physical likeness and rigging the mesh with a digital skeleton in Blender allowed me to create a posable digital body. Inhabiting the digital body and standing infront of a digital mirror created the illusion that the digital self was my own, feeling tactile sensation when the digital body was impacted with virtual projectiles. Here I was able to add the function ality of drawing spline meshes with varying thicknesses around a 1:5 scale model of the 3D space while the full 1:1 scale is drawn simulta neously. This allowed me to draw space from a third-person per spective whilst seeing the full scale impacts instantly. The 1:5 model also included a miniature avatar so that I was able to draw in reference to my own position and scale. Final VR scenario that imagined an inmates cell. This illustrated the alternate perception created through the VR headset where forms take on alternative colours/ textures and an autoscopic view which presented a miniature model of the inhabited cell. ARCHITECTURECARCERALDRAWINGAUTOSCOPICDUPLICATEDIGITAL 1. Diagram of Disembodied Vision setup 2. Storyboard interacting with virtual double 3. Storyboard drawing at dual scales 4. Diagram explaning augmented forms 4.3.2. scan here scan here scan here physical augmented forms autoscopic perspective
22 | MASTERPLAN APPROACH 1.
key
digitalphysicalrecreationtransitionalaccomaccomboundaryboundaryzoningprogrammaticblendingroutescirculationminorandmajorgridscontextualmerging 1. Site Plan 2. Masterplan Diagrams 2.
Understanding the utility of embod ied digital architectures in providing tailored responsive spatial experi ences to each potential inmate, the concept behind the masterplan of my YOI was to refrain from provid ing harsh, physical boundaries. Wanting to soften the progression through the many stages of an inmate’s rehabilitation and eventual reintegration into society, I created a palette of architectural devices which bled into one another and the surrounding context, challeng ing the conventions of the arche Firsttype. the landscape is ordered along two grids which correspond to the arrangement of the existing communities surrounding the site. The grid is enforced through a se ries of follies which become either gates, digital observation towers or means of vertical circulation. Security is introduced through digi tal tracking and landscape devices, primarily in the form of a ha-ha which creates separation around the centre of the scheme whilst maintaining visual connection across the site. Programme is then arranged to radiate from this centre with gradually decreasing levels of physical separation and increasing levels of Establishedautonomy.architectural devices like allotments and accommoda tion blocks within the bounds of the ha-ha vary in scale and accessibili ty as they bleed across the bound ary, becoming larger field plots and halfway houses respectively. radialsouthnorth zone from clashing grid points mirror line key majorprivatepublicsecurity line turninggate point at centre of major observation zones key shared plaza secure
REHABILITATIVE LANDSCAPES | 23
24 | MODULATED ARCHITECTURE 3.2.1.
REHABILITATIVE LANDSCAPES | 25 Wanting to decentralise the design process, the architecture is para metrically defined and articulated by site specific data and historic/ live reports of inmate activity. This produces a wide range of spatial qualities, reflecting the diverse neu rological requirements of the users. For example, the accommodation blocks fall into three categories, bunkers, treehouses, and half way houses. These are randomly positioned within designated zones with type selected upon that loca tion’s elevation. Bunkers are made of stone and recessed within the landscape to create intimate views of the context while treehouses are elevated above, made of light weight fabrics, surveying the site. Digital architectures are introduced through the augmentation of base forms identified by their bold blue colour, which runs into the uniform of the inmates. These forms act as windows into distant spaces, dissolving the boundaries of the architecture to improve aspect and communication between inmates. These forms take on unique ap pearances to each inmate, allowing their spatial experience to further reflect their rehabilitative needs. Base forms are further articulat ed by adopting inmate data in the profiles of the plans and in the relief patterns of the exterior where more digital forms are also introduced. This creates a sense of progression as inmates are given more autonomy over their space in a feedback loop of rewards. mesh partitions privacy treehousescurtainshalfway houses complexityincreasing increasing complexity by introducing hand-drawn profiles ensuitesaugmentedscreensbunkerss s s s = shared p = privatepppp 1. Internal Perspective of Treehouse 2. Aerial showing variety of accomodation 3. Script used to generate parametric forms 4. Isometric section showing internal layout 5. Diagram showing palette of forms 6. Plan Diagram showing complex forms 6.5.4.
26 | VIDEO PRESENTATION
REHABILITATIVE LANDSCAPES | 27 As with the previous project (Observer Effect), an animated film was produced to describe the experience of the users and their interaction with augmented forms. scan here 1. Storyboard of animated project film 2. Perspective view along central route below treehouse accommodation blocks
Final undergraduate project, forgotten voices aims to reinvigorate the cultural offerings of the coastal town of Weymouth through reinstating its lost pier. The architecture responds to the dual nature of the site by providing two key flexible acoustic spaces which aim to provide new perspectives of the city and its connection with the sea.
03 Forgotten Voices | Concert Hall & Pier, Weymouth Final Undergraduate Project (Spring & Summer 2018) FORGOTTEN VOICES | 29
30 | BRIEF 1.
FORGOTTEN VOICES | 31 3.2. 1. site map 2. site boundary 3. the dancing platform at Cremorne Gardens | Pheobus Levin, 1864 4. the pier bandstand, weymouth site boundary
During the dawn of the industrial revolu tion, 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 mu sic & entertainment. Echoed by the rem nants 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 con nection to its context through musical programme.
As an art form, music holds a great po tential to transform. Its melodies, rhythms and tones create a dialogue which tran scends 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 an other art form. Space, proportion and ma teriality 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 Iexperience.wantedto explore this notion of transfor mation and the ties between music and architecture through proposing a con cert hall for Weymouth. This brief began from my prior research into the simplest of grassroots performance spaces the bandstand.
32 | DESIGN DEVELOPMENT 1. 3.2.
FORGOTTEN VOICES | 33
Interim 01 Interim 02 Interim 03 1. 3-way collaborative drawing 2. Projection mapped interactive model 3. Final interactive massing model 4. Touchdesigner script for final drawing
Early designs also built upon the typology of the pier. Vehicles of escape & leisure, piers provided an extension of the prom enade 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 entertain ment.
Initial designs explored themes of transi tion & ritual. Informed by critical research into the history of the music hall and its contemporary transition from wallflowers to cultural emblems. Analysing precedents which transformed the typology, highlighted the importance of programme structure and the poten tial of transforming the user experience. Whether the egalitarian organisation of Han’s Scharoun’s Berlin Philharmonic or the blurred boundaries & scripted experi ence 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 removed from the context of the Georgian Esplanade my scheme sits as a solitaire piece along the coast. This limited the op tions of arrangements available to me as there was no clear front or back of house.
34 | FINAL SCHEME section b-b plan a-a 91652 752A 12 243B
FORGOTTEN VOICES | 351. 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/cafe8 A 8 B
36 | FINAL SCHEME
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. Ritual of transition. Both the audience and musicians must prepare before a perfor mance, transitioning from the distractions of day-to-day life into the art of the performance. The architecture should aid these transitions by carefully considering the arrangement of pro gramme & the story of each user. Communal centre. Music events can create a shared experience which unites people of any age or background, evoking a sense of community. This was high lighted by my contemporary issues essay into the bandstand & the success of the brass band movement which saw music become the heart of towns across Britain. ethereal event ritual of transition communal centre1.
context2. 1. final model - timber & acryclic 1:200 2. perspective section b-b
Year-round activity is ensured through two permanent performance spaces. These are raised above the deck to ensure the pier remains public, creating a lobby/cafe space below the 450-seat auditorium and a simple roof providing some temporal protection for the open air
The scheme reintroduces the demol ished pier & the connection it provided Weymouth to the sea. Through its public nature, the pier extends the Georgian esplanade providing much needed flexible public function space.
These aims were realised in the form of an open flexible public pier injected with musical programme in the form of two key spaces.
Theamphitheatre.endofthe deck drops to heighten the connection with the sea while the audito rium is wrapped in a skin of glass dissolv ing its massing.
The first, an enclosed auditorium that places music at its heart, making the community as much a part of the experi ence as the music. Here the audience are sheltered from the harsh conditions of the exterior within an acoustically separated space which allows them to focus upon the
two opposing performance spaces raised above a public platform connected with the
FORGOTTEN VOICES | 37
Theperformance.second,anopen-air amphitheatre exposed to the elements and echoing the legacy of the bandstand. During summer months free events will bring activity to the pier with musical performances enliv ened by the open nature of the sea.
38 | PIER & AMPHITHEATRE foyer amphitheatre 1. 3.2.
FORGOTTEN VOICES | 39 1. perspective visualisation - amphitheatre 2. public realm plan - pier deck 3. flexible pier diagrams 4. tectonic section - amphitheatre 4.
timber deck will weather with time pro ducing 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.
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 Theyear.deck itself provides an open platform for a variety of community events, fitted with the necessary infrastruc ture for temporary installations, market stalls and amuse ments. 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 Theperimeter.greenheart
.2 PERMEABLE BOUNDARIES PROTECTED JEWEL DUAL CONTEXTUAL RESPONSEdual context permeableprotectedresponsejewelboundariesopenclosed2. 3. 1.
FORGOTTEN VOICES | 41
The division of the auditorium is contin ued 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 oppor tunities in programme and layout yet are made unique by their relation with the Withcontext.the idea of transition and transfor mation the plan is arranged in layers. From the outside, a permeable skin shields the concert hall from the wind and sun. Behind that is a layer of circula tion, lobby spaces and at the centre, an enclosed auditorium.
foyer plan (ground floor) plan (2nd floor) practice spaces (1st floor) restaurant and event (4th floor)
1. perspective visualisation - pier 2. tectonic section - permeable glass skin 3. plan diagrams 4. GA plans 4.
auditorium
This system creates layers of material changes that inherently build acoustic and visual separation toward the auditori um, aiding the ritual of preparation before a Theseperformance.layersare further blurred by break ing down the boundaries between them.
As the glass skin and flanks of the audito rium open up, flexible arrangements are generated providing control on the degree of Thisseperation.notonlyallows the context to enter the auditorium visually and acoustically but also allows the auditorium to bleed into the surrounding.
42 | CONCERT HALL 1.
1. perspective visualisation - auditorium 2. tectonic section - auditorium 3. acoustic diagrams 2. 3.
However, simple acoustic devices are employed to mitigate flutter echo and allow for the acoustic space to be tuned dependent upon the performance.
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. 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.
Acoustic curtains housed in the upper tier absorb reflected sounds to reduce the reverberation time required for spoken word & amplified 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 audi ence lobbies become antechambers at the sacrifice of acoustic separation. closed: short reverberation open: long reverberation
FORGOTTEN VOICES | 43
Final third year project, a small cultural museum set within the old streets of le panier, housing seven exhibi tion spaces for rotating displays. Having explored the city of Marseille I was stricken by the spatial nature of the streets and how they became extensions of the home aiming to capture this within my scheme. This project was lucky to begin with a strong response to the site see ing a consistent design development and a finished result that fulfils the initial aims. Awarded the Oculus prize for ‘outstanding design work’.
MUSÉE SANS FRONTIÈRES | 45 04 Musée Sans Frontières | Cultural Museum, Marseille 3rd Year International Project (Spring & Summer 2018)
46 | LE PANIER 2.1.
The sketch included adjacent, illustrates the narrow & vertical quality of the street and the private rooms which open up onto it, creating a lively public space where all share the right to inhabit the space as they wish.
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.
MUSÉE SANS FRONTIÈRES | 47
3.
Marseille is a hotbed of multicultural activity. Home to one of the Mediterranean’s busiest ports, the city con tains a wide range of political and religious ideologies. A museum of culture is typically imagined bringing together all of the surrounding cultures and harmonize them. However, this is not the want of the inhabitants of Marseille as they have always enjoyed co-presence rather than co-existence, where everyone’s presence is acknowl edged, never rejected. 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.
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 the inhabitants had with the street.
3.
1.
My site inhabits one of these spaces. 4. sketch illustrating the nature of the Le Panier site sketches analysing vernacular architecture site plan 4. map of le panier highlighting public squares public squares site
2.
48 | CONCEPT DEVELOPMENT 2.1.1.
My site sat within the boundary of two public spaces with opposite degrees of success. One, a boules club with a sup portive eatery. Raised it benefits from lots of sunlight and fronted by the surrounding buildings it feels safe & secure even at night. The other less successful, littered with the remains of an abandoned playset this sunken space felt dark & lost.
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 wrap the gallery spaces, further protecting them from the Mistral Externalwinds. terraces are introduced to pro vide external breaks through the journey of the exhibitions, allowing key views over the harbour city.
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 staircase provides this pedestrian con Uponnection.the
MUSÉE SANS FRONTIÈRES | 49
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 exhibi tions co-exist. I began by storyboarding the experience of the user, introducing programme into key points along the route while allowing flexibility in the possi ble routes taken. This project was my first attempt at a high-density, multilevel scheme. Models allowed me to explore the plan spatially, to analyse the staked form, understand ing the impact of voids and comparing the massing within the context.
1. intial sketch models 2. initial plan explorations 3. site response diagrams 3.
base the galleries & support spaces are separated, shifting the gallery spaces north for diffused light & services to the south for solar shading.
50 | FINAL SCHEME 1.
The plan operates around a simple zoning Tostrategy.thesouth is the core, shielding the building from overheating and reducing in size as the building height increases to respond to the context. 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 fur ther out 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 Charité.
greyboard & card 2. plan diagram 3.
&
terrace) plan 3. 4. 5. 2.
EXHIBITIONCOREVERTICALSTREET site modelentrance level (foyer) plan 4. third floor (restaurant exhibition) plan 5. top floor (admin & rooftop
MUSÉE SANS FRONTIÈRES | 51
1. 1:500
52 | ELEVATIONS & SECTIONS 3.1. a b c d e g f BB
The terracotta facade blankets the build ing, 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 Thestudies.tessellating panels open up as they move upwards, creating a sense of pro gression through the vertical circulation as the quality of light changes throughout.
The sections illustrate the spatial relation ships created through the double height spaces and the vertical streets which connect them.
MUSÉE SANS FRONTIÈRES | 53
1. long section A-A (through vertical street) 2. short section B-B (through exhibtion voids) 3. west elevation (across boules yard) 4. south elevation (stepped core responds to context) a. foyer b. auditorium c. plant d. vertical street e. external terrace f. admin/office g. exhibition
4.2. a cb d gefAA
As the exhibition 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.
54 | TECTONIC DESIGN 1.
2.
3.
4.
MUSÉE SANS FRONTIÈRES | 55 5.4.3.2. 1.
With an aim of internalising the street the tectonic of the interiors is governed by continuing the external, hard-wearing 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 var ying qualities of light & providing thermal mass for cooling in the warm climate. 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 protect ing balustrades for the external balconies. 1:50 tectonic section model perspective visualisation - vertical street perspective visualisation - upper exhibition (views) perspective visualisation - intermediate breakout cafe perspective visualisation - lower exhibtion (internal)
5.
56 | MASTERPLAN PennSquare CentralMews SchoolEntrance GardensPodium JunctionWatford towncentre Greenpromenade tionfutureconnectoWatford St.albansrd playground Mews Penn Square School Square GreenCourtyardCentralPromenade The PedestrianMasterplanAccess Dual Aspect - Typical Plan Landscape Spaces 2.1.
First experience at LDS, working under As sociate Director Martin Kiefer in a team of 6 on a 1,200 home multi-functional devel opment 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.
BREWERY JUNCTION | 57 05 Brewery Junction | Mixed-Use Residential Masterplan, Watford Stage 02 Planning Application (2019) 1.3. masterplan - roofplan 2. masterplan strategy diagrams 3. coloured elevations
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 it pro vided me with a unique first-hand experi ence with the effectiveness of affordable housing criteria and the lack of power councils have in enforcing the quota in the name of ‘feasibility’.
My personal contributions to the project mostly revolved around elevation devel opment & 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.
58 | DETAILED STUDIES 2.3.1. plain brickwork - red precast concrete sill textured concrete panels banded revealingbricksrelief text glazed entrance textured concrete relief text ribbed bricksprecast concreteprojecting headers typical 1 bed flat layout typical 2 bed flat layout
BREWERY JUNCTION | 59 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. 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 in-depth demonstrations of its feasibility. 2ND FLOOR PODIUM PODIUM CAR PARK GARDEN ENTRANCE GROUND FLOOR FIRST SECONDFLOORFLOORscreening/meeting room residents catering area residents lobby gym main room male changing rooms female changing rooms main concierge staff/FM office plant - parcel store 1. rendered bay studies - S4 2. material palette 3. typical flat layouts 4. residential facilities exploded axonometric 4.
60 | DESIGN DEVELOPMENT 3.2.1. competition 2018)(autumn applicationpre 2019)(summer applicationplanning 2020)summer-(ongoing
ST OLAVS COURT | 61 06 St Olav’s Court | Affordable Housing Scheme, Southwark Competition/ Pre-App/ Stage 02 Planning Application (2018-20)
SouthwarkParkKing’sGardenStairs Canada RotherhitheWater N SouthwarkParkKing’sGardenStairs N N Rotherhithe 1. competition scheme ground floor plan & view 2. pre-app scheme ground floor plan & view 3. latest scheme ground floor plan & view 4. site opportunities diagrams vehicle4. & pedestrian access lvmf strategic viewing corridor local heritage
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 Sandi lands and Adrian Bower. Having complet ed 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 prin ciples of early design development, client relationships and the planning procedure. 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 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. Since being appointed after the success ful competition bid I have seen the project through various re-designs, running multi ple feasibility studies on various schemes to find the most viable option. Multiple pre-application meetings have gone to shape the scheme, adapting to address feedback on massing & amenity design.
The affordable provision provided another challenge to the scheme, requiring careful consideration in material and elevation development, with more recent develop ments looking to simplify the scheme fur ther to increase repeatable units & further reduce building cost.
62 | FINAL PROPOSAL 3.2.1.
ST OLAVS COURT | 63 This project has been my opportunity to take upon more design responsibility and with that not only have I had the oppor tunity 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 legisla tion & council/borough design guides & the effectiveness of the quality of infor mation provided. 1. latest plans, ground, typical and upper 2. rendered perspective rooftop amenity plan 3. rendered perspective ground floor plan 4. rendered bay studies & sections 5. rendered perspective from Jamaica Rd typical5.4. shopfront elevation sectionshopfront sectioncrowncrown elevation
BED BATHROOM STUDIO/ WORKSHOP/ STORE Undercroft Rooflight above Step Step BIKE & BIN STORE Shelves Steps Shelves Step Step Bin Recycling
DINING
Rooflight above 0 5 10 P R O P O S E D P L A
Shelves 920W x 460L 2240H Workbench 940W 1900L 790H Bar bending table 900W 450L
Sculpture Trolley 650W
64 | PROPOSED DRAWINGS
Short 4-month placement period completed with first year tutor and sole-practitioner Jonathan Logsdon. Work ing in the small practice gave me a great introduction into the many facets of practice from early design stages to construction.
1.
Undertook considerable design responsibility in devel oping a stage 2 planning application for the conversion of the director’s home garage into an ancillary studio for extended family. This is the first project I have actively contributed to that has ever been completed on site. Rooflight above 0 5 10 P R O P O S E D P L A N BED BATHROOM STUDIO/ WORKSHOP/ STORE Undercroft Rooflight above Step Step BIKE & BIN STORE Shelves Steps Shelves Step Step Bin Recycling Recycling BEDROOM BEDROOM LOWER COURTYARD BEDROOM LLIVING ROOM BATHROOM UTILITY HOME OFFICE Shelves 920W x 460L 2240H Workbench 940W 1900L 790H Bar bending table 900W 450L 910H Sculpture Trolley 650W 650L A A SIDE ACCESS SIDE ACCESS KITCHEN/LIVING/ DINING
SHOWER 0 P R O P O S E D R O O North Void UPPER COURTYARD KITCHEN/LIVING/ DINING Hatch Shelf P L A T F O R M P L A N Void Bench Undercroft beneath RAISED SEATING PLATFORM EXISTING N Recycling BEDROOM BEDROOM LOWER COURTYARD BEDROOM LLIVING ROOM BATHROOM UTILITY HOME OFFICE 910H 650L A A SIDE ACCESS SIDE ACCESS KITCHEN/LIVING/ SHOWER 0 P R O P O S E D North Void UPPER COURTYARD KITCHEN/LIVING/ DINING Hatch Shelf P L A T F O R M P L A N Void Bench Undercroft beneath RAISED SEATING PLATFORM NEW ROOF AT EXISTING HEIGHT Void
DEEP LOCK STUDIO | 65 07 Deep Lock Studio | Garage Conversion to Studio, Bath Planning Application (2016) p r o p o s e d Planning dwg no dscale wg title rstatus ev no description April 1/100 @ ProposedA3 South and North Elevations P002 0 5 10 P R O P O S E D S O U T H E L E V A T I O N CANAL No 8 Black larch cladding NO 2 ST MATTHEW'S GARAGE EXTENSION Undercroft Workshop behind DEEP LOCK HOUSE Outline of scheme by others supported at Pre-application 5 10 P R O P O S E D N O R T H E L E V A T I O N Lime render Outline of scheme by others supported at Pre-application Extension - Deep House Matthew's Place, Bath BA2 4JJ CANAL TOWPATH Black larch cladding NO 2 ST MATTHEW'S GARAGE EXTENSION Undercroft Workshop DEEP Outline of scheme by others supported at Pre-application 0 5 10 P R O P O S E D N O R T H E L E V A T I O N Lime render StoneStone 1468 606 862 3617 2585 Outline of scheme by others supported at Pre-application 1. ground and platform plan 2. front and rear elevation 2.
66 | FINAL MODEL AND FINISHED CONSTRUCTION 2.1.
DEEP LOCK STUDIO | 67 Neighbouring onto the directors home/office which he had convert ed from an automobile repairshop and fronting onto the Bath canal, impact was of high concern when developing the final proposal. We chose to retain as much of the original bath stone as possible, extending a darkened timber struc ture from within the garage foot print whose roof would continue the gable language of the context and the high contrast black tones used in the roof and entranceway of the Researchhouse.was completed on the techniques of charing timber and tested on a small cladding sample which would feed into the success ful stage 02 planning application I completed for the proposal. This also included some perspective visuals to assess the visual impact of the scheme both to the public moving down the canal and to the neighbours behind the site whose rear windows held small views to the Visitingwaterway.thepractice in 2020 I was able to see the finished article on site, touring the internals and hear ing of the alterations and complica tions that arose in the later stages of development. It was an honour to have made an impact on the cities built-environment, especially one that portrays the careful sensi tivities to site I continue to practice1.today.massing model used for public consultation and planning review 2. cladding sample of tourched timber created for application 3. existing and proposed perspective render 4. photograph of completed construction 4.3.3.
vimeo.com/user136207425sam.c.pierce issuu.com/samuelcharliepiercesamuel-pierce-6831371b8
