SANA TABASSUM UNIT 7 2ND YEAR ARCHITECTURE DESIGN PORTFOLIO ARCT 1039 FRAME FACTORY AND OPTICIANS
SERIAL VISION - CLERKENWELL MAP - ROUTE - COLLAGES - PALIMPSEST ; CORNWELL HOUSE - OBLIQUE AXONOMETRIC DRAWINGS - VIEWING MODEL
CRITICAL LOCALISM - - - - -
PROJECT BRIEF SITE ANALYSIS CASE STUDIES + PRECEDENTS MASSING DIAGRAM HAND DRAWINGS
DESIGN DEVELOPMENT (1ST ITERATION) - - - - -
SITE PLAN 1:200 HOW THE EYE WORKS OPTICAL EQUIPMENT SUN PATH DIAGRAM PLANS, SECTIONS + DETAILS
2ND ITERATION - SECTIONAL TELESCOPIC MODEL - PLANS - DETAILED SECTIONS
3RD ITERATION - 1:500 SITE PLAN - 3D MODEL ON SITE - PLANS, SECTIONS - LONG SECTION - TECHNOLOGY
CONTENTS
PROJECT SUMMARY
UNIT 7 BRIEF
Through historical research of the site, and looking at the evolution of Clerkenwell, the initial driver for my project was submerged identities within composite blocks. The ongoing change in businesses and growth of creative industries, whilst keeping the architecture intact and adapting to the spaces, was an interesting discovery.
Palimpsest, noun: Something reused or altered but still bearing visible traces of its earlier form The urgency of contemporary urban transformation coupled with seismic cultural and technological shifts in the way we interact with each other and our physical environment have resulted in a collective disengagement with the way in which our cities are changing.
Whilst looking at Cornwell House, a space that has changed dramatically in terms of the use of the building, I was increasingly interested in windows and eyewear making due to its former warehouse history. With the addition of a case study on Algha Works, I was able to form my own programme exploring the public and private aspects that connect the community of Clerkenwell.
Iain Sinclair, in his recent book, The Last London, goes even further by suggesting that “we are no longer living in cities but floating above them on our devices”. This lack of common interest threatens to dampen the fragile character of our communities and erode the distinctive edges that make them unique. This year, Unit 7 will aim to identify and preserve the delicate and specific aspects of the city that are on the verge of extinction and in urgent need of revival. To do this, we will first have to seek them out by delving into London’s hidden communities and carefully dissecting the make up and materiality of its streets from the roots up.
By creating cut-away sectional axonometric drawings of the composite block, I was able to perceive the internal volumes as one larger industrial space. Having a craft based programme allowed me to think about particular spaces I would have to create by bringing together, overlapping and merging my existing drawings on to site.
Our site for this year is Clerkenwell, a bustling inner city area which is home to a diverse range of overlapping residential and commercial communities, eminent architectural practices, pubs and restaurants as well as notable historic landmarks including Smithfield Market, Exmouth Market and the Finsbury Health Centre.
The important aspects of my identity which relate to the design would be the use of windows and viewing which allows for an interaction between the public and private spaces. The courtyard is a central core that is used as a common ground for these two programmes.
Clerkenwell history also reveals an anarchic past having been home to criminals, radicals, non-conformists and revolutionaries, among them Vladimir Lenin and Oliver Cromwell. Clerkenwell has also been the site of fictional transgressions including around Bowling Green Lane where Fagin and the Artful Dodger’s taught Oliver Twist to pickpocket.
The project will be examining the art of creating bespoke handmade eyewear which is becoming a rarity in that industry, whilst offering a public service in the form of an opticians and at the same time, displaying the craft in a theatrical way to the people of Clerkenwell.
Every street in Clerkenwell is a carefully composed palimpsest through which a rich and complex layering of historical events and fictional narratives is alluded to.
ABSTRACT
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CLERKENWELL MAP
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ROUTE
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PALIMPSEST ; CORNWELL HOUSE
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OBLIQUE AXONOMETRIC DRAWINGS
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VIEWING MODEL
SERIAL VISION
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Farringdon Station
The Crown Tavern
St John’s Gate
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Sushi Restaurant Bar Belgian Restaurant Business Management Consultant Customer Testing Service Architect + Design Consultant Zetter Hotel Human Resource Office
Initial Drivers: Places of Interest / Historical Relevance
1. Historical Layers 2. Serial Vision + Observation 3. Submerged Identities 4. Facades + Craftsmanship
INITIAL ROUTE AND HISTORICAL RESEARCH
INITIAL PHOTO MONTAGES AND COLLAGES
CORNWELL HOUSE
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Klamath House 6 Clerkenwell Green 12 to 13 Clerkenwell Green Lovatt House + 14 Clerkenwell Green 10 to 11 Clerkenwell Green 1 Clerkenwell Green
These drawings were made by obtaining the plans for each building situated on the composite block in Clerkenwell and creating partial axonometrics from each. I then placed these along a section cut line in order to see the relationships between these various buildings as if they were one whole entity.
AXONOMETRIC DRAWING 1
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102 to 108 Clerkenwell Road 49-50 Jerusalem Passage St John’s House
AXONOMETRIC DRAWING 2
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Cornwell House Klamath House 10 to 100 Clerkenwell Green 9 Clerkenwell Green 8 Jerusalem Passage
AXONOMETRIC DRAWING 3
This site model was created at a 1:100 scale of the composite block used for the axonometric drawings. The windows and ideas of viewing, layering functions and submerged identities are the key drivers for the project and using windows as fragments of a much larger project could be a helpful tool when designing key aspects of the project.
SITE WINDOW MODEL
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PROJECT BRIEF
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SITE ANALYSIS
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CASE STUDIES + PRECEDENTS
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MASSING DIAGRAM
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HAND DRAWINGS
CRITICAL LOCALISM
After doing research about the history of Clerkenwell, more specifically looking at Cornwell House, I learned about its various functions over the last 50 years. It has had a wide range of occupants yet the architecture has remained the same throughout. This led me to think about the kind of space I wanted for my project. Eventually, I came to the idea of having an adaptable spaces, perhaps one that was designed for a very particular use but ended up being used for an opposite function. The idea of a time palimpsest also came to mind, leading me to think about how Clerkenwell has changed over the years and how it will continue to do so in the future. The majority of businesses and trades were all craft based during the 80’s and this gradually declined as Clerkenwell became a more residential area. Just recently, more and more craft and industrial based companies are popping up in the area ranging from exhibitions, architectural firms and pop-up craft stores. Cornwell House had a history of producing eyewear and with the themes of viewing, a glasses making factory seemed like a good option. The site I have chosen is within the composite block I was studying earlier.
On the right are some rough collages I produced that display some aspects of merging together two programmes inside the same architecture, or perhaps giving one programme the space of another.
PROJECT BRIEF
2008
2015
96-100 Clerkenwell Road, Clerkenwell
2016
Within the compound of buildings, there is currently a gap site where there used to be a petrol station and shop and there is now a 7-storey building being constructed. I have chosen this particular site because of the research I did about the surrounding buildings. My project could offer something that is not there and could be useful for a specific target audience such as children or office workers. It would also need to relate to the history of the surrounding buildings. The idea of a time palimpsest is an important driver throughout the project because most of the buildings near site have had several uses within the same architecture and perhaps an idea for a building programme could be something that is a multi-functional space or somewhere that is designed for one function but then can be altered in small ways to be fulfilled for an unconventional use. For example, Cornwell House had an interesting occupancy history ranging from a pub land to a hotel and then workshops and craft stores. I think that this is a really important element to include within the project.
2017
SITE ANALYSIS
1:200 Plan
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Maison de Verre—also translated as ‘House of Glass’ is a building designed by Pierre Chareau and Bernard Bijvoet. It comprises of two functions, one being the main domestic area and a doctor’s office on the ground floor. The interesting use of mechanical structures that aren’t fixed and the contrast yet equity of the two programmes is what makes this a remarkable piece of 20th century architecture. Built in 1932, the house uses various industrial and mechanical fixtures juxtaposed with a traditional style of home furnishings all under the transparency and lightness of the façade. The adaptability of spaces is what appeals to my project and the creation of these details allows for slight changes in architecture that add to the circulation and visualisation.
MAISON DE VERRE - PIERRE CHAREAU
Offset Window—Ideas of viewing from shop first floor to workshop ground floor
Courtyard (Bench)—Integrated within the architecture of the house yet it is contributing to the courtyard area Main Entrance to buildings + Courtyard—Thinking about the type of entrance that would best suit the project
WALMER YARD—PETER SALTER
OFFICE SPACE + PRODUCT STORAGE
HEAVY MACHINERY
HANDHELD MACHINES + WORKSTATIONS
WORKSTATIONS + MATERIALS STORAGE
WORKSTATIONS + MATERIALS STORAGE
SPACE 4
HEAVY MACHINERY SPACE 2
SPACE 1
Components: Die—cutting machine punches out templates made from steel. Storage area for steel and acetate sheets
Components: Gluing area / workspace Capitron machine—to attach temples to frames
Components: Heating ovens X2
Workspace for manual attaching / checking + further polishing
Blanking machine—used to punch acetate templates
Curing / Storage room (24 hours)
Collection area for lens scrap / excess
People: 3– 4 to manage machinery at one time
Other additions: Storage space for acetate, shelves or drawers—in a cool storage Machines to cut acetate sheets to smaller sizes
People: 5 –6 working individually at one time in their own areas.
People: 3– 4 to manage machinery at one time. 2 for recycling. 1 General Manager.
Other additions: Tools area / storage / workstation storage such as under desk drawers, minimalistic designed chairs
Storage for templates, organised by design or size
Other additions: Specialty manual cutting machine for bespoke orders.
Separation for machines (noise / safety reasons)
Good lighting / access to daylight
SPACE 3 Components: Router machines—to cut grooves in the acetate for holding lenses
SPACE 5
HANDHELD MACHINES + WORKSTATIONS
OFFICE SPACE + PRODUCT STORAGE
Components: Polishing Tumblers Handheld Machines - final details / smoothing
Smoothing machines ; 2 manual
Shaping Oven
Working Areas, checking + attaching décor to frames
Packaging Room
People: 5 –6 working individually at one time in their own areas.
People: 3—4 working individually at one time in their own areas. 1 for packaging.
Other additions: Tools area / storage / workstation storage such as under desk drawers, minimalistic designed chairs
Other additions: Workspaces in tumbler area Storage for packaging, materials + packaged goods
Separation for machines (noise / safety reasons)
FLOWCHART OF SPACES
SECOND FLOOR
FIRST FLOOR
GROUND FLOOR
INITIAL DRAWINGS
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SITE PLAN 1:200
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HOW THE EYE WORKS
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OPTICAL EQUIPMENT
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SUN PATH DIAGRAM
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PLANS, SECTIONS + DETAILS
DESIGN DEVELOPMENT (FIRST ITERATION)
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SITE PLAN 1:200
EVOLUTION OF THE HUMAN EYE The function of the eye adheres to specific laws of physics unique to vision. The human camera type eye contains three optically transparent tissues, the cornea, lens and retina. Light refraction depends on gradual changes in the refractive index of the ocular lens. The amount of light that can reach the retina is regulated by the contraction/expansion of the iris. A Darwinian prototype eye that consists of a single photoreceptor cell and a surrounding pigment cell is actually found in certain flatworms and allows directional vision. In a lens less eye, the light emanating from a distant point hits the back of the eye with about the same size as the eye's aperture. With the addition of a lens this incoming light is concentrated on a smaller surface area, without reducing the overall intensity of the stimulus The development of the lens in camera-type eyes probably followed a different trajectory. The transparent cells over a pinhole eye's aperture split into two layers, with liquid in between. The liquid originally served as a circulatory fluid for oxygen, nutrients, wastes, and immune functions, allowing greater total thickness and higher mechanical protection. In addition, multiple interfaces between solids and liquids increase optical power, allowing wider viewing angles and greater imaging resolution.
HOW VISION WORKS
Light enters the eye Light from the sun, or an artificial light, travels in a straight line, bounces off objects and into our eyes through the pupil. Depending on the amount of light, the iris changes the size of the pupil to let more or less light in. This is to prevent damage to the eyes, by stopping too much light entering the eye when it is bright, and maximising the amount of light entering the eye when it’s dark.
The light is focused The light then passes though the lens. The lens focuses the light onto the back surface of the eye, the retina. Depending on how far away the object is, our lens needs to change shape to keep the light focussed on the retina. The human eye changes the shape of the lens as we look at far or near objects to keep them in focus.
Defects in sight A short-sighted person can see things close-up, but has trouble seeing things further away. A long-sighted person struggles to see near objects, but can see distant objects. In a long-sighted eye, the lens does not cause the light to bend enough, leading to the focal point being beyond the retina. To rectify this, a long-sighted person can wear glasses with a convex lens. This causes the light to bend more, and converge on the retina. The opposite is true for a short-sighted person. A myopic eye focuses the light too much, causing the focal point to be in front of the retina. This can be corrected with a concave lens, which causes the light to spread, and so converge on the retina.
OPTICIANS TOOLS
Phoropter A phoropter is an instrument used to test individual lenses on each eye during an exam. If, during an eye examination, your doctor has discovered a vision problem like near-sightedness, farsightedness or astigmatism, it's likely that one of the next steps you'll take will involve a phoropter. A phoropter is special machine used to switch multiple lenses in front of your eyes to correct your vision. A phoropter is used to manually determine “refraction” – exactly how a lens must be shaped and curved to correct your vision to a normal state, nothing more. Phoropters are subjective however, based on your visual perception and response to your eye doctor's questions. Is your vision better, or worse? With this lens, or this lens? How about now? There are other procedures and technologies available that automatically measure the refraction needed within your eye and produce a "prescription" measurement without your input. These are called autorefractors and aberrometers.
Autorefractor An autorefractor is a machine used to determine an individual’s prescription by measuring how light is affected as it reflects through the eyeball. Auto refractors are quick and painless for the patient and they provide an excellent baseline for an ophthalmologist to determine the correct eyeglass or contact lens prescription. An auto refractor works by shining light into the eye and then measuring how it changes as it bounces off the back of the eye (the ocular fundus). The patient is shown an image that moves in and out of focus, taking several measurements of these reflections to determine when the eye is properly focused. When these figures are put together, it is clear what level of vision correction is needed for the patient to see at their best.
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Clerkenwell 21st December 2017 Winter Equinox 12PM
SUN PATH DIAGRAM
Site Boundary
Entrance Route
Windows Overlooking Site
Service Road (Deliveries)
Site Dimensions
Site Dimensions
22.4m
30.3m
OPPORTUNITIES AND CONSTRAINTS
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Workshop Entrance Shop Entrance Waiting Area Reception Desk Display Windows Frame Cabinets Consultation Spaces Pivot Doors Stairs to 1st Floor Courtyard Packaging Area Polishing Workstation Tumblers
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SECOND FLOOR AND ROOF PLAN
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SECTION DRAWING AND DETAIL
Viewing Area Exhibition Plinth Workshop Angled Window Lighting Work Stations Storage Cabinet Lever Switch Tilted Window
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SECTIONAL TELESCOPIC MODEL
- PLANS -
DETAILED SECTIONS
SECOND ITERATION
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Workshop Entrance Shop Entrance Reception Desk Display Windows Frame Cabinets Consultation Spaces Pivot Doors Stairs to 1st Floor Courtyard Packaging Area Polishing Workstation Tumblers
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Doors to Courtyard Workshop Stairs to 1st Floor Shaping Oven Parts Shelves Lift Trolleys Loading Dock Viewing Pods / Waiting Area Opticians Room Workstations Heating Oven Storage Cabinet (Acetate Sheets)
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Blanking Machine Die-cutting Machine Router Machine Double Height Space
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Workshop Entrance Shop Entrance Waiting Area Reception Desk Display Windows Frame Cabinets Consultation Spaces Pivot Doors Stairs to 1st Floor Courtyard Packaging Area Polishing Workstation Tumblers
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Workshop Entrance Shop Entrance Waiting Area Reception Desk Display Windows Frame Cabinets Consultation Spaces Pivot Doors Stairs to 1st Floor Courtyard Packaging Area Polishing Workstation Tumblers
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SHOP WINDOW DISPLAY CASES OPTOMETRIST VIEWING WINDOW COURTYARD WORKSHOP TOOLS SHELVES STAIRCASE DESIGN STUDIO MANAGER’S OFFICE
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SHOP WINDOW OPTOMETRIST VIEWING DEVICE COURTYARD POLISHING TUMBLERS HEATING OVEN STAFF ROOM
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1:500 SITE PLAN
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3D MODEL ON SITE
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PLANS, SECTIONS
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LONG SECTION
- TECHNOLOGY
THIRD ITERATION
1:500 SITE PLAN
3D MODEL ON SITE
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STAFF ROOM SPACE FOR HEATING OVEN DESIGN STUDIOS MANAGER’S OFFICE SKYLIGHT
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SHOP FRONT WINDOW DISPLAY CABINET FOR GLASSES FRAMES OPTICIANS ROOM STEEL FRAME VIEWING POD / WAITING ROOM DESIGN STUDIO MANAGER’S OFFICE WORKSTATIONS INDIVIDUAL WORKING STATION LOADING DOCK TOOL SHELVES
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1:50 CUTAWAY SECTION DRAWING
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TECHNOLOGY DRAWINGS AND RENDERS
SANA TABASSUM UNIT 7 2ND YEAR ARCHITECTURE DESIGN PORTFOLIO ARCT 1040 FRAME FACTORY AND OPTICIANS
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SITE PLAN 1:500
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GROUND AND FIRST FLOOR PLAN 1:200
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SECOND FLOOR AND ROOF PLAN 1:200
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SHORT SECTIONS
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LONG SECTION
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INTERIOR PERSPECTIVE DRAWINGS
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EXTERIOR AERIAL
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ELEVATION PERSPECTIVE DRAWING
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INTERIOR WORKSHOP DRAWING
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CUTAWAY AXONOMETRIC DRAWING
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MODEL PICTURES
PROJECT RESOLUTION
SITE / ROOF PLAN
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WORKSHOP ENTRANCE COURTYARD OPTICIANS ENTRANCE SHOP WINDOWS DOORS TO COURTYARD DISPLAY CASES CONSULTATION AREAS STAIRS TO FIRST FLOOR PACKAGING AREA INDIVIDUAL WORKING ZONES DOORS TO COURTYARD
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GROUND AND FIRST FLOOR PLAN
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Workshop Entrance Shop Entrance Waiting Area Reception Desk Display Windows Frame Cabinets Consultation Spaces Pivot Doors Stairs to 1st Floor Courtyard Packaging Area Polishing Workstation Tumblers
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ROTATABLE SPACE SHOWING GLUING PROCESS INDIVIDUAL WORK STATIONS OUTDOOR LENS SCRAP SORTING BELT COOL STORAGE FOR ACETATE DOUBLE HEIGHT SPACE FOR HEATING OVEN LIFT BLANKING MACHINE VIEWING POD / WAITING ROOM STAIRCASE OPTICIAN’S ROOM
Doors to Courtyard Manager’s Office Workshop Stairs to 1st Floor Group Workstations Parts Cabinet Storage Frame Shelves Lift Trolleys Loading Dock Exhibition Live Workstation Presentation / Film Space Outdoor Courtyard Frame Cabinets
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STAFF ROOM SPACE FOR HEATING OVEN DESIGN STUDIOS MANAGER’S OFFICE SKYLIGHT
SECOND FLOOR AND ROOF PLAN
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Workshop Entrance Shop Entrance Waiting Area Reception Desk Display Windows Frame Cabinets Consultation Spaces Pivot Doors Stairs to 1st Floor Courtyard Packaging Area Polishing Workstation Tumblers
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WINDOW DISPLAY CABINET FOR GLASSES FRAMES OPTICIANS ROOM STEEL FRAME VIEWING POD / WAITING ROOM DESIGN STUDIO MANAGER’S OFFICE WORKSTATIONS INDIVIDUAL WORKING STATION LOADING DOCK TOOL SHELVES
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3 4
8
SHOP WINDOW DISPLAY CABINETS OPTICIANS ROOM VIEWING POD STAFF ROOM HEATING OVEN TUMBLERS CONSULTATION AREA DESIGN STUDIO WORK STATIONS
9
10
1 2 3 4 5 6 7 8 9 10
SHOP WINDOW DISPLAY CABINETS OPTICIANS ROOM VIEWING POD STAFF ROOM HEATING OVEN TUMBLERS CONSULTATION AREA DESIGN STUDIO WORK STATIONS
5
3 4
1
2
3
1 2 3 4 5
LIFT STORAGE WORK STATIONS BLANKING MACHINE DESIGN STUDIOS
FINAL MODEL PICTURES
Steel Beams Timber Factory Spot Lights
Steel Beams Courtyard Stairs
Cut Line
SOUTH FACING CUTAWAY
FRONT ELEVATION