SANI ATCHOWDHURY ARCHI TECTURE-DESI GNPORTFOLI O
CONTENTSPAGE
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RI TUAL SI Nl ondon -CONQUERI NG THEFEARAQUAPHOBI A
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mus eum OFCHI L DHOOD PL AY
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ENVI RONMENTALDES I GN S TUDY
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dETAI LDES I GN S TUDY-TI MBERCONS TRUCTI ON
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s i tedi ary-CONS TRUCTI ON PROJ ECT
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‘ S TORYTELLI NG I N AHEARTH’
RITUALS - CONQUERING THE FEAR OF AQUAPHOBIA
SITE LOCATION - THE BARBICAN
The estates located on my site are known as the barbican speed garden estates. The barbican is seen as ‘a city within a city’, this is perceived through estates having their own facilities. The speed estates are orientated in ‘east-west, suggesting it runs from east to west. The buildings therefore receive a good evening sun in most of the living rooms. The four similar residential blocks ; speed house , Thomos more house, Defoehouse and Thomas more gardens all face each other. Also, they all follow the same repeteated concept of having multiple entrances as well asthe structure. Speed gardens is also a residential childrens park with childrens activities. I wish to therefore incorperate the use of different floor to level heights like that of a childrens playground as well as looking at the play of light within the building.
CONQUERING AQUAPHOBIA
Stephen Shaw - The art of swimming Introduction / socialising space
Steven Shaw is an expert swimming intructor. Shaw’s speciality are adults who can’t swim whether that is because they have a disability, haven’tbeen taught or have a phobia of water. Additionally, Shaw taught a person who had extreme anxiety of water, where she also feared bathing. Shaw therefore teaches people how to be comfortable in water and has a strong belief that ‘swimming isn’t aout fighting the water it’s about joining the water’
BUILDING PROGRAMME
Swimming practice - steps
Washing space
Swimming pool therapy
Moreover, the key factors which Shaw tends to focus on are body alignment, smart swimming ( looking powerful, graceful and effortless ) and respiration (not focussing on the breathing. These factorsare explored by starting off on dry land to explore the movements, to show the focus shouldn’t be on water. Then, some time is spent on doing an activity where the swimmers collect water in their palms and pour it over their heads to adjust to the natural reflex of a splash. Eventually, these movements: front craw, backstroke, breaststroke and butterfly are turned into therapeautic movements. Thus, the hands on guidance by Shaw with the swimmers in the water, help to release the tension.
BACKGROUND RESEARCH Peter zumthor
David Hockney
Old Barbican
EXPLORATION MODELS
This 1:100 sketch model allowed me to explore various aspects of my building.Using this model I found that the cantilever off the edge over the water will be too much and make it unstable.
This model explores the transparency within the building.The shade of blue gets darker throughout the spaces when the user gets closer to the water of the Barbican. The model therefore explores the different depths of water ,creating a journey for the user.
The wireframe model explores how the different structures intersect and how the circulation would work. The model allowed me to see the errors of the interior structure Ie. the pool space being tight.
This development model allowed me to notice how complex the building is, and therefore detracts from the main focus being the pool and the washing space. The multiple spaces distract from the concept needing to be simple. The building could therefore be condensed. Also, the use of colour can be altered especially in the swimming pool space,to make the room feel more uplifting and spiritual rather than dull.
The building has various views and plays with light in order to create a temple atmosphere. The idea of spiritualness allows the users to eventully feel more comfortable with water after going through the therapeutic activities. The most significant and spiritual view is the view that the users get when entering the building and overlooking the pool. The swimming pool therefore was cantilevered over the edge. The swimming pool is elongated in order for it to become more of a walkthrough swimming pool like that of Zumthor The building to conquer the fear of aquaphobia explores a range of different floor to height level spaces. This is to reflect the actual flow and depth of Barbican water. The building consists of two levels, and each individual space is built in order to fulfill its own purpose and the activity taking place inside. The proramme of my building allowed me to design each space carefully in relation to the activity. The intersecting spaces are used throughout this building to show how different individual rituals are combined in order to conquer the fear of aquaphobia.
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1 - View overlooking swimming pool 2- Introduction & social space 3- Services (toilets and changing room) 4- Swimming pool BUILDING MATERIALS -Valsar quartzite slabs - Glass -Tinted glass
GROUND FLOOR PLAN : SCALE: 100
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KEY : 1 - One to one lesson space (practicing moves) 2 - Group lesson space (practicing moves) 3 - Washing space BUILDING MATERIALS - Valsar quartzite slabs - Glass - Tinted glass
FIRST FLOOR PLAN : SCALE: 1:100
SECTION DRAWING : SCALE: 1:100
‘MUSEUM OF CHILDHOOD PLAY’
SITE LOCATION - CROSS ROAD OF SMITHFIELD CHARTERHOUSE STREET AND FARRINGDON ROAD
The site is a derelict space in the north west of the city of London. The space is surrounded by context buildings such as office buildings , Smithfield market as well as shops. Furthermore, due to the site being situated in the city, it is a part of constant urbanisation and modernisation, hence a lot of surrounding buildings and spaces being under construction. Additionally, Smithfield is one of the historic places of London and is well known for the river fleet which runs beneath. Also, Smithefield was known for its victorian markets as well as a space dedicated to execution of criminals as well as animals. The culture mile is a community corparation which create a cultural vibrant area. Smithfield market located opposite the site, is part of the culture mile. The purpose of the culture mile is mainly to attract tourists to greater London. Also, the culture mile stretches from farringdon to Moorgate and therefore creates new experiences.
SITE ANALYSIS
Historic bomb census - 1940
Building user analysis
Key
Key Bomb
Green space Non - residential institutions Businesses Restaurants Shops The site
Conclusion : From this bomb census I wish to look into the development of the city since WW2. Smithfield had gone through a great impact thus modernisation was enabled.
Conclusion : From doing building user analysis most of the buildings are office buildings hence in order to integrate the cultural mile I wish to make my museum ritualistic to london in order to express the culture
EXPLORATION MODELS
Wire frame structure model
Public and private space model The first development model explored the use of private and public green spaces. The users therefore always had an option of either continuing their museum experience or going into a public green space.Although, the model showed a linear flow it didnt show childhood play as being exciting and having an enjoyable experience.
This development model presents more interesting spaces through intersecting them. The idea was to have varied different height spaces in order to create more of a play space. However, the model showed it as being very complicated and too many events happening at once, thus it needed to be simplified.
Interactive user experience model
External and internal user journey model Using this structure model I developed the previous model by creating a vertical element to tie together the main spaces of the building. However, due to the varied heights throughout the building, the vertical element was still not tall enough. Moreover, the museum being a play space itself still needed to have more intricate inter-
esting shapes and not just flat basic roofs. The space also lacked light elements and needed to have more light entering into the play spaces.
The latest model allowed me to experiment more with the vertical circulation as well as having varied ceiling height spaces depending on the exhibition inside. Also, as the roof is accessible some of the roofs were made slanted in order for it be a play surface itself.
Moreover, due to it previously lacking light elements,the shapes of the spaces have more corners and diagonal elements to allow light to enter.
1:100 model
20th century play
Safety of playgrounds exhibition
Main exhibition space
Adventure playgrounds (Junk culture ) exhibition
21st century play
Main exhibition space
Digital technology exhibition
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KEY : 1. - Cafe 2- Library / archive / research facility 3 - Seating area 4 - Lift access to bridges 5 - Skateboard area - public space
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KEY : 1 - 20th century - main play exhibition space 2 - Storage 3 - Storage
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KEY : 1 - Safety of playgrounds - Simon Terell exhibition 2- Junk culture adventure playground exhibition 3 - 21st century main play exhibition space 4 - Slide d down to atrium space
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KEY : 1 - Digital technology exhibition 2 - Roof playground
Third floor plan Scale 1:200
KEY 1-I nt er act i ver ock cl i mbi ngf acade 2-20t hcent ur y-mai npl ays pace 3-20t hcent ur ySaf et yofpl aygr oundst heme 4-20t hcent ur y-Pl aygr ound j unkcul t ur et heme 5-Ex t er i or3D t empor ar y ex hi bt i ons 6-21s tcent ur y-mai npl ay s pace 7-21s tcent ur y-Di gi t al t echnol ogyt heme 8-Rooft oppl aygr ound
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Ex pl odedax onomet r i c Scal e1: 200
ENVIRONMENTAL DESIGN STUDY
ENVI RONMENTALDESI GNSTUDY Li ghtand shadow study
Wi nt er
Aut umn
Fr om t hi ss unpa t hma p i ta l l o we dmet os e et he dur a t i onoft hes uni ndi f f e r e nt s e a s ons . Dur i ngwi nt e rt heda y s a r emuc hs hor t e ra ndt hes un i st he r e f or epr e s e ntf oras hor t dur a t i on. Thes uns t udyi sk e yf ormyde s i g n pr oj e c tduet ot hef a c tt ha tmy bui l di ngi sl oc a t e dont hewa t e rg a r de ns . He nc e , t hewa yt hel i g htr e f l e c t sa ndhi t s t hewa t e ri si mpor t a nt , a ndwhe r ea r t i f i c i a l mus tbek e ydur i ngt hewi nt e r .
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ENVI RONMENTALDESI GNSTUDY 2
Soundst udy
56. 7db
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Formyde s i g npr oj e c ti t sne c e s s a r yt o c ons i de rt hes oundofna t ur a l s our c e s . Mys i t ebe i ngt hewa t e rg a r de nsa l l o ws met ous et hena t ur a l s our c e sa spa r t ofmyde s i g nt oc onque rwa t e rphobi a . Thes oundsc oul dt he r e f or epa r t i c i pa t e i nt het he r a pe ut i cj our ne y .
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65. 3db
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Re c or di ngt her e a di ng s
ENVI RONMENTALDESI GNSTUDY Li ghtstudy 1870
Aut umn-15/ 10/ 18-12: 00pm
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Wi nt er-18/ 12/ 18-12: 00pm
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Formyl i g hts t udyi ha d us e dal uxme t e rt o t a k et her e a di ng sof s i xdi f f e r e ntl oc a t i onpoi nt s wi t hi nmys i t e . Someoft he s e poi nt sa l s oi nc l udec ont e x t i nor de rt os ho wt hev a r i a t i on ofl i g htwi t hi nt heBa r bi c a nwa t e r g a r de ns .
1960
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Loc a t i onpoi nt s
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Re c or di ngt her e a di ng s
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Gr aphs howi ngl uxr es ul t s
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DETAIL DESIGN STUDY - TIMBER CONSTRUCTION’
MODEL VIEWS
FEATURES Timber roof deck
Timber rainscreen
Timber box bridge
Plan view of structural frame
Metal flashing on model
Box bridge on model
Precedent - Fuji Kindergarden Tokyo - Tezuka architects
Precedent - West London Academy - Foster and Partners
Precedent - Sheffield winter graden
DETAIL DRAWING
DETAIL DRAWING
DETAIL DRAWING
SITE DIARY - CONSTRUCTION PROJECT
THE SITE
58 Salisbury Avenue IG11 9XR The site is a terraced house on Salisbury Avenue Barking which is under reconstruction due to client requirements. The site originally had 3 bedrooms with a kitchen space and an upstairs bathroom. However, the main requirements of the client was the fact that she wanted a rear extension for more space and a loft conversion for another two bedrooms. During our first site visit the building was at its initial stages. The progression of this site will be seen through this site diary project.
THE TEAM
SITE ORIGINATION /CLIENT BRIEF
Initially before the client had bought the house it had two floors, the ground floor and the first floor. The ground floor accommodated a living room, a kitchen and a back garden. The first floor accommodated three large bedrooms as well as a bathroom. However, the client chose to refurbish and reconstruct the house for more space for his family of 6. The client therefore required a bigger space and therefore wanted an extension on the ground floor and a loft extension, creating a third floor. My main focus of my site diary project was therefore the rear extension as well as the loft extension too. I chose to focus on this within my project as I wished to see how the site team constructed this from scratch and how their regular meetings with the client benefitted their ability to meet the client requirements. The contract agreement shown on the left shows the specification in which the contractor and his team must meet. Also, it must be ensured that the architect provides successful drawings which meet the clients requirements. The contract therefore protects both parties and ensures a clear specification which must be met. TIMESCALE : 15TH OCTOBER – 28TH JANUARY CONTRACT VALUE FOR THE PROJECT : £180 000
SITE PLANNING
SITE DEVELOPMENT PROCESS
DRIVING FORCE OF THE PROJECT
In majority of the cases of a site project the main driving force tends to be time. This is usually to meet the schedule and the requirement of the client. However, in this site diary project from having an informal conversation with the client, she had said that although she would like to move in by the end of January 2019, she is no rush as she would prefer the quality of the project to be up to her standards and meet her requirements. As this is a family home and the client already has an existing family home she is in no rush to move into the new house yet. Thus, the main driving force of this project is the quality. Although, the quality of the house is the driving force, other factors like the time and cost also play a role.Less time must be spent on site in order to result to lower costs. Moreover, prefabrication is a successful way in allowing less time on site. This is due to it only requiring assembly on site. I.e. Fitted showers and sinks.
‘ STORYTELLING IN A HEARTH ’
SITE LOCATION - ST JOHNS THE DIVINE CHURCH OF ENGLAND PRIMARY SCHOOL
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Site location : St Johns The Divine Church Of England Primary school 4
St Johns primary school is located in South Kennington, the borough of Lambeth. The school is located in a residential area where the neighbouring buildings mainly consist of flats. The site sits on both Camberwell New road and on Warham street, where the student entrance is from Warham street. South Kennington is also an area of urbanisation and development.
SITE HISTORICS 19th century - William Morris movement
Camberwell New road elevation
Warham street elevation
Morris wished to celebrate the earlier life before the 19th century industrialisation which only caused society to degrade as a whole as well as communities to be in poverty. In my opinion this should be further enforced on the site greatly as there is a lack of community engagement, hence the school is a ground where unity can take place.
BRIEF / USERS Spatial seating arrangements in a classroom
‘ STORYTELLING IN A HEARTH ’ Interactive storytelling allows the children of the school to be imaginative as well as improve their peoples skills. Moreover, storytelling is a powerful tool which creates the sense of unity in a school environment. Also, storytelling in a natural environment further enhances imagination and creates the impression of being in another world.
Ancient communal campfire culture Camp fire culture allows the social interaction amongst peers as well as the community. I wish to incorperate the idea and atmosphere of an interactive campfire culture where children are encouraged to be very connected amongst each other as well as to allow an environment of sharing stories. Furthermore, the use of campfire culture breaks the idea of a typical story telling programme used within schools. It allows the enhancing of interaction within story telling. Also, the use of a camp fire creates the atmosphere of warmth and the feeling of coming together in one space. This is therefore something which is successful in terms of building a strong community
Deschooling society - Ivan Illich Ivan Illich’s book focuses on how strict the national curriculum in schools are. He believes that it has become a norm to follow the curriculum and it doesnt allow the imagination of student. The atmosphere of interactive story telling would therefore be supported by Illich as it explores a range of skills rather than just learning from the curriculum.
PRECEDENTS Stennas Summerhouse - Gunnar Asplund
Giillespie Kidd and Coia - St Bride’s, East Kilbride
Asplunds summer house located in Swedan consists of small intimate cozy rooms. The house captures views of the the swedish forest and bay , and therefore shows the effect of nature.
St Bride’s is a church which consists of the use of concrete and brick. The thick masonry walls are used in order to control the level of light which enters. The use of brickwork allows them to play with the intricate details of the building. From this chapel i wish to take inspiration from the use of an organic form being structurally formed through the use of concrete and brick. Also, the thick masonry walls also will allow me to control views as well as light.
The house has a domestic setting with a fire place to enable warmth around the family rooms. I wish to incorperate the aspect of a warm fire in order to create the ambience which Asplund does.
Bruder Klaus field Chapel - Peter Zumthor The Bruder Klaus field chapel uses the aspect of thick wallls in order to control views. I wish to use this aspect in order to control certain views of nature.
Friedrick Kiesler - Endless theatre Kieslers Endless theatre explores the use of a room being a spacial response to a theatre space. The use of his organic structures with no corners was said to have allowed light to reach every corner of the room. From Kieslers theatre i wish to take inspiration from his organic structures and by addressing the space spatially .
James Turell - Wedgeworks Turell explores the use of colour throughout his installations and projections. He uses colour to enhance user experience. The use of coloured light also adds dimension to a space.
Studio Weave - Belvue school woodlands classrooms Studio Weave’s Belvue school consists of a classroom space which overlooks the woodlands. The classroom space is for children with learning difficulties and therefore overlooks the woodlands in order to enhance imagination. I wish to therefore take on this approach within my project by using the natural landscape to frame and control specific views of the woodlands
“Colours have become symbolic of emotions and thoughts, taking on animate qualities and connotations that surpass their scientific properties” I wish to therefore explore the use of coloured light like Turell in order to evoke the feeling of warmth.
EXPLORATION MODELS
Organic seating experimentation
Spatial development
Journey through the woodlands
Indoor story telling space
Outdoor story telling space
Community show and tell space
Heated brick seating The seating of the space will be heated through the use of ground source heat pumps. The heated seating allows the creation of an initimate warm atmosphere for the children.
Section drawing Scale 1:50
Key 1-Out doors t or yt el l i ngs pacewi t hwoodl andsvi ew 2-I ndoors how andt el lcommuni t ys pace 3-Mai ni ndoors t or yt el l i ngs pacewi t hwoodl ands vi ews 4/5-Sur r oundi ngwoodl ands
Ex pl odedax onomet r i c Scal e1: 100