Siân Ellis Wright MArch, BA(Hons)_Full Portfolio by Siân Ellis Wright

P O R T F O L I O

Sian ellis Wright PART II ARCHITECTURAL ASSISTANT

[2] Architectural Portfolio

CONTENTS

01 02 03 04 05 CURRICULUM VITAE SiÃ¢n Ellis Wright

[4]

CRAFT AS A LUXURY PROCESS

THE SHED

POP

Design Thesis Master of Architecture Project 2017 - 2018

Master of Architecture Project 2016 - 2017

Bachelors of Architecture Project 2014 - 2015

[6]

[42]

[58]

LEVENSHULME LIFE: URBAN SYNTHESIS

Bachelors Architecture Project 2013 - 2014 [62]

06 07 08 09 10 MUSH FARM

Extra Curricular Project 2014 - 2015 [64]

MARLBOROUGH PRIVATE DWELLING Personal Project 2018

ISLAMABAD MOSQUE

Sutton Griffin Architects 2015 - 2016

THORNBOROUGH GROUNDS PRIVATE DWELLING

NEWBURY WHARF BUS STATION

Sutton Griffin Architects 2015 - 2016

[66]

[68]

[70]

[74]

11 12 13 14 15 NEWBURY FOOTBALL CLUB

MARLOW PRIVATE DWELLING

WALTHAM ROAD PRIVATE DWELLING

Sutton Griffin Architects 2015 - 2016

Morse Webb Architects 2016 - 2017

[76]

[78]

[80]

[82]

[84]

Architectural Portfolio

PREMIER INN HOTEL

CONTENTS

STRAWBERRY HILL MEDICAL CENTRE

[3]

CURRICULUM VITAE

Sian ellis Wright

08.05.1994

British 07870357851

SiÃ¢n Ellis Wright

1 | CURRICULUM VITAE

sianelliswright@gmail.com

[4]

PROFILE

EDUCATION

Master of Architecture (MArch) | 2016 - 2018 WELSH SCHOOL OF ARCHITECTURE, WALES Cardiff University, UK Second Class Honours First Division (2:1)

EMPLOYMENT

The MArch course at the Welsh School of Architecture appealed to me due to the opportunity to work in practice whilst also studying in the first year. This developed my time management and also put university work into a real life context.

During my free time I have set up a personal venture working as a freelance graphic designer. My love for design crosses all industries and I have always enjoyed working with people to visualise ideas they may have. I therefore take pride in every project I undertake. I have experience in designing logos and labels for small start-ups, wedding stationary collections, occasion cards and reformatting websites and CV’s.

During the second year of my MArch I chose the studio unit which was titled Craft: Making Meaning. My design thesis lead on from early explorations into materiality, workmanship, and detail quality and explored the notion that craft as a means of making is set above other forms of manufacturing and is therefore considered as a luxury process. I also linked my design thesis with my dissertation research which looked at the connection between branding and architecture.

Part I Architectural Assistant 2016 -2017 MORSE WEBB ARCHITECTS, BERKSHIRE, ENGLAND This placement was undertaken alongside studying the first year of my MArch at the Welsh School of Architecture. During this time I was involved with a number of projects at varying work stages. I was able to develop an overall understanding of both the practical and administrative side of work in practice. Feasibility studies, initial project layout studies, and proposal visualisations for competitions in the education and bespoke housing sector became the main focus of my work.

Part I Architectural Assistant 2015 -2016 SUTTON GRIFFIN ARCHITECTS, BERKSHIRE, ENGLAND

The nature of my work during my work placement was varied and included working up planning applications for potential projects, liaising with others in the design team to create masterplan proposals, and crafting physical models in order to explain the designs I was involved with. I also completed the PEDR log sheet requirement during this time. During my time working at this practice I was made to feel like a valued member of the team and given a great deal of responsibility.

Creative Consultant 2014 MAINLINE CONTRACT SERVICES,WILTSHIRE, ENGLAND

During my time working at Mainline Contract Services I redesigned their company website and developed and produced marketing material of my own design. I also enhanced my communication skills and worked in various departments of the company.

SKILLS AutoCAD

Adobe Photoshop

Adobe Illustrator

Thea

Microsoft Office

Sketchup Pro

Adobe Illustrator

V-ray

Autodesk Revit

Presenting/Public Speaking

Physical Model Making (Laser Cutting, CNC Routing, 3D Printing)

INTERESTS

Interior & Furniture Design I have always loved interior design and I have worked on small personal projects for the past few years. I have also always taken an interest in furniture design as well which I was able to explore during my Design Thesis as my studio unit was focussed around ‘craft’. Art I love being creative and expressing myself through art. I enjoy hand-drawing & painting, photography and other crafts such as leather-craft, sewing and knitting. Travel & Languages I have been lucky enough to travel to many amazing countries and immersing myself in different cultures is a passion of mine. Having lived in Germany for four year whilst growing up and spending a lot of time in Spain throughout my life I am also able to understand and speak basic German and Spanish. Sport & Fitness I love to keep fit and find great pleasure in practising yoga & pilates and visiting the gym. I have also always had a keen interest in rugby and avidly follow the Welsh international team.

Bachelors of Architecture BA(Hons) | 2012 - 2015 MANCHESTER SCHOOL OF ARCHITECTURE, ENGLAND The University of Manchester & Manchester Metropolitan University Second Class Honours First Division (2:1) A Levels & GCSE’s | 2008 - 2012 ST MARY’S SCHOOL CALNE, ENGLAND 3 x A2 Level qualiﬁcations in Art, Economics & Geography (A*- B) 11 x GCSE qualiﬁcations (A*- B) Early Education | 2004 - 2008 FRANKFURT INTERNATIONAL SCHOOL, GERMANY INTERNATIONAL SCHOOL WIESBADEN, GERMANY Studied the International Baccalaureate

ACHIEVEMENTS

Practice Management Economics | 2017-2018 As part of my MArch degree. I was assessed on my understanding of procurement routes, building contracts and regulations, client information and their positions within a potential project, and financial aspects of projects such as costing, funding sources, earning capacity and life-cycle costs. I received 75% in this module, achieving 85% in the oral examination. Dissertation | 2017-2018 As part of my MArch degree. ‘The Future of Retail Architecture: Exploring the role of architecture in the design of unique brand experiences’ Public Speaking | 2017 At St Mary’s School Calne, England To inspire the young women in their sixth form years to follow a career in construction or design. Explaining the interdisciplinary nature of studying Architecture at university and how it can lead into a career not only in Architecture but also other creative industries. Art Exhibition | 2013 At Gallery - 27 Cork Street, London, England During my A Level art course I completed a study of watercolour flowers which were chosen by out tutor to be displayed at a London gallery.

Siân Ellis Wright

Freelance Graphic Designer 2017 - present SIANELLISWRIGHT.COM

1 | CURRICULUM VITAE

I am currently seeking a position as a Part II Architectural Assistant having graduated with my MArch degree from the Welsh School of Architecture. I am a highly motivated individual who is committed, industrious and passionate to succeed in the goals I set myself. I complete every task with enthusiasm and with the utmost level of effort, and I will continue to do so on my journey to become an accomplished Architect. I am also a pro-active and keen learner who is confident in working alone as well as being an effective team player. I will make a positive impact in the practice that I join due to my friendly, approachable and hard-working character. I am also a keen follower of design trends and new technology and I love exploring the multidisciplinary nature of architecture.

[5]

Design Thesis Project 2017-2018

2 | CRAFT AS A LUXURY PROCESS

CRAFT AS A LUXURY PROCESS: THE THIRD STAGE REVIVAL

[6]

My design thesis, which I undertook during the second year of my MArch course at The Welsh School of Architecture, Cardiff University was part of the studio unit ‘Craft: Making Meaning’. This unit was focussed around the ideas and theories of making and therefore allowed us as students to delve deeper into all types of manufacturing from work made by artisan craftsman, 3D printers experimenting with newest materials and ‘us’ as consumers building flat-packed furniture to give a few examples.

Contextual research into craft and also investigative experimentation in to forms of making allowed this design thesis to position itself within themes of exclusivity, bespoke design, mystery, materiality, detail and rarity. I believe that validated crafts that have survived over time and are still manufacturing deserve to be defined by the word ‘craft’. I felt that in our society the words such as handmade, artisan, and craft had been overused to such an extent that the definition had become lost and diluted.

This particular design thesis was interested in the creation of AURUM: The Foundation of Jewellers located within central Bath, United Kingdom. It explored the notion that craft as a means of making is set above other forms of manufacturing and is therefore considered as a luxury process.

With this in mind I wanted to further my own understanding of master-craftsmanship and moving forward, create a greater understanding and appreciation for true crafts. David Pye once said that it is important more than ever that craft and ‘workmanship is understood and appreciated for the art it is, or our environment will lose much of the quality it still retains’.

DESIGN THESIS | MASTER OF ARCHITECTURE PROJECT SECOND YEAR OF STUDY | 2017-18 WELSH SCHOOL OF ARCHITECTURE CARDIFF UNIVERSITY, WALES The physical architecture designed within this project was done so in a way which would facilitate the promotion, education and experimentation of jewellery-craft. The programme for this project and also the spaces designed were both created to respond to my position on craft as a topic. I wanted to create a holistic luxurious building experience which allowed all building users to indulge in space which does more than meets requirements.

[7]

Design Thesis Project 2017-2018

2 | CRAFT AS A LUXURY PROCESS

CRAFT : MAKING MEANING

My position on the topic of ‘craft’ was derived from initial investigative research into attitudes towards craft over time and how this has defined what should actually be described as craft. I believe that in the past five years craft has reached a crucial forum which I have defined as The Third Stage Revival. To give some context, The First Stage Revival occurred during the 1960’s & 1980’s where the concept of craft reached new artistic and flamboyant heights. It therefore moved away from traditional Morris and Ruskin views that were mostly focussed around functionality. The Second Stage Revival I believe followed during the early noughties where the word ‘craft’ was used alongside ‘artisan’ and ‘handmade’ by marketing moguls as a means of successful branding as authenticity and provenance became more important for retailers. As society has become more savvy a new revival of craft is consequently occurring. The Third Stage Revival, as I have defined, is focussed around the celebration and appreciation of true craftsmanship that has survived and evolved throughout the years. This can be described as a luxury due to the dexterity, consideration, and attention that is applied to every part of the making process (the retrieving of materials, the preparing of materials, the learning and the making). It is the antithesis to the majority of manufacture that takes place in our fast-paced global economy where speed and efficiency is paramount. Society is not wholly exposed to the processes involved with many luxury crafts and therefore celebrating and raising the awareness of how specialist the involved skills are is what this thesis aimed to promote.

UP TO MERRIE ENGLAND Something made by hand. Not industrially produced Small scale, hand -based production Vernacular processes Historical continuity Sense of communal belonging

DURING

‘S

INDUSTRIAL REVOLUTION Technology heavily criticized as goods became mass-produced Division of labour started to become very present Dark, satanic North vs. green pleasant South Town vs. countryside Little development of traditional crafts Many crafts replaced by automation

DURING

‘S BAUHAUS

Artists urged to ‘turn to the crafts’ Relationship between prototype and manufacture New connection with technology Education to encourage tacit knowledge

‘S FIRST STAGE REVIVAL

America influenced the rest of Europe Traditional views started to become resented Ruskin and Morris not favoured anymore, a sense of looking forward Feminist movement

DURING

‘S

SECOND STAGE REVIVAL Re-engaging with processes Reconnecting with physical surrounding

Design Thesis Project 2017-2018

2 | CRAFT AS A LUXURY PROCESS

Interest in provenance and authenticity

[8]

Marketing and branding play Craft is more accessible

NOW IN THIRD STAGE REVIVAL Appreciating craftsmanship as an alternative way of making in our economy (massmanufacturing) Making in this way is more bespoke and unique for the consumer and maker Adds colour to our world

Design Thesis Project 2017-2018

THE GOOD AND THE PROCESS My understanding of craft and making in general was determined by the realisation of what must go into a true craft in order to bring it to fruition. We as consumers and society are not readily exposed to these processes. They need to be appreciated for what they are in order for master crafts to be re-appreciated.

2 | CRAFT AS A LUXURY PROCESS

CRAFT IS ON A PEDESTAL Craft should be seen as on a pedestal compared to other forms of manufacture (e.g. mass-manufacture). It should be appreciated and looked at in awe as not only have certain crafts survived over time but we subconsciously as consumers trust good workmanship when we see it. It adds uniqueness and colour to our world.

[9]

CRAFT : MAKING MEANING

In order to help justify my stance on the topic of craft I started to investigate a range of industries with a variety of different manufacturing processes to sieve out what I believed and positioned as true craft.

Design Thesis Project 2017-2018

2 | CRAFT AS A LUXURY PROCESS

It was at this point during my studies that I decided that in order for society as a whole to begin appreciating and understanding these highly skilled master-crafts that the building I designed must work hard to create spaces that showcase the final products made in it but also be designed in a way which means that there is a level of transparency to engage society into to the production.

I began by focussing on the textile industry and the most accessible way for me to begin my explorations was to delve into a type of craft that I had experience in. For me that was textiles and sewing with a machine in particular. I started to research how basic and easy certain packs of instructions were to follow and then started to pull in the concept of time and craft and whether the longer I spent working on a specific good made it more crafted or more luxurious. The outcome was that if I spent longer making and was more considerate to finishes and materials that the bags I was making were better made, stronger, and

I then began exploring leather-craft as through my research this craft was one of the oldest surviving crafts. I soon realised that the involved processes within leather-craft had not drastically changed over time either. This exploration therefore allowed me to start understanding how important it was to have specific tools and materials to learn ‘tricks of the trade’, tacit knowledge, in order to produce the best possible product. I soon realised how difficult it was to start out in such a specialist craft. I purchased specific tools and spent a great deal of time researching which types of leather to use for various pieces. I could easily start to see why good leather-craft was so highly sought after and a new found appreciated for the craft was developed.

QUANTITY VS. QUALITY

CHOOSING THE RIGHT MATERIAL

TOOLS & INSTRUCTIONS

GLASS BLOWING

ALUMINIUM SAND CASTING

CONCRETE CASTING

The first of many items I began to make were standard IKEA tote bags. During our study trip to Småland, Sweden we visited the IKEA museum which gave out free instruction manuals to make these bags. I wanted to research quantity of quality and whether the time I spent on each bag would alter the end result. Mass-manufacture vs. Craft.

[10]

aesthetically better in regards to finishing.

During our study trip to Småland, Sweden - the heart of craft in this country, we visited glass blowing facilities. We as students were walked through the process of glass blowing and were allowed to experiment on our own pieces. Colours and textures were added but this craft was highly specialised and as novices our items did not compare to the work of the master craftsmen.

I moved on from working with textiles and started exploring leather-craft due to the notion that this craft has always had connotations of luxury. Working with leather initially was challenging. I quickly learnt that the range of leathers is wide and that different animals, grains, and thickness make every hide different and perfect for varying of uses.

During this year of study I wanted to push myself to work with materials I would not usually endeavour to experiment with. One in particular was metal, and in particular that of aluminium and pewter. During another study trip to Grymsdyke Farm, a craft workshop located near to High Wycombe, I was able to experiment with the sand casting technique. Wanting to make 1:1 details I made a series of door handles.

Later throughout my year of study I also started to work with materials that I wanted to design with. I learnt how to blow glass as I proposed that bespoke light fittings would be specified within my project. I also experimented with sand-casting aluminium to provide the correct texture of door handles in different locations of the building. I also experimented with casting concrete in order to create a better idea of the structural material I wanted to use.

During my exploration into leather I initially had to follow instruction manuals to make my bag. I also had to buy specialist leather-craft tools which were necessary in order to work with thicker leather. Having made my first leather good (shopper bag) I used a leftover piece to make a laptop case, this was done without instructions.

Towards the later stages of this year due to the materiality of my project proposal I also started experimenting with concrete and in particular the colour that would be produced when adding different amount of Bath Stone aggregate. This was done in order to create a respectful colour which would be in-keeping with the surrounding properties of the site.

[11]

Design Thesis Project 2017-2018

2 | CRAFT AS A LUXURY PROCESS

SITE LOCATION

In terms of site selection I wanted to approach this part of my project with the same themes that had become apparent during my initial research; exclusivity, bespoke design, mystery, materiality, detail and rarity. I therefore wanted to choose a place which had always had a strong presence of mastercraftmanship and this led me to the city of Bath, South West England. I had recently started looking into the mastercraftman guilds and this led me to understand that there was a great respect for master stonemasons in this area. Having grown up close to this city as well I believed I had a good understanding on the types of city locations and one stood out to me in particular which was the Artisan Quarter. This is an area of the city which prides itself on housing the best boutiques and independent shops which showcase a range of crafts from carpet making to kitchen utensil design. As I already had a good idea of the most popular stores and thus crafts in this area I looked to the rest of Bath for a craft which was more mysterious and rare whilst still having a exclusive and luxury quality to it and this is what consequently lead me to jewellery craft.

1880’s

The YMCA in Bath has seen a number of transformations throughout its’ history. Through research it was interesting to see how this site did or in this case did not change in terms of mass very dramatically. I was surprised to find out that a building of similar size to what is there currently has always been there. The only difference is that during the early 1900’s (before the World Wars) The building seemingly split from a large YMCA hostel into facilities called Cooper Works which one could assume would be some sort of craft works. The split facilities mirrored the smaller terraces found on Walcot Street at this time. During the 1800’s though it seems that a much larger mass was present.

1900’s

During this time the mass seems to reduce and give way to internal courtyards which look to be the backs of terraced property on Walcot Street. This now mirrors what is still there today on the east and west boundaries. The reason for this change most probably is due to war time bombing however it is difficult to say. The YMCA hostel is still located in the building located on Broad Street.

Having researched the guild of mastercraftman I had also fallen into researching London Craft Week which is an organisation which was trying to promote British craft just as my manifesto had set out. I also came across the British Academy of Jewellers which was a specialist school teaching and passing on this special craft. This school had facilities in London and Birmingham but no hub in the South West of the UK at all. I also came across a publication which interviewed the top six jewellers in Bath which had defined them as The Golden Set. Half of these jewellers had worked in the city for over 80 years and others were newer and more contemporary however one characteristic was clear after speaking to each individual one and that was the desire to have more space in order to make. Back room studio spaces made up the production areas of these jewellers and whether it was due to a rise in alteration work or wanting better facilities for experimental purposes all agreed more space would be ideal. It was from here that I decided that AURUM: The Foundation of Jewellers had enough justification and financial backing to be a feasible project proposal. The programme and site location developed in unison which I feel is a very natural way for me to work. University projects can sometimes become detached from the real world and I was keen to not let that happen.

1930’s

The size of the building does not seem to differ from the early 1900’s , the courtyards are still apparent which allows us to assume that the bombing did occur during World War Two. What is noticeable here and the other historical maps is the presence of the hotel opposite the site on Broad Street, York House Hotel which is no longer there today.

1950’s

During the 50’s the original mass seems to be rebuilt to become more like the existing 1970’s we see today. The courtyards have disappeared and the courtyard seems cluttered with other buildings. This tells us that Broad Street Place became a courtyard later that first thought.

Present

Design Thesis Project 2017-2018

2 | CRAFT AS A LUXURY PROCESS

Bath in the present is a metropolitan city which has a high concentration of luxury industries and master craftsmanship not only in terms of shops but also in terms of development and processing places such as universities and the workshops they provide but also in boutique places of making. For example the back rooms of specialist stores like jewellers.

[12]

CENTRAL AREA The central streets of Bath are home to a treasure trove of shops, from high street favourites such as Marks & Spencer, Debenhams and Primark, to distinctive independents like chocolatier Charlotte Brunswick. Stall Street and Union Street provide a lively route through the length of the city and are lined with tempting offerings including confectionery, jewellery, fashion, accessories, homeware and more. In this area, and adjacent to Bath Abbey, you’ll find Bath Aqua Glass, home to beautiful hand-blown glassware and jewellery. Explore beyond these main streets and meander through the picturesque passages and alleyways.

ARTISAN QUARTER The London Road and Walcot areas have held the informal title of Bath’s Artisan Quarter since the 1960s. The essence of alternative life in the city, it brings together a vibrant, eclectic collection of characterful independents offering everything from vintage clothes to designer homeware and quirky artwork to delicious food. As well as shops, don’t miss the popular Saturday flea market, renowned for offering a unique selection of clothes, antiques, books, crockery, collectables and more.

SOUTHGATE Just across the road from Bath Spa train and bus stations, SouthGate combines classic Georgian-style open vistas with contemporary public spaces. Opened in 2009, it offers a whole host of retail outlets for the ultimate shop-til-you-drop experience. This lively, buzzing complex is home to over 50 popular, well-known brands and shops such as Urban Outfitters, Debenhams, Next, Hotel Chocolat, Apple, Superdry, H&M, Topshop and many more. A lively array of cafés, bars and restaurants can also be found in the Vaults area of SouthGate.

MILSOM STREET This shopping area right in the centre of Bath is a great place to find top fashion designers, department stores and quirky retailers. At the heart of Milsom Street is Milsom Place, a lively courtyard perfect for both shopping and socialising. Here you’ll find an array of one-off designer shops and high-street flagship stores including Hobbs and Cath Kidston, plenty of pop-up ventures, and a selection of cafés and restaurants. Just across the road from Milsom Place you’ll find Jolly’s, a House of Fraser store open since 1831 and now one

UPPER CITY The beautiful architecture at the top of Milsom Street and along George Street is home to a fantastic cluster of independent retailers. Unearth beautiful, unique jewellery at Noha’s Art; browse reams of colourful fabric at V V Rouleaux; pick up authentic Mediterranean flavours at The Italian Food Hall; or lose yourself in the book shelves of Topping & Company. Just off the busy George Street you’ll find the charming, traffic-free Bartlett Street Quarter, which is lined with all manner of eclectic shops, from vintage lamps to luxury candles, and a number of eateries, including the Italian-inspired Cafe Lucca.

Design Thesis Project 2017-2018

The western area of the city is home to some great covered markets at Green Park Station. Shop for the pick of the best local and organic produce at the Saturday morning Farmers’ Market, find beautiful handmade crafts at the regular Artisan Market, and discover vintage glamour at the monthly Vintage and Antiques Market. Regular retailers include specialists in antiques and collectables, picture frames, leather and luggage, music, books and more.

2 | CRAFT AS A LUXURY PROCESS

WESTERN AREA

[13]

SITE ANALYSIS

MONTAGE

POCKET PARK/ COURTYARD AREA On choosing the city location it was then necessary to decide upon a site. Bath is a UNESCO world heritage site in itself and also a modestly sized English city and therefore the opportunity to choose a green field site was not feasible. A large percentage of the existing buildings in this city are protected in some form and as I wanted to create a very bespoke building finding a non-listed building or piece of suitable brown field land was hard to come by. I also had a larger list of criteria to refer to as again I wanted this part of my site selection to still respond to my key themes which in themselves were very bespoke. The chosen site was the YMCA hostel which dated back originally to the 1880’s. Like the vast majority of the buildings in Bath the original building was grade II listed however the 1970’s extension was not. This site held a lot of promise due to its unique characteristics such as sitting on the cusp of the Artisan Quarter and central Bath, the various routes in to the site, the level changes from one boundary to the other and the presence of a courtyard garden.

Design Thesis Project 2017-2018

2 | CRAFT AS A LUXURY PROCESS

The original YMCA building as already stated is grade II listed and as the 1970’s extension was so unsightly and not in-keeping with the existing Georgian architecture it was decided at an early stage to demolish the extension and restore the original building to its former glory. In doing this, it meant that two separate buildings on this site were to be re-designed. It was decided that the original building would act as a luxury boutique hotel and provide a cross-programme to The Foundation of Jewellers. The programmes would complement each other as building users would be experiencing a holistic experience throughout the whole site and if featured accommodation was advertised by the foundation this may make the building more of a destination point. AURUM: The Boutique Hotel was designed to be as a secondary stage project for this year and the emphasis of the main design was put onto The Forum. The boutique hotel needed to be thought through but not to the level of the foundation.

[14]

PEDESTRIAN ROUTES & ACCESS The site can be accessed in at a variety of different points. Each of these access points is unique and are not readily visible to the public. There are a number of alley ways, some of which have steps into a central courtyard which the southern elevation sits behind. Alley ways like this are notorious in Bath however the courtyard found on site is unique in this specific area of the city.

LISTED STATUS

NOISE AND AIR POLLUTION

GREEN SPACE

Bath is a UNESCO World Heritage Site in itself so it is understandable that a high proportion of the neighbouring buildings to this site are also listed to some degree. The existing 1970â&#x20AC;&#x2122;s extension to the original YMCA building fortunately is not listed.

Understanding where the noise and consequently the pollution comes from allows us to plan which parts of the site need more protection and thus privacy. The main areas of pollution follow the through flows of traffic and pedestrians but noise is also apparent from nearby shops located in the courtyard.

Although there are small slithers of green space towards the river in this part of the city, unlike the rest of Bath there are no obvious public green spaces apart from the small courtyard which the site is situated on. The issue with this particular courtyard is that it is relatively unknown and consequently kept in a poor state.

BUILDING USE & PLACES OF PROGRAMMATIC IMPORTANCE

SUMMER SOLAR SHADING

WINTER SOLAR SHADING

The programme of this building has been carefully considered to fit into its surrounding context. Understand the uses of the buildings in this area of the city was very important. A primarily retail based area was identified which housed many luxury boutique home decoration stores, craft stores and art galleries.

The courtyard is south facing and therefore benefits from sunlight in the morning hours on the eastern boundaries. Sunlight through midday and afternoon directly hit the centre of courtyard.

The site receives a drastically reduced amount of sunlight in the morning hours on the eastern boundary however the courtyard is still lit during a few midday hours. The courtyard will become dark quickly so taking this into account and providing light and transparent faĂ§ades must be considered.

Design Thesis Project 2017-2018

VEHICLE ROUTES/BUS STOPS/PARKING The site is located on two main thoroughfares into the city centre, Walcot Street and Broad Street. There is accessible parking at two nearby carparks and the site has very good public transport links, a bus stop is located directly on the eastern boundary.

2 | CRAFT AS A LUXURY PROCESS

EXISTING SITE

[15]

DESIGN PROCESS

The site analysis presented a range of characteristics that it was important to take into careful consideration when designing the proposal. These characteristics were the unique factors which allowed for a truly bespoke design to be created. A challenging site to work with usually dictates what form the proposal will take and in my opinion this is what happened for this project.

Design Thesis Project 2017-2018

2 | CRAFT AS A LUXURY PROCESS

It has always been important for me to make clear and simple diagrammatic visualisations. I feel that this not only provides clarity in my own thinking but also for others that view my work. For a project that ran for a year as well the design process does become confused at times and it is always important to be able to justify design decisions. The two sets of diagrams on this page are depictions of my collective thoughts during the design process.

[16]

All aspects of this project were approached with the same theoretical backing set up earlier in the year and therefore constantly referring back to the key themes set out in my position on craft was paramount. During the spatial design process a combination of responding to the site restrictions and applying the key themes was done. For example the routes in to the site were kept to their original form to allow different small entrances and exits, this promotes the key theme of mystery and intrigue whilst the proposed new designed pocket park in this area of the Bath gives the proposal a sense of exclusivity as finding such a rich green space in this area is not a given. I also believe that the key themes bespoke in itsâ&#x20AC;&#x2122; design to draw attention to this building, whilst the boundary to the east

1 | THE EXISTING

2 | REDUCE MASS

3 | ROUTES IN

4 | INTRODUCE POCKET PARK

5 | WIDEN PAVEMENT

6 | FACADE CONSIDERATION

The existing building encroaches onto the already narrow pavement and therefore pushing the facade back will allow for a more welcoming building facade. The existing building does not allow public to enter from this boundary despite it being on one of the busiest routes in the city.

7 | CONSIDERATION OF THE LEVELS

The site currently has an approximately 7m decline from one boundary to the other. This therefore provides challenges for the pocket park and also levels within the building. Shading is also an issue that must be considered, careful landscaping will need to be proposed.

In the existing courtyard there are already a number of trees, in particular a large protected oak tree, however the lack of usable green space is apparent. There are small pieces of unkempt lawn surrounded by hard landscaping which is not readily used by anyone. The proposal looks to address this and create a garden between the two buildings and create what is more known as a pocket park, usable public green space.

The building will need to address the two varying façades. One which will provide interaction with the existing courtyard and newly formed pocket park and also create a light and respectful interaction with the existing grade II listed building. This façade will also have to provide solar shading due to the sun path. The other façade on Walcot Street will have to provide a sense of privacy and protection whilst still being seen as accessible and welcoming.

8 | MATERIALITY

In order to be respectful to the surrounding buildings a considerate choice of material has to be made. Bath is a UNESCO World Heritage site and the use of Bath Stone is looked at with great admiration. In order to keep a level of consistency Bath Stone will be used but applied in a more contemporary way.

Design Thesis Project 2017-2018

The site has a variety of unusual entrances and exits into the site. Most are gated or fenced off and could be perceived as intimidating by the passing public as some do lead into confined areas. What is more noticeable is there was no main entrance on Walcot Street.

The existing building is far larger than the surrounding properties and therefore the architectural intention is to drastically reduce the size of the proposed. This will reduce how imposing the building is on Walcot Street and also provide the grade II listed building on site room to exist as its’ own entity.

2 | CRAFT AS A LUXURY PROCESS

Luxury and bespoke are two themes which go hand in hand in my position on craft and in this design thesis. What was important during the design process for this building was to understand first and foremost what makes this site unique and how this can dictate the design on the building. Unique features of the site will allow a truly bespoke and therefore ‘luxurious’ (in context) building to be site.

[17]

CONCEPT DESIGN

An important part of the design process for me has always been to create montages of what I am visualising the spaces in my project to finally be developed into. I feel that this allows me to quickly transfer my thoughts into a drawing. I find that having a good idea of the textures, colours, forms, types of circulation and types of building users for each space I am designing helps to keep to the project focussed. It is also a great way in my opinion to transfer knowledge of precedents which have been looked at throughout the project as this is an important part of the design process as well.

Design Thesis Project 2017-2018

2 | CRAFT AS A LUXURY PROCESS

I like to keep my montages fairly loose and conceptual as becoming too detailed can mean that the bigger picture can get lost and the need to adapt at a more technical level can be difficult if such concrete decisions are made at this time. Emphasis on texture, light, and materiality was put onto these montages. I felt that for others that were viewing my work that this gave an insight into the type of spaces I was wanting to create.

[18]

[19]

Design Thesis Project 2017-2018

2 | CRAFT AS A LUXURY PROCESS

CONCEPT DESIGN

During the concept design stage I also experimented with more ways of making. Having had experience in aluminium casting at a workshop with the correct facilities I started to research what kind of metal work I could attempt in the studio environment at university. I found out that pewter could be smelted at a temperature which a blow torch or gas oven hob could reach and decided to try my hand at creating form like studies. Working with pewter was very challenging, metalwork at the best of times is a very specialist craft however creating more conceptual studies of form was something that proved promising. Having decided on jewellery-craft being at the forefront of my programme manifesto I started looking at how this building could potentially sit as a piece of jewellery itself on site. I then started to look at the most exclusive and luxurious pieces of jewellery which one particular jewellers in Bath worked with and this was working with platinum and diamonds. Due to obvious cost restrictions I decided that pewter and broken glass would work as substitutes for this conceptual experiment. I started by placing broken pieces of glass in the sand casting moulds I made to represent the gem stones. I also made a conscious effort to collate the pieces of glass in areas of the form which I wanted light to be an important characteristic of the proposal.

Design Thesis Project 2017-2018

2 | CRAFT AS A LUXURY PROCESS

Working with pewter is very temperamental and it was difficult to control the flow of the molten metal once poured into the moulds however, the product modelâ&#x20AC;&#x2122;s shape did fit into the site model and the distinct and noticeable aesthetic when placed in a 1:500 site model could be seen.

[20]

[21]

Design Thesis Project 2017-2018

2 | CRAFT AS A LUXURY PROCESS

DETAILED DESIGN

The design for this project started to take shape after countless iterations and maquette experimentations. The final building design took inspiration from simple post-modernist design in regards to the strong geometric shape and use of concrete as the primary construction material which was left exposed throughout the interior of the building as well. The building itself is considerably smaller than the existing 1970â&#x20AC;&#x2122;s YMCA extension and this was done to be more respectful to the neighbouring buildings. The proposal was designed to be more in line with the Georgian terraced building heights. It paid homage to the former craftworks on site by featuring a large light-well courtyard on the south boundary. Many building which sit on Walcot Street have rear courtyards that due to the level changes here are sunken and the proposal wanted to use this characteristic as a feature.

Design Thesis Project 2017-2018

2 | CRAFT AS A LUXURY PROCESS

The faĂ§ades were designed in a way which responded to the boundary locations as the different criteria for each boundary had been noted early on during the site analysis. The eastern boundary was set back at an angle not only to provide more privacy to a new main entrance but also to set it back away from vehicular noise and pollution. This facade also allowed for the neighbouring listed buildings to be viewed in a more holistic way and allowed for the proposal to gradually contrast in this elevation. The western boundary was designed to join to the existing and proposed vegetation within the courtyard and was designed to be more lightweight and segregated to be respectful to the neighbouring properties.

[22]

BUILDING PROPOSAL

AURUM: THE FOUNDATION FOR JEWELLERS LANDSCAPING

BUILDING PROPOSAL

AURUM: THE BOUTIQUE HOTEL AURUM: THE FOUNDATION FOR JEWELLERS LANDSCAPING

BUILDING PROPOSAL IN-SITU

Design Thesis Project 2017-2018

2 | CRAFT AS A LUXURY PROCESS

AURUM: THE BOUTIQUE HOTEL AURUM: THE FOUNDATION FOR JEWELLERS LANDSCAPING

[23]

DETAILED DESIGN

Due to the level changes on the site the main entrance level situated on the main road on the eastern boundary became the lower ground floor level. This level as the main floor into the foundation I felt needed to act as the gallery/exhibition space area where the jewellers could showcase some of their finest work. I took inspiration from large art galleries in terms of spatial circulation however due to the showcased goods (jewellery) usually being small the space also had to feel more domestic than regular exhibition halls.

Design Thesis Project 2017-2018

2 | CRAFT AS A LUXURY PROCESS

The light in this space was crucial to get right as with all spaces where work is being displayed there cannot be an influx of natural daylight otherwise it can be difficult to view certain

[24]

objects. The choice of the facade material on the eastern boundary was a crucial design decision. Having already experimented with different concrete types I started to add different amount of Bathstone aggregate to create a more sympathetic construction material colour which would be respectful to the neighbouring buildings. During my research I also came across a relatively new material known as translucent concrete. This material was chosen due to its qualities in allowing light to penetrate through whilst also keeping the appearance of the concrete which had been specified to be the construction material of the whole building. The translucent concrete is manufactured by a specialist company and can be formed in brick like tiles which are then attached to a frame structure. This system was combined with a long strip of curtain walling which ran along the lower part of the facade and was designed to be

to be slightly lower than the average personâ&#x20AC;&#x2122;s height. This was to encourage passing traffic both pedestrian and vehicular to get glimpses of the activities inside. This was responding to the key theme of mystery and intrigue whilst also looking at detail and materiality due to the bespoke facade design.

LOWER GROUND FLOOR LEVEL

17 15

18 16

14 13

4 8

2 1

PLANT ROOM WC’S ADMIN OFFICE LAUNDRY ROOM CLEANING STORE ACCESS POINT

AURUM: THE FOUNDATION FOR JEWELLERS 7 8 9 10 11 12 13 14 15 16 17 18 19 20

STORE PLANT ROOM WC’S ACCESS POINT (STAIRCASE & LIFT) COURTYARD GARDEN ENTRANCE LOBBY SHOWROOM STAFF WC’S STAFF AREA (KITCHEN & SEATING) RECEPTION & GIFT SHOP ACCESS POINT (LIFT & DUMB WAITOR) SAFE ACCESS POINT (STAIRCASE) SERVICE COURTYARD (BIN-STORE & FIRE ESCAPE)

The lower ground floor as well as primarily acting as the exhibition and showcasing space for the jewellers also needed to house the services needed for the rest of the building. From the plan you can see how for both the boutique hotel and the foundation all services were located in hidden areas to prevent the building users from seeing the back of house workings. This was done in order to maintain the desired level of exclusivity and luxury. For the boutique hotel this floor level was part of the original basement which was not currently being used by the former YMCA . By putting hotel services such as cleaning stores and staff facilities such as WC’s and admin areas it allowed for the reception area on the floor above to operate without the need for a back office which gave more space to other more luxurious features such as individual workspace stations, large WC’s, and a coffee and small

bar area. The foundation also was designed for the staff facilities to be tucked away at the back of house in order to prevent building users and building workers circulation paths to cross. Due to a cafe and restaurant being present within this building services such as a dumbwaitor, large bin stores, and deliveries had to be taken into account. This is why towards the northern boundary a large courtyard has been designed which allows for these services to take place without disturbance. Facilities such as large store rooms for exhibitions were also introduced in order for special events to take place on this level.

Design Thesis Project 2017-2018

1 2 3 4 5 6

2 | CRAFT AS A LUXURY PROCESS

AURUM: THE BOUTIQUE HOTEL

[25]

DETAILED DESIGN

The ground floor level for the foundation also became the lobby and main entrance level for the boutique hotel as the level difference was taken into account to allow this to happen.

Design Thesis Project 2017-2018

2 | CRAFT AS A LUXURY PROCESS

This level for the foundation was designed to feel like a mezzanine level if you were stood in the exhibition space on the lower ground level. It was designed to house a cafe which would sit above the exhibition space. It was also designed to be a space that passing pedestrians entering the site through the many existing routes could all meet at. A cafe provides a meeting and social area of the building which makes this part of the building more accessible for all of the public. The cafe was also designed to benefit from a curtain walling system which will contain bi-fold doors in order for complete integration between the cafe and pocket park to happen, weather dependent.

[26]

The pocket park found on this level allows for there to be a connection between the foundation and the boutique hotel. Similar double doors were designed into the rear of the listed building (the boutique hotel), as a more contemporary addition, which also acted as an entrance into the pocket park from this particular building on site. I wanted to create a framed view of the pocket park which could be seen from the opposite street elevation located on the western boundary as I believed that showing glimpses of what sits behind of the building creates intrigue for a potential building user. The cafe was designed to be a very light space which brought the outdoors inside without providing the exhibition space with a great deal of light as well. The seating area for the cafe was designed to have several split height walls which created more comfortable and private

seating areas away from entrances and exits. The back-door services were, like on the lower ground level, designed to be away from the building users. The kitchen for the cafe for example, the dumbwaitor and staff access points have all been hidden to the north side of the building. Fire exits have also been located at the northern and southern sides of the building which is in accordance with Part B as set out in building regulations.

GROUND FLOOR LEVEL

37 36 34

29 32 24

AURUM: THE BOUTIQUE HOTEL 21 22 23 24 25 26 27 28

ENTRANCE SEATING AREA SEATING AREA & WORKSPACE COFFEE POINT FRONT DESK WC’S ACCESS POINT (STAIRCASE & LIFT) TERRACE

AURUM: THE FOUNDATION FOR JEWELLERS 29 30 31 32 33 34 35 36 37

POCKET PARK/CAFE SEATING AREA CAFE ENTRANCE ACCESS POINT (STAIRCASE & LIFT) CAFE SEATING AREA & WORKSPACE CAFE SERVING AREA KITCHEN WC’S ACCESS POINT (LIFT & DUMB WAITOR) ACCESS POINT (STAIRCASE)

31 26

The renovation work which has been issued for the existing grade II listed original YMCA building can be seen whilst looking at this floor plan in particular. The original access point and some internal walls have been retained in order to keep the building as close to its original state as possible. The lobby has been designed in a way which opens up the original building entrance. The main intention for this level for both the boutique hotel and for the foundation was to engage with the proposed pocket park as this in itself has been created to be a luxurious addition to the site and the city. Bath is a city which has a collection of public and private parks and courtyards however in this specific location due to its industrial past there were no public green areas. This park needed to be appropriately designed for disabled access to increase

accessibility for all building users as in its original state it was not used by many people at all. Ramps and feature staircases have been added to create a more open and interesting environment. This area also benefits from a great deal of daylight and has been designed to be a comfortable meeting area of the city.

Design Thesis Project 2017-2018

2 | CRAFT AS A LUXURY PROCESS

[27]

DETAILED DESIGN

The first floor level in the foundation follows the same form as the ground level below however the ceiling height has been reduced here in order to create a more intimate setting for the proposed facilities. Research had been undertaken into other foundation type building programmes and nearly all featured a restaurant area. In order to add another level of luxury and exclusivity into this project proposal a restaurant therefore was also designed. For the boutique hotel the first floor houses the first set of the luxury accommodation suites.

Design Thesis Project 2017-2018

2 | CRAFT AS A LUXURY PROCESS

The restaurant in the foundation has been designed like that of the cafe below to act as a semi-mezzanine level which overlooks the exhibition space. The reason for doing this was to create a connection back to the craft which is the jewellery making. I wanted building users that may only be visiting the restaurant to be able to catch glimpses of the craft was being

[28]

displayed. The restaurant space also benefits from an external balcony area which overlooks the pocket park but is set behind the brise soleil framework which mimics the framework found on the eastern boundary of the building which the translucent concrete tiles are attached too. The idea behind this sort of brise soleil was to encourage growing vegetation such as ivy and a variety of sorts of climbing vines to soften the edges of what is a relatively harsh geometric shaped building. The brise soleil also acts as perfect solar shading solution for this level. As the higher up the building the increased amount of daylight is present throughout the day. The idea that the sun would shine through the vegetation and create speckled shadows and shapes into this space was desired. Again like that of the previous two floor plans the services have been put at the back of house

and hidden away from the public to keep the theme of luxury and exclusivity present. The services on this floor also contain a large kitchen in order to serve the restaurant and bar facilities.

FIRST FLOOR LEVEL

51 49 48

47 45 39

AURUM: THE BOUTIQUE HOTEL 38 39 40 41 42 43 44

HOTEL BEDROOM 1 EN-SUITE BATHROOM 1 HOTEL BEDROOM 2 EN-SUITE BATHROOM 3 HOTEL BEDROOM 3 EN-SUITE BATHROOM 3 ACCESS POINT (STAIRCASE & LIFT)

AURUM: THE FOUNDATION FOR JEWELLERS 45 46 47 48 49 50 51 52

RESTAURANT TERRACE/SEATING AREA ACCESS POINT (STAIRCASE & LIFT) RESTAURANT SEATING AREA BAR KITCHEN WC’S ACCESS POINT (LIFT & DUMB WAITOR) ACCESS POINT (STAIRCASE)

In the boutique hotel the first three luxury accommodation suites can be found. Each room benefits from a large en-suite with a bath, shower and separate toilet room, large wardrobe space for storage, super king-size beds, a dressing table and minibar. It was interesting to research how hotel rooms are designed and apply what I had learnt to such a small existing building. The beautiful Georgian windows took centre stage in the rooms at the front of the building whilst the back benefited from newly fitted refurbished windows which have been proposed to be fitted during the renovation work. The link between the foundation and the boutique hotel is clear at this level as residents that stay in the hotel will more than likely dine in the restaurant regardless of whether they are staying in the hotel because of an already withstanding connection with the foundation.

This means that hotel visitors will be able to pass through the building and view the craftwork which is displayed in the exhibition space. The two spaces will act as compliments to each other’s programme.

Design Thesis Project 2017-2018

2 | CRAFT AS A LUXURY PROCESS

[29]

DETAILED DESIGN

The second floor level provides the first level of the jewellery making workshops for the foundation whilst in the boutique hotel this level provides the second lot of luxury accommodation suites. The first level of jewellery craft facilities has been defined as the junior workshop space which provides communal working environments alongside a range of other facilities needed for jewellery fabrication. This floor level has been designed in order to act as the south west teaching hub for the British Academy of Jewellers.

Design Thesis Project 2017-2018

2 | CRAFT AS A LUXURY PROCESS

These workshop spaces have been designed in a way which sees the two large communal workshop spaces being located at either side of the building. This was a conscious design

[30]

decision in order for each of these communal work areas to benefit from different types of natural daylight penetration. The translucent concrete facade carries on up the entire eastern facade of the building and therefore communal workshop space 2 benefits from a warmer and more consistent light when it is a bright day with a lot of sunlight and a quicker darker light as the day moves on which makes it more suitable for artificial light to be used. This is a desired feature as jewellery makers that work with certain specific gemstones require very specialist artificial lighting which natural daylight can interfere with. In contrast to this however communal workshop space 1 is located overlooking the western boundary of the proposal and similarly to the cafe and restaurant spaces the brise soleil will pass up this facade. Large uninterrupted glazing panels have specified to line the vast

majority of this facade in order to increase the amount of daylight in these areas. The brise soleil will again act as solar shading for very direct sunlight which is not desired in jewellery craft all together. The view out to the vegetation growing up the brise soleil framework and in the pocket park will also provide a healthy work environment to those within these areas.

SECOND FLOOR LEVEL

68 69

66 70 65

60 64 61

54 53

71 72

AURUM: THE BOUTIQUE HOTEL

AURUM: THE FOUNDATION FOR JEWELLERS 60 61 62 63 64 65 66 67 68 69 70 71 72

COMMUNAL WORKSHOP SPACE 1 TEACHING ROOM MATERIAL STORE ACCESS POINT (STAIRCASE & LIFT) CLIENT LIAISON SPACE MATERIAL STORE & LIBRARY CLIENT WC’S ACCESS POINT (STAIRCASE) PRINTING AREA (3D PRINTER) COMPUTER SUITE COMMUNAL WORKSHOP SPACE 2 COMMUNAL KITCHEN & LOUNGE AREA WC’S

This floor level also contains a large atrium style library space which is situated between both communal workspaces. This area allows students to research specific specialist literature related to their education on jewellery craft. Other rooms also located on this level are a meeting like teaching room for smaller group seminars, a material store area within this teaching room to ensure there is no misuse, breakaway spaces which overlook the light-well courtyard for student downtime, IT facilities including 3D printers to allow the craftspeople to experiment with new technologies and also a common room area which provides services for staff and students alike. The boutique hotel layout is exactly the same as the first floor due to the fact that this is the

most efficient way of laying out the most accommodation suites which meet the standard I had set them to have. Despite these two sides of the program not entirely complimenting each other the transparent nature of the foundation at this level means that glimpses of activities and movement will be able to be seen through the brise soleil by occupants in the hotel. This promotes a sense of intrigue and mystery whilst still respecting privacy which are key themes for this project.

Design Thesis Project 2017-2018

HOTEL BEDROOM 4 EN-SUITE BATHROOM 4 HOTEL BEDROOM 5 EN-SUITE BATHROOM 5 HOTEL BEDROOM 6 EN-SUITE BATHROOM 6 ACCESS POINT (STAIRCASE & LIFT)

2 | CRAFT AS A LUXURY PROCESS

53 54 55 56 57 58 59

[31]

DETAILED DESIGN

The third and final level to my proposed building design is within the foundation and contains the senior jewellery making workspace. This level is for the use of the professional jewellery makers of Bath that require more making space to free up their showroom and shops within Bath. The senior workspace has been divided into a number of private rooms which can be tailored to each jewellery makers need. Having spoken to The Golden Set and creating an idea of what ideal work situations would be for each jeweller I used this as a starting point to create the layouts and characteristics for each individual workshop room.

Design Thesis Project 2017-2018

2 | CRAFT AS A LUXURY PROCESS

Like that of the floor below the series of private workshop spaces on either boundary benefit

[32]

from different lighting. They differ due to the facade types on each boundary and this benefits the jewellery makers as those who work with certain materials prefer different lighting strategies. Some for example prefer to work with a great deal of artificial light whilst others will need to view their work in daylight. Another design decision which alters the amount of daylight penetration is that of specialist rooflights which have been added to certain private workshop rooms. In terms of the circulation on this floor level the private workshop spaces have been designed around the shared atrium library below which adds another level of privacy. It also allows the students and novice jewellery makers to look up to the next floor and aspire to be a mastercraftsperson in time. This type of separation helps to keep an element of privacy for the

senior jewellery makers but also allows for meeting spaces within the building well. This was done in order for the senior and junior jewellers to be able to share tools and techniques. The junior students may be able to aid the seniors by helping them with more digital fabrication methods, whilst the seniors will be able to pass down their tacit knowledge which they have spent years mastering.

THIRD FLOOR LEVEL

83 80 84

73 85

73 74 75 76 77 78 79 80 81 82 83 84 85 86 87

PRIVATE WORKSHOP SPACE 1 PRIVATE WORKSHOP SPACE 2 PRIVATE WORKSHOP SPACE 3 PRIVATE WORKSHOP SPACE 4 PRIVATE WORKSHOP SPACE 5 ACCESS POINT (STAIRCASE & LIFT) WAITING AREA CLIENT WC ACCESS POINT (STAIRCASE) PRIVATE WORKSHOP SPACE 6 PRIVATE WORKSHOP SPACE 7 PRIVATE WORKSHOP SPACE 8 PRIVATE WORKSHOP SPACE 9 COMMUNAL KITCHEN & LOUNGE WCâ&#x20AC;&#x2122;S

This level follows the same layout in terms of common room facilities which the individual jewellers can meet each other and take time out from their workshop space. Some of the private workshop spaces have been designed to have more than one worker in at a time and this was due to the fact that some specific companies preferred working as a team on some projects. This also allows for private tutoring or apprenticeship schemes to take place if desired by the senior jewellers. This will help not only help the individual senior jewellers financially in the future if they can train a student to work specifically in their way but it also means that more traditional methods which are bespoke are being passed down through generations. Another reason why the private workshop spaces have been designed to be bigger than

necessary is to cater for the private meetings with clients. A number of these jewellers will need space in order to meet and discuss potential new work with a range of clients and therefore suitable space for these facilities within the private workshops was needed. Private WC facilities and a comfortable waiting area have also been designed for the clients comfort.

Design Thesis Project 2017-2018

AURUM: THE FOUNDATION FOR JEWELLERS

2 | CRAFT AS A LUXURY PROCESS

[33]

Design Thesis Project 2017-2018

2 | CRAFT AS A LUXURY PROCESS

DETAILED DESIGN

[34]

[35]

Design Thesis Project 2017-2018

2 | CRAFT AS A LUXURY PROCESS

TECHNICAL DESIGN ROOF GREEN (SEDUM ROOF) WITH FITTED ROOF LIGHTS OVER KEY SPACES

The chosen part of this building I decided to take further to a technical design stage was that of the facade on the eastern boundary. This facade contains translucent concrete tiles which are attached to a steel framework with added curtain walling as well. As this is the main entrance facade for my building I wanted to ensure that I understood exactly how the materials would work together in order to achieve a seamless and well detailed finish. Having contacted specialist manufacturers and researched the necessary connections I was able to detail the front facade. A green roof was chosen in order to allow the pocket park to blend on to the building. The pocket park would be such an added luxury in terms of well-being and also aesthetically to this part of the city that taking the greenery and vegetation on to the roof seemed the right design decision. In terms of maintenance green roofs are relatively easy to keep which was an important factor for this project as I wanted to keep maintenance within the building to a minimum as I believe that if tradespeople were seen to be constantly fixing aspects around the proposal this would diminish the luxurious aspect. This is also the reason why such hardwearing construction materials were chosen such as the in-situ concrete frame.

SERVICES ALL SERVICES TO BE HIDDEN ABOVE THE SUSPENDED CEILING

CEILING SUSPENDED CEILING TO BE FITTED WITH SPECIFIC ENTRANCE POINTS IN ORDER TO MAINTAIN SERVICE PIPES

Pile foundations were also chosen due to soil makeup found in Bath as a location. Bath is found in a valley and sites which are close to the River Avon such as mine need to look at surveys in a great deal to show what type of soil makeup is below. I consulted two nearby boar holes which had data dating back very far which confirmed that piles could be specified.

THIRD FLOOR

SECOND FLOOR

WEST BOUNDARY FACADE

FIRST FLOOR

BRISE SOLEIL - STEEL MULLION SYSTEM WITH MATURE FOLIAGE INTRODUCED TO CRAWL UP IT

GROUND FLOOR

EXTERIOR WALLS IN-SITU CONCRETE WALLING SYSTEM

LOWER GROUND FLOOR REAR TO HOUSE PLANT ROOM, BOILER ROOM, HEAT PUMP AREA FOR GROUND HEAT SOURCE

Design Thesis Project 2017-2018

2 | CRAFT AS A LUXURY PROCESS

EAST BOUNDARY FACADE

[36]

TRANSLUCENT CONCRETE FACADE WITH STEEL MULLION FRAME SYSTEM GLAZING PANELS (CURTAIN WALLING SYSTEM) FITTED WITHIN THE STEEL MULLION FRAME SYSTEM

1. Engineered Soil below e e e Planting 2. Filter Layer 3. Drainage Layer 4. Protection Mat & Waterproof n Membrane 5. Rigid Insulation 6. Vapour Control Layer 7. Plywood Deck 8. Parapet Wall - with w Aluminium Flashing 9. Aluminium Gutter 10. Translucent Concrete Panel 11. Natural Stone Anchor Fitting 12. Steel Beam to Mullion c f f 2-piece Connector 13. Mullion Frame 150 x b 150mm 14. 600x 600mm Suspended nn Ceiling System

1 2 3 4 5 6 7 8 9

10 11 12 13 14 15

1. Translucent Concrete Panel 2. Natural Stone Anchor Fitting 3. Steel Beam 4. Double Glazed Aluminium n n Curtain Wall System 5. Mullion Frame 150 x 150mm

1 2

3 4

1 2 3 4 5 6

1. Floor Build Up Polished Concrete Steel-fibre Reinforced j j j Screed 2. Anchor Bolts & Steel Connection Plate 3. Reinforced Concrete Ground j Beam 4. Exterior Floor Gutter 5. Waterproof Membrane 6. Capillary Break above Reinforced Concrete Pile Cap 7. Reinforced Concrete Pile Foundation

Design Thesis Project 2017-2018

2 | CRAFT AS A LUXURY PROCESS

[37]

TECHNICAL DESIGN

Another aspect of my technical design process during this project was to be hands on with the materials I wanted to work with on my building. As on of my key themes was in fact materiality I wanted to understand exactly the type of quality that the translucent concrete I specified would give to my building. To give some context, translucent concrete is a light transmitting concrete which is usually used for one-off projects which was perfect in order for my proposal to remain as bespoke as possible. What makes this material different from normal concrete is that it allows natural and artificial light to pass through it. It is very efficient at providing privacy and light at the same time. This material can be mixed with a variety of aggregate and this was useful as concrete made with Bathstone aggregate was a must for this project.

Design Thesis Project 2017-2018

2 | CRAFT AS A LUXURY PROCESS

Translucent concrete is made by inserting fibre optic rods into the concrete during the manufacturing process. The amount of light that can be transmitted through the material can vary depending on each project, for this proposal I wanted quite a dense amount of fibre optics in order to maintain the presence of natural daylight. It is usually expected that approximately 30-45% of light is allowed through this material.

[38]

STEP 1

STEP 2

STEP 3

STEP 4

STEP 5

STEP 6

STEP 7

STEP 8

STEP 9

STEP 10

STEP 11

STEP 12

The concrete samples were then left to cure in sunlight and then overnight in order that the samples could successfully be removed without breaking or sticking.

This experiment used the thinner fibre optics, due to the rods being so thin and delicate groups of optics had to be pushed in together. The result was not good.

Once the concrete had cured and been removed successfully light was put behind it to demonstrate what the concrete would look like if it was at night.

Adding water in order to make the right consistency (difficult if too thick when inserting the fibre optic rods)

A few changes were made the second sample experiment. Plasticine was spread across the bottom of the mould for the fibre optics to be pushed into.

Samples were ordered from a manufacturer and were held in front of different objects in an outdoor situation in order to see how daylight penetrates the material.

In order for the concrete not to stick to the plastic lubricating the moulds with vaseline was necessary.

For this experiment the thicker fibre optics were used which were easier to place inside the concrete as they were more rigid. Less had to be used due to cost.

The samples came in a variety of different fibre optic densities which allowed for comparisons of opacity.

Design Thesis Project 2017-2018

This was the first experiment which was undertaken with the concrete, the moulds were filled and shaken to release any trapped air bubbles.

Sourcing the Bath Stone aggregate and mixing the dry components of cement, aggregate and building sand together.

2 | CRAFT AS A LUXURY PROCESS

Sourcing the fibre optics (two different types were chosen for comparison of light distribution and density comparisons)

[39]

Design Thesis Project 2017-2018

2 | CRAFT AS A LUXURY PROCESS

TECHNICAL DESIGN

[40]

[41]

Design Thesis Project 2017-2018

2 | CRAFT AS A LUXURY PROCESS

MASTERS OF ARCHITECTURE PROJECT FIRST YEAR OF STUDY | 2016-17 WELSH SCHOOL OF ARCHITECTURE CARDIFF UNIVERSITY, WALES

THE SHED

The Shed is the name of the project proposal that I created whilst studying the first year of my masters at The Welsh School of Architecture. This project was undertaken whilst still working in practice. This was as part of the module for the year sensibly called Design in Practice. Having already worked in practice for a year prior to my masters it was comforting in some way that I was going to continue working for another year whilst studying as well.

3 | THE SHED

Masters Project 2016-2017

Within this year, due to the fact that were not studying at Cardiff University full time, three short courses were set up each term. The first short course which took place at the beginning of the year in September 2016 acted as an introduction to the project we were going to be set. We discovered that the project was going to be located in a suburb of Cardiff called Grangetown and was in partnership with NHS Wales. The brief for this project was to design a

[42]

multi-use community centre which had a specific focus around another subject which would improve public health in Cardiff. The difference between this university project to others that I completed during my undergraduate degree was the obvious influence of real practice life. Studying and working at the same time provided this project with a great deal of insight into a range of project particulars such as budget, potential partners and stakeholders, site access, phasing and actual construction. The brief for this module was a lot more detailed and specific than previous university ones I had come across. This was done in order to recreate an actual brief that may be given to us in a practice setting. There were another two short courses at the university during the year which made three in total. These were held later in the year and took the form of presentation crits in order for us to

receive feedback from our tutors. This was demanding as you can expect as I and most of the year group were working full time as part 1 architectural assistants and finding the extra time to work on a whole project was challenging. It took a great deal of organisation and time management but also communication with the practice you were working for. We were also given the contact information for external tutors that visited our practice in between short courses to provide us with more feedback on our emerging proposals. My final project proposal is therefore known as The Shed and the vision for this was to create a community-led not-for-profit cafe, bike workshop with multi-use event space alongside an NHS facility which would specialise in physiotherapy. The whole centre was designed to be inclusive for all people and promoted the idea of outdoor well-being. The Shed is a

[43]

Masters Project 2016-2017

3 | THE SHED

SITE LOCATION

community centre which supports people who love cycling but also those who want to start being involved with a new activity and consequently improve their quality of life through adopting a healthier lifestyle. The centre was designed in a way that brings the outdoors inside and creates a non-threatening environment. As this project’s brief was for a community centre the obvious first steps for me were to research and immerse myself within Grangetown to my best ability. I felt that getting to know certain individuals that lived in the area would be the best way to get an overall snapshot and feedback on my emerging project programme. It was clear as soon as I started interviewing that there was a range of the different people and cultures that lived in this part of Cardiff. There was a high proportion of people from ethnic backgrounds and also a high elderly population and it was clear from just walking around that unemployment was also rife. After speaking to the residents and people of Grangetown I then turned my attention to deciding upon a site. As set out in our brief there was a decision between two, the Grangetown Baptist Church and the Bowls Pavilion located in Grange Gardens. Having taken a brief look at both of these sites I also started to research Cardiff in a broadened sense and started to map out the cycle routes, green spaces and cycling facilities to see if these features would complement my emerging programme of a bike workshop being housed within in the community centre. What caught my attention during this research was that one of the main cycle routes ran very close to the Bowls Pavilion in Grange Gardens and there were no cycle facilities near or in Grangetown. There was also no bike workshop cafés in Cardiff at all which would mean that The Shed would be first of its kind. I also started researching the other organisations that could potentially become partners and provide funding for my project proposal. I started to research cycling groups such as Sustrans and Cycling UK as well as the council and the universities which may want to be involved in such a community led project.

What’s your name? How old are you? Where do you live? Who do you live with? What’s your occupation?

In Partnership With:

Anjola 9 Grangetown, Cardiff My mum and my four brothers Student

“I’m excited to learn how to ride a bike properly, my cousin said I can have her old purple bike. My mum won’t let me go too far away from the house right now so I have to walk to the park to play with my friends. Some of them bring their bikes to the park and I wish I could. Mum says that I have to learn the rules on the road before I can take mine. When I learn to ride my bike I’ll cycle all around the park and to my friends houses and to school as well. I’ll be able to get to places quicker and go a little further when I’m older. We watched the Olympics on TV and I would love to be able to ride my bike that fast one day.”

What’s your name? How old are you? Where do you live? Who do you live with? What’s your occupation?

Gareth 37 Penarth, The Vale of Glamorgan My wife Accountant

“As soon as I finish work at 5:30pm I am out of the door to get back home and jump on my bike. I have become a bit of a health and exercise freak since meeting my wife. She actually got me in to cycling originally, at the weekend now we both go on long rides - our favourite being The Taff Trail. We set off quite early in the morning to get to Breacon and having somewhere relatively near our end of the trail to stop for breakfast would be ideal. Any new sites, stops and destinations to visit would be great. Me and my wife live for the outdoors and we can see how more and more of our friends are joining in and using cycling as a good form of exercise as it is low impact.”

What’s your name? How old are you? Where do you live? Who do you live with? What’s your occupation?

Malik 24 Grangetown, Cardiff My mother, my father, my sister and my nephew Unemployed

“I have recently been made unemployed again which is not good for me. I do not have many skills, I left school when I was very young with no qualifications. I would love to be able to learn a new skill and get a job in Grangetown rather than spending money on the train or bus to a job in Cardiff city centre. I have a big family and I know that we feel that we get on each other nerves when we are in such a small space at home. I would love being able to have a job outside.”

What’s your name? How old are you? Where do you live? Who do you live with? What’s your occupation?

Winston 74 Grangetown, Cardiff My wife, my three daughters Retired

“I have lived in Grangetown for a number of years with my whole family. I love the community and my family and I have good friends here. I do miss sitting outside and enjoying the fresh air though we used to do this a lot when we were back home. I enjoy sitting in our very small garden and watching my oldest daughter’s child crawl around. When he grows up I want to be able to watch him run and play with the other children, our garden is not big enough for this. The parks have benches but no where to sit undercover.”

What’s your name? How old are you? Where do you live? Who do you live with? What’s your occupation?

Amira 66 Grangetown, Cardiff My father, my husband, and my three children Housewife

3 | THE SHED

Masters Project 2016-2017

“I have a busy life at home looking after my family and I enjoy it very much I just sometimes wish me and my husband could take the children to a place where they can play and we can also enjoy a conversation. It is difficult because we are not a rich family and there is no place near our house where we can do this. My husband is also missing being able to play with the children as we have no garden and he has recently had very bad pain in his back, I know he would love to play with his children. A place to meet new people that is cheap and close by and has space for the children would be ideal.”

[44]

CYCLING FACILITIES

This image shows the amount of cycling facilities available in Cardiff at present. The blue line showing where the Taff Trail Cycle Route is located and the red and orange lines show where lesser cycle routes are located within Cardiff. The Taff trail us a walking and cycle path which runs for 55 miles between Cardiff Bay and The Breacon Beacons National Park. The pink circles show where cycling shops can be found.

GREEN SPACE

Cardiff has relatively a large percentage of greenspace. There are over 330 parks and gardens and houses one of the largest parks in Wales. There are many initiatives such as Pedal Power and Cardiff Universityâ&#x20AC;&#x2122;s Community Gateway project which help to promote outdoor living and has meant that Cardiff has become a booming green city within the UK.

BUILT ENVIRONMENT

3 | THE SHED

Masters Project 2016-2017

The built environment of Cardiff is like that of most cities in the UK. A high rate of development has occurred from 2000 onwards. The developments of the buildings have stretched out from Cardiff Bay over the years. Cardiff is split into wards which vary greatly in economic activity.

[45]

PROGRAMME DEVELOPMENT

Upon finishing my quite general site research I wanted to build up more statistical evidence that would justify my decisions to add a bike workshop and cafe to a community centre which also needed to provide NHS consultation rooms of some sort as well. Through my research I found the following quote: “Cardiff is growing fast - in fact, over the last 10 years its population has grown quicker than any UK city outside London and this rate of expansion looks set to continue. Our Local Development Plan sets out a target for at least 50% of journeys to be made by sustainable modes of transport by 2026 so we can accommodate this growth. Enabling more people to switch to cycling for their commute and other daily journeys is an essential part of this.

Bike Life is an initiative set up by the government in Wales to help us understand the state of cycling in Cardiff. It will help us learn what matters to existing cyclists and also to non-cyclists. It will show us where we have been successful and which areas we need to focus on and improve so that we can encourage more people to cycle in the city.’ Ramesh Patel, Cabinet Member for Transport Planning and Sustainability I feel like this backing from such an important cabinet member completely explains why projects like this are so important to design and promote. Promoting cycling within Cardiff will not only have a range of amazing health benefits for the ones cycling but the reduced amount of cars on the road will result in overall better public health and take strain off the NHS which is an indirect advantageous benefit of my project’s programme. It means that the

physiotherapy unit can concentrate its services on the people that need it most and most importantly it means that the NHS workers who already lead demanding jobs are not overworked as this can drastically worsen someone’s mental health. I also started to look at statistics taken from Sustrans research and visualise their findings from researching bike life within Cardiff. I chose to hand-draw these types of analytical diagrams as I felt that due to the nature of the project, community led, it was important for information to be accessible to everyone. I noted that sometimes architectural drawings and intellectual research can feel intimidating and therefore careful consideration into the style of drawings was made. I also wanted to provide the community with clear renders throughout the design process in order for future users to visualise themselves within the building.

POSITIVE OPINIONS OF CYCLING IS A BIG PART OF LIFE IN CARDIFF HOW MANY CARS AND VANS ARE OWNED, OR ARE AVAILABLE OF USE IN YOUR HOUSEHOLD?

35%

REASONS WHY CYCLING MAKES THE CITY A BETTER PLACE:

45%

14%

Better Health And Fitness

Car

Car & Bike

Bike

Reduced Traffic

Less Pollution

No Car or Bike

Cost Saving

Better For The Environment

HOW MANY ADULT BIKES DO YOU OWN IN YOUR HOUSEHOLD? 4 or More Bikes No Bikes

WHICH OF THE FOLLOWING STATEMENTS BEST DESCRIBES YOU? Experienced, Regular Bike Rider

Do Not Want To Ride A Bike

3 Bikes

6% 14%

7% 30% 17%

2 Bikes

48%

22%

3 | THE SHED

Masters Project 2016-2017

21%

[46]

1 bike

Occasional Bike Rider

28%

Do Not Ride A Bike But Would Like To

New Or Returning To Riding A Bike

[47]

Masters Project 2016-2017

3 | THE SHED

DETAILED DESIGN

This project proposal was designed with two main factors, that of encouraging the outdoors to be brought inside and vice versa, but also that the building must not be intimidating or threatening. It must be a welcomed piece of architecture that is used by the community of Grangetown and welcomed into the area. It must thrive to improve the health of the whole community and its’ users alike. The bike workshop was designed to provide local people with the chance to learn new DIY skills as well as act as a place for more keen and avid bike riders to fix or build their own bicycles. The Shed will be facility which allows classes on DIY and basic engineering to take place and this may also provide a form of revenue for the project as rates could be charged by mechanics in order to fix broken bicycles. The classes may also lead to employment opportunities to those who are more deprived in this area.

4 17

The multi-use event space will also hopefully attract a wide range of local residents. The hall has been designed with large storage facilities in order to attract all types of community groups that need space to use. This space will be able to be rented out for competitive prices as another revenue stream for the building. It was designed in the hope that the space would attract a range of inclusive activities such as art exhibitions, music events or even just simple meeting spaces.

The NHS facilities of The Shed have been designed to be in a more separate and consequently private area of the building. The facilities will be used by physiotherapists, dietitians & nutritionists and occupational therapists. The programme of this building would also encourage the healthcare professionals to make connections with other building users by possibly giving small lectures or hold group discussions on a number of health topics as the best way to prevent healthcare issues is to educate.

18 6

27 7

8 9

21 10

INTERNAL SPACE

Masters Project 2016-2017

3 | THE SHED

[48]

ENTRANCE LOBBY RECEPTION WC’S PLANT ROOM MULTI-USE HALL BREAK-OFF AREA DISABLED WC STORAGE PLANT ROOM RECEPTION/OFFICE WAITING ROOM ENTRANCE LOBBY WC CONSULTATION ROOM 1 CONSULTATION ROOM 2 BIKE STORAGE BIKE WORKSHOP SEATING AREA CAFE & KITCHEN DISABLED WC MALE WC PLANT ROOM FEMALE WC BIN STORE BIKE STORAGE

EXTERNAL SPACE 26 27

SUNK GARDEN COURTYARD TERRACE

GREEN SPACE TREES/LARGE VEGETATION PAVING BIKE STORAGE

22 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25

[49]

Masters Project 2016-2017

3 | THE SHED

Masters Project 2016-2017

3 | THE SHED

DETAILED DESIGN

[50]

[51]

Masters Project 2016-2017

3 | THE SHED

DETAILED DESIGN

Due to the fact that the brief for this project was set in a very real life context we as designers were also given a strict budget. The budget for this project was set fairly modestly due to the fact that the stakeholders are community groups with not a great deal of funding themselves. With this in mind decisions had to be made at where spending would be the beneficial. I decided to design a building which could be constructed fairly simply. This was also decided due to the location of the site as well which was mostly pedestrian and the nearest roads were on small residential streets. The chosen construction material of SIP’s were chosen due to the ease of transporting these materials to site. Prefabrication of building materials would mean that less man power is needed on site which automatically cuts initial costs as well. Due to the parts being fabricated in a factory it also means that less waste material is produced, this means that this material is extremely cost efficient. SIP’s also have a range of benefits which will provide long-term stability, less maintenance and consequently less future costs which for a community-led project is important. For example SIP’s can obtain higher R-values in buildings compared to traditional construction materials due to the high insulation values, they can therefore offer energy savings in between 12% - 14%. With this cheaper alternative construction material being chosen spending could therefore increase on items which I believed needed to be of a high quality and therefore a higher cost. The higher quality items were that of finishes both internally and externally. For the aesthetic quality to retain without a great deal of maintenance hard wearing materials were specified. I also wanted each block of the building to be distinguishable and unique and therefore five separate materials were chosen to be fitted on both external walls and roofs. For a high quality seamless finish the materials chosen would have all needed to be fitted by specialist sub-contractors as the join between wall and roof is a very important to detail to get right to provide the desired aesthetic.

6 | GLAZING

The curtain walling glass links are then added at the very end of the construction process. Some will be bespoke but valued alternatives can also be used if appropriate.

5 | ROOF SYSTEM

The same cladding types have been designed to be carried along the roof. Specialised membrane layers have been specified in order to make sure that the building is completely water tight. Concealed gutters are also added.

4 | CEILING SYSTEM

Similar panels as the walls are then transported onto site and used as the roof panels. The same joinery techniques are used.

3 | INTERIOR WALLS & CLADDING SYSTEMS

Interior walls are added which reach to the ceiling to provide the building with large void spaces. The insulation in the SIPs provide very good ratings in not only insulation but also acoustics. Cladding and waterproof membrane is added to the SIP’s.

2 | WALL SYSTEM

Prefabricated SIPs are brought to site on a lorry and like a jigsaw puzzle are put together using Kingspan’s joining technique which include specialised nails and brackets.

1 | CONCRETE SLAB

3 | THE SHED

Masters Project 2016-2017

Underfloor heating provisions are made at this stage.

[52]

RED CEDAR SHAKE CLADDING

WELSH SLATE CLADDING

SERVICES BLOCK

ENGLISH LARCH CLADDING CAFE & BIKE WORKSHOP

GALVANISED CORRUGATED ALUMINIUM CLADDING ENTRANCE/RECEPTION BLOCK

Masters Project 2016-2017

CHARRED TIMBER CLADDING

MULTI-USE HALL BLOCK

3 | THE SHED

NHS PHYSIO THERAPY BLOCK

[53]

TECHNICAL DESIGN

As part of the technical design of this project I wanted to make a conscious effort to fully understand all materials I was wanting to use. I have already discussed the reasons why I specified the main construction material I specified however I wanted to pay a great deal of attention to every single material in order to create a blend of textures and colours which worked together. I believe that this is an important task for architects as a seamless transition between external and internal space is paramount, especially for this particular project. Having worked on projects in both the practices I have been employed at I felt that I wanted to practice some of the skills I had been learning on this project. I made a very conscious effort to work on this proposal like I would in a practice environment and one task in particular which I felt connects a client to a project is being able to see and feel the textures of the

material palette chosen for the building. The design of the separate blocks in this proposal was done in a very particular way and as much as each one needed to be distinguishable I also wanted continuity between some materials especially internally. The main internal material I specified for this project was that of plywood sheet. This material was the starting point for all of my mood boards which I compiled for each block. The plywood was chosen to create a holistic atmosphere which was hard-wearing but also warm and welcoming. From a financial point of view as well the plywood is a cheaper choice and meant that more expensive materials could be specified elsewhere.

The information shown on this page refers to the reception/entrance block and as you can see there is an emphasis on the colour yellow due to the psychology of this colour making you feel healthy and happy. The rest of the palette for this block is kept warm and neutral to complement the quite striking corrugated aluminium cladding which was specified with a highly metallic silver finish. This was done to draw attention to this block as it is the main entrance and each block leads off from here. I paid a great deal of attention on detailing each block as I wanted to fully understand the connections of each of the cladding materials I had chosen as they were all different. For this block the aluminium cladding was interrupted by large barn style sliding doors which complemented the form but also the material. It gave a robust feel to this block which I felt

Furnishings: CAMIRA, Main Line Flax, Goldhawk MLF31 CAMIRA, Main Line Flax, tooting, MLF17

Entrance Mat: Coir Matting

Entrance Lobby Wall Cladding: Altro Whiterock, Chameleon, Taxi Cab W160/6636

Facade Cladding: Profiled Aluminium, Metallic Silver

Reception Desk Formica Laminate, Portico Marble, F3460

3 | THE SHED

Masters Project 2016-2017

Flooring: Altro Screed 4mm Standard Variant, White Yorkstone

[54]

Interior Cladding: Plywood Sheet, 18mm

RECEPTION/ENTRANCE BLOCK

1 | WALL & ROOF BUILD UP

32mm aluminium profiled sheeting 50mm battens with waterproof layer 60mm counter-battens with 40mm mineral-wool insulation 170mm structural insulated panel with mineral-wool insulation between 15mm strandboard 18mm plywood sheet

2 | DOOR

Sliding barn style shutter door 19mm softwood boarding 10mm vertical larch wood boarding (to match that of the workshop block)

3 | FLOOR BUILD UP

15mm epoxy resin flooring 10mm bed of mortar 65mm screed with heating runs 30mm polyurethane insulation 90mm polystyrene insulation Sealing layer 200mm reinforced concrete floor slab

3 | THE SHED

Masters Project 2016-2017

[55]

TECHNICAL DESIGN

was a good aesthetic to have for a community centre in such an urban environment. Each block was designed with some sort of agricultural shed in mind which is where the name for this whole project emerged from. The small green landscape where the site was located also leant itself to housing a building of such a rural feel in a city. This page refers to the information I created for the NHS block. Here the emphasis on a colour had to change due to NHS guidelines. I had learnt this from previously working with the NHS as a client during my work placement. Working with â&#x20AC;&#x2DC;NHS blueâ&#x20AC;&#x2122; can be quite challenging as the colour along with greens can actually make a building user feel worse. The correct shade definitely needed consideration in order to create a calm environment which still was distinguishable as a medical area. The shades of the blue colour was chosen to be fitted on

soft furnishings and any splash-back services. The other more natural materials I felt complemented these shades of blue. For this block roof lights were specified alongside red cedar shake cladding. I also wanted to detail certain elements of projects that I previously had not had the chance to. I felt because I was also working in practice that I could ask for help and advice from the other architects at my company in regards to specific details.

in detail. I thoroughly enjoyed designing a building of this description for a community. I was also proud of the effort I put into this proposal considering I was working a full time architectural assistant job as well. It taught me a great deal about careful time management and allowed me to practice what I was learning in a work environment into university, something which I felt during my undergraduate was not done.

I feel that this project allowed me to adopt a real life mentality to the design. The specifically detailed brief and working to a budget created challenges but also allowed me to develop and consider aspects of a project which university projects do not readily make you consider

Furnishings: CAMIRA, Main Line Flax, Holburn MLF05 CAMIRA, Main Line Flax, Waterloo, MLF21

Entrance Mat: Coir Matting

WC Wall Cladding/Splash-back (Wet Areas): Altro Whiterock, Chameleon, Flint W135/27

Facade Cladding: Red Cedar Shake Cladding

Reception Desk/Consulting Room Worktop: Formica Laminate, Elemental Ash, F6363

3 | THE SHED

Masters Project 2016-2017

Flooring: Altro Grip 1.25mm Slip Resistant Variant, Mountain

[56]

Interior Cladding: Plywood Sheet, 18mm

CAFE/BIKE WORKSHOP BLOCK

1 | WALL & ROOF BUILD UP

3 | THE SHED

2 | ROOFLIGHT

The Rooflight Company specified rooflights, hinged to allow for stacked ventilation

Masters Project 2016-2017

60mm red cedar JB shakes 50mm battens with waterproof layer 60mm counter-battens with 40mm mineral-wool insulation 170mm structural insulated panel with mineral-wool insulation between 15mm strandboard 18mm plywood sheet

[57]

BACHELORS OF ARCHITECTURE PROJECT THIRD YEAR OF STUDY | 2014-15 MANCHESTER SCHOOL OF ARCHITECTURE UNIVERSITY OF MANCHESTER & MANCHESTER METROPOLITAN UNIVERSITY, ENGLAND

POP

POP is the name of my final project during my third year of studying my bachelors at The Manchester School of Architecture. During this year I was apart of a studio atelier called Coexistence in Theory which focussed our learning around concepts of place, displacement and non-place. Before studying in this atelier these theoretical concepts were completely new to me however, learning about them grounded my understanding of the urban environment in a way which I was not familiar with. The concepts I learnt about are relevant in everyday life. They allow you to distinguish between why you relate to a given space and why in some cases we do not. What stood out for me was the concept of phenomenology, which by definition is the experience you personally receive from an object, and how it affects your consciousness. The

concept and the understanding behind it became crucial when analysing potential sites for our projects to be proposed in. I looked in particular at the infrastructure situated in potential sites located in the Castlefield and Picadilly Basin areas of Manchester and worked up an idea of what I would consider to be a place or non-place. Using phenomenology as my primary concept, I based my site location decision on memories and an amalgamation of my sensory feelings, which later informed my programme idea for POP. The programme of POP itself studies the ongoing conflict between transition zones and destinations, which I feel as a person within the architectural industry should be addressed. Land and architecture located within transition zones is often neglected and ignored by the vast majority of society. This conflict is one that I defined as being between efficiency and

MAPPING RESEARCH

To understand the context of the highway infrastructure studies were done into the network to show how the number and size of main roads in Manchester have grown over time. Studies into the canal and train system were also undertaken for comparison.

4 | POP

Bachelors Project 2014-2015

SITE ANALYSIS & DEVELOPMENT

[58]

As the chosen site for this project was located within a central roundabout in the city centre which also contained underpass routes through the context for my buildings had to be carefully designed. This series of diagrams shows the process of how the site would be developed in order for the proposal to sit comfortably within the context.

phenomenology. Society today strives for efficiency in every aspect of daily life and this often leaves one to ignores oneâ&#x20AC;&#x2122;s journey and focus solely on the destination they are travelling to this is the problem that POP aimed to solve. After a significant amount of time spent analysing my chosen site located in a roundabout on The Mancunian Way as well as working out the ins and out of my programme I decided upon designing a hub like system, which could be repeatedly constructed along the existing raised motorway. The hub would contain material storage space on the ground floor, workshop space on the first floor, reception and social areas on the second floor and on the third floor studio like brainstorming and prototyping spaces. Having designed the hubs I soon realised a building of this size was not going to meet my great expectations I had for my program to

[59]

Bachelors Project 2014-2015

4 | POP

POP

transform the whole of The Mancunian Way. I then started looking at how I could bring in the duality of having another building in a central complex that could produce the materials needed for the construction of the hubs and the pop-up architecture which was going to be designed within these hubs. I therefore designed my hub to a more technical level and decided that the design needed to be simple in order for the parts to be easily made on site. I decided to look at I beams and the manufacturing processes involved in steel factories to make these steel members and decided to replicate this on my site within a small-scale factory building.

4 | POP

Bachelors Project 2014-2015

I visualised the uses of the buildings as processes that complimented one another and were vital to the other oneâ&#x20AC;&#x2122;s existence. The factory would make the steel framework which would then be used in the hub buildings, the hubs would then act as facilities which would lead to the design pop-up architecture to be situated along the Mancunian Way. The steel factory would also have the job of making platforms and frameworks which would allow each hub to connect to the motorway in a parallel way in order not to disturb the traffic thoroughfare. It is important to remember that I was designing these buildings for a dystopian future where The Mancunian Way is slowly becoming an outdated piece of infrastructure and therefore the vehicular traffic over time will slowly subside and give way to 100% footfall. My proposal aimed to transform The Mancunian Way into a semi-pedestrianised high-line, which will be like a high-street for pop-up architecture.

[60]

[61]

Bachelors Project 2014-2015

4 | POP

LEVENSHULME LIFE: URBAN SYNTHESIS

Levenshulme Life: Urban Synthesis was the main second year project that I undertook whilst studying at the Manchester School of Architecture. The brief for this yearâ&#x20AC;&#x2122;s project was to design a community hub in Levenshulme which is a suburban are of Greater Manchester. The proposal was to have a positive impact on the local population and economy alike.

Bachelors Project 2013-2014

5 | LEVENSHULME LIFE

The first stages involved with this project were researching the area to gather an overall idea of what the community was like to gain an understanding of what building type would add the most value to the area. I carried out my research of this area in a visual way by creating a short film which I felt depicted the feelings and atmosphere of this location. I interviewed a number of local residents and added music to create a film which was full of emotion as I felt that solely looking at the demographics of this area did not give a accurate snapshot of

[62]

BACHELORS OF ARCHITECTURE PROJECT SECOND YEAR OF STUDY | 2013-14 MANCHESTER SCHOOL OF ARCHITECTURE UNIVERSITY OF MANCHESTER & MANCHESTER METROPOLITAN UNIVERSITY, ENGLAND Levenshulme. After researching it was clear that this area had changed drastically over the years into a very multi-cultural location. Multiculturalism can make a place colourful and vibrant, however in Levenshulme there seemed to be a disconnect between the residents. With this in mind I decided I wanted to create a piece of architecture that would celebrate these cultural differences and started to brainstorm what industries do this without question. Art was the subject that was chosen and the programme for this building became an art complex which consisted of a large public art gallery and smaller first floor flats which had ground floor studio space for resident artists to work and live in. I have always been a very artistic and creative person and I believe that art connects us all. By providing an environment where it is encouraged can only lead to positive impacts on such a multi-cultural population.

I designed the building to have a courtyard behind the gallery which all studio spaces and flats would look out on. I envisaged this courtyard to become a dynamic space decorated by plants and outdoor artwork and furniture that could provide the residents with a sense of their own identity. I purposely wanted the building to be made of monolithic concrete as I wanted it to act as a blank canvas which the building users could then personalise. Brick was also specified in certain areas to be in-keeping with the local building materials. The final design proposal for this project also related back to Levenshulme as a location in regards to the layout of the flat and studio blocks. I wanted to re-purpose the traditional terraced house footprint, which can be seen on almost every street in this area in a new way.

[63]

Bachelors Project 2013-2014

5 | LEVENSHULME LIFE

MUSH FARM

Mush Farm was an extra-curricular event set up by my year group, the third years, and helped ran by the fifth year student who were studying their masters at the Manchester School of Architecture. It was set up for the first and second years to participate in as a group project which would allow inter-year discussions and learning from one another. The idea for this project was to create a purpose-built mushroom farm with every aspect of it being built from recycled materials that we found. The concept of this came from research we undertook about waste products created by our studio building. Our architecture school at this time had been rehoused in a new purpose built facility for the Manchester School of Art. The facilities of this art school are used by a variety of courses from both The University of Manchester and Manchester Metropolitan University and one facility in particular we discovered was producing a lot of waste, the cafe. The cafe was throwing away a large amount of waste coffee and having researched we learnt that mushroom spawn flourishes and grows rapidly in ground coffee waste. The rest of the project then led itself to become something would wholly be constructed from recycled materials.

6 | MUSH FARM

Extra Curricular Project 2014-2015

We created the concept design through group meetings and shared physical model explorations. We then built the final design framework out of wooden pallets that we attained from a nearby building site and we gathered recycled containers such as bottles and bags to fill with coffee waste to act as planters. I also created a stop motion video to document our teamwork which helped explain our project at the end of year presentation. This project was a great way to learn from other year groups and also learn how to lead a design team.

[64]

EXTRA CURRICULAR PROJECT BACHELORS OF ARCHITECTURE | THIRD YEAR OF STUDY | 2014-15 MANCHESTER SCHOOL OF ARCHITECTURE UNIVERSITY OF MANCHESTER & MANCHESTER METROPOLITAN UNIVERSITY, ENGLAND

[65]

Extra Curricular Project 2014-2015

6 | MUSH FARM

PERSONAL PROJECT PRIVATE DWELLING OUTDOOR KITCHEN | WILTSHIRE PERSONAL PRACTICE | 2018 FEASIBILITY STUDIES, LAYOUT DRAWINGS & FINISHES

MARLBOROUGH | PRIVATE DWELLING

During my second year of studying my MArch at The Welsh School of Architecture, Cardiff University I was also appointed to provide advice, create feasibility studies, layout drawings and decide on finishes for an outdoor kitchen in Wiltshire. This project was the first that I had worked on without being employed to an architectural practice. For this reason it tested my confidence and my decision making as a number of others who were apart of the design team were relying on my information first hand.

7 | MARLBOROUGH

Personal Practice Project 2018

This project entailed the complete design of a bespoke outdoor kitchen. The client wanted a variety of top of the range appliances to be fitted in a newly landscaped garden. The outdoor kitchen design also benefited from a bespoke canopy which can open and shut dependent on the weather and t high quality outdoor heaters which allow the client to use the garden and

[66]

cook outside at any time of the year. This project was exciting to design due to the luxury and high quality feel, the budget was also not an issue for this client and it allowed the highest quality finishes to be specified as well.

contractors, electricians, plumbers ect.) in a very hands on way. I feel that I broadened my understanding on how materials come together from a foundation level to the worktop surfaces.

Initial phases for this project began by researching the exact sizes of the appliances which were all being imported from America. Consulting a plumber and electrician throughout the design of this project was paramount in order to maintain a seamless and high quality finish in all aspects. During these phases electrical points had to be clearly marked out along with gas pipes and drainage routes.

It was also interesting to listen to the more experienced tradesmen which ultimately helped me to create the final design. This project tested my organisation and my managerial skills as it was vital to keep the path of completion running smoothly. I also learnt first hand how to deal with issues which cause delays such as weather and late material deliveries.

This project tested my ability to work alongside other professionals (builders, specialist sub-

[67]

Personal Practice Project 2018

7 | MARLBOROUGH

ISLAMABAD MOSQUE

This was one of the very first projects I worked on upon starting my work placement as a part 1 architectural assistant at Sutton Griffin Architects and it was great experience for me as the project was very unique and the concept design was exciting. To give context this project was for a long standing client of the practice, The Ahmadiyya Muslim Society and it is located in Tilford, Surrey. The whole project proposal was for a mixed-use Muslim development which consisted of a school, residential accommodation, sports facilities and a mosque. The whole development when completed will be named Islamabad. I was appointed to help with the more detailed design of the mosque building and was asked to investigate the tensile structure of the proposed concept. The concept for this design took inspiration from a coat rack in studio which almost looked like a large shuttlecock. The design also had to respond to Muslim mosque standards which ask for the dome shaped ceiling and male and female entrances and exits as well as separate facilities throughout the building. As model making was advocated during my undergraduate studies I was please that I could utilise this skill set whilst working on this project. I was asked to create initial scale maquettes and a final presentation model of the mosque which could be used to explain the project architectâ&#x20AC;&#x2122;s concept design in a 3D way. A very basic Revit model had been made but it was difficult to navigate and Revit was a relatively new program for my practice to adopt and the skills to make such a complex digital building were not readily there by my colleagues.

8 | ISLAMABAD

Professional Practice Project 2015-2016

I was informed that the maquettes and final presentation model had been very important during each stage of the technical design process and were present in many design team meetings. They have acted as beneficial visual aids and I am subsequently very proud of my work. I have been excited to follow the development of this project and frequently visit the contractorâ&#x20AC;&#x2122;s website as it has an updated blog which shows the progression of the project proposal as a whole. Seeing a concept and especially early investigative models being brought to fruition is a very satisfying feeling and I am very glad I could play a helpful part in the design process.

[68]

SUTTON GRIFFIN ARCHITECTS MOSQUE | BUCKINGHAMSHIRE PROFESSIONAL PRACTICE | 2015-2016 STRUCTURAL MODELLING INVESTIGATIONS & PRESENTATION MODEL

[69]

Professional Practice Project 2015-2016

8 | ISLAMABAD

THORNBOROUGH GROUNDS | PRIVATE DWELLING

Thornborough Grounds became a very important project for me as it was the first planning application I was given whole responsibility for. I was trusted to create all planning drawings for the final application and liaise with the planning officer. The project in simple terms is a barn conversation which looked at transforming three disused agricultural barns into a large private dwelling in Buckinghamshire.

Professional Practice Project 2015-2016

9 | THORNBOROUGH GROUNDS

This was the first full planning application that I had been solely responsible for and it provided me with a great deal of insight into the processes involved with taking a project proposal through planning. I felt that this project gave me great experience in designing a luxury large dwelling and understanding what kind of bespoke features some clients can want in their dwellings. I understood that this was a very unique project to be involved with

[70]

but in hindsight the factors I learnt from this project did in fact help influence other large dwelling proposals I was involved with later in my career. For this planning application I created all drawings on Revit which was another first for me on this project. Prior to being appointed to work on this project I had been going through tutorials on using Revit as it was a desired skill that the practice wanted me to develop. I then made the decision to use this program to complete the drawings as I felt the scale of this proposal gave me just enough scope to explore how to use this software. Using Revit for first time did present some challenges mostly due to the fact that these old agricultural barns, as with all old buildings, had moved and become increasingly uneven over

SUTTON GRIFFIN ARCHITECTS PRIVATE DWELLING | BUCKINGHAMSHIRE PROFESSIONAL PRACTICE | 2015-2016 FEASIBILITY STUDIES & FULL SUCCESSFUL PLANNING APPLICATION time. I found Revit to be very user friendly when dealing with newer designs which can be created with ease however adjusting different heights and odd angles when creating the existing Revit model was increasingly difficult. I am happy to say that this proposal was successfully accepted by the Buckinghamshire council and I was proud of myself for learning quickly but also applying my own knowledge to this project. This planning application helped me grow in confidence and also allowed me to discuss issues I had with Revit with other more experienced architects in the practice.

[71]

Professional Practice Project 2015-2016

9 | THORNBOROUGH GROUNDS

GROUND FLOOR PLAN

3 4

8 5 9 11

7 10

12 B

20 21

22 17 16

Professional Practice Project 2015-2016

9 | THORNBOROUGH GROUNDS

[72]

GROUND FLOOR 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

CHILD ROOM 1 CHILD ROOM - EN SUITE 1 CHILD ROOM 2 CHILD ROOM - EN SUITE 2 MASTER SUITE BATHROOM DRESSER GUEST SUITE 1 GUEST SUITE - EN SUITE 1 GUEST SUITE 2 GUEST SUITE - EN SUITE 2 LIVING ROOM BAR RECEPTION/ENTRANCE WC UTILITY ROOM PLAY ROOM STUDY 1 STUDY 2 WINE STORAGE LARDER KITCHEN DINING ROOM SNUG

MATERIALS KEY

EXISTING MASONRY

EXISTING/RECLAIMED TILES

PROFILED METAL ROOF

METAL FRAMED GLAZING

TIMBER CLADDING

BRICK

SOUTH ELEVATION

5 4

SOUTH ELEVATION (SECTION A-A)

EAST ELEVATION

2 5

Professional Practice Project 2015-2016

EAST ELEVATION (SECTION B-B)

9 | THORNBOROUGH GROUNDS

[73]

NEWBURY WHARF BUS STATION

This project was located in the Wharf area of Newbury Town Centre, a location which had not been updated since the 1980’s. This is important to note as my practice had been involved with the major Parkway town centre development which saw most of Newbury’s town centre being redeveloped. The client for this project was West Berkshire council who due to Sutton Griffin’s positive impact on the town asked our practice to propose a new bus station. The Wharf area of Newbury is the main public transport hub in the town and due to the new shopping district being built the popularity of the town centre had increased and consequently the number of people now visiting the centre has also increased. The existing bus station area did not meet the standards needed by the town as there was no infrastructure providing shelter, allocated coach parking and enough bus parking spaces. All of these features needed to be proposed in our design and the form had to be in-keeping with the surrounding structures. Luckily for Sutton Griffin the nearest building is that of the library which was a building also designed by our practice. The modern twist on the pitched roof was a design decision in response to this library building.

10 | NEWBURY WHARF

Professional Practice Project 2015-2016

I was appointed to put together the competition brochure for this project which contained proposed landscape and site plans, material budgets, and I also made a presentation model for the council in order for them to use in their office for future meetings and presentations. The model I was informed was very well-received and did help get other council members that were not originally on board to accept the proposal. This project is currently being constructed and is due to finish in late 2018.

[74]

SUTTON GRIFFIN ARCHITECTS BUS STATION | WEST BERKSHIRE PROFESSIONAL PRACTICE | 2015-2016 COMPETITION DRAWINGS & PRESENTATION MODEL

[75]

Professional Practice Project 2015-2016

10 | NEWBURY WHARF

STRAWBERRY HILL MEDICAL CENTRE

This particular project was one that I felt a great sense of accomplishment when completed. It is located in the town centre of Newbury and was one of the NHS’s first new medical centre concepts. This project saw the joining of the two GP surgeries in the town into a state-of-theart medical centre which would contain consultation rooms where small procedures could be performed. This medical centre would also be a great deal larger than traditional town centre GP surgeries in order to meet increasing demand on the NHS. When I was appointed to work on this project it was at a later construction phase. With the completion date fast approaching one of my tasks was to liaise with both of the original GP spokespersons and create interior finishes mood boards. This task was one that appealed to me greatly due to my interest with interiors however it was more challenging than I initially expected. Due to the fact that the new proposed medical centre was going to house two GP organisations it was necessary to divide the proposed building into two sectors. Each section was to have a separate reception and waiting room alongside consultation rooms, WC’s and store services. In order to successfully distinguish between the two areas I was asked to create a series of mood boards to present to the GP’s. The interior finishes mood boards had to be consistent in their material types but had to differ in aesthetic. This was a challenging task as each GP had very different views on what they wanted and in order for this new medical centre to work as a building as a whole it was important to have a level of consistency in some sort of way. I thoroughly enjoyed my time working on this project as I was able to meet with the clients and also due work stage of this project I was able to see my finishes be fitted.

11 | STRAWBERRY HILL

Professional Practice Project 2015-2016

During the fitting of the finishes I was also asked to assist the project architect in the site inspections. I attended the weekly site visits until the project reached completion. It was a great experience to learn what ‘snagging’ especially in a building where hygiene is paramount as all finishes therefore had to be fitted to the highest standard. It was very rewarding being on site and seeing this project through to completion. I also learnt about the politics and logistics that can appear when a project does not reach the agreed completion date which was a side of a project which I had not been exposed to.

[76]

SUTTON GRIFFIN ARCHITECTS MEDICAL CENTRE | WEST BERKSHIRE PROFESSIONAL PRACTICE | 2015-2016 INTERIOR MOOD BOARDS & CONSTRUCTION INSPECTIONS

[77]

Professional Practice Project 2015-2016

11 | STRAWBERRY HILL

SUTTON GRIFFIN ARCHITECTS HOTEL | WEST BERKSHIRE PROFESSIONAL PRACTICE | 2015-2016 SUCCESSFUL PLANNING APPLICATION VISUALISATIONS

PREMIER INN HOTEL

This project had already been appointed to Sutton Griffin Architects before I had started working at the practice. The project architect had worked hard to get the planning application drawings to be in accordance with the standards set out Premier Inn as a brand. This planning application was also proving hard to gain a decision on due to a number of queries local business and residents had about the proposal.

12 | PREMIER INN

Professional Practice Project 2015-2016

The site for this project is directly adjacent to a town centre Travelodge, which is a similar style hotel and brand and other local independent hotels and B&B’s as well as Travelodge argued that there is no call in Newbury town centre for another budget hotel. Some local businesses even comprised potential earning income documents for this new hotel to prove its’ lack of value to the area.

[78]

In regards to the local residents, there were complaints from a number of people that lived in the neighbouring houses due to the potential unsightliness of the proposal. It was at the point where a number of complaints had been made about the submitted planning application that I was asked by the project architect to meet several of the residents. They all had made complaints about the impact the proposal would have on the views from their properties. To combat this I took photos in their gardens and created visualisations which would show what the onlooking proposal would look like from their gardens. In order to do this I used the basic Revit model which the project architecture had set up and imported the map location of the site to provide the most accurate position of the proposal. I then used Photoshop to make better the rendered images taken from Revit. To give the softest

and most sympathetic it was vital to make the most of the existing soft landscaping but also add the proposed vegetation in the surrounding context of the building. This was difficult as the landscaping plan had not yet been decided upon. My involvement with this large project, which is due to reach completion in 2018, taught me a great deal about public perception and how ‘damage control’ is a part of architecture as building design is very subjective. It also tested my Photoshop and communication skills and I was very happy to find out that my involvement had helped the planning application get accepted by the council.

[79]

Professional Practice Project 2015-2016

12 | PREMIER INN

NEWBURY FOOTBALL CLUB

This project was appointed to the practice I was working at, Sutton Griffin Architects, as one of the director’s was already heavily involved with the local football team in Newbury. To give some context on this project the local club, Newbury Football Club, at this were trying to be bought out by developers in order to build new housing on the land which the first team football pitch and stand was located. As a favour to the club we spoke to the council which granted us permission to propose a suitable development proposal which would benefit not only the football team but the surrounding community alike. With this in mind I was appointed to research and create the proposal that would be put forward into an unofficial competition run by the council to determine the value of the football club remaining on site versus the developers plans to build more housing. The initial research for this proposal was undertaken by reading up on Sport England’s documentation which sets out ideals for sport facilities of all types. I researched clubhouse sizes, viewing stand size requirements but I also liaised with the football club in order to gain an understanding on what would be the most useful types of spaces for them to have would be. It was noted that mini-football pitches and 3G turfed pitches would prove to be very useful to draw more of the community to the club itself. This would allow other local sports teams to practice at the facility which could be rented out for a price and generate revenue for the club and community. I contacted a number of local schools, both public and private to gain an idea whether future interest for this proposal would be generated and the research was very positive which added another level of justification to present to the council.

13 | NEWBURY FOOTBALL

Professional Practice Project 2015-2016

I worked independently on this project and it also allowed me to experiment and implement what I had learnt about Revit as a software program into a real life situation. I feel that this project despite its’ size allowed me to develop my skills using Revit that I had not readily used before working in practice. It allowed me to grow in confidence as I was working on my own and forced me into making crucial decisions. It also taught me a great deal about community-led projects and how understanding the context in a personal way can help justify proposals.

[80]

SUTTON GRIFFIN ARCHITECTS LEISURE FACILITIES | WEST BERKSHIRE PROFESSIONAL PRACTICE | 2015-2016 FEASIBILITY STUDIES & COMPETITION DRAWINGS

Professional Practice Project 2015-2016

13 | NEWBURY FOOT-

WBURY [81]

MORSE WEBB ARCHITECTS PRIVATE DWELLING | BUCKINGHAMSHIRE PROFESSIONAL PRACTICE | 2016-2017 DETAILED LANDSCAPE DRAWINGS

14 | MARLOW

Professional Practice Project 2016-2017

MARLOW | PRIVATE DWELLING

[82]

One of the most recent projects I have been involved with was the construction of a private dwelling located in Marlow, Buckinghamshire. This particular project was reaching completion when I was added into the design team. The dwelling itself is located on a hillside road surrounded by modest 1970â&#x20AC;&#x2122;s mansions. The area is very conservative thus designing and constructing a modern property like this came under criticism during the planning stages and during the later work stages whilst the property was being built. Problems such as site accessibility, noise disturbance, hidden pipework on site and boundary queries between neighbours became apparent.

from concept and would see it through to completion. I was given jobs which looked at the landscaping of the building context as the whole garden was a crucial element in order to maintain the amount of detail on this project that the client wanted. The proximity of this project to its neighbours was a factor which time and time again needed to be addressed. My work on this project looked at returning the site entrances and exits to their former state when the tradesmen no longer needed large pieces of machinery in the rear garden. I also worked alongside the landscape gardener that the client had appointed to create continuity between our practiceâ&#x20AC;&#x2122;s drawings and hers.

I was appointed into the design team during the later construction phases of this project. My tasks for this project were given to me by the project architect that had worked on this job

Issues which needed to be addressed between the landscape gardener and us included level heights (terraced levels), retaining walls which were built on site due to the ground becoming

weak in areas during construction and other bespoke luxury features such as outdoor speakers built into the hard landscape around the pool. This project taught me a great deal about working for clients with very particular desires and also how important it is to liaise with all members of the design team. In this case I became the middle man and communicator between the contractor, sub-contractors and the landscape gardener in order for a seamless and beautifully detailed end product to be produced.

[83]

Professional Practice Project 2016-2017

14 | MARLOW

MORSE WEBB ARCHITECTS PRIVATE DWELLING | BASINGSTOKE & DEANE PROFESSIONAL PRACTICE | 2016-2017 FEASIBILITY STUDIES & FULL SUCCESSFUL PLANNING APPLICATION

15 | WALTHAM ROAD

Professional Practice Project 2016-2017

WALTHAM ROAD | PRIVATE DWELLING

[84]

Another recent project that I was involved with whilst working at Morse Webb Architects was that of a bespoke six bedroom property located in the Basingstoke & Deane county. This project was appointed to our practice after the client had recently purchased a plot of land and wanted to begin the design process. The proposed site benefited from beautiful views of rolling countryside but also was located on a steep decline from the nearest road and this became a crucial factor which consequently influenced all design decisions.

As previously stated the topography of this site caused a great deal of trouble but also gave me a solid piece of criteria which my design needed to respond to. The site had a decline of approximately six metres and the only neighbouring property was a small bungalow directly to the east. These two main factors dictated the form of this proposal, a house that fitted neatly into the landscape was the only way a respectful dialogue between landscape and new and old was going to work.

This project proposal became a passion project for me as I was appointed to work on this by one of the directors in the practice and then given full responsibility to take this proposal to planning and liaise with the planning officer and client alike. I am happy to announce that this project was successfully accepted and was due to begin construction in 2018.

The client did not have any preconceived ideas about style or form for this proposal so feasibility studies were undertaken in order to create an idea of what was desired. Large family living areas were paramount and this included open spaces which could overlook the stunning views. Due to the topography I made the decision to design an ‘upside down’

house. In basic terms this meant that the bedrooms apart from the master suite and one guest suite were situated on the lower ground level and living areas above. I had been used to seeing houses designed like this during my time living in Germany. The client was thoroughly on board with this idea as they agreed having the living quarters on the upper ground level would mean that outdoor social spaces could be used as well. A challenging aspect of this proposal was incorporating the client’s wish of having a double garage and designing a sloping driveway which would allow a few cars to park and turnaround easily. Designing the correct slope and curvature of the driveway was an aspect which took time however it was a beneficial for me as it meant also consulting the highways agency documents in creating new entrances onto roads.

[85]

Professional Practice Project 2016-2017

15 | WALTHAM ROAD

SITE PLAN

4 22

DRIVEWAY, GARAGE & STORE

9 10

1 2 3 4 5 6 7

20 8 19 13

GROUND FLOOR 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23

15 16

14 18 26

LANDSCAPED GARDEN 24 25 26 27 28 29

NEW CROSS OVER RAMPED DRIVE 1:25 RAMPED DRIVE 1:7 DRIVEWAY GARAGE STORE MAIN ENTRANCE

HALL BOOT STORE SNUG WC BEDROOM 1 VOID MASTER SUITE DRESSING ROOM EN SUITE BALCONY LIVING ROOM DINING ROOM KITCHEN BOOT ROOM PLANT ROOM WC

REFUSE DINING ROOM TERRACE LIVING ROOM TERRACE BBQ & OUTDOOR FIRE LAWN SEPTIC TANK

15 | WALTHAM ROAD

Professional Practice Project 2016-2017

[86]

AREA SCHEDULE

GROSS INTERNAL AREA (SQM)

LOWER GROUND

85 SQM

GROUND

225 SQM

GARAGE & STORE

65 SQM

TOTAL

375 SQM

WEST ELEVATION Professional Practice Project 2016-2017

15 | WALTHAM ROAD

EAST ELEVATION

[87]