Y2 architecture design portfolio by Thomas Fairbrother

Second Year Design Portfolio

Thomas Fairbrother

housescapes Mixed-use housing development next to the Millennium Stadium and Cardiff Central station. At the junction of Cardiffâ&#x20AC;&#x2122;s main transport links, this development creates a vibrant and sustainable artistic community and establishes an event place for artists to display their talents to a wide, varied and changing audience. The concept stems from an initial group study into efficient structures. We chose mushrooms because of their formal variation and adaptation to all sorts of landscapes and how we could emulate the play of light on the fins underneath. In order to understand their structural efficiency further, we parametrically modelled the organism which allowed us to create many variations using the same rules. We then digitally fabricated one instance using laser cutting. Critical post inhabitant studies of Nakagin Capsule Tower and Marina City projects highlighted previous errors in high capacity vertical accommodation. I aimed also to introduce green space to increase biodiversity and open the site to the river Taf alongside.

Clarissa Evans | Sara McMullan | Sam Giles | Thomas Fairbrother

My design developed through a mixture of sketching and modelling. My initial idea was to design a high rise tower, to compete with other large scale buildings in the area. It would take the mushroom idea of repeated structural elements/ribs around a central core. These ribs would operate as the main structural system and incorporate services running vertically through them. It would also serve as the buildings formal expression. It would allow the public to experience the structural system at a personal level when entering and travelling through the building. Also, the ability to see right through the building, results in a greater legibility of the structure, due to its simplicity. Here are some more working models. One the left, the white rubber block represents how a housing unit may nestle inside these ribs. The model to the right shows the idea of designing prefabricated units which, although also sit between the structural ribs, jut out, more like the nakagin tower. It also talks about how retail units may extend out at ground level from the same central focal point, tying the development together. The arrow shows how I intend the pedestrian traffic to flow through the site from the station to the stadium.

Here I was thinking about how I could incorporate public seating at ground level with a light well to give ample lighting to the space below ground. Getting light below ground is important as I am intending on the development to be for artists and so this would light their studio or retail/gallery space. One side is higher so that, when orientated correctly, light may be reflected into the space below. Reflected light provides better working conditions than direct sunlight for artists.

22:00 open site to river

0 3 : 19

17:00 event traffic

a landscape of bridges

influences and generative factors

Site by night

retr act can able opy

e abl act retr nopy ca

N Below ground site plan 1:200

new water bus station/waiting room 2

cafes, restaurants and bars flexible studio/gallery/retail space for artists space given to facilitate community events or pop up retail

1. Plant room 2. Refuse collection area 3. Passenger drop off area 4. Car park for residents and station 5. Temporary delivery parking 6 Service lift

1 3

service lift from car park to retail level 4 Open air cinema

Outdoor public performance space 5

N Basement plan 1:500

Typical detail section through housing unit 1:20

N Standard tower floor plan 1:100

1. Hot rolled steel primary structural skeleton, infilled with poly-insulation material. 2. Cold formed steel secondary structure. 6 3. Reinforced concrete ground floor slab 4. 60mm Polished screed floor finish 5. Concrete floor plate infilled with insulation 6. 250mm Polyisocyanurate board insulation 7. 2x12mm Plasterboard 8. 2mm Steel sheet treated with a weather resistant coating.

a. refuse chute b. cleaners cupboard c. central double helix stair d. 4 lifts

3 variations of pre-fab housing units 1:100

South section 1:200

mapping the micro-scale Careful analysis of the urban realm looking at specifics of a site to understand the character of Barry. This was a primer project before our figure ground project (the level @barry). The output was a stop motion film of two views of Barry over the same 4 hour period. It illustrates the difference between a commercial public space and a residential public space. We also created 1:1 replicas of the ground on both sites. With this we performed accumulation studies of chewing gun, cigarette butts, vegetation and other rubbish in order to draw more comparisons. We presented the film and plotted the ground 1:1 to communicate our findings to the rest of the year.

ite 1 Site 1 1

N, 4'22.25"N, 5'56.62"W 25"N, 1°24'22.25"N, 3°15'56.62"W 51°24'22.25"N, 3°15'56.62"W 3°15'56.62"W 3°15'56.62"W 3°15'56.62"W 3

40A Holton on oadRoad 140A Holton Road Holton Road Road 80 ~1980 uilt ~1980 built ~1980

markings ngs rn ad Worn road markings 1. Worn road markings markings road markings inage ues eDrainage issues 2. issues Drainage issuesissues brick ding rotuding se Loose protuding 3.brick Loose protuding brick protuding brickbrick brick ncrete ill eConcrete infill 4. infill Concrete infill infill ervice tal ers eMetal covers service 5. covers Metal service covers service coverscovers mppost ost Lamppost 6. Lamppost htray /Bin ashtray 7. / ashtray Bin / ashtray

1 3

2 7

5 5 5 4 4 4 4

Chewing Chewing Chewing Chewing gum Chewing gum Chewing gum gum gumgum Cigarette Cigarette Cigarette Cigarette butts Cigarette butts Cigarette butts butts butts butts Vegetation Vegetation Vegetation Vegetation Vegetation Vegetation Other Other rubbish Other Other rubbish Other rubbis rub Oth r SiteSite plans Site plans Site plans Site plans Site plans plans

eSite 2 Site 2 2

slab 1. acked ving d Cracked paving slab 1.paving Cracked slab paving slab paving slab slab ption 2. isruption ot oRoot paving disruption to 2.disruption Root paving to paving disruption to paving to paving to paving d3. ter annel rved water Carved channel 3. water channel Carved water channel water channel channel e4. rvice ers covers service covers 4. service coverscovers ater 5. eroded ed ving Water paving eroded slabs 5. Water paving eroded slabs paving eroded slabs paving slabs slabs 8paving 8 slabs 8 8 82 82 2 6.smatched tched d ing Mismatched paving slab 6.paving Mismatched slab paving slab paving slab paving 4slab 4slab 4 4 4 4 7. rked car Parked car 7. Parked car car nfill ete 8.ncrete Concrete infill 8. infill Concrete infill infill 3 3 3 3 3 3

N, 15'40.67"W 51°24'13.94"N, 4'13.94"N, .94"N, 3°15'40.67"W 51°24'13.94"N, 3°15'40.67"W 3°15'40.67"W 3°15'40.67"W 3°15'40.67"W

90 92 Street astleland land -Castleland 92Street 90Castleland - 92 Street Castleland Street StreetStreet built 00 ~1900 ~1900 built ~1900

4 6

4 5 6

4 5 5 67

5 67

5 7

Lawrence Lawrence Lynch, Lawrence Lawrence Lynch, SherLawrence Lynch, Min Sher Lynch, Tan, Lawrence Sher Min Tom Lynch, Tan, Sher Min Cooper-Cocks, Tom Lynch, Tan, Sher MinCooper-Cocks, Tom Tan, Min Sher Tom Cooper-Cocks, Tan, Min Tom Tom Cooper-Cocks, Tan, Fairbrother Cooper-Cock Tom TomFairbrot Tom Coope Tom Fai

the level @barry Performing arts centre influenced by Welsh coal mine typology in Barry, South Wales. Thompson street was a thriving community and main transport link between the docks and town centre. The decline of the coal industry saw unemployment and desertification of the street. Victorian buildings on the street were demolished in 1970â&#x20AC;&#x2122;s, erasing all traces of the previous community. To remind future generations of their heritage, I played with the typology of a welsh coal mine as a framework for a performing arts centre. The section through the site invites excavation like a coal level, a horizontal cut into the landscape. The atmosphere of underground, industrial spaces is fittingly theatrical for the programme. Instead of containing the programme inside one building on site, I aimed to populate the area with several smaller structures, linked by a circulation spine. This idea stems from interest in the situationist school, creating a unite dâ&#x20AC;&#x2122;ambiance instead of a unite dâ&#x20AC;&#x2122;habitation, inhabiting public space and movement. The underground theatre is supplied by the tower above through an interface at ground level. The tower communicates to the public what is going on below ground. Cafe and rehearsal spaces are housed in structures above ground along the spine.

12 13

21 20 19 18

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Workshop

rooftop viewing area writing room interior viewing area water tank access to service grid

41 42 43 44

22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40

main public square meadow terraces outdoor auditorium outdoor cafe overflow / performance spaces

Other

public entrance to theatre staff entrance to theatre cloakroom control box main auditorium balcony level cleaners room foyer male WC female WC main auditorium seating level costume storage green room dressing room 1 w/ WC dressing room 2 w/ WC waiting area stage set door and storage performers entrance main stagen sunken mock up stage area

Theatre

8 practise room 1 9 practise room 2 10 rehearsal theatre 11 waiting room 12 dressing room 1 w/ WC 13 dressing room 2 w/ WC 14 storage and delivery serice area 15 temporary gallery space/cafe overflow 16 bar and cafe 17 box office 18 disabled WC 19 male WC 20 female WC 21 admin office

Sheds

6 ground floor 7 mezzanine floor

1 2 3 4 5

Tower

1:200 schematic axo

the level @ Barry

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the Level @ Barry

MANIFESTO Since the dissolution of the coal and merchant industries, Barry, specifically Thompson Street, has lost its character and identity.

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1:100 SW Thompson Street section

DUCATIONAL PRODUCT

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1:200 programmatic floor plans

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1 120x100x12mm steel handrail 2 2mm white fabric gauze 3 LED screen 4 8x70mm steel fascia 5 10mm steel bolt 6 160x115x12mm steel beam 7 100x12mm steel mesh 8 30mm glazing 9 2mm lead sheeting 10 6mm spacetherm aerogel insulation 11 12mm ply board 12 260x280x20mm steel beam 13 20mm plasterboard 14 50mm recessed steel bolt 15 280x120x20 steel I beam 16 50x50x8mm steel cage 17 300x300x24mm steel square section bracing 18 24mm ply board 19 12mm anti-theft steel grid 20 30mm structural steel grid and light reflector 21 60mm steel infill panel 22 60mm glazing infill panel 23 1000mm in-situ reinforced concrete 24 180x100x12mm steel handrail/beam 25 12mm steel plate 26 24mm ply board 27 50x50x8mm steel stage framework and stools 28 300mm reinforced concrete floor slab and wall 29 1000mm concrete raft foundations 30 2mm waterproof membrane 31 very hard clay

1:20 Detail section through tower and auditorium

9 10 11 12 13 14

22 19

21 23

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1:100 SW Thompson Street section

2 Tower 2 a interior viewing area b water tank

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5 Sheds 1, Workshop G a waiting room b dressing room 1 w/ WC c dressing room 2 w/ WC d meadow terraces

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6 Sheds G, Theatre -1 a storage and delivery serice area b temporary gallery space/ cafe overflow c bar and cafe d box office e disabled WC f male WC g female WC h admin office i outdoor auditorium j outdoor cafe overflow and performance spaces k public entrance to theatre l staff entrance to theatre m cloakroom n control box o main auditorium balcony level p main public square

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a b

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4 Sheds 2, Workshop 1 a practise room 1 b practise room 2 c rehearsaltheatre d mezzanine level

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3 Tower 1 a Access to service grid

The past identity of Thompson Street is not salvageable and there is no sense in attempting to restore the past character of the street based on memories, recollections or nostalgic thoughts. However, it is also important that the street not lose touch with its heritage. I propose to construct a performing arts complex based on the indigenous industrial typology of the Welsh coal mine. The strong atmospheric qualities of the mines are powerful and something that I will aim to capture and I believe would suit a theatrical environment. The industrial nature of this precedent should result in functional and legible spaces as seen in Ash Sakula’s boiler house and Haworth Tompkins Temporary Almeida theatre. The intervention should somehow reinstate the lost performance culture of Barry and catalyse the regeneration of Thompson Street in a sustainable fashion, providing it with a new focus and identity. The intervention must be an inviting welcoming and inclusive place for the people of Barry. Those young people using the space are likely to not have experienced a theatre environment before. The main performance space must be a place that is respected by both performers and audience and be somewhat imposing and disciplinary. Intervention must not be restricted by site boundaries and should integrate with existing environment. The project must have an aspiration for permanence and longevity. The intervention should be seen as an opportunity to improve the urban realm and the town of Barry.

1 Tower 3 a writing room

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During the industrial boom, Barry expanded rapidly and Thompson Street was at the heart of the action; a thriving and bustling community with a varied and encompassing programme. In the 70’s, its community was driven out and architectural atmosphere lost when the buildings on the street were demolished, taking with it the soul of one of the vital links between the town and docks. Barry council has since decided to reconnect the dock area with the town and this project will aid the restoration of this main artery. The town has also lost most of its performance venues. Theatre is a powerful medium and has the ability to alter people’s perceptions of reality. It is an essential part of society and necessary to improve the wellbeing of the people of Barry.

1:200 programmatic floor plans

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Since the dissolution of the coal and merchant industries, Barry, specifically Thompson Street, has lost its character and identity.

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

MANIFESTO

7 Theatre -2 a cleaners room b foyer c male WC d female WC e main auditorium seating level

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8 Theatre -3 a costume storage b green room c dressing room 1 w/ WC d dressing room 2 w/ WC e waiting area f stage set door and storage g performers entrance h main stagen sunken i mock up stage

d c

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g f

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1:100 Aerial plan

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d’ambiance Thomas Fairbrother

wildflower meadow terraces

The proposal consists, instead of one singular building, a collection of structures dotted around a certain locality in Barry. By doing so I aim to design a unite d’ambiance, thus increasing the area of influence the architecture has and create a wider artistic environment. As the situationists put it, bring the art from inside the gallery to the streets. By keeping to the existing street plan for the arrangement of the structure the intervention is knitted into the urban fabric. PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

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The programme is a theatre and the main performance space is underground below the tower, but I have tried to expand this theme of performance to the landscape too by designing small dwelling spaces which may be inhabited by performers. There is a more formal theatre dug into the public space facing Thompson street which follows the dimensions and sits on the axis of the main theatre. There is also a sunken area along a route exiting the west of the site which may be inhabited by buskers and a third enveloping wall which may host an outdoor music stage. The cafe, bar, box office and WC’s sit within the central building. The public space is split in two by the spine of vernacular buildings in the centre of the scheme. There is a contrast between heavy industrial and man made(taking influence form the coal industry previously supporting Thompson street) with light and natural. The buildings define this by their contrast in elevations. One side acting as a concrete facade casting shadow over the Thompson street side of the scheme and the other seeming to float with glazing to allow the light to inhabit the spaces. The landscaping is also reflected in this way by textures, rough concrete versus wildflower meadow terraces

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I have outlined a potential route one may take from the town centre to the theatre.It explains how one has to pass through the darker area to get to the light. One gets glimpses of the light landscape behind the facade and is drawn in. They descend a series of steps and traverse the industrial environment. Then the squeeze through an opening in the facade and this opens up to the landscape below.

1:500

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Concept that richer and more successful public realm is achieved through a multitude or layering of architectural intervention rather than one building. Situationists coined the term unite d’ambiance as a counter arguement to Corbusiers unite d’habitation. plaque tournante is another term for this idea. It is difficult to translate but is similar to a turntable or node. It is used to describe certain localities of public realm which a stumbled upon whilst drifting through a city. Situationists mapped these plaque tournantes in their unique way. It opposed the cartesian logic of ordinary street maps and instead recorded more experiential and favourable alternative routes.

Thompson Street

town centre

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plaque tournante/ unite

1:2000

Reading and other interests A selection of books, projects and practises which influenced second year work.

Darius Woo Entropic States + Dirty Architecture

Practice Architecture Carmody Groarke Studio East Dining

Lina Bo Bardiâ&#x20AC;&#x2122;s: Teatro Oficina (Sao Paolo)

priva-seat In May 2012 I visited Istanbul as part of a workshop, Instrumentalizing Istanbul. We proposed the following: Cities evolve through a process of RE-TUNING City = Instrument Inhabitants = Performers Activity = Music When the music sounds out of key, the instrument is retuned by the performers in order for the music to sound better. It is the way in which cities are retuned which gives them their character. Istanbulians retune their city through a process of primitive adaption and manipulation of the urban fabric. These are often cheap and quick alterations using found materials. In many western cities, efforts are being made to explore and encourage this experimental behaviour, routinely exhibited in Istanbul. The unsterility of Istanbul is partly due to their climate, culture and lack of regulation and formulates a busy, exciting and lively city. Over-sterilised modern cites have much to learn from the dynamic and organic evolutionary nature of Istanbul. Users of the site were seeking isolation from the city so we wanted to construct a seat which allows for maximum isolation. When one transforms the surface to a seat, they create an isolated space. The seat back simultaneously acts as a visual barrier and drawbridge removing access to the private space.