Architecture Portfolio Stage 2
t.
Tobias Evan Himawan 160012875
start.
Like a building, learning architecture is a constantly progressing. There are always new things to learn each year, and in Stage 2, i learned more about technology and economy in architecture. The module pushed me to critically think about the structure of my building, how it responds to the environment, as well as the impact it will have on the local economy. Throughout the design project, i also learned about the construction of my own design, and how to translate the tectonic into structural strategy. The exploration of materials from concrete and steel in the first design project to timber in the second project helped me to understand the commonly available building materials and how to use them not only to construct, but also to create a desired atmosphere that suit the program intended. Looking forward to Stage 3, i will carry on the knowledge i gained this year and hopefully apply them on my final year design thesis. This will strengthen my design proposal, and help me to understand architecture deeper. I look forward to evolve in terms of thinking and designing.
Contents
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A Day in Life of You
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Study Type
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Towards Leith 2030
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Working + Living
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Within the Network
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Alternate Perception
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Manufactured Sense
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Crafting Architecture
page 10
page 16
page 32
page 58
page 70
page 78
page 120
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/00 semester one introductory project
A Day in Life of You This is the first project of the semester. in this project, we were asked to observe our own daily routine and how we use the space around us. By doing this, we can learn how human uses space, how big of a space is needed for each activity on each time of the day, and how space influences our daily life. This is critical as the next project revolves around human daily activities.
Good Morning! the bathroom
It was a cold morning. The only thing i wanted was to take a long hot shower. I turned on the light as i grabbed my towel and hung it by the shower door. The boiler takes a while to heat the water, but it was worth the wait. I can feel the blood rushing under my skin as the hot water dripped. With my body fully recharged, i was then ready to start my day.
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Good Day! the kitchen
I could hear my stomach growling. It’s 2 pm and the last time i put food into my mouth was 6 hours ago. I rushed into my kitchen and opened the cabinet, taking out a pack of dried spaghetti. I really couldn’t wait to eat a nice hot plate of pasta, but the food took a while to cook. I could hear my stomach growling again, time to treat myself with some toasts while waiting for the water for the pasta to boil.
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Good Night! the bedroom
What a day! My body had been longing for my bed for a while. Strangely enough, as i entered my bedroom, i was awake once more. I sat in front of my piano and started to play a few songs. It was calming, but my eyes are still wide open. Probably a few youtube videos from my computer would make my eyes tired. I was right. . No more than 15 minutes later, i was already lying in my bed, dreaming, while the light from the Civic Centre as shining through my half-opened window
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/01 ARC 2001 P2.3.1 Study Type
Study Type In this short group project, we were asked to be critical of an existing residential development. The development that my group was given is the Churchill Garden in Pimlico Area, Westminster, London. This massive housing development, built around the 1940s, won the RIBA Bronze Award in 1950. It was a part of the redevelopment of London, replacing the old Victorian houses that were not suitable for living anymore. This development consisted of 32 blocks with approximately 1600 houses targeted for a wide range of market.
Location: Westminster, London | Type: Case Study | Group Project
the site Pimlico, Westminster, London SW1V
The development is located in a rather prime location, right in the heart of the city of London. It is located right next to the Thames river and sitting comfortably inbetween older Victorian houses. The taller blocks on the outer skirt of the area act as sound barriers from the
busy road surrounding the area, whereas the lower blocks sit in the middle, allowing the community to be gathered around the centre. Playgrounds are spreaded evenly across the blocks for the community to gather.
1:2500 Site Plan
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the building 1-30 Erskine House
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3 1:750 Site Plan with Surrounding Building Heights
3D View of the Flat 12
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2 Playground Area
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School
4 Pathwalk to the Park
Car-free Pathwalk to the Playground
Safe Community within a Walking Distance We took Erskine House as an representing block of the development. Around the house, there is a playground that is surrounded by fences, making it safer for children to play on it, and the access to the playground is
widely provided. There is also a nearby primary school, which makes living much more convenient for families with children. There is also a nearby park for recreational purposes.
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1:400 Plan, Section, Elevation
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1:100 Flat Plan
morning scene
1:10 Window Detail
day scene
afternoon scene
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/02 ARC2001 P2.3.2 Leith 2030
Towards Le Carrying on from the Study Type project, we were then challenged to redevelop an area based on what we learnt from the previous project. The site is located in Leith, a vibrant developing area around the northern part of Edinburgh. The aim of the project is to develop a masterplan that would regenerate the local area, as well as the town of Leith. My studio is more focused on how to maximize the use of space, so my masterplan is trying to include as much needed facilities as possible.
Location: Leith, Edinburgh | Type: Masterplanning | Group Design Project
Leith 2030
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the site 24-8 Salamander Place, Edinburgh EH6
Vibrant, Transitional, Developing The specific area of Leith that is given to the studio is a field along Salamander Place. The area is unique as it is located between the quiet residential Georgian houses around Leith Links, and the busy industrial warehouses near the dock. It is also surrounded by existing facilities and newly developed
flats. However there is a clear separation between the residences and the warehouses, and the group’s initial observation is that the area feels private even though Salamander Place is a public road.
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private zones
sun path + wind path diagram
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the concept
Part Demolition
Repurposing
Bridging
Our group’s decision is to demolish the existing warehouses. This opens up the site to public, which was previously barricaded by these buildings. The demolition also gives space at the back of the Georgian houses.
We also decided to repurpose the Georgian houses to become shops. By keeping the houses, we tried to keep the existing typology around Leith Links, while giving it new purpose by opening it to the public.
Finally, as a reaction to the contrasting environment of the residential and warehouse area, we decided to create a pedestrian path that connects the two areas. The masterplan was then designed as a transitional complex that merge residential and working environment.
The Modules Our group developed a concept of modular units. Initially, each of the module houses one of the four lost industries of Leith (lime juice processing, glass making, whisky distillery, and soap making). In the workshop, apprentices can learn whow to make the product through the traditional way based on the historical values, where at the shop this product will be sold to the mass. Eventually, the modules can be replaced by other growing industry of Leith, but the aim remains mainly to educate people about Leith’s industrial ability.
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the masterplan
bridging the gap, rebuilding the economy
The final proposal was to build a mixed use development of residences, commercial area, and museum. The aim is to create a community that is well educated about Leith’s past history, and hopefully able to redevelop the lost industries in order to regenerate the economy
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of Leith. We also try to connect the residential area with the warehouses and open up the area to become more public. The central courtyard is the ‘heart’ of the development and is open to public, and it provides a place where a community can grow.
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Courtyard
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The Modu
proposed circulation
views
zoning
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-Good morning John! -Good morning Simon! Off to work? -Yeah, I’m running late, see ya later!
-Oh, Jeez, I am so late. It’s almost eight already.
The Morning Rush The circular secondary walkway connects the residential flats to the Modules. This allows the worker to uninterruptedly circulate to and from the workshops.
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The Lunch Break The courtyard at the back of the Georgian houses provide the opportunity for the shops and restaurans to utilize the space for outdoor seating area..
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-Excuse me, Sir, do you know where the Country Cafe is? - (point with finger) Oh, it’s over there! I’m actually meeting someone there right now, follow me!
- It’s been a while man, how are you doing? - Things are good, Simon, how about you? - Came late to work today, almost got fired for the third time this month, so not good.
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- Ahh, enough work for today. I wonder what’s going on in that tent?
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- Good night, Leith!
The Sunset Stroll The central couryard is the heart of the development. It provides a space for the community to grow, while being able to be used for cultural events.
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/03 ARC 2001 P2.3.3 Dwelling +
Working On the main part of the project series, we were asked to design a dwelling on a chosen area of the masterplan and to house two programmes on the building . The studio decided to remove the museum and use the area as the chosen site for the dwelling. The programmes must again relate to what the area needs, as well as trying to help the economic growth of Leith as aimed in 2030.
Location: Leith, Edinburgh | Type: Office / Dwelling | Individual Design Project
+ Living
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Apologia The project resumes from the Leith Masterplan. The brief is to design an integrated residence that responds to the site and help build the economy. Through research, i found that the small creative industry is emerging in the city, and through typology study of a small business hub, i defined the programme of my building to be a flat, integrated with small business incubator. The flat and the office will target young entrepreneurs ranging from 21-55 years old. Located on the top floor, the flat is integrated but not fully engaged with the office to give the residents some privacy. To suit the target market, the flat is not designed for family, but rather for individuals, with shared living areas and shared workspace. The office spanned across the first two floors of the building. The first floor is the shared office, divided into a large open office for start-up businesses and smaller cubicles for more developed companies. The second floor houses the network hub, where the entrepreneurs can engage to share business views as well as collaborate. There is also a support centre where the entrepreneurs will be given advice on their business, or arrange a financial support. The form of the building is informed by the site. To engage the office with the public, the first floor is parallel to the adjacent Salamander Place. The second floor is considered part of the social community of the masterplan, so it parallels with the courtyard and the proposed foot path. The residence is facing north to maximize light penetration. Six units will be built, and arranged in a way to create a secondary courtyard, which can be used to house business fair. The complex will also create new circulatory routes, connecting Salamander Place with the proposed foot path.
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the site
centre of circulation and transition The site is located in the centre of the proposed circulation, sitting inbetween Salamander Place and the proposed pathwalk. As a result, it gives the site a unique opportunity to interact with both the public (Salamander Place) and the community (pathwalk). The area of Northern Leith is also inhabited by
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rom 21-55, and that becomes the target market of my development. It was crucial to acknowledged the growing small-medium enterprises (SME).
Leith Creative Exchange In terms of the programmes, I did a deeper research onto the current economic demographic of Leith and the ongoing growth of small-medium enterprises (SME) and startup businesses, especially in creative sector. There is also an existing centre for these small businesses 500m from the site, called Leith Creative Exchange. This is the base of my dwellingdevelopment: to create a startup business incubator where young professionals can work, network, and be advised on their businesses. Considering the circulation around the site, it would be the perfect site for SMEs to grow, as it is exposed to Salamander Place, and the close proximity to Leith Creative Exchange means there may be information exchanges between the two.
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Defining the Needs By researching into Leith Creative Exchange and other business incubators, I defined the programmatic needs of the building. I then arrranged the programs into a three-storeys building mass in a sequence. The ground floor will house all the office activities, giving direct access to the circulation.
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A courtyard will also be provided to advertise their business to the public The middle floor is the networking area to connect entrepreneurs with one another. Finally, the flats will be on the top floor to exclude the residents from the working environment.
Exploring the Forms As there is a size restriction of 2000m3 volume, i started with a block that size, and split the block into three floors. I then twisted the second floor 15 degrees, where the networking space is located, to parallel with the pathwalk to integrate space
with the proposed community, whereas the ground floor (office) and top floor (flats) are parallel with Salamander Place (the public ground).
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+ Conflict of Materiality
Masonry Looking at the site, there is an apparent contrast in materiality. The residential areas (south of the site) have a strong masonry quality, especially limestone. The Georgian houses also have long strips of windows, repeated at a rhythm and collectively, create a distinctive typology, complimenting the Leith Links park.
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Metal In contrast, the warehouses on the north of the site , near the docks, are cladded in corrugated metal sheets. This creates a very strong industrial quality, to the point where it is almost disengaged from the residential areas. The building will address the conflict and include both quality, acting as a transitional medium.
Conflict of Interest
Private // Public The idea of a public office is to provide an opportunity for interaction and collaboration between companies. However, as business grow, the company might need a more privatized space, excluded from the public office but still interacting with it. I explored how these private cubicles can be arranged and differentiated from the public office.
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1:75 Unit Section A-A
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the design proposal The final design is three storey-high building. On the ground floor is the public office, where the young professionals can rent a table and use it to start their business. On the second floor, the networking space is located in the form of a lounge with a coffee bar
and a theatre-styled seats looking directly onto the central courtyard of the masterplan. The advisor offices are located half floor up from the networking space, and finally the flats are located right on top, separating the residents from the office workers.
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1:1000 Site Plan
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1:125 Complex Elevation
One Unit to Whole
The Center Courtyard
The Proposed Circulation
the complex The building will be replicated six times and arranged in two rows, with 3 modules on each. This arrangement creates a courtyard inbetween the two clusters that act as a new circulation and as an exhibition space, where the enterprises gather to present their products to the passing crowds. There are narrow alley inbetween the buildings to allow tight views from the outside onto the courtyard, raising curiosities from the public.
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Circulatory Channel The narrow alley in between the buildings allow movement perpendicular to the courtyard, connecting the proposed footpath in the masterplan and Salamander Place. This allows public on both side to have a glimpse of what’s happening in the courtyard.
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The Courtyard The courtyard is the centre of exchanging ideas and promoting new products. The interaction between the six buildings provides a variety of products offered.
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the unit
Each building unit is built around a circulation ‘core’. The circulation will act as a ‘glue’ to join one program from another. The concept of movement as the centre of activity is aligned with the constantly moving economy as well as business ideas. The central circulation core will also allow interaction between people at different levels. To allow more interaction, the idea of a ‘slow staircase’ with wide goings and low rises will be applied. The thin long openings on the facade also follows the typology of the Georgian houses. They also reflect the rhythm of activity inside the building. More frequent openings mean there are more intense activity happening (the office), while less frequent openings suggest less intense activity (the network space, the flats).
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1:100 Ground Floor Plan 52
the office The public office, located on the ground floor and parallel to Salamander Place, is split into two types: the communal office for the less developed companies consisted of individuals or partnerships, and the more private office cubicles for the more developed companies. The two types are ‘glued’ together with the circulation module in the centre.
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1:100 First Floor Plan 54
the network space The network space, located on the first floor, is a double height space, where on one side of the circulation is designed with lounge-like atmosphere and equipped with a coffee bar. On the other side, the staircase extends to create theatre-like seats, looking directly onto the central courtyard of the masterplan. Half floor up, the advisor offices are isolated from the noise with insulated walls.
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1:100 Second Floor Plan 56
the living quarter The residence, consisted of four ensuite flats, are targeted towards the young professionals who may have a table downstairs in the office. However, the flats are separated from the office through the more solid design language. The residents share a living room, a dining room and kitchen, a laundry room, and a shared working space while they can retreat to their private space in their bedrooms. By sharing most of the rooms, hopefully the residents can build a network with their flatmates to further expand their business.
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/04 ARC 2001 P2.3.4 Inhabit
Within the The last part of the project is to design the flats in detail. The aim of this project is so that we, as an architect, can design a dwelling based on critical thinking and deep observation on how human lives. The project requires the knowledge that has been gained from the previous projects and aim to resolve a dwelling problem based on the target market that I chose.
Location: Leith, Edinburgh | Type: Dwelling | Individual Design Project
e Network
1:200 Second Floor Plan
Productive Living The living quarter is a merge of comfortable living and productive working. The shared living and working areas provide a networking opportunities for the inhabitant, while the separate ensuite bedrooms provide privacy when needed The two is separated by a narrow alley to control the circulation and to differentiate the environment. The flat is excluded from
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the working environment in the office by closing the staircase and requiring the residence to enter via a locked door. The flat also serves as a working environment for those who wants to work at home.
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The Bedroom The bedroom area is separated from the living area with a narrow corridor to maintain the privacy.. All four of the bedroom is ensuite, ensuring convenience for the inhabitant.
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The Living Room The living area has an open floor plan. This allows free flow within the area, as well as future rearrangements. The area also has a large openings, allowing plenty of light to penetrate.
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Construction
The main construction materials of the buildings are steel (relating to the warehouse area on the north) and concrete (relating to the masonry quality of the Georgian houses on the south). The concrete are precast to shorten the construction time to keep up with the ongoing needs of offices, and the openings are long and tall as a reinterpretation of the old Georgian style windows. The smooth concrete is then left exposed and give clean and sharp look to the building
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1. steel i-beam (300 x 200 mm) 2. block (400 x 215 x 100 mm) 3. concrete beam 4. floor insulation (75 mm thickness) 5. screed 6. fire stop (75 mm thickness) 7. timber frame 8. concrete bracket 9. concrete wall panel (150 mm thickness) 10. wall insulation (75 mm thickness)
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1. steel i-beam (300 x 200 mm) 2. steel i-beam (280 x 200 mm) 3. concrete beam 4. floor concrete block (440 x 215 x 100 mm) 5. concrete panel (150 mm thickness) 6. aluminum window frame 7. steel i-beam (200 x 150 mm) 8. steel i-beam (280 x 200 mm) 9. screed 10. wood flooring 11. block (440 x 215 x 100 mm) 12. timber frame 13. plasterboard (10 mm thickness)
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1. concrete panel (150 mm thickness) 2. aluminum window frame (integrated to panel) 3. insulation 4. steel i-beam (200 x 150 mm) 5. steel i-beam (300 x 150 mm)
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/05 ARC 2001 P2.4 Engineering Experience
Alternate Perception In this interim project, we are asked as a group to reinterpret a movie scene and create an atmospherical installation based on the scene. We were also working with an engineer to construct the installation. The aim of the installation is to alter the visitor’s perception to capture the atmosphere and the idea behind the chosen scene. Translating movie into reality has proven to be a challenge, especially avoiding the overly metaphoric symbolism. The most difficult part for our group has been creating the desired atmosphere without creating a sequence of exhibition. By doing this project, it is hoped that i can carry on my approach of achieving a desired atmosphere using materiality, learning from working on it on a large scale.
The Arrival // The Awakening The movie chosen for our group is the 2013 fantasy film Under the Skin. The approximate five minute long opening scene of the movie pictures a series of circles that can be interpreted as an arrival of the alien (portrayed by Scarlett Johansson) on Earth. The background sound also suggests that the alien is learning the pronunciations of several English words, meaning that she is learning about the human culture.
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Development : Maquette + Film
The Four Elements To create an immersive spatial experience, we decided to breakdown Earth into its basic four elements. Each elements work individually as subjects of experience, and collectively as we decided to project all four elements onto a ‘planet-like’ reflective object in the centre of the room. The installation then does not require a defined circulation for the visitor, as they can approach the object from four directions. Our group also want the visitor to experience the installation based on their own perception, so the challenge is avoiding any suggestion of what to experience in our work. 70
The four elements translated into four panels; water, fire, soil, and manmade (concrete). All four panels in reality would be 9000x10000mm, using their massive scales to distort the visitor’s perception of them. The centre piece would be a 5000mm in diameter ‘ball’, a reflective agent that reprojects the panels as well as refracts lights to further enhance the ‘alien perception’ experience. When experimenting with the materials, our group played around with how the material would be presented to show the desired quality. Working at a large scale (1:10 maquette) also brought another challenge in structure, as the panels became so heavy that we struggle to make them stand.
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The Exhibition
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The Video
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/06 ARC 2001 P2.5 Exploring Experience
Manufactu The last design project of the year is an exploration of materiality and atmosphere of a building design. The project starts by creating a festival that responds to the city. Then, the building draws an inspiration from the festival and an allocated material. Our studio focus is timber, and the programme is a factory/workshop for a timber object. The building needs to accommodate the production process, as well as a gallery to showcase the product. The site chosen for the project is opposite Dunelm House (Durham Student Union) in Durham.=xww
Location: Leith, Edinburgh | Type: Factory | Individual Design Project
ured Sense
Apologia The second design project is located in Durham, and it focuses more on materiality as a medium to achieve an atmosphere. My studio focuses on timber, and the building needs to house the production of a timber object. I decided to design a piano factory across Dunelm House. The decided programs are the factory, a warehouse, a gallery, and a testing chamber. The concept of the building is taken from Wassily Kandinsky’s ‘Komposition 8’ painting, in which he uses geometrical shapes and colours as a medium to translate musical notes into visual art. The building’s design play with geometrical composition, each geometry houses a specific program. The geometries are composed as a response to the site, as well as to achieve maximum efficiency for the piano production. The design of the factory needs to be as efficient in shape as possible to accomodate the large machineries needed for the production. The factory floor is then divided into four zones, each manufactures different parts of the piano, and is cut through by a straight assembly line, directly strikes through Dunelm House. The rigidity of the production is then disrupted by a suspended circulatory bridge that allows public to see the production process. This public circulation then intersects with the worker circulation to allow more disruption. The testing chamber is divided into two parts. The key testing is held inside the main factory module, whereas the sound testing is held on a separate building with an angular roof that can reflect sound back, allowing good acoustical performance. It also creates a sloping roof that is then made into seats that provides views to Dunelm House and the river. Finally, the gallery showcases the pianos using natural light to highlight the products. The various openings also frame Dunelm House in various ways, while conversely allow the public crossing the Kingsgate Bridge to view the products as well.
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Durham
1:7500 Site Plan
Sound of the River Durham is a city built around the river Tyne that formed a peninsula, where Durham Cathedral is situated. The river is present throughout the city. The river almost act as a musical staff, where ‘notes’ are written on it. These ‘notes’ are different sceneries and atmospheres that complements the river,
reacting to it in various ways. In some parts, the note is a high pitched lively area, like the Walkergate area. In others, the notes are the calming sound of nature, where the river sound is more apparent, acting as the base sound layer.
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Natural Features
River Significance
Traffic Congestion
Tourist Attraction
Zoning
Walking Distance
The city is then divided into several zones, although not as apparent. The tourist attracting peninsula area, which includes famous landmarks such as the Durham Cathedral and Durham Castle, is located at the heart of the city. On its north, the commercial area is developing, with shopping malls and student
accommodations being built. The residential area is on the south west of the peninsula, and the university area on its south east. These zones create unique moments alongside the river.
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the festival The festival is based on the idea of the river as a musical staff, and the idea of an abstract musical composition, as done by Earle Brown with his ‘25 Pages’ composition. The festival will erect floating stages along the river with its final stage at the Dunelm House. The artist has freedom to choose any stage
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and the music responds to the scene around the stage. The visitors also have the freedom to choose any stage at any time, there isn’t a defined schedule. This creates abstract combination of artist and visitor. The final stage will feature Durham Orchestra on the closing day..
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the object The object i’ve chosen is a piano, more specifically, the internal component of a piano. The idea of seemingly abstract geometry, but collectively work to produce a single note really fascinates me. Each shape has individual function and movement that triggers other components to move. Everything starts when
the pianist press the long timber that connects to the key, and it ends when the felt hammer hit the metal string, intiating a vibration that generates a note. Finally, i decided to design a piano factory that takes this concept.
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the site Kingsgate Bridge, Durham DH1 3AN
1:500 Site Plan
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Local Conversation To design the building, firstly i looked into the local topography and typology of the site. The sloping site is adjacent to the Kingsgate Bridge and is directly facing the Dunelm House. The challenge is to ‘converse’ with the two heritages, and to respect both structures. Another challenge
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is the limited vehicular circulation around the site, which is a problem to transport the materials for the production. Lastly, the sun is another aspect that i want to incorporate into the building.
Geometrical Perception The concept of abstract composition for the festival is carried on to the design. To define the composition of the site, i looked into the work of Wassily Kandinsky, specifically his painting Komposition 8. In the painting, he translates the music that he listened to while painting into abstract geometrical shapes,
creating a harmonious visual composition. Basing on this, i investigated the site and try to draw the existing geometry. The building will then try to respond to this geometry and create a new composition on the site.
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Programmatic Needs
To define the program of the factory, i looked into precedents of piano factory. The production of a piano is divided into four sections. It starts with making the hardwood body of the piano, typically made with maple. The soundboard, which resonates and create the tone, is then
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attached to the body. It also supports the cast iron plate that holds the strings. Finally, the keyboard is installed. The piano then undergoes several testing to ensure the weight of the keys and the sound is perfect.
The factory is then divided according to each piano section. The assembly line will run through the centre of the four stations, spanning from the warehouse, where the production begin, to the test chamber, where the production ends.
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Juxtaposition Juxtaposing geometry plays a role in my final design. Each program has specific shape and dimension. They are then arranged to achieve a level of complexity without ignoring the efficiency of circulation.
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Disruption The main factory unit is a long rectangular shaped building. To play around with the rigid shape, i used circulatory ‘channel’ to carve and disrupt the rigidity. The circulation acts almost like the random ‘notes’ in a composed geometry.
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1:400 Section A-A
Respond to Dunelm House
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Respond to Kingsgate Bridge
the design proposal The final design responds to the site by creating new geometry. The factory directly face Dunelm House, giving opportunity for the people sitting on the terrace of the House to ‘peek’ inside the assembly line. The gallery is orientated parallel to the Kingsgate Bridge, allowing people walking
on the bridge to see the displayed pianos. Finally, the mixed-use building responds to the slope, using the angle to create seats that overlook the river and Dunelm house, as well as creating an acoustically effective room for the sound testing of the piano.
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B A
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1:250 Basement Plan
1. Plant Room
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1:250 First Floor Plan
1. 2. 3. 4.
Warehouse Factory Floor Storage Testing Chamber (Key Weighting) 5. Mixed Use Room (Sound Testing, Small Auditorium, Stock Room)
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1:250 Second Floor Plan
1. 2. 3. 4. 5.
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Staff Toilet Staff Lounge The Bridge Control Room/Office Outdoor Amphitheatre
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1:250 Gallery Plan
1. Observatory Deck 2. Gallery/Showroom 3. Customer Toilet
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1:125 Section B-B 102
Morning
Day
Afternoon
Light Composition To respond to the sunlight, the factory has repetitive openings that reflect the repetitive production. These openings allow the sun to penetrate into the factory floor. In the morning, the sun shines the beginning of the production line, implying the start of the day.
Over the day, the sunlight will gradually rotates to the end of the production line, where the testing chamber is located, symbolizing the end of the production for the day. The gallery, meanwhile, use the sunlight to highlight the products.
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Production Line
Production Zones
Staff Circulation
Public Zones
Staff Zones
Circulation Intersection
Public Circulation
Observatory Deck
Performance Deck
Ordered Chaos The circulation is the main design feature of the building. It brings the concept of abstraction and indeterminism into the factory building. Due to efficiency, the assembly line needs to stay rigid, allowing production to move forward quickly and easily. However, the double-height factory allow movement above
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for the public and the worker. This allows interaction between the two, with different circulation route for each; the public going to the seats, and the worker going from/to the office. The production remained uninterrupted, and the chaotic circulation is contained on a different level
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The Factory The maple timber cladded interior of the factory reflects the sunlight and contain the noise within the building. It is then disturbed by steel elements of the circulation bridge and the crane.
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The Bridge The steel bridge is a contrast to the timber factory. The use of perforated steel allows the public to view the production line when walking on the bridge 109
The Gallery The openings in the gallery is an expression of geometry, while playing with the sunlight to illuminate the displayed pianos.
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The Theatres
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Acoustic Performance The angular mixed-use building is built entirely out of timber. This allows the interior to have a good acoustic performance to house the sound testing chamber. Occassionally, the chamber can be used for a private performance. The roof use the angle to fit seats to view the river and Dunelm House..
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Construction
The building’s material is a response to Dunelm House and Kingsgate Bridge. Surrounded by concrete and masonry structures, the building will challenge the materiality by being constructed with timber (glue laminated and cross laminated) and steel beams. The floors, walls, and roofs will be constructed with timber, while the circulation bridge, lift shafts, and the 114
supporting structures will use steel beams. This took inspiration from the juxtaposition of materials in a piano itself, where the moving and sound creating parts are made with metal, while the main body is made with wood. This construction section will focus more on the construction of the main factory building.
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1:100 Section B-B 116
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Glass Railing 10mm Maple Flooring 40mm Insulation 150mm Maple Glue Laminated Timber 200x200mm Maple Glue Laminated Timber 300x200mm
Double Glazed Window 6mm
Maple Plywood Facade 20mm Damp Proof Membrane Cross Laminated Timber Panel 120mm
Maple Flooring 40mm Timber Joist 300x200mm Steel I-Beam 686x254mm
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Maple Flooring 40mm Waterproof Membrane Steel Sheet Maple Ply 40mm
Perforated Steel Metal Handle Solid Steel Sheet
1:5 Detail
Steel I-Beam 265x250mm Steel I-Beam 250x250mm Maple Flooring 40mm Damp Proof Membrane Insulation 150mm
1:25 Bridge Section 118
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Summer Solstice
Winter Solstice
Ventilation Strategy
Heating Strategy
The building uses natural light to illuminate the interior, and because of the large openings, the light will suffice during the operating hours. The use of timber as the main construction material makes the building well insulated. To provide heating system, an underfloor heating is applied to maximize the interior space so the production is not interrupted. The openings also provides natural ventilation, but to eliminate the dust, mechanical extractor is applied on each machine. 119
/07 ARC2001 P2.2
Crafting Architecture The module is taught through workshops that might help informing our design project. It is divided into four parts and split between the two design projects. Each workshop is aimed to help the design project.
Site Reading
Section through Northumberland Street
Sketch Plan of the Lawn
Leith Site Plan
Durham Site Plan
The site reading workshop started by quickly sketching the section through Northumberland street and plan of the Lawn in the university. The workshop helped me to understand the site better through initial sketches, as well as reading crucial detail of the site. These are then carried on to Leith project and Durham project, helping me to draw a site plan to show the important elements of the site. 121
Diagrams
Sketch Diagrams for Dwelling+
The diagram workshop i think is the most helpful workshop for me. I have always struggled to produce diagrams to communicate my building design. In this workshop, the tutor helped me to draw diagrams of Leith project, and most of the diagrams are refined in the final review. I used the knowledge gained from the workshop in my Durham project as well. 122
Diagrams for Dwelling+
Diagrams for Exploring Experience
Details
Suggested Moving Facade
Glulam Timber Model
Facade Application
The detail workshop is a struggle for me, since on the second project our studio focused on a timber object. The challenge was to draw inspiration from the object and applying it to the building. The tutor asked me to use the movement of the internal components of piano to create moving facade. However i ended up focusing on the acoustic performance of my room by making rigged glue-laminated facade. 123
Structure
Suggested Construction
The structure workshop helped me to understand the construction of my Durham project, specifically the construction of my circulatory bridge, which i found quite challenging. It also helped me to research in more detail the junction between wall sections and floor. 124
Wall-Floor Junction
Bridge Roof Detail
Tobias Evan Himawan 160012875 t.e.himawan2@newcastle.ac.uk https://issuu.com/tobiasevanh
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