Cluster - 5th Year

This sketchbook outlines the design journey leading to the formation of the Bristol Sound Hub - a new cultural music platform in the city’s Western Harbour development. The scheme focuses on the concept of clustered obscurity inspired by the amalgamation of sounds, people and culture that established the Bristol Sound in the 1980s.

Site

City Mapping

Our city mapping route started to the north west of the site at Abbots Leigh Road and finished east of the site at Milford Street. As we travelled east to the start of the route, we noticed a transition from urban vandalism (graffiti, littering etc.) to a form of natural vandalism (weeds, brambles scaling walls etc.). We, therefore, decided to document and analyse this transition as we descended back towards the site and into the residential area of Bedminster. Analysis of the level of urban and natural vandalism was recorded alongside an analysis of the level of movement at each site.

Site 1

Clifton Lodge

Site 2 Rownham Hill

Site 3

Edge of Red Deer Park

Site 4 Clanage Road

Site 5 Western Harbour

Site 6 Cumberland Road

Site 7 Vauxhall Bridge

Site 8 Coronation Road

Site 9 Milford Street

Critical Reflection

Our studies found that the intensity of natural and human vandalism both peaked at the Western Harbour site. The speed of movement also peaked at the site with a high number of cars passing across the flyover. This suggested that the speed of movement may be linked to the amount of human vandalism with high-speed movement resulting in reduced supervision of a space.

In the review of our work, there was widespread criticism of using the term vandalism for both natural and human types. This interested me as I had failed to observe either through a positive light. However, looking back through the study I began to appreciate the time and skill involved in the graffiti particularly. I, therefore, decided to pursue further avenues of site study to celebrate the graffiti as art rather than vandalism. I also noticed how the natural ‘vandalism’ aligned with my beauty manifesto of natural disorder.

Response to Site

During the group mapping review, the critics felt that vandalism was the wrong term to describe the city’s graffiti and was associated with negative connotations. I returned to the Western Harbour site for further observations the following week and spent much time walking under the A3029 flyover. Viewing the graffiti covering the flyover’s columns gave me an appreciation for the skill and effort it takes. This flyover is in fact an appropriated community art gallery.

The removal of the flyover to many will appear as a positive for the city. However, it is apparent that the structure is in fact a creative canvas for many Bristol residents. To the street artists, skateboarders and BMXers this space is a safe haven and shelter. Removal of the structure raises the question of how any proposed development of Western Harbour would cater for the displaced creatives.

Shelter

Cars rumble on the tarmac above, rushing from A to B. Little do they know of what’s below, down here I sit carefree.

Others pass through down here, they walk at such pace. Heads angled towards their feet, they fear it’s a dangerous place.

They have this all so wrong, giving this place a snub. There is nothing sinister here, this is our creative hub.

Life in the city can be so terribly hard, constantly swimming against a delta. Yet here everything seems so simple, for this is my shelter.

A City of Expression

Bristol is a city of colour and as you walk around the city it is evident that residential properties act as an artistic canvas for their occupiers. Front doors are one such element utilised by city residents as a public-facing canvas. Front doors can act as an expression of the families who dwell the city.

Many in the city are not fortunate to own their own residential property and as such miss out on an important creative output. Young adults are likely to form a very large proportion of this demographic. It, therefore, raises the question as to what creative outlets are available in the city for these individuals. Should the space in between the ctiy’s residential properties act as a public canvas for all residents of the city?

Front Doors of West Bristol Formalised Street Art - The Front Doors of West Bristol

The Loss of Music

The loss of the flyover is just one of the many creative spaces that have been lost in Bristol recently. A city renowned for its creative and diverse culture is being homogenised by this loss of creative outlets. Bristol’s music scene has been particularly hard hit, with numerous club venues closing in recent times and many more at risk of imminent closure. A large factor behind the loss of creative spaces is the rising popularity of the city causing increased land values – Bristol has become a victim of its own success. Many music venues are now being forced to shut down to allow for residential redevelopment onsite or due to noise complaints from nearby new developments. This loss of venues takes a significant toll on the city’s social wealth and sadly has the greatest effect on those least privileged.

Blue Mountain - Closed in 2020 with plans for 245 student units

Lakota - Closing imminently with plans for 46 residential units

Initial Approach to Landscape

It was integral to begin the design process at a site wide level in order to assess the needs of the Western Harbour and hence allow these to drive the design of all proposals. The site is uniquely situated on the converging boundary of the urban and natural realms. Despite very few buildings on the site, a sea of tarmac presents it as a harsh urban landscape. As a masterplanning team we were incredibly excited by the opportunity to allow nature full access to the site and putting nature as the driving force behind the design of all building proposals.

The site is currently very much under fulfilling its potential as a vital social asset within the city. Connections to and within the site will be essential to engaging the community with the Western Harbour. The limitation of vehicular access into the Western Harbour will be beneficial to the site’s social value. Public transport and pedestrian routes will ensure accessibility.

Proposal Siting

Skaters interviewed under the flyover described the isolation of the location as something that attracted them. The flyover is easily accessible from the city centre yet paradoxically disconnected from it. The siting of a new creative outlet on the south side of the site provides a level of disconnection from the busy north. The natural setting provided by the New Cut on the Western Harbour’s south side also allows for the immersion of the proposal in nature. This immersion could be used as a means of establishing the landscape as a found space.

The natural south allows for the proposal to look to the beauty of natural disorder as a driving force behind the design.

The Ecological Setting

Nestling into the Setting

The proposal will sit alongside the ecologically rich New Cut on the south of the site. Any built intervention must place nature at the forefront.

1. boardwalks - light-touch paths through the landscape

2. Reed Beds - The re-establishment of rich reed beds along the top of the mudflats

3. Meadows - lengthening the green edge by bringing meadows up from the reed beds

1.

Current

Extending the Natural Edge

Proposed

2.

3.

Observations of the site clearly identify the erosion of creative outlets within the city of Bristol - the removal of the flyover is the loss of an informal outlet. These spaces are vital to the social and cultural prosperity of the city. The city must fight the rise of homogeneity brought by corporations and developers. Instead, Bristol must celebrate its roots as a distinctive city in the formerly ‘disconnected’ South West.

Music was a defining component of the city’s culture with global exports of the trip hop genre synonymous with the city. The once thriving Bristol Sound has been worn away as the city’s economic prospects have risen. The two, however, can coexist and hence the re-establishment of the Bristol Sound is the focal point of this programme.

The Why

A large number of West Indians settled in the St Paul’s area of the city thanks to the Windrush generation. They brought reggae and jazz to Bristol

St Paul’s riots took place in response to police targeting of black communities. The resultant police retreat saw sound systems play through the night, developing the diverse sound

The proposal is for a creative music hub at the new Western Harbour development - The Bristol Sound Hub. This hub will provide venue spaces for Bristol’s local music community to share the Bristol Sound with an audience from across the city and the Southwest. The proposal will look to unite those without a creative space by offering spaces for music and skateboarding. An educational provision will sit at the forefront of the programme, aiming to bring in those without a creative outlet and offering them the resources to develop musical skills. This programme will help foster a new generation of Bristol musicians and help to re-establish the city’s musical credentials.

Sound system cultural began to develop in the city with frequent police impoundings of the systems.

The diverse, racially integrated community of Bristol helped form Massive Attack, aided by the arrival of US electro and early hip-hop.

The term Bristol Sound is coined to describe the eclectic music arising from the city. The genre was globally referred to as trip-hop

The Bristol Sounds remains but the city’s music exports have drastically declined from the levels seen in the 1980/90s

The Level club closed paving the way for numerous clubs in the city to follow suit.

This new venue has the potential to shape the future of Bristol’s music and its exports

The Bristol Sound Hub will provide a landscape offering shelter to bring the city’s creatives together. The landscape will be made accessible to skateboarders to give them the creative space that is being eroded from the city. Skateboarders will be encouraged to engage with the music programme.

The Programme

The Bristol Sound Hub

musicians. The teaching will be provided by the existing musicians of the city. This will

These functions of the Bristol Sound Hub will all combine to provide the perfect environment for creative collaboration across all demographics of the city. This will help re-establish the Bristol sound of the 1980/90s.

Creation of Brunel Lock Community

Brunel Lock Community

This landscape bounded by the water’s edge, This spit of land, this tidal ledge, Between the fluid world of sand and silt, And the static basin, which man has built,

An ancient place with nature abound, Blessed with fruits to forage from the ground, In pockets where all life is tamed, Crops are grown and life sustained,

People came and carved their way, To build themselves a place to stay, In the clearings amongst the green, Along the paths where few had been,

All their needs met by the site, Nature first, the approach is right, With people and place at its heart, A community from the start.

The Site as an Ancient Landscape

The Western Harbour will be viewed as a piece of ancient landscape, and all built interventions will be highly considered to respect this. The site’s land will be regarded as a commodity, and if developed, nature must be placed at the centre of the proposal. Buildings will sit within forest clearings or between crops. Development will be permitted only where it brings value to both the natural and human communities.

The Approach to Place

Cyclical Approach

The Brunel Lock community will look to establish itself as a self-reliant city district. Flows to and from the site will be minimised, and instead, closed cyclical processes will be pursued. Tidal power generation, biofuels, compost waste energy and solar will provide a reliable, green energy mix. Furthermore, community gardening will promote cyclical consumption to help reduce the site’s wastage.

Nature First Community

Natural and human communities will not be segregated and instead the site will promote the integration of the two. Residents will be encouraged to contribute to the community cycle to help propel the site’s social and economic credentials. All non-residential amenities will prioritise the site’s natural community, with sustainable consumption at the heart of their practice.

The Brunel Lock community will address the inequality in the city’s housing market by creating a diverse development for first time and low income buyers. The vision is to join community and nature.

The Site Strategy

The Foraged and the Cultivated

The Western Harbour is uniquely positioned between the tidal waters of the New Cut and the managed, still waters of the floating harbour. These two bodies of water strongly contrast one another. The New Cut’s rich tidal mudflats act as a natural setting whilst the concrete retaining walls of the floating harbour are aligned to the urban setting of the north. The masterplan is driven by a landscape that is derived from the two bodies of water - the foraged (New Cut) and the cultivated (Floating Harbour).

Landscapes of the Foraged

Landscapes of the Foraged

Reed beds

Allotments

Mown Meadows

Community Gardens

Woodland

Crops

The Foraged

The Cultivated

Critical Reflection

The concepts for the site strategy were well received at the masterplanning review. However, the critics did not feel that the masterplan manifested those concepts fully - particularly the idea of foraged and cultivated. They also thought that the site density was far too low to create a suitable city community. The re-worked masterplan looks to address these issues. The differentiation between the foraged and cultivated divide of the site has been emphasised through greater consideration of the landscapes of either side.

The housing density of the Brunel Lock community has increased from 52 DPH to 91 DPH. This is achieved through the tightening of excessively large courtyard spaces and also the dense arrangement of typology 2 along the central spine.

The Approach to Housing

A community engagement report identifies a strong desire amongst the people of Bristol for the Western harbour development to avoid high-rise living. Therefore, as a masterplanning team, we began the process by identifying successful low to medium-rise developments.

Mcgrath Road by Peter Barber was selected as a relevant precedent for the Brunel Lock community. The back to back arrangement of dwellings, one facing the street and the other the central courtyard, was of particular interest. Private & public outdoor space

Back to back dwellings

Encouragement into the courtyard

Conceptual Section

Layers of Transition

The Dwelling

Defensible Space (Front garden area)

Shared Courtyard/ semi-private garden The Neighbourhood

Dual Aspect

The ‘battenberg’ typology was developed as a response to the analysis of McGrath Road by Peter Barber. The arrangement allows each dwelling to have a relationship with both the street and courtyard. The typology also ensures that south-facing glazing can be delivered to all units despite the back to back plans.

Densification

A second typology was also developed that utilised the same dual aspect back to back arrangement for the base dwellings but with the addition of two apartments on the top two levels. A 2 bed and 1 bed apartment sit on levels four and five, respectively. These apartments are accessed via courtyard-orientated decks and feature small terrace gardens. This mix of dwelling sizes aims to foster a diverse community.

The development of the scheme

Derelict (Site)

Being in a very poor condition as a result of disuse and neglect

Harmony (Programme)

The combination of simultaneously sounded musical notes to produce a pleasing effect.

Derelict relates to the sense felt on site the day of the initial visit. The site is not derelict with B Bond housing many office workers and residential properties along the eastern fringe. Nonetheless, as we stood on site in the pouring rain it very much felt derelict at the ground plane level.

Harmony arises from the musical nature of the brief. It will be interesting to find physical manifestations of a word that is associated to the sense of hearing.

Derelict Harmony

Playing and Making Derelict Harmony

During the looking phase of the process it became evident that natural exploitation was a common link between a number of the images. The playing stage model explored the powerful ability of nature to consume and fracture the man-made world. The making stage drawing looks at how nature could be introduced from the south of the river and brought across to the site, allowing it to exploit the city’s edge that is currently protected by the New Cut.

Ashton

Ashton Western Harbour

Western Harbour

Obscured (Site)

Keep from being seen; conceal.

Assembly (Programme)

A group of people gathered together in one place for a common purpose.

Obscured is derived from the murky conditions of the New Cut water alongside which the proposal will sit. The water’s high levels of sediment cause the appearance that evokes feelings of intrigue and apprehension.

Assembly is influenced by the act of attending a musical performance and the collective nature and feelings of those individuals. These individuals accumulate to form a mighty physical and vocal grouping.

Obscured Assembly

Asking and Looking

Playing and Making Obscured Assembly

I found the idea of clusters very interesting and the fact that the looking stage identified that often a clustering of objects created a sense of obscurity through not being able to read the individual elements. The model looks at how simple blocks can be arranged together to create obscurity in their forms and in the spaces that they shield. The model mimics a tight street where it is incredibly hard to read individual buildings.

Transitional (Site)

Relating to or characteristic of a process or period of transition.

Unity (Programme)

the state of being united or joined as a whole.

Transitional is motivated by the tidal nature of the New Cut which provides a fascinating environment within the city context. The daily transitions of the tide continually reveal and replenish the silt banks that act as a rich habitat for a plethora of wild species.

The proposal will ultimately aim to unite and foster relationships amongst the city’s residents and visitors. The love of the music will provide a common basis upon which the unity of individuals will be formed.

Transitional Unity

Playing and Making Transitional Unity

The Images of the looking stage all had a link to ideas of the movement of forces. This model progresses from the ideas obtained from the images and looks at a form where simple individual elements work together to create a sense of motion. The making stage then began to explore ideas of load transfer and the movement of loads. The looking and playing phase allowed for me to identify the idea of grounding and the transfer of loads from a height down into the earth. My initial ideas were around grounding through heavy structures. However, I then progressed to the idea of a tent where load is transferred to the ground through tensile members. Hence I began to explore the idea of tensile structures for a building form.

Muff on a Huff Puff

Natural Dispersion

This word pairing arose from ideas developed from ‘derelict harmony’ during asking, looking, playing, making. The idea of the site acting as a device to capture nature from the south and dissipate across the Western Harbour.

A. Concept Diagrams (own)

Clustered Obscurity

Again this instigating pairing came from asking, looking, playing, making. I found the idea of creating an obscured illusion through the use of repeated, identical forms.

Transitional Unity

I wish to pursue this word pairing both in terms of the building’s form but also in the way that users of the building move and operate within it.

Natural Dispersion

Nik created an interesting interpretation for the typological diagram by arranging a building plan around the dispersed flows. The form is reminiscent of a leaf.

B. Typological Diagrams (Nik)

Clustered Obscurity

This typological diagram, created by Nik, highlighted to me the duality of obscurity possible. Both the obscurity of form in addition to obscurity of space.

Transitional Unity

This typological diagram looks at how a lozengeshaped object could be split and shifted apart. The space in between the remnants appears more interesting than the objects themselves. Tight passageways could guide people between the building fragments.

Natural Dispersion

I was conscious that Nik’s typological diagram could lead to plans that were very similar to the diagrams. I, therefore, decided to create a slightly more vague typological diagram myself.

C. Typological Diagrams (own)

Clustered Obscurity

Again, I didn’t want the diagram to dictate the plans and sections too heavily. Therefore, this diagram looks to highlight the courtyard element of Nik’s diagram in a somewhat more relaxed way. The collection of circles does not appear as a building form.

Transitional Unity

I Decided to create this diagram in an effort to highlight the importance of negative space with ‘fractured unity’. The diagram looks to disguise whether white space is building or negative space. This allows the drawer of the plans to interpret the diagram as they so wish.

Natural Dispersion

Kieran created a very interesting set of drawings for ‘natural dispersion’. The drawings provided an interesting way in which a landscape based idea could be interpreted as a built form.

D. Plans and Sections (Kieran)

Clustered Obscurity

These drawings create a really interesting hierarchy of spaces - both built space and found space. The large central courtyard with smaller semi-enclosed courtyard could be really helpful in creating diverse landscaped areas.

Transitional Unity

Again, this set of drawings presents an interesting arrangement of courtyard spaces. The plan highlights how the fracturing pattern could be a helpful way of creating public routes across the site.

Natural Dispersion

My drawings began to explore how a pair of buildings could be used to create a semienclosed space between. ‘Capturing’ a piece of landscape could be highly beneficial to the external program of the building.

E. Plans and Sections (own)

Clustered Obscurity

My developments looked at how the clusters of buildings could be unified by a single canopy allowing for a place of shelter for both building users and the wider public.

Transitional Unity

These drawings began to develop Kieran’s ideas by enhancing the sectional diagram of the building in an effort to create a more engaging experience for users.

Natural Dispersion

Ginny’s model of Keiran’s plan and section was really interesting with a scale-like effect. The overlapping scales created a porous end elevation which then narrows to a slim form.

F. Models (Ginny)

Clustered Obscurity

This model showed the really effective play of height between the various clustered forms. It also highlighted how the height variation could be functionally practical for application to the brief since venue spaces will dictate for high ceilings.

Transitional Unity

This model didn’t show much new information from the plans and sections. Nonetheless it acted as a handy device to assess the effectiveness of the angled fragmented roofs.

H. Detail (Alex)

A place of shelter and rest for passing pedestrians. A heavy base grounded to the earth and at one with the surrounding landscaping allows for people to sit and enjoy a slice of nature. A light weight structure rises above forming much needed protection. A place for people to socialise and meet.

Critical Review

The Muff on a Huff Puff process provided amazing insights into how the project could be approached and it was interesting to gain insights from my peers. As a building form I found the clustered obscurity diagrams the most interesting. I really enjoy how the obscurity of the form creates obscured pockets of landscape and this can allow for found spaces to be formed around the building proposal.

Detail 1 - Acoustic walls

The aim of this model was to test the suitability of fabric formed concrete in creating an acoustic wall system that could be used throughout the music performance spaces. Fabric forming allows for the creation of convex curves incredibly easily. Convex curves are very good at distributing sound throughout a room, and so the technique appeared particularly well suited to producing these elements. Metal bars were positioned to create tapering curves in the canvas fabric. The heavy fabric created an attractive textured surface reminiscent of recording studio fabric wall panels.

Detail 2 - Forming the Shelter

This detail focuses on replacing the physical and metaphorical shelter lost through the removal of the flyover. This new shelter will present itself as a natural element that is overpowering the urban built form due to the studies of derelict harmony during Asking, Looking, Playing, Making. This first exploration of the structure looks at using small section timbers that collectively work to produce an incredibly efficient structure. This collection of timbers working to create a greater result is similar to the amalgamation of people and styles that defined the Bristol sound. This structural system also allows raw douglas fir to be used rather than human-produced products, such as glulam. This truss system allows for large open spans that could provide an open outdoor performance space.

Roof Variations

The roof covering must help convey the temporality of nature to enhance the presentation of this structure as a piece of nature. An exploration of various options for a roof that would provide the much needed shelter whilst enhancing the structure’s natural appearance.

None of these options worked overly well in fulfilling the full criteria required of the roof. The ETFE option provided a sufficient shelter and also allowed for light to permeate. However, the cumbersome mechanical system did not align with the structure. Meanwhile the two fabric options presented issues of water accumulation. Therefore, this element of the detail needs to be analysed further to find a suitable option.

ETFE Woven Fabric Retractable

Exploring the connection of heavy concrete walls to the lightweight truss structure

Grounded Connection

In achieving the natural appearance required of this timber structure, it was vital to scrutinise the way in which the timber met the ground plane. The desire was for the timber to appear as though it was growing from the ground. This posed problems since timber is best raised away from the ground in order to increase its longevity. Therefore, the developed detail looked at how the timber columns could be kept away from rainwater whilst extending down below the ground plane. The result was a steel plate ground connection that sits below the finished exterior level, allowing the foot of the columns to sit flush with the ground. A drainage gully running around the base of the steel ensures that any water is moved away.

Sectional model showing the metal fixing structure below the finished external floor level. A drainage channel runs around the perimeter of the metal fixing plate to ensure that rainwater does not collect and damage the timber or metal.

A small shadow gap around the timber columns plays both a functional and aesthetic role. It ensures that water does not pool around the timber. More importantly, though, it forces greater emphasis upon the ‘tree-like’ columns.

Detail 3

- Shaping the Landscape

A key theme behind the design of the external landscape is for it to echo the characteristics of what will be the former creative space sitting under the flyover. A vital feature of this area is its adaptability. Skateboarders have an array of various items at their disposal; they use these to shape and mould the space that they need for their ability and intent. It is, therefore, integral for the proposal’s landscape to allow for users to shape it themselves. This design is for a range of moveable objects that perform various functions. Firstly, they can be used as seats. A removable seat pad offers a comfortable resting place. Alternatively, a formation of the objects has the ability to create staging for live performances.

These landscape modules look to take inspiration from clustered obscurity and the idea of amalgamating components to build something far more significant than may appear possible with the individual modules.

Clustered Obscurity Landscape Blocks

The final design is constructed from 18mm marine grade plywood. The plywood elements utilise finger joints in order to increase the strength of connection and ensure longevity. The materiality and joining technique are heavily influenced by the skate assets under the existing flyover.

The notch cutouts allow for stacking but also allow for the insertion of an upholstered seat cushion. The notch provides a sturdy connection between stacked units and ensures that units will not slip when stacked.

The ease of movement of the landscape modules is incredibly important to ensuring that they are utilised. A key constraint to the design of any handle is that it cannot protrude from the timber surfaces, since this would prevent the modules from stacking. The design process began with the analysis of a number of hands in order to gather data that could produce an ergonomic design. This data was then used to sculpt a handle concept using Rhino. The finger grips were incorporated on the top and bottom of the handle since the units would be carried both ways dependent on whether being used as seats or staging. The ergonomic grip is not visible from the external face and so comes as a pleasant surprise to users when first used.

Amalgamation

Sound system culture was a crucial component in the formation of the Bristol Sound throughout the 1980s. Each speaker acts as a humble individual component when viewed in isolation. However, when the speakers are brought together, they form a powerful amalgamation of sound and physical presence. Each sound system component performs a specific function, yet this is unidentifiable when working in unison - clustered obscurity.

Clustered Massing Studies

Study 1 Study 2

Interim Review

The scheme presented at the interim review was an arrangement of three separate built forms with the timber shelter acting as a binding structure between the three. The plan is arranged to allow for the cyclical movement of users around the proposal - from education and through the various performance spaces.

Clustered Obscurity Massing Moves

Obscured Assembly Natural Integration

Cyclical Process

Clustering

Three-dimensional Performance

Cyclical Process

Ground Floor Plan

A moment of compression at the entrance.

Clustered massing forms numerous private landscape pockets around the building. Users can appropriate these as they wish.

Outward facing venues with minimal threshold to the external central performance space

The New cut acts as the backdrop for external performances with a dense reed bank.

First Floor Plan

A large double height main venue space provides the suitable space for a plethora of music events and staging. The mezzanine allows for views from a height

A double height community engagement space allows for vertical connectivity between learning spaces.

Terraces formed from the cluster allow for connections of creatives with the natural setting to the south.

Section A-A - through the main venue space

Section B-B - through the small venue space and education space

Interim Review Reflection

The interim review allowed for a particularly beneficial discussion to consider all the collated process work and assess the current design alongside this. I received some extremely helpful feedback that gives focus to the continuation of the design process. The critics focused on specific areas of the design that they wanted a greater emphasis on:

- Create a journey to the performance spaces

- Explore the landscape from the viewpoint of a skateboarder

- Allow for the whole building and landscape to become a found space. It was suggested that I look at the venues of the 1980s and how they could inspire this found space

- Create sensational, intriguing, and diverse performance realms

The critics particularly enjoyed the massing model produced but felt that the current plans did not align with the inward, monolithic nature of the model. They expressed a desire for me to pursue this inwardness to create the journey to the music.

Exploration of the Inward

Following the feedback from the interim review, a design development stage began to explore methods in which the music could be concealed to create a journey to it. This was further inspired by the 1980s rave culture of Bristol music. Many communities were marginalised, and their music had to move underground. Listeners of the music had to work to get to it and journey to remote warehouses and derelict buildings across the city.

Testing the Buried

The idea of burying as a form of concealment brought the interesting proposition of a landscape shaped by the roof forms of the ‘bunkers’. Pop ups and pitches would articulate a ground plane that could be appropriated for a variety of uses - skateboarding included.

The City as a Playground

A journey through the city from a skateboarder’s perspective. An interview with a city skater

Adaptability

“I like the ability adapting the skate park under the flyover. I can move the rails and wooden ramps to create a set up that suits my skating.”

Texture

“The surface of the city’s pavements are often very challenging terrain to skate on. Frequently, I chose to use skate on the road for this reason.”

Appropriation

“Street skating brings the unique challenging of trying to utilise what ever street features you can to create tricks. Steps and railways can be used for grinding.”

Openness

“The plaza outside of the Lloyds building is one of the few large open public spaces in Bristol that can be skated. The scale of the plaza allows for a lot of freedom.”

Views

“I tend to try and skate along the harbour front if possible as I really like a nice view for my commutes. It beats the streets of the city.”

Compatibility

“Skateboarding in the city is frowned upon by many and skate deterrents are now widespread. A good skate spot offers a level of compatibility between skaters and the other space users.”

The Appropriable Ground Plane

It feels important that the landscape is not designed explicitly as a skate park and instead, it is a found landscape that skateboarders and other communities can then appropriate - much like the current skate park of the flyover. This landscape developed with time as people brought their own skate ramps and rails to furnish the space. The previous exploration of burying the buildings could be used as a means of achieving this. Raising the buildings up slightly so that they are only semi-submerged and surrounding them with lower-level clusters would blur the boundary between landscape and building.

Clearing in the Woods

The clustered rise and fall of the ground plane helps to conceal the music at a local level. However, the landscape provides an opportunity to conceal the music venues further and to create a sense of journey from the streets of the Western Harbour. The rave culture of the 1980s acts as a further reference to this proposition. Raves featuring Bristol sound systems featured through rural woodlands of Somerset and Gloucestershire. This instigates the idea of encompassing the proposal in a dense woodland and positioning the proposal as a clearing in the woods.

This also aligns well with the proposed foraged southern side of the Brunel Lock community.

Trees removed from other areas of the site will be extracted and repositioned onto the site instead of felling them.

Landscape Thresholds

Light touch timber boardwalks raised above the ground level guide walkers and skaters into the clearing. The timber boards are sufficiently spaced that skateboarders feel the transition from the Western Harbour streets to the woodland trails. As skaters transition over the threshold of the clearing edge, the sensation underfoot changes drastically with the smooth concrete surface. Suddenly, the sound of thudding wheels dies, and the vibrations underfoot are removed. This transition distinguishes the special nature of the clearing.

Design Development

This design development looks to create a clear and logical journey to both viewing the music and learning the music whilst keeping a level of concealment. Focused trails lead to a central courtyard where the journeys to education and viewing begin.

The Ground Extrusion Rammed concrete

The sky Translucent Polycarbonate

The Forest Douglas fir sections

Breaking the Monolith

The venue spaces require few openings, and hence the monolithic form can be retained with ease. However, the education centre requires openings both for lighting and to give a sense of openness and approachability. These openings must be formed in a manner that does not compromise the monolith.

Perforated concrete panels allow for a dappled light to flood the internal spaces whilst maintaining a sense of inwardness. Perforations have been explored by studying the perforated grilles of music speakers. A clustered obscurity perforation pattern is explored as a means of creating interest.

The plaster study model of the perforation pattern highlights how the detail creates a sharp contrast difference between the openings and the surrounding wall. Further development of the detail looks to Le Corbusier’s Ronchamp Chapel as a precedent. The building uses splayed openings on the inner face. These angled reveals receive light and bounce it into the space. This gradates the light level from the brightness of the glass openings to the dark surface of the internal concrete wall surface.

Internal Elevation

Section

Summer Sun

Winter Sun

The protruding corten lining acts as the cut to open the monolith. It also shades the glazing and limits reflections to allow views in from the landscape

The sounds of musical rehearsal are emitted from the perforated panel and act to draw new creatives in.

An internal record storage joinery fitting thickens the wall further and accentuates the solidity and heaviness of the monolith

Material Appropriation

The Bristol Sound Hub is a space of the people and they are the people who must shape how it is used and represented. The rammed concrete walls act as a natural basis and blank canvas for the city’s residents. As they shape the future of the Bristol Sound, they too shape the appearance of the music’s physical manifestation.

Year 5

Final review proposal

The Beacon of Learning

Design Strategies

The Clearing Focused Trails Musical Journey

The Found of the Cluster

The ascent to a musical learning experience

The Creative’s Journey

Individual Practice

Collaboration forming

Group Practice

External Performance

Introduction Venue

Main Venue

The Crowd’s Journey

External Performance

Introduction Venue

Main Venue

Main venue performance - mezzanine view

Entering the clearing

Spontaneous performance

A mechanical ventilation strategy will be used throughout the two venue spaces in order to ensure the integrity of the acoustic envelope – hence protecting nearby properties from excessive noise pollution. A displacement ventilation system will be used given the height of the performance spaces. The education element of the proposal will use natural buoyancy ventilation given that the occupancy level is far lower.

Environmental Strategy Air Heat Light Water

The venue spaces will predominantly be used in the evenings and early hours of the morning and so natural lighting of these spaces during use isn’t possible. The monolithic nature of these spaces ensures a superior thermal and acoustic barrier. The education element of the building will feature glazed openings to ensure sufficient levels of natural daylighting. Suitable shading is provided to these windows by the protruding metal lining.

Thermal mass is used throughout the whole proposal as a means of reducing the heating and cooling demands of the building. During the winter months heat will be supplied to the building through the floors from the water source heat pump. Meanwhile, in the summer months the same system will be utilised to cool the building. The thermal mass of the venue spaces will be able to help regulate the internal temperature when the occupancy level is high. A night time purge of heat from the education centre will help to remove excess heat stored in its thermal mass.

Bathrooms will constitute the greatest share of the building’s water usage. Therefore, the roof of the proposal’s timber canopy will be utilised to collect rainwater that can be used for toilets flushes. The collected rainwater can also be used for irrigation of the surrounding landscape if needed during dry spells.

Critical review of the scheme

Final Review Reflection

The critique I received in my final review was incredibly helpful and provided plentiful avenues to enhance the design and ensure that it was strongly connected to the original site observations and the brief.

It was suggested by the reviewers that the building should be more porous with the addition of large openings to the music venues. This has been a constant conflict throughout my design process with both of my tutors holding different views on the solidity of the music performance spaces. I was keen to follow the views of one of my tutors in that the project aims to conceal the music and therefore the venues were presented as monolithic arrangements of blocks. This concealment of the music addressed practical concerns in regard to the amount of noise escaping the building. This was very much linked to the original site analysis whereby many Bristol venues have been forced to close due to noise complaints from new residential developments. Complete concealment of the music was also intended to align to the desire for a journey to discovering the music. Nonetheless, I understand the practical concerns of the critics regarding how a large volume of people exits the venues without a greater number of openings.

I was also encouraged to enhance the wayfinding of the scheme. The critics understood that the project was aiming to conceal the performance spaces, however, they felt that a greater level of wayfinding was needed for the education centre to encourage people in.

The critics also had desires for the canopy to be explored in more detail with the possibility of openings in certain areas to allow light to flood onto the concrete surface below. They also suggested that the canopy should have a blurred edge to the surrounding woodland.

I was slightly disappointed with the final review. However, I understand that the feedback given was not critical of the core principles of the project and instead they focused more on finessing details to best align the scheme to my initial concepts. The following pages will explore developments to the scheme in response to the feedback that I received.

Revised Ground Floor Plan Not to scale

A large sliding door provides a suitably sized exit that can be opened at the end of any events with a large number of people. People will emerge to the woodland edge.

A further sliding door from the mezzanine level ensures that the venue can be safely emptied at the end of any events. These sliding doors will be opened at the end of events to allow people to exit. Entrance to the venue spaces will always be via the ramp to ensure that the journey to the music is followed

The addition of a vehicle access route to allow for deliveries of performance equipment and bar deliveries. The critics suggested a widened straight boardwalk for vehicle access, however this ensures the trail like nature of the boardwalks

A far larger entrance has been added to the archive as the critics felt that the existing door was too domestic. The original door was a flush concrete door aiming to conceal the archive. The new doorway is glazed and recessed as per the entrance to the education centre.

Venue Attendee Flows: Entrances

Exits

Before Performances

Scale: 1:50

Venue Openings

After Performances

Scale: 1:50

The critics were keen to see the addition of openings at ground floor level to the main performance space to allow for large crowds to exit the venue at the end of any events. The detailing of these openings had to be carefully considered in order to ensure that it did not compromise the monolithic form. The resultant openings take inspiration from a warehouse in the south of the city. Large Sliding weathering steel doors will be closed and maintain the monolith throughout the day. The doors will only be slid open when events have concluded and attendees need to exit.

The Undefined Edge

The critics thought that the canopy roof should have more fun and so explored ways of doing this through openings and transparency. The canopy covering has been changed to ETFE as the critics advised that the railing system required would not be anymore substantial than that needed for the translucent polycarbonate covering. I explored methods of gradiating the transparency of the canopy through the use of fritting. The frit pattern looks to the edge condition of a forest clearing as inspiration. A dense frit at the edges gradiates towards a sparser frit pattern towards the centre. This replicates the experience of transitioning to dark conditions in the centre of a wood to the dappled lighting condition at the perimeter of a clearing. Openings are created in the canopy to flood areas of the concrete base with light.

Breaking Cover

The critics had a desire to see openings in the canopy roof. have achieved this by first mapping out areas where cover is vital. From this have positioned three large openings that allow light to flood to the concrete clearing. This helps to truly align the proposal to the physical and light qualities of a forest clearing. Updated

Stair Development

The stair of the education centre is a key detail given the ascent to the start of the musical discovery journey. The critics felt that the original stair design was out of place and overly complicated. revised the design to a simple weathered steel staircase with a solid railing. This staircase looked far more suitable for the space however it blocked much of the dappled light that fell on the walls and floor through the perforated concrete detail. The corten stair design was, therefore, further revised to have a perforated railing featuring the clustered obscurity pattern used on the perforated concrete panel. This perforation of the railing allows for much of the light entering the building to then fall on the wall and floor surfaces.

Update 2

Original Design Update 1

Additional design studio tasks

Threshold

The masters course began with the exciting task of assembling into groups to spend the week designing and building an installation responding to the theme ‘threshold’ We identified a passageway leading from the university lake to the parade underpass as the site for our intervention. This area was chosen as we decided to highlight the division of serviced and service spaces. We hoped to accentuate the existing threshold into the underdeck area in an attempt to draw attention towards it, and in doing so, raise the question of whether service spaces and workers should be treated in the manner shown by the university.

When moving along the underdeck area, there is a noticeable sensory difference to the ‘outside world’. Therefore, our installation brought the sensory experiences of the underpass to the tunnel and amplified them. Sounds recorded from along the underpass were made into a looped recording played at the line of entry to the ‘underworld’. These sounds were countered by sounds of the lake that were played at the tunnel entrance, helping to create a stark transition. Lights placed along the entry line were used alongside an increasing frequency of orange portals to enhance the line of transition from the ‘real world’ to the ‘under world’.

Beauty Manifesto

Setting out your principles of beauty is far more difficult than one may expect. A word that we hear spoken about so frequently and each day we perceive objects, moments, people as beautiful, but what are the characteristics of beauty? I spent much time pondering what I found the most beautiful; I began to reflect upon my past and look for constant beauty throughout my life. It was nature. I grew up in the country and I still head for the countryside as soon as I get stressed or I am in need of a change of scenery. But, what about nature makes it beautiful.

I believe it is the disorder of nature that acts as the source of its inherent beauty. The processes of nature and the resultant formations are beyond any comprehension. The randomness of process and object results in the richest surroundings that humans would never be capable of creating.

Disorder

Nature is undeniably a form of universal beauty. Neuroscience studies have shown that it initiates the parasympathetic system of the brain – the part associated with pleasure and relaxation. It is, therefore, clear to see why designers have long looked to nature as a source of beauty; so often these individuals search for order and patterns to implement into their work. I, however, believe that the beauty of nature is instead the result of its collective disorder rather than the rarity of its order.

At Cheddar, nothing is perfect and yet everything is perfect. It is an agglomeration of disorder. From the meandering gorge profile to the eroded rock faces through to the adventitiously positioned trees.

Nature is beautiful in both the disorder of its state and its process. As humans, I believe, we will never possess the ability to replicate this richness through artificial means.

Landscape Precedent

I was tasked with presenting a study on Quarry Gardens, a landscape designed within a series of quarries in Nanning, China.

One of the key features of the landscape is the way in which particular moments are established and framed on what is a vast site. The framing of these moments brings particular significance to them against the multitude of other views that are found along the trails.

I, also, found it particularly interesting that one of the quarries that had established a natural native environment was in fact one of the most successful of the landscapes. The project was designed for China’s landscape exhibition and so time was limited. However, I pondered whether if time was not a constraint whether the gardens would have been even more successful by allowing nature to consume all of the quarries.

Book Report

Architecture Depends - Jeremy Till

‘Architecture Depends’ is an intriguing opinion-based text that presents Till’s ideas for a contingent architectural practice. He argues that architecture, both education and practice, should be looking to engage with the demands of reality rather than trying to impose order upon it. Throughout the first section of the book, Till looks to explore the idea of contingency. Here he explains how architecture as with most other professions is subject to contingencies and it would appear sensible for architects to react to these. However, he goes onto explain that architects do not engage with them and instead try to contort them to be able to implement order over the design.

The second section begins with an example of contingency in architecture: waste. Till explains the way in which architects attempt to separate construction and waste yet the two are undeniably intertwined. He follows this with analysis of time in architecture and the ways in which architects hope to ‘stop time’ rather than work with it. He concludes the section with the proposal for lo-fi architecture. This is based off the working process of singer Elvis Costello. Costello would listen to songs through cheap radios in order to experience his work as the everyday listener would. Till postures this as the way in which architects should approach their designs.

Till’s third section explores professionalism in architecture. Ultimately, he describes a movement away from the current set up of the profession and towards a profession that is “part of the networks of others” which “confronts it with its very worst fear, that of being normal.”

Rhino Exercise

Having never used Rhino before I decided to undertake the low complexity task that was assigned. The task allowed me to begin to understand basic rhino commands and how to utilise these alongside one another.

Step

Use the box tool to create a cube with equal sides

Create two cylinders with a diameter smaller than the width of the cube

Step 3

Subtract the two cylinders from the cube using the boolean difference tool

Step 4

Create four new cylinders that are the same diameter as the original two and with a height half of that of the cube. Position on the midpoints of the cube

Step 5

Use the boolean difference tool to subtract the four cylinders from the cube

Step 6

Create a grid of the created shapes using the copy command

1

Step 2

References

https://amenbreaks.co.uk/blog/bristol-drum-and-bass-a-dnb-powerhouse/

https://depositphotos.com/75791173/stock-photo-metal-mesh-of-speaker-grill.html

https://acorntourism.co.uk/projects/master-planning-of-hurst-farm-country-park-at-haywardsheath-p676561

https://rosebanklandscaping.co.uk/portfolio/rhs-wisley-garden/

https://pixabay.com/no/photos/fen-myr-siv-v%C3%A5tmark-4020806/

https://www.timeout.com/bristol/nightlife/the-moon-club

https://www.theguardian.com/cities/2015/oct/07/bristol-skateboarders-skatestoppersdefensive-architecture

https://s-k-a-t-e-r.com/row-as-dozens-of-raised-strips-are-installed-to-stop-skateboarders/

https://www.bristolpost.co.uk/news/bristol-news/new-bristol-city-centre-cycle-1331848

https://candide.com/ZA/plants/d8052405-94ae-4129-8564-4daf5171bca8

https://www.pinterest.co.uk/pin/34199278407292644/

https://www.grazia.co.in/lifestyle/home-gardening-trends-to-hop-onto-in-2021_-7241.html

https://www.flickr.com/photos/marialuisa/302092285