2.2 Portfolio
an architecture hub for Manchester
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site analysis. shadows cast on site.
The most prominent and prevailing wind are from the south-west direction, however, the large massing surrounding the site ensure that it is well protected and retreated. The site is mostly shaded throughout the day due to the shadows cast by the existing Mayfield station. However, this produces pleasant, ambient lighting making for well lit spaces on the site.
sun and wind path diagram morning
afternoon
evening
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site topography. The site features a wide range of change in levels, with man made topography in front of the arches to natural declines surrounding the pub. The topography map (right) illustrates the changes in levels.
ground level - 1.0 meters - 1.5 meters - 2.5 meters
man made topography
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illustrating depth
natural decrease in levels
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site analysis. Manchester Piccadilly train station
The site is located within an extremely dense urban setting that has links to the industrial revolution and railway. Surrounding structures are almost all constructed out of red clay brick dating back to the early 19th century and are very large in scale.
Serving as the main railway station in Manchester, it provides links nationwide and has good links to public transport around it.
Chosen below are three of the most notable structures in close proximity to the site.
The Star and Gater A grade 2 listed building, it started off as a hotel and is now in use as a pub which hosts club nights and gigs. It’s graded status has meant there are many restrictions on the feasibility of changing its structure.
MayďŹ eld station Opened in 1910, it served as a railway station until its closure in 1986. Since, it has lay abandoned and there are many physical signs of ageing and wear apparent on its red brick structure.
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trafďŹ c analysis. The close proximity of the site to Piccadilly train station and the city centre has resulted in an area which is very active and under high levels of traffic. The overhead railway lines and the constant traffic circulating around the area also result in a high level of noise pollution exposed onto the site. However, the high number of people crossing by the site will be beneficial as it is likely to draw more people in as they commute or travel past. The site then could be used as means of circulating through Fairfield Street.
areas of high activity
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the 5 routes towards the site. There are many main roads and point of access onto the site, this diagram illustrates the five main routes available through my research. Each of these five different approaches towards the site create an individual and unique feeling towards the site from different view points. This could create a different sense of emotion each time one uses a new path to access the site. Therefore, the building can possess different and alternating characteristics dependant on how it is viewed.
Route is adjacent to Manchester Piccadilly train station which is usually congested with taxi’s and travellers. As you pass underneath the train lines, the pub and Mayfield station quickly come into view.
The raised train platforms are clearly visible from this direction. You pass directly adjacent to the old Mayfield train station and onto the busy junction.
You enter through a dark tunnel beneath the overhead trainlines. As you emerge outside, you are faced directly opposite the pub and the busy junction.
A long and narrow path surrounded by large brick structures belonging to the old Mayfield station. You emerge out onto the site which share similar ‘valley’ like features.
Pass through a dark tunnel which holds up the train lines to Piccadilly station. The ‘rib’ like structure of the tunnel releases you onto the site.
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personal interpretation of the site and feelings. The site sits inbetween two large man-made structures, the old Mayfield station and Manchester Piccadilly train station. I thought this was most like a natural valley scene as I encountered similar feelings to that of mountains and hills due to the gigantic scale of the structures on either side. The countless number of arches present in the area also reminded me of a natural setting in which these were caves and openings emerging from the landscape. Similar to the long and narrow tunnels present within caves, my initial ideas were that it would be interesting to take advantage of the long length of the site by adopting similar approaches for circulation.
The site - a figuative ‘valley’ between the Mayfield station and Piccadilly train station.
initial feelings gathered on site
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ordering of spaces. noise pollution The accumulation of the high noise pollution produced by the the busy main road and train tracks above, resulted in ordering the spaces based on their function. The ‘loud’ spaces such as the cafe are the closest to the road and on the ground floor, whereas the ‘quiet’ private studies are based the furthest away from the source.
loud spaces
quiet spaces
naturally lit spaces
artifically lit / dark spaces
light and dark spaces Differentiating which spaces require access to direct sunlight and which will be artificially lit is important in the placement of the spaces within the programme and site. They will consequently be placed to take advantage of the shaded or well lit spaces produced by the solar path.
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- office space - private study - bookshop - cafe - breakout
- lecture space - exhibition space - archive
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ordering of spaces. private and public seperation Grouping spaces together as either public or private was crucial in order to differentiate whom has open acess to which spaces. The students and architects using the private study and office spaces were classified as private users whereas the the free roam areas open to the public were the service and exhibition areas.
location of entrances and connections between spaces The private and public spaces were both chosen to have their own separate entrances, this method would reduce the congestion of people in any one space and act in a more convenient way for regular private users. w
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massing of spaces.
The initial stages of this project consisted of creating several wooden blocks which were to act as the massing for the main spaces required inside the building. I undertook research into the approximate volumetric dimensions required for each space and cut each block relative to a 1:200 scale in order to place on the site model.
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iterative testing for programme arrangements.
iteration no. 2
iteration no. 3
Every iteration began with me placing the massing blocks onto the site with regard to the noise pollution, light/dark spaces, private/public realm and parti pris. Through assessing each iteration, I was able to identify the positives and negatives of each and come up with improvements for the next iteration.
iteration no. 1
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initial ideas. precedent / Monte-Carlo pavillions The Monte Carlo Pavillions are a series of large boulder like structures, each independantly connected together by a single path which spans the length of the site. The pavillions are set on a similary long and narrow site like Mayfield and so the circulation acitivity could also function in a similar way. The round edges of the structures combined with the weaving nature of the pathway result in an effective and pleasing way of guiding the visitor through in a purposeful manner.
Initial plan draft The first set of massing iterations resulted in this inital plan layout consisting of three separate buildings. The separation was guided by an idea of utilising the long nature of the site to create a natural circulation path within. The curvature of the buildings was hence a device to guide the visitor through a seemingly natural and smooth path with regard to landscaping within too.
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process. Having assessed the initial layout I concluded that the ambigous rounded edges of the independant structures were not able to be fully justified. In addition, the separation of the building into three is not favourable due to the lack of a unified overall building. However, the central linear structure took my interest as it still maintained the idea of creating a circulation route directy through the site in a similar way. The long and narrow path formed inbetween it and the arches also contributes to the ‘canyon’ and ‘cave’ like feelings that I felt whilst on site, which links back to my parti pris.
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iterative testing for programme arrangements, cont.
iteration no. 4
iteration no. 5
Having realised that the building was going to take a long and linear form, I revisited the massing models to try and configure all of the spaces into a similar overall shape. The private study and office spaces are both placed togetherabove ground level as they share the same requirements for levels of privacy from the public and lack of noise pollution. One of the main alterations from the previous tests were to place some of the exhibition spaces within the old arches. This allows for connections to the new buiding through a series of bridges / walkways. The varying heights of the arches also produce a dynamic viewing space for exhibits.
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form composition. precedent / Fish Market in Bergen The structure resides in a coastal context surrounded by historical buildings at the edge of a pier. At ground level it features a completely translucent glass facade which almost produces a sense of it floating in the air and having little physical presence to the context. This design feature is effective in maintaining the desired views out to the coast and keeping the connection within the urban space open. It also acts as a barrier against the harsh coastal wind. When it is dark the building glows up like a beacon of light drawing attention from far and near.
Applied Implementing glazing in a similar way to the ground floor of my building seemed to be effective in maintaing the link between the main road and arches. Although the building is pushed up almost to the edge of the site, this approach provides a seamless connection at ground level for pedestrians and road users with the historical context of the arches. It’s massing also acts as a physical barrier to reduce noise pollution from the main road and train tracks which is beneficial for the exhibition spaces held inside the arches.
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form sketch model. The main aims with this test model was to trial the overall form on site and how it would fit in with the surrounding arches. The bottom half of the model is constructed with a translucent plastic material whereas the top half is made to be opaque. Through this you can observe how at ground level the arches and space inbetween are visible from the main road for passers by. This creates a similar effect to that of the Fish Market in Bergen and maintains the urban connection between the two spaces separated by the new building.
perspective view through the glazed ground floor
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light study. precedent / Fulton Centre Walt Disney Opera House The application of reflecting light has been heavily implemented in these buildings through the use of the sky-reflector net in the Fulton Centre and the reflective facade of the Opera House. The Fulton Centre (middle) draws daylight in as well as reflecting the colour of the sky outside which creates a well lit and dynamic space inside. The Walt Disney Opera House (right) reflects its outside surroundings on itself to create a unique facade. However, this had caused problems of glare and intense sunlight which has been solved by sanding the metal to help diffuse the light in several directions.
Applied Using the same techniques can help bring more sunlight into the area of space between the building and the arches, creating more well lit spaces within. The sky and the arches would also be reflected at the same time which creates an immersive experience for the visitor within.
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circulation. precedent / Richard Serra Serra is renowned for creating sculptures which often create a unique journey for the visitor through its curved forms which play on with the idea of light and dark as well as a creating a path of discovery. The circulation paths which result from his works could similarly be applied to my project in order to create a unique path across the site.
Applied By simply splitting up a solid block (the site) into two I explored the different opportunities available to pass through it. Through analysing the possible circulation of visitors through the site I have tried to envisage the different types of routes that could be possible. Landscaping of the site will also play a vital role in the circulation.
The areas of red are levels of highest activity with the yellow and rest decreasing in intensity.
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topography within arches. precedent / Moses Bridge RO&AD architects This bridge has been sunken into the ground and shares trenchlike characteristics. As a result, it creates a unique experience where the visitor is at eye level with the water around them and totally immersed with their surroundings.
Applied The site features an area of man made topography around the arches which housed the previous sub station. Rather than flattening this area, it is possible to create a sunken passageway connecting the arches together in a similar way to Moses Bridge. This creates a greater ceiling height in order to view the exhibition pieces as well as an immersive space where the visitors eye is at ground level.
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topography within arches. The man-made topography within the arches will be used for exhibition spaces which vary in levels of height. A ramp first descends 1.25m over a 15m length with a landing inbetween to reach the bottom level. Each successive column within the arches then rises up by 0.25m with the 5th arch bringing up back to ground level. This elimates the use of stairs and provides accessibility to all as well as providing a continuous viewing experience.
axonometric plan view of the changing levels within the arches
sectional view with dimensions of the topography
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programme alteration.
Previous programme layout The issue with this plan was that it made the visitors walk through a long and awkward corridor in order for them to reach the mezzanine floor spaces inside the arches from the exhibition space within the building. This was due to the public and private spaces being grouped together.
Updated layout By alternating the layout of the first floor and creating a programme which criss crosses its public and private spaces, the distance for the visitor to travel from the exhibition spaces in the building to the mezzanine floor spaces have been drastically improved. Entering the mezzanine spaces now act as part of the viewing circulation.
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mezzanine oor exhibition space, sketch model. In order to comprehend how this unique space was going to function I created a rough sectional model of two arches, one with the mezzanine floor and the other without. The land beneath the arches features a pre-existing topography which I have also included into the model. This creates a greater height for exhibitions and for clearance from the ground floor onto the mezzanine. Having the arches for the exhibition spaces linked to each other through an opening has also been explored in this model. This creates a journey and better viewing experience for the visitor.
perspective view from mezzanine floor
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connection between old and new The mezzanine floor space within the arches will be attached directly onto the pre-existing brick work within the arches. Using a fixed hinge connection allows for the mezzanine floor and the rest of the building to act independantly to that of the brick arches. This connection will produce some level of movement but it is required in order to keep both structures stable.
1:10 detail of brick walls to mezzanine oor
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180 x 75 mm channel hinge connection pre-existing brick wall of arches 100mm steel frame 150 x 150 mm in situ concrete 16 mm anchor bolts 900 x 50 mm rail
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structural sketch model. This model was made at 1:100 with the intention to fit onto the equally scaled site model. Through this physical model I was able to gain a better understanding of how it will fit onto the site, especially regarding the walkways and mezzanine floor space which extrudes from the building. Purposefully not attaching a facade onto the model helped analyse how to make the building structurally stable. On the ground floor there are spaced out structural columns which hold up the next floor and keep it stable. However, the long span nature of the first floor required bracing in the form of diagonal ties in order to keep it stable and the floor space open.
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conďŹ guring the structure. Through tracing over the photographs I took of my sketch model I was able to start sketching over the structural elements such as the bracing and columns. This provided me with a good initial idea of how the components will fit together and the overall finished look it will produce. The bracing over the cantilever side was chosen to be exposed on the exterior due to the interior space housing exhibitions on the walls. Whereas, the rest of the bracing is in the interior to reduce the formation of cold bridges over the private study and office spaces.
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iterative testing for bracing style.
bracing in the same plane as the glazing precedent / Rey Vitacura / CARREĂ‘O SARTORI arquitectos
Through researching several precedants I realised that there are several ways of implementing the bracing onto a wall featuring glazing. The main drawbacks with including bracing in the same plane or on the exterior of the glazing was with issues regarding the formation of cold bridges. This is not ideal for any building but especially not good for an office space as it can cause the growth of mould and decrease the level of insulation. Thus, I have chosen for the bracing to be featured on the interior for the office and private study spaces and traced over photographs of the model to illustrate it.
bracing featured on the exterior precedent / Cinepolis Headquarters / KMD Architects
bracing featured on the interior precedent / AH house / Seinfeld Arquitectos
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including structure onto GA’s. Transferring the structural elements onto the plan’s and section’s required in depth detailing into the careful positioning of the columns and the bracing. The structure is especially prevalent throughout the first floor, as a result, the design of the modular spaces as well as the entrance onto the mezzanine floor space had to be altered in order to keep in line with the diagonal ties.
ground floor plan
The implementation of the structure drastically changed a lot of things about the building design. The prevalent bracing provides a sense of uniformity and rigidity. It’s exposed form also improves the overall design as it reveals the structural systems to the visitor, enhancing their architectural experience and learning more about the building. In addition, it produces an industrious and high tech aesthetic, one which directly correlates to its industrious context. KEY : The load-bearing and bracing structures on the GA’s have been coloured in RED.
first floor plan
section
elevation before addition of modular spaces
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modular spaces. Initially, the modular pods were intended to extrude out by the same amount on both sides of the building and be symmetrical in nature. However, the close proximity of the building to the edge of the site facing North meant there was a limited use of space available. As a result, the pods on the North facing side had to adopt an alternative way of fitting in, within the site constraints.
South (facing) pods
North (facing) pods
progression of first floor plan iterations with the modular spaces boxed in red.
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modular sketch model. The most challenging part in designing the modular spaces was figuring out how it attaches and fits within the diagonally braced structure. Through using a sketch model I came up with a design which is suitable for both north and south sides. It is composed of a two part design, a hard structure which attaches onto the main primary structure of the building on the exterior and a soft structure which fits within the interior. The same design has been flipped in order to cater for the lack of site remaining on the north face.
soft structure (interior)
hard structure (exterior)
North pod
South pod
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modular details 1:10.
north pod Key: 1 2 3 4 5 6 7 8 9 10 11 12 13
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200mm primary structure steel frame 150mm sheep wool insulation 20mm sheathing board 30mm plasterboard triple glazed window 100mm modular pod steel frame 50mm sheep wool insulation triple glazing 3mm waterproof membrane aluminium cladding inwards opening hinge system 16mm anchor bolts zinc panel cladding
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modular details 1:10.
south pod Key:
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200mm primary structure steel frame 150mm sheep wool insulation 20mm sheathing board 30mm plasterboard triple glazed window 100mm modular pod steel frame 50mm sheep wool insulation triple glazing 3mm waterproof membrane aluminium cladding inwards opening hinge system 16mm anchor bolts zinc panel cladding
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south facing modular spaces 1:20 These private study spaces feature an array of workshop machinery and tools, ideal for architecture students to use for model making and experimentation.
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north facing modular spaces 1:20 These private study spaces are more suitable for studying with the addition of a shelf complete with architectural books and a resting eggchair for breaks.
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materiality. precedent / Jewish Museum, Berlin Daniel Libeskind
The hard wearing and rigid aesthetic of this skin will form a direct connection to the areas industrious past. However, it does this whilst also contrasting the red brick buildings in its context, applying a certain level of modernism to the area. Its slightly shiny and reflective qualities will also perform similar to the studies I completed previously on light.
The semi reflective and shiny facade of this structure provides an industrial and rigid aesthetic. The panelled nature of its construction also produces a sense of a geometric grid which conforms in an off set way according to the architects design.
modular space materiality Through iterative testing with different types of metal cladding, I chose aluminium to be the most suitable and to be applied. Its aesthetic is similar to that of the material chosen for the building so is not too contrasting, however, it features a subtle distinction in appearance for differentiation.
copper (rusted)
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gavanised steel
brass
aluminium
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landscaping, initial ideas. Firstly, I figured out the circulation route that the visitors would take throughout the site and the main points of access that were important. The landscaping is then reflective of the circulation path and helps guide the vistors to each entrance from the main points of access into the site. However, this iteration was lacking a sense of form or structure and was basic in design.
potential use of hard landscaping for resting
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process of figuring out the form
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landscaping, developed. In a further iteration, I decided to use the grid structure set out by the columns of the arches and continue them onto the landscape. This continues on the infuence of the historical arches on to the site and the landscape fits in seamlessly with its context. In order to still have an impact on the circulation throughout the site, areas of grass have been placed strategically to guide visitors to the different entrances. Tree’s have been placed for places of retreat and shelter with benches underneath to use the shade. The strips of landscaping gradually decrease in spacing as the end of the site is reached behind the pub. There is space allocated here for loading and deliveries, as a result the landscaping naturally guides visitors away from this area.
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landscaping perspectives.
Perspective’s from the east side entry
Perspective’s from the west side entry
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exhibition space interior views. This space mostly exhibits drawings on the wall and small artefacts. The doors leading to the mezzanine viewing platform blend in and almost seem like an exhibition to be explored. There, they house larger 3D models and architectural pieces.
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lecture space. noise analysis The placements of the lecture seats along with the acoustic reflectors mean that each listener will receive a double reverberation of the sound from the speaker. This will produce for a clear and loud hearing quality.
features included within the lecture space. sight anaylsis Each viewer will be able to have a clear view of both the speaker and the presentation board due to no blocking of vision.
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exterior perspectives.
view from the mezzanine floor space
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view looking through the glazed ground level to the arches
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ground floor plan 1:200
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Breakroom Lobby space Bookshop Cafe and seating area Lecture space Loading bay Archive Exhibition space Independant shops / bars
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first floor plan 1:200
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Exhibition hall Mezzanine viewing platform Fire escape stairs Cleaners storage Private study spaces Office
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roof plan 1:200
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section 1:100
section cut
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section 1:200
section cut
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elevation south facing 1:200
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exploded axonometric 1:200
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exhibit structural model 1:100.
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exhibit structural model 1:100.
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events, unlocking the town hall. This events project aimed to improve and increase the visitor experience and number of young people entering the Manchester town hall. In order to appeal to a younger target market, we proceeded down the interactive app route which would make the visitor experience more exciting for teenagers and children who may not yet realise the cultural treasures hidden within. Through group planning and consulations with a group of sixth form students, we were well informed of how this app should perform. The overall process is shown in a series of portfolio sheets on the right.
The main concept of the app is to ‘unlock the town hall’, through using an outline of the artefact, they are challenged to find the chosen artefact inside the town hall and ‘unlock’ it. Once found, they are rewarded with fun facts and bonus content, such as puzzles to complete regarding the chosen artefact. There are 20 levels of objects and artefacts to be found, each with their own special bonus content. In order to make it more interesting and engaging, they are able to share their progress with friends through social media and even compare themselves to others on a leaderboard.
The app development stage consisted of drafting design ideas for a logo, the brief was to incorporate the town hall with a key and lock idea to illustrate it being unlocked by the user when they use the app. Researching other successful app logo’s on the App Store informed me of how they are usually an image which is simple to view and understand but also efficient in informing the user of its purpose. The logo I had created was chosen by the rest of the group to be used for the app. It consists of a simple outline of the key features of the town hall within a keyhole which illustrates how it can be ‘unlocked’, when the user opens the app and discovers about the interesting artefacts inside. The gold colour chosen to embelish the town hall has similarities to that of the gold and goods found within a treasure chest as well as the colour of a worker bee, which is the cultural symbol of Manchester.
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events, ďŹ nal product.
screenshots of the app featured whilst in use
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