Vishal Mistry Architecture Portfolio 2022 by Vishal Mistry

Vishal Mistry

Profile Vishal is an ambitious and driven individual who has developed tasks to the fullest detail. From a young age, he has been thoughts of others and express these ideas through drawing has allowed him to understand that as a generation, we problems, but more so by solutions. It is our duty to devise

Vishal Mistry Architect (ARB)

a passion for completing known to challenge the and making. This ability are not surrounded by and pick the right ones.

Professional Experience Architect & Part II Architectural Assistant - WilkinsonEyre Architects Apr 2022 - Present; Jan 2020 - Mar 2022

Citi Tower - Stages 3-4 - Refurbishment of existing 44 storey Office tower in London

Personal Nationality: Residence: Languages:

British Citizen London English

• • • •

Focused on the entrance levels to the tower, consisting of the receptions, mezzanine level, Auditorium, meeting rooms and associated food and beverage offerings. Presentations the client to achieve design approval for various proposals. Produced and presented 3D models and visuals, produced agendas, and highlighted key issues. Coordination of design and review of consultant information, drawings, and BIM Models. (MEP Fit-out, Structural Engineer, Acoustics, Catering, AV and Landscaping) Change control and Value Engineering as a result of client and costing reviews.

8 Bishopsgate - Stages 4-5 - New Office led Mixed-Use 50 storey tower in London • •

Contact Website: vishmistry.wixsite.com/arch vishalmistry.work@gmail.com Email: LinkedIn: linkedin.com/in/vishalmistryarch/

• •

Part I Architectural Assistant - Hyphen Nov 2016 - Aug 2017 & Jun 2018 - Sep 2018

LUSH Liverpool - Stages 1, 4&5 - Flagship store with Retail and Spa facilities over three floors • •

Achievements Award for volunteering in the academic peer mentoring scheme 2016 Received the Kent Scholarship for academic excellence 2013, 2014 & 2015

Assisted with the design and production of the Amenities tender package, capturing the Townhall, Breakout spaces, Executive Café Lounge and Public viewing gallery. Production of drawing packages and various 3D models for coordination, technical assessment, feedback from consultants, mainly through Revit (BIM). Coordination of design and review of consultant information, drawings and BIM Models. Regular meetings with the client and the wider design team, presenting proposals through visuals and 3D models for design sign off.

Drafted drawing packages detailing the partitions and fittings of the spa experience rooms and surrounding communal spaces. Detail drawings of in-built sliding storage cupboards with embedded sinks and electrics, as well as a thorough door schedule and door drawing package covering the scheme.

LUSH Portsmouth - Stages 3-7 - Fit-out to existing large LUSH retail unit • • • •

Produced the tender package autonomously and assessed tender returns Coordinated client concept design and consultant information within the scheme Visited site fortnightly to monitor contractor progress Produced As Built drawings

Education

Various drawings displayed at Westminster’s OPEN2019 & OPEN2018 and the Kent School of Architecture final shows in 2014, 2015 & 2016

Postgraduate Diploma, Professional Practice Architecture ( RIBA Part III )

Bronze Duke of Edinburgh Award, 2011

Year 1: Design Studio 23 - Factories of the Future Year 2: Design Studio 25 - Body Agents

University of Westminster, 2020 - 2022

Master of Architecture ( RIBA Part II ) - Distinction University of Westminster, 2017 - 2019

Bachelor of Arts, Architecture ( RIBA Part I ) - Upper Second Class Honours University of Kent, 2013 - 2016

Interests Building computers Mental well-being Table-Tennis DIY Projects Travelling Sketching Football Cricket

References available on request

Key Skills BIM & 2D/3D Modelling:

Revit, Rhino, AutoCAD, SketchUp, 3D Studio Max

BIM/Clash Management:

Navisworks Manage, Solibri, BIMcollab ZOOM

Microsoft Office:

Word, Excel, Powerpoint, Outlook, Teams, OneNote

Adobe Suite:

InDesign, Photoshop, Acrobat, Illustrator, AfterEffects

Visualisation:

Enscape, V-Ray

Contents

8 Bishopsgate & Citi Tower WilkinsonEyre Architects Pages 4 - 7

LUSH Retail & Offices Hyphen Pages 8 - 15

The Body Agent

M.Arch II Research project Pages 16 - 19

The Taurini Shrine M.Arch II Thesis Pages 20 - 27

Factory of the Future M.Arch I Thesis Pages 28 - 35

The Evolution of Panoramic Perceptions M.Arch II Dissertation Pages 36 - 37

Professional - Citi Tower

Citi Beacon

Citi High Street

Citi Plaza & Citi Square

Aerial render of the proposed changes to the existing buiulding, showing the new facade and corresponding wintergardens

Citi Tower

WilkinsonEyre Architects, 2020 - Present WilkinsonEyre were appointed on Citi Tower in 2019 by client Citi to develop the design and refurbishment of the existing 44 storey tower in Canary Wharf. The design comprises of multiple destination amenity spaces throughout the tower, aiming to establish a vertical community within what is currently a rigid floorplate setup. I worked on the entrance levels to the building, which for the client, were incredibly important for the building’s user experience. Citi Plaza and Citi Square act as the ‘front door’ of the business, and the aim is to provide the best

first impression possible, with a seamless and high touch arrival experience. An adaptable showcase Auditorium enhances the meeting and events offering within the tower. To deliver Stage 3, I held presentations with the client to achieve design approval for various proposals. I produced and presented 3D models and visuals, produced agendas, and highlighted key issues. Within the design team, I was thorough with coordination of the design and reviewed consultant information, drawings, and BIM Models. I was also involved in the change control and value engineering processes as a result of client and costing reviews.

Professional - Citi Tower

North entrance approach

Auditorium

Reception

Entrance levels

Working Floors

High Street - Wintergarden

High Street - Circulation

Professional - 8 Bishopsgate

Aerial render of the proposed building within the eastern cluster

Street approach render

In Construction - Nov 2021

North core Concrete rig

8 Bishopsgate

WilkinsonEyre Architects, 2020 WilkinsonEyre were appointed on 8 Bishopsgate in 2013 by client developers Stanhope & MEC. The tower is formed of a distinctive set of stacked blocks, sitting within the raking profile of the Leadenhall building. Amounting to 51 storeys, the client wanted to maximise the letting potential of the building for potential clients, whilst also providing unique amenities within the office tower. The site lies on the corner of Leadenhall Street and Bishopsgate, adjacent to the Leadenhall building. The design team are currently working through Stage 5 Construction with the current program forecasting practical completion in 2022.

Having joined the team in 2020, I worked with the amenities team towards the production of the design and the completion of the amenities Stage 4 tender package, capturing the Townhall, Breakout spaces, Executive Café Lounge and Public viewing gallery. This involved production of drawing packages and various 3D models for coordination, technical assessment, as well as coordination of design and review of consultant information. The team held regular meetings with the client and the wider design team, presenting proposals through visuals and 3D models for client design approval and sign off.

Professional - 8 Bishopsgate

Reception

Townhall

Aerial render of the executive cafe terrace

Entrance

Cycle storage and lockers

Executive cafe terrace

Executive cafe

Public viewing gallery

Professional - Retail & Hospitality

845mm Architrave width

Door number: D1.07 Room type: Cash office Door leaf width: 751mm Material: 44mm Hardwood Fire rating: FDS30 Finishes: TBC Accessories: Please refer to Ironmongery Schedule

825mm Structural opening 795mm Frame width

751 Door leaf width

150 1 823

PLAN

SCALE: 1:10@A1

ELEVATION

2 40

10 20 5

Door handle - Refer to ironmongery schedule

JAMB DETAIL

SCALE: 1:2@A1

2010mm Door frame height

2035mm Architrave height

2025mm Structural opening

SECTION

SCALE: 1:10@A1

New Partition

Softwood Architrave Softwood Door frame

20 5

Intumescent strip/ Smoke seal Softwood Door frame

Frame width varies depending on wall type Refer to Door schedule & Partitions plan 5573/161

2035mm Architrave height

Kick plate - Refer to ironmongery schedule

SCALE: 1:10@A1

2025mm Structural opening

Cylinder thumb turn lock - Refer to ironmongery schedule

Softwood Architrave

1983mm Door leaf height

2035mm Architrave height

823

2025mm Structural opening

1500

2010mm Door frame height

900

800

3 823

Door handle - Refer to ironmongery schedule

2010mm Door frame height

1983mm Door leaf height

'FIRE DOOR KEEP SHUT' Signage

HEAD DETAIL

SCALE: 1:2@A1

JAMB DETAIL

SCALE: 1:2@A1

LUSH Liverpool Hyphen, 2017-2018

The project was the client’s largest ever store around the world, becoming five times bigger than the previous flagship. The store layout and design exhibits a new retail experience, leading to innovative fixtures and furnishings which align with the clients green and sustainable approach. It consisted of a complete transformation of the existing building interior, with 1380 sqm of retail space of over three floors, measuring 3577 sqm overall. The budget was £4.6 million and had a construction of period of 9 months. I participated in stages 1, 4 and 5. My involvement initially consisted of contributing to creating the feasibility report,

7 0mm

1000mm

2000mm

3000mm

4000mm

SCALE: 1:100 @ A1 SHOP FLOOR AREA (SQM): -DRAWING NOTES:

All dimensions shown are in millimeters unless otherwise stated. Only figured dimensions to be taken from this drawing and not scaled dimensions.All dimensions to be confirmed on site prior any work. Any discrepancy to be reported to architect/designer immediately.Please note this drawing expires within 6 months of date shown - contact lush design for information prior to construction.

GENERAL ARRANGEMENT

having documented possibilities towards shop front styles using research from historic surrounding planning applications. Having re-joined the project at a later stage, I produced a thorough door schedule consisting of 130 doors with over 60 requiring bespoke detailing. I worked heavily on the second floor which consisted of the new spa experience, where I drafted plans, elevations and sections detailing the partitions and fittings of the spa rooms and surrounding communal spaces. Within the spa areas, I created detailed drawings of several in-built sliding storage cupboards which embedded sinks and electrical fittings.

THRESHOLD DET

SCALE: 1:2@A1

Professional - Retail & Hospitality

Professional - Offices

First floor

Second floor

Ground floor

Roof

LUSH Offices Soho Hyphen, 2017

The project consisted of a refit of an unusual shaped office building in Beak Street, London. The unit measured approximately 1256 sqm over five floors and required new fittings, furniture, finishes and lighting. The budget was £350,000 with the construction period lasting three months. I participated in stages 3 through to 5. My involvement on the project was initially to survey missing

dimensions and then to create a tender package consisting of all necessary plans, sections and elevations of the unit whilst incorporating and co-ordinating externally supplied packages such as concept design and MEP drawings. The tender package also included detailed drawings of meeting rooms and kitchen specifications as well as the usual fire safety plans, typical wall and floor details.

Professional - Offices

Professional - Retail

PLUMBING LAYOUTS TO BE DESIGNED BY CONTRACTOR FURNITURE MANUFACTURED BY OTHERS, INSTALLED UNDER GC RESPONSIBILITY PLUMBING/SINKS TO BE INSTALLED BY GC

EXISTING PARTITION REDUCED IN SIZE EXISTING PARTITION REDUCED IN SIZE

NEW PARTITION

NEW SINK TO BE INSTALLED AND CONNECTED TO EXISTING PLUMBING AND WASTAGE

2 302 C 402

RACKING GIFTS 1.3

SHOWER 1.4

GIFTS 1.3 MASSAGE 1.5

RAMP

SKINCARE 1.7

FRESH & CLEANSERS 1.6

BATH 3.0

BATH 2.9 A 400

FEATURE 2.8

KNOT WRAP 3.2

GIFTS 2.5

DEMO SINKS 2.3

PROPOSED GA PLAN 1:100

HAIRCARE 2.2 GIFTS 2.1

KITCHEN 6.7SQM

AREA NOT SURVEYED A 400

STOCK ROOM 50SQM

DG-04

DG-01

DG-02

AREA NOT INCLUDED IN WORKS

DG-05

CASHDESK FEATURE 3.1

MOUTH 2.4

SPA DISPLAY 3.2

CASHDESK 2.6

MAKE UP 1.9

WINDOW 2.7

EXISTING PARTITION REDUCED IN SIZE

DG-03

SALES FLOOR 84 SQM

1 302 401 B

STAFF ROOM 6.7SQM

RACKING

KNOT WRAP 3.2

SKINCARE 1.8

ENTRANCE

SOAP 1.2

ICE MACHINE

WINDOW/ GIFTS 1.1

RACKING

EXISTING RAMP REFURBISHED. FINISH TBC

GOODS ENTRANCE

401 B

PERFUME 2.0 RACKING

C 402

PARTITION WALL AND DOOR TO BOH HAVE BEEN REPOSITIONED

NEW SINK TO BE INSTALLED AND CONNECTED TO EXISTING PLUMBING AND WASTAGE

EXISTING PARTITION REDUCED IN SIZE

LUSH Portsmouth Hyphen, 2017

of all necessary plans, sections and elevations of the unit whilst also The project consisted of a thorough refit of the existing retail unit PROJECT NO: 1163 CHECKED BY: LT KEY FURNITURE REFERENCE FURNITURE REFERENCE DRAWING REF. REF. incorporating and co-ordinatingDRAWING externally supplied packages DRAWN BY: such in the Cascade shopping centre located in Portsmouth. The unit VM DATE:as20/01/2017 DEMO SINKS 2.3 1163/200 1163/212 WINDOW & GIFTS 1.1 SCALE: 1:100 @ A3 84 MALL STRUCTURE DRAWING TITLE: 1163/213 1163/201 MOUTH 2.4 MEP SOAP 1.2 concept design and drawings. The tender package also included measured approximatelyEXISTING 147 sqm and required new fittings, furniture, DRAWING NOTES: PROPOSED GENERAL 1163/214 GIFTS 2.5 1163/202 GIFTS 1.3 EXISTING PARTITIONS ARRANGEMENT PLAN 1163/203 CASH DESK 2.6 SHOWER 1.4 plans detailing fire safety, typical 1163/215 wall and floor details at multiple scales. finishes and lighting. The budget was £150,000 with the construction 1163/216 1163/204 WINDOW 2.7 MASSAGE 1.5 PROPOSED PARTITIONS TITLE: FEATURE 2.8 1163/217 1163/205 I 1.6also completed the tender analysis of the contractors PROJECT propositions, period lasting three weeks. I participated in stages 3 through toFRESH 7.& CLEANSERS EXISTING DOOR BATH 2.9 1163/218 1163/206 SKINCARE 1.7 REFIT 1163/219 1163/207 BATH 3.0 SKINCARE 1.8 partook in1163/208 several site meetings and the final “as-built” drawing PORTSMOUTH package. My involvement on the project was to create a tender package consisting 1163/220 MAKE UP 1.9 CASH DESK FEATURE 3.1 0mm

1000mm

2000mm

3000mm

4000mm

SHOP FLOOR AREA (SQM):

BREAK GLASS CALL POINT

GENERAL ARRANGEMENT

VM 20/01/17 TENDER ISSUE

REV BY

EXISTING FIRE DOOR

PERFUME 2.0 GIFTS 2.1 HAIRCARE 2.2

1163/209 1163/210 1163/211

DEMO UNITS / KNOTWRAP / SPA VOUCHER 3.2

QUEUE DIVIDER 3.3

1163/221 1163/222

DATE

DESCRIPTION

DRAWING REF:

1163/120

300

Professional - Retail

929

300

1000

BESPOKE ANGLED GIFT UNIT S 302

3543

1600

2490

928

269

222

S 300

ENTR

CASH DESK

SOAP

1139

Scales

1290

Bags

2250

Till Scales

3336

Till

MOUTH/ QUEUE DIVIDER

Bags

903

BACK WALL DISPLAY

Scales

S 300

LOCKERS

1200

Bags

WINDOW PLATFORM DISPLAY

FRIDGE

STAFF ROOM

Till

1500

PERFUME

BATH

900

S 301

1270

1000 1059

400

MOUTH/GIFT PEGBOARD

3998

3775

SHOWER

COAT HOOKS

3155

HAIRCARE

1409

ANCE

GIFTS

Till

OFFICE

14 KNOTWRAP

Bags

1338

1208

Scales

618

MASSAGE MAKEUP

GIFTS

2979 3343

LUSH Madrid

1173

FRESH

S 301

800

1060

SKINCARE

ICE MACHINE

1599

S 302

PROPOSED GENERAL ARRANGEMENT Hyphen, 2017PLAN 1:100

The project consisted of a new shop fit out in the Centro Comercial Plenilunio shopping centre located in Madrid, Spain. The unit measured approximately 140 sqm and required new fittings, furniture, finishes and lighting. The budget was £100,000 with the construction period lasting three weeks. I participated in stages 2 and 3. My involvement on the project was 2000mm

3000mm

4000mm

SHOP FLOOR AREA (SQM): 82

to create the concept design drawing package, working in contact with the client’s international design managers. The package consisted of general arrangement plans, RCP’s, sections and elevations and joinery drawings of every unit within the design. The joinery drawing package features comprehensive detail and specifies finishes, fittings and ironmongery.

KEY WALL TYPES

e in millimeters unless otherwise ensions to be taken from this drawing ns.All dimensions to be confirmed on discrepancy to be reported to diately.Please note this drawing s of date shown - contact lush design onstruction.

PROPOSED LININGS

TILED FLOOR FINISH, MOSA 229V 600mm SQUARE

PROJECT NO:

5446

DRAWN BY:

DRAWING TITLE:

EXISTING BUILDING STRUCTURE EXISTING PARTITION/LININGS

39 Moreland Street London, EC1V 8BB

P4 P3

LT 24/02/17 DESIGN ISSUE VM 22/02/17 DESIGN ISSUE

VM 21/02/17 DRAFT DESIGN ISSUE VM 10/02/17 DRAFT DESIGN ISSUE

REV BY

DATE

DESCRIPTION

PROPOSED G ARRANGEME

PROJECT TITLE:

MADRID PLE NEW ST

Professional - Retail

Images from the opening of LUSH Manchester Market Street displaying the final fittings and furnishings which opened in 2018. This was a small-medium refit job.

An example of the drawing packages created to detail the furniture required within the shops. Below is a drawing of a sole sink unit with shelving, along with details and finishes.

Die Mauer, Berlin, Yadegar Asisi (2012).

LUSH - Concept designs Hyphen, 2017

I have worked on the concept design for 10 stores around the UK and Europe during the space of a couple of months. As shown with Madrid previously, I had multiple meetings with the client’s international design managers to effectively learn about and communicate the client’s brand within the stores effectively and innovatively. The initial stages would consist of sketch plans using the brand image and products in the proposed unit, with drawings drafted on AutoCad and 3d models created on Sketchup to portray the space. Having worked with

various contractors on previous LUSH jobs, I became aware of the methods of joinery construction and incorporated changes and solutions to current sets of designs used in new designs. The concept design drawing packages consisted of general arrangement plans, RCP’s, sections and elevations and joinery drawings of every unit within the design. I created planning applications when instructed by the client where necessary with regards to changes to shop fronts and liased with the local planning officers when required.

Professional - Retail

The drawings below detail the ‘skincare’ areas. These areas require detailed layouts of units, cupboards, finishes and plumbing, resulting in a comprehensive set of drawings.

Academic - M.Arch Year II Research

ma te ria l

[concrete]

[barry X ball]

precedent

[rough, cracked]

[rounded, smooth]

[young, fresh]

[wise, aged]

[pure, innocent]

[evil, suspicious]

[naive, intrusive]

[quiet, sneaky]

[knowledge, leader]

The Body Agent M.Arch Year II, Semester I

This project investigates how materiality could express qualities as expressions and character, which then expanded to exploring sensitivity and personality through materials, derived from Barry X Ball, Carlo Scarpa and Carlo Mollino. Through utilising qualities of the ‘bizarre’ and fragments of different architectural languages, the body agent, ‘Deus Sensuum’ was formed. Known as a god of the senses to its cult following, the spiritual being can store and record scents.

Academic - M.Arch Year II Research

[barry X ball]

Following the sketch exploration of senses expressed in materials as characters, I decided to focus on the nose; a facial feature that does not easily show understandable expression, but can be assigned characteristics by shape. Smell is also a sense that is difficult to record and recite. The end result left a very delicate plaster nose which almost alludes to the CNC carved faces of Barry X Ball.

[plaster cast from acrylic mould]

[carlo scarpa]

The result showed strength and solidity to the form, but also a rich variation in colour with a very gritty rough feel. Scarpa’s use of exposed materials such as concrete emphasised acts of framing, focusing, and emphasising connections; glorifying simple planes; and declaring the depth of construction by cutting its edges. The types of materials that could interact with the concrete and the connections they could have could attribute to potential function and bring a new characteristic trait to the rough exterior.

[concrete cast from alginate mould and clay model]

Academic - M.Arch Year II Research

guides direction to the centre point of the nose to value its significance

reinterpreting layered features and openings to create strength whilst maintaining intricacy

record and store scent

Concrete cast nose, plastic nostril tubing, wood scarpa-esque body and a slot-like component connection. The physical manifestation of the body agent begins to convey the bizarre nature of the concept through materiality. Using this I wanted to explore its characteristics, attitudes and traits and understand what its striking image could represent.

Academic - M.Arch Year II Research

Palimpsest mapping - Plotting a reaction to the site based on the senses - how the body agent would experience the site. Clouds of scent, sound-waves, paths of activity, speed of movement, stationary activity nodes and viewing directions and neglected spaces.

Porta Palatina, Turin

A filmic representation which aims to explore the interests and the characteristics of the body agent, with a view to understand how the body agent could possibly impose itself within a site of rich history.

The Taurini Shrine M.Arch Year II, Semester II

This proposal aims to bring elements of a bizarre fictitious world to ‘our’ reality to reveal the ways of a mysterious ancient culture within a site of great history. Based in Turin, the body agent ‘Deus Sensuum’ has returned to the site of the Palatine gate where his cult followers, the Taurini, were defeated in battle by the Ancient Romans for what is now modern Turin. Deus Sensuum can record and store scents, reading them as memories. Still full of anger after 2000 years, it plans to return to re-establish the cult on the land that was rightfully theirs. Through the creation of a new shrine, the Taurini cult can grow again and come out of hiding. Through the initial investigations which developed the body agent, it could be seen that the building proposal would be formed through symbolic fragments, with each fragment utilising a different architectural language derived from the development of the investigation. Fragments utilise aspects of intricate Scarpa interventions and castings, Taurini weaponry used to fight the Romans and classical elements inhabited by the presence of the

body agent. Overall the building will present an architectural eclecticism. The building will have multiple purposes; firstly, to educate and allow people to explore the Taurini culture. Secondly, to re-establish the Taurini cult in the site where they rightfully belong. Thirdly, to be provide an ‘uncanny’ portal - being a tourist information kiosk when you initially enter. As a result, the proposal becomes a reflection of the existing Roman gate, suggesting the notion of re-writing history, to impose itself in Turin once again. Through the weaponry fragments, historical elements of the site are framed with the intention to be ‘visually’ attacked and de-constructed, being revealed through reinterpretations of various Taurini weaponry mechanisms. The combination of fragments overall creates an unusual experience which aims to engage with the senses, with highly contrasting spatial zones and activity. I explore the initial establishment of the proposal and how by using the senses, the Taurini plan to throw an event to draw interest into the building.

A manufactured soft machine/creature made by the Taurini cult. It inhibits the spirit of the Deus Sensuum to bring it to life. They release a powerful scent and fly back to the shrine, leaving a trail of the most convenient route for the public to follow.

Using openings in the building, the proposal aims to frame the historical elements of the site. The aim is to ‘visually attack’ the gate through the architectural presence, by symbolically taking the land back.

Front elevation of the building, the main approach from the public led by the scent trails. The elevation portrays the eclecticism of the façades symbolic fragments derived from development and research process.

The main shrine - a place to worship Deus Sensuum built as a replica of the destroyed ancient shrines of the original Taurini. The Taurini extract scents from the Taurinoses and it infuses within the concrete mass.

Academic - M.Arch Year II Thesis

The bizarre portal - entrance to the ‘tourist information centre’. Tourists are greeted by the Taurini, with the space filled with Taurini relics. The scarpa-esque concrete carves a void filled with light leading to the next level in the building.

A section through the main shrine, also showing access through the shrine to the ballista platform. The Taurini wear long robes and masks of Deus Sensuum to hide their identity among the public, fearing they will be attacked.

Academic - M.Arch Year II Thesis

The entrance derives from film narratives such as Alice in wonderland and Stranger Things where an ‘uncanny’ portal intrigues the viewer.

Utilising a scarpa-esque language involves a degree of intricacy between the different fragments to contrast between its bizarre aspects. The use of the stepped concrete carvings direct importance and create mass throughout the building which harnesses the infused scents collected by the Taurinoses.

1 Ground floor 1 - Entrance to the bizarre 2 - Tourist information centre 3 - Stairs to the Shrine 4 - Scent garden

The Taurini utilise many mechanisms from their ancient weaponry, such as the large crossbow, to create interactive elements which reveal historical fragments within Porta Palatina.

3 5

2 First floor 1 - Entrance to the crossbow viewing platform 2 - Stairs down to the Taurini Shrine entrance 3 - Entrance to the Taurinose manufacturing room 4 - Concrete stair circulation to second floor 5 - Timber stair circulation to second floor

Academic - M.Arch Year II Thesis

The ballista mechanism relies on tension. By repurposing the exisiting mechanisms, a pulley system was formed. Through interacting with the ballista columns, the next historial fragments reveal themselves.

The launch pad for the Taurini to distrubute the Taurinose and create scent trails to attract new visitors that they can educate about the culture. The form of the third floor combines all architectural languages seen throughout the building.

Academic - M.Arch Year II Thesis

Second floor 1 - Concrete shrine stairs leading to interactive ballista platform 2 - Taurinose manufacturing room second floor 3 - Interactive ballista platform 4 - Stairs to the nesting dome / Taurinose launching pad

3 4

Third floor 1 - Entrance to the Taurinose lauching pad / nesting Dome 2 - Access to the Taurinose transport wheel

The idea of mirroring the gate facilitated ideas of reinterpreting classical architecture, and thus formed the ‘bizarre captial’ as an act of intimidation to newcomers within the shrine.

1 The ancient catapult had mechanisms extracted to form a human wheel powered retractable slingshot. Using the windows in the roof, the Taurinose can be launched to pinpointed locations around Turin. The Taurinose are transported from the manufacturing room to the dome using the wheel.

Academic - M.Arch Year I Thesis

Factory of the Future M.Arch Year I, 2018

Revitalising the industrial community in Sheerness An environmentally sustainable factory settlement The UK and various countries around the world heavily rely on exporting large amounts of waste to China for it to be recycled and processed. As of 2018, China have announced they will no longer accept foreign waste. This mostly affects plastic waste, with China looking to upgrade other industry sectors, thus leaving many countries with a no solution to dealing with large amounts of waste other land by creating more landfills. The UK has also recently faced many troubles within the Steel industry, with many mills having closed due to being out-priced by oversea producers, thus leaving thousands of workers without jobs. My project aims to find a solution to both problems by using former steel production sites as grounds for development of plastic recycling facilities. These facilities would aim to re-use as many of the

historical and industrial features of the site and aims to create an environmentally sustainable settlement for the families working in the factories. The plastic recycling factory brings in waste which will utilise ‘waste to energy’ to power facilities in the site through combustion. The majority of the plastic waste will be sorted, processed and formed to create new building components. These building components will be utilised around the site to create residential and commercial facilities. The narrative focuses on Thamesteel in Sheerness, where closure affected many local people who had moved there for work with their families. We follow a former worker, Shaun, as he is offered a chance to work within the new factory and therefore create a new start for his family.

Academic - M.Arch Year I Thesis

The beginning of change - Steel workers and Plastic recycling company executives look for opportunies for development within the existing Thamesteel site plan.

The proposed site plan and the new settlement. The new site encorporates a sustainable living environment with factory worker housing, allotments and waste to energy power.

Academic - M.Arch Year I Thesis

The new start - A former steelworker and his family arrive at their new home within the settlement. Perspective view from outside of the towering shared unit spaces.

A sectional perspective of the housing units. The view portrays the ample space created within the ‘narrow units’ utilising circulation derived from the intricate factory layouts.

Academic - M.Arch Year I Thesis

The new start - A former steelworker and his family arrive at their new home within the settlement. Perspective view from outside one of the housing units.

An internal perspective view of one side of the housing units. Looking up from the ground floor, the open heights created through the spiralling circulation become clear.

Proposed site axonometric, depicting the new housing occupied by factory workers. The image portrays the designs multiple functionality with regards to indoor and outdoor interactivity. 35

Academic - M.Arch Year II Dissertation

The Evolution of Panoramic Perceptions M.Arch Year II, 2019 - Dissertation

Abstract The Panorama was conceived in 1787 by Robert Barker, who created a 360-degree immersive experience using painted scenes, housed within rotundas. Debatably, the panorama created immersive experiences to allow the simulation of travel and experiences in their suggested settings. However, technological advancements in the late 19th century saw the rise of cinematography which rendered the Panorama and its descendants obsolete. The cinema provides us with a medium which we still use today, thus proving its significance at the time of creation. Although heavily overshadowed, the legacy of the Panorama did not diminish, with several iterations preserved around the world. Through the digital age, the format of the Panorama has been revived, with an aim to prove how recreating historical scenes or wonders of the world can arguably draw a new experience comparable to that of the cinema.

Die Mauer, Berlin, Yadegar Asisi (2012).

Austrian architect Yadegar Asisi has recently constructed new Panoramas around Europe, housed within gas storage containers. He uses multiple techniques but most notably digital manipulation through photocollages. Is it possible that the Panorama has been successfully contemporised thus enhancing the illusion of the simulation of travel through the digital age, or does it present us with a new experience altogether? To consider this I visited and analysed an original; the Panorama Mesdag, located in The Hague, Netherlands, and one of Asisi’s contemporary creations; the Panorama XXL, located in Rouen, France. The Panorama Mesdag is remarkable, having been preserved and restored beautifully. The illusion was powerful and simple, an experience which could only be improved using high definition imagery. The Panorama XXL presented a great vision, idea and recreation but with a completely contrasting experience. Asisi uses the panoramic format to present a theatrical display which aims to create or restore emotional connections between the viewer and image. The lack of obstacles or scenic framing arguably connects the viewer closely to the image to able to observe every detail and at a greater depth, therefore allowing Asisi to revive the original format to take viewers away from video displaying technology. Despite Asisi’s success, the panoramas ability to keep current may provide a problem, with immersive technology such as Virtual Reality offering accessible and versatile content in a huge global market.

Panorama of Edinburgh, Robert Barker (1789).

Panorama Mestag, The Hague, Hendrik Mesdag (1881).

Rome 312, Yadegar Asisi (2018).

Panorama XXL, Rouen, Yadegar Asisi (2018).

Academic - M.Arch Year II Dissertation

The Panorama Mesdag essentially captures a peaceful moment and this is emphasised by the lack of sensual immersive devices. The panorama utilises simple and subtle design considerations help bring the panorama to life.

Rome 312 - Asisi’s artistic abilities exhibit his requirement for absolute detail and flowing narrative of a scene. The implication of action or movement within the static image is exemplary of why motion is not needed to define the scenes.

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