Final Major Project Monograph

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ZSOKA N. ERDELYI Interior Design (BA.) School of Design, Faculty of Art, Design and Architecture, Knights Park, Kingston University 2014-2015



BIRMINGHAM Resurrecting the Jewellery Quarter: Redesigning the Pickering and Mayell building Final Mayor Project



CONTENTS

06| 20| 24| 32|

Research of the existing site Location and means of transport Floorplans Photoes of the interior Elevation and sketches Section and sketches Minton tiles and research

Research of the Jewellery Quarter Studies and theatres in the area

Precedents Catle Vecchio Museo can Framis Pavilon 4 Bricklay patterns

Proposal Diagrams Circulation Axonometry Proposed Elevation Proposed Section Floorplans

48| 58| 72|

Design and Materiality of the Performance Space Event Calendar Animation of how the floor changes Different configurations of the floor Elevations

Design and Materialty of the Bar/Foyer Space Views of the interior Design of the Tiles Design of the screen

Focus Area: The Entrance Plans and elevation of the entrance Model of the entrance Animation of the folding door and he hinges Exploded isonometry of the folding door and the locks on it



RESEARCH OF THE EXISTING SITE


8| LOCATION OF THE EXISTING SITE AND HOW TO GET THERE

United Kingdom

TRAIN STATION

West Midlands

E

UT

O SR

BU

UT

O

SR

BU

Birmingham

E

Ladywood


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HISTORY OF THE SITE

1930

1828

1832

42 Caroline street was built for Samuel&Perry Jewellery manufactureres

1836

Nathaniel Mills Silversmith and box maker bought the properties

1900

1913

Pickering&Bagley jewellery case manufacturer bought the buildings

2012

Pickering and Mayell jewellery case manufacturers occupied the building until 2012 when they merged with the Talbots group and left

41 Caroline steet was built for Mr Ferguson as a home and shop 1828 1932 Newest extension


10|


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FLOORPLANS OF THE EXISTING BUILDING

A

A

B

C

B C

D

D B

First floor

A

Ground floor

Second floor


12| EXTERIOR PICTURES OF THE EXISTING SITE 1.

4. 2.

3.

1. North corner

2. Northeast wall

3. Southwest wall


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INTERIOR PHOTOES OF THE 1832 EXTENSION

B

B

6. C

C

D

D B

6. Third floor

A

5. Second floor

A

4. First floor

A

5.


14| SKETCHES OF BRICK FORMATION IN THE EXISTING BUILDING


LONG ELEVATION

Pickering and Mayell existing elevation and materiality

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16| SKETCHES OF THE EXISTING BRICK AND CONCRETE BLOCKS

Study of how cement blocks and bricks join


ood

Pickering and Mayell, 62 Caroline street LONG SECTION SHOWING THE E XISTING MATERIALITY

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STUDY OF THE EXISTING GEOMETRIC MINTON TILE CORRIDOR IN THE EXISTING HOUSE 18|


RESEARCH INTO THE HISTORY OF GEOMETRIC PATTERN TILES

Sample of an islamic geometric pattern tile from Seville (same eight fold star shape and same colours as in the existing building)

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RESEARCH OF THE JEWELLERY QUARTER


22| STUDIES OF THEARE GOERS AND A MAP SHOWING THE LACK OF THEATREINSIDE THE JEWELLERY QUARTER

12%

24%

9%

16%

16%

38%

20%

15-20 22%

21-29 60+

30-39

50-59 40-49

15-20

21-29

30-39

40-49

50-59

60+

Study showing the characteristcs of theatre goers against the overall characteristic of the population

Distribution of age groups in Birmingham’s population


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Theatres, 

SYMPHONY HALLS

other buildings for performing arts

&

Blue and Orange Theatre A theatre space seating 90-110, a rehearsal studio and a bar.

Town Hall Main venue seating up to 1086

1.

ICC & Symphony Hall 33 theatre halls and rooms to rent seating 3000-100.

The NIA The NIA is currently undergoing a huge expension building an arena seating up to 26 000.

4.

2. 3.

5. The Crescent Theatre Two theatre halls seating 300, and 100.



PRECEDENTS


26| PRECEDENT OF INTERVETIONS INTO AN EXISTING BUILDING: CATELVECCHIO, VERONA BY CARLO SCARPA

Castelvecchio, Verona


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PRECCEDENT OF MODERN USE OF AN OLD BUILDING: MUSEO CAN FRAMIS, BARCELONA BY JORDI BADIA

Museo can framis


28| PRECEDENT FOR THE INNOVATIVE USE OF BRICKS: PAVILON 4, SANGHAI BY HMA ARCHITECTS

Pavilon 4, HMA Architects Pavilon 4, HMA Architects

Pavilon 4, HMA Architects


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Pavilon 4, HMA ARchitects


30| RESEARCH OF TRADITIONAL BRICKLAY PATTERNS


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Brick patterns



THE PROPOSAL


34| BLOCKING MODEL SHOWING THE DIFFERENT AREAS OF THE PROPOSAL

PRIVATE USE

PERFORMANCE SPACE

PUBLIC USE

PERFORMERS’ USE


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INITIAL DIAGRAM SHOWING THE PROPOSED SPACES AND THEIR RELATION TO EACHOTHER

Public entrance

deliveries

kitchen (20m )

wc

Bar

Drama workshops

(100 m )

(125m )

small stage?

Workshops

lobby

Drama classroom

(20-30m )

upstairs

(100m )

box office (5-7m )

Event Space Offices

Public entrance

(152m )

Managerial spaces

cloack room (0,18m/p)

Single dressing room with bathroom (15m )

Sub stage set storage

wig store & hairdressers (5m )

shared dressing room

Pre-performance practice room+piano (15m )

(8m )

costume basement repair & maintenence (20m )

back stage

Lobby

Performers entry deliveries


36| BLOCKING MODEL SHOWING THE CIRCULATION OF THE PROPOSED BUILDING

Performance space Foyer/Bar Public circulation Private circulation


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AXONOMETRY SHOWING THE DIFFERENT SPACES OF THE PROPOSED BUILDING

REHERSAL ROOM

THEATRE TECH & ACCESS TO THE FLY GALERY MALE TOILET

WORKSHOPS/OFFICES

FEMALE TOILET

REHERSAL ROOM

MALE TOILET FEMALE TOILET WORKSHOPS/OFFICES

PERFORMANCE SPACE BACK STAGE BACKSTAGE

EVENT SPACE CLOACK ROOM

SECURITY/DOOR BOX KEEPER OFFICE KITCHEN BAR/FOYER TEA HOUSE GREEN ROOM SHARED DRESSING ROOM WITH BATHROOM (FOR 4)

SINGLE DRESSING ROOM WITH BATHROOM

FEMALE TOILET MALE TOILET COMMUNAL CHANGING ROOM (UP TO 20)


38| INTERVENTION IN THE FACADE The entrance cutsof trough where the original and the 1832 workshop extension meets. The intervention in the facade brings attention to Precedents interventions in old buildings: the changes of the building, makes the performance space directly accessible from the street, and animates the street by exhibiting the workers walking around in the upper levels. The shape of the theatre’s entrance references a curtain pulled away.

The shape of the theatre’s entrance references a curtain pulled away


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Extension built in 1832

Original building built in 1828


40| PERFORMERS’ ENTRANCE


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LONG ELEVATION

Pickering and Mayell existing elevation and materiality


United Kingdom

42| LONG SECTION OF THE EXISTING BUILDING

West Midlands

Birmingham

Pickering and Mayell, 62 Caroline street Ladywood

Ground floor plan

First floor plan

Second floor plan

Studies of existing materiality

PICKERING AND MAYELL ZSOKA N. ERDELYI

PAGE 1


LONG SECTION OF THE PROPOSAL

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2


44| BASEMENT PLAN


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GROUND FLOOR PLAN

e olin Car str ee t

kenyon street

Ground floor plan 1:100


46| FIRST FLOOR PLAN

First floor plan 1:100


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SECOND FLOOR PLAN

Secod floor plan 1:100



DESIGN AND MATERIALITY OF THE PERFORMANCE SPACE


50| PROPOSED EVENT CALENDAR FOR DIFFERENT TYPE OF PERFORMANCES Event Calendar Theatre plays

January Jewellery&Watch: jewellery exhibition

February

March

Fashion week: Fashion shows

Art Exhibitions

April Touring companies

May

June

Workshops, summer camps

July

Concerts

August

Jewellery&Watch: jewellery exhibition September

Fashion week: Fashion shows

October Theatre plays

November

December

Christmas concerts, Local school plays


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ANIMATION OF HOW THE HYDRAUIC FLOOR CHANGES FROM ONE CONFIGURATION TO ANOTHER

The main performance space’s floor is made from 1m by 1m squares operated by underfloor hydraulics, enabling the users to create any type of stage they need.


Exhibition space

52| POSSIBLE CONFIGURATIONS OF THE HYDRAULIC FLOOR AND VIEWSCATWALK The boxes elevated individually or in pairs can be utilised as space to put exhibition pieces: jewellery, statues or any piece of art.

During the London Fashion Week the space can be utilised as a catwalk. The width of the catwalk can strecth up to 3 meters.

Theatre in the round Confiruing the floor to house a stage in the middle with chairs around it give opportunity for classical, jazz or pop musicans to perform.

End stage The classical configuration of a theatre space is the end stage with proscenium. Using this format seating up to 130 people can be achieved.


During the London Fashion Week the space can be utilised as a catwalk. The width of the catwalk can strecth up to 3 meters.

nd stage

d itThe classical configuration of a theatre space is the end stage with proscenium. Using this format seating up to 130 people can be achieved.

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Ground floor plan 1:100

54| MODEL OF THE PROPOSED FILL IN OF THE WINDOWS FACING THE PERFORMANCE SPACE et

stre

kenyon street

oline Car

Existing windows

The windows facing the performance space are layed in with different patterns of bricks to create a fascinating facade


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ELEVATION OF THE INNER WALL OF THE PERFORMANCE SPACE


56| ELEVATION OF OUTER WALL OF THE PERFORMANCE SPACE

The little glass cubes built in the pattern of the brick wall light up the parking space outside during night performances


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VIEW OF THE PERFORMANCE SPACE DURING NIGHT TIME



DESIGN AND MATERIALITY OF THE BAR


60|


MATERIAL BOARD

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62| VIEWS OF THE BAR/FOYER


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AXONOMETRY SHOWING THE DIFFERENT SPACES OF THE PROPOSED BUILDING


64| PANORAMA OF THE BAR/FOYER SPACE



66| STAIRCASE FROM THE ENTRANCE TO THE BAR/FOYER SPACE


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68| THE DESIGN OF THE TILES IN THE FOYER SPACE

The foyer/bar space is a double height dramatic space that is lit up by the windows and doors of the ground floor. The natural light is dragged down by the wall of tiles that gets lighter and bumpier as it gets downer (just like Gaudi’s light well in Casa Battlo).


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70| THE DESIGN OF THE SCRREN DIVIDING THE KITCHEN AND THE FOYER SPACE

THE WALL THErepeats KITCHEN REPEATS EIGHT The wall of the OF kitchen the eight fol star THE pattern of theFOLD tiles asSTAR well asPATTERN it animates the space below by displaying the waiters movements trough these screens. OF THE TILES AS WELL AS IT ANIMATES THE BAR SPACE BY DISPLAYING THE WAITERS MOVEMENTS


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FOCUS AREA: THE ENTRY


74| PLANS AND ELEVATION OF THE ENTRANCE AREA



76| MODEL OF THE CUT


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The intervention in the facade brings attention to the changes of the building, creates a connection between the street and the performance space, and animates the street by exhibiting the workers walking around in the upper levels


78| DIFFERENT POSITIONS OF THE FOLDING DOOR


DETAILS OF THE HINGES ON THE FOLDING DOOR

01| Bommer hinge

1.

02| Sos hinge

2.

3.

03| Regular hinge

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80| EXPLODED ISONOMETRY OF THE FOLDING DOOR


DETAILS OF THE LOCKING MECHANISMS ON THE FOLDING DOOR

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82| SECTION SHOWING THE ENTRYANCE


SECTION TROUGH THE GLAZING SHOWING THE WHOLE BUILDING

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