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
|9
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|
|11
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
|13
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
|15
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
|17
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)
|19
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
|23
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
|27
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
|29
Pavilon 4, HMA ARchitects
30| RESEARCH OF TRADITIONAL BRICKLAY PATTERNS
|31
Brick patterns
THE PROPOSAL
34| BLOCKING MODEL SHOWING THE DIFFERENT AREAS OF THE PROPOSAL
PRIVATE USE
PERFORMANCE SPACE
PUBLIC USE
PERFORMERS’ USE
|35
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
|37
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
|39
Extension built in 1832
Original building built in 1828
40| PERFORMERS’ ENTRANCE
|41
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
|43
2
44| BASEMENT PLAN
|45
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
|47
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
|51
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.
|53
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
|55
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
|57
VIEW OF THE PERFORMANCE SPACE DURING NIGHT TIME
DESIGN AND MATERIALITY OF THE BAR
60|
MATERIAL BOARD
|61
62| VIEWS OF THE BAR/FOYER
|63
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
|67
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).
|69
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
|71
FOCUS AREA: THE ENTRY
74| PLANS AND ELEVATION OF THE ENTRANCE AREA
76| MODEL OF THE CUT
|77
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
|79
80| EXPLODED ISONOMETRY OF THE FOLDING DOOR
DETAILS OF THE LOCKING MECHANISMS ON THE FOLDING DOOR
|81
82| SECTION SHOWING THE ENTRYANCE
SECTION TROUGH THE GLAZING SHOWING THE WHOLE BUILDING
|83