The document describes the design of the Tate Bristol art gallery. It will have galleries on multiple floors connected by a main atrium. Visitors will experience a journey through the building's galleries and spaces, including a sculpture garden on the roof with views of the harbor. Digital art installations will be featured throughout the building, including a large main space emphasizing the artist Ryoji Ikeda. Learning spaces and areas for informal installations and performances enhance the experience.
"Architecture is an artistic craft, but at the same time it is also a scientific profession, it is precisely its distinctiveness"
"Architecture is a service."
"When style gets to become a brand, a personal seal, this becomes a cage"
"The architect is first and foremost a builder, but also should be a poet, and above all a humanist''
The document describes a proposed "Foodies Centre" building that would bring together various food-related activities and shops under one roof. It would have two main parts: commercial levels with stores like a wine shop and cooking equipment store, and "foodies levels" with restaurants and cooking workshops. The building aims to give visitors visibility into the food preparation process and allow them to get involved. An atrium would provide spatial organization and visibility throughout the building while connecting the different programs.
The Centre Pompidou in Paris was built between 1971-1977 and houses important art museums and cultural institutions. It contains the Musée National d'Art Moderne, a vast public library, and IRCAM music research center. With over 50 million visitors since opening, it underwent renovations from 1997-2000 to address structural issues. Reasons to visit include its central Paris location and top collection of modern European art, as well as performance spaces, educational programs, and reference library.
Renzo Piano is an Italian architect born in 1937 in Genoa. In 1971, he won a competition to design the Centre Georges Pompidou in Paris with Richard Rogers, which turned the typical museum design inside out with its exposed colored pipes and ducts. One of Piano's notable designs is the Paul Klee Center in Bern, Switzerland, which takes the form of three grass-covered hills of different sizes that house the museum's functions. Piano's style is defined by solid construction using excellent materials and designs that integrate with nature.
Renzo Piano is an Italian architect known for his high-tech modern designs that showcase technological materials like steel and glass. Some of his most famous works include the Centre Georges Pompidou in Paris, the New York Times Building, and The Shard in London. Piano's architecture is characterized by solid construction with excellent materials that take advantage of natural lighting and the relationship between interior and exterior spaces. He founded the Renzo Piano Building Workshop which now employs over 150 people across multiple offices.
1. The exhibition displayed the co-evolution of butterflies and plants in a new pavilion at the Smithsonian Institution National Museum of Natural History.
2. Reich+Petch Design International was responsible for conceptualizing and designing all exhibits inside the pavilion and surrounding hall to tell the narrative sequence, working closely with the museum scientists and architects.
3. The exhibition designs were inspired by the colors and forms of butterflies and plants to showcase their beautiful co-evolutionary relationship.
This presentation is an attempt of a comprehensive study about the man behind some of the greatest Modern Architecture marvels of this age, Architect Renzo Piano.
The Guggenheim Museum in Bilbao, Spain was constructed between 1991-1997 to revitalize the deteriorating city. Designed by architect Frank Gehry, the building features a dramatic titanium-clad form inspired by ship sails that stands out against the river and bridge. The striking architecture transformed Bilbao into an international tourist destination and example of how landmark buildings can brand and economically boost a city.
"Architecture is an artistic craft, but at the same time it is also a scientific profession, it is precisely its distinctiveness"
"Architecture is a service."
"When style gets to become a brand, a personal seal, this becomes a cage"
"The architect is first and foremost a builder, but also should be a poet, and above all a humanist''
The document describes a proposed "Foodies Centre" building that would bring together various food-related activities and shops under one roof. It would have two main parts: commercial levels with stores like a wine shop and cooking equipment store, and "foodies levels" with restaurants and cooking workshops. The building aims to give visitors visibility into the food preparation process and allow them to get involved. An atrium would provide spatial organization and visibility throughout the building while connecting the different programs.
The Centre Pompidou in Paris was built between 1971-1977 and houses important art museums and cultural institutions. It contains the Musée National d'Art Moderne, a vast public library, and IRCAM music research center. With over 50 million visitors since opening, it underwent renovations from 1997-2000 to address structural issues. Reasons to visit include its central Paris location and top collection of modern European art, as well as performance spaces, educational programs, and reference library.
Renzo Piano is an Italian architect born in 1937 in Genoa. In 1971, he won a competition to design the Centre Georges Pompidou in Paris with Richard Rogers, which turned the typical museum design inside out with its exposed colored pipes and ducts. One of Piano's notable designs is the Paul Klee Center in Bern, Switzerland, which takes the form of three grass-covered hills of different sizes that house the museum's functions. Piano's style is defined by solid construction using excellent materials and designs that integrate with nature.
Renzo Piano is an Italian architect known for his high-tech modern designs that showcase technological materials like steel and glass. Some of his most famous works include the Centre Georges Pompidou in Paris, the New York Times Building, and The Shard in London. Piano's architecture is characterized by solid construction with excellent materials that take advantage of natural lighting and the relationship between interior and exterior spaces. He founded the Renzo Piano Building Workshop which now employs over 150 people across multiple offices.
1. The exhibition displayed the co-evolution of butterflies and plants in a new pavilion at the Smithsonian Institution National Museum of Natural History.
2. Reich+Petch Design International was responsible for conceptualizing and designing all exhibits inside the pavilion and surrounding hall to tell the narrative sequence, working closely with the museum scientists and architects.
3. The exhibition designs were inspired by the colors and forms of butterflies and plants to showcase their beautiful co-evolutionary relationship.
This presentation is an attempt of a comprehensive study about the man behind some of the greatest Modern Architecture marvels of this age, Architect Renzo Piano.
The Guggenheim Museum in Bilbao, Spain was constructed between 1991-1997 to revitalize the deteriorating city. Designed by architect Frank Gehry, the building features a dramatic titanium-clad form inspired by ship sails that stands out against the river and bridge. The striking architecture transformed Bilbao into an international tourist destination and example of how landmark buildings can brand and economically boost a city.
This document provides information on several projects by OMA, Rem Koolhaas' architecture firm. It summarizes key details about the Casa da Musica concert hall in Portugal, the Seattle Central Library, and the CCTV Headquarters in Beijing. It also describes the think tank AMO and its investigations into topics beyond architecture.
The Pompidou Centre in Paris was designed by Renzo Piano to revitalize a declining area. It contains a Museum of Modern Art, public library, design center, and music institution. Half the site is public open space and the building is tall enough to accommodate large program areas. Services and circulation elements are located on the exterior facade to keep the interior open and flexible.
This is a live case study of Qatar National Library. This includes concept of building, architectural style, Rem Koolhaas philosophy, Interior of building, Exterior, Plans, Elevation, Model and Study Outcome
Case study of Pushpa Gujral Science City.Manoj Kumar
The document provides details about the Pushpa Gujral Science City (PGSC) in Kapurthala, India. Key points:
1. PGSC is a 72-acre science and technology park that aims to spread awareness of science through interactive exhibits and experiences.
2. It contains various galleries and attractions like a digital planetarium, laser show, flight simulator, and fun science exhibits.
3. The complex includes a large gate building, science voyage hall, exhibition halls, and convention center organized around two large plazas.
Renzo Piano is an Italian architect who leads Renzo Piano Building Workshop, an international architecture firm with offices in several cities. Some of RPBW's notable projects include the London Bridge Tower, the Stavros Niarchos Cultural Center in Athens, and the new campus for Columbia University in New York. The workshop designed the dome for the new Academy Museum of Motion Pictures in Los Angeles using Saflex structural laminated glass to create a transparent dome that is also structurally sound enough to withstand earthquakes. The dome comprises over 1,500 laminated glass panels attached to the inner structure with Saflex's stiff PVB interlayer to provide rigidity.
Hugo Alvar Henrik Aalto was a prominent Finnish architect known for pioneering organic modernist architecture. Some of his most notable works include the Paimio Sanatorium, Villa Mairea, and Baker House. Aalto's career spanned changes in architectural style from Nordic Classicism to modernism. He designed over 500 buildings and is renowned for synthesizing functionality with organic forms inspired by nature. Aalto sought to coordinate the relationships between people, buildings, and the natural environment.
All the information about India house, about the architect, material, architectural characters,abot the building - architect's office, residence and art gallery and photo glimpses,etc
The document describes the Science City complex in Kolkata, India. It is divided into zones for public, semi-public, and private areas. The centerpiece is the Dynamotion hall, a 38-meter high ziggarat structure housing a display of rolling balls demonstrating physics principles. Lighting comes primarily from a central skylight, with additional fluorescent and halogen lights. The complex aims to educate visitors through interactive exhibits while maintaining clear circulation routes. Overall the document provides an overview of the layout and design of the Science City complex.
This document provides biographical information about the influential Finnish architect Alvar Aalto and summarizes some of his key works. It discusses his early career in Finland designing buildings like the Tapani Building and Villa Mairea. It also covers his rise to international prominence at events like the Paris World's Fair and his exhibition at MoMA. The document summarizes some of Aalto's later works like Baker House at MIT and Maison Carre in France.
http://socratesarchitects.com
Proposal for a new Tate Art Gallery in Bristol, on the harbourside on Spike Island, adjacent to the M-Shed on the Whapping Wharf site.
Tate Bristol proposes to house the expanding Tate collection as well as a permanent Digital Art. collection.
The oldest building still in use in the world is the Pantheon in Rome. It was built in 117 AD, nearly 2000 years old. It must look a bit odd when it was first completed. The building is round and has an enormous dome on top. Looking at its exterior now it may not look much, but it is still one of the most admired buildings in the world, mainly because of its age and the construction technique used in the building. I wonder if any of our iconic buildings today would survive as long. Would they still appear as aesthetically pleasing as they are now?
The Guggenheim Museum Bilbao is such an iconic building today. It has become the landmark of the city of Bilbao. Just like the Tower Bridge to London, the Statue of Liberty to New York, and the Eiffel Tower to Paris. In this sense the Guggenheim Museum of Bilbao is a big success. Nobody can take that away. Not only has the building shown us the use of new construction technique and the use of new material, it was also completed on time and within budget. I was not sure how to look at the building before my visit. But after looking at it, I think it is a great building and a piece of architectural art.
The document describes the ETH Zurich Pavilion at the IDEAS City Festival 2015 in New York City. The pavilion is constructed entirely from recycled beverage cartons as a way to demonstrate using waste as a resource. The structure is composed of lightweight vaulted arches made of interlocking triangles of recycled carton boards. It serves as an exhibition space and event venue while demonstrating an innovative approach to construction using discarded materials.
The document outlines Noah Gardiner's architecture portfolio focused on additive manufacturing. It proposes an incubator facility in Liverpool to nurture businesses in additive manufacturing through workshops, labs, and educational spaces. The building would be located in the North Docks area to regenerate the historically important but now declining docks. It would use additive manufacturing to both showcase the technology and push its boundaries through on-site research and testing of new techniques, scales, and materials.
The ceiling of the Google Event Space in São Paulo, Brazil is parametrically designed based on data from the frequencies and amplitudes of the song "Sampa" by Caetano Veloso, which pays tribute to the city. The data is converted to structure the ceiling elements along the entire extension of the double-height space. The space contains a foyer, auditorium, and multi-purpose room organized in a linear sequence.
This portfolio highlights projects from the various design studios, and my senior thesis, that I completed while earning my Bachelor of Interior Design from RCC Institute of Technology in Toronto (The Academy of Design).
Miguel Medina Albero is an architect who has addressed projects of various types and scales during his studies. He strives to develop a personal style and his references include craftsman architects. He completed a 6-month internship developing projects within a team, which provided valuable experience. The document then highlights one of Miguel's academic projects - a fabrication laboratory building in La Coruña, Spain. The project addresses the tensions between different layers of the city through its design of a publicly accessible ground floor and more undefined upper levels.
Herzog & de Meuron Architekten is a Swiss architecture firm, founded and headquartered in Basel, Switzerland in 1978. The careers of founders and senior partners Jacques Herzog (born 1950), and Pierre de Meuron (born 1950), closely paralleled one another, with both attending the Swiss Federal Institute of Technology (ETH) in Zürich. They are perhaps best known for their conversion of the giant Bankside Power Station in London to the new home of the Tate Museum of Modern Art (2000). Jacques Herzog and Pierre de Meuron have been visiting professors at the Harvard University Graduate School of Design since 1994 and professors at ETH Zürich since 1999.
Briefly covering the professional carrier and famous works done by Architect Renzo Piano all around the world from 1964 till now.
He got Pritzker Award.
This document describes plans for a creative campus called the Creative CoLAB Campus Transition MAR720. It would be located near Falmouth University and bring together students from various creative fields like art, photography, music, theater, and fashion. The plans include designing spaces to encourage collaboration between programs. One goal is to create opportunities beyond the university's existing CoLAB initiative for student collaboration. The design would provide exhibition and workshop spaces to showcase collaborative art installations combining different creative fields. Sustainability is also a priority, with plans for passive solar heating, rainwater collection, and using local materials in construction.
The Metropol Parasol project in Seville, Spain transformed a derelict plaza through the construction of six large timber "parasols" or mushrooms that provide shade. The 30m tall structures were inspired by the cathedral's vaulted domes and form one of the largest timber structures ever built. The parasols have had a major social and commercial impact, revitalizing the once neglected area by providing space for a market, performances, and restaurant that attract visitors and residents. The project turned an empty lot into a vibrant public space that is now full of activity and local pride.
The document appears to be a resume for an individual named Omar Mohamed Hazem Osman. It includes biographical information like name, date of birth, nationality, contact information. It also lists his educational qualifications and experiences, including a Master's degree in Architecture Typology from Technische Universtät Berlin and internships. It provides details of languages spoken and design software skills. Finally, it outlines exhibitions and projects he has worked on.
The document provides a summary of the NanaWall Façade Tour 2011 that took place in Amsterdam, The Netherlands and Osnabruck, Germany in June 2011. Over the 3 day tour, the group visited various architectural sites featuring operable façade systems, including renovated buildings, a school, and office buildings. They toured the Solarlux showroom and plant, learning about testing and production of operable double skin façade systems. The tour concluded with goodbyes in Osnabruck.
This document provides information on several projects by OMA, Rem Koolhaas' architecture firm. It summarizes key details about the Casa da Musica concert hall in Portugal, the Seattle Central Library, and the CCTV Headquarters in Beijing. It also describes the think tank AMO and its investigations into topics beyond architecture.
The Pompidou Centre in Paris was designed by Renzo Piano to revitalize a declining area. It contains a Museum of Modern Art, public library, design center, and music institution. Half the site is public open space and the building is tall enough to accommodate large program areas. Services and circulation elements are located on the exterior facade to keep the interior open and flexible.
This is a live case study of Qatar National Library. This includes concept of building, architectural style, Rem Koolhaas philosophy, Interior of building, Exterior, Plans, Elevation, Model and Study Outcome
Case study of Pushpa Gujral Science City.Manoj Kumar
The document provides details about the Pushpa Gujral Science City (PGSC) in Kapurthala, India. Key points:
1. PGSC is a 72-acre science and technology park that aims to spread awareness of science through interactive exhibits and experiences.
2. It contains various galleries and attractions like a digital planetarium, laser show, flight simulator, and fun science exhibits.
3. The complex includes a large gate building, science voyage hall, exhibition halls, and convention center organized around two large plazas.
Renzo Piano is an Italian architect who leads Renzo Piano Building Workshop, an international architecture firm with offices in several cities. Some of RPBW's notable projects include the London Bridge Tower, the Stavros Niarchos Cultural Center in Athens, and the new campus for Columbia University in New York. The workshop designed the dome for the new Academy Museum of Motion Pictures in Los Angeles using Saflex structural laminated glass to create a transparent dome that is also structurally sound enough to withstand earthquakes. The dome comprises over 1,500 laminated glass panels attached to the inner structure with Saflex's stiff PVB interlayer to provide rigidity.
Hugo Alvar Henrik Aalto was a prominent Finnish architect known for pioneering organic modernist architecture. Some of his most notable works include the Paimio Sanatorium, Villa Mairea, and Baker House. Aalto's career spanned changes in architectural style from Nordic Classicism to modernism. He designed over 500 buildings and is renowned for synthesizing functionality with organic forms inspired by nature. Aalto sought to coordinate the relationships between people, buildings, and the natural environment.
All the information about India house, about the architect, material, architectural characters,abot the building - architect's office, residence and art gallery and photo glimpses,etc
The document describes the Science City complex in Kolkata, India. It is divided into zones for public, semi-public, and private areas. The centerpiece is the Dynamotion hall, a 38-meter high ziggarat structure housing a display of rolling balls demonstrating physics principles. Lighting comes primarily from a central skylight, with additional fluorescent and halogen lights. The complex aims to educate visitors through interactive exhibits while maintaining clear circulation routes. Overall the document provides an overview of the layout and design of the Science City complex.
This document provides biographical information about the influential Finnish architect Alvar Aalto and summarizes some of his key works. It discusses his early career in Finland designing buildings like the Tapani Building and Villa Mairea. It also covers his rise to international prominence at events like the Paris World's Fair and his exhibition at MoMA. The document summarizes some of Aalto's later works like Baker House at MIT and Maison Carre in France.
http://socratesarchitects.com
Proposal for a new Tate Art Gallery in Bristol, on the harbourside on Spike Island, adjacent to the M-Shed on the Whapping Wharf site.
Tate Bristol proposes to house the expanding Tate collection as well as a permanent Digital Art. collection.
The oldest building still in use in the world is the Pantheon in Rome. It was built in 117 AD, nearly 2000 years old. It must look a bit odd when it was first completed. The building is round and has an enormous dome on top. Looking at its exterior now it may not look much, but it is still one of the most admired buildings in the world, mainly because of its age and the construction technique used in the building. I wonder if any of our iconic buildings today would survive as long. Would they still appear as aesthetically pleasing as they are now?
The Guggenheim Museum Bilbao is such an iconic building today. It has become the landmark of the city of Bilbao. Just like the Tower Bridge to London, the Statue of Liberty to New York, and the Eiffel Tower to Paris. In this sense the Guggenheim Museum of Bilbao is a big success. Nobody can take that away. Not only has the building shown us the use of new construction technique and the use of new material, it was also completed on time and within budget. I was not sure how to look at the building before my visit. But after looking at it, I think it is a great building and a piece of architectural art.
The document describes the ETH Zurich Pavilion at the IDEAS City Festival 2015 in New York City. The pavilion is constructed entirely from recycled beverage cartons as a way to demonstrate using waste as a resource. The structure is composed of lightweight vaulted arches made of interlocking triangles of recycled carton boards. It serves as an exhibition space and event venue while demonstrating an innovative approach to construction using discarded materials.
The document outlines Noah Gardiner's architecture portfolio focused on additive manufacturing. It proposes an incubator facility in Liverpool to nurture businesses in additive manufacturing through workshops, labs, and educational spaces. The building would be located in the North Docks area to regenerate the historically important but now declining docks. It would use additive manufacturing to both showcase the technology and push its boundaries through on-site research and testing of new techniques, scales, and materials.
The ceiling of the Google Event Space in São Paulo, Brazil is parametrically designed based on data from the frequencies and amplitudes of the song "Sampa" by Caetano Veloso, which pays tribute to the city. The data is converted to structure the ceiling elements along the entire extension of the double-height space. The space contains a foyer, auditorium, and multi-purpose room organized in a linear sequence.
This portfolio highlights projects from the various design studios, and my senior thesis, that I completed while earning my Bachelor of Interior Design from RCC Institute of Technology in Toronto (The Academy of Design).
Miguel Medina Albero is an architect who has addressed projects of various types and scales during his studies. He strives to develop a personal style and his references include craftsman architects. He completed a 6-month internship developing projects within a team, which provided valuable experience. The document then highlights one of Miguel's academic projects - a fabrication laboratory building in La Coruña, Spain. The project addresses the tensions between different layers of the city through its design of a publicly accessible ground floor and more undefined upper levels.
Herzog & de Meuron Architekten is a Swiss architecture firm, founded and headquartered in Basel, Switzerland in 1978. The careers of founders and senior partners Jacques Herzog (born 1950), and Pierre de Meuron (born 1950), closely paralleled one another, with both attending the Swiss Federal Institute of Technology (ETH) in Zürich. They are perhaps best known for their conversion of the giant Bankside Power Station in London to the new home of the Tate Museum of Modern Art (2000). Jacques Herzog and Pierre de Meuron have been visiting professors at the Harvard University Graduate School of Design since 1994 and professors at ETH Zürich since 1999.
Briefly covering the professional carrier and famous works done by Architect Renzo Piano all around the world from 1964 till now.
He got Pritzker Award.
This document describes plans for a creative campus called the Creative CoLAB Campus Transition MAR720. It would be located near Falmouth University and bring together students from various creative fields like art, photography, music, theater, and fashion. The plans include designing spaces to encourage collaboration between programs. One goal is to create opportunities beyond the university's existing CoLAB initiative for student collaboration. The design would provide exhibition and workshop spaces to showcase collaborative art installations combining different creative fields. Sustainability is also a priority, with plans for passive solar heating, rainwater collection, and using local materials in construction.
The Metropol Parasol project in Seville, Spain transformed a derelict plaza through the construction of six large timber "parasols" or mushrooms that provide shade. The 30m tall structures were inspired by the cathedral's vaulted domes and form one of the largest timber structures ever built. The parasols have had a major social and commercial impact, revitalizing the once neglected area by providing space for a market, performances, and restaurant that attract visitors and residents. The project turned an empty lot into a vibrant public space that is now full of activity and local pride.
The document appears to be a resume for an individual named Omar Mohamed Hazem Osman. It includes biographical information like name, date of birth, nationality, contact information. It also lists his educational qualifications and experiences, including a Master's degree in Architecture Typology from Technische Universtät Berlin and internships. It provides details of languages spoken and design software skills. Finally, it outlines exhibitions and projects he has worked on.
The document provides a summary of the NanaWall Façade Tour 2011 that took place in Amsterdam, The Netherlands and Osnabruck, Germany in June 2011. Over the 3 day tour, the group visited various architectural sites featuring operable façade systems, including renovated buildings, a school, and office buildings. They toured the Solarlux showroom and plant, learning about testing and production of operable double skin façade systems. The tour concluded with goodbyes in Osnabruck.
This document contains an architectural portfolio for projects including the Entrepreneurship Academy, P-Chord Market, and Pompidou Centre structural analysis model. For the Entrepreneurship Academy, it includes building information, floor plans, sections and elevations, as well as sustainability strategies like the double envelope and cross ventilation system. It also outlines priorities for the design like inspiring spaces and gathering areas. The P-Chord Market section describes the building, site, drawings, and passive heating/cooling strategies. The Pompidou Centre section summarizes the structural model and includes stress gradient diagrams and load calculations.
The Seattle Central Library in Seattle, Washington was designed by Rem Koolhaas and Joshua Prince-Ramus and features a postmodern architectural style. The 11-story glass and steel building opened in 2004 and aims to reinvent the library as a flexible space for information across various media. Key features include a central atrium allowing views between floors, a spiral ramp providing access to different collections on four floors, and maximization of natural light through its exterior glass walls and interior skylight.
In this issue you will discover exceptional projects and programmes of varying dimensions. You will see that, although zinc is traditionally an urban material, it can be used to roof gracefully the nave of a Korean temple in the middle of the countryside, or for the envelope of a house enclosed in a former industrial building.
This document provides details about a project to design an information center for the Alaskan Way Viaduct Replacement Program in Seattle. Key details include:
- The center aimed to fit in with the surrounding Pioneer Square neighborhood and provide information about the history and future of transportation in Seattle.
- The design broke the center into four sections covering the history of the landscape, transportation, and the future tunnel project.
- Drawings and diagrams show the layout, visitor experience, and construction process.
- The aggressive 5-month schedule required coordination between design, content development, and construction.
Theateradvies and Cepezed win prestigious design award for Theater 't Speelhuis!Theateradvies bv
Theateradvies and Cepezed are awarded at the International Theatre Engineering and Architecture Conference in London with the runner-up prize for Theatre ’t Speelhuis in Helmond, the Netherlands. This prestigious design award was issued on June 9, 2014 by the STC, the International Society of Theatre Consultants.
This tenth “standard” issue represents an impressive selection of recent projects around the world. Twelve different countries on three continents are represented, and the diversity of buildings, functions and applications pays tribute to the flexibility of our products.
The Amsterdam Central Public Library is the largest library in Europe, located in Amsterdam, Netherlands. Designed by German architect Jo Coenen and opened in 2007, it covers 28,500 square meters spread over 10 floors. The library aims to be a cultural meeting center with spaces for reading, performances, exhibitions, and more to promote education and understanding. Natural light from large windows and artificial light from escalators illuminate the interior.
Similar to Nicholas Socrates' Architectural & Urban Design Portfolfio 2013 (20)
This document summarizes research on adaptive facades. It discusses various facade functions including thermal, acoustic, and visual comfort. It describes different types of facade systems that provide ventilation, heating, cooling, and sun protection. These include double skin facades, box window facades, corridor facades, and chimney box windows. The document also discusses integrating mechanical systems into facades and developing facades as active, adaptable skins or organs of the building.
The document discusses Idelfon Cerdá's expansion plan for Barcelona in the 19th century. It analyzes how Cerdá designed an expansive grid plan for Barcelona to accommodate major population growth from industrialization. The plan included wide streets laid out in a grid with open block interiors to allow for light, air and public green spaces. While the grid appears uniform, it accommodated existing diagonal routes. Cerdá's plan was innovative in prioritizing public health, transport, and social needs through neighborhood unit design. Though his vision was idealistic, the flexibility of the grid allowed Barcelona to organically modify and densify over time in response to changing needs while maintaining some open space.
Nicholas Socrates' Architecture and Urban Design Portfolio 2013Nicholas Socrates
This document contains a series of site plans and drawings related to a site analysis project for Spike Island. The drawings map different transportation, circulation and land use patterns on the island through separate layers and diagrams. Some inconsistencies are present due to the conceptual nature of the drawings at this early design stage.
The Taipei Performing Arts Center in Taiwan elevates a substantial part of its program to create an open public square underneath. By lifting the main plateau, panoramic views of the city are created. The building contains more void space in the form of this three-dimensional urban square than mass. The square fundamentally becomes part of the building and is activated by various balconies and terraces with different programs. The four "legs" of the building that support the horizontal slab are each programmed differently and contain performance spaces at varying altitudes, connected by a system of loops, stairs, and elevators.
This document provides a design brief for Tate Bristol, a new art gallery being built in Bristol, UK. It outlines the vision for Tate Bristol to be the best art gallery outside of London and a catalyst for creativity and culture in Bristol. The gallery aims to build the local creative economy, invest in children and families, promote community heritage, and showcase emerging UK artists as well as the Tate's collection of Asian and African art. The design brief discusses key considerations for the urban environment, technical requirements, public and back-of-house functional areas, and sustainability strategies to realize this vision.
Library of Bristol Integrated with Tate Bristol - design brief 31-01-13Nicholas Socrates
The document outlines a design brief for integrating the Library of Bristol with the Tate Bristol art gallery to create one of the best public libraries and art galleries in the world. It discusses the vision for the integrated spaces to inspire creativity, learning, and community. The brief also examines the limitations of the current separate buildings and how the new integrated space can embrace 21st century technologies and learning. It provides an overview of the functional areas and specifications needed for the library, art gallery, and shared integrated spaces.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive functioning. Exercise boosts blood flow, releases endorphins, and promotes changes in the brain which help regulate emotions and stress levels.
Materialization and design development mueseum and depot RotterdamNicholas Socrates
The document discusses the benefits of exercise for both physical and mental health. It notes that regular exercise can reduce the risk of diseases like heart disease and diabetes, improve mood, and reduce feelings of stress and anxiety. Staying active also helps maintain a healthy weight and keeps muscles, bones and joints healthy as we age.
Nicholas Socrates Painting Portfolio 2011 Selection Nicholas Socrates
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive functioning. Exercise causes chemical changes in the brain that may help protect against mental illness and improve symptoms.
Mind Mapping: Walking Notes, Urban Awareness Diary, BarcelonaNicholas Socrates
El documento describe una caminata urbana en Barcelona, observando varios espacios públicos como parques, jardines y plazas. Se detalla la vegetación, mobiliario urbano y características arquitectónicas de cada lugar, como árboles, bancos, escaleras y senderos. La caminata pasa por la universidad, cafeterías, parques pequeños y grandes con vegetación y asientos, y termina en una plaza de mercado animada bajo una gran marquesina.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive functioning. Exercise causes chemical changes in the brain that may help protect against mental illness and improve symptoms.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive functioning. Exercise causes chemical changes in the brain that may help protect against mental illness and improve symptoms.
The World Architecture Festival took place in Barcelona, showcasing architectural projects from around the world. Over 2000 architects attended to present their works, receive inspiration from keynote speakers, and celebrate the award winners. One such winner was Peter Rich for his Mapungubwe Interpretation Centre in South Africa. The festival highlighted challenges facing architects and how innovative design can create opportunities with fewer resources. An example presented was Chris McCarthy's sustainable campus for Agostinho Neto University in Angola, which utilizes natural systems and local materials to minimize costs while providing modern facilities.
The Inter Relations Between Sculpture and Architecture - El Espacio RaptadoNicholas Socrates
The document discusses the relationship between architecture and sculpture from the 1960s onward. A renewed interest emerged in locating fine arts like sculpture within architectural spaces to establish new concepts in both disciplines. Sculpture began occupying comparable volumes to buildings and took on architectural qualities. By the 1970s, sculpture's role had expanded to altering and transforming space through its interference in the field of architecture. Public art is discussed as art located in open, public spaces for all citizens to experience.
The document discusses the benefits of meditation for reducing stress and anxiety. Regular meditation practice can help calm the mind and body by lowering blood pressure, reducing muscle tension, and decreasing levels of stress hormones. Meditation has also been shown to improve focus and concentration while providing a sense of emotional well-being.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive function. Exercise causes chemical changes in the brain that may help protect against developing mental illness and improve symptoms for those who already suffer from conditions like anxiety and depression.
Hans Ibelings is a Dutch art historian and architecture critic. He has written extensively on architectural movements including postmodernism, modernism, deconstructivism, and supermodernism. The document discusses the key principles and influences of each movement. Modernism emphasized simplicity, rejection of ornament, and use of new materials like steel and glass. Postmodernism reacted against modernism with a return to traditional forms and reference to historical styles. Deconstructivism introduced non-rectilinear shapes and fragmentation. Supermodernism refers to a trend toward abstract, neutral architecture reflecting the last phase of modernism. Globalization is discussed as exerting influence on contemporary architecture through increased cross-cultural contact and the image of the global city
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive function. Exercise causes chemical changes in the brain that may help protect against mental illness and improve symptoms.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive function. Exercise causes chemical changes in the brain that may help protect against mental illness and improve symptoms.
4. After travelling through the building; taken on a journey through its galleries, the visitors finally arrive on the roof. On the
roof exists the sculpture garden, where numerous installations and large works live. The roof is South facing and views of
the harbour and the new city park are possible.
This balcony space acts as platform to view the main, double height, digital space below from a different perspective. Along
this balcony various other digital installations exist. The sound elements overlap inherent in most digital art pieces, unlike
‘still’ works, functions more as an attractive and moody underscore. The total effect is often surprisingly emotional.
Top floor gallery with double height ceiling for large works and installations.
North-East & North-West facing gallery. Internal gallery standard climate is maintained through mechanical ventilation &
heating. The highest performance Low-E glass is used to maintain a steady temperature reducing the amount of mechanical
heating and cooling / energy used.
North facing galleries on the 2nd, 3rd and 4th floors. Internal gallery standard climate maintained through mechanical
ventilation & heating. The highest performance Low-E glass is used to maintain a steady temperature reducing the
amount of mechanical heating and cooling / energy used.
The entrance way from Cumberland road, which leads through to the public ramp / main atrium. It is surfaced in a hard-
wearing way (concrete). This is due to the amount of people passing through as a short-cut to the Harbour and also to
emphasis that this is an extension to the public street.
The yellow travellator takes visitors on a journey from a main ‘light’ gallery space, through the atrium, and arrives them
immediately into the darkness of a main digital gallery. Effortlessly contrasting the visitors experience; keeping them
awake, alert and excited. The public spaces and functions on the left and back of house operations, workshops, and artist
studios on the right. Artists can be seen working if their internal blinds are open. On certain studio open days the entire
gallery expands in size.
View from the park plinth: continuation of level from Cumberland road to park plinth & Tate Bristol’s back entrance.
Public and staff carpark underneath the park plinth of a capacity of 125 parking spaces.
External ramp. parallel to the Tate Bristol building. Descending from the park plinth / Cumberland road to
the harbour-side promenade
View from the park plinth, looking towards Bristol Harbour in between The Library of Bristol and Tate Bristol.
5. The main atrium connects the Harbour to Cumberland Road. It is seen as a public street (and is surfaced in this way). In
this space large scale installations and sculptures exist. From here the visitor has an immediate understanding of the
building. The different coloured floors help orientate the visitor to understand which gallery and public function exist
on which floor.
Tate Bristol has two levels, on the Eastern side, dedicated to Learning. These Learning Spaces have an abundance of
public computers, which have installed the latest graphic and video software. Instead of having "hot desks" to rent
office space in an isolated room, here we have communal spaces which are open, public and for all.
Throughout the building experience there will be numerous informal installations. In almost seemingly random places, installations,
sculptures, projections and performances will take place. The building's flexibility due to its openness and organisation of the
permanent functions allows for this.
North facing galleries on the 2nd, 3rd and 4th floors. Internal gallery standard climate maintained through mechanical
ventilation & heating. The highest performance Low-E glass is used to maintain a steady temperature reducing the
amount of mechanical heating and cooling / energy used.
'The Cave' is a large circular space situated below the upper-ground level. This is a flexible industrial space which is used for digital
art installations and non-commercial performances. A public space almost independent and hidden from the rest of the gallery.
Tate Bristol’s main digital art space is on a colossal scale. This space houses a selection of Tate Bristol’s permanent digital
collection. This particular room has a special emphasis on the artist Ryoji Ikeda. Ryoji Ikeda’s work quivers somewhere
between electronic music, digital art, installation and performance. He uses raw materials both visual and sonic: using
giant screens and huge speaker systems, Ikeda gives these hidden elements something approaching the scale and
monumentality of industrial manufacturing processes.
Walking up the main public circulation ramp; parallel and adjacent to the externally surrounding ephemeral skin. Taking visitors
on a journey; wrapping them around the extents of the building. For this ramp; it draws visitors through a main learning space and
directly into the gallery. The circulation of the building is only clear one floor at a time to enhance the experience and discovery of
the building.
The site of Tate Bristol on Spike Island will create a flow of visitors and provide an open anchor, an interior public
space and a meeting place for pedestrians and they will become the city’s new icon, whilst addressing deficiencies
in accessibility, adaptability and lack of space for creative enterprise. Tate Bristol will become a creative and cultural
centre for the city. Tate Bristol will be the social and creative heart of the city, connecting people of all ages, cultures
and backgrounds.
View from across the water from the public space outside of the Llyods Bank. Showing that the Library of Bristol (left)
and the Tate Bristol (right) have equal importance to the city of Bristol demonstrated by the equality of presence on the
Harbour-front sky-line.
6.
7. North facing galleries on the 2nd, 3rd and 4th floors.
Internal gallery standard climate maintained through
mechanical ventilation & heating. The highest
performance Low-E glass is used to maintain a steady
temperature reducing the amount of mechanical
heating and cooling / energy used.
Top floor gallery with double height
ceiling for large works and installations.
North-East & North-West facing gallery.
Internal gallery standard climate
is maintained through mechanical
ventilation & heating. The highest
performance Low-E glass is used
to maintain a steady temperature
reducing the amount of mechanical
heating and cooling / energy used.
The yellow travellator takes visitors on a journey
from a main ‘light’ gallery space, through the atrium,
and arrives them immediately into the darkness of
a main digital gallery. Effortlessly contrasting the
visitors experience; keeping them awake, alert and
excited. The public spaces and functions on the left
and back of house operations, workshops, and artist
studios on the right. Artists can be seen working if
their internal blinds are open. On certain studio
open days the entire gallery expands in size.
Walking up the main public circulation
ramp; parallel and adjacent to the externally
surrounding ephemeral skin. Taking visitors
on a journey; wrapping them around the
extents of the building. For this ramp; it draws
visitors through a main learning space and
directly into the gallery. The circulation of
the building is only clear one floor at a time
to enhance the experience and discovery of
the building.
Tate Bristol has two levels, on the Eastern side,
dedicated to Learning. These Learning Spaces
have an abundance of public computers,
which have installed the latest graphic and
video software. Instead of having "hot desks"
to rent office space in an isolated room, here
we have communal spaces which are open,
public and for all.
Throughout the building experience there will
be numerous informal installations. In almost
seemingly random places, installations, sculptures,
projections and performances will take place.
The building's flexibility due to its openness and
organisation of the permanant functions allows
for this.
After travelling through the building; taken on a
journey through its galleries, the visitors finally arrive
on the roof. On the roof exists the sculpture garden,
where numerous installations and large works live.
The roof is South facing and views of the harbour and
the new city park are possible.
'The Cave' is a large circular space situated below the upper-ground
level. This is a flexible industrial space which is used for digital art
installations and non-commercial performances. A public space
almost independent and hidden from the rest of the gallery.
Tate Bristol’s main digital art space is on a colossal scale. This space
houses a selection of Tate Bristol’s permanent digital collection. This
particular room has a special emphasis on the artist Ryoji Ikeda. Ryoji
Ikeda’s work quivers somewhere between electronic music, digital
art, installation and performance. He uses raw materials both visual
and sonic: using giant screens and huge speaker systems, Ikeda
gives these hidden elements something approaching the scale and
monumentality of industrial manufacturing processes.
This balcony space acts as platform to view the
main, double height, digital space below from a
different perspective. Along this balcony various
other digital installations exist. The sound
elements overlap inherent in most digital art
pieces, unlike ‘still’ works, functions more as an
attractive and moody underscore. The total effect
is often surprisingly emotional.
The main atrium connects the Harbour to
Cumberland Road. It is seen as a public street
(and is surfaced in this way). In this space large
scale installations and sculptures exist. From here
the visitor has an immediate understanding of
the building. The different coloured floors help
orientate the visitor to understand which gallery
and public function exist on which floor.
The site of Tate Bristol on Spike Island will create a flow of visitors
and provide an open anchor, an interior public space and a
meeting place for pedestrians and they will become the city’s new
icon, whilst addressing deficiencies in accessibility, adaptability
and lack of space for creative enterprise. Tate Bristol will become
a creative and cultural centre for the city. Tate Bristol will be the
social and creative heart of the city, connecting people of all ages,
cultures and backgrounds.
The entrance way from Cumberland
road, which leads through to the
public ramp / main atrium. It is
surfaced in a hardwearing way
(concrete). This is due to the amount
of people passing through as a
short-cut to the Harbour and also to
emphasis that this is an extension to
the public street.
TATE BRISTOL: KEY INTERNAL SPACES
8. TATE BRISTOL: COOLING MODE
TATE BRISTOL: HEATING MODE
!"
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!#
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!$
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!%
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!&
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(
(
)
)
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&
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!
*+&$( *+&$( *+&$( *+&$( )+')& )+''' )+''' )+''' )+''' )+''' )+''' )+''' )+''' )+''' "+$')
Natural ventilation operable
openings for exhaust at roof level
Natural ventilation operable
openings on façade for fresh air inlet
COOLING MODE
VENTILATION STRATEGY
Natural Vent (Fresh Air)
Natuaral Vent (Exhaust)
Thermetically Sealed
Open and Uncontrolled
Interior Climate
Mechanical Extract
Mechanical Supply
NATURAL MODE
(Mid Season)
!"
!"
!#
!#
!$
!$
!%
!%
!&
!&
!!
!!
!'
!'
(
(
)
)
*
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#
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%
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!
*+&$( *+&$( *+&$( *+&$( )+')& )+''' )+''' )+''' )+''' )+''' )+''' )+''' )+''' )+''' "+$')
Natural Vent (Fresh Air)
Natuaral Vent (Exhaust)
Thermetically Sealed
Open and Uncontrolled
Interior Climate
HEATING MODE
Natural ventilation openings
closed during heating mode
Natural ventilation openings on façade
closed during heating mode
Heat exchanger collects heat from
building mixes with 10% fresh air and
then recirculates the recycled heat
around the building
Under Floor Heating
Trench Heater
General Supply
General Exhaust
Closed Control Supply
Closed Control Exhaust
Buildings Heat In
Fresh Air In
Recycled
Heat Out
9. 1005010 200
cm.
150
scale / format
project stage project number
client
reference file
drawing number
subject
date
drawing status
key plan north arrow
project
on
revision
Gavin
Consulting Engineer
Jono
Louis
Design Consultant
Urban Design Consultant
architecture designer
rev. date drawn checked
The Tate
Typical Facade Detail & Section
Tate Bristol ('Tate Digital')
MArch Design Studio B
Bristol, United Kingdom
Landscape 001
10-04-2013
FINALA2
X:2_C_Concept DesignDrawingsLandscape 001
1:30
Concept Design
Landscape 001
NB:
Inconsistencies in the drawing are inevitable due to the level of detail of stage C. The drawing
will be further defined/developed in stage D.
Nicholas Socrates
UWE, Bristol
TATE BRISTOL: LANDSCAPE DRAWINGS 1:50
10. 1005010 200
cm.
150
scale / format
project stage project number
client
reference file
drawing number
subject
date
drawing status
key plan north arrow
project
on
revision
Gavin
Consulting Engineer
Jono
Louis
Design Consultant
Urban Design Consultant
architecture designer
rev. date drawn checked
The Tate
Typical Facade Detail & Section
Tate Bristol ('Tate Digital')
MArch Design Studio B
Bristol, United Kingdom
108
10-04-2013
FINALA3
X:2_C_Concept DesignDrawings108
1:50
Concept Design
108
NB:
Inconsistencies in the drawing are inevitable due to the level of detail of stage C. The drawing
will be further defined/developed in stage D.
Nicholas Socrates
UWE, Bristol
TATE BRISTOL: TECHNICAL DRAWINGS 1:50
11. 1005010 200
cm.
150
scale / format
project stage project number
client
reference file
drawing number
subject
date
drawing status
key plan north arrow
project
on
revision
Gavin
Consulting Engineer
Jono
Louis
Design Consultant
Urban Design Consultant
architecture designer
rev. date drawn checked
The Tate
Typical Facade Detail & Section
Tate Bristol ('Tate Digital')
MArch Design Studio B
Bristol, United Kingdom
111
10-04-2013
FINALA2
X:2_C_Concept DesignDrawings111
1:20
Concept Design
111
NB:
Inconsistencies in the drawing are inevitable due to the level of detail of stage C. The drawing
will be further defined/developed in stage D.
Nicholas Socrates
UWE, Bristol
TATE BRISTOL: TECHNICAL DRAWINGS 1:30
25. SPIKE ISLAND SITE ANALYSIS
GP
GP
GP
Posts
Path
HarbourWalk
Harbour
Walk
Plinth
El Sub Sta
The Create Environment Centre
Bristol Record Office
Warehouse
36
Maritime
24
38
Nap
ier
Cou
rt
132
21
28
Works
21
25
96
94
Heritage
33
PH
130
23
7to
12
17
23
32
Rowi
ng
Club
Crane
20
133
Centre
123
38
Hop
eCou
rt
27
24
10
12
24
Museum
131
25
13
37
Works
31
Works
PH
Tk
19
119
27
29
31
15
11
40
Portla
nd
Court
11
134
Works
33
to
44
Works
Works
PC
31
Works
10
22
Works
120
22
26
121
22
40
32
39
Doc
kyar
d
36
122
32
El Sub Sta
30
Wapping
14
17
(PH)
24
14
17
22
John
Cab
ot
Cou
rt
30
39
13
Post
13
19
21
Depot
13
37
15
16
12
25
17
5 to
10
19
Rescu
e
15
11
Tk
36
10
19
16
23
Warehouse
20
1to
12
26
25
25
Cottage
11
19
22
22
24
13
29
Engine
House
26
16
5to
10
29
32
Club
11
31
to
36
29
18
Underfall Yard
20
24
21
36
5to
10
27
14
27
12
14
15
20
31
Hydrau
lic
16
12
30
to
35
14
(Sea Cadet Corps)
20
Cou
rt
TS Adventure
23
39
20
We
stbr
ook
eCou
rt
14
1a
28
40
27
25
5to
10
28
Water Leisure
24
Old
Dock
Cotta
ges
26
37
Hop
e
15
18
Court
23
Me
red
ith
Co
urt
26
Centre
25
The
15
27
22
28
19
28
12
PH
18
16
Inn
39
30
to
35
13
17
30
29
17
38
37
Deal
Cotta
ge
38
23
21
21
Weare
18
11
38
18
Cum
berla
nd
Perrett
s Court
Mer
chan
ts Row
246
El Sub Sta
86
14 to
49
Lan
dma
rk Cou
rt
Museum
The Quays
Cou
rt
1 to
30
81
90
72
Old Jail Workshop
s
PC
1 to
12
80
66
17
to34
We
stga
te
1 to
1 to
40
Liberty Gardens
Pennon Rise
35
to50
1to
16
91
3to6
129
1 to
84
Steamship
House
Museum
TrinMills
PH
21
Daubeny
13
1 to
17
6
to
12
Court
18
1
to
18
El Sub Sta
10
By
za
nti
ne
Co
urt
Museum
Merrick Court
1 to
16
Ba
thu
rst
Pa
rad
e
MerchantsHouse
Depot
12
Jubilee
House
AS
HM
EA
D
WA
Y
PLAC
EGRE
NVIL
LE
CU
MB
ER
LA
ND
RO
AD
BRUNS
WICK
PLACE
SM
EA
TO
N
RO
AD
MC ADAM
WAY
BRU
NEL
LOC
K ROA
D
CUMBERLAND
ROAD
CA
NA
DA
WA
Y
GE
FLE
CLO
SE
GAS
FER
RY
ROA
D
SYDN
EY ROW
MAR
DYK
EFER
RY
ROA
D
CALED
ONIAN
ROAD
HAN
OVE
RPLA
CE
CA
NA
DA
WA
Y
BRUNE
L LOCK
ROAD
MC ADAM
WAY
CU
MB
ER
LAN
D
CL
OS
E
ASHT
ON AVEN
UE
CUMBE
RLAND
ROAD
AV
ON
CR
ES
CE
NT
NOVA
SCOT
IA PLAC
E
CUMB
ERLAN
D ROAD
CALE
DONIA
N ROAD
WAPPINGROAD
DRAYCOTPLACE
CHALLONER COURT
CUM
BER
LAND
ROA
D
Pier
s
(Sw
ing)
Swing-bridge
Cn
Bollards
TCB
Bollard
Caisson
Boll
ards
Bollar
d
Bollard
s
Chy
Jetty
Bollards
Bolla
rds
Bolla
rds
Bolla
rds
Caisson
Bollard
FB
FB
Cumberland Basin Bridge
Chy
TCB
Stone
(Swing)
Bolla
rds
LB
Trave
lling
Cran
es
Crane
Bol
Bollards
Bollards
Bol
Sluice
Sluice
El Sub Sta
Sub
El
Sta
Bolla
rds
Bols
Cn
Bol
Bol
lard
s
Bol
Bollards
Cn
Bols
Bollards
Cn
Mud
Mud
Mud
Mud
Mud
SM
SM
Sloping
masonry
Mean High Water
Mean
High
Water
Mean Low Water Springs
Mean High Water
MLW
Mud
Mud
Mea
n Low
Wat
er
Car Park
Sloping
masonry
Sloping
mason
ry
SM
Sloping
masonry
Slopin
g maso
nry
Sub
SS
Gre
at Brit
ain
Slipway
SM
El
SM
Gra
ving
Doc
k
Sta
SM
Cha
tha
m Wh
arf
Patent
Slip
(Activities Centre)
Slip
wa
y
Car Park
Slipway
Avon Quay
El Sub
Sta
Caravan Site
Slop
ing
mas
onry
SM
SMSM
SM
SM
SM
Car Park
SM
Car Park
Car Park
Ba
ltic
Wh
arf
Balt
ic Wha
rf
Car Park
Sloping
masonry
Bathurst Wharf
SM
SM
9.1m
9.4m
9.1m
10.4m
8.5m
9.1m
9.4m
8.5m
9.4m
8.2m
13.7m
14.9m
14.0m
9.4m
9.4m
10.7m
12.5m
Wa
pp
ing
Ra
ilw
ay
Wh
arf
Railway
(disused
)
MP
Wa
ppi
ng
Railwa
y Wh
arf
Albion Docks Boatyard
Wharf
Wharf
Prin
ce's
Wha
rf
Wapping Railway Wharf
Merchants Quay
Prin
ce's
Wha
rf
Buildings
Paths
Green
Lanes
N
1:5000
25
27
Sloping
masonry
GP
GP
GP
Posts
Path
HarbourWalk
Harbour
Walk
Plinth
El Sub Sta
The Create Environment Centre
Bristol Record Office
Warehouse
36
Maritime
24
38
Napier
Court
132
21
28
Works
21
25
96
94
Heritage
33
PH
130
23
7to
12
17
23
32
Rowing
Club
Crane
20
133
Centre
123
38
Hope
Court
27
24
10
12
24
Museum
131
25
13
37
Works
31
Works
PH
Tk
19
119
27
29
31
15
11
40
Portland
Court
11
134
Works
33
to
44
Works
Works
PC
31
Works
10
22
Works
120
22
26
121
22
40
32
39
Dockya
rd
36
122
32
El Sub Sta
30
Wapping
14
17
(PH)
24
14
17
22
John
Cabot
Court
30
39
13
Post
13
19
21
Depot
13
37
15
16
12
25
17
5 to
10
19
Rescue
15
11
Tk
36
10
19
16
23
Warehouse
20
1to
12
26
25
25
Cottage
11
19
22
22
24
13
29
Engine
House
26
16
5to
10
29
32
Club
11
31
to
36
29
18
Underfall Yard
20
24
21
36
5to
10
27
14
27
12
14
15
20
31
Hydraulic
16
12
30
to
35
14
(Sea Cadet Corps)
20
Court
TS Adventure
23
39
20
Westb
rooke
Court
14
1a
28
40
27
25
5to
10
28
Water Leisure
24
Old
Dock
Cottages
26
37
Hope
15
18
Court
23
Mered
ith
Court
26
Centre
25
The
15
27
22
28
19
28
12
PH
18
16
Inn
39
30
to
35
13
17
30
29
17
38
37
Deal
Cottage
38
23
21
21
Weare
18
11
38
18
Cumber
land
Perretts
Court
Mercha
nts
Row
246
El Sub Sta
86
14 to
49
Landma
rk Court
Museum
The Quays
Court
1 to
30
81
90
72
Old Jail Workshops
PC
1 to
12
80
66
17
to34
Westg
ate
1 to
1 to
40
Liberty Gardens
Pennon Rise
35
to50
1to
16
91
3to6
129
1 to
84
Steamship
House
Museum
TrinMills
PH
21
Daubeny
13
1 to
17
6
to
12
Court
18
1
to
18
El Sub Sta
10
Byza
ntine
Cour
t
Museum
Merrick Court
1 to
16
Bathu
rst
Parad
e
MerchantsHouse
Depot
12
Jubilee
House
ASH
MEA
D
WAY
PLACE
GRENVIL
LE
CUM
BER
LAN
D
ROA
D
BRUNSWICK
PLACE
SME
ATON
ROA
D
MC ADAM
WAY
BRUNE
L LOCK
ROAD
CUMBERLAND
ROAD
CANA
DA
WAY
GEFLE
CLOS
E
GASFE
RRY
ROAD
SYDNEY
ROW
MARDYK
EFERRY
ROAD
CALEDONIAN
ROAD
HANOV
ER
PLACE
CANA
DA
WAY
BRUNEL
LOCK
ROAD
MC ADAM
WAY
CUMB
ERLA
ND
CLOS
E
ASHTON
AVENUE
CUMBERLAN
D ROAD
AVO
N
CRE
SCE
NT
NOVA
SCOTIA
PLACE
CUMBERLA
ND ROAD
CALEDONI
AN ROAD
WAPPINGROAD
DRAYCOTPLACE
CHALLONER COURT
CUMBER
LAND
ROAD
Piers
(Swing)
Swing-bridge
Cn
Bollards
TCB
Bollard
Caisson
Bollard
s
Bollard
Bollards
Chy
Jetty
Bollards
Bollards
Bollards
Bollards
Caisson
Bollard
FB
FB
Cumberland Basin Bridge
Chy
TCB
Stone
(Swing)
Bollards
LB
Travelling
Cranes
Crane
Bol
Bollards
Bollards
Bol
Sluice
Sluice
El Sub Sta
Sub
El
Sta
Bollards
Bols
Cn
Bol
Bollard
s
Bol
Bollards
Cn
Bols
Bollards
Cn
Mud
Mud
Mud
Mud
Mud
SM
SM
Sloping
masonry
Mean High Water
Mean
High
Water
Mean Low Water Springs
Mean High Water
MLW
Mud
Mud
Mean
Low
Water
Car Park
Sloping
masonry
Sloping
masonry
SM
Sloping
masonry
Sloping
masonry
Sub
SS
Great
Britain
Slipway
SM
El
SM
Graving
Dock
Sta
SM
Chatha
m Wharf
Patent
Slip
(Activities Centre)
Slipw
ay
Car Park
Slipway
Avon Quay
El Sub
Sta
Caravan Site
Sloping
mason
ry
SM
SMSM
SM
SM
SM
Car Park
SM
Car Park
Car Park
Baltic
Whar
f
Baltic
Wharf
Car Park
Sloping
masonry
Bathurst Wharf
SM
SM
9.1m
9.4m
9.1m
10.4m
8.5m
9.1m
9.4m
8.5m
9.4m
8.2m
13.7m
14.9m
14.0m
9.4m
9.4m
10.7m
12.5m
Wapp
ing
Railw
ay
Whar
f
Railway
(disused)
MP
Wapp
ing
Railw
ay
Whar
f
Albion Docks Boatyard
Wharf
Wharf
Prince'
s Wharf
Wapping Railway Wharf
Merchants Quay
Prince'
s Wharf
Buildings
Paths
Green
Lanes
N
1:5000
25
27
Sloping
masonry
ARoad
MainRoads
MinorRoads
Lanes
Paths
Lanes
BuildingsBuildings
Lanes
BackGardens
RestrictedAreas
RestrictedRoad
SemiPublicPaths
CaravanPark
Green
SUBSTANTIVE ACCOUNT
As part of our Studio B site anaylsis, I was set the task to ‘map’ the ‘transportation and communication’ within Spike Island.
METHODOLOGICAL ACCOUNT
From a DWG site plan of Spike Island, in Archicad, I started separating areas into their different functions and uses. I made one ‘map’ with all
uses on it and I put each separate use on its own layer. From this one drawing with lots of information - I could then turn off other layers to
poduce a series of drawings which communicated different functions and uses
ANALYTICAL ACCOUNT
Becasue of the amibguity of the spaces on Spike Island - mapping the pedestrian routes was not always straight forward. For example the
pedestrian route or desire way may include cutting through a carpark or an unused/undesignated space. This unplanned aspect to the
island I found quite refreshing. Figure grounds are interesting, but perhaps not always useful. I combined the layers of the figure ground
with the houses back gardens and also restricted zones physical and psychological.
The diagram which explodes these different ‘maps’ upwards - I found not really necessary and it was easier to view these drawings
individually on plan view.
SPIKE ISLAND SITE ANALYSIS
GP
GP
GP
Posts
Path
HarbourWalk
Harbour
Walk
AS
HM
EA
D
WA
Y
PLAC
EGRE
NVIL
LE
CU
MB
ER
LA
ND
RO
AD
BRUNS
WICK
PLACE
SM
EA
TO
N
RO
AD
MC ADAM
WAY
BRU
NEL
LOC
K ROA
D
CUMBERLAND
ROAD
CA
NA
DA
WA
Y
GE
FLE
CLO
SE
GAS
FER
RY
ROA
D
SYDN
EY ROW
MAR
DYK
EFER
RY
ROA
D
CALED
ONIAN
ROAD
HAN
OVE
RPLA
CE
CA
NA
DA
WA
Y
BRUNE
L LOCK
ROAD
MC ADAM
WAY
CU
MB
ER
LAN
D
CL
OS
E
ASHT
ON AVEN
UE
CUMBE
RLAND
ROAD
AV
ON
CR
ES
CE
NT
NOVA
SCOT
IA PLAC
E
CUMB
ERLAN
D ROAD
CALE
DONIA
N ROAD
WAPPINGROAD
DRAYCOTPLACE
CHALLONER COURT
CUM
BER
LAND
ROA
D
Pier
s
(Sw
ing)
Swing-bridge
Cn
Bollards
TCB
Bollard
Caisson
Boll
ards
Bollar
d
Bollard
s
Chy
Jetty
Bollards
Bolla
rds
C
C
Bolla
rds
Bolla
rds
Caisson
Bollard
FB
FB
Cumberland Basin Bridge
Chy
TCB
Stone
(Swing)
Bollar
ds
LB
Trave
lling
Cran
es
Crane
Bol
Bollards
Bollards
Bol
Sluice
Sluice
El Sub Sta
Sub
El
Sta
Bolla
rds
Bols
Cn
Bol
Bol
lard
s
Bol
Bollards
Cn
Bols
Bollards
Cn
Mud
Mud
Mud
Mud
Mud
SM
SM
Sloping
masonry
Mean High Water
Mean
High
Water
Mean Low Water Springs
Mean High Water
MLW
Mud
Mud
Mea
n Low
Wat
er
Car Park
Sloping
masonry
Sloping
mason
ry
SM
Sloping
masonry
Slopin
g maso
nry
Sub
SS
Gre
at Brit
ain
Slipway
SM
El
SM
Gra
ving
Doc
k
Sta
SM
Cha
tha
m Wh
arf
Patent
Slip
(Activities Centre)
Slip
wa
y
Car Park
Slipway
Avon Quay
El Sub
Sta
Slop
ing
mas
onry
SM
SMSM
SM
SM
SM
Car Park
SM
Car Park
Car Park
Ba
ltic
Wh
arf
Balt
ic Wha
rf
Car Park
Sloping
masonry
Bathurst Wharf
SM
SM
9.1m
9.4m
9.1m
10.4m
8.5m
9.1m
9.4m
8.5m
9.4m
8.2m
13.7m
14.9m
14.0m
9.4m
9.4m
10.7m
12.5m
Wa
pp
ing
Ra
ilw
ay
Wh
arf
Railway
(disused
)
MP
Wa
ppi
ng
Railwa
y Wh
arf
Albion Docks Boatyard
Wharf
Wharf
Prin
ce's
Wha
rf
Wapping Railway Wharf
Merchants Quay
Prin
ce's
Wha
rf
Sloping
masonry
GP
GP
GP
Posts
Path
HarbourWalk
Harbour
Walk
AS
HM
EA
D
WA
Y
PLAC
EGRE
NVIL
LE
CU
MB
ER
LA
ND
RO
AD
BRUNS
WICK
PLACE
SM
EA
TO
N
RO
AD
MC ADAM
WAY
BRU
NEL
LOC
K ROA
D
CUMBERLAND
ROAD
CA
NA
DA
WA
Y
GE
FLE
CLO
SE
GAS
FER
RY
ROA
D
SYDN
EY ROW
MAR
DYK
EFER
RY
ROA
D
CALED
ONIAN
ROAD
HAN
OVE
RPLA
CE
CA
NA
DA
WA
Y
BRUNE
L LOCK
ROAD
MC ADAM
WAY
CU
MB
ER
LAN
D
CL
OS
E
ASHT
ON AVEN
UE
CUMBE
RLAND
ROAD
AV
ON
CR
ES
CE
NT
NOVA
SCOT
IA PLAC
E
CUMB
ERLAN
D ROAD
CALE
DONIA
N ROAD
WAPPINGROAD
DRAYCOTPLACE
CHALLONER COURT
CUM
BER
LAND
ROA
D
Pier
s
(Sw
ing)
Swing-bridge
Cn
Bollards
TCB
Bollard
Caisson
Boll
ards
Bollar
d
Bollard
s
Chy
Jetty
Bollards
Bolla
rds
C
C
Bolla
rds
Bolla
rds
Caisson
Bollard
FB
FB
Cumberland Basin Bridge
Chy
TCB
Stone
(Swing)
Bolla
rds
LB
Trave
lling
Cran
es
Crane
Bol
Bollards
Bollards
Bol
Sluice
Sluice
El Sub Sta
Sub
El
Sta
Bolla
rds
Bols
Cn
Bol
Bol
lard
s
Bol
Bollards
Cn
Bols
Bollards
Cn
Mud
Mud
Mud
Mud
Mud
SM
SM
Sloping
masonry
Mean High Water
Mean
High
Water
Mean Low Water Springs
Mean High Water
MLW
Mud
Mud
Mea
n Low
Wat
er
Car Park
Sloping
masonry
Sloping
mason
ry
SM
Sloping
masonry
Slopin
g maso
nry
Sub
SS
Gre
at Brit
ain
Slipway
SM
El
SM
Gra
ving
Doc
k
Sta
SM
Cha
tha
m Wh
arf
Patent
Slip
(Activities Centre)
Slip
wa
y
Car Park
Slipway
Avon Quay
El Sub
Sta
Caravan Site
Slop
ing
mas
onry
SM
SMSM
SM
SM
SM
Car Park
SM
Car Park
Car Park
Ba
ltic
Wh
arf
Balt
ic Wha
rf
Car Park
Sloping
masonry
Bathurst Wharf
SM
SM
9.1m
9.4m
9.1m
10.4m
8.5m
9.1m
9.4m
8.5m
9.4m
8.2m
13.7m
14.9m
14.0m
9.4m
9.4m
10.7m
12.5m
Wa
pp
ing
Ra
ilw
ay
Wh
arf
Railway
(disused
)
MP
Wa
ppi
ng
Railwa
y Wh
arf
Albion Docks Boatyard
Wharf
Wharf
Prin
ce's
Wha
rf
Wapping Railway Wharf
Merchants Quay
Prin
ce's
Wha
rf
Sloping
masonry
SPIKE ISLAND SITE ANALYSIS: FREEDOM AND CONTROL
SUBSTANTIVE ACCOUNT
As well as mapping the transportation and communications I was also given the task, of
unofficial site analysis, to record the levels of ‘Freedom and Control’ on the island.
METHODOLOGICAL ACCOUNT
As I walked around the site I marked on a scale of 1 to 5 the levels of comfortability I felt
in all areas on Spike Island. Using the same Archicad drawing I recorded these findings
onto the computer and translated the numerical data to the visual representation in the
form of colour.
ANALYTICAL ACCOUNT
Because of the subjectivity of the experiment 3 other people were called in to do the
same task. It appears I felt more comfortable than everyone else. Representing the data
in colour - using the gradient from yellow (comfortable/freedom) to red (control) was
visually informative.
SPIKE ISLAND SITE ANALYSIS: FREEDOM AND CONTROL
26. SITE PLAN / MASTERPLAN
22x0.164=3.600
1
2
3
4
15x0.172=2.580
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
3.05%6.11%
29
x0.113
=
3.280
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
14
13
12
11
10
9
8
7
6
5
4
3
2
1
K J
I
H
G
F
E
D
C
B
A
0
25x0.131=3.280
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
4.14%
15 x 0.172 = 2.580
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
3x0.167=0.500
1
2
3
3x0.167=0.500
1
2
3
3.48%
6.73% 6.73%
Sessel
0
0
0
0
0
0
0
0
0
0
16
15
14
13
12
11
10
9
8
7
6
5
4
3
2
1
G F E D C B A
8.400
8.400
8.400
8.400
8.400
8.400
8.400
8.400
8.400
8.400
8.400
8.400
8.400
109.2
00
10.20
0
10.20
0
10.20
0
10.20
0
10.20
0
10.20
0
10.20
0
10.20
0
10.20
0
10.20
0
WAPPINGROAD
DRAYCOTPLACE
9.4m
CHALLONER COURT
9.4m
10.7m
12.5m
CUMBERLAND ROAD
12.5m
10.7m
9.4m
9.4m
Void Above
Storage under ramp
Storage under ramp
Staircase
03
A: 19.065 m2
ceramic tile
H: 18.00 m
Staircase
03
A: 19.065 m2
H: 18.00 m
Toilet
02
A: 41.925 m2
ceramic tile
H: 3.28 m
Toilet
02
A: 41.925 m2
H: 3.28 m
Exhibtion Cave 2
021
A: 99.879 m2
H: 3.28 m
Photographic Cataloguing
004
A: 129.778 m2
H: 7.28 m
Cataloguing Area
006
A: 81.298 m2
H: 7.28 m
Depot H-3.2m
011
A: 193.226 m2
H: 3.28 m
Tate Cafe & Coffee
014
A: 217.103 m2
H: 7.28 m
Sorting Space
015
A: 104.194 m2
H: 7.28 m
Interim Storage (Clean)
016
A: 51.613 m2
H: 7.28 m
Parking
1
A: 14.000 m2
concrete flooring
Parking
2
A: 14.000 m2
concrete flooring
Parking
3
A: 14.000 m2
concrete flooring
Parking
4
A: 14.000 m2
concrete flooring
Parking
5
A: 14.000 m2
concrete flooring
Parking
6
A: 14.000 m2
concrete flooring
Parking
7
A: 14.000 m2
concrete flooring
Parking
8
A: 14.000 m2
concrete flooring
Parking
9
A: 14.000 m2
concrete flooring
Parking
10
A: 14.000 m2
concrete flooring
Parking
11
A: 14.000 m2
concrete flooring
Parking
12
A: 14.000 m2
concrete flooring
Parking
13
A: 14.000 m2
concrete flooring
Parking
14
A: 14.000 m2
concrete flooring
Parking
15
A: 14.000 m2
concrete flooring
Parking
16
A: 14.000 m2
concrete flooring
Parking
17
A: 14.000 m2
concrete flooring
Parking
18
A: 14.000 m2
concrete flooring
Parking
19
A: 14.000 m2
concrete flooring
Parking
20
A: 14.000 m2
concrete flooring
Parking
21
A: 14.000 m2
concrete flooring
Parking
22
A: 14.000 m2
concrete flooring
Parking
23
A: 14.000 m2
concrete flooring
Parking
24
A: 14.000 m2
concrete flooring
Parking
25
A: 14.000 m2
concrete flooring
Parking
26
A: 14.000 m2
concrete flooring
Parking
27
A: 14.000 m2
concrete flooring
Parking
28
A: 14.000 m2
concrete flooring
Parking
29
A: 14.000 m2
concrete flooring
Parking
30
A: 14.000 m2
concrete flooring
Parking
31
A: 14.000 m2
concrete flooring
Parking
32
A: 14.000 m2
concrete flooring
Parking
33
A: 14.000 m2
concrete flooring
Parking
34
A: 14.000 m2
concrete flooring
Parking
35
A: 14.000 m2
concrete flooring
Parking
36
A: 14.000 m2
concrete flooring
Parking
39
A: 14.000 m2
concrete flooring
Parking
40
A: 14.000 m2
concrete flooring
Parking
41
A: 14.000 m2
concrete flooring
Parking
42
A: 14.000 m2
concrete flooring
Parking
43
A: 14.000 m2
concrete flooring
Parking
44
A: 14.000 m2
concrete flooring
Parking
45
A: 14.000 m2
concrete flooring
Parking
46
A: 14.000 m2
concrete flooring
Parking
47
A: 14.000 m2
concrete flooring
Parking
48
A: 12.750 m2
concrete flooring
Parking
49
A: 12.750 m2
concrete flooring
Parking
50
A: 12.750 m2
concrete flooring
Parking
51
A: 12.750 m2
concrete flooring
Parking
52
A: 12.750 m2
concrete flooring
Parking
53
A: 12.750 m2
concrete flooring
Parking
54
A: 12.750 m2
concrete flooring
Parking
55
A: 12.750 m2
concrete flooring
Parking
56
A: 12.750 m2
concrete flooring
Parking
57
A: 12.750 m2
concrete flooring
Parking
58
A: 12.750 m2
concrete flooring
Parking
59
A: 12.750 m2
concrete flooring
Parking
60
A: 12.750 m2
concrete flooring
Parking
61
A: 12.750 m2
concrete flooring
Parking
62
A: 12.750 m2
concrete flooring
Parking
63
A: 12.750 m2
concrete flooring
Parking
64
A: 12.750 m2
concrete flooring
Parking
65
A: 12.750 m2
concrete flooring
Parking
66
A: 12.750 m2
concrete flooring
Parking
67
A: 12.750 m2
concrete flooring
Parking
68
A: 12.750 m2
concrete flooring
Parking
69
A: 12.750 m2
concrete flooring
Parking
79
A: 14.000 m2
concrete flooring
Parking
80
A: 14.000 m2
concrete flooring
Parking
81
A: 14.000 m2
concrete flooring
Parking
82
A: 14.000 m2
concrete flooring
Parking
83
A: 14.000 m2
concrete flooring
Parking
84
A: 14.000 m2
concrete flooring
Parking
85
A: 14.000 m2
concrete flooring
Parking
86
A: 14.000 m2
concrete flooring
Parking
87
A: 14.000 m2
concrete flooring
Parking
88
A: 14.000 m2
concrete flooring
Parking
89
A: 14.000 m2
concrete flooring
Parking
90
A: 14.000 m2
concrete flooring
Parking
91
A: 14.000 m2
concrete flooring
Parking
92
A: 14.000 m2
concrete flooring
Parking
93
A: 14.000 m2
concrete flooring
Parking
94
A: 14.000 m2
concrete flooring
Parking
95
A: 14.000 m2
concrete flooring
Parking
96
A: 14.000 m2
concrete flooring
Parking
97
A: 14.000 m2
concrete flooring
Parking
98
A: 14.000 m2
concrete flooring
Parking
99
A: 14.000 m2
concrete flooring
Parking
100
A: 14.000 m2
concrete flooring
Parking
101
A: 14.000 m2
concrete flooring
Parking
102
A: 14.000 m2
concrete flooring
Parking
103
A: 14.000 m2
concrete flooring
Parking
104
A: 14.000 m2
concrete flooring
Parking
105
A: 14.000 m2
concrete flooring
Parking
106
A: 14.000 m2
concrete flooring
Parking
107
A: 14.000 m2
concrete flooring
Parking
108
A: 14.000 m2
concrete flooring
Parking
109
A: 14.000 m2
concrete flooring
Parking
110
A: 14.000 m2
concrete flooring
Parking
111
A: 14.000 m2
concrete flooring
Parking
114
A: 14.000 m2
concrete flooring
Parking
115
A: 14.000 m2
concrete flooring
Parking
116
A: 14.000 m2
concrete flooring
Parking
117
A: 14.000 m2
concrete flooring
Parking
118
A: 14.000 m2
concrete flooring
Parking
119
A: 14.000 m2
concrete flooring
Parking
120
A: 14.000 m2
concrete flooring
Parking
121
A: 14.000 m2
concrete flooring
Parking
122
A: 14.000 m2
concrete flooring
Parking
124
A: 14.000 m2
concrete flooring
Parking
125
A: 14.000 m2
concrete flooring
Parking
127
A: 14.000 m2
concrete flooring
Parking
128
A: 14.000 m2
concrete flooring
Lifts
03
A: 7.694 m2
ceramic tile
H: 18.00 m
Lifts
03
A: 7.694 m2
ceramic tile
H: 18.00 m
Parking
129
A: 14.000 m2
concrete flooring
Interim Storage (Isolated)
016
A: 49.855 m2
H: 7.28 m
Depot H-7.2m
012
A: 158.159 m2
H: 7.28 m
Depot Clear Circ H-7.2m
012
A: 108.768 m2
H: 7.28 m
Depot H-3.2m
011
A: 230.717 m2
H: 3.28 m
The Cave / Performance & Instal
021
A: 562.664 m2
H: 3.28 m
Mech.
020
A: 1.044 m2
H: 4.00 m
Electr
020
A: 1.476 m2
H: 4.00 m
Pipe Work
020
A: 0.861 m2
H: 4.00 m
Electr
020
A: 1.477 m2
H: 4.00 m
Pipe Work
020
A: 0.861 m2
H: 4.00 m
Mech.
020
A: 1.030 m2
H: 4.00 m
Public Circulation
015
A: 110.692 m2
H: 3.28 m
Auditorium
021
A: 299.996 m2
H: 4.00 m
Resturant Kitchen and Store
025
A: 72.363 m2
H: 4.00 m
Tate Shop Store
026
A: 87.065 m2
H: 3.28 m
Parking
102
A: 14.000 m2
concrete flooring
Parking
103
A: 14.000 m2
concrete flooring
Parking
104
A: 14.000 m2
concrete flooring
Parking
105
A: 14.000 m2
concrete flooring
Parking
106
A: 14.000 m2
concrete flooring
Parking
107
A: 14.000 m2
concrete flooring
Parking
108
A: 14.000 m2
concrete flooring
Parking
109
A: 14.000 m2
concrete flooring
Parking
110
A: 14.000 m2
concrete flooring
Parking
111
A: 14.000 m2
concrete flooring
Parking
102
A: 14.000 m2
concrete flooring
Parking
103
A: 14.000 m2
concrete flooring
Parking
104
A: 14.000 m2
concrete flooring
Parking
105
A: 14.000 m2
concrete flooring
Parking
106
A: 14.000 m2
concrete flooring
Parking
107
A: 14.000 m2
concrete flooring
Parking
108
A: 14.000 m2
concrete flooring
Parking
109
A: 14.000 m2
concrete flooring
Parking
110
A: 14.000 m2
concrete flooring
Parking
111
A: 14.000 m2
concrete flooring
Parking
112
A: 14.000 m2
concrete flooring
Parking
113
A: 14.000 m2
concrete flooring
Parking
39
A: 14.000 m2
concrete flooring
Parking
40
A: 14.000 m2
concrete flooring
Parking
41
A: 14.000 m2
concrete flooring
Parking
42
A: 14.000 m2
concrete flooring
Parking
43
A: 14.000 m2
concrete flooring
Parking
44
A: 14.000 m2
concrete flooring
Parking
45
A: 14.000 m2
concrete flooring
Parking
46
A: 14.000 m2
concrete flooring
Parking
47
A: 14.000 m2
concrete flooring
Parking
19
A: 14.000 m2
concrete flooring
Parking
20
A: 14.000 m2
concrete flooring
Parking
21
A: 14.000 m2
concrete flooring
Parking
22
A: 14.000 m2
concrete flooring
Parking
23
A: 14.000 m2
concrete flooring
Parking
24
A: 14.000 m2
concrete flooring
Parking
25
A: 14.000 m2
concrete flooring
Parking
26
A: 14.000 m2
concrete flooring
Parking
27
A: 14.000 m2
concrete flooring
Parking
28
A: 14.000 m2
concrete flooring
Parking
29
A: 14.000 m2
concrete flooring
Parking
30
A: 14.000 m2
concrete flooring
Parking
66
A: 12.750 m2
concrete flooring
Parking
67
A: 12.750 m2
concrete flooring
Parking
68
A: 12.750 m2
concrete flooring
Parking
69
A: 12.750 m2
concrete flooring
Parking
69
A: 12.750 m2
concrete flooring
Auditorium Store & Prep Space
021
A: 49.026 m2
H: 3.28 m
Auditorium Stage
021
A: 82.184 m2
H: 3.28 m
Cleaners Room
022
A: 8.866 m2
H: 4.00 m
Wheelie Bins
026
A: 19.720 m2
H: 4.00 m
Plant
027
A: 65.228 m2
concrete floor
H: 4.00 m
Depot H-2.2m
008
A: 159.698 m2
H: 2.50 m
Deep Storage H-2m
010
A: 155.511 m2
H: 1.60 m
Public Street / Ramp
018
A: 785.695 m2
H: 0.00 m
5.77%
21 x 0.156 = 3.280
1
2
3
4
21 x 0.156 = 3.280
1
2
3
4
21
x0.156
=
3.280
1
2
3
4
21
x0.156
=
3.280
1
2
3
4
Fire Cor / Staff & Artist Ent
017
A: 296.765 m2
H: 3.28 m
Tate Book & Print Shop
012
A: 179.244 m2
H: 7.28 m
Fire Cor / Staff & Artist Ent
017
A: 140.292 m2
H: 3.28 m
Loading Bay
001
A: 245.145 m2
H: 7.28 m
SUBSTANTIVE ACCOUNT
The last three images are of masterplans of the
proposed Whapping Wharf site on Spike Island.
METHODOLOGICAL ACCOUNT
These 3 masterplan drawings were all produced using
Archicad, but the render on the previous page was then
taken into Artlantis where textures were added.
ANALYTICAL ACCOUNT
I feel that this plan on this page is very successful. It is
quite a beautiful drawing and there is more information
for the proposed building. The beige colour of ‘street’/
promandae is continued through the centre of the
proposed building to emphasise that the buildings
atrium space is to be seen as a route through and an
extension of the public realm.
The render on the previous page is very impressive
as it shows that the surrounding buildings have been
modelled and it is possible to view the proposed
buildings in relation to their context. However, the
render does appear very computerized and in that
sense it is not very realistic at all. I think at least placing
some people on this render and boats in the river would
help give that drawing a bit of life.
The wire-frame drawing (2 pages back) is also
impressive. It is good to see the 2 grids (of the proposed
buildings and of the car park/public park plinth. Also it
is possible to understand the heights of the building
with the wire-frame, as well as the topology of land.
However, as far as a wire-frame drawing this one is
not really very useful. Wire-frames are good, but it is
important to be clear about what is being shown. A
wire-frame masterplan is from too far away to be able
to be useful.
MASTERPLAN SKETCHES
INITIAL MASTERPLAN RENDERS
SUBSTANTIVE ACCOUNT
These initial computer renders show the proportionate
dimensions of the newly proposed major buildings in
relation to one another and in relation to the existing
buildings on site.
METHODOLOGICAL ACCOUNT
The existing buildings on this model are just masses and
also, at this point of the design, the proposed buildings
too are simply masses. These masses were all modelled
accurately on Archicad.
ANALYTICAL ACCOUNT
As a means to design from, the modelling of the
exising surrounding buildings and the overall site was
very useful to me. Meaning I could then focus on the
designing of the proposed building(s)
RENDERED MASTERPLAN
27. SITE PLAN / MASTERPLAN
22x0.164=3.600
1
2
3
4
15x0.172=2.580
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
3.05%6.11%
29
x0.113
=
3.280
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
14
13
12
11
10
9
8
7
6
5
4
3
2
1
K J
I
H
G
F
E
D
C
B
A
0
25x0.131=3.280
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
4.14%
15 x 0.172 = 2.580
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
3x0.167=0.500
1
2
3
3x0.167=0.500
1
2
3
3.48%
6.73% 6.73%
Sessel
0
0
0
0
0
0
0
0
0
0
16
15
14
13
12
11
10
9
8
7
6
5
4
3
2
1
G F E D C B A
8.4
00
8.4
00
8.4
00
8.4
00
8.4
00
8.4
00
8.4
00
8.4
00
8.4
00
8.4
00
8.4
00
8.4
00
8.4
00
109
.20
0
10.
200
10.
200
10.
200
10.
200
10.
200
10.
200
10.
200
10.
200
10.
200
10.
200
WAPPINGROAD
DRAYCOTPLACE
9.4m
CHALLONER COURT
9.4m
10.7m
12.5m
CUMBERLAND ROAD
12.5m
10.7m
9.4m
9.4m
Void Above
Storage under ramp
Storage under ramp
Staircase
03
A: 19.065 m2
ceramic tile
H: 18.00 m
Staircase
03
A: 19.065 m2
H: 18.00 m
Toilet
02
A: 41.925 m2
ceramic tile
H: 3.28 m
Toilet
02
A: 41.925 m2
H: 3.28 m
Exhibtion Cave 2
021
A: 99.879 m2
H: 3.28 m
Photographic Cataloguing
004
A: 129.778 m2
H: 7.28 m
Cataloguing Area
006
A: 81.298 m2
H: 7.28 m
Depot H-3.2m
011
A: 193.226 m2
H: 3.28 m
Tate Cafe & Coffee
014
A: 217.103 m2
H: 7.28 m
Sorting Space
015
A: 104.194 m2
H: 7.28 m
Interim Storage (Clean)
016
A: 51.613 m2
H: 7.28 m
Parking
1
A: 14.000 m2
concrete flooring
Parking
2
A: 14.000 m2
concrete flooring
Parking
3
A: 14.000 m2
concrete flooring
Parking
4
A: 14.000 m2
concrete flooring
Parking
5
A: 14.000 m2
concrete flooring
Parking
6
A: 14.000 m2
concrete flooring
Parking
7
A: 14.000 m2
concrete flooring
Parking
8
A: 14.000 m2
concrete flooring
Parking
9
A: 14.000 m2
concrete flooring
Parking
10
A: 14.000 m2
concrete flooring
Parking
11
A: 14.000 m2
concrete flooring
Parking
12
A: 14.000 m2
concrete flooring
Parking
13
A: 14.000 m2
concrete flooring
Parking
14
A: 14.000 m2
concrete flooring
Parking
15
A: 14.000 m2
concrete flooring
Parking
16
A: 14.000 m2
concrete flooring
Parking
17
A: 14.000 m2
concrete flooring
Parking
18
A: 14.000 m2
concrete flooring
Parking
19
A: 14.000 m2
concrete flooring
Parking
20
A: 14.000 m2
concrete flooring
Parking
21
A: 14.000 m2
concrete flooring
Parking
22
A: 14.000 m2
concrete flooring
Parking
23
A: 14.000 m2
concrete flooring
Parking
24
A: 14.000 m2
concrete flooring
Parking
25
A: 14.000 m2
concrete flooring
Parking
26
A: 14.000 m2
concrete flooring
Parking
27
A: 14.000 m2
concrete flooring
Parking
28
A: 14.000 m2
concrete flooring
Parking
29
A: 14.000 m2
concrete flooring
Parking
30
A: 14.000 m2
concrete flooring
Parking
31
A: 14.000 m2
concrete flooring
Parking
32
A: 14.000 m2
concrete flooring
Parking
33
A: 14.000 m2
concrete flooring
Parking
34
A: 14.000 m2
concrete flooring
Parking
35
A: 14.000 m2
concrete flooring
Parking
36
A: 14.000 m2
concrete flooring
Parking
39
A: 14.000 m2
concrete flooring
Parking
40
A: 14.000 m2
concrete flooring
Parking
41
A: 14.000 m2
concrete flooring
Parking
42
A: 14.000 m2
concrete flooring
Parking
43
A: 14.000 m2
concrete flooring
Parking
44
A: 14.000 m2
concrete flooring
Parking
45
A: 14.000 m2
concrete flooring
Parking
46
A: 14.000 m2
concrete flooring
Parking
47
A: 14.000 m2
concrete flooring
Parking
48
A: 12.750 m2
concrete flooring
Parking
49
A: 12.750 m2
concrete flooring
Parking
50
A: 12.750 m2
concrete flooring
Parking
51
A: 12.750 m2
concrete flooring
Parking
52
A: 12.750 m2
concrete flooring
Parking
53
A: 12.750 m2
concrete flooring
Parking
54
A: 12.750 m2
concrete flooring
Parking
55
A: 12.750 m2
concrete flooring
Parking
56
A: 12.750 m2
concrete flooring
Parking
57
A: 12.750 m2
concrete flooring
Parking
58
A: 12.750 m2
concrete flooring
Parking
59
A: 12.750 m2
concrete flooring
Parking
60
A: 12.750 m2
concrete flooring
Parking
61
A: 12.750 m2
concrete flooring
Parking
62
A: 12.750 m2
concrete flooring
Parking
63
A: 12.750 m2
concrete flooring
Parking
64
A: 12.750 m2
concrete flooring
Parking
65
A: 12.750 m2
concrete flooring
Parking
66
A: 12.750 m2
concrete flooring
Parking
67
A: 12.750 m2
concrete flooring
Parking
68
A: 12.750 m2
concrete flooring
Parking
69
A: 12.750 m2
concrete flooring
Parking
79
A: 14.000 m2
concrete flooring
Parking
80
A: 14.000 m2
concrete flooring
Parking
81
A: 14.000 m2
concrete flooring
Parking
82
A: 14.000 m2
concrete flooring
Parking
83
A: 14.000 m2
concrete flooring
Parking
84
A: 14.000 m2
concrete flooring
Parking
85
A: 14.000 m2
concrete flooring
Parking
86
A: 14.000 m2
concrete flooring
Parking
87
A: 14.000 m2
concrete flooring
Parking
88
A: 14.000 m2
concrete flooring
Parking
89
A: 14.000 m2
concrete flooring
Parking
90
A: 14.000 m2
concrete flooring
Parking
91
A: 14.000 m2
concrete flooring
Parking
92
A: 14.000 m2
concrete flooring
Parking
93
A: 14.000 m2
concrete flooring
Parking
94
A: 14.000 m2
concrete flooring
Parking
95
A: 14.000 m2
concrete flooring
Parking
96
A: 14.000 m2
concrete flooring
Parking
97
A: 14.000 m2
concrete flooring
Parking
98
A: 14.000 m2
concrete flooring
Parking
99
A: 14.000 m2
concrete flooring
Parking
100
A: 14.000 m2
concrete flooring
Parking
101
A: 14.000 m2
concrete flooring
Parking
102
A: 14.000 m2
concrete flooring
Parking
103
A: 14.000 m2
concrete flooring
Parking
104
A: 14.000 m2
concrete flooring
Parking
105
A: 14.000 m2
concrete flooring
Parking
106
A: 14.000 m2
concrete flooring
Parking
107
A: 14.000 m2
concrete flooring
Parking
108
A: 14.000 m2
concrete flooring
Parking
109
A: 14.000 m2
concrete flooring
Parking
110
A: 14.000 m2
concrete flooring
Parking
111
A: 14.000 m2
concrete flooring
Parking
114
A: 14.000 m2
concrete flooring
Parking
115
A: 14.000 m2
concrete flooring
Parking
116
A: 14.000 m2
concrete flooring
Parking
117
A: 14.000 m2
concrete flooring
Parking
118
A: 14.000 m2
concrete flooring
Parking
119
A: 14.000 m2
concrete flooring
Parking
120
A: 14.000 m2
concrete flooring
Parking
121
A: 14.000 m2
concrete flooring
Parking
122
A: 14.000 m2
concrete flooring
Parking
124
A: 14.000 m2
concrete flooring
Parking
125
A: 14.000 m2
concrete flooring
Parking
127
A: 14.000 m2
concrete flooring
Parking
128
A: 14.000 m2
concrete flooring
Lifts
03
A: 7.694 m2
ceramic tile
H: 18.00 m
Lifts
03
A: 7.694 m2
ceramic tile
H: 18.00 m
Parking
129
A: 14.000 m2
concrete flooring
Interim Storage (Isolated)
016
A: 49.855 m2
H: 7.28 m
Depot H-7.2m
012
A: 158.159 m2
H: 7.28 m
Depot Clear Circ H-7.2m
012
A: 108.768 m2
H: 7.28 m
Depot H-3.2m
011
A: 230.717 m2
H: 3.28 m
The Cave / Performance & Instal
021
A: 562.664 m2
H: 3.28 m
Mech.
020
A: 1.044 m2
H: 4.00 m
Electr
020
A: 1.476 m2
H: 4.00 m
Pipe Work
020
A: 0.861 m2
H: 4.00 m
Electr
020
A: 1.477 m2
H: 4.00 m
Pipe Work
020
A: 0.861 m2
H: 4.00 m
Mech.
020
A: 1.030 m2
H: 4.00 m
Public Circulation
015
A: 110.692 m2
H: 3.28 m
Auditorium
021
A: 299.996 m2
H: 4.00 m
Resturant Kitchen and Store
025
A: 72.363 m2
H: 4.00 m
Tate Shop Store
026
A: 87.065 m2
H: 3.28 m
Parking
102
A: 14.000 m2
concrete flooring
Parking
103
A: 14.000 m2
concrete flooring
Parking
104
A: 14.000 m2
concrete flooring
Parking
105
A: 14.000 m2
concrete flooring
Parking
106
A: 14.000 m2
concrete flooring
Parking
107
A: 14.000 m2
concrete flooring
Parking
108
A: 14.000 m2
concrete flooring
Parking
109
A: 14.000 m2
concrete flooring
Parking
110
A: 14.000 m2
concrete flooring
Parking
111
A: 14.000 m2
concrete flooring
Parking
102
A: 14.000 m2
concrete flooring
Parking
103
A: 14.000 m2
concrete flooring
Parking
104
A: 14.000 m2
concrete flooring
Parking
105
A: 14.000 m2
concrete flooring
Parking
106
A: 14.000 m2
concrete flooring
Parking
107
A: 14.000 m2
concrete flooring
Parking
108
A: 14.000 m2
concrete flooring
Parking
109
A: 14.000 m2
concrete flooring
Parking
110
A: 14.000 m2
concrete flooring
Parking
111
A: 14.000 m2
concrete flooring
Parking
112
A: 14.000 m2
concrete flooring
Parking
113
A: 14.000 m2
concrete flooring
Parking
39
A: 14.000 m2
concrete flooring
Parking
40
A: 14.000 m2
concrete flooring
Parking
41
A: 14.000 m2
concrete flooring
Parking
42
A: 14.000 m2
concrete flooring
Parking
43
A: 14.000 m2
concrete flooring
Parking
44
A: 14.000 m2
concrete flooring
Parking
45
A: 14.000 m2
concrete flooring
Parking
46
A: 14.000 m2
concrete flooring
Parking
47
A: 14.000 m2
concrete flooring
Parking
19
A: 14.000 m2
concrete flooring
Parking
20
A: 14.000 m2
concrete flooring
Parking
21
A: 14.000 m2
concrete flooring
Parking
22
A: 14.000 m2
concrete flooring
Parking
23
A: 14.000 m2
concrete flooring
Parking
24
A: 14.000 m2
concrete flooring
Parking
25
A: 14.000 m2
concrete flooring
Parking
26
A: 14.000 m2
concrete flooring
Parking
27
A: 14.000 m2
concrete flooring
Parking
28
A: 14.000 m2
concrete flooring
Parking
29
A: 14.000 m2
concrete flooring
Parking
30
A: 14.000 m2
concrete flooring
Parking
66
A: 12.750 m2
concrete flooring
Parking
67
A: 12.750 m2
concrete flooring
Parking
68
A: 12.750 m2
concrete flooring
Parking
69
A: 12.750 m2
concrete flooring
Parking
69
A: 12.750 m2
concrete flooring
Auditorium Store & Prep Space
021
A: 49.026 m2
H: 3.28 m
Auditorium Stage
021
A: 82.184 m2
H: 3.28 m
Cleaners Room
022
A: 8.866 m2
H: 4.00 m
Wheelie Bins
026
A: 19.720 m2
H: 4.00 m
Plant
027
A: 65.228 m2
concrete floor
H: 4.00 m
Depot H-2.2m
008
A: 159.698 m2
H: 2.50 m
Deep Storage H-2m
010
A: 155.511 m2
H: 1.60 m
Public Street / Ramp
018
A: 785.695 m2
H: 0.00 m
5.77%
21 x 0.156 = 3.280
1
2
3
4
21 x 0.156 = 3.280
1
2
3
4
21
x0.1
56
=
3.2
80
1
2
3
4
21
x0.1
56
=
3.2
80
1
2
3
4
Fire Cor / Staff & Artist Ent
017
A: 296.765 m2
H: 3.28 m
Tate Book & Print Shop
012
A: 179.244 m2
H: 7.28 m
Fire Cor / Staff & Artist Ent
017
A: 140.292 m2
H: 3.28 m
Loading Bay
001
A: 245.145 m2
H: 7.28 m
SUBSTANTIVE ACCOUNT
The last three images are of masterplans of the
proposed Whapping Wharf site on Spike Island.
METHODOLOGICAL ACCOUNT
These 3 masterplan drawings were all produced using
Archicad, but the render on the previous page was then
taken into Artlantis where textures were added.
ANALYTICAL ACCOUNT
I feel that this plan on this page is very successful. It is
quite a beautiful drawing and there is more information
for the proposed building. The beige colour of ‘street’/
promandae is continued through the centre of the
proposed building to emphasise that the buildings
atrium space is to be seen as a route through and an
extension of the public realm.
The render on the previous page is very impressive
as it shows that the surrounding buildings have been
modelled and it is possible to view the proposed
buildings in relation to their context. However, the
render does appear very computerized and in that
sense it is not very realistic at all. I think at least placing
some people on this render and boats in the river would
help give that drawing a bit of life.
The wire-frame drawing (2 pages back) is also
impressive. It is good to see the 2 grids (of the proposed
buildings and of the car park/public park plinth. Also it
is possible to understand the heights of the building
with the wire-frame, as well as the topology of land.
However, as far as a wire-frame drawing this one is
not really very useful. Wire-frames are good, but it is
important to be clear about what is being shown. A
wire-frame masterplan is from too far away to be able
to be useful.
28. COMPETITION ENTRY INITIAL DRAWINGS
SUBSTANTIVE ACCOUNT
For a two week project I had to produce two separate
development proposals as competition entries. One of
these competition entries was situated on the Whapping
Wharf site (behind M-Shed). From this, because the ideas
were not yet set in stone and there were many sketches
and ideas still up in the air I wanted the final image to
appear sketchy.
METHODOLOGICAL ACCOUNT
I did make a 3D model in Sketchup to achieve the correct
geometries and perspectives. I then imported it into
Archicad, to use their in built renderer to produce a series
of experiments, to make the computerised model appear
sketchy again. I then hand-drew in some people. I overlaid
various different experiments to produce the final image.
ANALYTICAL ACCOUNT
I found that this way of representing proposals quite
effective. The hand-drawn quality to the picture is
pleasant and ‘soft’ to look at. Also, maybe, it allows
the viewer to use their imagination more. For the final
poster where I included many sketched on one page -
perhaps this was not the most effect way of presenting a
competition entry. I wanted to show that there was lots of
ideas and potentials about several different buildings on
the site, but perhaps this came across as confusing and
too much information on one page.
INITIAL DRAWINGS IDEAS FOR THE LIBRARY OF BRISTOL PROPOSAL TATE BRISTOL INITIAL SKETCHES AND IDEAS
MASTERPLAN SKETCHES
29. research quesƟon 3
figure 2.1: site plan 1:10000
figure 2.2: site plan 1:2500
Research QuesƟon
What quality does the enclave bring to the
space?
An enclave is a territory whose geo-
graphical boundaries lie enƟrely with-
in the boundaries of another territory.
figure 3.1: isometry
figure 3.2: secƟons a, b, c
volumetric definiƟon 4
A
B
C
A
B
C
A
B
C
introducƟon 5
top, figures 3.3 & 3.4 enclave
below, figures 3.5 & 3.6 relaƟon enclave with surrounding streets
volumetric definiƟon 5
1. Enclosure
The basic design objecƟve of the masterplan is to enclose the site. This is achieved by arranging the buildings with the same qualiƟes; the same
funcƟon (their floor plans), and their modules (their facades). The basic layout of the blocks consists of 5 story buildings according to the average
height of the immediate neighboring buildings.
This can be seen as the convenƟonal way of creaƟng an enclave in most European ciƟes. What should be focused on here is the 3 addiƟonal
stories placed on top of the two buildings in the North-East and North-West. This can be thought of as an unavoidable choice for the architect.
Pouillon, increased the density of these parƟcular, North-facing, blocks, in order not to cast a shadow on the inside of the residence.
2. Extra volume
The appearance of the tall building is re-
duced with several strategies;
Pouillon divided the building verƟcally
with the upper part being recessed,
creaƟng a running balcony. AddiƟonally,
he divided the face of the upper part,
verƟcally, into narrow planes of glass,
with repeƟƟve mullions. With these two
strategies the façade can be seen lighter
and less imposing.
The placing of the low-rise garages
reduces the apperance of the high-rise
building again This was an unavoidable
choice, because the space where the
low-rise garages exist would be un-
suitable for high-rise buildings, as they
would be too close to the neighbouring
houses, physically; for casƟng a shadow
and also psychologically; the buildings
were set back, from the road, to create
open space.
figure 3.7: Inner Volumes L-shape
and Tower
volumetric definiƟon 6
3. Inner volumes
Tower
The tower funcƟons as a Landmark, but is not higher than the tall
rectangular blocks behind it. The ground floor is open. The tower
is seen higher than it is, because of the facade of the upper part
(of the 8 story buildings), in the distance, in relaƟon to the 4 story
building.
L shape building
Intriguingly, this building is 4 stories high, which is one story less to
its adjoining block. The reason for this is explained below;
1. Improving the inƟmacy; the minus 1 story, ‘L’ shaped, building
helps the complex maintain the enclave, whilst not being too high,
as of the other buildings (of 5 stories), thus not to impose its height
on the inside of the site.
2. To maintain, geometrically, the principle of an enclave; the ‘L’
shaped building, of 4 stories, emphasizes the enclave within the en-
Ɵre complex. To make the longest block to be read as one.
With this building an inƟmate atmosphere is created within the in-
ner space, separaƟng the court into several parts. Without the ‘L’
shape building, the residenƟal complex would be too monumental,
too monotonous, and also too open to the outside
figure 3.8: different perspecƟve
views on tower
introducƟon 7volumetric definiƟon 7
view 1
view 2
view 3
1 3
2
figure 3.9: circulaƟon
figure 3.10: landscape
8
CirculaƟon
There is a strong separaƟon between car parking zone and pedes-
trian zone. Car parking spaces surrounding housing blocks act as
buffer zones that mediate inner blocks and the streets.
Inner landscape
The architect divided the inner court into the paves and green spac-
es. Trees is arranged to play an important role – translucent volume.
Plaza is designed to be like a cozy garden surrounded by tall trees
and wall made of bushes. Tall trees cast shade on the square and act
like buffer for privacy.
Boundaries
The architect used physical boundaries and psychological boundar-
ies in landscaping; lawns can be crossed but is felt like barriers. And
also hedges hide up the plaza.
circulaƟon
pedestrians
cars
30. introducƟon 9
figure 3.11 : concept of the inner
courtyards
inner courtyards 9
Inner Courtyards
Square
In this secƟon of the enclave, a large open space is wrapped around
by a single building, thus creaƟng the same atmosphere of a
square.
Plaza
A central prominent space that is enclosed by trees and buildings,
Pouillon creates a sense of a plaza like seƫng.
Street
Pouillon creates the effect of a street (or) mall by creaƟng two side-
walks along a narrow space between two buildings.
square
street
plaza
inner courtyards 10
figure figure
square
street
plaza
figure 3.12: views on inner court-
yards
31.
32.
33.
34.
35.
36.
37. DESIGN RESEARCH EXPERIMENT: FACADE PANELS
SUBSTANTIVE ACCOUNT
For my design Research module I was attempting to articulate
my abstract paintings into architecture. For this iteration of
this project I was attempting to create a facade panel from a
simplified part of the painting
METHODOLOGICAL ACCOUNT
The painting was mirrored at certian places to create a repetitive
pattern which was then simplified for the creation of the facade
panel. This facade design was then traced over in CAD and
tweaked in order to be properly/physically translated into a
facade panel which represents an iron gate.
ANALYTICAL ACCOUNT
This was seen as a solution (to articulate the abstract into
architecture), which was too obvious. Firstly, because the
abstract was simplified too much turning it into almost a
symbol. This was then repeated for the purpose of fabrication.
Also then the design or the simplified art, as a façade, remains 2
dimensional and flat.
SUBSTANTIVE ACCOUNT
Here I applied the chosen facade panel onto a 3D sectional
facade of a building. I was attempting to see how the facade
panel will connect to the building and what the facade will
look like from inside and from outside.
METHODOLOGICAL ACCOUNT
I drew up a generic sectional facade in 3D in Sketchup. I
imported the facade panel from Rhino into Sketchup and
then copied the panel along. In Sketchup I designed the
connectionsl.
ANALYTICAL ACCOUNT
Generally, I was very pleased with the outcome of these
drawings. I find 3D details much easier to understand and
drawing it up in 3D allowed me to really make sense of how
the facade panels will connect to the facade.
DESIGN RESEARCH EXPERIMENT: FACADE PANELS
SUBSTANTIVE ACCOUNT
Instead of the facade panel being
a separate member to the facade I
decided to integrate the abstraction
process into the facade itself.
METHODOLOGICAL ACCOUNT
I used a similar simplified artwork
detail, but in this case enlarged it
(from single panel to entire facade).
I made this experimental model in
Rhino
ANALYTICAL ACCOUNT
I found that these working
drawings were interesting and this
experiment answered the design
research question more accurately;
to translate the abstract into
architectural space.
DESIGN RESEARCH EXPERIMENT: FACADE DESIGN
SUBSTANTIVE ACCOUNT
Instead of the facade panel being a separate member to the facade
I decided to integrate the abstraction process into the facade itself.
METHODOLOGICAL ACCOUNT
I used a similar simplified artwork detail, but in this case enlarged it
(from single panel to entire facade). I made this experimental model
in Rhino. I exported the file from Rhino to a 3DS and then imported
that into Artlantis where I added the people, the sky and the city.
ANALYTICAL ACCOUNT
This render I really liked. Although it is not a realistic render of a
building (like the facade panel 3D sectional detail) - it has a certain
visual quality to it in the form of a vision of a potential idea. It shows
the vision. The first thought, unrestricted by technical concerns.
DESIGN RESEARCH EXPERIMENT: FACADE DESIGN
38.
39.
40.
41.
42. BK City -Redesign- Barrel Vault Skylight
The re-design will include the installation of a laminated glass Barrel Vault Skylight.
The architectural goal is to maximum transparency by optimization of structure
and glazing.
The Skylight will be supported by a similar space frame structure, to the one which
exists already.
Further research has determined that it is necessary to remove the existing, roof
supporting, space frame structure, so therefore the installation would accompany
a completely new structure (rather than adding on to the existing one).
The Barrel Vault Skylight will let in an abundance of natural daylight, increasing the
working conditions, as good light is essential, whilst reducing the use of artificial
lights, therefore saving much energy (during the daytime).
Plus, the Skylight; aesthetically will make the Atrium much more spectacular.
4123875 - Nicholas Socrates - TU Delft
The problems of the need to provide extensive cooling in summer
and insulation in winter inevitably arise with the use of large glazed
structures.
With the design of a Barrel Vault, laminated glass, Skylight, with
installed Photovoltaic films on top of the glass creating a shading
system that optimizes the flows of heat and light energy, whilst
utilizing this energy. This in turn may has a significant positive effect
in reducing the heat load and glare, enhancing the use of natural
daylight, whilst harvesting this energy, and increasing the insulation
of the building, through the use of the appropriate choice of glass,
thereby enhancing working conditions and reducing the operating
costs of the building.
BK City -Redesign- Barrel Vault Skylight
The re-design will include the installation of a laminated glass Barrel Vault Skylight.
The architectural goal is to maximum transparency by optimization of structure
and glazing.
The Skylight will be supported by a similar space frame structure, to the one which
exists already.
Further research has determined that it is necessary to remove the existing, roof
supporting, space frame structure, so therefore the installation would accompany
a completely new structure (rather than adding on to the existing one).
The Barrel Vault Skylight will let in an abundance of natural daylight, increasing the
working conditions, as good light is essential, whilst reducing the use of artificial
lights, therefore saving much energy (during the daytime).
Plus, the Skylight; aesthetically will make the Atrium much more spectacular.
4123875 - Nicholas Socrates - TU Delft
The problems of the need to provide extensive cooling in summer
and insulation in winter inevitably arise with the use of large glazed
structures.
With the design of a Barrel Vault, laminated glass, Skylight, with
installed Photovoltaic films on top of the glass creating a shading
system that optimizes the flows of heat and light energy, whilst
utilizing this energy. This in turn may has a significant positive effect
in reducing the heat load and glare, enhancing the use of natural
daylight, whilst harvesting this energy, and increasing the insulation
of the building, through the use of the appropriate choice of glass,
thereby enhancing working conditions and reducing the operating
costs of the building.
43.
44.
45.
46.
47.
48. 9POLLUTED POND
On location drawings showing sections
through a nala (an external drain, which
was flooding on a regular basis and was
causing dangerous situation for the locals.
This polluted ‘pond’ is the result of an
overflowed nala. Many nalas from the
site flow this way and this particular nala
overflows because it is a bottle neck and
uncapable of retaining all the dirty water.
As well as the dirty water overflowing the
area becomes a spiral of decline as much
rubbish is then consequently dumped
here. Luckily this overflow is naturally
made better than I first thought as the
naurally growing plants filter the dirty
water. This nala in times of flood will not
work as a filter and the dirty water will
spread, polluting the surrounding area.
POLLUTED LAKE 8
On location section through
a polluted stagnant swamp.
Several nalas flow into this
polluted pond. It is the result of
approxamately 40 homes waste-
water. This neglected area has also
fallen into a spiral decline as it now
is also used as a small dumping
ground. The pond is likely to exist
at a very low point of the site, so
therefore the water , due to gravity
is not able to flow anywhere;
creating a stagnant pond of
polluted water. It may be possible
that this pond has been man made
as a flood relief zone, in times of
monsoon. When on site we saw
some children throw a live tortose
into the polluted pond. For sure the
tortose would die from this. This
polluted area is an important area
to clean and regenerate.
ON-SITE LAND SURVEY 5
The Map shows the flow and direction of the
nalas (external drains), polluted swamps, areas of
neglect and the flow of people (the routes they
take and where they cross the railway tracks).
4
On location land survey, drawn on our first day on site. Here we had to map a part of the slum
which was not present on any map before (centre). This preliminary survey shows signs of
looking into nala flow direction, land use and locating areas of neglect. All of which were further
realised on later surveys in the following days on site.
ON-SITE LAND SURVEY
PHASE 6 - 8: AFFORDABLE HOUSING / CONTAINER BLOCK. PROPOSED MASTERPLAN 1:5000 138