ARC 3001 PortfolioDominic Davies - 120052046 - 2014/15

Chamber 42 - 65

Thinking Through Making 68 - 69

Charette 66 - 67

Show and Store 4 - 41

Incubator 8 - 13

Contents

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Show and StoreMaritime Museum of the Tyne

The graduation project was focused on designing a building around a specific collection of our own choosing. The building must not only display the collection but also store it. There must be a connection between the objects and the main design themes of the project. The project was set out into two elements, an incubator design and the final museum. The incubator design focused on choosing one item from the collection and designing a structure around it. The purpose of this was to generate architectural ideas from the item to then translate into the large scale museum.

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The CollectionThe collection that I have decided to focus this project around is taken from the book, “First, Famous and Forgotten Ships of Tyne.” This book contains 30 Tyne built ships that have been lovingly illustrated by the author Jack Sutton who worked as an Naval Engineer in the Tyne. I plan to showcase this collection through model form in my building, a collection that would need to be made for the building as it currently does not exist. I have included a copy of this book with in the submission box next to this portfolio.

The Brotherly Love, 1764Original Life Boat, 1790Bedlington, 1841Q.E.D., 1844John Bowes, 1852Pollux, 1855HMS Terror, 1856Atlantic, 1863Earl Percy, 1865Lizzie Leslie, 1866Vaderland, 1872Gluckauf, 1886Turbinia, 1894Saratovski Ledokol, 1895HMS Viper, 1899Silverlip, 1902Mauretania, 1906Sir Ernest Cassel, 1910San Fraterno, 1913HMS, Furious, 1917War Climax, 1918 HMS Hermes, 1924Gripsholm, 1925Vikingen, 1929Moira, 1935Auricula, 1946Auris, 1948Bergensfkord, 1956British Venture, 1963Clerk Maxwell, 1964

The basic concept that has run through the entirety of this project is taken from a simple glass display case that are common place when showcasing model ships. The idea is to take the display case that surrounds the model and scale it up by a factor that allows the person to enter it. This allows the observer to become more engaged with models but also gives the opportunity for the objects to be seen from outside of the building as shown through the model to the left.

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The Incubator

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B Main Site

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A Incubator Site

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When attempting to find a site for my ‘display case’ I came across the Tyne bridge and noticed that there was a rectangular gap in its structure that had potential as a site. The only problem with this was the issue of access into this rectangular space. Through research I managed to discover that the tower behind the space actually had an existing stair column running through it which could be a good solution to the issue.

Plan 1:200

West - East Section 1:200

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Site

1 Castle Keep

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2 Moot Hall

3 High Level Bridge

The site for this project has been chosen strategically from a list of four as it was the only one that had clear views over the Tyne. The site is also surrounded by many historically significant buildings which makes the area very suitable for the intended museum. These historic buildings, shown above are largely made from stone giving them a solidity that is something that I wanted to respond to. With this in mind I decided that a stone clad building maybe the most suitable for the site. The orientation of the site is South West but also has access to light all day due to there being few obstructions.

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The Museum

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Throughout the development stage of this project many ideas were generated and rejected due to plausibility issues. To ensure that the primary concept was present in the larger scale building I needed to go for a simple form that makes the most use out of the space on the site. The form wraps round the site to form a central lobby space in the centre. This ensures that the ‘display cases’ can be placed into the structure without being too cramped.

Solid form surrounds site facing out to all open sides.

Glass ‘display boxes’ pierce through solid form to allow views of surrounding landmarks including the Tyne. Larger solid box is placed above to form Restaurant.

The form is developed by being raised to allow steel structure to be seen below. Outdoor spaces and roof terrace developed to fully take advantage of the available space.

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1 Outdoor space looks over historic wall.

5 ‘Display cases’ pierce into urban fabric.

6 Solid boxes are suspended in frame, used for exhibitions / cinema.

2 Archive space, public route runs above.

7 Restaurant looks down onto lobby and crane.

3 1:25 scale boat lies in the heart of the lobby space.

8 Large framed view across the Tyne main focus in restaurant.4 Public lecture seating, view of ‘display cases’ above.

9 Archive route finishes with cases looking onto wall.

10 Crane used to swap models in out of ‘display cases.’

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West - East Long Section 1:20021

1 Entrance and ticket office

2 Gift shop

3 Staff break room

5 Public lecture space

4 1:25 scale model of the Mauratenia

6 Stairs to exhibition

7 Opening for models to be lowered into archive

8 Fire escape

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Ground Floor Plan 1:200

1 Ramped walkways between ‘display cases’

2 Private offices

3 Public female toilets (inc disabled toilet)

4 Suspended boxes holding salvaged ship artefacts

5 Fire escape

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First Floor Plan 1:200

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1 Private offices

2 Cinema

3 Public male toilets (inc disabled)

4 Fire escape

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Second Floor Plan 1:200

1 Suspended boxes holding temporary exhibitions.

2 Window in floor looks down to lobby floor

3 General storage

4 Stairs lead to roof terrace / restaurant

6 Large glazing along staircase to give views onto high-level bridge

5 Fire escape

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Third Floor Plan 1:200

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1 Restaurant

2 Bar

3 Outdoor seating / roof terrace

4 Framed view looking over the Tyne

5 View looking down onto lobby

6 Kitchen

7 Crane

8 Fire escape

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Forth Floor Plan 1:200

1 Workshop (glazed for visitors to look into)

2 1:25 scale model of the Mauratenia

3 Public lecture space

4 Opening for models to be lowered into archive

5 Plant room

6 Staff break room

7 Fire escape

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Lower Ground Floor Plan 1:200

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1 Public route through archive

2 Stairs lead to lobby floor

3 Seminar room

4 Further ‘display cases’ look onto medieval wall

5 Storage

6 Fire escape

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Lower First Floor Plan 1:200

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1 Private access archive floor

2 Opening above allows for models to be lowered in.

3 Private study room

4 Storage / toilet

5 Fire escape

Lower Second Floor Plan 1:200

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After receiving feedback for the graduation project the main area for improvement was the facade material which originally was a stone clad rain-screen system as illustrated on the previous two pages. The general consensus was that the stone cladding made the building look too commercial which was not desired in the brief. With this in mind I have decided to change it quite drastically to something that speaks more to the history and materiality of ship building on the Tyne. I started to look at steel as a possible cladding which of course has a clear connection with ships as well as the desired solidity. In this way the building would now have a similar build up to that of a ship with a steel frame and steel outer lift. I struggled with the type of steel that I should use as it can come in many different styles and textures before concluding that corten steel was the most appropriate and interesting. Corten as I have illustrated above is designed to have a rusted appearance which I felt could really give the building a more gritty and aged feel. This is appropriate as it relates to the way that ship building along the Tyne is a thing of the past and literally ‘rusting’ away.

Another smaller element that I have changed is to get rid of the smaller windows that provide light into the passage ways as they were detracting from the importance of the ‘display boxes.’ Instead I have designed the new corten facade to have angled openings which essentilaly do the same job but have less of animpact to the facade.

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The structure of this project has been instrumental to its plausibility from the start. The build up is a steel frame that sits on a concrete base. The framework needed to be simple as once the ‘display cases’ started to be placed within it there needed to be possibility to move beams or columns to accommodate them.

Structural Strategy and Detailing

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The structure of the display boxes has been designed to sit in the frame with its own independent structure running through it. This has been made as minimal as possible to ensure that the attention lies on the models and not the display boxes themselves.

Natural Ventilation Through Lobby

Mechanical Ventilation Runs Through Archive

Air Out Air Out

Air In

Air In

Air In

Air In

Environmental Strategy

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ChamberMusicians Sanctuary

This project was focused on providing a place for four musicians to live, practice and perform within Edinburgh. The project required that design influences be taken from the work of classical musicians. I took my inspiration from theclassical composer and pianist Clause Debussy. The following quotes were chosen to find connections between his music and architecture:

“Glittering passages and webs of figuration which distract from occasionalabsence of tonality.” Rudolph Reti, description of Debussy’s music.

“Music is the expression of the movement of the waters, the play of curves described by changing breezes.” Clause Debussy

Throughout the project I have focused on the idea of “webs of figuration” within my design. This has been a key theme to the project but as a musician myself I have also ensured that the spaces are arranged efficiently and have made additions to the brief as appropriate.

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When trying to translate the quotes to architectural ideas I came up with many different ideas that all had their merits but also all failed to relate to the site and context. All of these ideas as you can see had the idea of concrete webs in one form or another. As a musician myself I started to put an emphasis on the functionality of the building with comparison to its form and ultimately my final design has become a much simpler form due to this making it much easier to work with. The final design does however still keep this idea of concrete webs as a key theme ensuring that the building has a definitive character.

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A key element to the design was the idea of a ‘street space’ that runs between the different sections of the building. This private space is designed to ensure that there is a clear feeling of separation between these sections ensuring that the residents can keep there working life separate from there social life. This ‘street’ also becomes its own space with in the building with key views out through the web structure into the trees giving a sense of connecting with the outside yet remaining weather tight.

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Site

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1 Bank Of Scotland

1 Site Image 1 Site Image 7 Bank Of Scotland

1 Terraced Housing

1 Terraced Housing

1 Eyre Medical

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Trees used to follow street line. Building appears to be nesteled in amongst them.

Balconies emerge into and above tree line.

Masses seperated to differentiate between use. Web fills gap and ‘street formed.’

Mass held up by web structure.

Mass split into three, Living, Work and Performance.

West - East Section 1:200

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1 Stairs / ramps lead to entrance

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2 Ticket Office

3 Sound lock entrance to concert hall

5 Lift 8 Sound / Lighting Room 11 Storable seating

12 Stairs to private ‘street’ area

4 Stairs lead to balconys and bar 7 Male toilets (inc disabled) 10 Performers warm up / waiting room

6 Female toilets (inc disabled) 9 Storage for instruments / chairs

Ground Floor Plan 1:200

1 Private ‘street’ area

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2 Entrance to ‘work’ block

3 Lift

5 Instrument store / Library 8 Storage 11 Sound lock entrance to concert hall

12 Balcony

4 Rehearsal room 7 Study 10 Lift

6 Entrance to ‘ living’ block 9 Boiler room

First Floor Plan 1:200

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Second Floor Plan 1:200

1 Office

2 Lift

3 Walkway runs above rehearsal space

5 En-suite bedroom 8 Sound lock entrance to concert hall

4 Outdoor space 7 Lift 10 Seating area

6 Kitchen 9 Balcony

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Third Floor Plan 1:200

1 Recornding studio

2 Recording booth

3 Waiting area

5 Lift 8 Lift

4 Outdoor space 7 Living room 10 Seating area

6 En-suite bedroom 9 Bar

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From the start of this project I have always tried to put an emphasis on the efficiency of the design with the functionality of the project outweighing its form. With this in made I have designed a concert hall that can be used for virtually any style or instrumentation of music.

The hall is designed with 104 fixed seats and approximately room for 80 storable folding seats. The basic idea of the hall was too firstly take away the stage by creating one large space at the base of the hall. This means that you can have a much larger performance space if needed for full orchestras or a small space for soloists. The majority of the seating then sits above this on balconies that surround all sides of the central performance area. This not only creates an interesting perspective for the guests but also an optimal acoustic environment once the acoustic treatments highlighted below have been taken into account. This is due to the close proximately of all the guests to the performance area not possible with the traditional set up. This also means that everywhere in the hall will have similar acoustic qualities. With sound quality in mind sound locks have also been placed on every public entrance to the hall. This ensures sound from the public areas cannot transmit into the hall and interrupt performances.

To ensure that the space could be used for more except performances I have also designed it so it can be used as a recording room for when larger groups wish to have recording taken. Storage for this type of venue is also a key element to ensure that the hall is truly multi purpose. With this in mind I have designed a storage room that is accessible directly from the concert hall. The door for this has been designed to ensure that even the largest of instruments can be stored here such as a piano or double bass.

Lastly it is important that the performers have a space that can be used to warm up or wait before the concert starts and during intervals. I have again located this space with direct private access to the concert hall.

Below is a list of these spaces mentioned with corresponding numbers to the diagram to the left:

1 Storable seating

2 Direct access storage3 Sound room for recording and live sound levels / lighting4 Performers warm up / waiting area5 Sound absorbing panels to stop sound reflecting back down6 Wood panels of different sizes and shapes reflect sounds of all frequencies in different directions to ensure that no one frequency is more present above the rest.

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Structural Strategy and Detailing

The basic structure of my project is made from cast in-situ concrete. The main reason behind this is for the acoustic properties that it has in blocking sound transmittance. To further ensure that sound from the street cannot penetrate the concert hall I have also used the glazed balcony’s to reflect away sound.

Due to the concrete webs that hold up the structure, insulating the building effectively has been challenging. Wrapping the inner-leaf of the structure with insulation solves many of the issues this has created but still this solution is not ideal.

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CharetteThe Music Machine

The purpose of our mechanism was to cre-ate a music machine that could play “Always look on the bright side of life.”

We used strategically placed bottles and cut-lery to play the main rhythm of the tune.

An iPod was then used to play the whistling which was activated once the ball hits a plung-er that was attached to the play button.

The whole system was designed so that it could automatical-ly repeat itself using a complicated mecha-nism described above.

More bottles were then filled with varying lev-els of water and placed above steel runners. This meant that dif-ferent notes could be played when each bottle was struck.

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Thinking Through MakingGroup work

Between the two design projects there was a week of designing through making workshops set up for us to attend. These included workshops working with a variety of materials such as plaster, concrete and textiles. The week was enjoyable and I learnt a lot about the characteristics and possibilities of the materials. During this week we were also asked to create a 1:1 scale hand drawn image which I have included to the left. I choose to draw a charcoal perspective from my Chamber project to furtheremphasize the feeling of my ‘street space.’ Lastly I also decided to make use of this time to make an ambitious model of Tyne bridge for use with the incubator phase of my graduation project.

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