Christopher Walker 2nd Year Portfolio

8/10/2019 Christopher Walker 2nd Year Portfolio

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ARCH2035-2013-Y Design Studio 2

Christopher Walker P11247254

Site Plan 1:100

Project 1

Leicester Market




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Project 1

Leicester Market



Elevaon 1:50


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Market Secon 1:100

Slice Plan 1:100

Project 1

Leicester Market




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Project 2

Leicester Market Intervenon




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Project 2

Leicester Market Intervenon



Leicester Market Intervenon - Informaon Booth

Secon 1:50

Plan 1:50

Intervenon Locaon


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Site Analysis

Project 3

Sitooterie Charee



Site plan 1:100

Site secon 1:200

This project demanded we design a Si tooterie - Scosh, a place to sit out in.

The Sitooterie had to accommodate 3-12 people and provide a place where visitors could shelter

from the elements in Bradgate Park, but sll a llowed them to connect with the park, either through

views or materiality.


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Project 3

Sitooterie Charee



Plan 1:50

Secon 1:50

Elevaons 1:50

Design development

Sitooterie examples

Slate stone cladding

Sitooterie Design Development


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Sitooterie Model 1:50


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Background Research

Bradgate Park is a historic former Medieval Deer Park created from the Charnwood Forest and was rst enclosed as a hunng park over 750 years ago.

For many centuries, it formed part of the Leicestershire Estates of the Grey family and the Earls of Stamford. Even now, though only six miles from the centre of Leicester, certain areas

look much as they must have done in the Middle Ages.

Today the area of Bradgate Park extends to some 830 acres and is a locaon rich in history and natural history.

It combines extensive sweeps of parkland, within a spectacular landscape of huge areas of grass, bracken covered slopes, rock outcrops (which include some of the oldest rocks in

England), areas of marsh, network of paths and concessionary horse tracks, veteran trees and small woodlands.

Other notable features of the Park i nclude the Ruins of Bradgate House a Tudor mansion built in the early 16th century, which was the birthplace and early home of Lady Jane Grey

(9 days Queen of England in 1553) and a well known folly known as Old John Tower, which was built around 1784 a nd stands nearly 700 feet above sea level.


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The History of Bradgate Park

The area now enclosed as Bradgate Park was one of a number of parks surrounding Charnwood Forest. Since

medieval mes it has been part of the Manor of Groby. In the reign of Edward the Confessor, the area was owned by

Ulf, and the manor, along with some 100 others in and around Leicestershire, was awarded to Hugh de Grandmesnil

in the eleventh century as reward for his assistance in bale to William I. The name Bradgate is thought to derive

from Norse or Anglo-Saxon, meaning broad road or broad gate respecvely. The rst menon of Bradgate Park is

from 1241, by which me it was laid out as a hunng park, although rather smaller than the current boundary.

Bradgate House

Thomas Grey, the 1st Marquess of Dorset prepared for building Bradgate House in the late eenth century but

died before he was able to begi n. It was his son Thomas Grey, 2nd marquis of Dorset who built Bradgate House, the

likely compleon date being 1520. This is one of the rst unfored great houses in England, and one of the earliest

post-Roman use of bricks. It was lived in by the G rey family for the next 220 years. It is believed that the house was

the birthplace of Lady Jane G rey, later Queen, ruling for a mere 9 days before being overthrown by Mary I

Old John

A prominent landmark is the folly known as Old John on the top of the highest hill in the park. Built in 1784, the

folly is, by local legend, a memorial to John, an estate worker killed in a bonre accident during celebraons of the

21st birthday of the future eighth Earl of Stamford. However he was not 21 unl 1786, and a map of 1745 names the

hill as Old John. The tower was used during the 19th century as a viewing point for the horse-racing pracce circuit

laid out by the seventh earl.


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Chosen Subject Field - Archaeologist

Archaeology is the study of human acvity in the past, primarily through the recovery and a nalysis of the material culture and environmental data that they have le behind, which i ncludes

arfacts, architecture, biofacts and cultural landscapes. Because archaeology employs a wi de range of dierent procedures it overlaps the spectrums of various other subjects, such as science

and anthropology.

Archaeology studies human history from the development of the rst stone tools in ea stern Africa 3.4 million years ago up unl recent decades. It is of most i mportance for learning about

prehistoric sociees, when there are no wrien records for historians to study, making up over 99% of total human history, from the Palaeolithic unl the advent of literacy in any given society.

Archaeology has various goals, which range from studying human evoluon to cultural evoluon and understanding culture history

Archaeology developed out of anquarianism in Europe during the 19th century, and has since become a discipline pracced across the world. Since its early development, various specic

sub-disciplines of archaeology have developed, including marime archaeology, feminist archaeology and archaeoastronomy, and numerous dierent scienc techniques have been developed

to aid archaeological nvesgaon. Nonetheless, today, archaeologists face many problems, ranging from dealing with the loong of arfacts and opposion to the excavaon of human remains.


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Subject Field - Historian

A historian is a person who studies and writes about the past and is regarded as an authority on it. Historians are concerned with the connuous, methodical narrave and research of

past events as relang to the human race; a s well as the study of al l history in me.

If the individual is concerned wi th events preceding wrien history, the individual is a historian of prehistory. Although historian can be used to describe amateur and professional

historians alike, it is reserved more recently for those who have acquired graduate degrees in the discipline.

Some historians, though, are recognized by publicaons or traini ng and experience. Historian became a professional occupaon i n the late nineteenth century as research universi-

es were emerging in Germany and elsewhere.


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Photography is the art, science and pracce of creang durable images by recording light or other electromagnec radiaon,either chemically by means of a light-sensive material such as photographic lm, or el ectronically by means of an image

sensor.

Typically, a lens is used to focus the light reected or emied from objects into a real image on the light-sensive

surface inside a camera during a med exposure. The result in an electronic image sensor is an electrical charge at each pixel,

which is electronically processed and stored in a digital image le for subsequent display or processing.

Invented in the rst decades of the 19th century, photography (by way of the camera) seemed able to capture more detail

and informaon than tradional mediums, such as painng and sculpng. Photography as a usable process goes back to the

1820s with the development of chemical photography.

The rst permanent photoetching was an image produced in 1822 by the French inventor Nicphore Nipce, but it was

destroyed by a later aempt to duplicate it. Nipce was successful again in 1825. He made the rst permanent photograph

from nature (his View from the Window at Le Gras) with a camera obscura in 1826.

Subject Field - Photographer


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Subject Field - Geologist

A geologist is a scienst who studies the solid and liquid maer that constutes the Earth as well as the processes and hi story that has shaped it. Geologists usually engage in

studying geology. Geologists, studying more of an applied science than a theorecal one, must approach Geology using physics, chemistry and biology as well as other sciences.

Geologists, compared to sciensts engaged in other elds, a re generally more exposed to the outdoors than staying in laboratories; although some geologists prefer to perform

most of their studies in the la b.

Geologists are engaged in exploraon for mining companies in search of metals, oil s, and other Earth resources. They are al so in the forefront of natural hazards and di sasters

warning and migaon, studying earthquakes, volcanic acvity, tsunamis, weather storms, and the l ike; their studies are used to warn the general public of the occurrence of

these events. Currently, geologists are also engaged in the discussion of climate change, as they study the history and evidence for this Earth process.

Their training typically includes signicant coursework in physics, mathemacs, and chemistry, in addion to classes oered through the geology department; historical and

physical geology, igneous and metamorphic petrology and petrography, hydrogeology, sedimentology, stragraphy, mineralogy, palaeontology, physical geography and structural

geology are among the many required areas of study. Most geologists also need skills in GI S and other mapping techniques. Geology students oen spend porons of the year,

especially the summer though somemes during a January term, living and working under eld condions with faculty members (oen referred to a s eld camp).


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Site Locaons


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Residenal Site - Site Analysis

The residenal building will be located within close proximity to the

car park and main entrance into Bradgate for ease of access. The site

is also located next to the mai n pathway which cuts through through

Bradgate park, allowing the residents to ea sily traverse the rst half

of the route along the way to the study building.

Despite the public pathway being the busiest route in the park, a line

of trees seperates the site from the walkway. The space between this

line of trees and the site where the building will stand acts a a

transional space, with the trees serving as a natural and disnct

barrier between the busy pathway and the privacy of the residenal

site.

The majority of the building will stand out over the river, with the

point at which the land stops and the river starts further enhancing

the sense of isolaon from the public. When not in study, the

residents will be granted views up and down the river as well as over

the private deer reserve on the opposite side of the bank, allowing

them to relax and connect with the natural beauty of the park.

The river by which the site i s located runs through a shallow vall ey,

with the landscape rising up either side of it. This, along with the

treeline will help to shield the site and shelter it from the wind.


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Site plan 1:200

Wind direcon over Residenal site


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Site secon 1:200


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Study Site - Site Analysis

Site plan 1:200


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Study Site - Site Analysis

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Site secon 1:200


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Residenal Building - Schedule of Accomodaon

Room Primary Uses Secondary Use Equipment/Furnishings No. of Rooms No. Accommodang Spaal Requirements Dimensions

Bedroom Sleeping Studying, relaxaon Bed, desk, drawers,

chair, lamp, wardrobe,

wash basin, vanity unit

6-12 1 Light, private 2.5m x 4m

En suite Hygiene, washing Self maintenance Sink, wash basin,

vanity unit, bathtub,

shower unit

6-12 1 Compact, accessible 2m x 2.5m

Communal Kitchen Food preparaon Socialising Worktops, dining table,

chairs, oven, extracon

units, sink, breakfast

bar, cupboards, storage

cabinets, dishwasher,

toaster

1 6-12 Open, light, spacious 8m x 12m

Communal Area Relaxing Socialising Table, coee table,

chairs, armchairs, sofas,

television, lamps

1 6-12 Spacious, light, open,

welcoming

8m x 12m

Study Area Self study Q ui et readi ng Tabl es , chairs, l amps ,

cubicles, bookshelves

1 6-12 Quiet, private, light 8m x 12m

Ulity Room Washing Washing machines,

tumble dryers, chairs

1 6-12 Small, compact 4m x 5m


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The Route

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The rst half of the route from the residenal building to the study

building will take the wal ker along the public walkway, following the

path of the river unl they reach the ruins of Bradgate house; a key

area of i nterest for Historians/Archaeology.

The route then breaks o from the main public pathway, leading

the walker past the ruins, and then o in a north east direcon into

the middle of the park. As the walker makes this journey the public

pathway gives way to the rough footpaths which have remained in

use for hundreds of years, connecng the walker to the hi story of

the park, granng them a chance to walk in the footsteps of people

who came before.

They connue in this north east direcon they wi ll walk through the

space between two patches of woodland, as i f traversing a

threshold, and as they pass through they leave the busy public

areas behind in favour of a more isolated environment.

The area beyond where the study building will be located is open

and barren with only a few trees dong the landscape, with Old

Johns Folly clearly visible atop the hill in the

distance.


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Design Development

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Design Development

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Design Development

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Green wall design exploraon

Water curtain design exploraon

R id l B ildi C D i


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Residenal Building - Concept Designs

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R id l B ildi C t D i


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Residenal Building - Concept Designs


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Plans 1st Dra


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Plans - 1st Dra

Ground Floor Plan 1:100

First Floor Plan 1:100

Communal living/kitchen area

Silent study room

Silentstudy

room

Male W/C Female W/C

Ulity room

Site plan 1:200


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Site plan 1:200

T T T

T

T

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TTT

T

T

T T T T

T

T

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TTT

T

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First Floor

Ground Floor



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1) Communal Living/Kitchen Area2) Recepon Area

3) W/C

4) Ulity Roon

5) Decking/Outside Seang Area

6) Private Study Room

1

2 3 4

5

6

First Floor Plan 1:100


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1) Bedroom

2) En Suite w/c

2

1

1

1

1

1

11111

1

1

2

2

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2

2

22

2 22

Secon 1:100

T T T


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T

T

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TTT

T

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TTT

Secon 1:100


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T

T

T

T T T

T

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T

TTT

T

T

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T T T

T

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TTT

Elevaons


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RODUCEDB ANAUODES EDUCAI ONAL RODUC

RODUCED

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ODES

EDUC

ION

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RODUC

RODUCEDBANAUODESEDUCAIONALRODUC

RODUCED

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ODES

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ION

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ANAUO

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IONAL

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RODUCED

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AN

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ODES

ED

UCA

IONAL

RODUC

Front Elevaon 1:100

Rear Elevaon 1:100

Elevaons


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RODUCEDB ANAU ODES EDUCAI ONAL RODUC

RODUCED

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ODES

EDUC

ION

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RODUC

RODUCED

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ODES

EDUC

ION

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RODUC

RODUCEDB ANAUODES EDUCAI ONAL RODUC

RODUCEDB

N

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ODES

EDUC

ION

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RODUC


RODUCED

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ODES

EDUC

ION

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RODUC

Right Elevaon 1:100

Le Elevaon Elevaon 1:100

Elevaons

Water Curtain


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The water curtain is a thin veil of water which ows out from beneath the rst oor on the north-east face of the build-

ing. This water curtain serves as both a funconal and aesthec feature. The thickness of the water curtain is such that it

prevents those either inside the structure or outside seeing through it without completely cung out light as a wall would

do, so it serves the enhance the feeling of privacy felt by those inside.

Small waterfalls are a common and re-occuring feature along the length of the river by which the structure is situated. By

including a water curtain in the design it serves to mimic these small waterfalls and aid the building in ng into the land -

scape, as when looking at the structure from the north-east one would see the watercurtain owing into the river, giving

the impression that the river is to some degree a product of the buildi ngs presence.

Interior view of kitchen with water curtain in background

Materials


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Slate stone walls are present across the enrety of the park and have been

a constant feature in its landscape for hundreds of years a nd are very much

an aspect of its history. Despite these walls being eecvely man-made,

they appear to t comfortably in with the natural untouched charcter of the

park. By construcng the external cladding of the residenal building from

naturally occurring slate in homage to the ancient walls that

lier the park it helps the building to blend into the park as the walls do, as

well as creang a connecon between the structure and the Parks history.

The denion of a wall is a structure which creates a division between

spaces, and by construcng the residenal buiding to mimic the slate walls

its serves to carry that

senment over, by creang a division between the privacy of the residenal

structure and the ublic aspects of the park.

Slate House, Highgate, London

Ann Demeulemeester Shop, Mass Studies, Seoul

Consorum Building headquarters, Henry Browne Borja Huidobr, Chile

Milly Film, Samyn and Partners, Linkebeek, Belgium

Green Wall

A green wall is a wall, either free-standing or part of a building, that is parally or completely covered with vegetaon

and, in some cases, soil or an inorganic growing medium.

The Green Wall has both aesthec and funconal properes. It further aids the residenal building in ng in with the

natural, untouched character of the Park. There are other numerous benets that come with the inclusion of the green

wall in the design:

Provides sound insulaon.

Filters air parculates to improve air quality.

Moderates a buildings internal temperature via external shading.

Helps a building retain heat otherwise lost to convecon.

Provides storm water management, absorbing 45-75% of rainfall.

Provides biodiversity and a natural animal habitat.

Model 1:100


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Model w/site model 1:100


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Site Locaon


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Front of the site

Site as seen from the back

Floor Plans 1:200


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Basement Ground Floor First Floor Second Floor Third Floor

Second Floor lvl. 2

Basement

Service

elevator

Service

elevator

Kitchen

Cafe

Recepon/Foyer

WC

WC

GiShop

Elevator

Seang Area

Elevator

Roof Terrace

Seminar Room

Art GalleryBalcony Gallery

SculptureGallery

Service

Elevator

Secon 1:200

This is a short secon

of the Art Gallery. It

shows the structure of

the basement, foyer,

seminar room, art

gallery and sculpture

gallery

OD U C D A A U TOD D U C A TI OA L OD U C T

ODUC

D

A

AUTOD

DUCATIO

AL

ODUCT

ODUCDAAUTODDUCATIOALODUCT

The ground oor consists of a recepon area, cafe, dining area, gi

shop and male and female toilets. The rst oor consists of a roof

terrace and seminar room. The second oor is the art gallery, with

areas for displaying painngs and tapestries, and also includes a

gallery balcony. The third oor is solely for the displaying of

sculptures and statues. There is a large service elevator

whichcan be accessed from the third oor, the back street or the

sub basement, meaning sculptures and other large works of art

can be easily stored in the basement. Customers will have access

to two ights of stairs; one at the front of the building, and one at

the back, both can me accessed from any oor. The stairway at the

back of the building also connects to the basement. Customers will

also have access to an elevator, which can also be acc essed from

any oor.

Secon 1:200


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Project 4

Art Gallery

P11247254


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Event Week

Death Star Project



Nightclub Secon 1:200


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Event Week

Death Star Project



Printer


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In publishing, printers are both companies providing prinng services and individuals who directly operate prinng presses.

The profession of printer became established aer the invenon of the moveable type prinng press by Johannes

Gutenberg around 1450, and proliferated throughout Europe. Such early printers oen were recognizable by individual

characteriscs in the works they produced, such as type or typography, and since early printed books were made in

relavely small quanes they are rare a nd collecble.

Prinng is a process for reproducing text and images, typically with ink on paper using a prinng press. It is oen carried

out as a large-scale industrial process, and is an essenal part of publishing and transacon prinng.

The earliest form of prinng was woodblock prinng, with exisng examples from China dang to before 220 AD, and Egypt

to the fourth century. Later developments in prinng include the movable type, rst developed by Bi Sheng in China, a nd

the prinng press, a more ecient prinng process for western languages with their more li mited alphabets, developed by

Johannes Gutenberg in the eenth century.

The advent of Prinng itself is seen as one of the most important innovaons in human history, as it meant literature could

be produced on an industrial scale, giving the masses access to knowledge which before was limited and exclusive to only a

few.

The basic method of prinng has essenally remained unchanged since its original incepon, however with new

advances in technology and science some aspects of prinng have followed suit.

Today a large part of the prinng process is conducted using digital means, whereas original ly the plates used to

produce the prints were handmade.

The most common method of prinng is the Oset Press. Oset prinng is a widely used pri nng technique

where the inked image is transferred (or oset) from a plate to a rubber bla nket, then to the prinng surface.

When used in combinaon with the li thographic process, which is based on the repulsion of oil and water, the

oset technique employs a at (planographic) image carri er on which the image to be printed obtains ink from

ink rollers, while the non-prinng area aracts a lm of water, keeping the non-prinng areas ink-free.

Prinng in Leicester


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Small scale Prinng companies

Large scale commercial Prinng

companies (some small scale)

This map shows the locaon of 141 prinng companies spread in and

around the City of Leicester.

The map below displays the concentraon of prinng companies in

Leicester based upon the types of prinng they specialise in.

As you can see from the maps, the amount of prinng companies is

higher closer to the city centre. The majority of these companies are

generally small in scale, operang from a modest facility, specialising

in the design and prinng of point-of-display work, leaets, pamphlets,

business cards and other limited projects. Some of these operaons

oer more praccal and tradional methods of prinng, such as lino andwoodblock prinng.

There are some small prinng companies located on the outskirts of

the city, though generally these parts of leicester are dominated by the

larger scale prinng operaons, as they provide a wider array of prinng

services, and therefore require larger facilies which would otherwise

be unavailable in the city centre. These larger prinng companies spe -

cialise in commercial prinng, such as newspapers, magazines, posters

and various other large, mainstream publicaons.

The site itself is quite small and due to its close proximity to the city

centre would beer facilitate a small scale prinng company.

Leicester Print Workshop


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Project 6

Leicester MDP

ARCH-2013-Y Design Studio


The Leicester Print Workshop is a small arts and cras prinng company.

It promotes, sustains and helps to advance ne art printmaking as a contemporary visual art form; as

a cra; as a focus for exhibions and commissions; in schools, with community groups, to arsts and

to the general public.

Leicester Print Workshop was rst established in 1986 and became a registered charity in 1993.

The Leicester Print Workshop conducts no commercial prinng whatsoever; instead it oers

courses in print making to the general public, as well as demonstraons and one o

workshops. Here a sample of the courses and workshops the Leicester Print Company

oers:

Collagraph

Solar plate

Lithography workshop

Texle screenprinng and heatpress techniques

Photo plate lithography

Linocut

CMYK four colour silkscreen

Lithography workshop

Introducon to screenprinng

Introducon to wood engraving

Etching

Texle screenprinng and heatpress techniques

(Locaon)

P.A.B.D (Publish And Be Damned)


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Publish And Be Damned is an annual independent publishing fair held in

London at the Instute of Creave Arts. Its name comes from the retort

of Arthur Wellesley, 1st Duke of Wellington on being blackmailed by

John Joseph Stockdale and Harriee Wilson.

The rst Publish And Be Damned was rst in 2004 and created by Emily

Pethick and Kit Hammonds. It is funded by grants from various Arts

organisaons.

The types of publicaons featured each year include everything from

self-published books,newsprint tles,glossy magazines to leaets,

pamhplets, magazines and journals, all of which are independently

published. Some tles are free while most are sold. Eligibility is decided

by a panel made up of the founders and invited guests curators.

Project 6

Leicester MDP



The Client

I Bl k t i 30 ld S l Y h d t d f D M t U i it ith d i G hi D i d i


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Ian Blackwater is 30 years old. Several Years ago he graduated from De Monort University with a degree in Graphic Design, and is now

looking to open up his own prinng studio in Leicester.

The Prinng studio will be a non-prot company, concentrang on the more tradional methods of prinng with a focus on the arts and

cra aspect of the pracce, similiar to Publish and be Damned.

The business will play no part in commercial prinng whatsoever, instead it will focus on expression and creavity, producing runs of

limited, personalised work with underlying social and polical aspects.

In addion to oering a service, the studio will also oer courses and workshops akin to those run by the Leicester Print Workshop,

where members of the public and organisaons have the chance to learn about prinng as well as being able to design, develop and

print their own work.

The company will oer several tradional prinng techniques:

- Woodblock prinng

- Moveable type prinng

- Prinng press

- Etching

- Lino prinng

- Lithography

- Aquant

An Oset printer will also be available for large runs of work.

Spacial requirements:

- Workshop, oering the tools and facilies required for the development of negaves eg. carpentry tools for

woodblock prinng

- Art studio, for the designing of prints

- Modest storage space for resources and materials

- A seminar room where clients and organisaons can come and meet with the company directors to discuss

designs

- A gallery for presentaons and exhibions

- Small recepon area

- Locker room with showers/wash facilies

- Studio area where the prinng will actually take place, it must be large enough to contain several prinng

presses.

-Small computer lab for digital design work

The studio, gallery and workshop areas must have a substanal amount of natural daylighng, as the lighng

condions can aect the drying of inks and paint. Venlaon is also a key requirement, as some methods of

prinng involve the use of solvents and chemicals, the fumes of which have the potenal to be detrimental to

ones health.

Woodblock Prinng


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The wood block is carefully prepared as a relief matrix, which means the areas to show white are cut away with

a knife, chisel, or sandpaper leaving the characters or image to show in black at the original surface level. The

image cut into the block is done so along the grain of the wood. It is only necessary to ink the block and bring it

into rm and even contact with the paper or cloth to achieve an acceptable print. The content would of course

print in reverse or mirror-image, a further complicaon when text was involved. The art of carving the woodcut

is technically known as xylography, though the term is rarely used in English.

For colour prinng, mulple blocks are used, each for one colour, although overprinng two colours may produce

further colours on the print. Mulple colours can be printed by keying the paper to a frame around the

woodblocks.

There are three methods of prinng to consider:

StampingUsed for many fabrics, and most early European woodcuts. These items were printed by pung paper or fabric

on a table or a at surface with the block on top, and pressing, or hammering, the back of the block.

Rubbing

Apparently the most common for Far Eastern prinng. Used for European woodcuts and block-books later in the

15th century, and very widely for cloth. The block is placed face side up on a table, with the paper or fabric on

top. The back of the block is then rubbed to copy the image into the paper.

Prinng in a pressPrinng woodblock prints in a press works simply involves placing the block face down on the fabric or paper,

and then placing it in the press, whereby the press is either screwed down on top of the block, or the block is

rolled through the press. Both methods result in pressure being applied to the block, pressing it down onto the

fabric or paper.

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Etching


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A drypoint etching I produced, demonstrang the layering of several coloured prints to produce a single picture.

In pure etching, a metal (usually copper, zinc or steel) plate is covered with a waxy ground which is

resistant to acid. The arst then scratches o the ground with a pointed etching needle where he

or she wants a line to appear in the nished piece, so exposing the bare metal.

The plate is then dipped in a bath of acid, technically called the mordant (French for bing) or

etchant, or has acid washed over it. The acid bites into the metal, where it is exposed, leaving

behind lines sunk into the plate. The remaining ground is then cleaned o the plate. The plate is

inked all over, and then the ink wiped o the surface, leaving only the ink in the etched lines.

Alternavely, a plate of perspex or clear plasc may be used. In this method a sharp etching tool is

used to scratch or trace an image onto the perspex.

The plate is then washed in a layer of ink, aer which the excess ink is wiped o, leaving only the

ink in the etched surface of the plate. The plate is then placed face down on to either paper or

fabric, which is usually moistened to soen it and in some cases allows the ink to take to the

paper/fabric beer. Both the paper/fabric and plate are then put through a high pressureprinng-press. The paper/fabric picks up the ink from the plate, producing the print. Several prints

can be produced from a single plate.

Programme Bubble Diagram


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Prinng Studio

Workshop

Art Studio

Computer Lab

Lock Room

Recepon Area

Seminar Room

Gallery/Exhibion

Spasce

Store Room

Oce

Kitchen/Social

Space

Primary Spaces

Secondary Spaces

Terary Spaces

The Site


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The site is located in an old industrial part of the city of Leicester.

The north-west side of the site faces out over a canal, whereas the south-east side of the sight looks out over a car park, which is bordered by several other

buildings, giving rise to a small industrial complex.

The area the site occupies consists of a pre-exisng structure and a small wall which runs along the length of the canal up to the building to the right of the

site, both of which will be demolished to make way for the design.

Alongside the west side of the site runs a small alleyway, contained by the site itself and the neighbouring structure. The south end of the alleyway leads out

on to the main road, from which the car park in which the site is located can be accessed. The north end of the alleyway leads out onto a bridge which allows

access to the north bank of the canal.

The north bank consists of a small public footpath which runs underneath the bridge, and along the length of the canal. This footpath is bordered by a treeline

to the north, which oers some shelter from prevailing winds. The site can be clearly seen from the footpath on the north bank of the canal.

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Site Locaon

Images of highlighted locaons

The Site


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Images of highlighted locaons

Site Analysis


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1

1

1

2

2

Site Analysis - Site Plan Dra 1:200


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Site Analysis - Site Plan 1:200


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Locaon of site highlighted

Site Analysis - Site Secon 1:200


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City Secon 1:1000


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Site Analysis - Site Elevaon 1:200


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Autocad site elevaon linework

Rendered site elevaon

Site Model 1:100


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Site Shadowing


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Site shadows at 7:00 AM

Site shadows at 12:00 PM

Site shadows at 5:00 PM

3DS Max Site Model


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ODUCEDB ANAUODES EDUCAIONAL ODUC

ODUCEDB

AN

AU

ODES

EDUCA

IONAL

O

DUC

ODUCEDBANAUODESEDUCAIONALODUC

ODU

CED

B

ANAU

ODES

EDUCA

IONAL

ODUC

Concept Drawings


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Concept Drawings


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Spacial Representaon Model 1:100


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Spacial Representaon Model 1:100 (in site model)


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Dra Floor Plans 1:100


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Ground Floor Plan

1) Recepon area

2) Print gallery/exhibion space

3) Seminar Room

4) Sta Room

5) W/C Shower/Locker room

6) Stairwell

1

2

34

5

6

Second Floor Plan1) Workshop

2) Storeroom

3) Digital Lab

4) Prinng Studio

5) Art Studio

6) Stairwell

1

2

6

3 4 5

Dra Short Secon 1:100


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Dra Long Secon 1:100


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Perspecve view of gallery

Dra Elevaons 1:100


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Rear Elevaon1:100

Front Elevaon1:100

Dra Design Plan Revisions


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Relocate digitallab, doesnot require

large amount ofnaturaldaylight.

Relocate storage room sothat it canbe

accessedfrom studiospaces.

Remove divisionbetweenart studio

andprinng studio

Create single large studiopspace

Asthere will be asingle large studiospace, corridor will

not be necessary

Remove deadarm ofcorridor

Dra Elevaons 1:100


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Le Elevaon1:100

Right Elevaon1:100

Dra Model 1:100


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Dra Model 1:100 (in site model)


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Dra Model Light Study


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The majority of the top oor of the building consists of a skeletal framework from which sheets of glazing are suspended, as ma ny of the

rooms are studio spaces, and therefore require a signicant amount of natural daylight. However too much can cause overheang, and so the

design includes a large amount of shading. Unfortunately this shading is inadequate. The photos below model the amount of daylight entering

the studio spaces between noon and late aernoon. Despite the shading too much daylight is entering the studio spaces, and would therefore

cause overheang. This outcome suggests a redesigning of the shading.

Final Design Ground Floor Plan 1:100

3


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1) Recepon Area

2) Print Gallery/Exhibion Area

3) Seminar Room4) Oce

5) Sta Room

6) Stairwell

7) W/C

8) Shower/Locker Room

5

1

2

4

6

7

8

Final Design First Floor Plan 1:100


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1) Workshop

2) Stairwell

3) Digital Lab

4) Storeroom

5) Art/Prinng Studio

1

2

3 4 5

Final Design Short Secon 1:100


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Final Design Short Secon 1:50


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Final Design Long Secon 1:100


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Final Design Front Elevaon 1:100


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Final Design Right Elevaon 1:100


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Final Design Le Elevaon 1:100


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Final Design Rear Elevaon 1:100


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Autocad Linework rear building and site elevaon 1:200

Rendered rear building and site elevaon 1:200

Rendered rear building and site elevaon 1:100

External Cladding


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RavenRow,

1754 -2009

East London,

6A Architects

RavenRow isa contemporary art exhibioncentre locatedinSpitalelds, east London.Originally constructedin 1754, the building hasbeensubsequently addedto,

converted, neglected, damagedandrepairedover twoand ahalf centuries.The originalbuilding wasravagedby a re in1972, resulng ina large poronof the original

structure being destroyed.Whenit wasrenovatedthe architectsdecided toclad poronsofthe exterior incharredmber, reminiscent ofthe re that ravagedit.The

burnedmber andother new texturesallude tothe invisible history ofthe place andintroduce araw, tacle texture tomodernSpitaleldswhich canseem consignedto

the hermec smoothnessofCity development.

The prinng studiowillbe cladin planksof charredlarch.Thisserves bothan aesthec andfunconalpurpose.

The areathe site issituatedin isa rundownindustrialcomplex.The charredlarchcladding hasthe appearance of

being soot stained or dirty, andwill serve toaid the building inng inand adhering withthe industrialcharacter

ofthe area.

The charring processthe larchplanksundergocausesthe sapand resinin the wooditselfto move tothe surface of

the wood, serving towaterproofandpreserve the woodwithout the need for varnishor any other mber

treatment.

Steel Frame Construcon


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The primary structure ofthe prinng studiowill consist mainly ofa basic steelframe, asit isreadily available andcanbe fabricatedina relavely short

periodofme.

Steelframe usually refersto abuilding technique withaskeletonframe ofvercal steelcolumnsand horizontalI-beams, constructedin a

rectangular gridto support the oors, roofandwalls ofa building whichare all aachedtothe frame.

The use ofa steelframe inthe building willalsobe reminiscent ofVictorian ironframedbuildings, intermsof the skeletalaesthec, asthe site is

situatedina rundownindustrialarea whichwasacve over the industrialrevoluon.

(ExamplesofVictorianera ironframedbuildings)

Structure Model 1:100


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Structure Model 1:100 (In site model)


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Final Model 1:100


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Final Model 1:100 (In site model)


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Final Model Light Study


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These photos model the amount of daylight entering the studio spaces on the rst oor of the prinng workshop,

but with the revised shading design. As you can see, the amount of daylight entering the studio spaces has been

signicantly descreased, therefore reducing the risk of overheang.

Christopher Walker 2nd Year Portfolio

Documents

Transcript of Christopher Walker 2nd Year Portfolio