Jack Hughes Design Report

download Jack Hughes Design Report

of 51

Transcript of Jack Hughes Design Report

  • 8/2/2019 Jack Hughes Design Report

    1/51

  • 8/2/2019 Jack Hughes Design Report

    2/51

    4.0.001

    1 CONTENTS

  • 8/2/2019 Jack Hughes Design Report

    3/51

    The brief for this project was to createa trio of interventions for the city ofManchester, revolving around the ideaof display of archive and projection ofManchesters urban future. With anemphasis on photography and digitaldisplay the three spaces had to provideadequate facilities for almost any kind ofgallery exhibition.

    Our proposals were to take on the formof three distinct but connected spaces:firstly, a retrofit of Memorial Hall on

    Albert Square to create an archivegallery space; Second, a new-buildin Manchesters Peace Garden, St.Peters Square; and lastly a connecting,landscaped intervention along LloydStreet between Manchester Town Halland its 1934 Extension building.

    3

    intr

    oucti

    on

  • 8/2/2019 Jack Hughes Design Report

    4/51

    5

    pagetit

    e

  • 8/2/2019 Jack Hughes Design Report

    5/51

    My first step in this project was to get togrips with the conditions and challengesposed by designing an efficient galleryspace. This meant understanding whatspecific artefacts, such as photographsor painting, required to best avoidphotochemical damage.

    J. Thomson (1992) maintainsthat changes are inevitable andirreversible, [however] they can be

    slowed by controlling the environment.This attitude convinced me that, quiteapart from creating a well-designedspace, this gallery should adhere tothe basic principle that condition andperformance should be above all else.

    This led to me investigate the BFIsnew-build centre in Gaydon, as astatement of design over appearance(having originally been a nuclearweapons assembly site and therefore

    not situated in an easy to run-acrossplace), provides a perfect example oftechnical implementation in pursuit ofperfect preservation.

    The centre was designed by EdwardCullinan Architects to house the BritishFilm Institutes stock of archived celluloidfilm rolls. These are split betweenpolyester based film (modern and fairlystable) and the older sets of cellulose

    nitrate film (highly flammable). Bothrequire different storage conditions withthe modern film being stored in largerhalls and the more volatile celluloserolls being kept in strictly maintainedchambers. These are kept at -5oCand 35% relative humidity and haveautomated stainless steel insulateddoors that descend should a fire start inone of the chambers, thereby lesseningthe chance of the fire spreading toadjacent booths.

    7

    precee

    nts

  • 8/2/2019 Jack Hughes Design Report

    6/51

    Moving away from the strictly technicalstand-point of creating a gallery spacethe work of David Chipperfield becamea large influence on how I approachedthis project. He has been prolific in hiscareer in creating spaces for displaybut it is his work in restoration andretrofitting that most brought him tomind for this project.

    The Neues Museum in Berlin was built in1841 by Friedrich August Stuler but waspartially destroyed in World War Two. In1997 Chipperfield was commissionedthrough a competition entry to transformthe obliterated building while remainingtrue and affectionate to the original.Chipperfield took great care in both

    recreating the original plans but alsoin distinguishing between original andnew. The result is a eclectic mishmashof classical finishing and large-formatprefabricated concrete elements.

    Chipperfield is well known for his useof cold, plain materials in his galleriesto give the viewer a more objective lookat the work on display. Allowing theuser a blank canvas to move around inis not a new technique in gallery designas minimal gallery arrangement andpresentation have become the norm.Chipperfield, therefore is doing moreto create his spaces, be it the contrastin the Neues Museum or his use of lightin the Hepworth in

    4.0.005precee

    nts

  • 8/2/2019 Jack Hughes Design Report

    7/51

  • 8/2/2019 Jack Hughes Design Report

    8/51

    One of the key challenges of thisproject was creating a building thatis contextually aware. The area ofManchester around the Town Hall is,like the rest of the city, a collision ofmany architectural styles and revivals.

    Albert Square itself was built in itscurrent form within a 20 year periodand is the height of Gothic Revival in theNorth. But even within this movement

    cashes arise as Town Hall, with itstraditional Gothic revival standsabove the Venetian Gothic stylings ofthe Memorial Hall.

    As part of my investigation into Gothicdesign I quickly discovered that thereare not many accounts of what medieval

    Gothic architects were doing, L. Shelby(1977) argues that this is predominantlybecause the practicing architects at thetime were master-craftsmen (men nottaught to read or write) and that thesewere skills passed down by exampleand apprenticeship.

    However, from the start of the 15thCentury, Architectural learning through

    books and not practical apprenticeshipsgrew, bringing about the rise of thegentleman architect. This was aboutthe time of the Gothic Revival andhence Shelby was able to compile aseries of design booklets from Germanarchitects, Mathes Roriczer and HannsSchmuttermeyer.

    13precee

    nts

  • 8/2/2019 Jack Hughes Design Report

    9/51

  • 8/2/2019 Jack Hughes Design Report

    10/51

    To combat ultra violet damage totheir fabrics the fashion giant Louis

    Vuittons flagship store at Marina Bayin Singapore utilised 300+ uniqueframed panels each with a U.V resistantmembrane skin (PTFE and glass fibrewith a polymer coating). This provides

    a semi-transparent second skin for thebuilding, giving excellent light dispersalwhile providing vital protection to theproducts on show.

    I created a 1:1 section of the join thatis used to stretch the fabric over theframe. Using wood, welded metal barsand tracing paper I looked to emulatethe visual effect created.

    I plan to use this technology in thewindows and any skylights to createthe same even light across the gallerywhile protecting its archive pieces fromdamage.

    17precee

    nts

  • 8/2/2019 Jack Hughes Design Report

    11/51

    During our visit to the site, our tutorsinstructed us to come up with threewords to describe the site. Immediateimpressions can give your designs anhonesty of expression and can go on to

    inform your later design as mine did.The three words I chose were divinity,emergence and emptiness and wewere asked to produce three responses.

    The site, for me, was all about thelight. When thinking about restoring abuilding, the past will inevitably play alarge part and looking at this spaciousroom with its pulpit like balcony you

    can imagine a church scene in theslanted light, tall Gothic windowsjuxtaposing the gutted appearance ofthe place as it is now.

    1conte

    xtua

    analysis

  • 8/2/2019 Jack Hughes Design Report

    12/51

  • 8/2/2019 Jack Hughes Design Report

    13/51

  • 8/2/2019 Jack Hughes Design Report

    14/51

  • 8/2/2019 Jack Hughes Design Report

    15/51

  • 8/2/2019 Jack Hughes Design Report

    16/51

    The brief on this project defines someof the space to be assigned to storageand conservation and this is in keepingwith general gallery upkeep as Littlefieldpoints out that only a small proportion ofthe collections in a gallery are on displayat any one time with the rest remainingaccessible. With a large emphasis onarchive one would imaging a galleryof this type to have materials in reserve

    or circulating throughout the year withspecial exhibits every few months thatmight need maintaining after eachshowing.

    The relationships between functionsare common to all museums and artgalleries. As far as possible, collection

    movement and public circulation shouldbe kept separate. Using diagrams fromthe Metric Handbook I developed afairly universal schemata for the gallerythen expanded it to suit the specialityareas of the project eg. projection anddigital archive.

    The different colours of the rooms hereshow the degree to which conditions

    must be controlled; Obviously, inplaces like the office and security room,people will be working so temperaturemust be kept to a comfortable level butin areas where works of art or culturalsignificance are kept, conditions arekept incredibly stable to help reducedamage over time.

    2program

    analysis

  • 8/2/2019 Jack Hughes Design Report

    17/51

  • 8/2/2019 Jack Hughes Design Report

    18/51

  • 8/2/2019 Jack Hughes Design Report

    19/51

  • 8/2/2019 Jack Hughes Design Report

    20/51

  • 8/2/2019 Jack Hughes Design Report

    21/51

    3str

    uctur

    a

    solution

    sMy changes to the arrangement of thecentral wall through the lower floormade the construction of the slantedwall that much easier. By minimisingthe distance between the wall and thehinge of the slanted wall, load istransferred more directly down to floor

    bracing below the gallery. By pinningthe sloped wall at both ends, the hopeis that load will be distributed acrossthe roof along the i-beams that span

    the sky-light window and down thefront face of the building.

    Load is distributed from the top floor(where much of the archive andchemical equipment associated with therestoration process will be stored) down

    solid block walls. These are positionedto reflect the steel frame floor patternestablished in the previous plans of thebuilding (shown on next page).

  • 8/2/2019 Jack Hughes Design Report

    22/51

    Using the existing fabric of the buildingis important when creating a retrofitso, using the planning of the beams asseen on lower levels of the building youcan observe that the room planningcreating an almost direct mappingof the beams blow and above. Theconcern would be that too muchdeviation from existing structure wouldmean more work, done by the building,

    to transfer load to the lower floors,resulting in fragility in the buildingfabric. No immediate concerns werebrought up by past examinations of thebuilding but the roof was mentioned tobe slight deviating so extra care wastaken in ensuring that the proposedlong skylight along the building wasproperly broken up to make for lessstress on the joins at either end.

    41str

    uctur

    a

    solution

    s

  • 8/2/2019 Jack Hughes Design Report

    23/51

  • 8/2/2019 Jack Hughes Design Report

    24/51

  • 8/2/2019 Jack Hughes Design Report

    25/51

  • 8/2/2019 Jack Hughes Design Report

    26/51

    4envir

    on

    menta

    perform

    ance

    Due to this being a retrofit, existingpipe-work can be used for delivery andwaste. Guttering on the roof and wastewater pipes from faucets and bathroomswill be siphoned into guttering downthe rear of the building and clean waterwill come up the building through the

    existing pipe in the wall behind theSouth-west stairway.

    In the first diagram, green and blue

    deliver clean water to faucets inthe 2nd floor bathroom and to therestoration lab while the orange is usedfor the sprinkler system for the archivecollection, lab and server space.

    In the second red is siphoning waste

    water from the roof, blue from thelab and yellow from the second floorbathroom.

  • 8/2/2019 Jack Hughes Design Report

    27/51

    51envir

    on

    menta

    perform

    ance

    Emphasis is placed with the lightingon the differentiation between tightlycontrolled spaces and spaces morevariable to change.

    In the private areas on the mezzaninelevel artificial lighting is used toensure that lights can be turned offat any moment to prevent damageto photosensitive material such as

    film or photographic negatives. Striplighting is used to ensure an even, hardcovering to ensure there is no area thatis gloomy which could mean mistakesin preservation of materials. All lightsare controlled at panels by the doors

    but also at each workstation where filmmay be prepared.

    On the ground floor halogen bulbs areused to give a softer light to the rooms,daylight is given president in the longgallery during the day with strip lightsunder the overhang and niched up inthe rafters for after-hours use of thespace. Although the projection room

    is to be kept dark emergency lightingwill be available and details of stairlighting are explored in the next page.Lights will be imbedded in the ceilingto stop them appearing when film isbeing projected.

    4.0.040

  • 8/2/2019 Jack Hughes Design Report

    28/51

  • 8/2/2019 Jack Hughes Design Report

    29/51

    55envir

    on

    menta

    perform

    ance

    As this is a retrofit the opportunity foruse of renewable energies on site islessened, however, through additionof insulation to the existing walls andcompartmentalising of space intoa more compact design the overallconsumption of the building for heat willbe severely lessened. Being positionedon the top floor of the building will alsohelp reduce heating requirements to

    below the astronomically high heatingdegree day estimated by Ecotect.

    Using a new sky-light the space will bewell lit during the day, allowing moredirect solar gain and less use of electric

    light fixtures.

    Recycling chutes will be provided at therear of the building to ensure that wasteis not brought through the main galleryfrom the private space above.

    Maintenance will be made on a weeklybasis as the gallery will rely on a lot

    of computing to maintain its steadyenvironment. Server space in particularwill require maintenance not only toprevent accidents on this site but alsoto ensure the smooth running of PhaseII (discussed below).

  • 8/2/2019 Jack Hughes Design Report

    30/51

  • 8/2/2019 Jack Hughes Design Report

    31/51

  • 8/2/2019 Jack Hughes Design Report

    32/51

    When exploring the idea of the physical/virtual link, what it comes down to interms of interactivity is interface. Whatphysical prompt can be used in asituation to conveniently and accuratelyprovide data to then be representeddigitally. In the case of the laptop Imusing, I hit the keys on the keyboardwhich sends an interrupt signal tothe processor which analyses wherethe interrupt came from and takesappropriate action be it displaying theletter k on screen or cancelling an

    action with the esc key.

    Possibly the most successful integrationof public physical/virtual linking isthe use of QR codes (Quick ResponseCodes), a form of bar code that canhold from just a URL in the more basictypes to 1852 characters of text whenthe modules of the matrix are expanded.

    In this example, this is a version 4code that holds around 50 characters,and will, when scanned, open up theviewers browser and take them to theManchester Town Planning Website.This has been used in industry to trackindividual car models going throughthe factory but has now been adoptedin advertising and can been seen oneverything from posters to wine bottles.

    Agencies tend to use them insteadof links to websites because the userdoesnt have to enter a complicatedaddress into their smart-phone and QRcodes can be generated to form imagesand so further the campaign.

    In my proposal I plan to print thesecodes on wooden blocks which theuser can then interact with to createamazing vistas on the display screens.

    61prece

    ent

    studies

  • 8/2/2019 Jack Hughes Design Report

    33/51

    Using this principle of a visual promptto signal some virtual action I beganexploring the idea of virtual reality that Ihad seen used before in various onlinevideos and the like. Used by people likeBjarke Ingels to give live demonstrations

    of their ideas, the medium forms a linkbetween the physical (you standing

    with a virtual marker) and the virtual(a pre-prepared model to be projectedonto the marker). Following an onlinedemonstration given by Samuel

    Asher Rivello I began constructing myown Flash program to enable me to

    hold, manipulate and explore virtualbuildings.

    pa

    63prece

    ent

    studies

  • 8/2/2019 Jack Hughes Design Report

    34/51

    What I wanted to achieve with thisspace was a heart for the building, aplace for activity around which all thedisplay boards and private spacescould be arranged. The building as awhole is a hub space for Manchesterbut this room forms the centre fromwhich all these possible futures canbe built. Here people will be ableto interact with buildings and cities,arranging the existing Manchester or

    transforming it completely. Around theedge is a collage of all the buildingscurrently being used, amalgamatedinto one massive sky-line, in the centreis a surface onto which the blocks canbe placed and, through augmentedreality software, the city will form

    around them, roads, public areasand buildings will form around eachmonument just as in a real city, givingthe user complete control over howthey envisage Manchester.

    The process will work exactly as inthe Flash program, markers will berecognised by cameras above the tableand the data of their position will besent to the server space in MemorialHall along ethernet cables and this willthen enable the computer to load thebuildings and adjust scale etc. and thiswill then be visible on the screen belowthe buildings, creating a birds-eye-view of the newly generated city.

    65prece

    ent

    studies

  • 8/2/2019 Jack Hughes Design Report

    35/51

    Following the projects trajectory fromobservation to generation of content,I decided that the next step fromdisplaying these buildings and creatinga world around them would be togenerate your own buildings for yourown city. One option for this would beto have booths at which people cancreate their own buildings through aSketchUp-esque user interface (UI) but

    what attracted me particularly was theidea of combining the existing, creatinga dynamic clash of cultures similar tothe landscape being displayed on thewalls. This also provides a frameworkaround which the models can be

    constructed which stops the creationof mountain high structures on pencil-points and gives a certain culturalsignificance to the creations rather thana fluffy pink and yellow polka-dot orbin the middle of Piccadilly Gardens.

    The User chooses two from a wide setof icons on the screens and they mergeto form the building of their choice

    and this then printed on a block to beused in the scene and displayed on thescreens around the gallery, creating anever moving and transforming tapestryof user-generated content around thegallery.

    67prece

    ent

    studies

  • 8/2/2019 Jack Hughes Design Report

    36/51

  • 8/2/2019 Jack Hughes Design Report

    37/51

    This building is about a creationwithout distraction and so I gave largeemphasis to the central booth wherepeople can create their buildings andgenerate the future of Manchester.These creations are then displayed onthe wall that spans much of the EasternFacade giving visitors a fantasticpanoramic view through a large-scale

    virtual window.

    What was important in this stage was

    to emphasise the possibilities of thefuture but also to hint at the past sofrom the central point of the room theuser can see back toward the CentralLibrary and the Town Hall, out towardthe Midland Hotel, see the newbuildhappening on St. Peters square oneand observe the virtual world from oneposition. This sense of architecture on

    top of architecture is what has madeManchester and this hub for town-planning will form the centre of it.

    71genera

    tiono

    form

  • 8/2/2019 Jack Hughes Design Report

    38/51

    In this re-think of my design I transferredthe focus from the buildings across theroad to the Town Hall and Library tothe west. The view from the middle ofthe building now encompasses both ofthese buildings and the new sky-linebeing displayed on the curved wall.This creates a more compact publicspace while allowing for a larger, easierto utilise (because of less curved walls)private space ie. the resource lab and

    ancillary space.

    Using a green roof and the partiallysubmerged rear of the building into theearth bank meaning the heating andcooling requirements of the building willbe radically reduced. Green roofs can

    also provide filtering for rainwater thatcan rid it of traces of heavy metal whichare common in urban environmentslike Manchesters rainwater. This willmean reduced cost of water usage asany rainfall will filter down the slantedroof into water reserves at the rear ofthe building.

    The extent of the glass walling has beenslightly reduced and the direction of the

    building changed resulting in less directsolar gain meaning cooling will not beso much of an issue during the summermonths. Overall the plans have beencompressed and tightened to ensure amore coherent and reactive peace ofarchitecture.

    73genera

    tiono

    form

  • 8/2/2019 Jack Hughes Design Report

    39/51

    Due to differing conditions in thisgallery to the last (more open to theelements and low lying) there will beneed for dehumidifiers and humidifiersworking in combination, accompanyingthe heating and cooling systems. Thebuildings systems will be kept invisible

    to the public realms of the building,operating in tandem on the two sidesof the building in the private quarters

    of the building. Vents will run throughthe ceiling and the monitoring systemsmentioned in the previous sections willmeasure the relative humidity of thebuilding. However, unlike the MemorialHall building much less attention willbe required to maintain and steady

    environment as there are no archivearticles on display just computingequipment.

    75str

    uctura

    solutions

  • 8/2/2019 Jack Hughes Design Report

    40/51

    Water use will not be particularlyprevalent as grey water will be filteredthrough the green roof, down theslanted surface into water reserves atthe rear of the building. This will meanthat this water will not only be suitable

    for the toilets of the building and thesprinkler system that will operate in

    the gallery space, the resource laband the security room but also providesafe drinking water for visitors andstaff alike. Mains clean water pipesand will supplement this reserve whenrainwater is less prevalent though given

    Manchesters climate conditions theseperiods will be few and far between.

    77str

    uctura

    solutions

  • 8/2/2019 Jack Hughes Design Report

    41/51

    With the lighting I again wanted toemphasise the key areas such as thecentral hub and the display wall.Spotlighting will be used around the

    West facing wall and softer, moreevenly spread L.E.D lighting will beused in other areas of the building.

    With the building being inset into the

    ground slightly, the lighting will splashout onto the ground directly aroundthe building but not up onto the streetgiving the slight dip in ground a moreappealing look of a pool of light thatvisitors will see and be drawn to.

    7str

    uctura

    solutions

    a

  • 8/2/2019 Jack Hughes Design Report

    42/51

    The roof of the building lies a meremetre above ground level meaningthat cold prevailing winds to the Southwill have less of an impact during the

    Winter months. Overall the weather inManchester is extremely changeablegiven its placement near the Pennines.It is prone to unpredictable rain andwind and especially in areas with tall

    buildings and thin streets like the PeaceGardens, wind can be channelled andits ferocity increased.

    The buildings overhanging roof willprovide shelter from the sun during thesummer months but allow the Wintersun to warm the concrete floors whichwill redistribute heat throughout thelate afternoon ad evening.

    Given the height of the buildings tothe East and West, the midday sun willbe particularly important as this willprovide the longest period of sun forthe green roof.

    81envir

    on

    menta

    perform

    ance

    Our task on Lloyd street was to create In [REFERENCE] a computer takes data

  • 8/2/2019 Jack Hughes Design Report

    43/51

    Our task on Lloyd street was to createan intervention as a landscapeexperience link between sites one andtwo. The open-endedness of this partof the brief meant your proposal couldbe a material change to the space ora more abstract approach, creating ameaningful connection between thetwo sites through lighting effects.

    As the my proposal, as a whole, worksaround the principles of projection anddisplay, I formed an intervention in LloydStreet that became the middle groundof all the ideas in play throughout theproject.

    The Memorial Hall proposal revolvesaround material display, the transferbetween light and dark spaces andplaying with scale as the person movesthe linear progression of the gallery. MyPeace Garden works as a hub space,accessible from all angles, it displaysdigital media and makes it possiblefor people to create their own content.

    As the medium between the two, LloydStreet will have a radial progressionof spaces, it will allow for a mixtureof intentional and unintentional user-generated content (UGC).

    In [REFERENCE] a computer takes datafrom a buoy floating out in the AtlanticOcean and moves this installation toexpress the movement of the water.In [REFERENCE] Jim Sanborn mimicstopography, taking it back to a puregeometric shape which is then projectedback onto the landscape. Both of theseare prime examples of data taken fromthe physical world and run through andanalysed as data to be placed back inthe world in a different form.

    From my reading of City of Bits, itbecame clear very quickly after wecommenced the project that server-space and other such areas specificto the running of the digital hub didnot, in fact, need to be anywherenear the site and could be kept in themore spacious Memorial Hall site. Thismeant that cables would have to berun along Lloyd street so my thinkingwas that this is a perfect opportunity toenforce a material connection betweenthe site, a pulsating wire that shows thedata being transferred in real time andcan form the backbone of the project.I called this the information pipe-lineand it forms the connection between thereal and the ephemeral/digital aspectsof this project.

    83prece

    ent

    studies

  • 8/2/2019 Jack Hughes Design Report

    44/51

    To give a sense of movement to thelandscape design I wanted to make amulti-layed display. These displays willshow a reflection of the world aroundthem through various augmentedfilters. This will allow a direct andobvious connection between the realworld and its virtual counterpart.

    The visuals will be affected by theamount of people in both galleries andcertain parameters such as season,date and time of day. This will ensurea constantly variable and reactiveexhibition. It displays not the past, not

    the future but the present.

    85genera

    tiono

    form

  • 8/2/2019 Jack Hughes Design Report

    45/51

    The frames will follow a very similarstructure of those in the Memorial Hallgallery but, given that the Town Hallis a Grade II listed building there arerestrictions on bolting objects to itsside and so I will be using a series ofsimple weighted frames. The obviousmateriality of the frames give the

    objects some much needed groundingin the real world. This follows the

    progression from real-world to virtual.The Dynamic form of the frame willallow the panel to be slanted to accountfor the different angles of the differentframes to the viewer on the street. Thiswill mean the viewer is surrounded withscreens pointing at them, heightening

    the relationship between spatial andanti-spatial

    87str

    uctura

    solutions

    a

  • 8/2/2019 Jack Hughes Design Report

    46/51

    Although less difficult than Phase Iwhich was using unknown materialsfor wall structures and other suchcomplications this design profile wasdifficult in that the building was still verymuch evolving as I was writing it. Manyof the figures proved unrealistic andproblematic when viewed objectively.

    The building over-all is a low-lying,

    fairly ecologically sound design. Itimbeds itself in the landscape forprotection against prevailing windsand for heating from the Earth. Withlarge windows and concrete flooring it

    has a large percentage thermal masswhich will redistribute heat during theevenings. Open plan design meansthat lighting can be less prevalent andits green roof (previously discussed)provides clean rainwater to use in tapsand toilets.

    The building will be used all year roundby many people so heating will become

    less of a problem as more people fillthe space but, given Manchesters rainyweather, the need for dehumidifiersmay mean a shark spike in energyusage for the building.

    8enviro

    nmenta

    perform

    ance

  • 8/2/2019 Jack Hughes Design Report

    47/51

    Memorial Hall, 2nd Floor [1:100]

    1arrang

    ment

    Projection room

    Information

    Display

  • 8/2/2019 Jack Hughes Design Report

    48/51

    3arrang

    ement

  • 8/2/2019 Jack Hughes Design Report

    49/51

    This is a render of the large display wall inthe Phase II Gallery onto which the longuser-generated landscape is displayed.

    5arrang

    ement

    4.0.070

  • 8/2/2019 Jack Hughes Design Report

    50/51

    Throughout this project I wantedto ensure there was a meaningfulconnection between these two siteswhich, if left unchecked could becomethree separate installations completely.

    These are three very distinct stagesand they all express different ideasand explore different areas but over all

    there is a constant arc that brings thesetogether. Firstly these buildings explorethemes of display: from observation tointeraction there is a steady progressioninto emersion from the long galleryspace to the projection room to the semi-interactive Lloyd Street Intervention andon to the hands-on, user-generatedexperience of the Phase II Gallery.

    7resouti

    on

    IMAGES

    4.0.001- 003 - Own Work4.0.004 - Slavid, R., 2011. British Film Institutes Master Film Store. ArchitectsJ l O li

    available at:

    4.0.063 - Photograph of Jim Sanborns projections [image online] availableat:4 0 064 4 0 072 O k

  • 8/2/2019 Jack Hughes Design Report

    51/51

    Journal Online4.0.005 - Neues Gallery Section, Casabella, Vol. 75, no. 797 (jan 2011)p. 564.0.006 - 007 [Neues Gallery, watercolour painting] [image online] availableat:4.0.008 - Dernie, D. (2007) Exhibition Design, p.32, Holocaust museumplan 3rd floor [CAD]4.0.009 - 010 - Dernie, D. (2007) Exhibition Design, p.33, Holocaustmuseum [Photograph]4.0.011 - Shelby, L. (1977) Gothic Design Texhniques, p.43. Image Scan4.0.012 - Baker, G. (1989) Design Strategies in Architecture, p.65.Imagescan4.0.013 - 4.0.014 - Own Work4.0.015 - [Louis Vuitton Island in Singapore] [image online] availableat:

    4.0.016 - 4.0.023 - Own Work4.0.024 - Littlefield, D. The Metric Handbook (2008), p. 283. ArrangementDiagrams4.0.025 - 4.0.041 - Own work4.0.042 - cinema lighting system [image online] available at:4.0.043 - 4.0.048 - Own work4.0.049 - plan of Paris, Knibbs, G., The Theory Of City Design. [imageonline] available at:4.0.050 - Photograph of Manchester Central Library, [image online]available at: