Mike Gyi > Architecture Portfolio

architecture portfoliomike gyi

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Afterimage

This project began with a disassembly of a bicycle after being inspired by video documentation of the Gateshead Car Park during demoli-tion. Experiential essence was taken from both the 'Cyclotel' brief and the car park which led to a new urban park being created in Gateshead with a bicycle factory at its fulcrum, interspersed with surrounding follies.

Design

Gateshead, UK

001

January to May 2012

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disassembling an ICON

The bicycle has arguably fast become an icon of modern times and is instantly recog-nisable upon first glance. In the same way, the “Get Cart-er” car park also became an icon of the Gateshead skyline and was instantly recognisa-ble to all in the Tyneside area.

The demolition process of the car park interested me a great deal. The way in which an iconic structure was care-fully dismantled into unrec-ognisable form and docu-mented by “Thompsons of Prudhoe Demoltion” in a time-lapse inspired me into an investigation of parts.

The Gateshead Car Park be-came more than just a famous facade as the demolition pro-cess demonstrated that there was much more substance

to the car park than first en-visaged. The nature of the Cyclotel brief proposed a comparison with the slightly smaller icon...the bicycle. Bicycle parts are totally unique and are manufactured for one purpose. As separate forms they are useless, but as a sys-tem of parts they work together.

A derelict and abandoned bicycle found chained to the wall of a terrace house in Jes-mond, Newcastle-upon-Tyne, provided many comparisons with the car park. The “Gi-ant Boulder FS” became the starting point for my after-image of the car park and a demolition process ensued and the individual parts me-ticulously photographed.

video of bicycle disassembly

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categorizing from instertitial category to action/experience category

contemplateretreat

rest

rest stimulate meet stimulatemeet

contemplatestimulate

meet

transitionreststimulate

meet

observe

café rest stimulate meet+ +

Distilling the different bicycle components down to a few se-lect pieces was key to the log-ic of the architectural process.

The cyclotel brief offered a starting point and the spa-tial essence of each of these spaces were outlined and the

words from the action/experi-ence category were assigned to the different programmes. This process whittled down the 270 bike parts to a se-lect few which responded directly to each programme outlined in the initial brief and also for a bicycle factory.

For example:

membrane stitching motion viewing pause input touchreflection

transition observe contemplate meet stimulate retreatrest

components

bicycle + car park

experience/action

Precedent - John Hejduk’s “Victims”

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A return to the bike parts was made after the combinations of differ-ent bike part forms were reached. The compo-nents which were instilled in the previous symbols were then multiplied and scaled according to the size of the pro-grammes in Cyclotel brief.

The pieces were laser cut from 9mm MDF at 1:100 scale to experiment an ar-rangement on a 1:100 site map measuring 4m x 2m.

Collated into piles ac-cording to the previous symbols, an act of playful-ness was undertaken to attempt to create intrigu-ing forms on the site map.

The idea of a production line was implemented with the factory being the main visible component on site.

The final arrangement resulted in seven differ-ent “symbols” held in a relationship to the cen-tral factory component.

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1:100 Arrangement Model

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1:500 Abstract Site Map Arrangement

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Design Studio Painting Warehouse

Welding, Bending, Cutting of Frame Assembly

Factory Elevation

The Factory is at the centre of the urban park. The surrounding follies are arranged in relationship to the centrepiece. The public can observe the mak-ing process via an upper gantry which passes over the sunken factory floor. The roof of the factory is a canopy in tension covering the machinery below.

The Bicycle Factory

The design studio is the start of the production line process. Glazed facades allow for observation from the park to the activity within. Light wells in the roof pass soft sunlight down into the studio illuminating the designers sketching.

The Design Studio

This proposal for the vacant site in Gateshead town centre is a place for the process of making to be celebrated. An urban park is proposed with a bicycle factory as the main component of the site.

A journey throughout the site is to be taken in which the process of making can be observed by walking on the suspended gantries in-between the factory floor and the roof canopy of the factory. The park is a place in which people can reconnect with the basic skill of making and as a result understand the system of parts and pro-cesses behind everyday objects such as a bicycle.

The journey throughout the site is interspersed with follies in which common-place events such as drinking tea takes place.

There are twelve cabins situated on site in which people can stay and learn the pro-cess of assembling a bike in the workshop. Their purpose on site is complete when a bicycle is fully disassembled to all its constituent parts thus an appreciation of parts is observed.

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Design Studio Painting Warehouse

Welding, Bending, Cutting of Frame Assembly

Factory Elevation

The Factory is at the centre of the urban park. The surrounding follies are arranged in relationship to the centrepiece. The public can observe the mak-ing process via an upper gantry which passes over the sunken factory floor. The roof of the factory is a canopy in tension covering the machinery below.

The Bicycle Factory

The design studio is the start of the production line process. Glazed facades allow for observation from the park to the activity within. Light wells in the roof pass soft sunlight down into the studio illuminating the designers sketching.

The Design Studio

This proposal for the vacant site in Gateshead town centre is a place for the process of making to be celebrated. An urban park is proposed with a bicycle factory as the main component of the site.

A journey throughout the site is to be taken in which the process of making can be observed by walking on the suspended gantries in-between the factory floor and the roof canopy of the factory. The park is a place in which people can reconnect with the basic skill of making and as a result understand the system of parts and pro-cesses behind everyday objects such as a bicycle.

The journey throughout the site is interspersed with follies in which common-place events such as drinking tea takes place.

There are twelve cabins situated on site in which people can stay and learn the pro-cess of assembling a bike in the workshop. Their purpose on site is complete when a bicycle is fully disassembled to all its constituent parts thus an appreciation of parts is observed.

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Entrance Folly

Four steel skeletal drums each encircle staircas-es which all ascend toward a viewing device two storeys high. The folly’s four central posts distrib-ute the order for the field of signal posts which cover the site, orientating the follies around them. Each viewing device observes a different direction.

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1:200 Elevation

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Observatory Tower

The tower is a place to contemplate and rest. A chair in the viewing chamber is orientated to a view northwards over the River Tyne, ghosting the height of the late Gateshead icon. The lightweight steel and glass cham-ber is reached via a stair core in-between the vertical concrete elements terminating in a moment of pause.

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Elevation Section


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The sauna is a place to rest and reflect. Heat en-ergy from the factory is transferred underground and utilized by the sauna. Two chimney elements pro-vide an outlet for the steam produced in the sauna.

Sauna

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Elevation


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A series of timber clad display cabinets address the High Street running along the eastern edge of the site signalling the end of the factory as-sembly process. The completed bicycles are cel-ebrated as artefacts, stopped in motion, detached from the urban park by a thick pane of glass.

Bicycle Display Cabinet


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Tea PavilionThe pavilion is a place to rest and meet. It is a sea-sonal structure which is only open during the sum-mer months. The timber structure is covered by a red plastic membrane creating a space to rest within. A black material on the roof of the structure harnesses the sun’s energy and heats water for warm drinks.

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Elevations

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Incremental Workshop

The workshop is a metal cage tower with its roof ad-dressing the factory. The metal structure breaks up the natural light entering the workshop teach-ing spaces. The teaching difficulty increases up the building with the most advanced being on level 5.

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Elevations


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Signal PostsThe signal posts act as navigational devices around the urban park. The posts stand eight metres high at the lowest point of the park and gradually descend in height as the user orientates themselves towards the entrance folly. Not only do they orientate the user around the site, but they also serve as the framework in which the follies situated. The posts derive from the stitch-ing category and illuminate at night, dispersing light through its horizontal slits in the metal that encases it.

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Elevation

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Site Axonometric

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Wall Construction

80 x 80mm Steel Mesh100 x 100mm Steel RHS Beams

4mm Welded shot-glassed aluminium steel100mm Aluminium Window Frame

18mm Double Glazed Low E Glass 3mm Damp Proof Membrane

100mm x 200mm Steel RHS Beams3813x2650mm HS Portal Steel Frame

100mm Insulation between steel Frame30mm Insulation

30mm Acoustic Insulation3mm Vapour Control Layer

110mm x 50mm Wooden battens 4mm Plywood Lining

Floor Construction

215mm x 200mm suspended concrete beams294mm x 130 mm steel shoes

4mm Plywood Lining3mm Damp Proof Course

200mm Insulation between frame 30mm Insulation

40mm service shaft 30mm Acoustic Insulation

3mm Vapour Control Layer 22.5mm x 150mm plywood tongue and groove flooring

Roof Construction

4mm Welded shot-glassed aluminium steel70mm x90mm aluminium gutter

100mm Insulation between steel frame100mm x100mm SHS Steel Beam

30mm Insulation30mm Acoustic Insulation

50mm x 50mm Plywood Battens4mm Plywood Lining

Suspended Walkway Construction

60mm x 60mm Steel SHS Columns 60mm x 60mm Steel SHS Supporting Frames

35mm x 35mm Steel SHS Handrails14mm Steel Sideboards

240mm x 60mm x 25mm Steel Support Brackets + Bolts 1200mm x 240mm x 14mm Serrated Steel Steps

815mm x 14mm Serrated Steel Walkway100mm x 60mm Steel RHS Beam with 40mm allowance for servicesPRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

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The cabins are place to rest and retreat. They are elevat-ed off the floor of the park to reduce impact sound from the factory and also add privacy for the inhabitants.

Cabin

1:20 Cabin Axonometric Detail

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Middlesbrough Film Archive

This project provided an intense five-week project located in Middles-brough in the North-East of England. The brief was set out to respond to the Northern Region Film and Television Archive's need for a new state of the art facility to bring together their historical film collection, cur-rently located in two primary locations: an archive located in Newcas-tle and a facility situated within the University of Teesside Campus.The NRFTA wanted to use architecture to engage the public by creating a place in which film could be celebrated. To do so, the organisation asked for the creation of an engaging and inspiring 'shop window' to increase publicity. There were three potential sites to choose from, all located adjacent to the Middlesbrough Railway Station. Heavily sandwiched in between the railway and the a69 fly-over, all sites were located in so called 'no-man's land' between the historic centre of Middlesbrough and the desolate Mid-dlehaven which is still yet to fully realise Will Alsop's masterplan proposal.

Design

Middlesbrough, UK

002

October to December 2011

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middlehaven

train station

exchange square

site a

historic centre of middlesbrough

>Site A is situated in a so-called “no-man’s land” inbetween the historic centre of Middlesbrough and ‘new’ Middlehaven.>The NRFTA want a new shop window for their organisation which will serve to entice and engage members of the public and raise its profile in the region.>Due to the site being long and thin, it has a huge visual potential to commuters in and out of Middlesbrough which is ideal for the organisation’s needs.

bird’s eye view

Site Analysis

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site a

platform views>NRTFA Shop Window>Intriguing facade

>Exchange Place Facade>Oppurtunity to draw visitors

exchange square>Potential for Public Art>Heavily used when Aruba nightclub is open

A66>Major Road into Middlesbrough>View from vehicles could be utilised

view from middlehaven

site a>Potential for “Beacon” to view from Middlehaven and Bridge Street East back of site a

>Brief Research and Inspiration

A place which intrigues and celebrates the process of film-making.

Using glass as a metaphorical lens throughout the building.

People outside looking into the space through openings.

process of film making

>Pre-production

>Production

>Post-production

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train station “add-on”

form by rhythm

“The Project proposes a new shop windowfor the NRFTA located in Middlesbrough”

“The Middlesbrough Archive seeks to provide an

enganging front door for the NRFTA”

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>1:200 Model for Final Critplease note that design changes have been made since final crit

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>Approach from Platform

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>Second Floor 1:200

01 Gallery 2 + Viewing Platform for views over Middlehaven

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>Platform Level 1:200

01 Entrance Deck02 Reception03 Gallery 104 Low PrivacyStaff Office05 Café Seating Area06 Café Service Counter07 Auditorium08 Projection Room

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>Street Level 1:200

01 Plant Room02 Digital Media Suite with Key Card Access03 Kitchen04 Entrance Lobby05 Group Screening “Containers” with Individual Screening above06 Archive situated in arches

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>Interior View of main axis runnning adjacent to the platform

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>North Elevation at Night

> section a-a

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3-dimensional isometric structural bay

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01 800x300 steel roof beam02 Pilkington triple glazing03 305x165 universal steel beam04 Zinc roof flashing05 ACM cladding brackets06 120x30 pine wood shading 07 Wooden batton to support shading08 Spider to support wooden batton09 Mastic10 200x100 rectangular hollow section beam11 Steel connector12 Zinc roof flashing13 Damp proof membrane14 150x100 c-channel gutter15 100x125 steel purlin16 305x165 universal steel beam17 12.5mm Gyproc wallboard with 125mm service void18 150mm kingspan thermal insulation19 Fire-proof calcium silicate board20 440x210x150 concrete blockwork21 150mm kingspan thermal insulation22 Damp proof membrane

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Michael Elliott Gyi

ARC3013: Architectural Technology


3-Dimensional Isometric Eave Detail

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01 Slimdek steel sheet02 305x165 universal steel beam03 300mm reinforced concrete slab04 Polished screed concrete flooring05 Gyproc ceiling board with 40mm service void06 40x40 GL1 lining channel07 100x125 steel purlin08 305x305 universal steel column09 12.5mm Gyproc wallboard with 125mm service void10 440x210x150 concrete blockwork11 150mm kingspan thermal insulation12 Damp proof membrane13 ACM cladding brackets14 1160x900 ACM cladding panel15 305x305 universal steel column

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Michael Elliott Gyi



3-Dimensional Isometric Intermediate Floor Detail

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01 12.5mm Gyproc wallboard with 125mm service void02 100x125 steel purlin03 150mm kingspan thermal insulation04 305x305 universal steel column05 150x204 steel window lintel06 Head of pine window frame07 Pilkington triple glazing08 Pine window sill09 Damp proof membrane10 1160x900 ACM cladding panel11 440x210x150 concrete blockwork12 Outer sill of pine window frame13 Window jamb14 ACM cladding brackets

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Michael Elliott Gyi



3-Dimensional Isometric Window Detail

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01 Concrete slab foundation02 Sand03 150mm rigid thermal insulation04 Plastic sheathing05 300mm reinforced concrete flooring slab with underfloor heating06 Polished screed concrete flooring07 305x305 universal steel column08 100x125 steel purlin09 12.5mm Gyproc wallboard with 125mm service void10 1160x900 ACM cladding panel11 Damp proof membrane12 150mm kingspan thermal insulation13 440x210x150 concrete blockwork14 Damp proof course

Michael Elliott Gyi



3-Dimensional Isometric Ground Floor Detail

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This design project was an opportunity to mix with lower years and create a paper intervention around campus. We had to design, make and install a temporaryintervention, a small piece of architecture made entirely out of pa-per. It was an opportunity to explore, surprise, test , challenge andmost of all make something beyond our normal confines.A chance to produce a real piece of work, real size, realmaterial and real impact on its location and on thoseexperiencing it

Design

ARC3001

Middlesbrough, UK

007BA Charette

Newcastle-upon-Tyne University

003

Paper Intervention

one week

September 2011

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CHARETTE PROJECTBA STAGES 1/2/3

GROUP 11

STAGE 3 MICHAEL GYI MATTHEW HUDSPITH MICHAEL SMITH

STAGE 2 ROB WILLS JAMIE MORTON EMILY WATERS

STAGE 1 THEO COLES BECCA LEWIS DEIMA BEZITE NOOR JAN-MOHAMED

MONDAY 3RD OCTOBER // FRIDAY 7TH OCTOBER

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Principles + Theories

Serpentine Pavilion: Hortus Conclusus

Building Critique

004

April 2012

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Serpentine Gallery

Pavilion 2011:Hortus Conclusus

Designed byPeterZumthor

1 July-16 October Building Critique by

Mike Gyi

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I believe architecture is about creating an intensely rich setting which evokes a sensory and spiritual experience. The building selected demonstrates these qualities to an exemplary degree.

Situated in Kensington Gardens, the Serpentine Gallery’s eleventh summer pavilion by Swiss architect Peter Zumthor’s provides a place abstracted from the world of noise and traffic and the smells of inner-city London.

The 4th April 2011 signalled excitement across the architectural community as the first images of Peter Zumthor’s Serpentine Pavilion proposal were re-vealed to the press. The pavilion pro-gramme, now entering its eleventh year of iteration, presented an ever difficult solution. The skill required to reinterpret the same brief year after year is surely a testament to the ten architects commis-sioned prior to the January invitation ad-dressed to Atelier Zumthor and Partners. Running for four summer months, the annual Serpentine Pavilion se-ries sits adjacent to its namesake gallery in Kensington Gardens. The once bare lawn in front of the tea pa-vilion, turned modern art gallery is a gesture of the gallery’s effort to incor-porate architecture into its portfolio. Serpentine co-director Han Ulrich Obrist explains that “an aspect which is important is the public dimension, with the whole idea being that the architec-ture is for all, giving possibility for visi-tors to experience architecture one to one because it’s very difficult to show architecture in an exhibition with plans and sections as you want to listen to it, you want to immerse yourself in it.”

Eleven years ago Zaha Hadid’s inau-gural pavilion acted as a catalyst for a number of subsequent architects who had not yet graced British soil. The celebration of architecture as an art form coupled with star names such as Gehry, Libeskind and Niemeyer has un-doubtedly added to the success of the pavilions culminating in the series being listed high in the rankings for the most attended design exhibitions globally. Zumthor’s self-confessed philosophy inherently lies in the essence of creat-ing an emotional space rather than fashioning something astronomically beautiful. Zumthor’s beauty rests with-in the experience of the space. This grounded outlook is perhaps why the Swiss architect is not financially driven; rather he selects passionate projects which he believes are worthwhile. Zumthor’s pavilion explores the sen-sory and spiritual aspects of the ar-chitectural experience. The architec-ture is just a frame and stage set for the centrepiece of the building: the Hortus Conclusus, a garden curated by Piet Ouldolf full of wild flowers not akin to Kensington Gardens, but rather found at the edge of a wood. The Hortus Conclusus not only lends its name to the pavilion, but embodies the conceptual drive behind the pro-ject, meaning “a contemplative room, a garden within a garden.” For Zumthor, gardens have transformed from a place to be enjoyed as a child into an impor-tant place of contemplation and relaxa-tion. Gardens intrigue Zumthor as the

ArchitectAtelier Peter Zumthor& PartnersLocationKensington Gardens,London WC2Completion dateJune 27, 2011

Plan

Piet Ouldolf’s Planting Plan

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space for which architecture is to be explored and appreciated at a one to one scale. However, Zumthor has cre-ated an unceasingly private space; an extension of the gallery which dials down the aura of the secret garden. Nonetheless, this is not to say that the project is not successful, in terms of creating a detached beautiful space, Zumthor has crafted one with fine skill. The success of the scheme derives fron Zumthor’s ideas about separation of space from the city within the city. He compares the problem of putrid dwell-ings in medieval times to the aggressive noise of city life today. The Hortus Con-clusus carries this ideology out perfect-ly. The separation by the intermediate cloister and 5.3m high structure ensures that little sound penetrates into the inner garden. Obviously the acoustics would differ if placed in the middle of Picca-dilly Circus, but the atmosphere created by Ouldolf and Zumthor indicates the stark difference in the acoustics once stepping over the dimly-lit threshold. Perhaps the pavilion may act as a pro-totype for this simple idea to be trans-lated into dense urban architecture. The project is a unique one and a very intense 6 month process for any archi-tect to undertake as the brief is not so complex and can easily be overseen. Zumthor’s pavilion is an intensely rich space which, for some, at first glance can seem guileless. Perfectly put by a visitor an unimpressed visitor stated to his friend “it’s not much is it?” and I agree, it is not, it is barely a building at all

but it is the simplicity which is key. The fo-cus is on the centrepiece of the project, created for enjoyment, not to be beau-tiful, but to be understood. The beauty here lies within the mind, not the eye. So how can the success of the pavil-ion be measured? It is hard to judge the project due to the “Serpentine fac-tor”. Whatever the design, the pavilion is going to attract roughly the same footfall each year and the judgement of the public will decidedly rest on a com-parison with the pavilions of yesteryear. It would be hard to judge whether or not the pavilion would be as suc-cessful if not part of the exhibition as it is such a unique piece, unlikely to be commissioned elsewhere. It is a typological piece of architecture which can be lifted up and placed anywhere framing different plants, a different sky and a different climate. I believe once you get past the con-stant comparisons with the past pavil-ions and the simplicity of the pavilion summed up greatly in the City of West-minster’s near rejection of the pavilion for its “not particularly stimulating” de-sign, then Hortus Conclusus definitely grows ever stronger upon reflection. Zumthor has undoubtedly transcend-ed his philosophy into a sensory de-sign which may have been misunder-stood for those seeking the visual thrill of a Hadid or a Gehry, but the Hortus Conclusus is a truly ethereal place which simply re-establishes and re-instates man’s connection with nature.

word count 1463

circulation to use

hierarchy

natural daylight 12pm

balance + symmetry

natural daylight 3pm

Cross section ofHortus Conclusus

relationship between the body and the natural environment is a bond which he explores in almost all of his designs. Instead of being inside a space and look-ing out to the landscape, Zumthor wants to be part of a garden and have the roles reversed; with nature being the observer. The solution was simple – the ar-chitecture was to be a frame, a large black box, which would encir-cle Piet Ouldolf’s trusted natural art piece – we would be the observed. Two layers of walls protect the garden as misaligned entrances seek to diso-rientate before moving deeper into the plan. If not for the winding sand-topped tarmac path on the approach, the pa-vilion could have been mistaken for the construction hoardings which had encir-cled the building a month prior to the vis-it which contributed to a curious setting. From an intriguing exterior an inter-stitial space is found through the first doorway. A high black corridor runs around the perimeter of the main space resembling a quiet, shaded monastic cloister which truly separates the bus-tle of the capital from the inner sanc-tum beyond. The intermediate space is pierced by sharp angles of sunlight from each of the five doorways, two of which lead onto the inner courtyard bathed in light, where the roof is replaced by the sky. This is where Piet Ouldolf’s “Hortus Conclusus” resides, thirty va-rieties of shrubs, flowers and grasses densely planted in a large rectangular garden covering 252sqm, with a path-way neatly placed around the edge

banked in protruding wooden benches as an invitation to sit, relax and reflect. Ouldolf’s rectangular garden seems to hold significance such that all the elements of the architectural black frame are being pulled in by some natural force. The walls encircle and the pitch of the roof slopes down to-wards the middle, again framing the green space whilst providing an overhang to shelter the pathway and seated area around the perimeter. The overhanging roof provided a tech-nical challenge to the engineers as the simple prefabricated pine structural frame geometry did indeed want to fall into the garden. Contractors at Stage One devised a solution of a 600x600mm timber plate which would reinforce the connection between the floor and the primary timber upright of the frame system. The plate both stabilises the building and forms the profile for the Prussian blue painted perimeter bench. An 18mm-thick plywood skin is nailed onto the frame which forms the base for the hessian scrim and black ldenden finish of the pavilion. Project archi-tect Anna Page explained that “Peter wanted something really black, with a depth and shadow to it, rather than the flat black that paint would achieve. He also wanted a finish with a memo-ry to it so that when people looked at it, it would be familiar in some way.” The fine line between the public and private space in the pavilion is in-teresting. Inherently the Serpentine Pavilion takes the form of a public

Messian scrim with a coating of

ldenden

long section

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Living Memories in the Park

2nd Year Design

January to April 2011

Jesmond Dene, Newcastle-upon-Tyne, UK

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This project was based in Jesmond Dene in Newcastle with the task of restoring a Grade II listed building as well as designing a new Nothern extension. The centre would be a haven to celebrate the historical, social and natural significance of the Dene and its contribution to the quality of life in the North East.

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"a multi-functional centre in Jesmond Dene to celebrate the

historical, natural and social significance of the Dene and

its contribution to the quality of life in Newcastle and the region."

"provide a journey between past memories and a beautiful

present setting."

"a booth is a small enclosure in which people can record their memories of the living and working in

the North East Region."

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> Nostalgia Trail > Evoke Memories

> Elevation of Extension prior to 1974 Fire > Replication of two Pitched Forms

> Parti Drawing> Knitting Landscape, Old and New

> Jimmy Forsyth’s Photos > Snapshot of the North East in 1950’s

> 1950s/60s/70s “Post-it” Photos>Newcastle City Library

> Nostalgic Memories sprouting from photos

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>Ground Floor01 Artist’s Studio02 Underground Passage03 Shop 04 Office Space + Reception05 Disable W.C.06 Function Room07 Re-enactment Kitchen08 Female Toilets09 Garden Teaching Space10 Herbal Garden

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1 welsh slate 2 zinc guttering 3 TYVEK building sheet 4 reflective metal flashing 5 steel horizontal support 6 double glazing 7 existing stone outer leaf 8 rubble

9 6mm CORE-TEN sheet10 steel sections11 6mm CORE-TEN sheet12 I-beam lintel

13 existing inner leaf14 wooden skirting15 screed16 services

17 under-floor heating

18 CORE-TEN cladding sheets19 zinc flashing20 spider glass assembly 21 300mm x 300mm welded portal frame22 double glazing

23 welsh slate paving24 mesh grate25 pre-cast concrete drain26 steel kickplate 27 plastic seal 28 screed29 wooden flooring

Extension detail

Banqueting Hall floor detail

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> Legend

1. New Stepped Path Towards St. Mary’s Chapel through Tunnel2. Herbal Gardens 3. CORE-TEN Steel Stepped Exhibtion Walkway for primary acces into the building4. Information Boards Placed in reference to location to landmarks5. New Steps from Walkway down to Path6. Paving Area Offering Outdoor Area for Banqueting Hall when functions are on7. Outdoor Teaching Space underneath Walkway for Children to be taught about using Herbs with Cooking8. New Stone Walls9. Secondary Access Lift into the building mainly to be used by Disabled and “Living Memories” Office Workers

Landscape Proposal Site Plan 1:200

Mike Gyi > Architecture Portfolio

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