Fold Strand NodeBasil Spence 2010

A film institute for Spike Island

Group 22

A Ben Morgan Jones

03

Contents1 Inception06 The Team

08 Initial Reaction

10 Early Progression

12 Using the Found

14 Heart Space

16 Interim Crit

2 Evolution 22 Resolving Issues

24 Unifying Scheme

26 Exploring the Roof

28 Node

30 Fold

32 Community Strand

34 Restaurant Strand

36 Core

38 Utilitarian Palette

40 Fenestration

42 Timber Skin

44 Landscape

46 Environmental Strategy

48 Structural Strategy

50 Tectonic

3 Denouement54 Final Proposal

56 Final Crit

58 Feedback

60 Conclusion

Inception06 The Team

08 Initial Reaction

10 Early Progression

12 Using the Found

14 Heart Space

16 Interim Crit

“Read the directions and directly you will be directed in the right direction” DoorknobAlice in Wonderland, 1951

06

The Team

The team was an eclectic mix of three architecture students; Myself,

Rich Winter and Sarah Firth, and one civil engineer; Jake Smith. With

both Richard and Sarah recently returning from studying abroad in

Munich and Delft respectively. We as a team were very keen to learn

and understand the new methods of design and knowledge that our

peers had learnt and developed over the last year, whilst also aiming to

gain a further insight into the working relationship with the engineer

Jake, to aid in the grounding and realisation of our ideas.

Working Strategy

After meeting up over the summer, our strengths and weaknesses

became very evident. A clear working strategy and individual

roles within the team soon developed instinctively. With strengths

in sketching, model making, CAD, visualisations, detailing and

structures, we were very confident of our ability to produce work of a

high standard at a fast pace.

Design Ethos

It was clear from early discussions that as a team we aimed to create

a beautiful scheme that was very “real”. A building that could be

constructed and function within the community, whilst achieving a

high level of architectural, environmental and structural aspirations.

“Architecture should speak of its time and place, but yearn for timelessness.”Frank Gehry

From top down:

A Sarah firth

A Richard Winter

A Ben Jones

E Jake Smith

08

Initial Reaction

It was clear that during the infancy of the project we as a team

were unsure how to react to the brief, it took time for us to

properly form any strong ideas or concepts about film or the

site. Initially a long duration of our time was spent analysing the

history and tectonics of Spike Island, as well as the ideas of film

and society. With a great interest in film, I felt that a deeper level

of meaning within cinema could guide the project into finding

its roots. But as we progressed down this passage as a team we

became ever more increasingly interested in the depth of the

existing and future forces that shape Spike Island, this very unique

somewhat pivotal location between Southville and the city centre.

Thus our attention naturally developed around Spike Island’s new

cultural and urban agenda.

Adaptive Reuse

The earliest of our reactions to the site was that of adaptive reuse.

It seemed to be an instinctive move after analysing the history of

the site and surrounding buildings. For us it seemed an insult to

Spike Island not to reuse and adapt the assets that were available.

Film

Our approach to film arose from a desire to integrate the scheme

within the community. I consider it a somewhat limited cinematic

ambition, that simply develops on the isolated experience of

watching a movie in the cinema and approaches it as if it was akin

to a public art and thus a cultural record of our cities and their

progression.

Influential site forces

09

node |nōd|noun: 1a point at which lines or pathways intersect or branch; a central or connecting pointORIGIN late Middle English (denoting a knotty swelling or a protuberance):derived from Latin nodus ‘knot’

Found Objects

The first steps of the scheme was to identify the nodes of the site

which provided strong influential force or could be adaptively

reused (Guinness Shed, Goal House, Train tracks, Cranes,

Wapping Wharf, MShed and MShed Square), we named these our

found objects.

Early Development

Our first instinctive design move was to connect to the Guinness

shed and create a second external public area. This idea sparked

from an initial sketch produced by Sarah, which captured

our aspirations for adaptive reuse and connections with the

community. From here we proceeded to introduce our new

nodes, the cinemas. These would act as anchors for the rest of the

scheme to develop. Pre Interim crit the only fixed cinema was the

large 750 seater, which was located due to pragmatic decisions

dictated by the topography of the site. The theoretical and

material language of the other two new nodes was then strongly

debated for some time. Our greatest issues at this stage were

the relationships between the two external public areas and the

connections to the found objects. Early development was a very

difficult process without a strong underlying concept to guide, the

scheme frequently underwent many unnecessary large and small

iterations.

Initial Concept Model

1.2.

3. 4.

5.

+ Connection with Guinness Shed

+ Potential entrance location- Unpleasing geometric relationships

+ Programmatic use of instetisous space+ Location of recording studios - Definition and clarity of public spaces

+ Gateway defining boundary of public spaces

+ Relationship of restaurant and external space- Unpleasing geometry

1.

2.

3.

4.

5.

Early development stages

Using the Found

The ambition for adaptive reuse quickly materialised with the

reworking of the Guinness shed. With an aim to create an external

public courtyard to complement the Mshed square, we proposed

a bridging element that would connect to the Guinness shed.

Acting not only as a gateway to our main entrance (allowing

the existing train line to function without modification), but

also as an outward gesture to the city of Bristol. With all tutorial

feedback extremely positive, we were confident that our aims

of this proposal were correct. But the method of this strong

architectural gesture had to be heavily discussed and explored,

with major concerns about the impact on the Guinness shed.

The programmatic aspects of our bridging element and Guinness

shed seemed to work effortlessly for us. With the Guinness shed

naturally becoming our public offering of exhibition space and

cafe that aimed to serve transient traffic, the bridging element,

accessible from the both the Guinness Shed and main complex,

simply became an extension of Guinness Shed exhibition

with informal learning spaces created due to requirements of

circulation.

Sketch of Informal Learning Space

Investigatory relationship models

Section model of Guinness Shed

Development sketch of circulation

Initial proposals for Guinness shed

014

Heart Space

With the initial aspect of our project stating to form nicely, we turned

our attention to the heart of our scheme. It seemed appropriate to try

and develop our ambitions for integrating film and the community

within this central space. Setting out with the intentions to create

a very impromptu space, similar to that of the Turbine Hall. One

that could be easily adaptable for cinematic and community

use (reminiscent to the adaptability of Spike Island), whilst also

continuing to fulfill the needs of the general movie experience (light,

security, access and ticketing). We became very interested in this idea

of a space that was the core of the scheme, centred between the new

nodes it seemed poetically ideal considering the importance that the

site played as the centre between the city and Southville.

Pre Interim Crit

With the early difficulties that we experienced finding our feet, the

week before the interim was still very much a discussion stage for us as

a group. We were still searching to understand how the new nodes and

the rest of the program should react with the site and city. Although

an early plan had been formulated, a certain level of depth was still

unexplored, but all aspects of the scheme had been roughly discussed

and outlined.

Below

Early site section

Opposite

Initial sketches of central core

Development model

Herzog De Mureon precedent

Investigation into southville elevation

016

Interim Crit

The plan for Interim crit, somewhat rushed, did encapture our all

our initial desires and decisions for the project. Although at the time

there were certain areas that we as a group were very unsatisfied with.

Attempting to positively react to the new Wapping Wharf development

and build upon the establishment of the new masterplan, the new

nodes were located in a fixed position that at the time unconvinced, we

believed adequate for the interim crit. The restaurant and bar had then

been located to the front of the scheme to form a relationship with the

courtyard, with an overall aim to animate this “public” space. We had

chosen to situate the Mediatheques and Recording Studios to the rear of

the scheme, creating a symbolic and practical connection with Southville.

A secondary quiet external public space was subsequently created to the

rear of the scheme to act as a buffer zone to Cumberland road and thus

provide a community garden. Whilst we were using the Goal Stables

we chose not to physically connect, respecting its grade two listing and

producing a new transient route through the site. The material aspects of

the scheme were causing us some major issues, with several disagreements

within the group, this area was still unresolved come interim crit. But we

had all agreed on an overall goal of pursuing a material that belonged to

Spike Island, that could be sustainably sourced. The environmental side

of our project was very much in it early stages, with only a basic integrate

outline proposal for the use of a stirling engine and an open source heat

pump presented. Structurally a solution had been investigated but since

the project was in such a limbo state nothing had been resolved.

“Creativity is allowing oneself to make mistakes. Art is knowing which ones to keep.”Dilbert Principle

Ground Floor Plan

- Location of ticket booth and offices

- Arrangement of cinema entrances

- Acute angles created through layout

+ Bridging structure

+ Core space

+ Creation of shelter

Feedback

The critique panel were very enthusiastic and encouraging about our

scheme proposed, with a general consensus that it was in essence a

collection of nodes and interweaving strands. Whilst they questioned what

was to become of the roof and materiality of the scheme, their general

opinion was that the nodes and strands should have a material language

of their own, which should not be allowed to breed or amalgamate. They

were very interested in the core of the scheme, being particularly seduce

by Sarahs internal sketches and our design intentions. With regards to us

bridging the Guinness shed, opinions were split. One member of the panel

went as far to say that he felt very uncomfortable about the decision to

crash through the shed, believing it to be a clumsy move. Whilst others felt

that it was a bold confident statement. Environmentally the opinion was

that the outline strategy presented was a very valid and realistic approach

that had great potential. Whilst structurally and tectonically they

understood that we were behind in our solutions and decisions, suggesting

that the introduction of a structural grid could aid in the further

developing of the scheme and its roof. But the most positive feedback

from the crit was that surrounding our working method, enthusiasm and

our ambitions for the project.

Personal Opinion

Because we as a group hadn’t explored our scheme in-depth enough

ourselves, we all considered the interim feedback although positive,

generally rather irrelevant, but developable. One of the main aspects

that Sarah and I were ever so disappointed in post interim crit, was the

locating of the restaurant and bar. Although not mentioned during the

interim crit, we felt that it stifled the project and prevented the plan from

flowing. We believed that this, along with the location of the nodes was

our greatest downfall, that needed to be addressed quickly.

First Floor Plan

- Location of restaurant

- Vertical Circulation

- Acute angles created through layout

+ Outward projecting gestures

“Neo, sooner or later you’re going to realize just as I did that there’s a difference between knowing the path and walking the path.” MorpheusThe Matrix, 1999

Evolution22 Resolving the Issues

24 Unifying the Scheme

26 Exploring the Roof

28 Node

30 Fold

32 Community Strand

34 Restaurant Strand

36 Core

38 Utilitarian Palette

40 Fenestration

42 Timber Skin

44 Landscape

46 Environmental Strategy

48 Structural Strategy

50 Tectonic

strand |strand|noun: 1a thin length of something such as thread, fibre, or wire, esp. as twisted together with others2an element that forms part of a complex wholeORIGIN late 15th cent.: of unknown origin

Resolving the Issues

Unsatisfied by the level of detailed feedback that we obtained during

the interim crit, we soon sought a tutorial. During this tutorial our

concerns about the flow of the plan and the locations of the new nodes

were confirmed. But more interestingly the relationship between

our scheme and adjacent pedestrian street was questioned. It was

suggested that plan offered a rather uninteresting facade to this very

public thoroughfare. Thus our next step was to go back to a smaller

scale, where we were able to produce several very basic iterations that

could be quickly judged. Through this process we were able to swiftly

resolve a basic solution that we could develop upon further.

Location of Nodes

Our issues regarding the location of the two smaller cinemas was

resolved once we reconsidered the history and pragmatic locating

of the existing found objects. These existing nodes were positioned

to respond to their individual boundaries, hence we considered

following this prescripted rule the logical and most appropriate step in

introducing our new nodes.

Flow of Stands

After reflecting on our most recent feedback, the flow of the plan was

solved by considering the scheme as three separate strands (exhibition,

community and restaurant), by relocating the restaurant strand to

address the issue of the pedestrian street facade, we successfully

produced a basic solution that satisfied.

Above & Opposite

Arrangement investigation iterations

023

024

Unifying the Scheme

The next step in the development of our plan was undoubtably

the defining moment of the scheme. Up until now we as a group

had not questioned the idea that the scheme was a holistic mass.

But once we had resolved the basic plan, Richard was convinced

that the strands and nodes should amalgamate. Becoming unified

through form and material, thus defying what was advised at the

interim stage. Whilst I myself believed that the project should be

convinced as two separate identities in theory, form and material.

At the time I was personally worried that if the project was to

amalgamate then it could turn into a large homogenous mass

without definition. Whilst Richard was unconvinced by the dual

materiality of the scheme and the practicality of the junctions

between the strands and nodes, believing it would result in an

awkward and messy solution. Having two strong arguments

the project struggled to progress, with Sarah and Jake stuck

in the middle we as a team simply could not decide on how to

proceed. Understanding that both opinions were equally merited,

but would result in completely different outcomes. Eventually

one tutorial was to be the deciding factor of the scheme. It was

suggested that by amalgamating the nodes and strands, we would

be able to obtain a much more realistic result, that had a greater

potential to be further developed. On reflection I understand that

this was the moment where we as group let go of the concept and

let the building start to work for itself. On hindsight I see that I

personally found it a struggle to let go of the concept, but now I

concede that the right decision was made at the right time.

Above

Exploratory model

Opposite

Basic plan highlighting debated junctions

fold |fōld|verb [ trans. ]: 1bend over on itself so that one part of it covers anothernoun: a form or shape produced by the gentle draping of a loose garment or piece of clothORIGIN Old English falden, fealden, of Germanic origin

Exploring the Roof

Discussions about the roof occurred during the early stages of

the project, but were not fully addressed until the basic plan was

resolved. Our initial instinct was always to draw on the influences

of the found objects of Spike Island and take the archetypal figure

of the industrial shed in its simplest pitched roof form, developing/

augmenting it to create a roof suitable for our own scheme. We

considered the only possible way to explore this development was

through the use of experimental models exploring pitch lines. From

here the idea of using the pitch lines of the roof as a method of way

finding within the strands came to light. It created a roof that linked

to the fundamentals of the plan proposed, whilst also in my opinion

developed an incredibly rich and detailed roofscape. At times due to

its complexity and time constraints, we were very slow to progress in

the understanding of the roof and frequently pondered the idea of

ditching the pitch, but with Sarah’s ambition and determination to

make it work, the basic roofscape was eventually understood, enabling

it to be developed and refined further.

Reforming the Working Strategy

Due to the importance and intricacy of the roof, we as a group decided

that from this point on we would split into two teams. With Richard

and Sarah resolving the roof in detail, I would concentrate on refining

the plan and developing the structure and environmental aspects of

the project. We would then meet up at adequate stages to discuss the

development .

Above

Josep Llinas precedents

Opposite

Initial exploratory models of roofscape

Nodes

The developed forms of the nodes were dictated by two forces,

functionality and environmental (explained on page 78). With the

structural grid of the cinemas established prior to the interim crit,

allowing structural and geotechnic investigation to proceed, the

basic proposal was developed through model and plan exercises

to explore the impacting forces, ensuring aesthetic and practical

values were maintained. The main challenge was to ensure all

cinemas could be easily controlled, thus reducing the staffing

requirements. For the budget and luxury cinema this was an easy

achievement. With only the requirement for a single entry point,

access could be monitored on the door. But the Large 750 seater

that was split over two levels required a much more complicated

solution. The result was the enclosure of the vertical circulation

to the upper tier within the cinema form. This therefore created

a controllable single entry point on ground, but required further

investigation into fire evacuation. This circulation was then

incorporated with the environmental strategy to provide a

stack ventilation chimney to naturally ventilate the core space.

Thus giving definition to the cinema form. This form was then

developed for both the budget and luxury cinemas which were to

be environmentally used for ventilation and rainwater harvesting

respectively.

Below

Form development modes

Opposite

Final circulation developments

029

Fold

The most important aspect of the development that Richard and

Sarah explored was the treatment of the junction between the cinema

nodes and the roofscape of the strands. In the initial proposal prior

to unifying the scheme, the nodes and strands were clearly defined in

the vertical aspect, but once we started to develop the scheme into one

mass this then began to feel awkward. The solution was a very elegant

and simply option. Since we still wanted to create some definition

of the cinema blocks it was decided that the roofs would meet, but a

defining corner would appear to be lifted up, revealing a small amount

of the cinema block. The roofscape thus felt unified with a suitable

level of definition.

Roof development models

Model of final roof

032

Community Strand

The most complex programmatically (including mediatheques,

recording studios, breakout spaces, classrooms and film archives),

this strand aimed to embody our ambitions for community use

and integration. With an early desire to create a similar outward

gesture to Southville that was present to the city centre, we started

to explore the possibility of the end elevation projecting out above

the existing boundary wall, thus creating a shelter below. All tho

this was a nice idea it struggled aesthetically, appearing clumsy

and forced. Hence as a group we concluded that this would be

resolved via alternative means. The programmatic arrangement

was a very logical sequence, relating to quiet zones and services

within the building. The recording studios and classrooms

naturally belonged the furthest away from the core, whilst the

mediatheques and libraries, desired to be used by both areas,

acted as a buffer, split over two levels with a visual relationship

with the exterior public garden and Southville. An original idea

of projecting the mediatheques through the skin of the building

had been originally present, but was lost through development

of the scheme. The early ambitions for the film archive was to

incorporate it into the public domain making it viewable and

accessible throughout the scheme, but the early developments

of this idea were not practical and created problematic issues

regarding building environment. Hence the archive was eventually

located to the rear of the scheme, with a simply visual gesture to

aid in the integration with the community. Vertical access and

services played a major role in the development of this strand.

With an aim to create a clean vision of the community strand from

the core, services and access like lifts were eventually smuggled

into the form of the cinema blocks.

Community strand development

sketches

+ Creation of shelter beneath projection- Connection to Gaol Stables

+ Relationship of mediatheques to facade+ Creation of service access - Practicality of archive- Location of vertical circulation

+ Relocation of vertical circulation - Mediatheques undeveloped

+ Development of film archive

+ Programmatic arrangement of first floor

1.

2.

3.

4.

5.

Development stages of community strand

1. 2.

3. 4.

5.

Restaurant Strand

This in essence should have been the easiest of the strands too

refine, requiring a restaurant, kitchen, toilet and bar over two

floors, it had to only too relate effectively with the new public

street and the central core. The basic layout was very easy to

resolve, the ground plane reacting to the gradual step up across

the site was to remain very clear with only the bar present. It

thus had the maximum opportunity to flood out onto the public

street, drawing in interest from transient and retail traffic. The

first floor was to incorporate the kitchen and toilets to the rear

of the strand enabling the dinning area to have full access to the

street facade and core balcony for views. This creating visual

relationships that would aid in the connections with the public

domain. A very simple but effective strategy, the issues only arouse

when we considered vertical access and circulation. With early

developments the circulation of the ground plan started to become

very congested around the north end of the strand, with major

problems involving cross circulation from the entrance of the

restaurant strand, budget cinema and vertical access. Attempting

to resolve this by altering the location of the vertical access to the

restaurant resulted in a cleaner circulation diagram, but the plan

began to become stagnant it is flow. The restaurant strand once

again started to feel like an addition to the plan. After several

very frustrating tutorials, variations were developed to attempt

to resolve this issue, but it was found that it was unachievable

in isolation and it was only until the refinement of the core was

reconsidered that the restaurant strand was finally resolved to a

level of satisfaction.

“The long path from material through function to creative work has only one goal: to create order out of the desperate confusion of our time. We must have order, allocating to each thing it’s proper place and giving to each thing is due according to it’s nature.”Ludwig Mies van de Rohe

Restaurant strand model

+ Location of restaurant strand entrance- Congestion created near cinema entrance

+ Location of bar+ No disabled access

- Congestion at top and bottom of ramp - Poor location of vertical circulation

+ Clarity of open plan - Congested circulation at main entrance

+ Arrangement of first floor ancillary program + Restaurant relationship with core

1.

2.

3.

4.

5.

Development stages of restaurant strand

1. 2.

3. 4.

5.

036

Core

The refining of core was the pivotal point of the development of the

plan, where the scheme finally became one entity. The main issue

that had hindered the project from its early stages was the need to

increase 4m across the site, but more importantly the need to increase

1.5m to the restaurant strand. The initial approach was always to use

a complicated series of ramps and stairs to combat the grade, but a

tutorial questioned an alternative solution which not only unified

areas of the plan but also the scheme as a whole, linking the moves of

the roof with that of the ground plane. The idea was simple, instead

of perceiving the ground floor as a series of flat planes, we were too

consider it a continuous buckled rise (with minimum falls of 1:20).

One that would fall and increase to meet certain points in the plan

such as entrances and cinemas. This plane would fold in relation to

structural column lines that were picking up the forces in the valleys

of the roof pitches, thus linking the two folded planes. This solved the

central complicated circulation and created a very flexible clean space.

Once this was achieve it was clear that the arrangement of this central

space felt unbalanced, although the cinema entrances worked well, the

strands did not, with the restaurant strand causing the issue. After an

individual tutorial the issue was resolved with the simplest of moves,

which was originally neglected due to myself attempting to resolve

the restaurant strand in isolation. The vertical access to the restaurant

was brought into the core to balance the plan and thus unifying the

scheme.

+ Vertical circulation from strands

+ Development of cinema entrance relationships

+ Location of food and drink stand- Congestion from access to restaurant strand - Internal core circulation

+ Smuggling of ancillary program and services + Development of vertical circulation to restaurant

+ Buckled floor plane + Development of space beneath luxury cinema - Entrance Lobby from exhibition courtyard

1.

2.

3.

4.

5.

Development stages of core

1. 2.

3.

5.

4.

Utilitarian Palette

With a strong interest in Spike Island it seemed only right to

continue the found utilitarian palette of the site. The decisions on

materials although somewhat drawn out through the development

of the project resulted in a rather instinctive choice of Zinc, Steel,

Concrete and Timber.

The found objects were the most influential force in choosing the

palette of the new building. With a variety of durable materials

ranging from brick to corrugated steel, we had to acknowledged

that these were naturally to become part our own palette and

hence needed to be related.

Sourced from recycled material with an average energy

consumption of 10% less than that sourced from ore. Zinc

seemed the ideal solution. It was a recyclable, workable, durable,

and efficient, but more importantly complemented the existing

material language of Spike Island.

Chosen because of its utilitarian aesthetic, environmental

credentials and overall practicality. In-situ concrete produced

from fly ash and locally sourced aggregate was a durable solution

that aided in the regulation of internal temperature through the

exposure of the thermal mass.

After visiting the V&A small builds exhibition, we as a group

developed a strong interest in timber thinnings. With the ability

to be sourced from 14 local forestries that were within feasible

proximity to the site, we aimed to use a resource that would

otherwise be considered waste. With a desire for internal use we

felt that this was a strong gesture to our environmental ambitions

for the project.

Anti clockwise from top left:

Pre-patinated zinc

Hardwood timber thinnings

In-situ poured concrete

Galvanized steel

Red clay brick of MShed

Corrugated steel of Guinness shed

Structure of Stothert & Pitt cranes

Local Stone of Gaol Stables

The Floating Harbour

039

Fenestration

With the completion of the roof design, our working strategy

developed once again with Sarah and Rich turning their attention

to the fenestration. An incredibly important aspect of the project

it created some very interesting discussions and disagreements.

With us working as a whole in the early stages to decide on the

correct direction to proceed, opinions were split on the nature

of the openings. My original proposal to the group suggested the

idea of considering the exterior skin as a skirt that would be lifted

to create openings. These openings for the strand and nodes would

reveal a secondary skin of curtain walling or concrete structure

respectively, therefore adding a secondary level of clear readable

detail to the exterior of the scheme. Whilst Sarah favoured more

for the traditional approach of glazed units of various dimensions

and styles to relate to internal use. The final result was achieved

after a series of elevational experimentations and a rationalisation

process that explored both directions. Eventually it was concluded

that we were to resort to Sarah’s ambitions of a more traditional

approach to the scheme, that in hindsight I understand was more

truthful to the typology of Spike Island. From here Sarah and Rich

developed the fenestration through several ideas and tutorials

resulting in the creation of four simple rules; Louvered timber

openings for entrances and skylights offering a suggestion to the

internal finishes, box windows for the strand end elevations to

create an outward gesture, large landscape openings to internal

spaces which demand a strong connection to the public domain,

and regular rectangular windows for other standard requirements.

“An elegant solution for keeping track of reality.” AriadneInception, 2010

Above

Exploratory fenestration model

View of final model restaurant entrance

Opposite

Development elevations

Sketch of bridging facade

Final presentation elevations

041

Timber Skin

We originally decided to use timber thinnings to create an internal skin

that would architecturally develop on the utilitarian aesthetic of the

exterior, creating some warmth within the internal spaces. With our early

models and drawings showing the complete interior of the project to be

clad in timber, we as a group started to worry that this aesthetic was too

over powering. This concern was confirmed later during tutorials. Our

eventual solution was to refine our interior skin and only clad the cinema

nodes, both on the inside and the outside, thus creating an interior spaces

that was readable. This interior skin was backed with acoustic felt, to aid

in the acoustic requirements of the cinemas internally and the core space

externally, thus the use of this skin was not of simply aesthetic value.

The idea of etching faces into the timber skin arouse from a project that

Richard had developed whilst in Munich, we felt that this idea brought

some relevant character into the heart of the scheme, making it rich and

interesting.

Investigatory model of timber qualities

Visual conveying proposal of reliefs

043

Landscape

The general development of the external landscaping was very

straightforward. Broken down into four different zones the

landscape had to respond to the plan that had worked hard

enough to dictate the atmospheres. The rear of the scheme was

always intended as the quiet community based external space.

Surrounded on all sides and south facing it developed into a leafy

public garden with subtle changes to the boundary walls to create

an entrance off Cumberland road. The pedestrian retail street

proposed by the wapping wharf masterplan became a stepped

paved area as a reaction to the interior bar spaces flowing out into

the public domain. With external seating, the feel of this street

was always to be one of a busy fast retail nature. The front public

landscape space was used to aid in terminating the end of the

public courtyard, although there was a train shed present, it was

felt an unsatisfactory way to end this space. External seating was

incorporated to service the cafe located in the Guinness shed and

a unified paving finish was introduced to create a flowing scheme.

Finally the development of the Mshed square was one our initial

reactions to the found objects, with a desire to reuse the existing

cranes to create an external cinema screen, which could be viewed

from the square and possibly Lloyds plaza, it seemed a perfect

outdoor cinema. Although this was included within our scheme

we never truly addressed the square, considering it to be one of

our predefined found objects.

Below

Proposal for use of cranes

Opposite

Landscape development plans

045

Rainwater recovery

Inflow of fresh air

Environmental Integration

The environmental strategy was never really a continuous

development, it was simply a very flexible integrated strategic

plan, which could be applied to the scheme as it progressed. Jake

and I developed a proposal early on in the scheme, aiming for

the environmental and architecture strategy to work in harmony.

Making the most of the natural resources at our disposal, whilst

most importantly maintaining a high level of internal comfort.

The first part of our strategy was to use the floating harbour as

an open source heat pump as a method of regulating the internal

temperature. After attending a conference on the technology at the

Burges Salmon Headquarters in Bristol we were confident enough

that this was a realistic proven strategy for our scheme.

After several tutorials we decided that although it would be ideal

to achieve natural ventilation within the cinemas, the level of

comfort would not be suitable. Hence we took the decision to

mechanically ventilate the nodes, but the strand spaces where

feasible would be naturally ventilated. This choice to naturally

ventilate the core and strands resulted in the sculpting of the

cinema forms due to requirements of stack ventilation.

After a lot research and calculation we concluded that with the

natural resources available at our disposal, a stirling engine would

be a feasible source of power generation, satisfying all of our

mechanical ventilation needs. Requiring space for solar thermals

and plant there was a significant impact on the architecture.

047

Water into open loop heat exchange

Water out of open loop heat exchange

Rainwater recovery

Solar thermals

Stack ventilation

Heat exchange ventilation

Cross ventilation

Structural Strategy

Although the structural and architectural strategies were

constantly developed together throughout the scheme, they

were not fully integrated till the final stages of the project. The

basic structural strategy was developed prior to the interim crit,

consisting of three strong boxes (the cinemas) providing lateral

stability and a light steel frame (the strands) with a cross braced

bridging element, the strategy was clear and effective. But with

the general expansion of the core space, the strategy had to

significantly modify. Jakes original ambition of a very efficient

structure with small spans began to contradict our architectural

developments and was not achievable without badly effecting

the clarity of the proposal. After some strong discussions and

investigations, a reasonable structural compromise was achieved

with the addition of new structure to the core and a deeper roof

span. With myself and Jake working closely together, the final

development of the structural strategy was very much a give and

take situation. With items such as fenestration being resolved

very late on in the project, the structural strategy had to quickly

adapt. The result was the relocation of lateral cross bracing from

the vertical plane to within the roof structure. Thus providing

more freedom for Rich and Sarah to develop the openings. The

final refinement was the structural rationalisation of the plan,

the proposal undertook minor adjustments to ensure the scheme

worked efficiently structurally, thus satisfying our ambitions for a

successful structurally integrated proposal.

Below

Structural CAD model

Opposite

Structural plan highlighting refinements

Tectonic

My main priority in the final days leading up to the crit was to

resolve the tectonic aspect of our proposal, providing that final

bit of grounding whilst elevating the architecture of the scheme

through the architectural details. The choice of constructional

method was a practical decision following on from the desire to

create an architectural utilitarian project. The decision to opt for

steel structure with a light METSEC secondary cladding system

was made with the consideration of cost, construction time and

carbon footprint. But the success of the tectonics was achieved

through the detailing of the drainage system. With a desire to

create a clean lined Zinc skin which suggested a seamless flow of

roof and wall, a hidden gutter system was necessary. The result

of resolving this detail forced an increase in the overall wall

thickness, creating a very efficient wall construction method

with a low U-Value. An original decision to hide all down pipes

within the construction of the wall was questioned during a design

team meeting, the result of the discussion that followed was the

defining of the programmatic arrangement through the creation

of a recessed open gully between nodes and strands. With all other

down pipes remaining hidden this was a very successful subtle

achievement, which gave extra depth to the techtonics of the

proposal.

“The true secret of happiness lies in taking a genuine interest in all the details of daily life.”William Morris

Early tectonic development sketches

051

VMZINC standing seam

Breather membrane

150mm mineral wool insulation

Vapour control layer

Structural metal roof decking

Primary structural steel beam

VMZINC plus gutter

L2L insulation

Metsec Stud

Structural steel columns

Suspened ceiling

12mm High density core plasterboard

Vapour control layer

50mm mineral wool insulation

12mm cement particle sheathing board Breather membrane

Secondary structural steel beams

VMZINC standing seam

Perspective drainage detail

“The thing always happens that you really believe in; and the belief in a thing makes it happen.”Frank Lloyd Wright

Denouement54 Final Proposal

56 Final Crit

58 Feedback

60 Conclusion

054

+ Successful smuggling of ancillary program+ Buckled floor plane

- Entrance lobbies rushed and clumsy solution- Fire escape from luxury cinema ill thought out

Ground Floor

+ Relationships between vertical ascents- South facing glazing to mediatheque facade

- No lobby present to community strand entrance- Relationship of film library with rest of scheme

First Floor

055

+ Creation of impromptu learning space+ Outward gestures to city centre and Southville

- South facing glazing to mediatheque facade- Fenestration inconsistent with structural strategy

Second Floor

+ Relationship of nodes and strands + Integration of environmental strategy

+ Use of drainage as definition of cinema nodes- Questionable quality of light from skylights

Roof

Final Crit

The final days leading up to the crit were some of the most difficult

and strenuous times that we as a team experienced. Due to our

numerous set backs and disagreements throughout the project

we were unprepared, forced to rush and compromise minor

aspects of our proposal to achieve completion. Although we

were disappointed that we had not been able to fully satisfy our

desires for a perfectly resolved scheme, we were aware that these

compromises only needed miniscule alterations. As a whole we

were very pleased with the progress of the proposal, believing it

to be a comprehensive achievement. Able to quickly produce a

final presentation that clearly portrayed our scheme successfully,

we could explain our architectural, structural, environmental and

tectonic strategies with ease. Our visual and verbal presentation

was rather reminiscent of the final scheme, very subtle, displaying

only plans, a range of prototype exploratory models, sketches,

simple line drawings and a final model. We explained the project

as a series of stages and explorations that resulted in the final

explanation of our scheme. This clean and coherent presentation

enabled us to fully engage with the critique panel, resulting in

a positive and thorough discussion that further explored our

scheme.

Above

Strand diagram

Opposite

Final presentation model

Feedback

The general feedback from the critique panel was very positive.

With the collective opinion praising our response to Spike Island

and the realistic integration of our structural and environmental

strategies. Considering it a very understated but considerate

architectural proposal. Although the feedback was excellent, there

were several issues of concern raised about the scheme.

The opinion of the critiques was that the quality of internal

light achievable from the skylights would be insufficient for the

core. With a consensus that an improvement should be achieved

through the replacement of a whole fold of the roof with glazing.

Disagreeing with the decision not to connect the independent

strands at 1st floor level, the panel preferred the idea of a series of

balconies that would link all three strands within the core.

With the critics generally believing we should have paid more

attention to the landscaping of the Mshed Square, there was

an opinion that we could have chosen to neglect it and the use

of the cranes completely. By concentrating our attention to the

overpowering facade of the large node, it was suggested that our

public square should have become our outdoor cinema.

Below

Fold, node and strand illustrations

Opposite

Visual of internal core

059

060

Conclusion

With consideration to the critical comments raised during the crit,

I still stand by the decisions that the three strands should remain

independent due to their programmatic nature and arrangement,

and that the quality of light achievable through the development

of the skylight was adequate for the use of our internal spaces.

Although I do agree that more attention should have been

paid to the development of the Mshed Square and possibly the

development of our own external cinema (if feasible), I think it

would have been a bad decision to neglect the reuse of the cranes.

As a team we often struggled to work collectively. With very

different designing methods we tended to clash on many issues,

with myself becoming frustrated at the often lack of precision

of the drawn out process that developed, believing that we

progressed to CAD to late in the design process and thus lost

some of the detail we originally desired. But with our very

different approaches and strengths complementing successfully

we were able to design and produce work rather efficiently and

comprehensively. I consider the project to have benefited from

the lengthy discussions that resulted from the disagreements, but

suffered due to the time constraints and lack of overall control.

Although I struggled to progress at certain stages of the project,

I believe that I fully satisfied my individual role within the team,

and on hindsight I admit that I struggled to work in a democratic

group. But I believe that our differences and struggles within

the team resulted in becoming our strengths within the final

successful proposal.

“It’s a good place when all you have is hope and not expectations.”Danny Boyle

Fin