Download - BFI Development Report
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