EMMA UNCLESPORTFOLIO

PRODUCTIONSPACEOBJECTIVES:TO DESIGN A PRODUCTION SPACE TO FULFIL THE REQUIREMENTS OF THE EXPANDING FACULTY. TO UNDERSTAND SPACE AND PLACE IN RELATIONSHIP TO THE HUMAN BODY. TO REACT AND RESPOND TO A SITE. #3

YEAR 01

BODYSPACEOBJECTIVES:TO INSTIGATE PERSONAL AND INFORMED REFLECTIONS IN PHYSICAL FORM. TO ENGAGE IN AN UNDERSTANDING OF THE HUMAN BODY IN RELATION TO SPACE. TO DESIGN A GARMENT AND EXAMINE THE CROSS CONTAMINATION OF ARCHITECTURE AND FASHION.

#1YEAR 01

CONTAINERSPACEOBJECTIVES:TO REBUILD THE ORIGINAL MAKERS’ PERSONA & BODY SPACE BEYOND THEIR ORIGINAL CULTURAL, SOCIAL, POLITICAL, STRUCTURAL &/OR MATERIAL MAPPING &CREATION. THE CONTAINER MUST INTERPRET ALL ASPECTS OF THE BODYSPACE WHICH WILL BE HELD INSIDE.

#2YEAR 01

URBAN INCLUSIONA RESOURCE CENTRE FOR THE HOMELESS AND SOCIALLY EXCLUDED, FOCUSED UPON ENGAGING LOCAL COMMUNITIES WITH CLIENTS AND USER GROUPS, & PROMOTING SOCIAL COHESION THROUGH SHARED USE OF RESOURCES AND FACILITIES. A SMALL RESIDENTIAL ELEMENT IS PROVIDED, IN ADDITION TO WORKSHOPS WHICH PROVIDE A FLEXIBLE AND RESPONSIVE ENVIRONMENT TO CATER FOR THE NEEDS OF BOTH THE HOMELESS AND THE LOCAL COMMUNITY.

#6YEAR 02

RUN & HIDETHE DESIGN WAS INSPIRED BY THE INTRICATE STRUCTURE OF A TEASEL. THIS PATTERN WAS USED AS A ‘CAMOUFLAGE’ FOR THE FACADE. INSTEAD OF A LARGE WINDOW TO LOOK OUT OF, RESTRICTING VIEWS, THE WHOLE BUILDING WAS COVERED IN ‘SPIKES’ WHICH MIMICKED THOSE OF A TEASEL. THE HIDE IS PRIMARILY TWO CLEAR BOXES, WITH A SPIKY LATTICE THAT HIDES THOSE INSIDE, WHILST NOT RESTRICTING THEIR VIEWS OUT.

#4YEAR 02

WAIT & WATCHTHE BRIEF WAS TO DESIGN AN OBSERVATORY & EDUCATION SPACE IN THE FOREST AT GRIZEDALE IN THE LAKE DISTRICT. IT WAS REQUIRED THAT THE SKY & NATURE WERE ABLE TO BE EXAMINED FROM A VIEWING PLATFORM, & THAT THE STRUCTURE WAS SUSTAINABLE, ROBUST & HAVE MINIMAL ENVIRONMENTAL IMPACT.#5

YEAR 02

THE BUILDING IS A CELEBRATION OF THE LOCAL RESOURCE, WOOD. IT FOLLOWS A PROGRAMMATIC JOURNEY THROUGH THE BUILDING VIA THE HISTORY & STORIES OF TREES. THE JOURNEY IS ENVISAGED FROM THE BOTTOM OF THE HILL AT THE START OF THE JOURNEY, THROUGH THE FORESTS OF LARCH, TO THE TOP WHERE THE BUILDING IS LOCATED, A LANDMARK AT THE END. PROCESSED TIMBER IS INTERCEPTED BY ORGANIC BARK SHINGLES, A CELEBRATION OF THE VERSATILITY OF THE MATERIAL.

INTERSTITIAL INTERJECT

ONCE THIS PATH HELD THE STEPS OF MANY. A PROUD SIGN, NOW WEARY FROM AGE, PROCLAIMED IT THE QUARTER OF A SAINT. NOW IT STANDS INVISIBLE TO THE PASSERBY, SWALLOWED BY DETRITUS. A BULGING VOLUME OF HUMAN EXTRAVAGANCE FILLS THIS VOID, UNFORGIVING OF PREVIOUS PATHS THIS CAVITY FORMALLY ASSISTED.

ST. MICHAEL’S PLACE ALLEY

LOCATE & RECORD THREE INTERSTITIAL SPACES. CHOOSE ONE LOCATION. DEVELOP A FORMAL INTERVENTION THAT HAS CLARITY OF FUNCTION, APPROPRIATE MATERIAL SELECTION & A DIALOGUE WITH ITS LOCATION.

#7YEAR 03

A DARK CAVERN SUCKS ANY LIGHT THAT MAY BATTLE THROUGH THE HEALTHY LEAVES OF AN OVERGROWN WILD. THE PATH, LITTERED WITH REMNANTS OF VICE, BECKONS. DEGRADATION ENGULFS THE JOURNEY. GRAFFITI SCATTERS THE TOWERING BRICK WALLS, IN AN ATTEMPT TO IMPORT A SENSE OF IDENTITY ONTO THIS DESOLATE LANDSCAPE.

A SUBTLE, YET PRECISE STRIP OF LUMINESCENCE RESCUES A COLLISION OF EDUCATION AND ENGINEERING. ONLY WHEN AT THE CORRECT ORIENTATION DOES THIS INTERCEPTION OF LIGHT MAKE ITSELF EVIDENT. IT HIDES ITS TRUE CHARACTER FROM THE UNTRAINED EYE, SHIELDING ITS INCISION OF THE ROBUST BRICK WALLS THAT FRAME IT.

MANCHESTER CITY CENTRE

TUNNEL KING OF KINGS SCHOOL 1:2500

WIDER CONTEXT

THE INDUSTRIAL REVOLUTION TRANSFORMED THE ONCE AFFLUENT SUBURB OF ANGEL MEADOWS INTO THE VICTORIAN SUMS OF MANCHESTER. SOCIAL LIVING CONDITIONS PLUMMETED, WITH IN EXCESS OF 350 PEOPLE PER ACRE. AN OUTBURST OF CHOLERA HEIGHTENED MORTALITY RATES TO 50.9 DEATHS PER 1000 PER ANNUM. THE NATIONAL AVERAGE WAS LESS THAN 19.

ST. MICHAEL’S FLAGS BECOME THE LARGEST CEMETERY IN MANCHESTER, WITH AN ESTIMATED 40,000 BODIES BURIED UNDERNEATH THE PARK. RAGGED SCHOOLS FLOURISHED IN THE AREA, PROVIDING A FREE EDUCATION TO ABANDONED, DESTITUTE & NEGLECTED CHILDREN, WHO WERE TOO POOR TO AFFORD ANY OTHER INSTRUCTION.

ST MICHAEL’S ALLEY WAS RENDERED REDUNDANT AROUND THE 1960S, DURING THE CLEARANCE OF VICTORIAN MANCHESTER’S PUTRID SLUMS. TODAY IT IS A DUMPING GROUND, WITH A VICIOUS FENCE CAPTURING THE DETRITUS OF MANY YEARS.THE PROPOSAL INVOLVES REINSTATING THIS ALLEYWAY FOR PUBLIC ACCESS TO THE PARK.

THE PARK WAS ONCE THE BURIAL GROUND OF 40,000. THERE IS NO MEMORIAL OR RECOGNITION OF THIS PRESENTED ON SITE. THE INTERVENTION SEEKS TO ALTER THIS BY PROVIDING A SPACE TO REFLECT UPON THE PAST AND PRESENT. THE STEPS ARE MADE FROM THE FEW GRAVESTONES THAT ARE THE ONLY REMAINS OF A LONG FORGOTTEN CHURCH THAT ONCE STOOD OVER THE PARK. UNCARED FOR, BY TRANSPORTING THEM TO THIS PROMINENT LOCATION, THE PUBLIC WILL DIRECTLY INTERACT WITH THE HISTORY THAT THEY HOLD.

ALONG THE WALL FACING THE PARK, PERISCOPES WILL BE EMPLOYED TO ALTER PRESENT PERSPECTIVES OF THE SITE. THESE PEEP HOLES SEEK TO CHANGE THE PERCEPTIONS OF USERS OF THE PARK, WITH EACH HOLE DIRECTED TO AN IMPORTANT FEATURE OF THE LANDSCAPE. EACH HOLE IS A “LIVING PHOTOGRAPH” CONTINUOUSLY CAPTURING THE SEASONS, WEATHER AND MOVEMENT OF THE SITE.

SKETCHBOOK EXPLORATIONS

PRESENT BUILDING DENSITY ANGEL MEADOW 1848 ORIGINAL ALLEYWAY 1848 PIN HOLE CAMERA IMAGES

+ + =ACCESSINTERACTIONREFLECTIONPERSPECTIVEHISTORYEDUCATIONSAFETY

SCHOOL

SCHOOL CHILDREN REQUIRE ACCESS TO THE PARK.

PROPOSED NEW PARK ENTRANCE

SITE OF 40,000 BURIALS, BUT NO MEMORIAL?

MOVE REMAINING HEADSTONES TO CREATE A SIGNIFICANT MEMORIAL

INTERSTITIAL INTERJECTPROPOSAL#7

YEAR 03

SECTION A_A

ORIGINAL ELEVATION B_B

DESIGN ELEVATION B_BSITE PLAN

FINAL DESIGN MONTAGEVIEW THROUGH HOLES

URBAN EVALUATIONEXAMINEINVESTIGATEPROGRAMME#8

YEAR 03

EXPLORATION OF THRESHOLDS & SITE BOUNDARIES

EXPLORATION OF RELATIONSHIP BETWEEN BUILDING DENSITY & LANDSCAPE.

WIDER CONTEXT

SITE PLAN 1:2,500 1848 2010

VOID

SPA

CE

TRAN

SPO

RT

RO

AD

SPA

THS

OC

CU

PIED

HO

US

ING

UR

BA

N F

AB

RIC

THE HEALTH OF MANCHESTER’S POPULATION IS PROMINENTLY WORSE THAN THE ENGLISH AVERAGE. DEPRIVATION RATES ARE HIGH, & THE DEATH RATE FROM SMOKING IS ONE OF THEWORST IN THE COUNTRY. THE LIFE EXPECTANCY OF THOSE IN MANCHESTER IS 8 YEARS LESS THAN THE NATIONAL AVERAGE.

DEATH RATES REMAIN HIGH ABOVE THE UNITED KINGDOM’S AVERAGE.

= HIGH MORTALITY RATES

HAIRY DRAWING PROMINENT FEATURES

360 DEGREE SITE, ANY INTERVENTION MUST ACKNOWLEDGE A MULTIFACETED DESIGN.

THE RAILWAY VIADUCT & ARCHES ARE A PRONOUNCED FEATURE THAT SCAR THE SITE.

HOW TO FORGE A RELATIONSHIP BETWEEN DESIGN & CONTEXT?

THE SITE IS SUNKEN & PROVIDES A WELCOME BREAK FROM THE HUM OF TRAINS &

THE POWER STATION.

THE IMPACT THAT THE SENSES HAVE ON PERCEPTION OF ARCHITECTURE & SPACE

RELATION OF SITE TO THE WIDER CONTEXT

URBAN EVALUATIONEXAMINEINVESTIGATEPROGRAMME#8

YEAR 03

“THE MIXTURE WAS LADLED FURTHER BY AROMAS FROM THE TANNERY, THE DYE WORKS, THE TRIPE WORKS & ROTTING VEGETABLES FROM THE SMITHFIELD MARKET, ALL ADDED TOGETHER WITH THE NEIGHBOUR’S FRIED FISH & BAD SANITATION SMELLS, ONE WOULD AGREE THAT THE CAULDRON OF ANGEL MEADOW WAS INDEED A POTENT BREW”

-JAMES STANHOPE BROWN, ANGELS FROM THE MEADOW

ST. MICHAEL’S CHURCH, DEMOLISHED IN 1935

CEMETERYFUNERALWORSHIPCHAPELBURIAL

THE LACK OF AVAILABLE LAND FOR DEVELOPMENT, PARTICULARLY IN AN URBAN

CONTEXT, IS A CONTEMPORARY ISSUE. BY ALTERING THE CONVENTIONAL LANDSCAPE

OF A CEMETERY TO A HIGH RISE STRUCTURE, LAND IS SAVED.

INCINERATORS WITHIN CREMATORS REACH 800C. THIS HEAT ENERGY (USUALLY RELEASED TO THE ATMOSPHERE) IS CAPTURED & TRANSFERRED TO A POTTERY KILN

FUNERAL PROCESS

POTTERY PROCESS

CREMATION PROCESS

URBAN REQUIEMNOUN1. A MASS FOR THE REPOSE OF THE SOULS OF THE DEAD.2. A MUSICAL COMPOSITION SETTING PARTS OF A REQUIEM MASS, OR OF A SIMILAR CHARACTER.3. AN ACT OR TOKEN OF REMEMBRANCE#9

YEAR 03

THEORETICAL BACKGROUND#9

YEAR 03

DESIGN PROCESSEVOLUTION OF DESIGNTHROUGH MODELS#9

YEAR 03

#9YEAR 03

THE CONSIDERATION OF APPROACH, ARRIVAL & CIRCULATION THROUGHOUT THE BUILDING ARE PRECURSORS TO THE METAPHORICAL ‘JOURNEY’ OF THE MOURNERS THROUGHOUT THE BUILDING. DISTINCT CIRCULATION ROUTES HAVE BEEN CREATED TO ENSURE THE PRIVACY OF FUNERAL PARTIES WHILST MAINTAINING THE USE OF SPACES OPEN TO THE GENERAL PUBLIC.

MOURNERS JOURNEY#9

YEAR 03

MOURNERS, WHEN APPROACHING THE COMPLEX THROUGH THE PARK, DESCEND DOWN A SUBTLE HILL, EASING THEIR JOURNEY. WALKING DOWN THE ARTERIAL ROUTE OF THE PARK, AN AVENUE IS FORMED BETWEEN THE MONOLITHIC FORMS OF THE VERTICAL CEMETERY & THE CHAPEL, THRUSTING TOWARDS THE HEAVENS. ON ARRIVAL, THE ROOM VOLUME IS SMALL & INTIMATE, AS THE JOURNEY CONTINUES THROUGH THE BUILDING THIS HEIGHTENS, & AN EXCHANGE OF SCALE OCCURS. THE TOWERING CEILING OF THE CHAPEL IS INTERCEPTED WITH SHAFTS OF LIGHT DICTATING THE EXPERIENCE OF THE SPACE THROUGH SHADOWS. THE MOURNERS CONTINUE THE JOURNEY THROUGH TO THE LIGHT, AN OPEN CORRIDOR OF FLORAL TRIBUTES. VIEWS TO THE PRIVATE GARDEN OF REFLECTION PROVIDE AN AREA OF REST. THE JOURNEY IS COMPLETED ONCE THE ASHES HAVE BEEN COLLECTED, & PLACED ON A SHELF IN THE VERTICAL CEMETERY. EACH SHELF IMPACTS UPON THE FACADES APPEARANCE, & THE EXPERIENCE OF THE SPACE INSIDE.

1. THE ENTRANCE TO THE PARK A SPACE FOR THE COMMUNITY TO UNITE 2. CEMETERY ENTRANCE 3. APPROACH TO THE BUILDING EN-TERING URBAN REQUIEM 4. RECEPTION ENTRANCE SHARDS OF LIGHT FROM THE HEAVENS ABOVE 5. CORRIDOR TOWARDS CHAPEL CEILINGS TOWER ABOVE OCCUPANTS 6. INTERIOR OF CHAPEL HAZY LIGHT FLOODS THE CATAFALQUE6. INTERIOR OF CHAPEL HAZY LIGHT FLOODS THE CATAFALQUE8. VERTICAL CEMETERY APPROACH A MONOLITHIC LANDMARK, & STRIKING MEMORIAL TO THE DEAD9. VERTICAL CEMETERY INTERIOR THE JOURNEY ENDS WITH THE PLACING OF THE URN WITHIN THE FACADE

INTERIOR MONTAGE: THE VERTICAL CEMETERY GRADUALLY FILLS WITH URNS, ALTERING THE INTERIOR EXPERIENCE AS THE SHADOWS ARE MANIPULATED.

VERTICALCEMETERY#9

YEAR 03

FACADE CONCEPTTHE SHELVING TO HOLD THE URNS (MADE

WITHIN THE POTTERY WORKSHOP), LOCKS INTO THE FACADE. THESE CAN BE DETACHED

& REATTACHED, CATERING FOR THE CHANGING REQUIREMENTS OF THE

BUILDING (AS IT FILLS THE SHELVING PATTERN BECOMES MORE REGIMENTED), ENHANCING THE EVOLVING NATURE OF THE FACADE. THE LOUVRES CAST VAST GEOMETRIC PATTERNS

ACROSS THE INTERIOR, SUPPLEMENTING THE SPIRITUAL NATURE OF THE BUILDING. THE

BUILDING IS ABLE TO REMAIN PERMEABLE, WHILST MAINTAINING A MONOLITHIC, HEAVY PRESENCE UPON THE URBAN LANDSCAPE.

INITIAL MONTAGEHIGHLIGHTING THE CONCEPT OF CORRIDORS HOLDING URNS & MEMORIALS.

EXTERIOR MONTAGE: THE PERMEABLE NATURE OF THE BUILDING ALLOWS IT TO WEATHER,

MERGING INTO ITS LANDSCAPE AS A GRAVESTONE WOULD.

SKETCH MODELSEXPLORING THE PERMEABLE FACADE, & HOW SHELVING ‘SLOTS’ INTO IT. VIEWS FROM BOTH THE INTERIOR & EXTERIOR HIGHLIGHT THE EVER EVOLVING NATURE OF THE FACADE AS THE BUILDING FILLS WITH MEMORIALS.

STAIRCASE CIRCULATIONTHE PRIMARY STAIRCASE WINDS THROUGHOUT INTERIOR & EXTERIOR SPACES, ITSELF SLOTTING INTO THE FACADE TO PROVIDE CONTINUITY OF DESIGN. THE EVER PRESENT CONNECTION OF THE BUILDING TO THE PARK, & THE FACADE’S PERMEABLE NATURE, IS FURTHER EMPHASISED BY THIS JOURNEY OF INTERIOR & EXTERIOR EXCHANGES.

SOUTH WEST ELEVATION

SOUTH EAST ELEVATION

LONG SECTION

NORTH EAST ELEVATION

LONG SECTION

INITIAL SECTIONS

FINAL MODEL

INTERIOR OF CHAPEL

URBAN REQUIEM

EUROPEAN ARCHITECTURE STUDENTS ASSEMBLY#10

I ATTENDED THE ANNUAL EVENT IN DARFO, ITALY IN 2009. THE ASSEMBLY WAS ESTABLISHED BY STUDENTS FOR STUDENTS, I MET WITH 400 TALENTED INDIVIDUALS FROM 42 EUROPEAN COUNTRIES FOR TWO WEEKS TO DISCUSS & EXCHANGE IDEAS, PARTICIPATE IN WORKSHOPS, LECTURES & INTERACT WITH FELLOW STUDENTS FROM ACROSS EUROPE.

MY ENTHUSIASM & INVOLVEMENT WITHIN EASA WAS HEIGHTENED IN 2010 AS I HELPED ORGANISE THE ASSEMBLY TO COME TO MANCHESTER. I SPENT A YEAR WORKING PART TIME, VOLUNTARILY, WITHIN THE CORE ORGANISING TEAM. AS HR COORDINATOR I WAS RESPONSIBLE FOR THE ORGANISATION & PROMOTION OF THE TEAM, EXPANDING IT TO SECURE ENOUGH ENTHUSIASTIC HELPERS. DURING THE ASSEMBLY I HAD TO ENSURE THAT A 2 WEEK TIMETABLE FOR OVER 60 VOLUNTEERS, WAS ADHERED TO & RUNNING SMOOTHLY, IN ADDITION TO ANSWERING ANY QUESTIONS OR SOLVING PROBLEMS WHICH PARTICIPANTS MAY HAVE HAD.

MY ROLE REQUIRED ME TO BE ORGANISED, APPROACHABLE, & ENTHUSIASTIC, AS WELL AS HANDS ON- BUILDING STRUCTURES SUCH AS A STAGE & BAR WITHIN THE ACCOMMODATION (A DERELICT COTTON MILL WHICH WE RENOVATED). WE WORKED CLOSELY WITH MANCHESTER CITY COUNCIL, MAJOR DEVELOPERS & THE UNIVERSITIES, ALONG WITH MANCHESTER BASED TALENT (NOTABLE LECTURERS INCLUDED PETER SAVILLE). AN ENTIRELY NOT-FOR-PROFIT COMPANY, SPONSORSHIP WAS SOUGHT TO HELP COVER THE COST OF THE ASSEMBLY.

LEGACY & INTEGRATION OF THE EVENT WITHIN THE LOCAL COMMUNITY WAS FOCUSED UPON. A SUCCESSFUL GALLERY WAS SET UP IN OUR OFFICE SPACE, WHICH WAS FREE TO BE UTILISED BY THE PUBLIC. THIS HAS NOW BECOME THE HEADQUARTERS FOR COLLECTIVE BLANK MEDIA, & IS STILL A WORKING GALLERY. IN ADDITION I GAVE LECTURES ADVERTISING EASA TO SHEFFIELD & MANCHESTER UNIVERSITIES, & HELD A SYMPOSIUM THAT PROMOTED THE IMPORTANCE OF STUDENT LED ORGANISATIONS.

THE ECONOMIC DOWNTURN HAS HUGELY AFFECTED THE INDUSTRY, SO OPPORTUNITIES LIKE EASA ALLOW FOR EXPERIMENTATION AND GROWTH WITHIN MY EDUCATION. IT HAS MADE ME BOLD AND SELF FACILITATING, & PROVIDED ME WITH SKILLS THAT CAN BE EASILY TRANSFERRED INTO A WORKING ENVIRONMENT.