m.arch thesis proposal

Fish Island Artists’ Exchange Centre

by Kat Ballo

1

Contents

Site and Proposal Introduction p. 02 The Olympic Fringe p. 05 Mapping the Lea Valley p. 06

Mapping Hackney Wick and Fish Island p. 13

Character Study of Hackney Wick and Fish Island p. 24 Fish Island: Before and After p. 26 Brief 1: Mapping the Island p. 30

Brief 2: A Room on the Island p. 37

Brief 3: Colonizing the Island p. 53

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Site and Proposal Introduction

3

Growth

These images are of Fish Island in the Lea Valley, situated next to the 2012 Olympic site. The image on the right is a

figure-ground of the existing conditions, while the image on the left shows how a network of lighter and smaller buildings

may develop in-between the existing fabric of the island. These are buildings which grow in the cracks, like a weed in

the sidewalk. It is not about razing the existing to the ground, but rather, creating a finer grain which can work alongside

what is already there.

Art

The inhabitants of Fish Island are primarily artists, and together Hackney Wick and Fish island have the highest density

of artists in Europe. The proposed buildings act as additional artist’s studios and event spaces. They create a symbiotic

relationship with the existing arts infrastructure, not only by adding to it, but by preserving the uses of the existing artist’s

network.

The Proposal

The project I am proposing for Fish Island is called the Artists’ Exchange Centre (AEC). It begins as a small temporary

outdoor room. The Artists’ Exchange Room is an outdoor classroom, a stage during the Hackney Wicked Festival, and

a place to exchange and store physical goods, such as art supplies. Dependent on the success of the outdoor room,

more structures can be built which would develop to form a colony of light timber sheds. Over time Artists’ Exchange

Centre could grow and move throughout HW & FI. These structures fit in-between and alongside existing buildings and

act as venues for art making, participation, and viewing. The aim of the proposal is to support and foster the already

creative community found in the area. In full fruition, the Exchange centre would have the amenities of a small arts

university, but in place of tuition, the exchange of cash would be largely replaced by the exchange of services. For

example artists would train community members, community members might run events, and events would partially

fund the centre. v

Site and Proposal Introduction

4

View from Greenway looking North down the Lea Cut

The Olympic Fringe

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Olympic Fringe

The focus of our Unit’s work has been on the Western edge of the Olympic Park. This area which lies low in the Lea

Valley resembles a chain of loosely connected islands sculpted and intersected by motorways, railways, and water.

Since London won the Olympic bid, this Western edge has been labeled the “Olympic Fringe”. This ominous nickname

is very telling of the way we as Londoners think of this area. It has been the Lea Valley and East London long before it

was the Olympic fringe. In order to ensure a positive future, we cannot ignore its past. As a Unit we started the year by

investigating, recording, and mapping the existing conditions of our chosen insular sites. In doing so we hope to add to

the notion of Olympic Legacy, rather than what could become an Olympic Aftermath.

Legacy vs. Aftermath

Legacy has been a key factor in designing the London Olympic Park. There have been many long-term Olympic failures

in the past of our global history, some as recently as the 2004 games in Athens, which saw the park abandoned after the

mere two weeks of games. These cautionary tales are the driving force behind the movement for Legacy and hopefully

by thinking about it early on will ensure it is not overlooked.

The Olympic Fringe

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Mapping the Lea Valley

Scale: 1-40,000

1. Islands of East London

2. Topography

3. Green Spaces and Connections

4. Location of Art Facilities

5. Grain and Density Figure Ground

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1. Islands in East London


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2. Topography


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3. Green Links


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4. Arts Facilities


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5. Grain and islands


13

Mapping Hackney Wick and Fish Island

1. High Street Patterns 1-15,000

2. Arts Facilities 1-10,000

3. Arts Facilities in Relation to Conservation Areas 1-10,000

4. Growth Patterns of Fish Island 1-10,000

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1. 1-15,000 High streets in black, Hackney Wick and Fish Island shown in red


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1. 1-15,000 High streets in black, Hackney Wick and Fish Island shown in red

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2. Art Studios and Galleries

Art Studios and Galleries


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Conservation Area


Proposed Conservation Extension

3. Arts and Conservation Overlap


18

Fish Island

Greenway


3. Fish Island and Art Studios


19

1860

1910

1960

1890

1950

2012

4. Historical Growth Patterns


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Fish Island’s industrial past is very evident, and it is still home to both heavy and light industries. As a result, the streets

are not made for interaction because they are designed for vehicular access. With the influx of artists, these wide and

relatively quiet streets act as outdoor galleries for art.

Character Study of Hackney Wick and Fish Island

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22

Stour Space (an artists collective) as seen on a normal day and during the Hackney Wicked Festival.


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Despite the overall industrial character, there are moments of domesticity.


24

Though Hackney Wick and Fish Island are literally on the fringes of the Olympic Park, they should not be thought of this

way. In fact these “fringes” are actually quite established islets, where as Muf architecture has stated “exception is the

norm”. Each island has its own unique characteristics, which makes it hard to generalize about the “fringe”.


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The canal front and a Pill Box from the war are celebrated and become stopping points along the way.

One example of the exception being the norm is graffiti. Elsewhere in London, CCTV is found on every corner, and

easily deters any street vandalism and art. However, in Hackney Wick and Fish Island, where there are significantly less

CCTV cameras, graffiti is the norm. Not only is it prevalent, but it is used as street signage and as a means of creating

public spaces.


26

Photography studies of Fish Island taken by Local Photographer Chris Dorley-Brown

Greenway Western entrance 1999 & 2011

Fish Island: Before and After

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Fish Island NE corner 1999 & 2011


28

Ironworks 1986 & 2011


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Cadogan Court 1958 & 2011


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Brief 1: Mapping the Island

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Mapping Fish Island

1-2000 Maps

1. Isometric buildings and fold out canal elevation

2. Art as Signage and marking

3. Texture and pattern mapping

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1. Isometric

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3. Art

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2. Textures

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Brief 2: A Room on the Island

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Doors of Fish Island

Opposite page: the door is used as a “stamp” or building foot-print to generate different forms.

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1-1000 Door Stamping Exercise

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Q:

I asked a few artists what they wished they could change or add to Fish Island, and most replied that and art supply

shop would be very convenient.

A:

My proposal is an Artists’ Exchange Room which also provides minimal shelter as an outdoor classroom. The Artists’

Exchange Room can also act as a point of attraction throughout the year. A one of the festivals that take place.

Communal kitchen and storage Artist’s studio

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One man’s trash is an artist’s treasure. Abandoned mannequin’s arms and some old plastic spoons might not sound

like artist’s supplies, but they could easily be incorporated into creative projects. There are over six-hundred artist’s

studios on Fish Island. If each one gave a surplus item, artifact, or even a unique piece of refuse, the Artist’s Exchange

Cabinet would be filled. An artist could walk in with some old canvass and walk out with buttons for an installation. There

is potential behind every door.

42

1-1000 Existing Site Plan showing ground muraland artists’s studio buildings shown in red.

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A mural painted on the ground of razed buildings for the Hackney Wicked Festival, with the party wall in background.

Elevation of the Party wall at 1-500 which acts as a backdrop to the festival.

441- 500 Plan with Proposal in Red

45Perspective looking East towards Stadium

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1-50 models testing the space

1 : 50 Paper and wooden models of exchange room

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1 : 50 Paper and wooden models of exchange room

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Brief 3: Colonize the Island

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1 : 500 Model with old and new sites

1-500 Paper site Model showing both sites

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1 : 500 Model with old and new sites

1-1000 Site Plan with Proposals shown in red

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1- 500 Site Model

1:750 Canal Elevation

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1:1000 Canal Elevations Exploring Possible Growth Patterns

Existing

Room growing and moving on the island

Artist’s Exchange Center Network of buildings shown growing and moving over time

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1 :500 Site model with proposal

1 : 500 Existiing site model

1-500 Paper Model of Existing



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1 : 500 Existiing site model1 :500 Site model with proposal


1-500 Paper Model of Existing with Proposal

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1-200 Ground Floor Plan with Grid Structure

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1-200 First Floor Plan

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1-200 Second Floor Plan

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1-200 Third Floor Plan

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Fold Out Plan 1 : 200

The Forge art studios

x-change space

Workshop

Residential block

art shop

cafe /bar/ gallery

West h

ouse

Victorian Stable Block

Historical brick storage shed

converted into photography darkrooms

Mid 20th Cent warehouse

East house

1- 400 Fold Out Plan

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x-change space

Workshop

Residential block

art shop

cafe /bar/ gallery

West h

ouse




Mid 20th Cent warehouse

East house



Res

iden

tial

blo

ckart s

hop

cafe

/b

ar/

gall

ery

Wes

t h

ouse




Mid

20t

h C

ent

war

ehou

se

East

hou

se

Workshop

1- 400 Fold Out Plan, Alternate Views

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1-150 Section showing reveal treatment of historical wall

1-150 Elevation of Existing Southern Facade

741-100 Section Fragment showing Artist’s Exchange Room nested in the proposal

751-100 Section Fragment showing Artist’s Exchange Room nested in the proposal

761-100 Section showing lean-to structure

771-100 Section showing lean-to structure

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Wall Compostion:

Three coat limewash finish20 mm lime render270 mm hempcrete sprayed onto stud wall140 mm x 50mm timber studs at 600 mm centres12 mm gypsum reinforced fireboard

1 :20 Typical Wall Section

1-40 Wall Section Detail

Wall Composition:

Three coat lime wash finish.

20 mm lime render.

270 mm hempcrete sprayed onto stud wall.

140 mm x 50mm timber studs at 400 mm centres.

12 mm gypsum reinforced fire board.

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1-40 Wall Section Detail

Wall Composition:

Three coat lime wash finish.

20 mm lime render.

270 mm hempcrete sprayed onto stud wall.

140 mm x 50mm timber studs at 400 mm centres.

12 mm gypsum reinforced fire board.

1-20 Partition Wall Roof Section Detail

Roof Composition:

Western red cedar shingles.

50 x 25 mm treated softwood battens 120 mm on center.

50 x 50 mm treated softwood battens 400 mm on center forming ventilation gap.

Breather membrane.

100 mm insulation made from hemp and recycled cotton between 100 x 50 mm treated softwood battens.

9 mm fire protection board.

175 mm insulation made from hemp and recycled cotton between 175 x 50 mm treated softwood rafters at 400 o.c.

Vapour barrier.

12.5 mm plasterboard ceiling

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1 : 100 Main courtyard and entry point

1 : 100 x-xhnage space and coutyrad

1-100 Model showing main entry into courtyard



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1-100 Model showing next sequence of arrival and the Artists’ Exchange Room

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1 : 100 Western elevation of West house

1 : 100 Western elevation of East House and courtyard1-100 Model Showing internal courtyard and existing brick shed

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View on site of existing brick shed

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1-100 Structural Framing Model, View from across the River Lea

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Steel Hanging Structure by Old Ford Lock

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1 :20 model showing Olympic Stadium accorss the River Lea

1-20 Model of Cafe Bar with Stadium to the East

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1:20 model of cafe & bar

1-20 Model of Cafe Bar

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1 : 20 model showing points of enry in relation to cafe/barCollage Showing Access

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1 : 20 model showing points of enry in relation to cafe/bar

1-20 Model Night Scenes

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Smallest window

Main entry condition- double doorStandard double door

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Smallest window

Main entry condition- double door

Smallest of four window Sizes

m.arch thesis proposal

Documents

artists exchange room

existing artists network

existing buildings

artists exchange centre

time artists exchange

example artists

existing conditions

lea valley