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house-scapes the Level @ Barry 2 3 6 7

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Work completed during 2nd year at Welsh School of Architecture

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    MANIFESTOSince the dissolution of the coal and merchant industries, Barry, specifically Thompson Street, has lost its character and identity.

    During the industrial boom, Barry expanded rapidly and Thompson Street was at the heart of the action; a thriving and bustling community with a varied and encompassing programme. In the 70s, its community was driven out and architectural atmosphere lost when the buildings on the street were demolished, taking with it the soul of one of the vital links between the town and docks. Barry council has since decided to reconnect the dock area with the town and this project will aid the restoration of this main artery. The town has also lost most of its performance venues. Theatre is a powerful medium and has the ability to alter peoples perceptions of reality. It is an essential part of society and necessary to improve the wellbeing of the people of Barry.

    The past identity of Thompson Street is not salvageable and there is no sense in attempting to restore the past character of the street based on memories, recollections or nostalgic thoughts. However, it is also important that the street not lose touch with its heritage.

    I propose to construct a performing arts complex based on the indigenous industrial typology of the Welsh coal mine. The strong atmospheric qualities of the mines are powerful and something that I will aim to capture and I believe would suit a theatrical environment. The industrial nature of this precedent should result in functional and legible spaces as seen in Ash Sakulas boiler house and Haworth Tompkins Temporary Almeida theatre. The intervention should somehow reinstate the lost performance culture of Barry and catalyse the regeneration of Thompson Street in a sustainable fashion, providing it with a new focus and identity.

    The intervention must be an inviting welcoming and inclusive place for the people of Barry. Those young people using the space are likely to not have experienced a theatre environment before. The main performance space must be a place that is respected by both performers and audience and be somewhat imposing and disciplinary. Intervention must not be restricted by site boundaries and should integrate with existing environment. The project must have an aspiration for permanence and longevity. The intervention should be seen as an opportunity to improve the urban realm and the town of Barry.

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    the Level @ Barry

    1:100 SW Thompson Street section

    1:100 Aerial plan

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    1 Tower 3 a writing room

    2 Tower 2 a interior viewing area b water tank

    3 Tower 1 a Access to service grid

    4 Sheds 2, Workshop 1 a practise room 1 b practise room 2 c rehearsaltheatre d mezzanine level

    5 Sheds 1, Workshop G a waiting room b dressing room 1 w/ WC c dressing room 2 w/ WC d meadow terraces

    6 Sheds G, Theatre -1 a storage and delivery serice area b temporary gallery space/ cafe overflow c bar and cafe d box office e disabled WC f male WC g female WC h admin office i outdoor auditorium j outdoor cafe overflow and performance spaces k public entrance to theatre l staff entrance to theatre m cloakroom n control box o main auditorium balcony level p main public square

    7 Theatre -2 a cleaners room b foyer c male WC d female WC e main auditorium seating level

    8 Theatre -3 a costume storage b green room c dressing room 1 w/ WC d dressing room 2 w/ WC e waiting area f stage set door and storage g performers entrance h main stagen sunken i mock up stage

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    1:200 programmatic floor plans

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    1:20 Detail section through tower and auditorium

    1 120x100x12mm steel handrail2 2mm white fabric gauze3 LED screen4 8x70mm steel fascia5 10mm steel bolt6 160x115x12mm steel beam7 100x12mm steel mesh8 30mm glazing9 2mm lead sheeting10 6mm spacetherm aerogel insulation11 12mm ply board12 260x280x20mm steel beam13 20mm plasterboard14 50mm recessed steel bolt15 280x120x20 steel I beam16 50x50x8mm steel cage17 300x300x24mm steel square section bracing18 24mm ply board19 12mm anti-theft steel grid20 30mm structural steel grid and light reflector21 60mm steel infill panel22 60mm glazing infill panel23 1000mm in-situ reinforced concrete24 180x100x12mm steel handrail/beam25 12mm steel plate26 24mm ply board27 50x50x8mm steel stage framework and stools28 300mm reinforced concrete floor slab and wall29 1000mm concrete raft foundations30 2mm waterproof membrane31 very hard clay

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    the Level @ Barry

    1

    Chewing gum Cigarette butts Vegetation Other rubbish

    Micro-accumulation study

    Site 1 5124'22.25"N, 315'56.62"W

    140A Holton Roadbuilt ~1980

    1. Worn road markings2. Drainage issues3. Loose protuding brick4. Concrete infill5. Metal service covers6. Lamppost7. Bin / ashtray

    Site 2 5124'13.94"N, 315'40.67"W

    90 - 92 Castleland Street built ~1900

    1. Cracked paving slab2. Root disruption to paving3. Carved water channel4. service covers5. Water eroded paving slabs6. Mismatched paving slab7. Parked car8. Concrete inll

    Site plans

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    Lawrence Lynch, Sher Min Tan, Tom Cooper-Cocks, Tom Fairbrother

  • contents

  • contentsGarden ShedSummer ProjectHousescapesUrban ConditionsFigure GroundArticle 25Instrumentalising IstanbulReading + other interests

    4-56-7

    8-5758-65

    66-103104-107108-115116-117

  • Project to transform unused shed into a dwelling space.

    The form was generated by the previous geometry of the shed. Possessing the front elevation of a simple traviated structure but wrapping around the back posts to create an 3d geometric enclosed space, giving protection from wind.

    The project had minimal budget and all material, bar 4 structural posts and connections, were recycled from the previous structure.G

    arde

    n S

    hed

  • I focussed on studying a specific seat on a threshold between interior and exterior space. I was interested by the use of materials, those which one makes contact with and those which one views and how this affects ones experience when occupying the seat. Also, the sequence of materials of which the threshold is defined. I chose the activity of eating a bowl of cereal in particular to study the sensory experience. The sound of a metal spoon hitting a ceramic bowl. The feeling of a cushioning sofa . The taste and smell of the food. The motion of bubbles in the pond and the reflections it has is also part of this experience.

    When recording something, one is somehow resolving a certain aspect or property so that it can be understood elsewhere. In attempt of recording the feel of touching the materials one comes in contact with, I put together a portable box of materials possessing similar sensory properties to the 1:1 scale materials.20

    11 S

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  • hous

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  • h o u s e - s c a p e s

    How can we protect and enhance the environment and at the same time use it productively as a creative force in the city. The studio will propose a self-sufficient residential neighbourhood-block, mixed with some shopping and a public space, to accommodate new modes of local urban living that address issues of urban density and porosity.

    formfindingprecedent Iprecedent IIsite analysis process work proposal

    10-1516-1718-1920-2930-4142-56

    57

    mushroomsnakagin capsule tower

    marina citywood street site

    sketching & modellingpresentation work

    references

  • mu

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    f o r m f i n d i n g

    To begin the project we were assigned a formfinding task in which we studied an ecological system and through physical

    and parametric modelling, understand the fundamentals of it, as a starting point for our

    housing design.Our group, under the sub-title of material structures, decided to study the tectonic

    qualities of the mushroom form. We were interested in both its cantilever and structural

    properties as well as the aesthetic qualities of the structural ribs found underneath. Through analysing this ecological system we hoped to

    find a way of incorporating some sort of ribbing in our own designs which would integrate

    an efficient structural system into the main aesthetic and formal qualities of our designs.

  • Clarissa Evans | Sara McMullan | Sam Giles | Thomas Fairbrother

    In order to understand the variation in the system, from one mushroom to another, I constructed a simple digital parametric model. I took one element and then repeated this around a central point. I altered three different parameters to see how this would alter the form and see what the extremes of the parametric model were. Great variation in form could be achieved by just manipulating three parameters.

  • After this period of experimentation, I concluded that the outputs from this

    investigation didnt possess the same organic randomness between the ribs. I constructed

    another parametric model, but this time altered the style of the rib elements using primary

    and secondary ribbing, as could be seen in precedent examples. This model was also

    designed so that it could be easily fabricated. The next page shows stills from an animation

    panning around the model.

  • It wasnt difficult to manufacture a physical model using this digital model.

    I just had to notch and laser cut each planar element and glue them together.

    This process was enlightening. We had managed to take the tectonic

    qualities we had liked in nature and, through a process of digital parametric

    manipulation, replicated this in a physical fabricated representation.

  • naka

    gin

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    erNakagin Capsule Tower is a rare built example of Japanese Metabolism; architecture based on the vision of future cities, inhabited by a mass society, characterised by large scale expandable structures that evoke the process of organic growth. It designed as a hotel for business people but now each pod is privately owned. 140 pre-fabricated capsules are individually connected via four high-tension bolts to two steel towers which sit upon a horizontal podium. The towers were designed to last 100 years. The capsules, however, were designed to last 25 years and supposed to be replaced every 25 years.

    p r e c e d e n t

    Location: Shinbashi, Tokyo, Japan

    Completed: 1972Height: 176 ft (53.5m)

    Floor count: 13Main contractor: Taisei

    CorporationArchitect: Kisho Kurokawa

  • ma

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    p r e c e d e n t

    Marina city, designed by Bertrand Goldberg, was a pioneering project and one of the first to propose a mixed use residential development. It was the tallest residential concrete building in the world at the time of completion. The site plan has two main residential towers, with parking taking up the lower levels, a theatre, ice rink, retail and marina. The towers function solely on electricity and the cabling and plumbing are integrated in the structure. The core acts as a ventilation device and due to the stack effect, in summer the rooms can be naturally ventilated.

    Location: State Street, Chicago, Illinois, United States

    Completed: 1964Cost: $36 million

    Height: 587 ft (179 m)Floor count: 65

    Main contractor: James McHugh Construction Co.

    Architect: Bertrand Goldberg

    There are three different housing units for Marina city. Studio, 1 bed and 2 bed. He positions the kitchens and bathrooms towards the core of the building and the bedrooms and living room to the outside to maximise the views and daylight.

    Goldberg designed the complex to function both day and night to maximise retail possibilities and be create a lively centre for the city.

  • The central core allows many units to densely occupy the space and reduces wasted circulation space. It gives each dwelling a city view. Structural system is efficient and reduces the building material needed. (similar to what we found in DPM mushroom research)

    The size and location of the development made it a landmark building and its construction acted as an event, exciting the city.

    Advertising played a main role in boosting support for the project and getting the public behind it.

    The public can not appreciate the views from above and the towers and retail space do not integrate well with the city on a pedestrian level.

  • wo

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    After studying our ecological system and some architectural housing precedents, we were given a choice of two sites to build on. The site our group chose was on Wood Street, between the Millennium Stadium and Cardiff central station. It currently is a flat site and is waiting new redevelopment after the previous building had to be demolished due to problems with winds and windows. Current developers had proposed a high rise for the site with a few hotels but this is on hold due to the current financial situation. Over time, transport has played a major role in the area. It situates the bus station and train station today, but used to have a tram line running alongside it. Visitors of the city will likely pass through this area, meaning that there is a changing and varied pedestrian population.

  • Water tower on site since 1940. Was used to refill steam engines.

    Old bridge has been removed and replaced with a newer one slightly further south.

    There is history on the site with wood processing. There used to be a joinery works, timber yard and saw mill on the bank of the river taff.

    Throughout its history, the building site has previously had a church, school, and transport offfice on it.

  • 1 9 4 0

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    This junction has been reconfigured many times over the past century and the massing of the buildings altered.

    There was once a tramway running through the city centre.

    The old residential area, Temperance Town, has been demolished to make way for city redevelopment and now situates the bus station and the millenium stadium.

  • then

  • now

    22:00

    e v e n t t r a f f i c

    l a n d s c a p eo f b r i d g e s

    s i t eo p e n t or i v e r

    g e n e r a t i v e a n d d e t e r m i n i n g f a c t o r s

  • g e n e r a t i v e a n d d e t e r m i n i n g f a c t o r s

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    c i t y c e n t r e

    c a r d i f f b a y

  • There is currently a lot of debris and rubbish surrounding the site and the surrounding buildings appear not to be cared for as those buildings closer to the centre of town. Perhaps a clean up project could be initiated to encourage the local community to care more for the area.

    If you look at the wind diagrams to the bottom of the page you can see that the site is open to great wind forces and this may carry pollutants in the air.Currently there is very little vegetation and wildlife on site but there is great potential to attract and establish new biodiverse habitats as the site is alongside the river.

    The housing project is a great chance to give the area an injection of colour and new life.

    P o l l u t i o n + B i o d i v e r s i t y

    y e a r l y

    s p r i n g s u m m e r a u t u m n w i n t e r

  • P e r s o n a l B r i e f / A i m s

    Open site to the river to create a bar and socialising area. (rail bridge arches are currently lit and create a nightlife atmosphere)

    Channel event pedestrian traffic through the site and underneath Wood Street to allow the road to remain open on more event days.

    Create a sustainable social community/environment in which artists can live, socialise, work and provide a space for the public to engage with their work.

    Create an engaging public space where the public can spend time relaxing.

    Bring biodiversity back to the area by designating green spaces.

    Take into account the demands set out for redeveloping the area according to Cardiff City Centre public realm manual.

    The development should act as a new node in Cardiff city centre and bring a new identity to the area and attract members of the public who would otherwise not frequent the area.

    Incorporate a new boat stop to facilitate a shuttle service to and from Cardiff bay.

  • sk

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    My design developed through a mixture of sketching and modelling. My initial idea was to design a high rise tower, to compete with other large scale buildings in the area. It would take the mushroom idea of repeated structural elements/ribs around a central core. These ribs would operate as the main structural system and incorporate services running vertically through them. It would also serve as the buildings formal expression. It would allow the public to experience the structural system at a personal level when entering and travelling through the building. Also, the ability to see right through the building, results in a greater legibility of the structure, due to its simplicity.

  • an event place

    At the junction of Cardiffs main transport links, this development creates a vibrant and sustainable artistic community and establishes an event place for artists to

    display their talents to a wide, varied and changing audience.

  • Here are some more working models. One the left, the white rubber block represents how a housing unit may nestle inside these ribs. The model to the right shows the idea of designing prefabricated units which, although also sit between the structural ribs, jut out, more like the nakagin tower. It also talks about how retail units may extend out at ground level from the same central focal point, tying the development together. The arrow shows how I intend the pedestrian traffic to flow through the site from the station to the stadium.

  • This model was investigating how far up the tower one could go and

    still have enough space for a usable housing unit. This was about two

    thirds up and is probably the smallest possible housing unit, designed for one or two people. It meant that the top third of the tower would have to

    have an alternative programme or be unused space if I decided to go with

    units inside the structure.

  • Here I was thinking about how I could incorporate public seating at ground level with a light well to give ample lighting to the space below ground. Getting light below ground is important as I am intending on the development to be for artists and so this would light their studio or retail/gallery space. One side is higher so that, when orientated correctly, light may be reflected into the space below. Reflected light provides better working conditions than direct sunlight for artists.

  • A selection of digital process work.

  • Process of realising a physical laser cut model from a digital model through the process of rationalisation through cad line drawings.

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    I am proposing a new artistic community which takes advantage of the influx of travellers from the rail and bus station and visitors to events at the Millennium stadium. This changing population added to the large living population will make a development such as this feasible and sustainable by its own population.

    Studios and a variety of exhibition spaces will be located below ground and accessible by a hierarchy of routes, in a layout which harks back to the street layout in the historic temperance town. This maximises the percentage of space at ground level to establish a large and self supporting green space, for the busy city population to relax and improve Cardiff citys biodiversity.

  • Housing takes the form of prefabricated units which plug into the main concrete tower and come in a variety of sizes to suit different lifestyle arrangements. The tower is capped with a lantern which acts as a public viewing area as well as providing a warm beacon on the Cardiff cityscape, pin pointing this new artistic community.

  • new water bus station/waiting room

    cafes, restaurants and bars

    exible studio/gallery/retail space for artists

    NBelow ground site plan

    Basement plan

    N

    space given to facilitate community events or pop up retail

    service lift from car park to retail level

    Open air cinema Outdoor public performance space

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    canopy

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    1. Plant room2. Refuse collection area

    3. Passenger drop o area4. Car park for residents and station

    5. Temporary delivery parking6 Service lift

  • new water bus station/waiting room

    cafes, restaurants and bars

    exible studio/gallery/retail space for artists

    NBelow ground site plan

    Basement plan

    N

    space given to facilitate community events or pop up retail

    service lift from car park to retail level

    Open air cinema Outdoor public performance space

    retr

    acta

    ble

    cano

    py

    retracta

    ble

    canopy

    1

    2

    3

    4

    5 6

    1. Plant room2. Refuse collection area

    3. Passenger drop o area4. Car park for residents and station

    5. Temporary delivery parking6 Service lift

  • H1

    H2

    H3

    NStandard tower oor plan

    3 variations of pre-fab housing units

    1. Hot rolled steel primary structural skeleton, inlled with poly-insulation material.

    2. Cold formed steel secondary structure.3. Reinforced concrete ground oor slab

    4. 60mm Polished screed oor nish5. Concrete oor plate inlled with insulation6. 250mm Polyisocyanurate board insulation

    7. 2x12mm Plasterboard8. 2mm Steel sheet treated with a weather resistant coating.

    Typical detail section through housing unit

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    a. refuse chuteb. cleaners cupboardc. central double helix staird. 4 lifts

    a b

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  • H1

    H2

    H3

    NStandard tower oor plan

    3 variations of pre-fab housing units

    1. Hot rolled steel primary structural skeleton, inlled with poly-insulation material.

    2. Cold formed steel secondary structure.3. Reinforced concrete ground oor slab

    4. 60mm Polished screed oor nish5. Concrete oor plate inlled with insulation6. 250mm Polyisocyanurate board insulation

    7. 2x12mm Plasterboard8. 2mm Steel sheet treated with a weather resistant coating.

    Typical detail section through housing unit

    1

    2

    3 4

    5

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    a. refuse chuteb. cleaners cupboardc. central double helix staird. 4 lifts

    a b

    c

    d

    H1

    H2

    H3

    NStandard tower oor plan

    3 variations of pre-fab housing units

    1. Hot rolled steel primary structural skeleton, inlled with poly-insulation material.

    2. Cold formed steel secondary structure.3. Reinforced concrete ground oor slab

    4. 60mm Polished screed oor nish5. Concrete oor plate inlled with insulation6. 250mm Polyisocyanurate board insulation

    7. 2x12mm Plasterboard8. 2mm Steel sheet treated with a weather resistant coating.

    Typical detail section through housing unit

    1

    2

    3 4

    5

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    6

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    a. refuse chuteb. cleaners cupboardc. central double helix staird. 4 lifts

    a b

    c

    d

    H1

    H2

    H3

    NStandard tower oor plan

    3 variations of pre-fab housing units

    1. Hot rolled steel primary structural skeleton, inlled with poly-insulation material.

    2. Cold formed steel secondary structure.3. Reinforced concrete ground oor slab

    4. 60mm Polished screed oor nish5. Concrete oor plate inlled with insulation6. 250mm Polyisocyanurate board insulation

    7. 2x12mm Plasterboard8. 2mm Steel sheet treated with a weather resistant coating.

    Typical detail section through housing unit

    1

    2

    3 4

    5

    7

    6

    8

    a. refuse chuteb. cleaners cupboardc. central double helix staird. 4 lifts

    a b

    c

    d

  • The model to the left shows an example of one of the prefabricated housing units. It is fitted minimally, kitchen, bathroom and stairs only, so that users may have room to personalize their living space to their own tastes. The bottom right photo shows the entrance to such a dwelling unit with a window/shelf which users can personalise too making their own unit distinguishable from others. The glazed facade opens up so that in the summer the inside space can expand and take advantage of the outdoor climate.

  • south section

  • east section

  • When studying the nakagin tower, I did not like the way the tower met the ground through a podium. The verticality of tower is broken and passersby would not notice it was a tower unless they looked up. I have tried to express the verticality of the tower by rooting it below ground level and by maintaining the lines from the top of the tower to the bottom. I have also introduced a greater degree of porosity at ground level by cutting apertures through the structural ribs. In turn this allows clear views through to behind and has created an atrium space which may take several programmes, be it a display space or simply a meeting point.

  • An artistic representation of how the development

    may be lit at night.

  • r e f e r e n c e s

    formfinding

    tree funghihttp://vanessavobis.com/2009/04/maine-tree-fungus/mushroom 1 http://www.flickr.com/photos/rich66/306842089/mushroom 2 http://www.flickr.com/photos/wwfloyd/1372732806/sizes/l/in/photostream/

    nakagin tower

    photo1http://www.archdaily.com/168654/168654/%C2%A9arcspace/photo2http://www.worldarchitecturenews.com/index.php?fuseaction=wanappln.showprojectbigimages&img=1&pro_id=126photo3http://www.geolocation.ws/v/P/28822678/-/enphoto4http://www.architecturememe.com/ad-classics-nakagin-capsule-tower-kisho-kurokawa/

    marina city

    photo1http://www.artic.edu/aic/resources/resource/1914photo2http://www.architechgallery.com/arch_info/bodies_of_work/goldberg_marina_city.htmlhttp://www.archdaily.com/87408/ad-classics-marina-city-bertrand-goldberg/marina-city_etower21-52-lg/http://www.archdaily.com/87408/ad-classics-marina-city-bertrand-goldberg/marina-city_floorplan0br/

    site analysis

    http://www.cardiffians.co.uk/citycentre/index.shtmlhttp://www.abandonedcommunities.co.uk/temperancetown.html

  • Mapping the Micro Scale

    What are the materials, colours, textures, smells, and sounds? Your group is asked to select a five by five metre area (representative segment) in the hottest urban area of the town, and map it in micro detail, recording all of the above.Measure the space intimately in plan, section and elevation (ask the owners of any adjacent businesses first!), and record the scales, sounds, smells, colours, and textures through drawings, audio recordings, photographs, sketches, paintings, rubbings, castings, and any other appropriate audio-visual media. Document and record in minute detail the more obscure and banal elements that often go unnoticed but which make up our urban fabric: Chewing gums, manhole covers, bollards, trees, street lamps, street signs, parked cars, open windows, graffiti, pigeons, post boxes, power lines, cigarette butts, telephone masts, suits, conversations, experience, and so on. Tell us what one limited space can tell us about the character of the town.

    Urb

    an C

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  • 1Chewing gum Cigarette butts Vegetation Other rubbish

    Micro-accumulation study

    Site 1 5124'22.25"N, 315'56.62"W

    140A Holton Roadbuilt ~1980

    1. Worn road markings2. Drainage issues3. Loose protuding brick4. Concrete infill5. Metal service covers6. Lamppost7. Bin / ashtray

    Site 2 5124'13.94"N, 315'40.67"W

    90 - 92 Castleland Street built ~1900

    1. Cracked paving slab2. Root disruption to paving3. Carved water channel4. service covers5. Water eroded paving slabs6. Mismatched paving slab7. Parked car8. Concrete inll

    Site plans

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    Lawrence Lynch, Sher Min Tan, Tom Cooper-Cocks, Tom Fairbrother

    Mic

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    Chewing gum Cigarette butts Vegetation Other rubbish

    Micro-accumulation study

    Site 1 5124'22.25"N, 315'56.62"W

    140A Holton Roadbuilt ~1980

    1. Worn road markings2. Drainage issues3. Loose protuding brick4. Concrete infill5. Metal service covers6. Lamppost7. Bin / ashtray

    Site 2 5124'13.94"N, 315'40.67"W

    90 - 92 Castleland Street built ~1900

    1. Cracked paving slab2. Root disruption to paving3. Carved water channel4. service covers5. Water eroded paving slabs6. Mismatched paving slab7. Parked car8. Concrete inll

    Site plans

    1

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    Lawrence Lynch, Sher Min Tan, Tom Cooper-Cocks, Tom Fairbrother

    1

    Chewing gum Cigarette butts Vegetation Other rubbish

    Micro-accumulation study

    Site 1 5124'22.25"N, 315'56.62"W

    140A Holton Roadbuilt ~1980

    1. Worn road markings2. Drainage issues3. Loose protuding brick4. Concrete infill5. Metal service covers6. Lamppost7. Bin / ashtray

    Site 2 5124'13.94"N, 315'40.67"W

    90 - 92 Castleland Street built ~1900

    1. Cracked paving slab2. Root disruption to paving3. Carved water channel4. service covers5. Water eroded paving slabs6. Mismatched paving slab7. Parked car8. Concrete inll

    Site plans

    1

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    Lawrence Lynch, Sher Min Tan, Tom Cooper-Cocks, Tom Fairbrother

    1

    Chewing gum Cigarette butts Vegetation Other rubbish

    Micro-accumulation study

    Site 1 5124'22.25"N, 315'56.62"W

    140A Holton Roadbuilt ~1980

    1. Worn road markings2. Drainage issues3. Loose protuding brick4. Concrete infill5. Metal service covers6. Lamppost7. Bin / ashtray

    Site 2 5124'13.94"N, 315'40.67"W

    90 - 92 Castleland Street built ~1900

    1. Cracked paving slab2. Root disruption to paving3. Carved water channel4. service covers5. Water eroded paving slabs6. Mismatched paving slab7. Parked car8. Concrete inll

    Site plans

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    Lawrence Lynch, Sher Min Tan, Tom Cooper-Cocks, Tom Fairbrother

  • 1Chewing gum Cigarette butts Vegetation Other rubbish

    Micro-accumulation study

    Site 1 5124'22.25"N, 315'56.62"W

    140A Holton Roadbuilt ~1980

    1. Worn road markings2. Drainage issues3. Loose protuding brick4. Concrete infill5. Metal service covers6. Lamppost7. Bin / ashtray

    Site 2 5124'13.94"N, 315'40.67"W

    90 - 92 Castleland Street built ~1900

    1. Cracked paving slab2. Root disruption to paving3. Carved water channel4. service covers5. Water eroded paving slabs6. Mismatched paving slab7. Parked car8. Concrete inll

    Site plans

    1

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    Lawrence Lynch, Sher Min Tan, Tom Cooper-Cocks, Tom Fairbrother

    1

    Chewing gum Cigarette butts Vegetation Other rubbish

    Micro-accumulation study

    Site 1 5124'22.25"N, 315'56.62"W

    140A Holton Roadbuilt ~1980

    1. Worn road markings2. Drainage issues3. Loose protuding brick4. Concrete infill5. Metal service covers6. Lamppost7. Bin / ashtray

    Site 2 5124'13.94"N, 315'40.67"W

    90 - 92 Castleland Street built ~1900

    1. Cracked paving slab2. Root disruption to paving3. Carved water channel4. service covers5. Water eroded paving slabs6. Mismatched paving slab7. Parked car8. Concrete inll

    Site plans

    1

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    Lawrence Lynch, Sher Min Tan, Tom Cooper-Cocks, Tom Fairbrother

    1

    Chewing gum Cigarette butts Vegetation Other rubbish

    Micro-accumulation study

    Site 1 5124'22.25"N, 315'56.62"W

    140A Holton Roadbuilt ~1980

    1. Worn road markings2. Drainage issues3. Loose protuding brick4. Concrete infill5. Metal service covers6. Lamppost7. Bin / ashtray

    Site 2 5124'13.94"N, 315'40.67"W

    90 - 92 Castleland Street built ~1900

    1. Cracked paving slab2. Root disruption to paving3. Carved water channel4. service covers5. Water eroded paving slabs6. Mismatched paving slab7. Parked car8. Concrete inll

    Site plans

    1

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    Lawrence Lynch, Sher Min Tan, Tom Cooper-Cocks, Tom Fairbrother

  • 123

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    Elevation detail study

    1:20

    few quality materials neglected and modified

    cheap materials neglected due to lack of ownership and pride

    1. Poorly maintained slate roof2. Unnecessary additional detailing3. Plastic drainpipe4. Stone painted white5. Bricks and stone painted red6. Poorly maintained paving slabs7. PVC plastic door

    1

    multiple signs

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    1. No overhang creating shelter2. Poor detailing causing staining of brickwork3. Pale brickwork emphasises dirt4. Poor positioning of bin outside shopfront5. Poorly maintained lamp post

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    Lawrence Lynch, Sher Min Tan, Tom Cooper-Cocks, Tom Fairbrother

    Ele

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    Elevation detail study

    1:20

    few quality materials neglected and modified

    cheap materials neglected due to lack of ownership and pride

    1. Poorly maintained slate roof2. Unnecessary additional detailing3. Plastic drainpipe4. Stone painted white5. Bricks and stone painted red6. Poorly maintained paving slabs7. PVC plastic door

    1

    multiple signs

    1

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    45

    1. No overhang creating shelter2. Poor detailing causing staining of brickwork3. Pale brickwork emphasises dirt4. Poor positioning of bin outside shopfront5. Poorly maintained lamp post

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    Lawrence Lynch, Sher Min Tan, Tom Cooper-Cocks, Tom Fairbrother

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    Elevation detail study

    1:20

    few quality materials neglected and modified

    cheap materials neglected due to lack of ownership and pride

    1. Poorly maintained slate roof2. Unnecessary additional detailing3. Plastic drainpipe4. Stone painted white5. Bricks and stone painted red6. Poorly maintained paving slabs7. PVC plastic door

    1

    multiple signs

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    1. No overhang creating shelter2. Poor detailing causing staining of brickwork3. Pale brickwork emphasises dirt4. Poor positioning of bin outside shopfront5. Poorly maintained lamp post

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    Lawrence Lynch, Sher Min Tan, Tom Cooper-Cocks, Tom Fairbrother

  • 123

    45

    6

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    Elevation detail study

    1:20

    few quality materials neglected and modified

    cheap materials neglected due to lack of ownership and pride

    1. Poorly maintained slate roof2. Unnecessary additional detailing3. Plastic drainpipe4. Stone painted white5. Bricks and stone painted red6. Poorly maintained paving slabs7. PVC plastic door

    1

    multiple signs

    1

    2

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    45

    1. No overhang creating shelter2. Poor detailing causing staining of brickwork3. Pale brickwork emphasises dirt4. Poor positioning of bin outside shopfront5. Poorly maintained lamp post

    2

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    Lawrence Lynch, Sher Min Tan, Tom Cooper-Cocks, Tom Fairbrother

    1

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    45

    6

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    Elevation detail study

    1:20

    few quality materials neglected and modified

    cheap materials neglected due to lack of ownership and pride

    1. Poorly maintained slate roof2. Unnecessary additional detailing3. Plastic drainpipe4. Stone painted white5. Bricks and stone painted red6. Poorly maintained paving slabs7. PVC plastic door

    1

    multiple signs

    1

    2

    3

    45

    1. No overhang creating shelter2. Poor detailing causing staining of brickwork3. Pale brickwork emphasises dirt4. Poor positioning of bin outside shopfront5. Poorly maintained lamp post

    2

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    Lawrence Lynch, Sher Min Tan, Tom Cooper-Cocks, Tom Fairbrother

    1

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    6

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    Elevation detail study

    1:20

    few quality materials neglected and modified

    cheap materials neglected due to lack of ownership and pride

    1. Poorly maintained slate roof2. Unnecessary additional detailing3. Plastic drainpipe4. Stone painted white5. Bricks and stone painted red6. Poorly maintained paving slabs7. PVC plastic door

    1

    multiple signs

    1

    2

    3

    45

    1. No overhang creating shelter2. Poor detailing causing staining of brickwork3. Pale brickwork emphasises dirt4. Poor positioning of bin outside shopfront5. Poorly maintained lamp post

    2

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    Lawrence Lynch, Sher Min Tan, Tom Cooper-Cocks, Tom Fairbrother

  • Lawrence Lynch, Sher Min Tan, Tom Cooper-Cocks, Tom Fair-

    Greenery exploration

    Site 1

    Site 2

    1:2000Flowering plants Colour Flowering Nectar

    Source Caterpillar

    plant Establishes

    quickly Achillea millefolium Yarrow Jun-Aug Y Y Agrimonia eupatoria Agrimony Jun-Sept Y Y Betonia ocinalis Betony Jun-Sept Y Centaurea nigra Black knapweed Jun-Aug Y Centaurea scabiosa Greater knapweed Jun-Aug Y Y Conopodium majus Pignut May-Jun Y Daucus carota Wild carrot Jun-Aug Y Galium verum Ladys bedstraw Jul-Aug Y Y Knautia arvensis Field scabious Jul-Sept Y Lathyrus pratenis Meadow vetchling May-Aug Y Leontodon hispidus Rough hawkbit Jun-Sept Y Leucanthemum vulgare

    Ox-eye daisy Jun-Aug Y Y

    Lotus corniculatus Birdsfoot trefoil Jun-Aug Y Y Plantago lanceolata Ribwort plantain Apr-Aug Y Potentilla retans Creeping cinquefoil Jun-Sept Y Primula veris Cowslip Apr-May Y Prunella vulgaris Self-heal Jun-Sept Y Y Ranunculus acris Meadow buttercup May-Jul Y Ranuculus bulbosos Bulbous buttercup Apr-Jun Y Rhianthusminor Yellow rattle May-Jul Rumex acetosa Common sorrel May-Jun Y Y Sanguisorba minor Salad burnet Jun-Sept Vicia cracca Tufted vetch Jun-Aug Y Vicia sativa Common vetch May-Sept Y Grasses Agrostis capillaries Common bent Jun-Aug Y Anthoxantum odoratum

    Sweet vernal Apr-Aug Y

    Briza media Quaking grass Jun-Aug Cynosurus cristatus Crested dogstail Jun-Aug Y Festuca rubra Red fescue May-Jul Y Festuca pratensis Meadow fescue Jun Tristetum avescens Yellow oat-grass May-Jun

    Some flowering plants that are native to the Vale of GlamorganN

    The top left plan highlights the green areas in and around the heart of Barry. As can be seen there is very little greenery in the dense urban fabric other than a few trees and private gardens.

    The top right map highlights the boundary between these denser areas and those parts with a higher proportion of green areas. During the last century, 97% wildflower meadows have been lost due to changes in land management. Below this is a map highlighting the areas of Barry whichare constructed on manmade land.

    Plan to the left shows where the two main green spaces in the the dense urban residential area are. Below are samples of plants we found along the strip of vegetation parrellel to the railway line. It hosts many wild species but is restricted to the public due to the steep slope and railings. To the right is a table of species native to the Vale of Glamorgan.

    Greenery Density Bounday

    Manmade Land

    Gre

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  • Lawrence Lynch, Sher Min Tan, Tom Cooper-Cocks, Tom Fair-

    Greenery exploration

    Site 1

    Site 2

    1:2000Flowering plants Colour Flowering Nectar

    Source Caterpillar

    plant Establishes

    quickly Achillea millefolium Yarrow Jun-Aug Y Y Agrimonia eupatoria Agrimony Jun-Sept Y Y Betonia ocinalis Betony Jun-Sept Y Centaurea nigra Black knapweed Jun-Aug Y Centaurea scabiosa Greater knapweed Jun-Aug Y Y Conopodium majus Pignut May-Jun Y Daucus carota Wild carrot Jun-Aug Y Galium verum Ladys bedstraw Jul-Aug Y Y Knautia arvensis Field scabious Jul-Sept Y Lathyrus pratenis Meadow vetchling May-Aug Y Leontodon hispidus Rough hawkbit Jun-Sept Y Leucanthemum vulgare

    Ox-eye daisy Jun-Aug Y Y

    Lotus corniculatus Birdsfoot trefoil Jun-Aug Y Y Plantago lanceolata Ribwort plantain Apr-Aug Y Potentilla retans Creeping cinquefoil Jun-Sept Y Primula veris Cowslip Apr-May Y Prunella vulgaris Self-heal Jun-Sept Y Y Ranunculus acris Meadow buttercup May-Jul Y Ranuculus bulbosos Bulbous buttercup Apr-Jun Y Rhianthusminor Yellow rattle May-Jul Rumex acetosa Common sorrel May-Jun Y Y Sanguisorba minor Salad burnet Jun-Sept Vicia cracca Tufted vetch Jun-Aug Y Vicia sativa Common vetch May-Sept Y Grasses Agrostis capillaries Common bent Jun-Aug Y Anthoxantum odoratum

    Sweet vernal Apr-Aug Y

    Briza media Quaking grass Jun-Aug Cynosurus cristatus Crested dogstail Jun-Aug Y Festuca rubra Red fescue May-Jul Y Festuca pratensis Meadow fescue Jun Tristetum avescens Yellow oat-grass May-Jun

    Some flowering plants that are native to the Vale of GlamorganN

    The top left plan highlights the green areas in and around the heart of Barry. As can be seen there is very little greenery in the dense urban fabric other than a few trees and private gardens.

    The top right map highlights the boundary between these denser areas and those parts with a higher proportion of green areas. During the last century, 97% wildflower meadows have been lost due to changes in land management. Below this is a map highlighting the areas of Barry whichare constructed on manmade land.

    Plan to the left shows where the two main green spaces in the the dense urban residential area are. Below are samples of plants we found along the strip of vegetation parrellel to the railway line. It hosts many wild species but is restricted to the public due to the steep slope and railings. To the right is a table of species native to the Vale of Glamorgan.

    Greenery Density Bounday

    Manmade Land

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    MANIFESTOSince the dissolution of the coal and merchant industries, Barry, specifically Thompson Street, has lost its character and identity.

    During the industrial boom, Barry expanded rapidly and Thompson Street was at the heart of the action; a thriving and bustling community with a varied and encompassing programme. In the 70s, its community was driven out and architectural atmosphere lost when the buildings on the street were demolished, taking with it the soul of one of the vital links between the town and docks. Barry council has since decided to reconnect the dock area with the town and this project will aid the restoration of this main artery. The town has also lost most of its performance venues. Theatre is a powerful medium and has the ability to alter peoples perceptions of reality. It is an essential part of society and necessary to improve the wellbeing of the people of Barry.

    The past identity of Thompson Street is not salvageable and there is no sense in attempting to restore the past character of the street based on memories, recollections or nostalgic thoughts. However, it is also important that the street not lose touch with its heritage.

    I propose to construct a performing arts complex based on the indigenous industrial typology of the Welsh coal mine. The strong atmospheric qualities of the mines are powerful and something that I will aim to capture and I believe would suit a theatrical environment. The industrial nature of this precedent should result in functional and legible spaces as seen in Ash Sakulas boiler house and Haworth Tompkins Temporary Almeida theatre. The intervention should somehow reinstate the lost performance culture of Barry and catalyse the regeneration of Thompson Street in a sustainable fashion, providing it with a new focus and identity.

    The intervention must be an inviting welcoming and inclusive place for the people of Barry. Those young people using the space are likely to not have experienced a theatre environment before. The main performance space must be a place that is respected by both performers and audience and be somewhat imposing and disciplinary. Intervention must not be restricted by site boundaries and should integrate with existing environment. The project must have an aspiration for permanence and longevity. The intervention should be seen as an opportunity to improve the urban realm and the town of Barry.

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    the Level @ Barry

    1:100 SW Thompson Street section

    1:100 Aerial plan

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    1 Tower 3 a writing room

    2 Tower 2 a interior viewing area b water tank

    3 Tower 1 a Access to service grid

    4 Sheds 2, Workshop 1 a practise room 1 b practise room 2 c rehearsaltheatre d mezzanine level

    5 Sheds 1, Workshop G a waiting room b dressing room 1 w/ WC c dressing room 2 w/ WC d meadow terraces

    6 Sheds G, Theatre -1 a storage and delivery serice area b temporary gallery space/ cafe overflow c bar and cafe d box office e disabled WC f male WC g female WC h admin office i outdoor auditorium j outdoor cafe overflow and performance spaces k public entrance to theatre l staff entrance to theatre m cloakroom n control box o main auditorium balcony level p main public square

    7 Theatre -2 a cleaners room b foyer c male WC d female WC e main auditorium seating level

    8 Theatre -3 a costume storage b green room c dressing room 1 w/ WC d dressing room 2 w/ WC e waiting area f stage set door and storage g performers entrance h main stagen sunken i mock up stage

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    1 120x100x12mm steel handrail2 2mm white fabric gauze3 LED screen4 8x70mm steel fascia5 10mm steel bolt6 160x115x12mm steel beam7 100x12mm steel mesh8 30mm glazing9 2mm lead sheeting10 6mm spacetherm aerogel insulation11 12mm ply board12 260x280x20mm steel beam13 20mm plasterboard14 50mm recessed steel bolt15 280x120x20 steel I beam16 50x50x8mm steel cage17 300x300x24mm steel square section bracing18 24mm ply board19 12mm anti-theft steel grid20 30mm structural steel grid and light reflector21 60mm steel infill panel22 60mm glazing infill panel23 1000mm in-situ reinforced concrete24 180x100x12mm steel handrail/beam25 12mm steel plate26 24mm ply board27 50x50x8mm steel stage framework and stools28 300mm reinforced concrete floor slab and wall29 1000mm concrete raft foundations30 2mm waterproof membrane31 very hard clay

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    MANIFESTOSince the dissolution of the coal and merchant industries, Barry, specifically Thompson Street, has lost its character and identity.

    During the industrial boom, Barry expanded rapidly and Thompson Street was at the heart of the action; a thriving and bustling community with a varied and encompassing programme. In the 70s, its community was driven out and architectural atmosphere lost when the buildings on the street were demolished, taking with it the soul of one of the vital links between the town and docks. Barry council has since decided to reconnect the dock area with the town and this project will aid the restoration of this main artery. The town has also lost most of its performance venues. Theatre is a powerful medium and has the ability to alter peoples perceptions of reality. It is an essential part of society and necessary to improve the wellbeing of the people of Barry.

    The past identity of Thompson Street is not salvageable and there is no sense in attempting to restore the past character of the street based on memories, recollections or nostalgic thoughts. However, it is also important that the street not lose touch with its heritage.

    I propose to construct a performing arts complex based on the indigenous industrial typology of the Welsh coal mine. The strong atmospheric qualities of the mines are powerful and something that I will aim to capture and I believe would suit a theatrical environment. The industrial nature of this precedent should result in functional and legible spaces as seen in Ash Sakulas boiler house and Haworth Tompkins Temporary Almeida theatre. The intervention should somehow reinstate the lost performance culture of Barry and catalyse the regeneration of Thompson Street in a sustainable fashion, providing it with a new focus and identity.

    The intervention must be an inviting welcoming and inclusive place for the people of Barry. Those young people using the space are likely to not have experienced a theatre environment before. The main performance space must be a place that is respected by both performers and audience and be somewhat imposing and disciplinary. Intervention must not be restricted by site boundaries and should integrate with existing environment. The project must have an aspiration for permanence and longevity. The intervention should be seen as an opportunity to improve the urban realm and the town of Barry.

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    the Level @ Barry

    1:100 SW Thompson Street section

    1:100 Aerial plan

    4

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    1 Tower 3 a writing room

    2 Tower 2 a interior viewing area b water tank

    3 Tower 1 a Access to service grid

    4 Sheds 2, Workshop 1 a practise room 1 b practise room 2 c rehearsaltheatre d mezzanine level

    5 Sheds 1, Workshop G a waiting room b dressing room 1 w/ WC c dressing room 2 w/ WC d meadow terraces

    6 Sheds G, Theatre -1 a storage and delivery serice area b temporary gallery space/ cafe overflow c bar and cafe d box office e disabled WC f male WC g female WC h admin office i outdoor auditorium j outdoor cafe overflow and performance spaces k public entrance to theatre l staff entrance to theatre m cloakroom n control box o main auditorium balcony level p main public square

    7 Theatre -2 a cleaners room b foyer c male WC d female WC e main auditorium seating level

    8 Theatre -3 a costume storage b green room c dressing room 1 w/ WC d dressing room 2 w/ WC e waiting area f stage set door and storage g performers entrance h main stagen sunken i mock up stage

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    1:20 Detail section through tower and auditorium

    1 120x100x12mm steel handrail2 2mm white fabric gauze3 LED screen4 8x70mm steel fascia5 10mm steel bolt6 160x115x12mm steel beam7 100x12mm steel mesh8 30mm glazing9 2mm lead sheeting10 6mm spacetherm aerogel insulation11 12mm ply board12 260x280x20mm steel beam13 20mm plasterboard14 50mm recessed steel bolt15 280x120x20 steel I beam16 50x50x8mm steel cage17 300x300x24mm steel square section bracing18 24mm ply board19 12mm anti-theft steel grid20 30mm structural steel grid and light reflector21 60mm steel infill panel22 60mm glazing infill panel23 1000mm in-situ reinforced concrete24 180x100x12mm steel handrail/beam25 12mm steel plate26 24mm ply board27 50x50x8mm steel stage framework and stools28 300mm reinforced concrete floor slab and wall29 1000mm concrete raft foundations30 2mm waterproof membrane31 very hard clay

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    the Level @ Barry

    site backgroundprecedent researchmanifestoprocess workpresentation workcities and landscapes

    68-7172-7576-7778-89

    90-101102-103

  • 1870

    Thompson street is an important highway in Barry. Even before Barry existed, what is Thompson street now, was defined by a path marked by trees. Buildings coagulated around it and the surrounding area become what we see today. It was an essential route from town centre to the docks and played house to the community of Barry. The importance of this street has been forgotten and this is seen in the demolish of the old Victorian buildings on the street in 1970. The street needs to be repaired and re purposed.

    The plan of the street had developed too. As buildings were demolished and re built so the width of the street altered. Whatever I propose will too alter the street space and It is an opportunity to contribute to Thompson streets development. I may choose not to build directly onto the street and set buildings back to open up the centre of the street. Add a stopping space for the public instead of it being just a linear route.

    Below, are views of the street in past times and today. Also is a photo of the obtrusive leisure centre building and an interesting unused space near the site which has potential to be an impromptu stage area. Also is an impression of what an industrial intervention may look like on the site.

    SITE BACKGROUND Thompson Street

  • 1870 1900

    19701950

  • PRECEDENT RESEARCH Samuel Beckett Theatre, Trinity College, Dublin

    Haworth Thompkins - Almeida Temporary Theatre

    Amtrak Tunnel - New York

  • Byoung Soo Cho Architects - Earth House

    Amtrak Tunnel - New York

  • Peter Zumthor

    Atmospheres

    Materials react with one another and have their radiance, so that the material composition gives rise to something unique.

    Therme Vals

    A continuous internal space, like a geometric cave system, meanders through the baths structure of large stone blocks. The building has been conceived as a technically ordered, architectonic structure which avoids naturalistic form. Yet within its homogenous stone mass it still retains a clear sense of the strongest initial design ideas - idea of hollowing out.

  • MANIFESTO

    Since the dissolution of the coal and merchant industries, Barry, specifically Thompson Street, has lost

    its character and identity.

    During the industrial boom, Barry expanded rapidly and Thompson Street was at the heart of the action; a thriving and bustling community with a varied and

    encompassing programme. In the 70s, its community was driven out and architectural atmosphere lost when the buildings on the street were demolished, taking with it the soul of one of the vital links between the town and docks. Barry council has since decided to reconnect the dock area with the town and this project will aid the restoration of this main artery. The town has also lost most of its performance venues. Theatre is a powerful

    medium and has the ability to alter peoples perceptions of reality. It is an essential part of society and necessary to improve the wellbeing of the people of

    Barry.

    The past identity of Thompson Street is not salvageable and there is no sense in attempting to restore the past character of the street based on memories, recollections or nostalgic thoughts. However, it is also important that

    the street not lose touch with its heritage.

    I propose to construct a performing arts complex based on the indigenous industrial typology of the Welsh coal mine. The strong atmospheric qualities of the mines are powerful and something that I will aim to capture and I believe would suit a theatrical environment. The industrial nature of this precedent should result in

  • functional and legible spaces as seen in Ash Sakulas boiler house and Haworth Tompkins Temporary Almeida

    theatre. The intervention should somehow reinstate the lost performance culture of Barry and catalyse the

    regeneration of Thompson Street in a sustainable fashion, providing it with a new focus and identity.

    The intervention must be an inviting welcoming and inclusive place for the people of Barry. Those young

    people using the space are likely to not have experienced a theatre environment before. The main performance space must be a place that is respected by both performers

    and audience and be somewhat imposing and disciplinary. Intervention must not be restricted by site boundaries and should integrate with existing environment. The project must have an aspiration for permanence and longevity. The intervention should be seen as an

    opportunity to improve the urban realm and the town of Barry.

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    Tower

    1 rooftop viewing area

    2 writing room

    3 interior viewing area

    4 water tank

    5 access to service grid

    Workshop

    6 ground floor

    7 mezzanine floor Sheds

    8 practise room 1

    9 practise room 2

    10 rehearsal theatre

    11 waiting room

    12 dressing room 1 w/ WC

    13 dressing room 2 w/ WC

    14 storage and delivery serice area

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    overflow

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    17 box office

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    19 male WC

    20 female WC

    21 admin office

    Theatre

    22 public entrance to theatre

    23 staff entrance to theatre

    24 cloakroom

    25 control box

    26 main auditorium balcony level

    27 cleaners room

    28 foyer

    29 male WC

    30 female WC

    31 main auditorium seating level

    32 costume storage

    33 green room

    34 dressing room 1 w/ WC

    35 dressing room 2 w/ WC

    36 waiting area

    37 stage set door and storage

    38 performers entrance

    39 main stagen sunken

    40 mock up stage area

    Other

    41 main public square

    42 meadow terraces

    43 outdoor auditorium

    44 outdoor cafe overflow /

    performance spaces

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    the level @ Barry

    1:200 schematic axo

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    Tower

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    2 writing room

    3 interior viewing area

    4 water tank

    5 access to service grid

    Workshop

    6 ground floor

    7 mezzanine floor Sheds

    8 practise room 1

    9 practise room 2

    10 rehearsal theatre

    11 waiting room

    12 dressing room 1 w/ WC

    13 dressing room 2 w/ WC

    14 storage and delivery serice area

    15 temporary gallery space/cafe

    overflow

    16 bar and cafe

    17 box office

    18 disabled WC

    19 male WC

    20 female WC

    21 admin office

    Theatre

    22 public entrance to theatre

    23 staff entrance to theatre

    24 cloakroom

    25 control box

    26 main auditorium balcony level

    27 cleaners room

    28 foyer

    29 male WC

    30 female WC

    31 main auditorium seating level

    32 costume storage

    33 green room

    34 dressing room 1 w/ WC

    35 dressing room 2 w/ WC

    36 waiting area

    37 stage set door and storage

    38 performers entrance

    39 main stagen sunken

    40 mock up stage area

    Other

    41 main public square

    42 meadow terraces

    43 outdoor auditorium

    44 outdoor cafe overflow /

    performance spaces

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    1:200 schematic axo

  • Main Auditorium Lighting AnalysisPhysical Model

    Daylight

    Artificial

    Artificial

  • Daylight Daylight

    Artificial Artificial

    Artificial Artificial Digital Model

  • plaque tournante/ unite

    dambianceThomas Fairbrother

    The proposal consists, instead of one singular building, a collection of structures dotted around a certain locality in Barry. By doing so I aim to design a unite dambiance, thus increasing the area of influence the architecture has and create a wider artistic environment. As the situationists put it, bring the art from inside the gallery to the streets. By keeping to the existing street plan for the arrangement of the structure the intervention is knitted into the urban fabric.

    The programme is a theatre and the main performance space is underground below the tower, but I have tried to expand this theme of performance to the landscape too by designing small dwelling spaces which may be inhabited by performers. There is a more formal theatre dug into the public space facing Thompson street which follows the dimensions and sits on the axis of the main theatre. There is also a sunken area along a route exiting the west of the site which may be inhabited by buskers and a third enveloping wall which may host an outdoor music stage. The cafe, bar, box office and WCs sit within the central building.

    The public space is split in two by the spine of vernacular buildings in the centre of the scheme. There is a contrast between heavy industrial and man made(taking influence form the coal industry previously supporting Thompson street) with light and natural. The buildings define this by their contrast in elevations. One side acting as a concrete facade casting shadow over the Thompson street side of the scheme and the other seeming to float with glazing to allow the light to inhabit the spaces. The landscaping is also reflected in this way by textures, rough concrete versus wildflower meadow terraces

    I have outlined a potential route one may take from the town centre to the theatre.It explains how one has to pass through the darker area to get to the light. One gets glimpses of the light landscape behind the facade and is drawn in. They descend a series of steps and traverse the industrial environment. Then the squeeze through an opening in the facade and this opens up to the landscape below.

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    Concept that richer and more successful public realm is achieved through a multitude or layering of architectural intervention rather than one building. Situationists coined the term unite dambiance as a counter arguement to Corbusiers unite dhabitation. plaque tournante is another term for this idea. It is difficult to translate but is similar to a turntable or node. It is used to describe certain localities of public realm which a stumbled upon whilst drifting through a city. Situationists mapped these plaque tournantes in their unique way. It opposed the cartesian logic of ordinary street maps and instead recorded more experiential and favourable alternative routes.

  • plaque tournante/ unite

    dambianceThomas Fairbrother

    The proposal consists, instead of one singular building, a collection of structures dotted around a certain locality in Barry. By doing so I aim to design a unite dambiance, thus increasing the area of influence the architecture has and create a wider artistic environment. As the situationists put it, bring the art from inside the gallery to the streets. By keeping to the existing street plan for the arrangement of the structure the intervention is knitted into the urban fabric.

    The programme is a theatre and the main performance space is underground below the tower, but I have tried to expand this theme of performance to the landscape too by designing small dwelling spaces which may be inhabited by performers. There is a more formal theatre dug into the public space facing Thompson street which follows the dimensions and sits on the axis of the main theatre. There is also a sunken area along a route exiting the west of the site which may be inhabited by buskers and a third enveloping wall which may host an outdoor music stage. The cafe, bar, box office and WCs sit within the central building.

    The public space is split in two by the spine of vernacular buildings in the centre of the scheme. There is a contrast between heavy industrial and man made(taking influence form the coal industry previously supporting Thompson street) with light and natural. The buildings define this by their contrast in elevations. One side acting as a concrete facade casting shadow over the Thompson street side of the scheme and the other seeming to float with glazing to allow the light to inhabit the spaces. The landscaping is also reflected in this way by textures, rough concrete versus wildflower meadow terraces

    I have outlined a potential route one may take from the town centre to the theatre.It explains how one has to pass through the darker area to get to the light. One gets glimpses of the light landscape behind the facade and is drawn in. They descend a series of steps and traverse the industrial environment. Then the squeeze through an opening in the facade and this opens up to the landscape below.

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    Concept that richer and more successful public realm is achieved through a multitude or layering of architectural intervention rather than one building. Situationists coined the term unite dambiance as a counter arguement to Corbusiers unite dhabitation. plaque tournante is another term for this idea. It is difficult to translate but is similar to a turntable or node. It is used to describe certain localities of public realm which a stumbled upon whilst drifting through a city. Situationists mapped these plaque tournantes in their unique way. It opposed the cartesian logic of ordinary street maps and instead recorded more experiential and favourable alternative routes.

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  • I have acted as co-president of the student chapter of Article 25 for Cardiff over the course of the year.

    The 25th article of the Universal Declaration of Human Rights shows that adequate shelter and housing are fundamental to our human rights. Article 25, a UK organisation, works to enable this right by building solutions to global problems.

    In order to raise awareness of the society, we decided to rebrand using an A motif integrating 3 different symbols which encapsulated what our interests are:

    Tree= sustainablility, ecology, growth

    Fingerprint= humanity, identity, culture

    Shed=structure, shelter, design

  • We have organised lectures to explore these ideas. Assemble collective, a young group of designers, visited and talked about how they have brought life to derelict sites using found materials, volunteers and enthusiasm.

    We also, arranged for a representative from the charity to explain some of their overseas work and some 3rd year students to explain about voluntary construction work they have done abroad

    Next term we are set to have Nabeel Hambdi come and talk about his ideas in his book small changes and how through many small interv