t h e G R e n f e l l - b a i n e s s c h o o l o f a R c h i t e c t u R e , c o n s t R u c t i o n a n d e n v i R o n m e n t

y e a R b o o k 2014

i n t R o d u c t i o n

once again the time of year has arrived when we celebrate the work of our graduating students.

The Degree Show allows family, friends and visitors to see the high calibre work that our students produce whilst studying at the University of Central Lancashire. This annual event showcases our graduating students talent, and is a testament to the BSc Architecture Programme, the teaching and most importantly to our students endeavour.

We are confident that this degree show is the impressive conclusion to another exciting year at UCLan.

We would like to extend thanks and gratitude to the teaching, technical and support staff in the School, who each year make the new showcase a success. Providing the students with the support, encouragement and knowledge they need to make the show a memorable conclusion to their studies.

We hope you enjoy the show.

from the architectural studies team

c o n t e n t s

1. Paresh Sanghani2. Gabrielė Adomaitytė3. Veronika Ignataviciute4. Darius Narmontas5. Abigail Humphreys8. Michael Morley9. Joseph Morley11. Michael Quayle12. Nikita Chavda13. Hollie Muir14. Lorna Hutchinson15. Ioulieta Chatzaki19. Zubair Patel20. Gerald A. Griffith21. Zein Ahmed22. Stephen Ball23. Ryan Wright24. Luke Owen Jones25. Tomasz Trzesniowski26. Liam Watts27. Jacob Hussey28. Balin Mohammad29. Augustė Rinkevičiūtė30. Alexander Macbeth31. James Butler32. Christopher Thornton34. Benjamin Powell35. Katherine Nicholson36. Rebecca Chin37. Gareth Norton38. Liam Bentley39. Jordan Hughes40. Holly Ellison41. Wendy Leung

congratulations to the following bsc hons architecture students who have presented their work at this years degree show.

the architecture teaching team includes:

Ronny Ford - Course LeaderVicky JolleyLaura SherlikerDavid SimisterPhil WatsonWill FisherRachel Patel Charalampos PolitakisMichael Chadwick

b s c a R c h i t e c t u R e

This year’s Architecture show features final projects for undergraduate BSc Hons Architecture RIBA Part 1.

The level 6 Architecture Studio has explored seven thematic projects.

atelier oneTutors Laura Sherliker & Marcus Schofield

semester one architecture of deathsemester two envirocity

atelier twoTutors Ronny Ford & David Simister

semester one violence and imminencesemester two culture and imminence

atelier threeTutors Vicky Jolley & Michael Chadwick

semester one you(th): lost Generation

Tutors Will Fisher, Rachel Patel & Charalampos Politakis

semester two creative thinking

atelier fourTutor Phil Watson

semester one and two architecture of a second nature

atelier 1 Tutors Laura Sherliker & Marcus Schofield

at e l i e R o n e

architecture of deathCaring for the dead is an important part of any society, and how it is done reflects the prevailing culture. As societies evolve, the customs and traditions surrounding funerals and memorialisation also change. Social and cultural changes in death and bereavement practices impact the way we engage with the environment and physical spaces of final repose, recollection and memorialisation.

Do changing demographic, social and technological trends have new implications on death and dying and the way families remember and honour loved ones? How will the dead will be treated and remembered? How can design shape the future of deathcare? This shifting consciousness underscores the need for new interpretations of the way we deal with death and dying, and how the use of space influences the way we grieve and remember the dead.

Pushing the boundaries of deathcare with fresh perspectives of how we interact with physical spaces and architecture in bereavement and remembrances. The intersection of life and death takes place when the living, gaze upon what used to be and face the reality of mortality. From the inner space of contemplation to the outward rituals of death and bereavement, these junctions of life and death occur in funeral homes, columbarium, crematorium, cemetery, memorials and places of remembrances. While these places hold intensely personal and private moments, they also represent collective experiences of departure and remembrance. The intricate spatial links are meshed with the individuals’, societal and cultural emotions, beliefs and customs.

atelier 1 Tutors Laura Sherliker & Marcus Schofield

at e l i e R o n e

envirocityRecent developments in certain zones of the city of Preston have served to create a patchwork effect of redundant and semi-redundant buildings and building sites. Many areas of the city are in need of serious architectural re- integration.

What does the city’s form actually mean to the people that live there? What can you do to make the city vivid and memorable for the dweller? Formulate your own criteria for the re building of Preston.

Examining key environmental global concern: FOOD:INDUSTRY:CULTURE

Preston can become a model for other cities in the way that it may turn negative urban landscapes into active, relevant and meaningful places for sustaining, promoting and celebrating healthy living through a determinate and proactive attitude towards the growing of food or other industries, allowing the social, cultural and architectural identity of the city to be shared and understood.

atelier 2 Tutors Ronny Ford & David Simister

at e l i e R t W o

violence and imminenceThe issue of violence is normally viewed with negative connotations these in terms of subjective violence can be real and not anonymous, this being represented in the media daily. A fact highlighted recently within Lancashire in terms of the coverage of the murder of Bacup teenager Sophie Lancaster, an event that also questioned the plight of young people within the context of the region.

Theatre has a long association with the representation of violence originating in Greek Tragic Theatre and equally via the myth of Daedelus, with the origins of architecture. The task of designing a theatre specifically for use by young local people is a proposal that attempts to deal imminently with socio/polical and economic aspects of the region via a cultural participatory agenda. Designing culture is a imminent as well as being inherently architectural, this reflected in the constant battle that man endures with nature, however this in turn results in a series of violent catastrophes that we as prevailing culturists profit from.

Situated in Lee Quarry, which is a disused former sandstone quarry on the edge of Bacup to the south. The site was specifically chosen as it overlooks and gives wide ranging views over both the town and Stubbylee Park, the latter being the location of the Sophie Lancaster incident. The Quarry represents another further act of violence, that of man’s with the earth as the site represents a large scale former functional landscape, that previously contributed towards the towns economy. The site also provides a relevant location on which to place a new theatre as a dynamic contemporary contribution to the future and current cultural economy of the town and surrounding areas.

atelier 2 Tutors Ronny Ford & David Simister

at e l i e R t W o

culture and imminence The second semester project follows themes as worked on in the first semester albeit within the urban context of Blackpool. Again the implementation of a cultural building addresses imminent issues such as migrant communities, prostitution, drug and alcohol addiction, homelessness, and unemployment that are representative of the current economic landscape and specifically within the areas in and around Blackpool. In order to enable the student to develop a praxis to the relevant cultural history of Blackpool’s entertainment laden past, the scheme proposal was the design of a contemporary urban salon, that identifies with the emergence of those of early modern revolutionary France and that played an integral part in the development of cultural an intellectual practice during that era of political and artistic enlightenment.

Students identified a cultural use that applied to the concept of the salon, based on personal rather than group site analysis in order to create a programmatic strategy for the building that would seek to integrate the cultural and leisure activities of the past with solutions for the contemporary problems blighting the city today.The propositions and programmes produced seek to reflect on Capitalism and related economic trends that prevail over issues of identity and place, with social and cultural resurgence based on libertarian and human factors that are still detectable and valued.‘Does the advent of capitalism and, indeed, civilization cause more violence than it prevents? Is there violence in the simple idea of the ‘neighbour”? Could the appropriate form of action against violence today simply be to contemplate, indeed to THINK!!” Slavoj Zizek

atelier 3Tutors Vicky Jolley & Michael Chadwick

at e l i e R t h R e e

you(th): lost GenerationAtelier 3’s semester one project was located in Burnley, a compact town in the Calder Valley. Once one of the most prominent prosperous cotton-weaving communities in the world, today the Weaver’s Triangle, Burnley, is an area of engrained urban decay and defragmentation with a declining population and rising youth unemployment.

Informed by research, investigation and debate concerning Burnley’s rapid transition from agrarian ideal to a booming manufacturing centre and its subsequent decline; this atelier proposed buildings within new urban strategies as catalysts for viable contemporary future communities.

Concepts and functions were self-selected, informed by students’ own experiences and evaluation of the ‘lost generation’. As a response to the current proposed master plan for the area, the atelier adopted agrarian themes and proposed new creative enterprises or youth and community initiatives to revitalise wastelands and hinterlands within and near to the urban centre.

Multiple experimental representation and creative workshops delivered by artists and technologists enhanced design processes. A number of atelier 3’s students further developed ideas and themes during semester 2.

atelier 3Tutor Will Fisher, Rachel Patel & Charalampos Politakis

at e l i e R t h R e e

creative thinkingIn semester two, students were given the freedom to develop their areas of interest and write their own briefs where they were encouraged to think radically about creating solutions to problems both present and future on a variety of scales.

Projects range from the small scale to large, and are located locally, half the world away and far beyond! Projects tackle the everyday and the extreme, and the students have been encouraged to think about the social context of their schemes at all times. Some contexts you may recognise, others you may be introduced to for the first time.

atelier 4Tutor Phil Watson

at e l i e R f o u R

architecture of a second natureEach student spends the year developing an individual design programme.

The relation between theoretical issues and design tactics is used as an evolving platform against which to review ideas connecting literature and technology as a 21st century design practice.

Philosophy, art and contemporary issues in evolving sciences provide a backdrop for constructing models of architecture that speculate and experiment with the production of ideas.

Projects are sited as explorations between science art and philosophy engaging critically with the imaginary exceptions of Alfred Jarrey, Max Ernst, Bosch, Salvador Dali. The expressive contents of Bataille, Duchamp, Dylan, Thomas, the art of science, Eachel Armstrong, Jane Bennet, the mathematics of Riemman, the invisibility of technique in Jean Nicodes induction. All shift boundaries across subjects moving the language of architecture away from the object to a free expressive model of critical contents.

An abandoned town has been devoured by war with no facilities or amenities have forced people out of their homes. Proposing workshops will allow remaining people to rebuild their town into a secure and healthy environment to live in.

A natural algae lake is stopping locals from having access to clean a drinking water source. Algae is collected into multiple algae farms that pump the algae into greenhouse installed with a underground bio sand filter. Bio oil and fertilizer is a by product. The project evolves over time from a micro scale to a macro scale allowing more people to move in as jobs and livable conditions are created. Tourism in the future will be supported by a small airport which uses a dusty runway path and a small airport hanger. Fuel for the aeroplanes are stored on site at the airport which is fuelled by the bio oil distillery.

Wood and metal workshop section

East elevation drawing

AT E L I E R F O U RA R C H I T E C T U R E O F A S E C O N D N AT U R Eo l d i s G o l d

Site plan

East elevationWest elevation Development

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10. BioSand Filter 11. Well for Clean Drinking Water

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AT E L I E R F O U RA R C H I T E C T U R E O F S E C O N D N AT U R Et h e t h e at R e o f n at u R e

The Theatre of Nature is a project brought from the main concerns described by J. Baudrillard in “Simulacra and Simulation”. It is a new era when nature and technology merge or even trade places, suggesting the term Next Nature. The exploration of this project is an inquiry into simulacra and simulation set against issues of next nature and synthetic materials. It suggests an idea of a building that accommodates the essence of an undivided relationship between architecture and the landscape, as a collaborative system. The building itself is Simulacra. It creates the spectacle of the process of simulation, where people can experience the changes happening in both the environment and our society. Architecture becomes a link between people, technology and nature.

The transient moving theatre, located in Chatsworth, is a recording device, leaving a pattern of the environmental events within the site. It reacts to the different seasons and transforms itself to adapt the current situation at that time. The building is based on sacred geometry (Vitruvian man, golden ratio) and the shape of the plan suggests the symbolic meaning of the Condor, representing the journey from the underground world to the sky, allowing people to overcome the deepest memories and experience freedom again, as it is described by G. Bachelard in “The poetics of space”. The project is a result of inspiration that came from literature, art, philosophy, technologies and history of the site.

Section Column detail

Ground floor plan Development collages

02G a b R i e l e a d o m a i t y t e

AT E L I E R F O U RA R C H I T E C T U R E O F A S E C O N D N AT U R Ea R c h i t e c t u R e a s s e e d

‘The Monumental Seed of Castle Clinton’ is a project on the harbour of New York’s Battery Park focused around the national monument, Castle Clinton. The castle has been reconstructed into an entertainment complex, then an important immigrant processing station, and then an aquarium, but the material it remains on is truly historical to the castle. As a building changes through time, it is believed that not all matter from its previous being has been banished. Therefore, the true monumentality of Castle Clinton lies beneath the grounds of Battery Park, since the coast of Lower Manhattan is built up on debris and landfill.

Growing a new monument composed of the historical debris on site was the idea. Growth, in this project is portrayed through the narrative: the question concerning an architecture that grows from a seed. Significantly, Manhattan is a garnet (precious gem) location and the idea of crystallisation and biochemical fusion brought idea and value to the monument which I designed. I focused on the theme of mystery; combining biological and chemical systems became exciting and this was carried forward for a physical architecture. In this case, a garnet is captured, providing chemical energy for the plant seed to digest existing underground materials - this reaction remains a mystery but inspired the ‘SEED OF NEW YORK’ monument.

A visualisation of garnet capture in Battery Park, New York and the steady growth of a plant in combination. This concept fuses chemical and biologi-cal systems to transfigure into physical abstraction.

Elevation of monument ..as the structure grows, and the skin follows, growing around it, interlaced through carbon.

The Physical architecture being the production of space between Biological and Chemical processes.

Sectional view of monument A visualisation of a garnet captured in the depths of Battery Park

The physicality of the architecture can be perceived in human scale and micro scale - One is the other.

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Narrative and technology is used in the project as drivers to create a programme for exploring synthetic landscapes and architectures. For the first stage Dante’s “Inferno” is simulated as a remote site using Dore’s engravings of the demon wing, fallen angels, khymeras. This is used as a computed tool to create models for the cantos. The first drawings are constructed using line drawings of derelict objects and structures.

The constructed models are of a power station and a biofuel reactor system. The first part of the programme investigates energy sources and landscape geologies reviewing fractals from mineralogical samples as infinite spaces. The site in Holy Island is granite. The fractal geometries of stone are expanded to reveal interior architectures of the site as a virtual micro site of Gothic terrain. Some of these are manipulated to create perspective details of possible fractal Gothic interiors. The ornamental and decorative conditions of virtual programme fractal aesthetics are developed as materials for the detailing of the project as rhizomatic architecture.

Stage two is reassembling derelict elements of industrial oil refinery architecture fused with fractal detailing to form a new self sustaining micro city.

3D render of the 3D Printing Factory

Sketch made using an illustration of a demon’s wing

One of the initial sketches

AT E L I E R F O U RA R C H I T E C T U R E O F S E C O N D N AT U R Eh o R i z o n s o f c h a o s

Perspective view of the full project

South East ElevationNorth West Elevation3D Render of the Water Desalination Unit

04d a R i u s n a R m o n ta sd a R i u s n a R m o n ta sd a R i u s n a R m o n ta s

The merging together of music, dance and performance creates a whole new genre into which people are able to immerse themselves. Starting with one of the major cities in the United Kingdom, Liverpool, I looked at the current problems in the city, including mental and physical problems, as well as social and economic issues too. Often, genres of music like classical and jazz are overlooked by younger generations because they are deemed ‘uncool’. My vision was to reinvent the way music and dance are interpreted by younger generations whilst also establishing space saving opportunities in a city where central space is limited.

The concept began with the idea of universal harmony, looking at music in architecture, art and sculpture, and also its presence in the cosmos. After analysis of all these different aspects of music, I decided to use this presence across multiple platforms to create a theatre spaces that work in unison to produce a harmonising production.

It became obvious to me that there is an art to designing a theatre. As well as issues with acoustics and ventilation systems, the thing that struck me most was how to make use of the space that exists under the seating arrangement. Unless used as storage, this space becomes waste. it is for this reason that i chose to explore how i could make use of this space and concluded that the best use was to stack theatres on top of one another.

As stated with the concept of ‘Universal Harmony’, the theatres will be completely open and together will harmonise; for example, music, singing and dance could all occur at the same time creating a perfect harmony.

The seats are layed out and act in the same way as a row of sequins. One person sits on the front while the other leans on the back. this means the seats effectively become a ‘see-saw’ around the wires but an even distribution of weight will mean that the seats will never spin.

Masterplan

Section

Concept analysis

AT E L I E R F O U RC R E AT I V E T H I N K I N Gp R i m o R d i a l s ta G e s

Theatres axonometric

Theatres worms eye viewTheatres close up Seat detail two

Theatres elevationTheatres section Seat detail one

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Concept images

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AT E L I E R T H R E EC R E AT I V E T H I N K I N Gb e n e f i t i n G b l a c k p o o l

For my final project I was given the opportunity to choose my own project brief. I had decided to undertake a project that was a little more closer to home, and therefor something that I knew I could relate too. Being from Blackpool I looked around at what areas of the town i thought needed developing to help benefit the town reputation and population. Blackpool had recently secured a Heritage Lottery Funded grant to undertake one of its largest green space projects, the redevelopment of its local nature reserve. The reserve is one of only two

natural lakes in Lancashire and was formed as a result of a melted glacier. The quiet refuge is recognised for its nature consrevation, quiet recreation and evnvironmental education. It supports various habitats such as open water, reed beds, grassland as well as small pockets of woodland and scrub. The reserve is an important local regional and natural site for wildlife. Whilst trying to protect the variety and quality of the sites ecosystems and biodiversity, my aim for the project was to develop the site to help benefit Blackpool

with the proposal of a new visitor centre, new bird hides, the improvement of site accessibility and to create an additional factor that could be used for the welfare and education of the local public. With the design of the large tree like structre I was able to come up with many forms for the sheltering of activities. As well as the visitor centre and the changes to the reserve i designed areas for recreation and educational use, including the Amphitheatre, Urban Farming Allotments and the Cafeteria.

Marton Mere Masterplan

m i c h a e l m o R l e y

Plans

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To accompany a theatre development on an adjacent site, my proposal is a hotel and restaurant situated on the bank of the Leeds and Liverpool canal in Burnley. The building is targeting groups of people from the surrounding urban areas situated along the canal. The theatre is the attraction to bring people to the area and the hotel and restaurant is an additional attraction to lengthen the stay of the visiting groups of people.

The area has a rich history of industry. The weavers triangle was known for it’s textile production. This industry relied on water power to drive the machinery. The canal was built to meet this need and was also a source of transportation to and from other industrial areas. More recently the town has taken a more sustainable step in the redevelopment of the area with schemes such as ‘The Forest of Burnley’ which will see the planting of approximately one million trees. Therefore the canal will become an energy source. The algae within the canal will be grown and harvested and turned into bio fuel to power the building.

Site plan

Algae production

Canal elevation

AT E L I E R T H R E EC R E AT I V E T H I N K I N G a l G a e h o t e l

Canal arrival

2nd floor plan (Hotel)Ground floor plan (restaurant) Sectional perspective

Algae circulationEnvironmental strategy Structural diagram

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Exploring and proposing an alternative strategy aimed primarily at Lost Generation and focused on nurturing community whilst recreating a sense of place and belonging.

My project suggested a football facility for use by the local people of Burnley. The facility will be used by local schools and clubs and is to use sport as a social catalyst in order to aid development and help provide vital skills to people who struggle within society.

Football is a great hobby to keep fit and healthy as well as socialise with friends and a way of meeting new people. The walkways of the proposal were designed with the restrictions of the football pitch standard sizing in mind. Therefore I decided to create a unique experience for the spectator, an experience which could previously only be viewed on television through aerial cameras from a sofa.

These walkways were created from vigorous analysis of hot spots as well as player and ball movements around the football pitch in a variety of matches at various levels. This then allowed be to come up with a route which will give the viewer the best experience possible and viewing of the complete pitch.

Masterplan

Approach view

Sectional perspective west-east

AT E L I E R T H R E EYO U ( T H ): L O S T G E N E R AT I O Nb u R n l e y f o o t b a l l a R e n a

Site plan

View of pods from pitch levelLevel 3 plan View of walkways from pitch level

Level 1 planLevel 0 plan Level 2 plan

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m i c h a e l q uay l e

The Doodle Pad is a proposal for an artist’s salon on Queen Street Blackpool, home to the ‘Blackpool strip’, nicknamed the ‘Street of Shame’.

The building is made up from the connections between the site and five of the many historic local monuments of Blackpool – The North Pier, Winter Gardens, War Memorial, local church and the Blackpool Tower. This creates a mixture of irregular and geometric shapes which sit on top of each other in order to form a playground for graffiti artists. This salon for a graffiti artist is due to the growing graffiti scene that Blackpool is experiencing which has seen rise to the Sand, Sea and Urban Art Festival.

The materiality of the building is predominantly made up of precast concrete panels which have glass fibre re-enforced concrete (GFRC) cladding applied. The core structure of the building is a concrete framed structure whilst on the ground and third floors there are large curtain walls.By using a concrete cladded building it allows the building to be used as a canvas. Once the building is full, it can then be painted over to create a new blank canvas and the process starts over again.

Exploded axonometric of structure

East elevation

North elevation

AT E L I E R T W OC U LT U R E A N D I M M I N E N C E t h e d o o d l e pa d

Roof Structure

Furniture

Glazing

Walls and Doors

Floor Plates

Concrete Frame Structure

Axonometric view from Meteropole Hotel

Third floor planSecond floor plan Internal view - exhibition space

Ground floor planMasterplan First floor plan

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AT E L I E R O N EA R C H I T E C T U R E O F D E AT Ht h e p l a c e o f t h e d e a d i s i n t h e m e m o R y o f t h e l i v i n G

Everyday people die and babies are born. Everyday someone loses a loved one. This happens everyday, it yet it still turns our lives upside down. We can not forget those that have left us in physical form, they will always be in our hearts. Everyone deals with losing someone differently, some cry, some get angry, some turn to religion, others look for something or someone to blame. No way is wrong but when we lose someone unexpectedly it sends our emotions into overdrive. It can be hard to think clearly about a funeral, a send off that the person deserved. This crematorium is focused around funerals for younger people that have passed away, with staff dedicated to giving them a send off they truly deserved. A place for a young person to leave this world is different and seems like it is against the natural order of life, a parent

can only struggle to plan their child’s funeral. A long walk following the memorial wall where messages and objects can be placed in memory leads up to the crematorium where the hearse pulls up and the mourners follow the coffin into the crematorium. The service takes place with television screens around, to play photos and videos to celebrate the life they lived. Following the service, mourners leave through the memorial gardens where people can continue to share in the life of the one they have lost, by setting off balloons for example. That person is never truly gone, but the first part of the process is saying goodbye.

When someone you love dies, and you are not expecting it, you do not lose them all at once, you lose them in fragments, only time heals that pain.

Sectional perspective

Internal view Memorial wall

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Memorial walk

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AT E L I E R O N EE N V I R O C I T Y21 s t c e n t u R y G u i l d

With eye-witness accounts of the Guild Celebrations dating back to the 1600s, the Guild is large part of Preston’s history and culture. Preston is now one of the only cities to still have a Guild Festival which has adapted to include new trades, events and ways of celebrating. The Guild Hall is the location for part of the opening ceremony held every twenty years, yet suffers neglect in the period between each celebration. This regeneration of the Guild Hall endeavours to create a new arts centre focused around film and film production to attract visitors to the area linking each Guild together through the arts.

In the nineteen years between each Guild, the Guild Hall becomes a space left baron but a victim of the growth of the construction industry; to bring life to this void in the nineteen years between each Guild Festival, the arts centre aims to create a place for artists

of all ages to produce film projects, through production and releasing the films themselves. A hub of activity to run through the day and night with live performances by the actors, sets and costumes produced by the artists and edited by the technicians. The centre contains exhibition space for experimentation and public interaction giving the opportunity for the visitor to get involved with the activity. The visitor is led through the spaces in the order the artist would put the film together, moving through the concept stage into creation and finally the film release to witness the end product with the appreciation of the process in mind. With every film or arts piece produced in the centre, a new addition to the archives is made, leading towards a film festival celebrating the arts of Preston, as part of the Preston Guild, with the chance to create an annual film festival bridging the twenty year gap.

View from Preston Bus Station

North elevation

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Masterplanning perspective

Development models

AT E L I E R O N EE N V I R O C I T Ya p e R p e n d i c u l a R

Sections

The proposal is for an alternative public fitness space. The origin and framework stems from the RIBA Health Report. The document emphasises the importance of exercise to save money and improve the individuals health. With every ten minutes of activity counting towards meeting the weekly level. This is where the concept of creating a challenging ten minute programme in the form of a triathlon emerged from.

A route which would make use of the local urban space as well as creating a new place of an inner rural realm. Through first hand fitness tests the 10 minutes were divided up into swimming for 75 metres, cycling for 1800 metres and running for 900 metres all within three minutes each.

The general form emerged from on site diagrams connecting the different master plans and taking into consideration the sites approaches and entrances with experimentation of physical models guiding it. The final form offers a number of divergent settings from underground, outdoor, indoor and high rise.

In general the design aims to offer an experience of fitness to engage the people of Preston and to tackle current social and economic issues of todays urban society.

Inner rural realm

Entrance perspectiveRamp diagram Exploded axonometric

View from the bus station exitStructural plan

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AT E L I E R O N EA R C H I T E C T U R E O F D E AT Hl o s t o R c h e s t R a l aW n s

My research into death began from a scientific view point. Beyond traditional methods of disposing of a body like burial and cremation, I looked at cryonics, resomation, promession and body farms.The fact of declining faith in religion within society and increasingly alternative funerals and memorials, means there has to be a link between death and science that isn’t viewed as futuristic and sci-fi.

Body farms are not new science but they are vital for many aspects of murder investigations, law cases

and criminal investigations. The only current body farm facilities anywhere in the world are in America, but spreading the practice further a field would vastly increase the potential for research in terms of climate studies, soil and bacteria studies as well as the changing attitudes of, and towards, criminal activities. Promession is a new method for body disposal that is gaining recognition and support globally and fast. A number of authorities in the UK have already expressed an interest in the method but there doesn’t seem to be any

physical evidence that they are prepared to take on the practice any time soon.

My project will aim to find ground between the changing traditions of funerals and science. Visitors within my project will be able to view aspects of the processes that happen after death, these should not be hidden behind a curtain. Our attitudes towards death effect how we live our lives today, we should not be afraid of the fact that death is a very real and certain fact of life, whether you believe in a higher power or not.

Chapel elevation viewed across the Orchestra Lawn

Plans Funeral, Decay, Burial

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AT E L I E R O N EE N V I R O C I T Yp o n i c a R k

Aeroponics removes 99.9% of minerals and 100% of all bacteria and viruses from the growing medium and essentially creates a disease free environment to grow plants due to the fact that no plant touches another and no soil is used, roots are hung in a mist of mineral nutrient solution.

“Be fruitful and multiply” Genesis 1:28

The project stands on a sense of beginning. Life itself can be seen to begin within the building through the planting of new seeds, an eden of production for the science of botany. The decadence of life is present as the growth of plants happens throughout the building. But with every heavenly scene, there must be a darker side to support it. The very presence of human hands. Against nature. Trying to change nature. The very essence of this project, of science trying to enhance nature, is the reality we must now live in to sustainably survive. This presence of hell emerges when juice from berries begins to stain the floors of the building. The produce of nature’s delights with the intervention of human hands is the meeting of creation and ruin. The city gains a garden of earthly delights.

External visualisation demonstrating shuttering

Bridges tie the new block to the existing

Internal visualisation

Ponic Ark viewed from the outdoor market

South elevation Section Section

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AT E L I E R T H R E EYO U ( T H ): L O S T G E N E R AT I O Ni n t e R a c t i o n c e n t R e

The objectives of this scheme focus on the individual’s interaction in terms of everyday life. In this centre a unique opportunity is offered. People can take part in activities that can actually sustain it. The whole strategy is based on the separation of three zones: the food zone, the lounge zone and the activity zone. Taking into consideration that the factor which provokes a family to gather together around the table is food, the scheme develops around the food zone that includes free to the public restaurant where people can actually take part in the process and cook for the public.

Furthermore the lounge zone includes a playground for children and a music scene for the teenagers and a lounge space that people can sit and appreciate the view. Exactly what one would experience after a nice dinner. The activity zone will be able to sustain the centre since it is going to provide the products that are going to be used in the food zone through the greenhouses as well as the charity-market space with handcrafts and freshly baked products. All of them, in an organised, coherent and continuous feedback connect with each other and offer to the public what the lost generation of today fail to provide.

15i o u l i e ta c h at z a k i

Performing arts is the form which enables an artist use their body, voice or objects to convey artistic expression.

Dance is a transient mode of expression, performed in a given form and style by the human body moving in space. With movement, a dancer becomes a sublime shape, elegant and mysterious. Preston’s performing arts centre is created to support the existing theatre on Market Street west which is quite a significant and cultural landmark of the town. The centre is intended to be used mainly for students and artists that contribute as actors, dancers or musicians to the playhouse theatre and need to have their rehearsal in a more open space since the size of the existing theatre is unable to provide such an opportunity. Moreover, the forthcoming centre is able to invite visitors and locals to interact and enjoy rehearsals at any time of the day because of the meeting spaces that are incorporated in each department.

The main purpose of this centre would be to act as a junction of the UCLan campus and the town centre that should attract people from both areas in a more constructive and enjoyable way and in the same time increase the popularity of the existing theatre.

AT E L I E R O N EE N V I R O C I T Yp e R f o R m i n G a R t s c e n t R e

15i o u l i e ta c h at z a k i

Graphic Design StudioBlackpool, at the heart of Lancashire, once had an atmosphere of Las Vegas. It’s economic downturn in the late 1990s impacted it’s tourism due tourism growing overseas and Blackpool becoming polluted and known for binge drinking. What could revive the spirit of Blackpool? My artistic salon is a Graphic Design Studio. Graphic design was everywhere but unfortunately it had died due to the spirit of Blackpool disappearing. Currently, The Blackpool Tower is the only icon bringing tourism to Lancashire. Therefore, taking a similar approach this design is something monumental on a small scale in a geometrical perspective. It is located on the front of the Blackpool North Sea and War Memorial. My design is made for clients to drop-in and request for their brief to be designed and be printed. It will be the home of graphic design within the area.

Bacup TheatreBacup, located in Lancashire, where there is a disused, abandoned quarry. To bring this back to live a ‘Performance Theatre’ was placed here. The futurist design of the spaceship that had landed in the quarry draws attention to the community of Bacup. The 450 seat theatre in a rural setting makes it an iconic futurist building of the town and distant communities. The essence of the spaceship is to invite the community to come aboard, enjoy the performance and its atmosphere. This project developed from a simple organic moulded shape, blended into the quarry, into a futuristic theoretical design. The materiality is made for the quarry from limestone bricks that blend into the atmosphere. It’s made to belong there and nowhere else. It’s not just the theatre; visitors explore the surroundings, nature, the violence and history.

Elevation of studio

3D visualisation (exterior)

3D visualisation (exterior)

AT E L I E R T W OV I O L E N C E A N D I M M I N E N C E , C U LT U R E A N D I M M I N E N C E b a c u p t h e at R e & G R a p h i c d e s i G n s t u d i o

Plan of theatre

MeteorologySite location 3D diagramming

3D visualisation (interior)3D visualisation (exterior) 3D visualisation (exterior)

19z u b a i R pat e l

AT E L I E R T W OC U LT U R E A N D I M M I N E N C Eb l a c k p o o l a c a d e m y o f c o n t e m p o R a R y d a n c e

With its urban fabric woven in tourism, Blackpool became a ‘booming’ seaside resort by 1881. A theatre and open-air dance floor was located on the central pier and a ballroom in the Blackpool tower which still hosts various dancing events and competitions. In this same period, the Salon in Paris gathered momentum, upcoming Sculptors, Painters, Architects and other artisans displayed their work to be viewed by the public alike; as the government failed to promote the arts.

I was deeply moved after

watching ‘Blackpool’s Big Night out’, which recounted the hay day of The Blackpool Pleasure Beach and Seaside Resort as a worthy rival to the Las Vegas Strip. My chosen art form to explore for this project was Dance due to its long standing connection with the resort and the history of Ballroom. In contrast, I felt saddened about what Blackpool had become and in particular with the youth. Their reality sees their town, according to the Office for National Statistics, as the most deprived of England’s larger seaside towns, suffering far more poverty and crime

than the national average.

My proposal taps into the surge of dance in Britain amongst the youth as seen on ‘Got to Dance’. This proposed Academy comprises a residential block capable of housing 32-64 persons with student run shops on the ground floor. A ‘dancing’ glass bridge, which allows the public to see dancers practicing, that links the residential to double height dance studios, gyms, physiotherapy as well as a conference room, office and exhibition space to rent towards the Academy’s general upkeep.

View from Queens Street to promenade

Axonometric and dancing bridge Internal views

20G e R a l d a . G R i f f i t h

AT E L I E R T W OC U LT U R E A N D I M M I N E N C E c h a R c o a l a R t i s t s t u d i o - b l a c k p o o l

This project was based upon the concept of the ‘urban salon’, a place where individuals can gather to display their artwork and critique them, therefore, encouraging a competitive yet friendly social atmosphere. The main intention of this project was to reintroduce Blackpool as a fun and festive environment and try to deter the negative connotations people had of this town.

The reason for specifically choosing an artist studio based upon charcoal as the embodiment of the modern day urban salon was because it was a niche market in Blackpool. I wanted to introduce the town to a style of art that I had grown up with and thoroughly enjoyed.

‘Drawings don’t start with a beautiful mark, it doesn’t have to be an accurate drawing‘ - William Kentridge (Charcoal Artist).

The building itself is not just a studio but also includes a gallery space, a cafe, a kiosk, accommodation for the artists and a willow tree courtyard. The trees can be burnt in the central kiln to power the building and also produce charcoal. The excess waste can then be used as fertiliser for the willow trees, therefore, creating a sustainable cycle. The Charcoal Artist Studio also utilises Cross Laminated Timber, which continues the theme of sustainability. The blue and yellow colours are taken from the surrounding context as a way to represent the public and private areas of the building respectively.

Elevation

Public entrance

21

Aerial view

z e i n a h m e d

AT E L I E R T H R E EYO U ( T H ): L O S T G E N E R AT I O Nt h e h u b

My scheme’s aims were to provide a positive place where creativity flourishes; young people find inspiration and allow passion to develop or where up-and-coming, individual and independent people or businesses can apply a passion already captured. The flexible space will be produced adapting to the changing demand of the occupants and allowing themselves to progress alongside an easy setup that is a part of a similar community.

An imitable modular building first sprung to mine when the initial idea of producing a unique set of spaces for a wide number of individual people and business came about. The possibilities of prefabricated modular units that could be stacked and organised in a certain way that would produce diverse inter and intra-relationships in which the there is a unique relationship between the individual modules and the public outside. Amongst the individual modules is a spiralling walkway that brings the urban grain into the building allowing the public to wander around viewing the inhabitants at work. The walkway itself is offset from the private walkways and is separated by a glass curtain wall offering both privacy to the user and a story to the public.The modules themselves range from ceramics and fine arts to photography, graphics and film with wet works situated in the larger room in the basement and ground floor and dry works as you move up through the building. The ground floor modules can spill out onto the public realm allowing interaction between public and private, one of the many drivers of this project. The ground floor also offers a transparent corridor through the building from the Leeds and Liverpool canal to the centre of Burnley once again interacting with the urban landscape.

22s t e p h e n b a l l

AT E L I E R T H R E EC R E AT I V E T H I N K I N Gt h e u n - i n f i n i t e

My scheme is about the conception of a passive rebellion against a post-scarcity age society, which has become almost completely influenced by a new super-efficient artificial intelligence. They are basically fed up of an automated and controlled lifestyle brought about by this ever advancing AI, and prefer the nomadic life. You could call it a post-post scarcity age society.

“The question of knowing how one would live in a society that knows neither famine nor exploitation nor work, in a society which, without exception, anyone could give free reign to their creativity - this troubling, fundamental question awakens in us the image of an environment radically different from any hitherto been known, from any that has been realised in the field of architecture or urbanism”. Constant Niewenhuis

My self-assigned brief was to explore architecture in a different medium that could theoretically happen in a time where famine, work and exploitation doesn’t exist. Where there was only abundance. This could only happen in a post-scarcity age. The basis for me to explore architecture in a post-scarcity age is realised in 2045, an event labelled the singularity transpires in which computer intelligence surpasses the collective intellect of humans. The technology induced by the AI brings about a new age where money has become obsolete due the abundance of everything.

However society always rebels. Following on from popular culture I felt there would always be a rebellion, a rebellion that would be even more interesting to dissect. The conception of this was always going to be a reaction to the utopian city ideals and aesthetics. Therefore my city concepts, rules and guidelines gave me an idea into the mechanisms of the rebellion. I figured that they wouldn’t directly confront, such is the advanced nature of the AI but could stand back and remove themselves from it. A passive rebellion. The idea is represented through a retro steampunk style airship which would roam around at its own leisure, providing a place of freedom and retreat from the AI. The scavenging nature of the ships allows all different shapes and sizes; ranging from small family sized vessels to the gigantic vessels holding small cities depending on how the new society develops.

22s t e p h e n b a l l

AT E L I E R T H R E EYO U ( T H ): L O S T G E N E R AT I O Nl o s t G e n e R at i o n

Structure

DJ Booth

Modular room storage

Burnley the back of beyond and going nowhere this once world renowned community through its cotton weaving industry is now sadly a distant memory. Today the town struggles in the shadow of the past and is disconnected with the wider scope of society and financial investment. Urban decay, a declining population and high young unemployment further strips away the lost soul of Burnley.

Working as the client and designer this project proposes a creative outlet and enterprise that is aimed at Generation Y developed through self examination of a lost generation. A master plan for renewal, regeneration and reinvestment to further rebuild and refocus Burnley’s community and it’s struggle between its transition of agrarian ideals and capitalist investment.

The building will incorporate events and teaching offering a place for the community to be involved. Local DJs, radio stations and bands can offer experience and services for the benefit of their community. The building embraces the feeling and aesthetic of an organised concert or main event but with the benefit of community engagement and organisation.

23

Sectional perspective

R ya n W R i G h t

Pavilion trail to forgotten space

Pavilion one

Pavilion two

AT E L I E R T H R E EC R E AT I V E T H I N K I N GR e c l a i m i n G t h e a b a n d o n e d

This scheme aims to provide a creative outlet for disenfranchised and troubled youth allowing them to seek an alternative voice and focus through music. The facility will provide the means to grow creatively and spiritually using music as the driver. Expanding on the previous project in semester 1 a series of pavilion buildings would be created for transportation nationally, city to city. Similar to the radio 1 road show these pavilions would provide a service to introduce music to the masses. The facility arrives. People use them. Facilities are removed allowing a taste and a spiritual void to pursue further as a replacement. A program of DJs, guitar lessons, singing and rap battles would be organised using local musicians and acts.

Starting at Manchester the project will connect two busy nodes of the city, Piccadilly Gardens and Media City. The two busy nodes will be reconnected with a trail of bread crumbs using a series of adaptable pavilions that follow a path (metro-link and canal) to an unused forgotten area where a main event will take place. A proposal for a permanent structure will remain after the pavilions have left their mark and have moved on to the next city.

DJ Performance area

23

Graffiti space Section perspective performance area

Section perspective academic

R ya n W R i G h t

AT E L I E R T H R E EC R E AT I V E T H I N K I N Gl e f t c i t y

Our Society has become one of an Illiberal Democracy, only the illusion of freedom is portrayed by the false facades of politicians working not for us but for the CEO’s of large multinational corporations.

Counter Cultural trends and political movements have began a somewhat small revolution against a society that stands for only selfishness and greed. An Alternative must be offered, a culture where men and women can live free from the burdens and lies of our broken capitalist system.

The Left City began as a small squatters community on the proposed half built and abandoned infamous “Boris Island”. A group of people looking to abandon the principles of capitalism for a more liberal life. As the Community grows so does its ambitions. It begins working as a Kibbutz like community, importing the soon to be precious waste of our society and recycling it into building materials and commodities to built an organised city. Stemming from NJ Habrakens work “Supports” the city looks to provide a certain level of structure upon which people can build at will. A free, high density community living to support themselves.

Left City elevation

Conceptual render The first block

Street visual Evening visual Block sectional perspective

24l u k e o W e n J o n e s

My project explored how we can provide refugees with right means to help themselves and give them something they could make their own. Refugee camp is about giving an identity and a place in the world, somewhere to feel safe. But what if we treat refugee camp as a opportunity rather than misfortune? I see camps as a pure heterotopia, somewhere that brave modernistic ideas from the beginning of 20th century could work. Ideas that were dismissed in urban design as dehumanized and too radical, may function in such place of exception like refugee camp.

Inspired by linguistic theory the camp design is a holistic system, made from separated parts, strong division of the pragmatic and semantic, provide answers for practical and spiritual needs of people. Dehumanized, utterly practical, two dimensional plans that represent UNHCR regulations, is how we can quickly respond to basic needs, which are crucial at the beginning of exile. Meaning is added by third dimension, whether it’s the monument designed, a tree or every one. Taking over the plan and monument, people utilized rules that allow them to create their own “language”.

Plan of camp

Centralization of the spheres

Spheres created by connection of two and three dimensional parts

AT E L I E R T H R E EC R E AT I V E T H I N K I N Gm o n u m e n t f o R e Xc e p t i o n

Parts of the project

BlockCommunity Sector

After taking over the towerBefore taking over the tower Tower of meaning

25

Capriccios inside the tower

to m a s z t R e z s n i o W s k i

The necessity for affordable energy in the UK is more prominent than ever as the search for sustainable sources of power continues. The exhaustion of fossil fuels such as coal has meant that our country has become more reliant on foreign gas to generate electricity and it is known that countries which rely on these imports have 60 per cent higher prices than those which produce their own. If this was to continue, it is impossible to predict how high bills would be for British households and a crisis is expected to occur between 2015 and 2018.

A process which could mediate this problem is hydraulic fracturing; this would allow us to exploit large amounts of shale rock gas such as the 200 trillion cubic feet in Lancashire’s Bowland basin and would become a solution for our energy demands.

It is for this reason that an architecture must be developed in order to satisfy this demand of extracting vital energy resources in the near future without the harmful by-products synonymous with the process.

Floor plans

Elevation

Section

Affects of static frackingWest Elevation - 1/100 Ground floor work space with water storage and fracking drill

Approaching site near Blackpool, UK

AT E L I E R T H R E EC R E AT I V E T H I N K I N Gf R a c - c R aW l e R

Conceptual city crawler

Conceptual visual of crawlers in an urban skylineAffects of static fracking

Model of mechanismFrac-crawler approaching Blackpool Fracking workspace

26l i a m Wat t s

The idea of going into space is something that everyone dreams of. Breaking out of the earths atmosphere is something that is viewed as a thing of the future but in reality it is something that is happening in the present. We have been sending people into space since Yuri Gagarin in 1961. To enable the normalisation of space travel we are going to need a greater understanding of the effects upon the human body.

My design is an expansion on the International space station which allows Scientists to conduct experiments in a Zero Gravity environment without the training that’s needed to go aboard the ISS. This will allow for a greater number of scientists into space which will mean there will be a larger amount of experiments taking place, which will then lead to enabling mankind to escape from Earth’s grasp. My design will consist of accommodation for everyone aboard, recreational activities such as swimming, a gymnasium, meeting rooms and a restaurant. There will also be the facilities to enable space walks which will give the scientists the true experience of being in outer space and will allow for experiments on the outer side of the building.

The building will work as a space elevator and will move up and down a cable stopping just outside the Earth’s atmosphere and 30,000 miles above the Earths surface at a counterweight.

The main issue for humans being in space is there’s no oxygen and because it is Zero gravity there are no pressures upon the human body so you will lose bone and muscle mass. To tackle these issues the same systems used aboard the ISS will be incorporated into the design. The Environment Control Life Support System is used to generate Oxygen and produce water. The gym will enable everyone aboard to keep their fitness at a high level as everyone will have to exercise for about 2 hours a day.

Space walk

Perspective of the Earth

Perspective elevation

Atelier threecreAtive thinkings pa c e l a b o R ato R y

ReceptionLaboratory Swimming pool

GymAccommodation entrance Agriculture laboratory

27J a c o b h u s s e y

This Project is in the Middle East and is a regeneration programme for college students. It is the reuse of a façade of a former Iraqi army base/prison camp and a reintegration of new spaces that join the old façade to create a new identity for the students who study in the old building and also for the community. The keeping of the old façade is a statement of historical reference and acts as a memorial for the prisoner who suffered in the building. The spaces have all been joined by ramps to create a disorientated feeling for the students just like the prisoner who felt this way as they were blind folded and bought to the building. The spaces have no walls to oppose the cellular like setting of the old building and again act as a statement for new identity of information been cross fertilised between the different arts and crafts. Each area has assigned spaces for music, painting and sculpturing however these spaces flow and information is visually transferred from one art to another. The project is politically charged and is a space where students can express their political, social and cultural identity through the art that they practice and the architecture here will help them to facilitate this new arena for thinking more individually and less collectively. The architecture will allow students to help them oppose the structure of any political hierarchy and be a catalyst for making challenges to what is present for a better tomorrow .

Plans

Sectional Perspective

Construction Resolution

AT E L I E R T H R E EC R E AT I V E T H I N K I N Ga n e X p e R i m e n t o f c R o s s f e R t i l i s at i o n o f s pa c e s

X-Ray revealing structure and interior

Site AnalysisInitial work process Night Shot

Summer atmosphere drawingInterior Interior

28b a l i n m o h a m m e d

Incubator of art – the project which focuses on ‘Lost Generation’. Lost Generation in this context is youth who feels lost and neglected in their surroundings. This project takes place in Burnley. Burnley used to be the leading cotton-weaving town in the world. However, what it has left now is just a bunch of derelict mills and decreasing population.

The main inspiration source of the project is ‘Fluxus’ movement. Fluxus people, in a few words, were against the authorities who thought to have the right to determine art. They were against the idea that art is supposed to be taught to understand in schools. They also started to inhabit derelict buildings and transform them into live-work units for artists.

Incubator of Arts overtakes one of the old mills, expands it and provides space for everyone who seeks to find a different and good place to be. It adapts to most people’s needs and offers studio rooms, exhibition space, music hall, library, café and areas for people to just talk and hang out.Transformed building keeps features of the old mill – such as windows, old bricks and part of the roof. However, the new structure on the front and on the top of the building gives an impression of new, overgrowing and changing organism. It works in advantage of Burnley’s industrial environment and also makes it stand out among other buildings. New structure provides open and modern interior which focuses on the most inhabit spaces of the building.The project fosters urban development and inspires artistic and social interaction.

Front north-east elevation

Perspective section

North-west elevation

AT E L I E R T H R E EYO U ( T H ): L O S T G E N E R AT I O Ni n c u b ato R o f a R t

Sectional model

Interior visualization:Cafe

Interior visualization: Seating area

Interior visualization:Library

Functional zone collage:Cafe

Burnley moodboard Functional zone collage:Exhibition space

29a u G u s t e R i n k i v i c i u t e

AT E L I E R T W OV I O L E N C E A N D I M M I N E N C Ek i n e t i c t h e at R e

This Project was one based around overcoming the inaccessibility of the given site. The Location itself - atop a hill, on the outskirts of a small village - was most notably set within the hostile environment of a large disused slate quarry. The current use of the site was pronominally based around the extreme sport of mountain biking, an activity in which I myself take an interest. For this reason (among others) this proposal looks to provide services to the existing users of the site whilst simultaneously inviting another entirely different group of clients though the introduction of a theatre.

The primary driving force behind this design was to incorporate a cable car system into the circulation of the building, Allowing for easier access to the building due to its location within a quarry on top of a hill, whilst also encouraging those who utilize the quarry for mountain biking purposes to interact with the theatre. The interior space of the theatre’s circulatory areas house a clockwork system of suspended fabric backdrops, creating a dynamic route through the building which would vary at a speed based around the length of performances, meaning the suspended artwork would appear almost stationary whilst the public move through the space, but by the time a performance is over, the route through will have altered. This clockwork system is driven by a series of weights inside the building, whilst the speed of the systems movements are governed by a giant external pendulum which also act as a dynamic spectacle for those approaching the building. The Glazed section in front of the building highlights the primary semi-enclosed circulation space which would be used by cable cars, pedestrians and cyclists alike, separated by different levels.I feel as though this project set out primarily to overcome the issue of access derived from the inhospitable environment of the site, and although it achieved this successfully, I believe that through the course of its development this project evolved into something both more demanding and greater.

Interior approach to auditorium

North elevation West section

Space beneath auditorium

View from cable car access area Cable car route Clockwork mechanism

30a l e X a n d e R m a c b e t h

The concept behind this design stems from the idea of a reclusive musician character that exists totally independently of the hostile society around him. This artist is derived as a variant of the characters in the novel ‘Atlas Shrugged’ in combination with a response to the hostile nature of Blackpool society due to issues with alcohol abuse among many other problems. As a contem-porary twist on the salon our protagonist seeks artistic social interaction with others over the internet. Never meeting other humans face to face but rather interact-ing over social media sites and uploading and selling his work over the internet. As this artist’s career expands, so too do his requirements in terms of assistance and space. This progression coupled with the parasitic nature of the original dwelling lends itself to an organic expansion and occupation of the adjacent abandoned structure. This would house a small team of assistants. This structure would exist as the antithesis of the artist’s reclusive annex and will be expressed as such.

Where as the original dwelling is intended to remove interaction between the occu-pant and the public, so the newer addition would be intended as a space where mem-bers of the public may, in some instances enter the space itself. Also in regards to the way that the original dwelling space offers safe sheltered spaces for the public to use, the newly created spaces offer a much less inviting atmosphere. The ‘Pod’ in which the main functions are contained sit within the shell of an existing building and is elevated off the ground, creating a very literal sepa-ration from the surrounding society.The semi-internal space created by the retained shell of the abandoned building is dimly illuminated due to all light entering this space passing through tubes of algae. This not only has a dramatic reduction to-wards the carbon footprint of the building, but allows for a much eerier atmosphere. As continuation of this progression the adjacent abandoned theatre would also eventually be renovated as part of the scheme in an attempt to revive Blackpool’s live performance art scene.

West section

South section

North elevation

AT E L I E R T W OC U LT U R E A N D I M M I N E N C E m o n o p h o n i c h o u s e

Interior of abandoned shell

Pod 1st floor planWest section Foundation detail

West elevationSouth section Night visualization

30a l e X a n d e R m a c b e t h

AT E L I E R T W OV I O L E N C E A N D I M M I N E N C E b a c u p t h e at R e

Set in an abandoned quarry near Bacup, the proposal seeks to reconcile the relationship between nature and man and the pursuing violence. An Expressionist architectural sculpture, it is rooted firmly in the ground, such is the curse of Daedalus & Icarus and the mythology of the earth. With strong links to Plastic Theatre and a rejection of the realistic, the theatre seeks, not just through materiality, but through form and space to interpret and provide an experience, to find a more penetrating and vivid expression of things as they are. It is an organic, transformative scheme, much like the very essence of reality, violence and theatre, its key components, which speaks to the poetic imagination. It is essentially comprised of three main elements, the Entrance Building, Walkway and Theatre (containing the basement and auditorium).

The masterplan of the scheme acts as the Labyrinth. It provides a route through the devastated landscape which is analagous and open to the interpretation of the visitor. It also acts to illicit emotion and escort the individual away from the curse of the everyday and into an introspective, psychoanalytical experience. Slowly, and only after investigation will the building become apparent in the vast landscape. The building acts as the labyrinth’s architectural paradox, the pyramid, within which the labyrinth’s qualities can still penetrate. This has been accentuated through the ascending ramps, yet the theatre itself acts as a model of reason. The individual’s experience becomes transformative, a cosa mentale, for the play being performed within to become a domination of ideas.

Entrance building sectional perspective

Axonometric

31

Theatre sectional perspective

Arriving at the entrance building

Tennessee William’s ‘The Glass Menagerie’

J a m e s b u t l e R

Located on Blackpool’s (in)famous promenade, this urban artist’s salon is an attempt to reconcile the societal problems facing the seaside resort with Jazz music. Initially, they may seem like disparate entities, yet there is an interesting correlation between Blackpool’s once burgeoning status as a gentile holiday location, its subsequent collapse into infamy and Jazz music’s decline as one of the most popular musical art forms and its ‘hijacking’ by the bourgeoisie. Approaching the genre at its most basic stage, it became immediately apparent that there were two key protagonists, who not only influenced Jazz but the wider musical scene indelibly - Miles Davis and John Coltrane. John Coltrane’s seminal album ‘A Love Supreme’ has been the most influential and this intervention could be seen as a tribute to him.

The Recording Studios at the north of Queen Square speak of ruins, of reinhabiting and building upon the past, much like John Coltrane reinterpreted classical and baroque arpeggios and scales to serve as the foundations for his ‘walls of sound’. As such, it is designed on a pure, symmetrical grid and relates to classical architecture. The tower at the centre of the scheme is a sort of obelisk, the offering of Jazz to Blackpool. The Jazz Club to the south of the site builds upon the classical nature of the Recording Studios and once again, a raised stage, surrounded by an informal courtyard-style reaffirms the idea of Jazz being offered to the people and the building. The analogous, disjointed roof form links to the most important aspect of musical creativity, and that is improvisation, it brings chaos to the order and builds towards the crescendo of the project. Brick has been chosen as the main construction material, it is tactile and rich in patina, it pertains to the theatricality and vibrant nature of the music that will be performed within.

Dancing to the music of John Coltrane

AT E L I E R T W OC U LT U R E A N D I M M I N E N C E b l a c k p o o l J a z z c l u b

Welcome to Blackpool

The Jazz Club & Recording Studios - Looking towards the Promenade

J a m e s b u t l e R 31

Situated in Burnley; a Market town in Lancashire, the project started by looking in to what our generation is seen as and treated compared to the previous. Because of our generation Burnley is known as a town that is slowly losing its population, with no interesting aspects that give youths any reason to stay.

The aim of the proposal is to create a venue with mixed uses, attracting the younger generation back into Burnley as well as giving older generations the chance to experience music and art that is created in our century. There are spaces given to create music during the day, and as well perform acts during the night allowing them to express themselves creatively through Music and Performance.

The main performance area; the auditorium, shall be placed in the unused plot on Whittam St with access being available through the secluded Greenland to the East, this is to create a journey through the area for the viewer and create a moving performance which flows through the building creating different scenarios at different times. The secluded green space is to be used as the main pathway to the Theatre, offering an experience to the visitor before reaching the main event, where this space should be filled with local performances offering warm-up acts before people reach the auditorium. As well as having this journey through the area, to promote the events happening smaller performances will be held near main roads to attract passer-by’s during the day, to give an experience on what’s happening in the evening.

Theatre masterplan

Section cut AA

South-East facing facade

AT E L I E R T H R E EYO U ( T H ): L O S T G E N E R AT I O Nb u R n l e y t h e at R e

Exploded circulation diagram

Internal to external External shot Facade materiality

32c h R i s to p h e R t h o R n to n

AT E L I E R O N EE N V I R O C I T Yo d d f e l l o W s h a l l

With how the Town hall stands now, the building has no dominance or power over its surrounding like it should, the aim of this project is demolish the Crystal House; voted favourite building for demolition and create a Contemporary Town Hall in its place continuing the line of Town Halls that have been built there previously. From the Master planning aspect, we chose to turn the square into an area where public events are always taking place to bring life back into it, from this the design is to also work in coherence with the centre and surrounding buildings.

With the design, the key element was to give a dedicated loop of circulation through the building for both public and private viewing, but to not allow restrictions on any floor. As well as this the idea was to work with other key areas of the master planning and allow views from the high point of my design overlooking the orchard garden to the north. Developing this idea further was to allow a route through on the ground floor, cutting through the building and leading to Miller Arcade to allow easier circulation through and up to the courtyard.

From this the design was shaped further, taking out 6 floors on the south-west corner to create a cantilever on the upper floors, This will allow light to shrine through the building and light up the memorial symbolising the Preston guild, as well as Friar gate. With this Cantilever building rises up as two structures which then join together above on an overhang. This design interacts and gives the public a dedicated loop circulating up through the building tying together the different committee and administration departments within offering fantastic views of Preston centre as people work their way up to the public exhibition space on the upper floors.

Council chambers

External stairway

The connecting towers

External shot

Section cut B Exploded circulation diagram

32Private Circulation

Public CirculationRoute

Route

Section cut A

c h R i s to p h e R t h o R n to n

By the year 2024, the average life expectancy continues to rise. In reaction to the spiralling population healthcare has become a commodity. Following the dissolution of the NHS, and the legalisation of euthanasia, private bodies provide the majority of care. Soil degredation has rendered most of the worlds soil infertile and the need of organs is at record levels, and by the year 2032, nearly 80% of the earth’s population resides in urban centres. Applying the most conservative estimates to current demographic trends, the human population will increase by 3 billion people during the interim.

Those that cannot afford medical care turn to the Elysium institute, an institution founded to provide euthanasia and a memorialisation process. The client is delivered to the institute to spend their final hours alive there. The organs of the body are harvested immediately after death and traded nationally amongst medical institutions. Any other remains are frozen and vibrated into promains. The promains of the deceased decay and are used to add to the farm which in turn feeds the family through their grief.

The project explores the relationship and moral code we all assume between life and death. The Elysium institute resembles the crossing of the line into a morally grey territory.

View of the buildings waved aluminium roof

Pathway back up to the entrance of the building

Long section through the centre that reveals all the stages of the process

AT E L I E R O N EA R C H I T E C T U R E O F D E AT He ly s i u m i n s t i t u t e

The symbolic roof becomes the icon of Elysium and further buildings open up across the world out of necessity

Machinery and tanks underneath the promator on the above floor

Detail of spaceframe and aluminium roof

Bottom floor plan including live units and machinery and tanks

Ground floor with ceremonial room and operating room underneath

Soil bag representing the remains of the deceased

Solution created from the issues risen

b e n J a m i n p o W e l l34

Crops grown

Planted,

harvestedconsumed

euthanasia

Promession

AT E L I E R O N EE N V I R O C I T Yb e e a n d f o R t c i d e R m i l l

The Bee and Fort is a building defined by the processes of cider and honey production. Working within multiple layers of masterplanning with the main theme of relinking the two most significant areas of the covered markets and Market square. The cider mill sits inside an orchard with a brick wall around its boundary. The pavillion like building is formed around the machinery which control and manage the whole process which then humans come to view it but operate on their own levels in the building. The building, contining the themes outlined in the walled garden concept, uses the ideas of opposites and contradictions. The cider uses a similar grid spacing as seen in the orchard but sits on a different axis.

The whole process is a symbol of industry and the craft of Preston guild and also an example of a mutually beneficial ecosystem. The bees pollinate the trees and produce the honey to infuse the cider. Wax is the by product of the honey collection process and is sent to the cheese factory to seal the cheese wheels. The apples are harvested and deposited by people during the autumn festival. Winter is the season of cider production. To renew the relationship between people and industry the public is invited to view the production process and in doing so create the energy required to power the machines and produce the cider.

The hiding and revealing of parts of the process to lead people around. The west elevations dynamic facade lift and folds during harvest season signalling activity. Also, the area becomes more visible as the winter season approaches, while in spring and summer as the trees bloom the building closes again and the space becomes more of a park.

Walkway leading towards the building

Site plan

34b e n J a m i n p o W e l l

Long section of the cider mill First floor plan

Open facade during harvest season

Final model

Object for memorial

Inside the courtyard

AT E L I E R O N EA R C H I T E C T U R E O F D E AT HR e s o m at i o n

We have outgrown our current methods of body disposal. With as little as one year of burial space left and the increasing emissions from crematoriums, we need to embrace of emerging technologies. In this proposal I have challenged tradition and addressed the most prominent issues surrounding deathcare; our lack of openness about death and dealing with remains, environmental impact of body disposal, the financial pressures of a funeral and the role of religion today.

There is a growing proportion of our society who would describe themselves as not religious. My proposal will focus on providing a place of rest which has no religious aspects, it is about remembering the person who has been lost. A spiritual ceremony is not exclusive to those of faith. It is necessary for friends and relatives to gather, remember and say goodbye to the deceased and begin to let go of their grief.

When it comes to the ‘business’ of body disposal, every crematorium works on 20-40 minute slots. I propose a day of celebration including a formal ceremony, personal reflection, friends and family, a dinner and a spectacle.

The starting point was the design of an object for memorial. I designed a floating lantern in which a letter to the deceased would be burned and sent across the water. The waterline represents the line between living and dead. They must let go. This object went on to define the building programme.

Water is a strong theme throughout the project. The site is divided into pods for each function which appear to float in a courtyard of water. Resomation, known as green cremation, is where the body is disposed of in a solution of water and acid. There are no dangerous emissions or problems of space as the final solution, 96% water, is not harmful and can be returned to the water system. The courtyard collects the rainwater which is then used in the resomation machines. Afterwards the solution is sent through a reed bed filtration system.

Environmental stratagy - water recycling process.

1:5 structural modelFinal model

Ceremonial room interior seatingCeremonial room entrance Glass link between resomation-ceremony

k at h e R i n e n i c h o l s o n35

AT E L I E R O N EE N V I R O C I T Yd e v i l’ s h o l e c h e e s e fa c to R y

The Devils Hole Cheese Factory will reinvent the process of production as a theatrical performance. As well as producing 6000kg cheese per week, it will be open to the public with tours of the factory. Cheesemaking in Lancashire in the early 1900s was big business with monthly cheese fairs held in Preston under the covered market but cheesemaking in the town can be traced back as far as 1199 when King John granted Preston a Royal Charter to host an annual cheese fair.

In this proposal I challenged the current disconnection which has grown between people and food since the rise of industry, introducing food production back into the city centre. This led me to analyse the factory aesthetic and how the factory as a building type has developed since 1769 when Richard Arkwright invented the waterframe in Preston. This became the core of the prototype for the modern factory. The most striking feature of the design is the distinct sawtooth roof. These precast concrete elements sit on top of the in situ concrete structure.

This project began with a group masterplanning exercise of Preston’s historic centre. Our proposal is a conceptualisationof the Georgian square. Our proposed square is inherently more functional, utilising local food production and promoting industry in the city centre. The development located beside Preston’s impressive market canopies encompasses an orchard and cider mill bound by a brick wall which the cheese factory becomes part of. Brick is a symbol of industry. The area will build up a community of industrial production and craftsmen; a guild. The Preston guild is a famous celebration held every 20years but the true meaning of the word is an association of merchants and craftsmen.

This project has a rich depth of scale, from the masterplan to down to the detail. Working in a group on an area within the city centre to the proposal of a new public space, and then into the cheese factory which defines the west side of the orchard and further into the details of its construction.

Model, made to scale 1:100

Finished product-waxed cheese 2nd Floor plan, draining vats

Section through factory

View from the wall Section through cheese aging tunnels and Devil’s hole

35k at h e R i n e n i c h o l s o n

AT E L I E R O N EA R C H I T E C T U R E O F D E AT Hl i f e a s c e n s i o n

Located in Rivington, north-east of Bolton, the site is located on a bare and isolated field that is north of the Rivington Pike, one of the attractions of the area.

The scheme aims to celebrate the idea of life after death, with the potential giving of life through the currently progressing surgical advancement: womb transplantation. The proposal seeks to mediate the symbolic transition of death and life, highlighting the potential life that each womb possesses when it is taken from a woman and given to another. There are three main elements to the proposal: the surgical unit (connoting the action of giving life), the ascension passageway representing the transitioning life with the deceased donor body passing to the ceremony hall where it moves from the ‘living’ surgical unit to the crematorium that has associated connotations of death. It is about the circle of life.

The separation of each element in the building embodies a transitional aspect of life itself; stages or the passing through life. Transparent alabaster partially lines the wall of the ascension passageway signifying the importance of the transition from life to death and the glowing womb (life). Concrete, the main structural material of the scheme connotes the heavy, yet pure aspects of a cremation and the purity of the departure into the afterlife.

Section showing the crematorium on the left, surgical unit on the right

Front elevation of the crematorium, surgical unit in the background

Sketch of the overall proposal

Process of the donor body and the patient, through the building

patie

nt re

ceiv

ing

the

wom

bdo

nor b

ody

The three main elements of the building broken down: (from left to right) crematorium, ascension passage and surgical unit

36

ENTRANCE LIGHT PENETRATION CEREMONY HALL PASSAGE WAY DEPARTURE THE BUILDING AT SUNRISE

ENTRANCE LIGHT PENETRATION CEREMONY HALL PASSAGE WAY DEPARTURE THE BUILDING AT SUNRISE

ENTRANCE LIGHT PENETRATION CEREMONY HALL PASSAGE WAY DEPARTURE THE BUILDING AT SUNRISE

Psychologcial, Physical and

Medical assessments. If passed, the

patient is offered the procedure and consents

Donor passes away. Consent neededfrom donor family to remove uterus from donor

Donor passes through to surgical theatre, where the Womb removal operation takes place.

Donor body stitched back up in prep. room and then taken through to the ceremony room

Funeral takes place, then after passes through to furnace room where the cremation takes place

Collection of eggs

together with sperm to achieve

embryos which will be

frozen

Transplant Operation

womb placed into recipient’s

body

Inital constant monitoring until

patient fit to leave hospital, and then

One, three and SiX MOnth post-transplant assessments

12 MOnthS after operation, embryo transfer

to uterus

14 DAYS lAter, patient

has a pregnancy

test

At 38 WeekS gestation, Caesarean Section and birth

SiX - tWelve MOnthS lAter,hysterectomy

R e b e c c a c h i n

Artists are known for being free autonomous creators of direct expressions of their minds but the material analysis of production in the contemporary world has changed this. Nowadays, there are many issues related to the production and economics of art. As one of the most pure and natural forms of artistic expression, painting is the desired focus for this project. Aiming to create spaces where students can learn and progress in spaces with character, the art studios are designed as an empty box; a plain canvas open to the creativity of students.

The studios, located along the high street of Preston’s city centre, serve UCLan’s M.A. Painting course and therefore provide an important connection with the city centre and the university, whilst also generating a currently non-existent awareness of culture and art and hopefully creating an more fruitful art scene in Preston. The studios sit within and around existing brick walls from an old, vacant warehouse on site, creating a unique and distinct language between the old and new building; a parallel that exists between art in the past and today. The relationship between the dense concrete and the existing brickwork compliments each other, just as the production of art within the studios can potentially compliment the streets of Preston; filling the vacant shop frontages.

Elevation, showing all aspects of the proposal

Section through the art school

caption

AT E L I E R O N EE N V I R O C I T Yp i c t u R a s t u d i o s

Sketch of the overall proposal

Internal sketches through the building Physical model highlighting brickwork

36R e b e c c a c h i n

AT E L I E R O N EA R C H I T E C T U R E O F D E AT H R e s o m at i o n i n R u i n s

The main aim of this project was to focus on the funerary care profession and how death is dealt with in today’s society. Death is a big part of peoples everyday lives, it is inevitable that one day we will all die and it is something people fear. The fear of death stems from our fear of the unknown; what happens after we die? Where do we go?

Throughout this project, I wanted to focus on this and rather than perceiving death in a negative light, I wanted to look at it from the perspective that death should mark the end of a persons life and should therefore be a celebration. To do this I wanted to create a building, which would showcase the complex path of a person’s life and the way in which I did this was through lighting methods, to create a path of light throughout the building.

The path of life is something, which was prominent throughout this project, and I decided to research the topic in relation to architecture. My research led me on to looking at how buildings, once neglected often decay over a period of time and I felt that this was the same as the human body. Once we die, we begin to decay. Leading on from this, I researched materials in which I thought would showcase decay on the exterior of the building. My material of choice was concrete and used precedent such as the De Bijenkorf Department Store in the Netherlands to look at ways in which I could control the rate of the weather of the concrete.

I chose to contrast new materials and existing materials; situating my building with the centre of the Liverpool Castle Ruins, Rivington. My idea was; the ruins are decaying and weathering at a certain rate and my building will be weathering at a certain rate, but they can never catch up to each other due to the 100-year age difference. I felt this was a nice contrast and creating more of a relationship between the old and existing despite the two not directly touching one another.

Diagrammatic exploded axonometric

Development models showing how a path of light will flow through the funeral home

From Top; Left: Ground Floor Plan, Right: First Floor Plan; Cross Section (East to West); Elevations; Left: Eastern Facade, Right: Western Facade

37G a R e t h n o R to n

My initial research into this project consisted of looking at current affairs, affecting the UK as a whole and applying them to Preston City Centre. One of the main issues that the country is facing at the moment is the recession and a hike in unemployment rates, particularly amongst the younger demographic forcing people to sign up to the governments benefit schemes. Further research lead me into looking at the current government incentives to get people into the workplace and get those recently made unemployed back into work.

My research concluded that the incentives offered by the government, hark back to the Victorian ideals. The schemes sounded as though the unemployed were being forced into doing menial tasks or risk facing their benefits;

in conditions similar to those found in the workhouses prominent throughout the Victorian Era; I felt this was a rather right wing attitude to take and decided I wanted to create a project that would work with the government schemes, but provide workers with more incentive to want to work and a centre for training to provide them with skills that would be transferable into future employment.

For many years industry in Preston has been restricted to high street shops since the closure of the cotton mills. I wanted to reinstate an industry within Preston and as it is a “red brick town”; a niche brick-making factory seemed reputable, keeping the heritage of Preston alive. The brick factory would produce niche hand made bricks and supply them to projects

to local areas. Reducing the need for delivery and exportation and keeping everything as local as possible. There would also be a training centre for administration works.

The overall intention of the project was; the bricks made inside the factory would go towards the creation of the tower that would then form a community hub. Ensuring workers are contributing back towards the local community and becoming involved in a project that will exist as a legacy and a landmark within the city centre; whilst gaining relevant skills and abilities to use in later life in the process.

Detail through brick work training centre

Detail through double skin facade

External view - Church Row and Church Street intersection

External view - looking west down Church Street

AT E L I E R O N EE N V I R O C I T Y t h e b R i c k W o R k ( s ) h o u s e

From Top; Ground Floor Plan; Section BB - Church Street Facade

37G a R e t h n o R to n

AT E L I E R T H R E EYO U ( T H ): L O S T G E N E R AT I O Nu to p i a

This project was based with in Burnley, this north west town is slowly in decline and showing that the young people of this town wish to leave as soon as they can. Looking at history of Burnley its clear

To see that this town has lost its purpose it was the heart of the cotton industry, this was the main employment for the town with the hub of this happening in the Weaver’s Triangle this was the power house of the town, but now this is proba- bly the most deprived area now. As seeing

this dramatic decline with in the town

Its tried to fight for help of the government and lost in many cases.

The concept of the “Lost Generation” and how its effected the young people of the town is clear to see within the researched gathered. The main purpose was to re- vitalize this area of Burnley but also to bring people back to the area like they once did when the factories were there. This concept was to bring a new hub to

the weavers triangle but also to create a revenue to allow the work to maintain around the canal. These canals were great structures constructed and now these have forgotten its time to bring back the canal and get back on the waterways.

This would be the help of a marina that other towns along the Leeds and Liver- pool canal can travel along the waterways to experience a new way in which to travel.

Graffiti

Master plan concep

38l i a m b e n t l e y

This project was based with in the city of Preston , this was a master planning concept, the area given was Church street, this is the oldest part of Preston looking at the history around the site we were shown that Preston was a wealthy city.

This was shown by the architecture around Preston, like most northern cities it struggles to keep people within the city the main source of income is the university but the patterns are the same students come graduate and leave there’s no incentive for students to stay here and carry on.

The concept is to create a industry that will grow and help keep people working and living within the city and for the city life to carry on through out the term times of university. This idea is to create an independent fashion academy sponsored by the high street for the high street with the help of the Mary street Porta funding this academy would teach how to create and sell/advertise fashion, the top students from all courses will be put up into a pop up boutique’s and be ready to launch for the event of Preston Fashion week this would increase sales open to all and using the resources that are already there be a fantastic back drop for the city.

The indoor garden

cross section

AT E L I E R O N EE N V I R O C I T Yfa s h i o n a c a d e m y

elevations

Ground floor plan Studio spaces

Preston fashion shows

38l i a m b e n t l e y

Atelier OneArchitecture Of DeAthc h a p e l o f R e f l e c t i o n

Light cutting through the front façade of sketch model

I felt light would help to enhance the sense of religion and spirituality

The golden mesh runs throughout the scheme, creating ‘areas of reflection’ and suggestive circulation

Exploded isometric highlighting the chapel, the mesh that surround it and the crematorium

After selecting a site located a stone’s-though away from Rivington Reservoir, I designed a ‘Chapel of Light’, a Crematorium, a ‘Viewing Tower’, ‘Rooms of Reflection’, a function room and bar, along with ‘ten areas of mourning’.

My scheme focused on manipulating light and shadows by using a ‘mesh’ which I designed using thin layers of steel, separated by ‘cube-like’ members which from certain angles give the appearance of hardly being there. This mesh runs through the site and interacts with the landscape, creating spaces and producing ‘suggestive circulation’. This same mesh links with the front face of the Chapel, providing the centrepiece of the scheme with a beautiful façade that aims to improve the sense of faith and religion.The mesh runs of into the landscape, cutting into the ground creating clear pathways and suggestive circulation. These paths run of towards ‘areas of mourning’ where visitors will be able to get some privacy and be alone with their thoughts as they reflect on memories of their fallen loved-ones.

The shape and direction of these paths are dictated by the excising landscape, either following the line of the trees, circulating around an existing tree that sits at the heart of the site, or towards the ‘Liverpool Castle’ located directly to the south of the site.

39

site plan

J o R d a n h u G h e s

AT E L I E R O N EE N V I R O C I T Ys k y s k at e

The aim of the ‘SKY SKATE’ is to create a space that locals will be excited to visit, as well as producing a destination that will have tourists flocking to the iconic site. Preston bus station is arguably Preston’s most iconic building, the second largest of its kind in Europe, therefore I feel that it’s only fitting it now becomes home to Europe’s largest skate park of its type!

Surprisingly, England is thought of as being the best destination for skating within Europe. Therefore, it can only be seen as a missed opportunity that Preston host only one recognized skating area, a small indoor skate park located 19 minute walk away from the city centre. A skate park is something that would be open 24/7 and as a result it’s very common for a park of this type to become a hive of activity later on in the evenings. Visitors will be able to take advantage of the elevated park, creating a different experience to anything that they’re likely to have had before. The rooftop gives access to one of the best views of the City available. A unique elevated skating experience is offered by the ramp that weaves its way in and around the three structures with a steady incline.

The scheme will act as a beacon of light for all things fun and exciting, creating something that not only skaters will wish to visit, but also non-participants. Visitors will gain spectacular views of the city, surrounding themselves with life, movement and enthusiasm.

Sky Slope aims to regenerate an area of that was once loved but has now been run-down for some years

The centre of the platform is a pedestrian only area from which spectators can comfortably take-in the surrounding environments.

The sloped ramp creates an excit-ing skating experience, allowing skaters to wrap around the three main structures, providing elevated views of the ‘free-skate’ area below

39

The ‘free-skate’ area of the skate park exposes the existing rooftop of the sta-tion which inspired the scheme

Spectators can peer down from the platform above into the confined skat-ing areas below

A large 30 metre ramp wraps around an internal staircase and lift-shaft, providing skaters with one last Harrah as they exit Sky Skate

Exploded Isometric highlighting the different levels

J o R d a n h u G h e s

AT E L I E R O N EA R C H I T E C T U R E O F D E AT HR i v i n G to n c R e m a u d i u m

The project pushes the boundaries of death care and bereavement and uses architecture and space to change the experience of death and how death is remembered.

By doing this the spatial experience at Rivington CremAudium is somewhat special to any other kind of experience at a funeral.

Having researched into death, the journey the building takes you on is not as death is perceived. In fact it combines happiness with sadness and is a multi-functional building that specialises in not only funeral care but weddings and public concerts. This allows Rivington to have a second scenic location for weddings and a new meeting place for the public this facility will provide the opportunity to bring the community of Rivington together.

Coming here could be one of the most memorable days of your life for both a wedding and a funeral.

Exploded axonometric

View from building to edge of pier View from the pier to building

Elevation

View of the building from the front Front Elevation Technology Section

40

Plans

h o l ly e l l i s o n

AT E L I E R O N EE N V I R O C I T Yv i v i e n n e W e s t W o o d fa s h i o n s c h o o l

Preston’s city of thriving industry is disjointed today with it no longer being proud of its technologies or independence, meaning less jobs, social inequalities and living. The fashion school helps to change this.

The Vivienne Westwood fashion school sits on an existing site of a former school. The school aims to promote Preston and its fashion worldwide by bringing people from all over the world to learn not only fashion and textiles but to make them to. Providing jobs for the city to.

The school is brought into the existing city fabric to revitalise the vanishing economy and bring back a sense of Preston’s most famous industry, Cotton and textiles. Having a working cotton mill and tower onsite enables students to make the textiles they need.

Celebrating fashion and textiles through the architecture of the school is done by expressing materiality throughout the design. By using various materials such as white concrete to create a cotton wrapping effect, a lattice structure to look like cotton has been threaded onto the building and having researched into Vivienne Westwoods famous geometries using these for the roof.The school creates a different experience for the students.

Plans

View from library View into building from North

Elevations

View from North Technology section through pod Technology section through cladding

40h o l ly e l l i s o n

Located in Rivington, to the east of M61 motorway, this crematorium is to portray the purpose of soothing the sorrow of family members and friends of the person who passed away. It is a place to have a cremation burial that expresses peace and comfort so that the end journey of the dead finishes in the most soulful way. The building functions so that the person passed away is delivered to the place either before or on the day of the funeral service. It is then brought into the chapel room were the ceremony commences then after family and friends have said their last farewells, it will be transferred into the cremation room where the process takes place. When the remains of the body is ready for collection, it will be stored in an urn and returned to family members so that they could disperse it or store at the columbarium. At the end of the funeral ceremony, visitors will be lead into a gathering room filled with refreshments so that they could have a last gathering before leaving and returning back to their individual homes. Right behind the chapel room is a flower bouquet garden, where flowers are presented on a wall section. The gathering room will have a curtain glass wall facing this garden to enlighten the unsettled mood. Surrounding the crematorium, beautiful scenery of woodland and greenery would help to distract visitors from their sad emotions and there is also a river adjacent to the structure so that if the family decides to spread the remains into the river it is only a few minutes walk away. Leading away from the chapel by a long columnade walkway is a columbarium to store urns of the deceased. It is buried within the woodlands so that the nature could present a peaceful atmosphere and help soothe sad emotions.

Front of chapel room Exterior columnade

Flower Bouquet Garden

Back of chapel room

AT E L I E R O N EA R C H I T E C T U R E O F D E AT HR i v i n G to n c R e m ato R i u m

Gathering Room

41W e n dy l e u n G

AT E L I E R O N EE N V I R O C I T Yt h e b R e W e R y m u s e u m

This brewery museum is designed to become a new attraction place for tourists coming to Preston. It is a museum that allows visitors to experience the process of how brewery is produced from growing the ingredient barley, to boiling it for flavour until the end where it is packaged into bottles. As each stage proceeds, with them being on different floor levels, the liquid will be transferred from one step to another by flowing through transparent tubes which expresses the concept of liquid and fluidity. This would let visitors see the different colours of liquid as it is processed through several steps. As people walk into the centre atrium of the building into the entrance, they will be able to see these liquid movements flowing from left to right and vice versa. Furthermore, with it located at the corner of a busy junction, it is easily recognisable and accessible too. The spiralled form of the building could be seen from all angles as it rotates by 6o from the ground floor as each floor gets higher. Below the building is a basement where loads are exported and delivered by an underground tunnel proposed from the group masterplan. This curved facade helps to create an illusional gate-way against the Holiday Inn as vehicles drive by the Ringway. Also, the copper cladded facade adds to the mechanical atmosphere as it expresses the machinery idea of the museum process. By creating this brewery museum, it aims to attract tourism and bring in more income into the city of Preston. For the building circulation, an elevator is located at the pivot point of the building surrounded by a continuing staircase that could be clearly identified as it has a full window column from top to bottom along it. Beside the elevator is a circular concrete wall for the installation of an archimedes screw that is used to help transfer loads up and down the building. With both the elevator and archimedes screw built with a concrete wall, it forms the spine to support the structure at the point where each floor is rotated.

Interior Factory Bar

Exterior Atrium

41W e n dy l e u n G