2.3

1Konrad Koltun

Konrad Koltun |11071356|Grand Junction |Crossings Events

2.3 Either Way...

2 2,3 Portfolio

3Konrad Koltun

Collective

Individual

4 2,3 Grand Junction

5 Introduction6 Site analysis 6 The pragmatic 10 Historical 12 Environmental 14 Social 16 Context 20 Dialectical

32 Concept development 33 Montage 36 Wider context 38 Detail 40 Concept 44 Spolia (sustainable stance) 46 Natural Constructed (tectonics) 48 Function 49 Form 50 Spatial development 54 Structural development58 Proposition 58 Proposal in context (site plan + elevs) 60 Programme (plans sections) 72 Legislative consideration 76 Spatial qualities 88 Proposal in detail 98 Environmental considerations106 Conclusion 106 Playhouse 108 New Built 110 Landscaping 112 Questioning permanence 116 Closing image118 References119 Summary

120 Crossings Events

Table of

Cont tents

4 2,3 Portfolio4 2,3 Portfolio

5Konrad Koltun

The brief involved creating a new cultural hub for Hulme in Manchester and reconciling it through parts of the development with the wider Greater Manchester context. There were three main parts to it - renovating the Grand Junction Playhouse to a degree, proposing a new venue for digital arts and a piece of land-scaping connecting the two developments.

I would like to thank my tutors Maryam Os-man and George Epolito for guiding me through and showing a completely new design process which opened my mind and enlightened ar-chitecturally in terms of the theory. I cannot express shortly what was the main thing they taught as there was a lot of it and I guess it will come back later, it’s important to mention though that the design process was not con-ventional and sometimes consisted of seem-ingly unrelated exercises that only started be-coming obvious towards the end of the process and hopefully I will be able to show here how it informed my design and altogether formed a coherent project.

INtro duc tion

KEY IndividualCollective

Either

6 2,3 PortfolioSite Analysis

Site Analysis

The site analysis started with the year site visit. One of the first requirements and obvious outputs was to produce as a group a set of existing drawings of the Playhouse which needed to be altered.

Structural diagram of the Playhouse by Max Downe

Structural Materials

Brickwork &

Blockwork Timber

Iron & Steel

Iron columns with Gothic foliage supporting balconies

Balcony, ceiling & roof beams transmitting load to columnsTwo giant, �uted Ionic demi-columns supporting a straight entablature frames the proscenium

Two-way �oor system: steel beams and rods bolted together

600mm English Bond loadbearing exteriour

walls

150mm Running Bond interiour cavity wall

150mm Running Bond 150mm Running Bond

Timber framing system with diagonal bracing

Rafter �at roof system, partly in ruin

The Pragmatic

7Konrad KoltunGrand Junction

Group existing building drawings

-1

Various sources

G 2

1


PRO

DU

CED

BY

AN

AU

TOD

ESK

ED

UC

ATI

ON

AL

PRO

DU

CT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRO

DU

CED

BY A

N A

UTO

DESK

EDU

CA

TION

AL PR

OD

UC

T


East

North

West

South



No dignity

One of the first things I noticed apart from the ob-vious, pragmatic things was the fact that the official entrance had no dignifying experience associated with it. It was small, narrow and rather individualistic. The entrance we actually used on the day however - from the backstage was a volu-metric space which can not only fit a lot of people but obviously the props etc. The space was rather narrow and tall, yet featured vol-umetric changes and was WIDE enough to support a collective experience even though was rather individ-ualistic when one was left alone in it.


HistoricalHulme

Context

‘Cor

e’ b

uild

ings

in t

he a

rea

that

sus

tain

ed c

hang

es b

y M

icha

el K

enne

dy

Alex

andr

a Ga

vrik

ova

Cris

tina

Man

ta

The history and culture of Hulme has gone through many changes, it changed significantly and that obvi-ously had an effect on its residents. It went through being a slum for cheap workers from Ireland in-volved in the Cotton indus-try, through to a big social estate, to a mixed residen-tial borough rather aimed at lower middle class.


Grand Junction

Despite the fact that Grand Junction theatre have been one of the ‘core’ buildings in the area It has gone through some changes be-ing exploited both commercially and social-ly throughout the time. All that was strictly associated with the wider political decisions across the UK which I will attempt to show-case later on in the portfolio.


Rain Volume in an average month

Environmental

72mm of rain fall in an average month in Manchester constitutes for 132m cubed of water expressed by the cuboid in the middle of the picture. It could have some water retention implication but more than anything it was a good reminder of how much it rains in Manchester.

Summer Spring/Autumn Winter

9AM 9AM 9AM

NOON NOON NOON

3PM 3PM 3PM



Wind conditions

Using Vasari I simulated the affect wind has on the site. South wind is most common in this area. Notice th wind tunnel that forms in the open area and goes straight through our new build site. This inspired me to later in terms of my envelope choices.

SOUTH

WEST

SOUTH-WEST


SocialHulme Is notorious for its crime rates often related to the household income and what I think is a rather low level of dignity. I have noticed that crime is a resource only people from homes which didn’t teach high self esteem reach for crime.

Household income, 2011 Crim

e Rat

es A

pril-

Dec

2012

Activity in this area between April 2012 and December 2012 Give information about a crime to Crimestoppers ›

Summary of crimes and outcomes within your drawn area.

Comparison of crime types in this area between April 2012 and December 2012

Category Total Percentage

Anti-social behaviour 105 31.2%

Burglary 48 14.2%

Criminal damage and arson 24 7.1%

Drugs 6 1.8%

Other theft 68 20.2%

Public disorder and weapons 7 2.1%

Robbery 13 3.9%

Shoplifting 2 0.6%

Vehicle crime 6 1.8%

Violent crime 37 11.0%

Other crime 21 6.2%

Anti-social behaviourBurglaryCriminal damage and arsonDrugsOther theftPublic disorder and weaponsRobberyShopliftingVehicle crimeViolent crimeOther crime

31.2%

14.2%

6.2%

11%

3.9%

20.2%

7.1%

Summary of crimes and outcomes within your drawn area. | Police.uk http://www.police.uk/explore/?q=Warwick Street, Manchester M15, ...

1 of 3 04/02/2013 17:13

Activity in this area between April 2012 and December 2012 Give information about a crime to Crimestoppers ›

Summary of crimes and outcomes within your drawn area.

Comparison of crime types in this area between April 2012 and December 2012

Category Total Percentage

Anti-social behaviour 105 31.2%

Burglary 48 14.2%

Criminal damage and arson 24 7.1%

Drugs 6 1.8%

Other theft 68 20.2%

Public disorder and weapons 7 2.1%

Robbery 13 3.9%

Shoplifting 2 0.6%

Vehicle crime 6 1.8%

Violent crime 37 11.0%

Other crime 21 6.2%

Anti-social behaviourBurglaryCriminal damage and arsonDrugsOther theftPublic disorder and weaponsRobberyShopliftingVehicle crimeViolent crimeOther crime

31.2%

14.2%

6.2%

11%

3.9%

20.2%

7.1%

Summary of crimes and outcomes within your drawn area. | Police.uk http://www.police.uk/explore/?q=Warwick Street, Manchester M15, ...

1 of 3 04/02/2013 17:13

Cheung Dip Wan


This very clever piece of analysis not only gave us a big picture of Hulme but also pushed me later on to look at wider context in relation to changes.

Group analysis, unknown author


Cheung Dip Wan

Cheung Dip Wan

Context


Knowing the context proved vital later on in terms of deciding access points and understanding the pro-gramme one of the key elements proved to be Loreto College and Universities around which I man-aged to design a basic schedule in order to use the spaces in the best kind of way.

I think that education is key for this area to gain more dignity.

Education is key

Jessica Spencer


Urbed

From the key site analysis I made I composite sketch in order to be able to constantly reference it whilst designing. This was not to forget about any vital pieces of pragmatic information.

Community Garden Masterplan

Site analysis composite



subjectCohesive FragmentedContext

Dialectic Site analysisConstructed and cleared site struggleGenius Loci vs Zeitgeist/placelessness

Prior to this exercise which we did in pairs we were encouraged to read Carol Burns’ ‘On site: Architectural Preoccupations.’ (Smith, 2012) in which the author considers two approaches to the site analysis and intervention. One is constructed site which respects the existing structure and qualities of space and cleared site which looks at wider, sometimes political context in is not concerned much with the physical site conditions. The exercise was to encourage using both approaches in order not to limit our de-sign possibilities by looking at the site condition (constructed) and its opposite condition (often cleared). This however was not prescribed and because the nature of the site encouraged both constructed and cleared site approach, they interrelated each other so that the opposites were in fact often cleared site conditions.


subjectElevated SunkenPlane

subjectControlled NaturalPlanting


subjectCompressed Tensed Planting

subjectIntroverted ExtrovertedEntrance


subjectOrnate PlainInside + Outside

subjectPassing ArrivingCirculation


subject1:5 5:1Proportions

subjectInconsistent RigorousFacade


subjectLoose RigidUrban Scale

subjectAddition SubtractionContext


subjectFilled HollowMassing

subjectExposed HiddenDetail


subjectAttached DetachedResidents/Users

subjectJunction ParallelResidents/Users


Hippodrome/Grand Junction Hotel tunnel

Alex Cook’s findings


Collective Individual

Experience

-Sean Sayers

‘Dialectics. . comprehends things and their rep-resentations in their essential connection, con-catenation, motion, origin and ending.’

This LAST DIALECTIC INSPIRED BY SOME SITE ANAL-YSIS WE DID IN THE MEAN TIME INFORMED THE ULTI-

MATE THEME OF THIS PART OF SITE ANALYSIS...

-Engles

‘And the opposing point of view is not simply common sense, pure reason or logic just as

such, but rather an opposing philosophy, logic and way of seeing things.’


1:5junctioncoherent

controlled

addition compressed attached

collective coexistence

1:5junctioncoherent

controlled

addition compressed attached

collective coexistence


5:1

parallel

tension

natural

subtraction

diverse

detached

Individual coexistence

5:1

parallel

tension

natural

subtraction

diverse

detached

Individual coexistence

32 2,3 PortfolioConcept Development

Concept Development The boundary

between the site analysis and idea development started fading a little bit..


Dialectic site analysis montage

Through the montage I wanted to express the tunnel - which in itself expresses an ar-gument and a person entering it, therefore on one side I displayed my collective dia-grams, and put the individual on the oth-er - divided by a thin layer of mount board - which is the thin line between contradic-tions. What I wanted to do through that was to show that in order to really understand someone else’s opinion, one needs to put themselves in their shoes and their mindset. What also happened it that I introduced a TIME aspect to a montage - similar to film and theatre, where scenes are related to each other in time.

Loose in a rigid


Montage as theatre... Collective Loose in a rigid


Individual Loose in a rigid

...Theatre as a montage.


Wider ContextHulme as a political playground

After having done the dialectic exercise I came back to the ‘prag-matic’ analysis and combined the two together to formulate this wider context awareness.

From looking at both how Hulme and Grand Junction itself was altered due to changing political conditions the UK I figured that in order to sustain different chang-es in similar way Grand Junction or Zion Centre have been doing is to make it adaptable, so that ‘it doesn’t get thrown away when it doesn’t work anymore’.

<1800 <1945 1945-51 1951-64 1964-70 1970-74 1974-79 1979-97 1997-2010 present<1900

WHIG, CONSERVATIVE, LIBERAL....

Labo

ur

1902 - Playhouse/Hippo-drome erected as theatre for the

community

1960s Playhouse becomes BBC prop-erty, the Beatles

record.

1906

Cotton industry and

liberal politics bring a lot of immigrants

to Manchester making Hulme

essentially a slum.

1991 - Unsuccessful Crescents are wiped and more conservative ‘tradi-tional city’ typology is used. Combination of individual and collective

conditions is created.

Area starts becom-

ing less dense although still is

until Conserva-tives hegemony

period

Pre 1800s - Hulme as

rural area (feudal)

U n d e r A t l e e c a b i n e t Playhouse becomes a c i n e m a ( e n t e r -tainment for lower

classes)

1972 - The Crescents erected, area becomes a ‘City-in-a-park’ a very collective idea is implemented - space for everyone, every-

one equal.

1974 - Under PM Heath the first ‘cracks’ occour in the crescents culturally and

physically

1979 - Independent cultural movements start, encouraged to entrepreneur by

Thacher.

1974 - unemploy-

ment rates still rise.

1974 - Re-brand-

ing of Crescents as a place for

students.

Hulme becomes a one of the centres for consumption includ-ing Hippodrome ground floor becoming

shops and pubs

1842 - Engels and Marx base their manifesto on amongst other things Engels observations on horrific living conditions in

Hulme

1967 - Mancunian Way

isolates Hulme and ends its consumptive hub perspective

1945 - The end of colo-nialism is marked by C a r i b b e a n migration to

the UK

L i v i n g condit ions still individ-ualistic and liberal, since the Indus-trial Revolu-tion, whilst the ‘upper 5%’ live in p a l a c e s , people stay in terraces.

Late 1960s and 1970s is marked by a economical crises which leads people to electing Labour lead-

ers.

No sense of ownership lead to high crime rates.

Since 2000 the Hippodrome is not used as a theatre any more, it serves as purely a space for religious practices or local community organi-

sations.

2007 - The r e c e s s i o n start riots in 2009, yet again the i n d i v i d u a l p o l i t i c s ( p o o r e l y practiced by Labour) are not in favour, David Camer-on promises to make t h i n g s

better...


<1800 <1945 1945-51 1951-64 1964-70 1970-74 1974-79 1979-97 1997-2010 present<1900

WHIG, CONSERVATIVE, LIBERAL....

Labo

ur

1902 - Playhouse/Hippo-drome erected as theatre for the

community

1960s Playhouse becomes BBC prop-erty, the Beatles

record.

1906

Cotton industry and

liberal politics bring a lot of immigrants

to Manchester making Hulme

essentially a slum.

1991 - Unsuccessful Crescents are wiped and more conservative ‘tradi-tional city’ typology is used. Combination of individual and collective

conditions is created.

Area starts becom-

ing less dense although still is

until Conserva-tives hegemony

period

Pre 1800s - Hulme as

rural area (feudal)

U n d e r A t l e e c a b i n e t Playhouse becomes a c i n e m a ( e n t e r -tainment for lower

classes)

1972 - The Crescents erected, area becomes a ‘City-in-a-park’ a very collective idea is implemented - space for everyone, every-

one equal.

1974 - Under PM Heath the first ‘cracks’ occour in the crescents culturally and

physically

1979 - Independent cultural movements start, encouraged to entrepreneur by

Thacher.

1974 - unemploy-

ment rates still rise.

1974 - Re-brand-

ing of Crescents as a place for

students.

Hulme becomes a one of the centres for consumption includ-ing Hippodrome ground floor becoming

shops and pubs

1842 - Engels and Marx base their manifesto on amongst other things Engels observations on horrific living conditions in

Hulme

1967 - Mancunian Way

isolates Hulme and ends its consumptive hub perspective

1945 - The end of colo-nialism is marked by C a r i b b e a n migration to

the UK

L i v i n g condit ions still individ-ualistic and liberal, since the Indus-trial Revolu-tion, whilst the ‘upper 5%’ live in p a l a c e s , people stay in terraces.

Late 1960s and 1970s is marked by a economical crises which leads people to electing Labour lead-

ers.

No sense of ownership lead to high crime rates.

Since 2000 the Hippodrome is not used as a theatre any more, it serves as purely a space for religious practices or local community organi-

sations.

2007 - The r e c e s s i o n start riots in 2009, yet again the i n d i v i d u a l p o l i t i c s ( p o o r e l y practiced by Labour) are not in favour, David Camer-on promises to make t h i n g s

better...


DetailAccident in the design process

Very early in the design process we were asked to choose and make a 1:1 detail of a structural junction. Ini-tially it wasn’t supposed to relate to our research, but then we were asked to incorporate it in our design. This also informed the material com-position very early on in the design which forced a bottom-up design ap-proach at times.

Precedent


Main Material Composition

Brick - Good in compression

Steel + timber - Good in compression and Tension

Fabric - Good in Tension

This is how I managed to incorporate the detail early on into my concept, it’s interesting because this com-position already suggests a typical material choice for theatre stages etc.

Compressed Tensed Planting


The basic idea of keeping ‘individu-al and collective’ qualities of space and programme at a constant edge, intertwining and finding a common ground between each other forms the base for this project.

Using both the detail and montage that inspired certain decisions, I make a thin border between phys-ical and metaphysical conditions in terms of just about any aspect of the design.

Collective vs Individual - Loose In a Rigid



Collective Experience happens in enclousures...

The landscaping and the outdoor performance space

The new built

Playhouse

Tensions...


Precedent

PrecedentFlexibility... form follows function... the duck

The inside-out house in East End expresses what I am try-ing to implement - that the colloective experience, as op-pose to individual happens in enclousures for a public build-ing as oppose to a house.

Teatro Oficina seems to be expressing very well both my detail and loose in a rigid. This kind of exposed, stage func-tional aesthetic is what I will try to implement.


Spolia

Capitalising on Decay

PrecedentNuovo tower, Ancoats Manchester

In the search for further detail and construction method I linked Hulme and Northern Quarter as districts that suffered from In-dustrial Revolution in some way or another.

I thought that re-claiming the wasted, wrongly accumulated capital and finding a use for it to generate a some kind of prof-it was appropriate to my project as it could form a MANIFESTO of some sort.

Standard sizes of columns were gathered from the tower.

PRO

DU

CED

BY

AN

AU

TOD

ESK

ED

UC

ATI

ON

AL

PRO

DU

CT


PRO

DU

CED

BY A

N A

UTO

DESK

EDU

CA

TION

AL PR

OD

UC

T



Precedent

Precedent

Detail

As the bonus of such as stance I could ex-plore some key details and junctions re-quired in my project.

Spoil of War in Santa Maria in Aracoeli, Rome forms the main precedent for what I am doing as not only I am taking a stance on economics, but also history and politics.

As for expressing the issues of sustainabili-ty and using that in my project - the image of devastation from tree cut down seemed to refer to all aspects of the matter.


PRO

DU

CED

BY

AN

AU

TOD

ESK

ED

UC

ATI

ON

AL

PRO

DU

CT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCTPR

OD

UC

ED B

Y AN

AU

TOD

ESK ED

UC

ATIO

NA

L PRO

DU

CT


PRO

DU

CED

BY

AN

AU

TOD

ESK

ED

UC

ATI

ON

AL

PRO

DU

CT


PRO

DU

CED

BY A

N A

UTO

DESK

EDU

CA

TION

AL PR

OD

UC

T


The initially drawn concept plan featured what my tutor thought was ‘great proportions’. I was intrigued by that as I wasn’t really thinking about them when I was designing. Also at the time we were reading about proportions in Le Modulor by Le Corbusier and I saw the opportunity to link my concept and tectonics through mathematics which came from the weird spacing of columns in the Playhouse.

Tectonics, proportions...


Natural Constructed

Safe 5x5 grid allows the eye to align to the varnishing point.

5x5x5.5x4.5 grid provide an il-lusion of a random structural solution.


Function

LearningPerforming

Work (Day)

Spectating

Entertainment (Night)

Local Loreto College has A Levels in:

- Drama Theatre - Photography - Film - Music and Music Technology - Dance

RehearsalsStudent workshopsSet ups etc.

Cafe

PerformancesExhibitions

Parties

Therefore there are 3 main audiences experiencing the below:

And therefore this kind of day/night programme is shaped:

Since the current MP is a Labour they’ll be in favour of making such space strict-ly connected with local com-munity/education. }


Form

Elev compression tensionrigid loose

real ephemeralcoherent spontaneous

Eisenman

- Facade not just as a threshold between street and building - but as a space making device.

- Talks about how times changed in terms of capitalism and architecture and how now longer it should be a duck or a deco-rated shed but DECORATED DUCK!

The photvoltaic curtains invented by Sheila Kennedy I tried to explore the aesthetic of the entire development. The modern approach at sustainabil-ity I am able to keep the theme of spolia in terms of old, in reference to history of Manchester and where it all came from.

Precedent

Decorated Duck!


Section-1

G

In terms of the Playhouse, the idea here was to duplicate the backstage entrance - give it dignity and introduce tension in this compressed building by running staircases in the void created. This was to enhance the experience and don’t just have void for the sake of void.

Spatial development


1

2

The programme follows all the ideas previ-ously explored. I always drew all the build-ing components together in order to keep them coherent.

In terms of those, I was criticised for stick-ing to the structure too much.


PrecedentBarcelona Pavilion was sug-gested to me as a precedent to explore the FREEPLAN (loose in a rigid). Other parallels could be seen in that precedent, not to mention Mies’ love for honest design.

I was specifically looking at the relationships between indi-vidual and collective spaces and what effect curtains have on that.


Spatial Model

- Circulation- Understanding the concept of freeplan- Understanding the need of cross bracing and how to apply it- To contextualise my building in relation to its context

The hub

Spatial relationships in regards to the context.

The model was done for the following purposes:

I cannot stress how useful this was in my design pro-cess and those are the con-cepts I gathered from it:



PRO

DU

CED

BY

AN

AU

TOD

ESK

ED

UC

ATI

ON

AL

PRO

DU

CT


PRO

DU

CED

BY A

N A

UTO

DESK

EDU

CA

TION

AL PR

OD

UC

T


PRO

DU

CED

BY

AN

AU

TOD

ESK

ED

UC

ATI

ON

AL

PRO

DU

CT


PRO

DU

CED

BY A

N A

UTO

DESK

EDU

CA

TION

AL PR

OD

UC

T

deep strip concrete foundations

steel I columns

Structural development



PRO

DU

CED

BY

AN

AU

TOD

ESK

ED

UC

ATI

ON

AL

PRO

DU

CT


PRO

DU

CED

BY A

N A

UTO

DESK

EDU

CA

TION

AL PR

OD

UC

T


PRO

DU

CED

BY

AN

AU

TOD

ESK

ED

UC

ATI

ON

AL

PRO

DU

CT


PRO

DU

CED

BY A

N A

UTO

DESK

EDU

CA

TION

AL PR

OD

UC

T

steel I beams

1st set of timber beams to provide stability



PRO

DU

CED

BY

AN

AU

TOD

ESK

ED

UC

ATI

ON

AL

PRO

DU

CT


OD

UC

ED B

Y AN

AU

TOD

ESK ED

UC

ATIO

NA

L PRO

DU

CT


PRO

DU

CED

BY

AN

AU

TOD

ESK

ED

UC

ATI

ON

AL

PRO

DU

CT


PRO

DU

CED

BY A

N A

UTO

DESK

EDU

CA

TION

AL PR

OD

UC

T

steel I beams laid out

more stability



OD

UC

ED B

Y A

N A

UTO

DES

K E

DU

CA

TIO

NA

L PR

OD

UC

T


PRO

DU

CED

BY A

N A

UTO

DESK

EDU

CA

TION

AL PR

OD

UC

T

bracing and secondary etc. struc-tures

58 2,3 PortfolioProposition

PRO

DU

CED

BY

AN

AU

TOD

ESK

ED

UC

ATI

ON

AL

PRO

DU

CT


PRO

DU

CED

BY A

N A

UTO

DESK

EDU

CA

TION

AL PR

OD

UC

T


Proposition

Site plan

59Konrad KoltunGrand JunctionGrand JunctionGrand Junction

Proposal in context

East

North

South

West

‘I like dirty architecture!’

Ricardo Porro

‘We need decorated ducks.’’

Peter Eisenman

Many Interpretations

Robert Venturi

Facade not barely as a threshold, but a space making device.

Peter Eisenman

Compression Tension

Spontaneous Coherent


Landscape intervention

Digital performance area

Multipurpose training area

PRO

DU

CED

BY

AN

AU

TOD

ESK

ED

UC

ATI

ON

AL

PRO

DU

CT


PRO

DU

CED

BY A

N A

UTO

DESK

EDU

CA

TION

AL PR

OD

UC

T


Section B

BBB

Programme


Multifunctional outdoor performance area

Programme


Level - 1

[2] - Play house basement (changing rooms) 9am -noon Potential individual photoshoot spaces including darkrooms 1pm - 5pm Changing rooms for students from the local collage practicing 7pm - 9pm Changing room for students performing Macbeth

Loose in a rigid programme

In a similar way a theatrical play is a montage of set ups and story relat-ed to each other in time the spaces act as rigid spaces that allow dif-ferent kind of activities to happen. A lot of the programme would be therefore dictated by the schedule in order to avoid unused, awkward spaces and to ensure the buildings are living.

Sample Programme

2


1

[1] - New built basement (Digital Performance area) 9am - noon Drama classes for local college 1pm - 3pm Seminar room for local university 3pm - 5pm Curtain and projectors set up for the night show 7pm - 9pm Digital projection about Hulme’s past by London based stage designer


Ground Level

9

[6] - Landscape incorporated with community garden/hide and seek playground[7] - Semi indoor/semi outdoor space for transition and potential interventions[8] - Playhouse hall way (potentially to be used as a gallery as well)[9] - Playhouse reception/bar area[10] - Stage/ground floor seating area 9am - noon Practice area for local college students 1pm - 3pm Further rehearsal space 3pm - 5pm Space dedicated for stage setup for the night show 7pm - 9pm The night Macbeth performed by local college students

8

10

Sample Programme


[1] - New built reception area (staff, security, ticket office) 9am - noon Coffee shop for locals rushing to work 1pm - 2pm Lunch eating area for student from local schools 3pm - 5pm Coffee shop for locals returning from work/at work 7pm - 9pm Snack and drink bar for exhibition participants[2] - New built cafe area 9am - noon Coffee shop for locals rushing to work 1pm - 2pm Lunch eating area for student from local schools 3pm - 5pm Coffee shop for locals returning from work/at work 7pm - 9pm Snack and drink bar for exhibition participants[3] - Toilets (male, female, disabled)[4] - Multifuntional/Transitional area 9am - 5pm regrouping of students coming in and out their classes 7pm - 9pm Exhibition of Manchester based artist[5] - Outdoor summertime cafe area

1

2

7

3

4

5

6


Level 1

5

Sample Programme

[3] - Toilets (male, female, disabled)[4] - Main studio balcony (quick breaks, summer stage for live concerts)[5] - Main seating area


[1] - New built main studio (dance, greenscreen, recording, practice) 9am - 11am Dance classes for local schools 11am - 1pm Media recording studio session for local university students 1pm - 3pm Studio recording session set up for an influential band from Liverpool 3pm - 8pm Studio recording session for the above band 8pm - 10pm Martial arts session for locals[2] - New built waiting lounge (to include a gallery display) Jan - March History of Hulme prepared by local architecture students March - June Display of best proposals for the Hulme redevelopment programme June - August Display of work by Northern Quarter independent artist August - Dec Empty boards with markers as public consultations with regards to the future of the Hippodrome

1

3

2

4


Level 2

1

2

[1] - Projection booth for various programmes[2] - Second floor seating area

Sample Programme


[1] - Projection booth for various programmes[2] - Second floor seating area

Voids representing the services/lighting etc flexibility for those areas.


Section A

AAA

Playhouse entrance

Traditional performance area

Landscape link


Circulation and transitional spacesLandscape link


Level -1

Fire Exits

~18m

~18m

Fire regs do not require to have the fire exit from the basement enclosed.


Ground Level

~15m

~18m


For loft spaces the fire staircase/fire exit has to sustain 30mins of fire and for that amount of people two fire exits need to be present.

Alternative Exit

Alternative Alternative Exit

Alternative Exit

~14m

~15m

~11m

~11m

~18m

~16m

Despite fulfilling the requirements for fire escape there are plenty of alternative exits designed.

Level -1


Alternative Exit~18m

~15m

Level 2

Accessibility

Level 2 due to less amount of audience only requires one enclosed exit.

In the Playhouse mean for accessibility are already provided and in the new build are properly designed from the scratch.


Spatial Qualities



Individual to collective

Carefully designed spaces with smooth transition from indi-vidual to collective experience spaces occasionally allowing direct transition in order to surprise within a coherent en-vironment.

IndividualTransitional/BothCollective



Circulation

Leading through narrow rectangular spacesBoth transitional and accommodating spacesPurely activity spaces

The idea behind circulation is similar to from individual to collective - that there are tran-sitional spaces capable of ac-commodating both, making the transitions smooth.



‘1:5 5:1’ Volumes

‘5:1’ (narrow Vertical)Intersection/both 1:5 and 5:1‘1:5’ (Wide and Horizontal)


The user experience is defined by intertwined volumes of al-ready familiar qualities. I con-trolled factors such as whether transition is smooth or surpris-ing constantly keeping thins on their edge and changing.


axonometric diagram of some of the spatial qualities I was unable to show through the 2D diagrams. This includes certain elements at constant dialogue between tension and compression, 5:1 (tall and narrow) and 1:5 (short and hori-zontal), Individual and collective etc.

3d



PlayHOUSE

My HOUSE

Previously

Solution

Dignified civic experience


Sequential experienceOn previous pages one might have noticed that the approach and transition between main building spaces are similar, those are a few visualisations of it.


Proposal in DetailStructural Diagram in relation to space


Please notice how the structure is used throughout the schemes and connects the two as though it was coming from each other’s initiative.The density of the posts in the new built seem high, however they were designed in such as manner in order to make the space as flexible for ad-ditional scaffoldings etc. as possible.


Details speaking a common language (MAin junctions)

We were encouraged to keep our detail and use it through-out the project. This exercise allowed tectonics to speak a common language and made the process extremely fast.

1:2 floors and roofs junction


Main exposed junctions (detail in action)

Typical stair junction


Window to basement/basement

typical Foundations


window to floor

typical Foundations


Roof


Structure punches envelope

Options

Thermal break (less flexible)

L bracket to make the section rectangular (flexible, chosen)


Acoustic/thermal wall


Acoustic curtains and typical window


Environmental CONSIDERATIONSThe idea

Environmental TEMPERATURE (0/30 DEGREES)transitional TEMPERATURE (17/25DEGREES)ideal TEMPERATURE (22 DEGREES)

In similar way there is a transition from individual to collective with either in between, the logic behind the building is such that only where it’s needed the tem-perature is kept at ideal state. This reduces heat loss and also creates comfort since for instance in winter there is no need to take off one’s jacket right after entering the building.


ResolutionThe concept narrative carries in terms of the environ-mental solutions certain strategies refer to collective/individualand together form what I think is a reason-able solution and response to the issues associated with sustainability. Both eco-social and technophilic approaches are exploited.

Natural ventilation

Mechanical ventilation

Potential of additional water heating strategies/more PVs if needed

PVs embedded in the facade

Passive heating/cooling


Acoustics


By learning from strategies exploited in the Playhouse which shelter the main performance area with other rooms the design logic itself constitutes to acoustic control.


acoustic-curtains.co.uk

Acoustic Curtains have both shape and material weight ca-pable of absorbing sound in the same way any perforated material.


‘Acoustic and Noise control

Solution provided by B J Smith and S Owen to make certain rooms completely sound proof exploits natural materials such as sand. This works very well with their insulative properties too.

The digital per-formance area is not made soundproof in order to allow for greater play design possibili-ties in terms of using sound.


The programmatic design considers services and logic in their placement. Because of the honest design all the other services are exposed and form the language of the building which hides them in its coherent image.

Services

Key

The ‘sketched’ lines on the visualisations describe flex-ible elements.


Accommodating, Absorbing, Responding (To environmental issues caused by different kind of systems.

Concrete shuttering becomes floor, knocked down bricks are incorporated giving direct connection be-tween certain element across the environment.

Sustainable through construction logic

106 2,3 PortfolioConclusion


ConclusionPlayhouse entrance shot from the top level

showing the flexibility of the solution

Collective and Individual



Semi indoor, semi outdoor new built space created by the facade and even light distribution

Loose in a Rigid



The LinkThe outdoor link provides further flexibility opportunities, works well with community gar-den as extensions device and links the schemes visually together as though new was emerging from old.


‘Cor

e’ b

uild

ings

in t

he a

rea

that

sus

tain

ed c

hang

es b

y M

icha

el K

enne

dyQuestioning PermanencePrecedent

Ultimately, the problem of flexibility these days was tackled by 2008 Venice Biennale winners from Poland who proposed photomontages as how civic, proud buildings such as air-ports might change their use.

From the site analysis I learned that the buildings which tectonics were limited to a specific use like housing in this case have been taken down. The ‘core’ iconic buildings such as the Zion centre which is now used as arts gallery survived all the demolitions, the next two pages will show that ul-timately my design is ready (including resources) to be redeveloped completely depending on political needs...


we-make-money-not-art.com


The steel forest is cut down due to deriva-tives at the highest level to extend the ex-isting structure and accommodate desired needs in the ever changing area.

Either Way...


Montage on the left features Ed Miliband and the return to social housing in Hulme and PM Cameron overlooks an autistic - in-dividualistic form which acts as a business hub in Hulme. hub in Hulme.


Both ways.



Bergman, J., 2001. Darwin’s Influence on Ruthless Laissez-Faire Capitalism. Institute for Creation Research.Ching, F., 2008. Building construction illustrated, 4th ed. John Wiley, NJ. Deleuze, G., 1997. Postscript of the Societies of Control, in: Rethink-ing Architecture: a Reader in Cultural Theory. Routledge, London and New York, pp. 293–299. Doreen, M., 2000. Space-time and the politics of the location, in: Architecturally Speaking: Practices of Art, Architecture and the Everyday. Routledge, London. Eisenman, P., 2010. Lateness and the End of Crisis. Rice School of Architecture.Harvey, D., 2006a. Spaces of Global Capitalism: Towards a Theory of Uneven Geographical Development, 1st ed. Verso, London and New York. Harvey, D., 2006b. The Political Economy of Public Space, in: The Politics of Public Space. Routledge, Oxon.Harvey, D., 2012. Rebel cities: from the right to the city to the urban revolution, 1st ed. Verso, London.Jameson, F., 1997. The Cultural Logic of Late Capitalism, in: Rethink-ing Architecture: a Reader in Cultural Theory. Routledge, London and New York. Jameson, F., 2003. Future City. New Left Review. Leach, N., 1997. Rethinking architecture: a reader in cultural theory. Routledge, New York. Leech, L.V., 1972. Structural steelwork for students. Butterworths, London. Loomis, J., 2011. Revolution of Forms: Cuba’s Forgotten Art Schools, Revised edition. ed. Princeton Architectural Press. muf, Shonfield, K., 2000. Public territory, in: Architecturally Speak-ing: Practices of Art, Architecture and the Everyday. Routledge, London. Nozick, R., 1997. Why Do Intellectuals Oppose Capitalism? Socratic Puzzles 280–95. Read, A., 2000. Architecturally speaking. Routledge, London. Sayers, S., 1980. On The Marxist Dialectic, in: Hegel, Marx and the Dialectic: A Debate. pp. 1–24. Smith, B.J., Owen, S., 1996. Acoustics and noise control, 2nd ed. Longman, Harlow.Smith, K., 2012. Introducing architectural theory: debating a discipline. Routledge, NY. Wayne, J., 1987. Editor’s Introduction, in: The Communist Manifesto. Canadian Scholar’s Press, Toronto. West, E.G., 1992. Adam Smith and Modern Economics: From Market Behaviour To Public Choice, First. ed. Edward Elgar Publishing Company, Newcastle upon Tyne.

references


I cannot stress enough how much I learned from this project and even though I am ex-tremely proud of managing to have done what went in this portfolio I still see how many things could be improved in terms of the quality and the amount of things I was trying to communicate.

I would once again thank my tutors and Siobhan for providing me with such an op-portunity deliver this project and constant-ly pushing me to make it better.

Konrad Koltun

sUMMARY

120 2,3 PortfolioCrossings Events

Guerrilla tACTICS


The event I chose was about designing a guerrilla advertising strategy for National Football museum who try to get the atten-tion of the local people.

With some experience from previous proj-ects I approached it by learning what guer-rilla advertising really is and what National Football museum really is about.

In the process some good ideas were gen-erated, tried and with the aid of my group ‘sold’ to the museum’s heads of marketing.

Introduction


Guerrilla is using minor resources to make a big impact through (or dominate a large collective by a small collective through):

Getting under the skin

- Using appropri-ate elements of the certain activ-ity (advertising, warfare)

- Surprise (people tend to be more ‘vulnerable’ when surprised)

- Taking advantage of the environment through the impo-sition of a system or an object ap-propriate to both the goal and sit-ting


The point of that project was to engage people to-gether through an exercise of some sort. The envi-ronment we operated on featured a lot of poles and the sitting was Manchester - key city in terms of football in England.

By asking people what was the first thing they think of when they hear ‘Manchester in summer’ we gath-ered an image of its identity at that time of the year. It was about football, rain and work.

Those sort of parameters along with other things encouraged us to do this:

Prior to doing this project I already did something which can be considered a guerrilla tactic interven-tion.

Empirical


Exhibition - Interactive Football Memory

It is quite clear what the museum is about - it’s to show-case the classical moments and elements of this culture

that particularly stuck in people’s minds.


In similar way the 10th Anniversary Stadium in Warsaw served functions from the sports arena to the biggest market in Euro-pa, where after 1989 Polish people were taught how to be busi-nessmen by Vietnamese, National Football Museum was Ur-bis before. They share a similar kind of functional progression:

INITIALLY FOOTBALL - CULTURAL - FOOTBALL AGAIN National Football Museum is obviously trying to make the exhibition interactive and engaging. But by introducing this kind of function to a building other than a stadium, what they did was they took football out of the streets.

THE HISTORY NEEDS TO GO BACK ON THE STREETS TO ATTRACT IT INSIDE. Obviously you can’t be engaging enough in such a building.

Solution?History of Football + Urban Fabric intertwined


I take this topic quite personally I believe I can still make a some kind of statement - I don’t think football history can be contained simply because it lives in this country.

Out of the projects that were done to cul-turally promote and save Jarmark Europa the ‘Boniek!’ initiative seems very subver-sive because it actually promotes football on that ground - it showcases it as a lost relict on this stadium and almost asks to bring it back to that space.

S u b v e r s i o n ? oWEN iN pICCADILLY gARDENS?

OWEN!


The core idea therefore is to impose a sys-tem of lines from a famous English histor-ical play and to get people to consciously or subconsciously to impersonate players out of context in a public realm.

cONCEPT POSTER

WHO ARE YOU...?

GUERRILLA TACTICs


25035

16180

5000

20478

42854

'England trail by

2 goals to 1.'

'Beckham could

rise a roof here

with a goal'

[YEAAAAAAH]

'I do

n't b

elie

ve it

,

David

Bec

kham

scor

es a

goa

l to

take

Eng

land

all

the

way

to th

ewo

rld c

up fi

nals.

'

'Give that man a knighthood.'

PRO

DU

CED

BY A

N A

UTO

DESK

EDU

CA

TION

AL PR

OD

UC

T


PRO

DU

CED

BY

AN

AU

TOD

ESK

ED

UC

ATI

ON

AL

PRO

DU

CT


Small Scale Intervention

We decided to go for David Beckham iconic goal as it fits the idea of small scale implementation (we don’t need much space for it and we can be quite selective about it). It’s going to be used to sell the project for the marketing team

The idea is that the commen-tary goes along the lines or voice goes with the action in order to give the lines mean-ing and W understanding to people.


0:20 – 'England trail by 2 goals to one.'

0:30 - 'Beckham could rise the roof here with a goal'

0:33 - [YEAAAAAAH]

0:35 – 'I don't believe it, David Beckham scores a goal to take England all the way to the world cup finals.'

0:52 – 'Give that man a knighthood.'


Trying it out in All Saints




PRO

DU

CED

BY

AN

AU

TOD

ESK

ED

UC

ATI

ON

AL

PRO

DU

CT


PRO

DU

CED

BY A

N A

UTO

DESK

EDU

CA

TION

AL PR

OD

UC

T

Big Scale

Michael Owen seems perfect as a suggestion for a site like Piccadilly Gardens as it is quite contemporary, yet could be old for certain audience and is just the right kind of scale to affect the environment.


guerrilla tactics Same idea selling Owen in Piccadilly Gardens to National Football muse-um.


The events were lots of fun especially by being able to go out of studio and catch some fresh air watching how people interact with an idea that you actually implement. It’s almost reassuring in terms of our space making skills as you get the expected be-haviour you were designing immediately.

Apparently such an idea of re-living the greatest moments have been under the con-sideration for the museum but now ideas were implemented or even considered and the heads of marketing were happy to see that in out proposal.

Summary

2 2,3 Portfolio

136 2,3 Portfolio

Thanks for flicking through.

Date post:	10-Mar-2016
Category:	Documents
Upload:	konrad-koltun
View:	213 times
Download:	1 times

2.3

Documents