Obi Okoye Portfolio

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Spitalfields Community Centre University of Westminster 2012

Christo HouseUniversity of Westminster 2011

‘Cut & Paste’ Exhibition DesignUniversity of Westminster 2011

The VeilCarleton University 2011 (OISTAT Theatre Architecture Competition)

Pallet PavilionCarleton University 2011 (design & build)

Ramilies Street SpaUniversity of Westminster 2010

ArcelorMittal Orbit TowerUshida Findlay Architects 2010

York Art GalleryUshida Findlay Architects 2010

Pallet benchPews & Perches Competition Entry 2012

Parametric SynthesisITU Istanbul 2010

Photography2011

ACADEMIC

WORK EXPERIENCE

OTHER

POVERTY & DISORDER | Spitafields Community Museum Exhibition Catalogue

003 | Permanent Collection

Aaron Lieberman founder of the Hebrew Socialist Union00

3

Flower & Dean street slum

002

Flower & Dean street slum

004

Palm Sunday, Spitalfields

On duty on Brick Lane

Mala Sen Founder of the Bengali Housing Action Group

001

005

006 Rudolf Rocker East End Anarchist leader and Ger-

man exile with his wife Millie Witkop and comrades007

Asleep on the steps of Christ church195201

0Anti-racism rally199200

9

Protesting after the murder of Altab Ali, 197800

8

Thomas Firmin pamphlet of ideas for poverty reduction 168110

1

Flyer for an Oswald Mosley talk

103

Anti fascism march flyer

108

Qu’ran

Bengali Textile

Family PortraitWorkers shoes

Luggage

201

202

203204

205

Jewish Socialist Paper109

Mala Sen Founder of the Bengali Housing Action Group10

4

Poster advertising mass meeting 189010

5

Charles Booth Poverty Map of London188911

0

London Gazette extract

102

Tailors Strike 1889

106

London Illustrated News extract

107

Cable Street Riots193601

1

02.

01.

00. Photography

Archival

ArtefactsPOVERTY & DISORDERThe Spitalfield struggle

07 FEB 2012- 12.06.12

Spitafields Community Museum | Aldgate East, Liverpool Street www.spitalfieldscommunitymuseum.org.uk

Concept

Project to create a ‘living’ community museum, in Spitalfields London, celebrating the rich historical, and multicultural make up of the Spitalfields area, which surrounds Hawksmoor’s Christchurch site and gardens. This area has seen waves of immigrants, French, Jewish, Bengali etc.. enriching the culture and fabric of this neighbourhood for many centuries. The area now also has many contemporary artists and musicians enhancing the urban mix, and giving it a cultural cutting edge. However it has a troubled past and has for centuries been dominated by workshops, slums and the poor. Once outside the walls and jurisdiction of City of London, outcasts, the poor, criminals, and the rebellious clustered here

The brief was to design a building which includes a permanent collection of material celebrating this rich heritage, as well as space for a variety of functions including Art and music studios, a Library, Cafe and a per-formance space. This will encourage community education as well as the inter-relationship between different arts and cultures. An administration block with office and meeting room was also required.

Spitalfields Community Centre University of Westminster 2011 1

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Exhibition poster Exhibition Catalogue

Concept Diagram

Given Spitalfield’s fractious history, Spitalfields Communty Museum aims to provide a place to reflect on the disorder and the struggle of the past while looking towards the future in the form of community healing and cohesion. The museum will provide a permanent and temporary exhibition space looking at the social history of the area, whilst providing space for community activities including Art and music creation facilities, com-munity gardens, a library and cafe. The gardens not only provide a chance for community interaction, but their produce will be sold in the cafe as well as at a market in the Museum grounds.


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Elevations

Roof210

A B N

-1Site

The architecture reflects the historical struggle and disorder in the community using the contrasts of heavy and light architectural language, a materials palette of wood and concrete and an irregular floor plan.

The building from the outside presents a cracked harsh concrete exterior, which continues into the underbelly of the museum, representing the negativity of the past. The main entrance from Commercial street ramps down under heavy concrete volumes into the exhibition space in the basement.

However as one moves up through the building, a warmer wooden core becomes apparent, which forces its way through the concrete blocks and results in a lighter timber framed structure at the upper levels of the building, which houses more positive activities such as the art studios and the library The contrast between heaviness and lightness is completed at the roof level where one can explore a mixture of gardens and terraces. They bring the landscape of the community gardens below up through the building in comparison to the weightiness of the basement below.


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Section BSection A


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Approaching from the gardens

Site context Art studio Cafe

LibraryPerformance Space

Rear entrance Basement exhibition space


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Final Model

Whether it’s wrapping the Reichstag or installing the Gates in New York’s Central Park, every one of Christo and Jeanne-Claude’s works of art is utterly unique, and the pair have carved out their own dis-tinctive niche in the art world through their work. In this interview with

The Focus: they talk about the determination and passion they bring to their projects – battling against resistance, even if the process lasts for dec-ades.

The Focus: Your work often involves years of preparation for an installation that transforms a site for just a few days. Why do you do this?

Christo: We are artists; we do things for no particular reason – no particular purpose. It’s like painting on a white canvas – you cover it with paint; there is no reason to explain why you want to cover it with paint, or why you use blue and yellow or other colors.Jeanne-Claude: But for us there is a reason and it’s always the same one: We want to create a work of art, of joy and beauty.

The Focus: Wouldn’t there be more joy and beauty if the work lasted longer than just the two weeks you gave the Wrapped Reichstag in Berlin or the 7503 Gates in New York’s Central Park?

Jeanne-Claude: That is an aesthetic decision. Limiting the duration is a way of endowing our work with those feelings of love and tenderness for things that do not last – like childhood or like our own lives. Christo: Human beings like to experience some-thing absolutely irrational. Our projects link to that freedom because nobody can buy them. Nobody can own The Gates; nobody can sell tickets for them or have any other claims on them. We even rented the site, which ran us into a lot of legal trou-ble but basically made this project unique for four-teen days. And this never-to-happen-again dimen-sion is something people can connect with. They know The Gates won’t last forever.

The Focus: So the transitory character of your projects enhances their uniqueness? Christo: All our projects are unique. We never do anything twice. We don’t work like architects or sculptors. Each project is a totally new image, nev-er done before. Which makes it diffi cult to get per-mission. If you are familiar with the process of ob-taining permits anywhere in the world, you’ll know that all bureaucrats look for precedents. If you are an architect and you want to build a bridge, they consult their records to see what happened the last time someone built one. But for our projects there are no precedents, there are no existing records.

The Focus: You are also unique in having devel-oped a business model for fi nancing your projects – whose costs often run into millions. Jeanne-Claude: The only way to work in total freedom is to pay for it. When you accept outside money, someone wants to tell you what to do. So we fund each of our projects with our own money – through sales of Christo’s preparatory drawings, collages and early works. But we never know if they will sell fast enough to meet the expenses. Christo: That’s why we work with banks, and with banks only, because art collectors and muse-ums are notoriously slow payers. Jeanne-Claude: And in order to do this in

1969 we founded CVJ, the Christo Vladimirov Ja-vacheff Corporation. It has a President and Treas-urer – myself – a Vice President, and a Secretary. And then there is the Assistant Secretary, Christo Javacheff.

The Focus: Do you see a link between this wish for freedom and your childhood under a communist regime?

Christo: My Marxist education clearly helped me in using the resources of capitalism for my own ends. On the other hand it made me averse to any kind of message. Messages can be political, reli-gious, commercial – they are all propaganda. I will never do art with messages. Our projects are much more complex, much more meaningful than any il-lustrative art. Jeanne-Claude: But the reason for founding the corporation was mainly practical. For us it is very important to have a cash fl ow. We can pay for the early engineering studies for our projects be-cause those bills come in sporadically. But when we start to hire workers to install the project, we have to meet the payroll every Friday. We can’t count on art sales to come in on time. Christo: This is why we are the biggest owner of our work. We keep it in our storehouses, the main one being in Basel, Switzerland, where we have our own curator. When CVJ Corporation negotiates a credit line with a bank, these works of art serve as collateral. So they enable us to pay for our projects.

The Focus: Many artists accumulate a lot of money. But you are the fi rst ones to found a cor-poration.

Jeanne-Claude: If others want to accumulate money, that’s fi ne with us. Our aim is different and very specifi c: We only want to build art. For us, money is like manure. It is good only if you spread it around; only if it helps you do what you want to do. Christo: And we try to keep it that way. Even if it means that we have to be our own gallery, our own art dealer. Jeanne-Claude: Christo not only frames his drawings himself, but we also sell the works and sometimes buy them back – either because we re-gret having sold them cheaply in the fi rst place, or because it’s a bargain. There’s also a concern if the price goes too high – we don’t want a fl ood of Christos on the secondary market because it will affect the prices on the primary market.

The Focus: Do you see this preparatory work as part of your work of art?

Christo: All our projects have two distinct peri-ods, the “software” period and the “hardware” pe-riod. Jeanne-Claude: The software period is when the work exists only in the mind. Christo: Physically, it doesn’t exist except for a growing pile of drawings. This is the stage when we fi ght to get permission – often the most diffi -cult part of our project. But we particularly like this software period because it generates a tremendous energy, an energy that’s unimaginable from the out-side. “We particularly like the software period – it gener-ates a tremendous energy, an energy that’s unimagi-nable from the outside.”

The Focus: Would you say the greater the chal-lenge, the greater the pleasure?

Jeanne-Claude: No. The software process is part of the work of art in the same way that a wom-an’s pregnancy is part of having a child. But the pregnancy is not the aim. The aim is having your baby. Now some pregnancies go very well, and with some pregnancies you vomit for the fi rst two months. None of that makes any difference in the end, when you see the baby. Christo: We’re not masochists. All these projects start with a kind of unconscious challenge and then develop in unforeseen ways. When we started Over

the River in 1992 there was a simplicity about the idea. We didn’t know we would have to drive more than 15,000 miles through the Rocky Mountains and inspect 89 rivers to fi nd the perfect site. We didn’t know we would need legal documents and papers by specialist lawyers, which now make up a 2029-page book. And we didn’t know we would have to spend six million dollars. We would have preferred to spend much less.

The Focus: How do you begin your projects – with the concept or with the site?

Christo: There are two different types of ap-proach. There are rural projects like the Running Fence or the Umbrellas, where you have a concept and look for a site. Whereas the Reichstag was an urban city project; we had a site which inspired us with an idea. Jeanne-Claude: In this regard Over the River is peculiar. Its roots go back to Paris. When we were wrapping Pont Neuf in 1985, Christo and I were standing on a barge directing the climbers who were placing the fabric on the underside of the arches. And in the middle of all this noise and activ-ity, we looked up at the fabric and it was so beauti-ful, silvery and shimmering in the refl ected light of the river, and we smiled at each other. It took us seven years to fi gure out what that smile meant, but that was the start of Over the River.

The Focus: With more than six million dollars already spent, this is an ambitious project...

Christo: The idea is to suspend fabric panels hor-izontally above the water level of a river. They will be attached to steel wire cables, anchored on the upper part of the river banks and crossing the river. The panels will follow the confi guration and width of the changing course of the river, for a total of 5.9 miles – not counting interruptionvs by bridges, rocks, trees, and bushes. This is obviously the type of project where you begin with an idea and look for a location. We ended up with six possible sites for Over the River. Jeanne-Claude: All of which were rafting riv-ers, which is important because the panels should be seen from the water as well as from the land. In the end we chose the Arkansas River, the most rafted river in the United States. A 42-mile stretch of this river proved to be the most suitable for our project.

The Focus: How can you be sure that a structure of this kind will be safe?

Christo: In 1996 our engineers decided they needed more information. We hired the services of one of the world’s leading engineering compa-nies, but we weren’t satisfi ed with the results. So we found a ranch in Grand Junction, in the western corner of Colorado, far away from the Arkansas River. And here, in 1997-99, we carried out four full-scale tests. Jeanne-Claude: These tests were important not only for our engineers but also for us because we had to choose the color of the fabrics. Some contain more silver, others have more copper, and the sewing is different, too. There are so many deci-sions to take, and it was only after the four life-size tests that we were able to make our choice. But all of that is done now and the project is ready to be realized in any given summer, although not before 2012.

The Focus:our creative process involves fi nanc-ing, project management, obtaining permission – disciplines that are not exactly typical of an artist’s work.

Jeanne-Claude: Most people don’t think of us as artists. Other artists often called us entrepre-neurs, and we used to take that as an insult. Then one day a friend of ours, the Swiss collector Tor-sten Lilja, said to us: “An entrepreneur is somebody who enterprises, and enterprise you certainly do.” Well, I wish someone had told us this earlier. In the meantime we have even been subject of a case study by the Harvard Business School – The Art of

the Entrepreneur.

The Focus: What are the personal attributes you need most to bring your projects to fruition? Jeanne-Claude: Passion and perseverance. Christo: But we are not alone. Our projects are the result of a huge amount of work by our fabulous friends and by the intelligent people we are lucky enough to hire. It’s not a one-man job. “Limiting the duration is a way of endowing our work with those feelings of love and tenderness for things that do not last.”

The Focus: One project that’s obviously very close to your hearts is The Mastaba – a vast trap-ezoidal structure of 390,000 stacked oil barrels.

Christo: We have often worked with oil barrels. The idea for a mastaba – a forerunner of the pyra-mids – fi rst came up in the 60s when we proposed to build a small stack of barrels in Texas. In the ear-ly 70s we tried to build a structure like this in Hol-land. Neither project was realized. Then we looked for a country that had a connection to oil while also being very westernized and we found Abu Dhabi and Sheikh Khalifa bin Zayed Al Nahyan. In 1977 I made my fi rst drawings and in 1978 we started work on The Mastaba. Jeanne-Claude: Between 1979 and 1982 we made seven trips to the Emirates, each of them for three to four weeks. This was at a time when you needed a sponsor just to get a visa. Back in New York, when we talked about our trips, people would say, “Abu Dhabi – where is that?” Now suddenly everyone is interested and wants to get involved. But Abu Dhabi is still the perfect location for us be-cause it has the money. This time we won’t be pay-ing for our work. We’ve already spent many hun-dreds of thousands of dollars with four engineering companies just to get the statics right. After all, The Mastaba will be bigger than the Great Pyramid of Giza. Christo: They weren’t companies, they were university engineering departments. We picked four from a list of the world’s top 30 and gave them our proposal for a mastaba made of 400,000 bar-rels. Four professors and their assistants worked for one and a half years and produced a very expensive study about how much The Mastaba would cost, who could build it, how much time it would take – everything.

The Focus: How does a massive and permanent structure like this fi t into your oeuvre, which has previously been characterized by transitory instal-lations?

Jeanne-Claude: Now, what do you call per-manent? On planet Earth nothing is permanent. But this isn’t a new departure in our work. Between 1958 and the late 60s we already created non-tem-porary sculptures made of barrels, which are now in museums and private collections. And the drawings for The Mastaba show that it was meant to be like this right from the start, in 1977.

The Focus: When does the creative process end – at the moment you hand the work over?

Jeanne-Claude: That is hard to say. When we had wrapped all the ropes around the Reichstag, we knew we were no longer creative artists. At that moment we became the bosses of the maintenance team, responsible for garbage disposal, making sure that our people had water and raincoats. But for The Mastaba, who knows?

The Focus: Do you have any plans beyond The Mastaba? Jeanne-Claude: Not for the moment. These days, everybody around us is dying, at 82, 84 – practically our age. It’s unbelievable. Christo and I have decided we don’t want to have any new friends who are old. We want only new friends who are young. Let them cry when we die, not us.

A House for Christo

Background researchChristo (born Javashev Christo) is best known for producing enormous packaging pro-jects: he wraps parks, buildings, and entire outdoor landscapes. Christo collaborated with his wife Jeanne-Claude now deceased) for over 40 years on these projects. The two earned the huge amounts of money required to execute their monumental works by ex-ecuting and then selling preparatory drawings to collectors and dealers.

Believing that people should have intense and memorable experiences of art outside the institution of the museum, Christo typically creates temporary wrappings -- generally lasting several weeks -- on a vast scale. Borrowing land, structures, and spaces used and built by the public (and, therefore, already laden with a history of associations and connotations), he momentarily intervenes in the local population’s daily rhythm in order to create “gentle disturbances” intended to refocus citizens’ impressions. Such disturbances force each local participant/viewer to examine the way that social interaction becomes entrenched in routine and is consequently deadened.

In Christo’s printed and three-dimensional work, Christo wraps an object, challenging the viewer to accurately remember the concealed object and giving it the notion of rar-ity because it is inaccessible. Nine documentary fi lms were made about the projects of Christo and Jeanne-Claude. One of their most famous projects is Running Fence, which they constructed in Sonoma and Marin Counties, California. Christo and Jeanne-Claude accept no sponsors, they pay for all their expenses for their projects with their own funds. Their work has been included in museum exhibitions in the United States, Australia, Eu-rope and Israel, and are in the permanent collections of the Museum of Modern Art , the Whitney Museum of American Art in New York, the Tate Gallery in London, the Stedelijk Museum in Amsterdam, and the Albright-Knox Art Gallery in Buffalo.

Key PointsThe key points found, :that have helped develop the design have been

TemporalityThe works are deliberately temporary, because this enhances their value and intensity - just as the idea of death makes us more aware of life’s precious brevity

ProcessHis art takes years and even decades to be materialised due to their scale, the number of people involved and the planning required

Borrowed Space“Jeanne-Claude and I borrow space and create a gentle disturbance in it for just a few days”

"Our projects are the result of a huge amount of work by our fabulous friends and by the intelligent people we aret lucky enough to hire. It’s not a one-man job."

Christo

BriefTo design a live/gallery/work space for the artist Christo (Javacheff) to live in and work for a period of time in the Whitechapel area, providing inspiration and opportunities - for the local community, and visitors to the area - to participate in and enjoy a range of creative artistic activities. Christo has a collection of work, mainly preparatory sketches and paint-ings for larger projects he has completed, which also will need to be provided for.

While inititially designed for a Christo as a starting point, the spaces are likely to be used by different artists over time and should also cater to a variety of ages and interests

"Jeanne-Claude and I borrow space and create a gentle distur-bance in it for just a few days,"

Christo

Project to design a live/gallery/work space for the artist Christo (Javacheff) to live and work in for a period of time in the Whitechapel area, providing inspiration and opportunities - for the local community, and visitors to the area - to participate in and enjoy a range of creative artistic activities. Christo has a collection of work, mainly preparatory sketches and paintings for larger projects he has completed, which are also provided for. While initially designed for Christo as a starting point, the spaces are likely to be used by different artists over time and cater to a variety of ages and interests.

Three aspects of Christo’s work have influenced the project:

Temporality - “The works are deliberately temporary, because this enhances their value and intensity - just as the idea of death makes us more aware of life’s precious brevity”Process - His art takes years and even decades to be materialised due to their scale, the number of people involved and the planning requiredBorrowed space - “Jeanne-Claude and I borrow space and create a gentle disturbance in it for just a few days”

Christo HouseUniversity of Westminster 2012 2

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Mapping aspects of Christo and his workBackground research

Structurally, the scheme is based on a steel grid, which is exposed to the side of the building, and can be used as a framework to encourage community participation. The space around the building is open and public and can be used for installations workshops and so on. This ties in with the ethos of Christo’s art which involves borrowed space, process and community interaction. Modified shipping containers create extruded volumes within this grid, which house Christo’s private space and a temporary exhibition space. The use of cor-ten steel and untreated wood also adds to the idea of temporality.


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Section A Section B

Axonometric

ElevationPlans

1 Roof

3

0 4

2

N

The design draws people in on the ground floor and then becomes progressively more private as you move vertically through the building. The ground and first floors are the main public spaces, the second floor houses the temporary exhibition space located in a modified shipping container. It can be transported to fit it out for a new exhibition or to be temporarily stationed at another location. The third floor is a small studio for Christo which leads up to the most private part of the building on the fourth floor and finally the roof garden


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A

B


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Street view Christo’s private space Studio

Viewing platformMain gallery


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Final Model

Design for a closed temporary exhibition to house a collection of advertising posters from the Saatchi collec-tion. Included in the exhibition are two smaller lecture spaces, running a series of master classes, as well as a video loop providing a background to some of the prints and the designers. Additionally a sponsored bar area is provided.

The exhibition selects works from the Saatchi collection based on the narrative of Collage. Collage works by appropriating several levels of meaning: the original identity of the fragment or object and all the history it brings with it; the new meaning it gains in association with other objects or elements; and the meaning it acquires as the result of its metamorphosis into a new entity. Collage is a powerful tool in advertising, by juxtaposing discrete elements, the viewer can be exposed to a new piece which takes advantage of the ele-ments to create a whole.

The exhibition aims to highlight the effect of this juxtaposition by allowing them to appreciate the selected works individually and at selected points as a whole.

‘Cut & Paste’ Exhibition DesignUniversity of Westminster 2012

3

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Section B

Section A High level plan

Low level plan

AB

Display systemIndividual & collaged posters

Tensioner

Ceiling rack

Floor rack

Cable

Bracket

Exhibit

The exhibition hall is a large, industrial space, which is not particularly attractive. The exhibition layout seeks to use a series of panels to reduce the volume of the space and also emphasise the ‘cut and paste’ idea of collage.

Lighting will be carefully used to keep the upper parts of the space in darkness while at the lower level in-habited by the exhibition, the panels will create a fragmented space which will allow for framed views of the arranged posters and the master classes in progress.

‘Cut & Paste’ Exhibition DesignUniversity of Westminster 2012 3

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Lecture space & video loop

Bar area

Framed views of collaged posters

Introduction and contents spread

Original cover

Transformation process

The graphic language of the exhibition’s signage follows the same message of juxtaposition and fragmenta-tion as the exhibition theme, using angular chunks of text and images

The catalogue cover in its original form is composed of perforated card, with black and white text and illustra-tions. on one side, and images of the exhibit on the other. The visitor can tear along the perforated lines and reassemble the cover to create a new piece

‘Cut & Paste’ Exhibition DesignUniversity of Westminster 2012 3

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Exhibition T-shirt & packagingExhibition Catalogue

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The music of Arvo Pärt is used as a bench-mark for the genre of performance encour-aged at The Veil. Pärt is an Estonian classical composer and one of the most prominent liv-ing composers of sacred music. He works in a

minimalist style which has a spare beauty, and limits itself to one tone - or combinations of two and three chords - as the basic musical content of a work. Part states: “I have dis-covered that it is enough when a single note is beautifully played. This one note, or a silent beat, or a moment of si-lence, comforts me. I work with very few elements - with one voice, two voices.” His work is said to move the audience onto a higher plane of awareness and thus is perfect for the spiritual theme. Fur-thermore, its style compliments the acoustics of St Anna’s, which has a high reverberation time

A transformable veil made from a repeated collapsible geo-metric component, is draped over the audience, creating a dramatic and inspirational space where visitors can become more spiritually aware.

The Veil is backlit and made from a semi-translucent ma-terial, creating an ethereally lighted space. Its open nature means that sound can pass through allowing early vibrations. Acoustic panels, made from the same geometry are hung from the structure and can be adjusted to cater to the needs of different performances.

The shape of the Veil’s surface is determined by the piece be-ing played. By deconstructing the individual notes of the com-position, a 3D form is created which the veil structure mirrors, ensconcing the audience in shifting responsive architecture.

The regularity of the seating has been disrupted, so that each seat is slightly offset from another. This adds to the idea of an individual sensory experience

Concept model

Individual notes are transposed to rect-angles of varying dimensions, which are determined by the frequency of the note being played

1The rectangles are extruded to create a three dimensional form

2

A secondary surface is draped over the generated rectangular forms

3

This surface (the Veil) is made from collapsible geometrical components, so that when a new piece is played, the surface can transform

4

Entry for the OISTAT Theatre Architecture Competition, to create a performance space in a disused church in Prague. The Veil is a project which aims to use St Anna’s - a deconsecrated church - to elevate from the secu-The Veil is a project which aims to use St Anna’s - a deconsecrated church - to elevate from the secu-lar to the transcendent through music and geometry. Music is seen as a gateway to the soul, while geometry due to its abstract nature and logical consistency is linked with metaphysical qualities.

Spiritual issues are often taken for granted, allowed to fade into the background as we immerse ourselves with our day-to-day concerns. Is there a way that we can help people reconnect to their deeper values through architecture?

The VeilCarleton University 2011 (OISTAT Theatre Architecture Competition) 4

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Liliová

Řetězová

Zlata

Anenská

Zlata

Site Plan

Řetězová

Ground

Upper Level

Bar Level

Ground LevelThe existing shell has been modified so that on entering the build-ing, the visitor is met by the bright full height space of the lobby and the veil structure wrapping round from the main hall into the entrance

Lobby

Approaching St. Anna’s

Main HallShort SectionLong Section

Front Elevation

A Square cut to the outer shell of the church allows light into the full height lobby area, whilst the long rectangular cut gives visitors a glimpse of the veil structure on approach

Upper Level

The veil structure wraps around a spiral staircase leading from the lobby to the bar

Bar Level

N

The VeilCarleton University 2011 (OISTAT Theatre Architecture Competition)

4

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Development model

Usage

Site plan

A temporary pavilion constructed using recycled wooden pallets for the end of year Architecture show at Carleton university. The structure revitalises a disused and overlooked garden space by the archi-tecture department, providing a sheltered social and performance area.

Pallet PavilionCarleton University 2011 5

16 25

A spa offering a range of treatments including fish pedicures, to challenge the congestion and consumerism of Oxford Street

Taken off the main thoroughfare, the pedestrian - an easy victim of the temptations of material overindulgence on Oxford Street - joins the spa at Ramilies Street. Whilst being swept away from the melee, they are allowed to rejuvenate and relax. An antidote to the disorientation, confusion and impersonality of Oxford Street. The personal space and time gives the pedestrian a chance to reflect and ponder the wisdom of their purchases amongst other things, as they journey through the site. The spa will be a landscape to be discovered, where instead of shopping for material goods the client can choose from a variety of treat-ments

Ramilies Street SpaUniversity of Westminster 2010 6

17 25

Development collages

A fluid triangulated structure based on water droplets is used to service the site with water and light. Rainwa-ter is captured from above while water is heated geothermally from below and pumped into the spa area. The structure also enables pedestrian access to the site from street level


18 25

Cross sectionLong section

N

Pedestrians enter the spa through one of the columns which invade the street-scape. Other columns carry services and light through the void created by the main elevated block and the pools below. Translucent panelling of the treatment rooms gives blurred steamy outlines of people in different parts of the spa, induc-ing further exploration. The roof is made from ETFE panels of varying and adjustable transparency, control-ling light and creating a play of shadows on the main slab on the lower level.


19 25

8

13 12

3

2

Column detail

Final ModelFish pedicure pool Entering the spaView from Oxford Street

South Elevation Services Diagram

-1 0 1 2 Roof

PlansNorth Elevation

Lobby1.03

Kitchen Space1.12

Displacement Grille

WC Lobby1.10

Lower DeckViewing Platform

1.07

Lift Car21 Persons

ExternalStair Landing

1.01

D 1.11 A

D 1.09

D 1.12B

DX 1.12

D1.08 B

D 1.08C

D 1.06

D 1.04B

D 1.04C

D 1.04D

D 1

.04A

D 1.05

IW06

EW08

D06

EC01

EW14

Accessible WC1.09

Male WCs1.11

EW11

D 1.11B

Displace

ment

Grille

extent ofriser above

DisplacementGrille

IW06

Displacement Grille

Disp

lace

men

tG

rille

Displacement

Grille

ElectricalPlant Room

1.14

Stairs02

Female WCs1.04

WC Lobby1.06 Accessible WC

1.05

MechanicalPlant Cupboard

1.08

IW06IW06

IW06

EW08 EW08

IW08

D06

D05

D05 D05

D05

EW07

EW07

EW07

IW07

IW07

D10

Lift Car21 Persons

EF03

IW05

D1.

08 B

Riser Access1.02A

Riser Access1.02B

Baby Changing Unit

extent of

riser above

350

1200

1200

350

6650

9970

1205

1110 350

1158

1725

346

R1500

1200

3000

350

4720

4620

1600

700

10000

350

D 1.10

3000

+76.500 FFL (AOD 86.800)

+79.350 FCL

+76.500 FFL (AOD 86.800)

+79.350 FCL

IW05

IW08 IW08

IW07

IW06

EW07

IW10IW10

IW10 IW10

IW06

IW06

IW07

IW07

IW07

IW07

IW07

D05

IW05

IC04

IW06

IW10

IW06

IW10

IW09

IW09

IW09

D05

D05D05

IW07

IW07

IW07

IW07

IW07

IW07

IW07

+79.350 FCL

+79.350 FCL

+79.350 FCL

+79.350 FCL

+79.350 FCL

+79.350 FCL

Annulus Void

EF02

EF02

EF03

EW12

EH01

EW12

EF03

1713 1573 1713

1920

1971

+76.310 SSL (AOD 86.610)

IC07 IW04 EW06IF03

D02

EH02

1000

s/o

1100 s/o

1100 s/o1100 s/o

1400

s/o

1000 s/o

900 s/o

1000

s/o

800

1500

1500

1500

Powder-coated transomprofile

EFE

EFE

OR

B-O

AP

-SP

K-E

LE-M

2-A

-1-C

383-

7004

OR

B-O

AP

-SP

K-E

LE-M

2-A

-1-C

383-

7004

SFE SFEORB-OAP-SPK-ELE-M2-A-1-C383-7003 ORB-OAP-SPK-ELE-M2-A-1-C383-7003

WFE

WFE

OR

B-O

AP

-SP

K-E

LE-M

2-A-1-C

383-7003O

RB

-OA

P-S

PK

-ELE

-M2-A

-1-C383-7003

Section B-B Section B-BORB-OAP-SPK-SCN-M2-A-1-C383-6004 ORB-OAP-SPK-SCN-M2-A-1-C383-6004

Sec

tion

A-A

Sec

tion

A-A

OR

B-O

AP

-SP

K-S

CN

-M2-

A-1

-C38

3-60

03O

RB

-OA

P-S

PK

-SC

N-M

2-A

-1-C

383-

6003

SFE SFEORB-OAP-SPK-ELE-M2-A-1-C383-7003 ORB-OAP-SPK-ELE-M2-A-1-C383-7003

IF08

800

1200

D05

D09

Wet riserlanding valve

EW12

EW12

EH02

EH02

EH02EW12

01

1413 12

11

09

0807

06

05

040302

EW12

EF07

DX 1.14

D10EW07 EW07

Concrete slab

laid to fallsConcrete slablaid to falls

EW07 EW07

Lift Lobby1.02

DX 1.01

EF03

DX 1.02+76.500 FFL (AOD 86.800)

+79.350 FCL

D09

132

31

30

29

28

27

2625

98

7

6

5

4

3

2

1718

19

20

21

22

23

24 10

11

12

13

14

15

16

This map is reproduced from Ordnance Survey Material with the permission of• •• • • • • • •• • •• • • •• • •• • • • •••• •••• • •• • • ••• ••• ••• ••• • ••• • •• • •• •• •• •• ••• • • •• •• •••• • ••• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •Crown Copyright. Unauthorised reproduction infringes Crown Copyright and maylead to prosecution or civil proceedings. All rights reserved. Olympic DeliveryAuthority. 100046062 [2007]

Security Classification Protect

Drawing Title

Project TitleCreator

Construction

Safety, Health and Environment InformationIn addition to the hazards / risks normally associated with the types of workdetailed on this drawing, note the following risks and information:

Dismantling /Demolition (Future)

For information relating to Use, Cleaning and Maintenance see the Health andSafety File. It is assumed that all works will be carried out by a competentcontractor working, where appropriate, to an approved method statement.

Drawn Checked Approved

Purpose of Drawing

Drawing No.

Date Scale Size

Rev.Sheet.

On behalf of the ODA

Prepared by

Rev Description Drawn Chk'd Date

Do not scale this drawing.Notes:

Copyright: Olympic Delivery Authority ("ODA"), 2007. All rights reserved.Except as permitted by the Copyright, Design and Patents Act 1998, no partof this document may be reproduced, stored, transmitted or distributed in anyform or by any means, whether electronic, mechanical, by photocopy,recording or otherwise, without prior permission of a director. Except whereotherwise expressly agreed in writing, the ODA shall have no responsibilityor liability for any loss (direct, consequential or otherwise) which may arisefrom the reliance on or use of this document or the information contained in it.

Suitability

DrawingInfo

General ArrangementThe Observatory -Lower Deck Plan

--

For Scheme Design

A01:50August 2010

P02

D1

CJWCJW

MetaData

Keywords

DateAbstract

Title

IdentifierLanguagePublisherPreservationVersionStatusSecurity ClassificationAccess ConstraintsUse ConstraintsDisposalPurpose of IssueAggregation

ProjInfo

ArcelorMittal Orbit TowerUshida Findlay on behalf of ARUP

Safety-Health-Environment

Ci.

Ciii.

Diii.

Di.

Cii.

Dii.

Document ID

0590-ORB-P01-A-DGA-5003

EXTERNAL FLOOR FINISHESEF01 Black coloured asphalt chip (porous mix within the inner 3m dia. of the crater)

EF02 PCP Gratings type 05-M galvanised finish mild steel stair treads with integrated risers and contrasting nosing's

EF03 PCP Gratings type 05-M pre-galvanised m/steel decking planks, with integrated riser plate at the edge of landings

EF04 Exposed concrete plinths with 'Class B' finish

EW01 140mm Lignacite Blackstone planished block external skin, with 10mm mortar bedding joints (Horizontal mortar joints to be racked out)

EW02 'Enhanced' blast resilient DGU facade system, with black silicone joints along the visible vertical edges, to achieve 1.8 overall U-valueMATERIAL SPECIFICATION LEGEND

EXTERNAL WALL FINISHES

EW03 M/steel, blast resilient fixed ventilation louvres (60% free area) - powder coated 'Charcoal Black', with automatic control dampers

EW04 Concealed automated security roller shutters with manual override, powder coated 'Charcoal Black' - supplied by others

EW05 M/steel cassette panels powder coated charcoal black, conceal fixed to the lift core structure

EW06 M/steel clad lift car exterior powder coated charcoal black, with glazed portholes adjacent to the doors

EW07 M/Steel rain screen cladding system, powder coated Mica Perla 19A5 (ARVAL colour range), to achieve 0.3 overall U-value

EW08 'Enhanced' blast resilient DGU facade system, with white silicone joints along the visible vertical edges, to achieve 1.8 overall U-value

EW09 M/steel, blast resilient fixed ventilation louvres (60% free area) - powder coated Mica Perla 19A5 (ARVAL colour range)

EW10 M/steel fixed brise soleil - powder coated Mica Perla 19A5 (ARVAL colour range)

EW11 'Open' mesh infill panels (min 70% free area), face fixed to the Observatory external deck structure

EW12 1600x1600mm expanded metal security balustrade panels, face fixed with s/steel tek screws to the outer face of the stair structure

EW13 3.4m high expanded metal security balustrade panels, face fixed to the Observatory external deck structure

EW14 Stair and walkway structure with RAL 7035 'Light Grey' wet spray painted finish to the same specification as the main diagrid frame

ROOF FINISHES

R01 Fiberglass canopy painted internally with RAL 3002, and externally with UV resistant paint (colour TBC)

R02 PCP Gratings type 05-M galvanised finish mild steel stair treads with integrated risers andpowder coated contrasting nosing's

R03 Cold fusion bonded roof membrane, colour: Slate Grey, (NCS S 7005 R80B), on a metal deck

INTERNAL FLOOR FINISHESIF01 Polished and sealed 150mm reinforced power floated concrete floor

IF02 Dust sealed power floated concrete floor

IF03 Non slip steel plate flooring

IF04 Sealed finish to 70mm thick power floated concrete screed

INTERNAL WALL FINISHESIW01 Lignacite 100mm paint grade medium-density blockwork, with charcoal black painted finish (Horizontal mortar joints to be racked out)

IW02

60 min. F.R. plasterboard independent wall lining (boarded on one side) with skim coat and white painted finish

IW03 215mm engineering brickwork, prepared and finished to meet EDF Energy's specification

IW04 Brushed Stainless Steel wall panels and bumper rails secured with exposed s/steel fixings

IW05 M/steel RHS and SHS columns, with water based spray painted RAL 9010 'Pure White' finish

IW06 120 min. F.R. plasterboard stud partition (boarded both sides) with skim coat and white painted finish

IW07

IC01 Exposed 'Type B' finish concrete soffit, painted 'Charcoal Black'

INTERNAL CEILING FINISHES

IC02 Plasterboard ceiling with skim coat and white painted finish on a suspended MF ceiling grid

IC03 Perforated m/steel sheet ceiling panels (50% free area), powder coated RAL 9010 'Pure White' on MF ceiling grid

IC04 Perforated m/steel sheet acoustic backed ceiling panels (50% free area), powder coated RAL 9010 'Pure White'

EXTERNAL CEILING SOFFITS

EC01 1.5m wide expanded metal security soffit panels, face fixed to the stair structure

EC02 2.5m wide expanded metal security soffit panels, face fixed to the Observatory external deck structure

DOORSD01 Framed, double glazed automatic sliding doors - powder coated 'Charcoal Black'

D02 Stainless steel lift doors

D03 M/Steel pre-galvanised 'Charcoal Black' powder coated louvered maintenance access/blast doors by Sunray Engineering Ltd.

D04 Framed, 3m high double glazed automatic hinged/sliding doors - powder coated, colour TBC.

BALLUSTRADINGIH01 45mm dia. satin stainless steel handrail, spigot fixed to the adjacent 'Enhanced' glazing mullion

IF05 3m Type Entrance matting

Framed, 60 min F.R. (with insulation) 'Pyrostop 60-101 Insulated Glazed Unit, 23 mm + laminated', to achieve overall 1.8 U-valueIW08

None F.R. plasterboard stud partition (boarded both sides) with skim coat and white painted finishIW09

IC05 Pre-galvanised finish to the underside of profiled metal roof deck

IC06 Sealed concrete slab, prepared and finished to meet EDF Energy's specification

IC07 Polished stainless steel ceiling cassette panel, conceal fixed to the lift car sub-frame

Exposed 'Type B finish' concrete walls and columns with a 'Charcoal Black' painted finish

D05 Flush, timber door set with water based paint finish - Colour TBC. Refer to GA plans for fire ratings

D06 Framed, 60 min F.R. (with insulation) 'Pyrostop 60-101 Insulated Glazed Unit, 23 mm + laminated' automated hinged doors

D07 120 min. F.R. composite flush doors, with pre galvanised powder coated metal sheet facings & external weather seals

D08 Framed single glazed laminated glass pivot door, with 0.76mm inter layer

EH01 45mm dia. pre-galvanised bead blasted continuous handrails at 600mm & 950/1100mm above the flights and landings

Perforated m/steel sheet floor - ceiling wall panels (50% free area), powder coated RAL 9010 'Pure White'IW10

EH02 48.6mm dia. pre-galvanised rails installed at 450mm c/c up to 1800mm above FFL, with RAL 3002 'Carmine Red' p.c. finish

FD60S (60 min. F.R. door set with intumescent fire & smoke seals)

EW15 2.5m high expanded metal security balustrade panels, face fixed to the Observatory plant deck enclosure

D09 Framed expanded metal mesh door with controlled access to the lift core services risers

D10 M/Steel pre-galvanised external grade door, with powder coated paint finish (Charcoal Black or Mica Perla 19A5)

Lignacite 100mm paint grade medium-density blockwork with a dust sealed finishIW11

EF05 ACO channel drain with stainless steel grating

EF06 Harmer flush rainwater drainage outlet, aluminium mill finish with powder coated grating (Colour TBC)

IF06 Concrete slab, prepared and finished to meet EDF Energy's specification

IF07 Altro 'Walkway 20 SD' Anti-static vinyl flooring, bonded to 150mm thick power floated concrete slab

IF08 Pre cast concrete treads on folded m/steel plate tread & risers, powder coated RAL 9010 'Pure White'

R04 Galvanised M/steel coping with 'Charcoal Black' powder coated finish

R05 Harmer AV 45 deg. Spigot rainwater roof outlet, aluminium mill finish with powder coated grating

R06 Latchway 'WalkSafe' designated walking access system, laid onto the roof membrane

EF07 100mm thick reinforced concrete slab with heavy duty external grade non-slip finish (TBC) on rigid insulationP02 Stage D+ Drawing Issue Y-- 26/08/10

D 1.12B

300

1800

300

1800

1100

2850

1100

2850

40004000

535480

600

2080950

650

DX 1.01

D 2.02A

DX 1.12

DX 3.01ADX 3.01B

1100



Drawing Title


Construction





Purpose of Drawing

Drawing No.

Date Scale Size

Rev.Sheet.


Prepared by




Suitability

DrawingInfo

General ArrangementThe Observatory -

Section A-A

--

For Scheme Design

A0VARAugust 2010

P02

D1

CJWCJW

MetaData

Keywords

DateAbstract

Title


ProjInfo



Ci.

Ciii.

Diii.

Di.

Cii.

Dii.

Document ID

0590-ORB-SCN-A-DSE-6003




















ROOF FINISHES









IW02






IW07









































EF07 100mm thick reinforced concrete slab with heavy duty external grade non-slip finish (TBC) on rigid insulation

Section A-AScale: 1:50

P02 Stage D+ Drawing Issue Y-- 26/08/10

R02EW07EW13

EW14

DO08

EF03

EW08

EW09

EW08 D08

EW14

EW14

EW13

EW07

EW08 EW08

EW13

17

17

EW11

EW11

EW07

EW12

EW14 EW13

EW07

25

25EH02

EW10

DX3.01B

17 16 15 14 13 12 10 911

17 16 15 14 13 12 10 911

EW08

EW08

EW07

EW09

1947963 20

2090

2850

60

8043

064

029

3099

0

194719471947 1947 1947 1947

DX 2.04D

D04

EF03

1947

1 32 31 29 2830

1 32 31 29 2830

27

27

26

26

25

25

1947963 20

20

1100

90

90

270

60

EW07

EW09

Void

DX 2.04A

1947 1947 1947 1947 1947 1947

1967

1234

330

3390

2850

8043

064

029

3099

0

Void

D04

R04 EW07 EW13

EW11

EF03

EF03 EF03

1947



Drawing Title


Construction





Purpose of Drawing

Drawing No.

Date Scale Size

Rev.Sheet.


Prepared by




Suitability

DrawingInfo

General ArrangementThe Observatory - South &

West Elevations

--

For Scheme Design

A0VARAugust 2010

P02

D1

CJWCJW

MetaData

Keywords

DateAbstract

Title


ProjInfo



Ci.

Ciii.

Diii.

Di.

Cii.

Dii.

Document ID

0590-ORB-ELE-A-DEL-7003




















ROOF FINISHES









IW02






IW07









































EF07 100mm thick reinforced concrete slab with heavy duty external grade non-slip finish (TBC) on rigid insulation

South Facing ElevationScale: 1:50

West Facing ElevationScale: 1:50

Unfolded ElevationScale: 1:50

Unfolded ElevationScale: 1:50

P02 Stage D+ Drawing Issue Y-- 26/08/10

Design of architectural elements for the sculptural Orbit Tower, commissioned for the London 2012 Olym-pics, including an observation deck and stairs. The stairs form a sinuous curve that articulates the visitor journey from the observation deck to ground level. The stair’s expanded stainless steel mesh creates a 3-dimensional pattern that changes in opacity depending on the viewing angle

ArcelorMittal Orbit TowerUshida Findlay Architects 2010 7

20 25

Technical drawings

Elevations & perspectives

Remodelling of York Art Gallery, inspired by the serendipitous detailing and haphazardry of the existing building materials. Creating a new urban pedestrian route that flows from York Minster through the heart of the building, opening up the Secret Gallery, which has been locked off for many years.

York Art GalleryUshida Findlay Architects 2010 8

21 25

PerspectivesFinal model

Long section

Cross section

First floor plan

x 24

234.

00

1200.00

234.

00

1200.00

300.

00

300.

00

234.

00

1200.00

234.

00

1200.00

300.

00

300.

00

Reconfigurable wooden block seating utilising found materials

Pallet bench‘Pews & Perches’ Competition Entry 2012 9

22 25

Configurations

Process24 recycled pallets create 4 long and 8 short wooden blocks

Parametric design for bridge structure crossing part of the Golden horn or Haliç area in Istanbul

Parametric SynthesisITU Istanbul 2010 10

23 25

Panoramic view looking west

PlanLooking east at water levelBridge section

24 25

PhotographyCollage 2011 11

Rideau bridge 2

Rideau bridge 1

25 25

PhotographyCyanotypes 2011 11

Reality 1

Reality 2

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