SB House

Design Realisation
[ARCT 1036] Unit 15 : Vimbai Caroline Gwata : 000468925
The Saartjie Baartman House Sarah
CoNTeNTS
1 1.i 1.ii 1.iii 1.iv 1.v 1.vi 1.vii SITE & BrIEfING PROJECT BRIEF PROJECT LOCaTIOn SITE anaLySIS COnTExT KEy COnCEPTuaL STRaTEgIES EnvIROnmEnTaL InFLuEnCES SOCIaL and POLITICaL InFLuEnCES
2. 2.i 2.ii 2.iii 2.iv 2.v 2.vi 3 3.i 3.ii
TEchNoloGy BuILdIng PROgRammE and LayOuT TEChnOLOgICaL dRIvER STRuCTuRE FaBRIC PRInCIPaL mEThOdS OF COnTRuCIOn gEnERaL aRRangEmEnT dRaWIngS BUIlDING PErforMANcE & APPlIcATIoN of oThEr TEchNoloGIES InTERIOR LIghTIng PEPPERS ghOST
Design Realisation: Site, Briefing & Technology [ARCT 1036] SN000468925
SiTe & BRiefiNg
SITE AND CONTEXT LOCATED IN THE MULTI CULTURALLY CHARGED AREA OF SPITALFIELDS, EAST LONDON.THIS PROJECT EXPLORES THE RELATIONSHIP BETWEEN ARCHITECTURE, TEXTILES AND THE NARRATION OF IDENTITY. THE BUILDINGS PROGRAM OPERATES ON ONE LEVEL FOR TEXTILE TRADE AND SUBSEQUENT LEVELS SERVES AS A PRIVATE, PART MUSEUM PART GALLERY SPACE. SPITALFIELDS HOLDS A RICH HISTORICAL RELATIONSHIP BOTH WITH TEXTILES AS WELL AS BEING WELL KNOWN AS A PLACE WHERE DIFFERENT CULTURES MEET. IN RECENT HISTORY ITS TEXTILE INDUSTRY ON A RETAIL LEVEL HAS BEEN DOMINATED BY MAINLY ASIAN AND AFRICAN TRADERS. AFRICAN TEXTILES SHALL BE THE MAIN FOCUS OF THE PROJECT AS THE EXHIBITION SPACE OF THE BUILDING WILL PLAY HOST TO SMALL PRIVATE VIEWINGS OF WORK DISPLAYED BY ARTISTS WITH AN AFFINITY WITH AFRICA.
lAN BRiCk
foRNieR STReeT
existing storage facility within yard space to be removed 26 FORNIER STREET 28 FORNIER STREET
SPITALFIELDS : FORNIER STREET
Secondary Acess Routes to Project
Primary Access Routes to Project
Site Photo
Built Fabric
Site Plan
SITE ANALYSIS
N SITE
SITE LOCATION
The Story of Sara Baartman read throught the unmuseum The facade of the structure is evolving within the framework of Georgian
site 26 fornier street-rajmer sweet shop bangla city brick lane shop 28 fornier street-mixed use letting
VIEW OF SITE FROM ALLEYWAY
eNViRoNMeNTAl iNflUeNCeS
THE SITE ITSELF IS A nArrow, ALmoST ForgoTTEn SpAcE bETwEEn buILdIngS. THIS nArrow SITES conSTrAInTS provIdE THE projEcT wHITH A unIquE SET oF opporTunITIES, boTH SpATIALLy And progrAmATIcALLy. wHEn conSIdErIng THE SocIo-EconomIc conTExT oF THE projEcT. mIgrATIon pLAyEd A SIgnIFIcAnT roLE In SHApIng THE ArEAS IdEnTITy.
Marginalised peoples... fit in marginalised spaces:...marvellous empty zones [with] miscellaneous objects(Lokko)
SITE
BR iC kl AN e
N oR
ieR
STR
ee
THE SITE HAS TOW MAIN ACCESS ROUTES.
ACCESS A:
DIRECT ACCESS INTO THE BUILDING OFF FORNIER STREET A NARROW BACK ALLEYWAY OFF BRICKLANE WHICH REVEALS THE REAR ENTRANCE TO THE PLOT.
ACCESS B:
ACCESS TO SITE
BUILDING PROGRAMME
5.5m Level 2
2.5m Level 1
2.5m Level 0
BUILDING PROGRAMME: PUBLIC AND PRIVATE
SoCiAl & poliTiCAl iNflUeNCeS
CULTURAL CONTEXT
Josephine Baker: dancer, singer, and actress who found fame in her adopted homeland of france. Born in the USA, she renounced her American citizenship in 1937 to become french. She was often given several nicknames such as the "Bronze Venus", the "Black pearl", and the "Crole goddess". She gained much popularity through her very stereotypical caricature-like performances promoting her as an exotic Africa image Mosaic: Josephine Baker in 1926. image bottom right: Born freda Josephine McDonald, Josephine Baker as a child. (http://kaykeys.net 09.00 1/1/12)
left: Saartjie Baartman skeleton and full body cast, when still held at louvre Museum france.
saartji(sarah) Baartman - original southafrican name replaced and unknown human exhibit, in life and death :1810-1815
To be seen, not heard

The Josephine Baker sTories ThaT have Been ToLd in archiTecTure are significanT. They cannoT Be mereLy revised, Thrown, or added onTo. They TeLL us aBouT Things aT The hearT of archiTecTure. There are differenT ways of TeLLing and using sTories BuT These archiTecTuraL sTories have Been LargeLy asymmeTricaL. They are dependenT on silence and The evasion of issues of eThniciTy and racial idenTiTy, and on The silence of Baker herself, as a suBjecT To Be looked aT, raTher Than read and lisTened To. suggesting that secrecy and silence, quiet or anxious stillness, and evasiveness make certain kinds of stories. -karen Burns (nalbatongu and wong, 1997, p97)
Social and Political influenceS
DOTTED ALONG SPITALFIELDS WENTWORTH STREET, ONE CAN FIND SEVERAL TEXTILE TRADFola TexTileS 28 WenTWorTh STreeT, WhiTechapel Franceskka Fabrics 16 WentWorth street Whitechapel ERS, AND IN MORE RECENT HISTORY, THESE TRADERS HAVE BEEN PREDOMINANTLY AFRICAN AND ASIAN TEXTILES. THE ROLE OF THE TEXTILE HAS ALSO PLAYED A SIGNIFICANT ROLEIN AFRICAN LIFE AND CULTURE FOR THE LAST 2000 YEARS. TEXTILE PATTERNS, MATERIALS NAD MEANS OF PRODUCTION CAN REVEAL MUCH ABOUT A PARTICULARMOMENT IN HISTORY. THEY MAY ALSO CHART THE MOVEMENTS AND MIGRATIONS OF PEOPLE OVER A MUCH LONGER PERIOD. THEY TELL NOT ONLY F TRADE BUT ALSO OF HOW DIFFERENT PARTS OF THE WORLD RELATED. TEXTILES OFFER A MEANS OF RECORDING SIGNIFICANT EVENTS OR COMMUNICATING Novo FashioNs 38 WeNtWorth street, Whitechapel TAYO FASHONS 18 WeNTWOrTH STreeT, WHiTecHApel IMPORTANT POLITICAL OFR SOCIAL EVENTS.
CULTURAL CONTEXT: THE WAXWORK SELLERS OF WENTWORTH STREET

TEXTILE PATTERNS, MATERIALS AND MEANS OF PRODUCTION CAN REVEAL MUCH ABOUT A PARTICULARMOMENT IN HISTORY. THEY MAY ALSO CHART THE MOVEMENTS AND MIGRATIONS OF PEOPLE OVER A MUCH LONGER PERIOD. THEY TELL NOT ONLY F TRADE BUT ALSO OF HOW DIFFERENT PARTS OF THE WORLD RELATED. TEXTILES OFFER A MEANS OF RECORDING S OR COMMUNICATING IMPORTANT POLITICAL OR SOCIAL EVENTS. HEADWRAPS HOLD SIGNIFICANT MEANING AND SYMBOLISM TO SEVERAL CULTURES PARTICULARLY THOSE OF AFRICAN DECENT. IN AFRICA, HEADWRAPS ARE WORN AND CONVEY A RANGE OF MESSAGE FROM THAT OF MODESTY, AS WELL AS WITH DIFFERENT COLORS OF HEAD WRAPS, THEY CAN SYMBOLIzE WEALTH ANDSOCIAL STATUS. THEY ALSO SERVE A PRACTICAL FUNCTION IN PROTECTING THE HEAD FROM THE RAYS OF THE SUN. IN AFRICAN CULTURE, HEAD WRAPS ARE OFTEN FOLDED IN A RECTANGLE AND TIED AROUND THE HEAD IN AN ORNAMENTAL FASHION, BRINGING THE ATTENTION UPWARDS AND TOWARDS THE FACE. AFRICAN HEADWRAPS ARE VERY STRIkING AND THE BRIGHT COLORS CAN REALLY ANIMATE AND BRIGHTENTHE FACE OFTHEWEARER.
the african textile
CoNCepTS & ReSeARCh
the english terraced house studies:proportions
he oNlY eChoeS people ShADoWS, The ShADoWS of people frament of a DrawingMitchelle Squire
To be seen, not heard
African identity Inhabiting Constrained Georgian dimensions
facade studies
photo credit: 'Incandescent Croon't detail of concrete wall cast in red satin fabric. Araya Asgedom This page photo credit: as above
Frontispiece
texture studies for facade treatMeNt
PRECEDENT STUDY : MAISON DE VERRE - PIERRE ChAREAU
Weaving ConstruCtion -Dai Haifaei
AndinkrA Woven Cloth
Basket weaving - sierra Leone
when making the connection between spitalfields rich history of weaving along with the representation of an african identity within this context, the idea of persuing woven methods as a form of representation within the interior of the buildings proved appropriate. the woven method provides a flexible and way of occupying the small spaces in a way that communicates effectively both the role of the building and the identity of the curator. PRECEDENT STUDY : MAISON DE VERRE - PIERRE ChAREAU
FACADE DEVELOPMENT AND TREATMENT
timber formwork
timber cast concrete wall panel
a 'textile' formwork, temporary yet permanent.
fabric foam work pre-cast concrete wall panel. the poured concrete takes on the texture and profile of the textiled foam mould resulting in a textured concrete surface.
ConCrete Cloth is a ConCrete impregnated Canvas, whiCh is draped and held in the desired form- later adding water and allowing it to set.
timber formwork with a partial concrete fill.
"Typically, formwork is undersTood as a Temporary building elemenT, ofTen being discarded and seen only as a consTrucTion Tool, rarely a componenT of The final design. This explores The opporTuniTy of employing formwork as a permanenT building elemenT, Thus incorporaTing The formal elemenTs inherenT in building wiThin The final form iTself," -adderley
studies for interior treatment
The fabric and surfaces are suiTed To inTerior applicaTions such as wall coverings and wall panels. boTh maTerials benefiT from cork's naTural acousTic and Thermal insulaTing properTies. The cork TexTiles are made from woven elasTane and re-composiTed cork which is a by-producT from The wine indusTry. These fabrics can be produced in a wide range of colours. The geomeTric paTTerned surfaces have been laser cuT and can be produced in Three meTallic finishes, as well as black and various naTural finishes. aesthetic qualities finish:maTT Translucence sTrucTure TemperaTure acousTics
0% open warm good
developed in the netherlands 100% renewable - primarily made of wool with some integration of other materials. made using patented weaving technology great aesthetic quality, decorative, intricate pattern, 2 sided to be used as wall covering as well as on dividing screens in exhibition space
textures: 3D material with acoustic properties

TIMBER FOAM SLATS PANEL WALL
INTERIOR cONcEpTS
INITIAL coNcepT spATIAL DeVeLopMeNT
CoNCepT DeVelopMeNT, STRUCTURe & CoNSTRUCTioN
the main structure of the project of the project is comprised primarily of a steel frame. other forms of construction were considered such as masonry, which could have proven just as appropriate given the connect and size of the project. however due to the versatility required due to punctures being made through certain regions of some of the buildings walls, as well as the insertion of a pod which also cuts through some walls, a steel frame structure proved to be the most ideal solution for meeting the design requirements.
GROUND FLOOR THE GROUND FLOOR WILL BE CONSTRUCTED OUT OF PANELS OF RE-INFORCED PRECAST CONCRETE SLABS. THESE WILL SPAN BETWEEN THE BUILDINGS ENCLOSING WALLS ADJECENT TO THE AJOINING BUILDINGS.
MAIN STRUCTURE THE MAIN SUPPORTING STRUCTURE OF THE BUILDING WILL COMPRISE OF STEEL SQUARE SECTION COLUMNS AND I SECTION BEAMS. THESE HAVE A CONTINUITY WHICH RUNS RIGHT THROUGH AND WORKS TO DISTRIBUTE LOADS EVENLY THROUGH THE BUILDING. Main structure of build
pod.
mansard roof
Main structure of build
IteratIons of structural and desIgn development of pod
DEVELOPMENT MODEL OF PROJECTION POD THE RIBS OF THE POD OF MADE OF PREDOMINANTLY CROSS LAMINATED TIMBER . THE CROSS-LAMINATIONS GIVE THE WOOD PANELS A LEVEL OF ISOTROPY, ALLOWING THEM TO BE SUBJECTED TO LOADS IN SEVERAL DIRECTIONS ALLOWING IT TO WORK WELL AS THE MAIN STRUCTURAL SHELL FOR THE POD WHICH WILL ALSO HAVE COLUMS THROUGH AS SUPPORT. AS THE PODS MAIN USE IS FOR PROJECTION AND SOUND, THE TIMBER HAS AN ADDED USE AS AN ACOUSTIC BUFFER FOR THE SPACE.
pod development sequence
DEVELOPM
THE RIBS O CROSS LAM GIVE THE W ALLOWING SEVERAL DI THE MAIN S WILL ALSO THE PODS M THE TIMBER BUFFER FO
deveopment of pod structure

DEVELOPMENT MODEL OF PROJECTION POD THE RIBS OF THE POD OF MADE OF PREDOMINANTLY CROSS LAMINATED TIMBER . THE CROSS-LAMINATIONS GIVE THE WOOD PANELS A LEVEL OF ISOTROPY, ALLOWING THEM TO BE SUBJECTED TO LOADS IN SEVERAL DIRECTIONS ALLOWING IT TO WORK WELL AS THE MAIN STRUCTURAL SHELL FOR THE POD WHICH WILL ALSO HAVE COLUMS THROUGH AS SUPPORT. AS THE PODS MAIN USE IS FOR PROJECTION AND SOUND, THE TIMBER HAS AN ADDED USE AS AN ACOUSTIC BUFFER FOR THE SPACE.
pod investigations: first iteration of pod exploration of main structural composition

BUFFER FOR THE SPACE.
PIVOTED STEEL CONNECTION BETWEEN CROSS LAMINATED GLUE RIB COMPONENTS DEVELOPMENT MODELS: PIVOTED CONNECTION DETAIL FOR POD THE RIBS OF THE POD OF MADE OF PREDOMINANTLY CROSS LAMINATED TIMBER . THE CROSS-LAMINATIONS GIVE THE WOOD PANELS A LEVEL OF ISOTROPY, ALLOWING THEM TO BE SUBJECTED TO LOADS IN SEVERAL DIRECTIONS ALLOWING IT TO WORK WELL AS THE MAIN STRUCTURAL SHELL FOR THE POD WHICH WILL ALSO HAVE COLUMS THROUGH AS SUPPORT. AS THE PODS MAIN USE IS FOR PROJECTION AND SOUND, THE TIMBER HAS AN ADDED USE AS AN ACOUSTIC BUFFER FOR THE SPACE.
pod investigations: first iteration of pod exploration of concetion details

pod investigations: second iteration of pod using gridshell construction method

pod investigations: third iteration of pod using frameconstruction method

Final pod structure
Final pod structure
The final iTeraTion of The pod finds iT being consTrucTed ouT of bespoke prefabricaTed laminaTed Timber beams. To form a solid sTrucTure, The horizonTal beams inTerlock wiTh The verTical To form sTurdy joinTs which are Then reinforced wiTh sTeel brace plaTe corner brackeTs.
pod investigations: final pod construction method: Bespoke prefaBricated timBer

DETAIL EXPLOSION OF FINAL POD STRUCTURE
t-stub face connection for square to t section joint
moment detail: steel structure footing
iso cut view revealing structure, fabric and internal spaces

100x215x440 concrete blockwork 30x30 timber battening bespoke timber slats plasterboard
open plan exhibition space projection pod sb performance space private living space access to exhibition space private office space textile shopfloor
partially exploded iso view of structure and fabric
iso cut view revealing structure, fabric and internal spaces

cut view tHROuGH stRuctuRe
cut view tHROuGH stRuctuRe
geNeRAl ARRANgeMeNT DRAWiNgS
1
4.
3.
3
2.
1. 1.
Key 1 Shop oor Space Private Access to Private Living Area Sta Room and Toilet Access Stairs to Exhibition Space
2 3 4 Ground Floor Plan 1:50
A A
B B
C C
D D
E E
2
4. 6.
A
3.
3.
3
4.
1
1
5.
4.
2
2.
4. 6. 3.
1.
3
3.
1.
3
2.
3.
4.
1.
5. 2. 1. 2.
4
3
4
1.
2.
1.
Key Key 1 O ce Space
1.5
1.
1 2 Living Area Space O ce

Key 1 Shop oor Space Private Access to Private Living Area Sta Room and Toilet Access Stairs to Exhibition Space 1st Floor Plan 1:50
5
4
kEY Key Kitchen Area 2 4 Living 1 6 Shop oor Space 3 Main Corridor for 2nd Floor Private Bethroom
Access 5 Bedroom
Private Bethroom
2 3 4 Ground Floor Plan 1:50
2 4 3 5 4 6
Private Access to Private Living Area Kitchen Sta Room Bedroom and Toilet Access Stairs to Exhibition Space Main Key Corridor for 2nd Floor Access
1 2 3 4 Shop oor Space Private Access to Private Living Area Sta Room and Toilet Access Stairs to Exhibition Space
Ground Floor Plan 1st Floor1:50 Plan N 1:50
Ground Floor Plan GROUND 1:50
flOOR plaN
1:100
N n
1
4.
3.
3
2.
KEY
1. 1.
1 2 3
Exhibition Space Stairs to SB Performance Space Projection Pod
Key 1 Shop oor Space Private Access to Private Living Area Sta Room and Toilet Access Stairs to Exhibition Space
2 3 4 Ground Floor Plan SECOND 1:50
flOOr plaN
1:100
N n
BUilDiNg peRfoRMANCe & oTheR TeChNologieS
pod flooring and finishes
3d projections in pod space

SB House

Загружено:

Сведения о документе

Исходное описание:

Оригинальное название

Авторское право

Доступные форматы

Поделиться этим документом

Поделиться или встроить документ

Параметры публикации

Этот документ был вам полезен?

Это неприемлемый материал?

Авторское право:

Доступные форматы

SB House

Загружено:

Авторское право:

Доступные форматы

Design Realisation

[ARCT 1036] Unit 15 : Vimbai Caroline Gwata : 000468925

The Saartjie Baartman House Sarah

2. 2.i 2.ii 2.iii 2.iv 2.v 2.vi 3 3.i 3.ii

Design Realisation: Site, Briefing & Technology [ARCT 1036] SN000468925

SiTe & BRiefiNg

Design Realisation: Site, Briefing & Technology [ARCT 1036] SN000468925

SPITALFIELDS : FORNIER STREET

Design Realisation: Site, Briefing & Technology [ARCT 1036] SN000468925

Secondary Acess Routes to Project

Primary Access Routes to Project

Design Realisation: Site, Briefing & Technology [ARCT 1036] SN000468925

Design Realisation: Site, Briefing & Technology [ARCT 1036] SN000468925

Design Realisation: Site, Briefing & Technology [ARCT 1036] SN000468925

VIEW OF SITE FROM ALLEYWAY

Design Realisation: Site, Briefing & Technology [ARCT 1036] SN000468925

Design Realisation: Site, Briefing & Technology [ARCT 1036] SN000468925

THE SITE HAS TOW MAIN ACCESS ROUTES.

Design Realisation: Site, Briefing & Technology [ARCT 1036] SN000468925

Design Realisation: Site, Briefing & Technology [ARCT 1036] SN000468925

BUILDING PROGRAMME: PUBLIC AND PRIVATE

Design Realisation: Site, Briefing & Technology [ARCT 1036] SN000468925

SoCiAl & poliTiCAl iNflUeNCeS

Design Realisation: Site, Briefing & Technology [ARCT 1036] SN000468925

Design Realisation: Site, Briefing & Technology [ARCT 1036] SN000468925

To be seen, not heard

Social and Political influenceS

Design Realisation: Site, Briefing & Technology [ARCT 1036] SN000468925

CULTURAL CONTEXT: THE WAXWORK SELLERS OF WENTWORTH STREET

the african textile

Design Realisation: Site, Briefing & Technology [ARCT 1036] SN000468925

CoNCepTS & ReSeARCh

Design Realisation: Site, Briefing & Technology [ARCT 1036] SN000468925

the english terraced house studies:proportions

Design Realisation: Site, Briefing & Technology [ARCT 1036] SN000468925

To be seen, not heard

African identity Inhabiting Constrained Georgian dimensions

Design Realisation: Site, Briefing & Technology [ARCT 1036] SN000468925

texture studies for facade treatMeNt

Design Realisation: Site, Briefing & Technology [ARCT 1036] SN000468925

PRECEDENT STUDY : MAISON DE VERRE - PIERRE ChAREAU

Design Realisation: Site, Briefing & Technology [ARCT 1036] SN000468925

Weaving ConstruCtion -Dai Haifaei

AndinkrA Woven Cloth

Basket weaving - sierra Leone

Design Realisation: Site, Briefing & Technology [ARCT 1036] SN000468925

FACADE DEVELOPMENT AND TREATMENT

Design Realisation: Site, Briefing & Technology [ARCT 1036] SN000468925

timber cast concrete wall panel

a 'textile' formwork, temporary yet permanent.

timber formwork with a partial concrete fill.

studies for interior treatment

Design Realisation: Site, Briefing & Technology [ARCT 1036] SN000468925

0% open warm good

textures: 3D material with acoustic properties

TIMBER FOAM SLATS PANEL WALL

Design Realisation: Site, Briefing & Technology [ARCT 1036] SN000468925

INITIAL coNcepT spATIAL DeVeLopMeNT

Design Realisation: Site, Briefing & Technology [ARCT 1036] SN000468925

CoNCepT DeVelopMeNT, STRUCTURe & CoNSTRUCTioN

Design Realisation: Site, Briefing & Technology [ARCT 1036] SN000468925

Design Realisation: Site, Briefing & Technology [ARCT 1036] SN000468925