Nicholas Socrates' Architecture & Urban Design Portfolio 2013

NICHOLAS SOCRATES
BA (Hons), BA (Hons), MA, MArch

PORTFOLIO 2013
TATE BRISTOL: EXTERIOR PUBLIC SPACES
TATE BRISTOL: PROPOSED WAPPING WHARF MASTERPLAN, SPIKE ISLAND
After travelling through the building; taken on a journey through its galleries, the visitors nally arrive on the roof. On the
roof exists the sculpture garden, where numerous installations and large works live. The roof is South facing and views of
the harbour and the new city park are possible.
This balcony space acts as platform to view the main, double height, digital space below from a dierent perspective. Along
this balcony various other digital installations exist. The sound elements overlap inherent in most digital art pieces, unlike
still works, functions more as an attractive and moody underscore. The total eect is often surprisingly emotional.
Top oor gallery with double height ceiling for large works and installations.
North-East & North-West facing gallery. Internal gallery standard climate is maintained through mechanical ventilation &
heating. The highest performance Low-E glass is used to maintain a steady temperature reducing the amount of mechanical
heating and cooling / energy used.
North facing galleries on the 2nd, 3rd and 4th oors. Internal gallery standard climate maintained through mechanical
ventilation & heating. The highest performance Low-E glass is used to maintain a steady temperature reducing the
amount of mechanical heating and cooling / energy used.
The entrance way from Cumberland road, which leads through to the public ramp / main atrium. It is surfaced in a hard-
wearing way (concrete). This is due to the amount of people passing through as a short-cut to the Harbour and also to
emphasis that this is an extension to the public street.
The yellow travellator takes visitors on a journey from a main light gallery space, through the atrium, and arrives them
immediately into the darkness of a main digital gallery. Eortlessly contrasting the visitors experience; keeping them
awake, alert and excited. The public spaces and functions on the left and back of house operations, workshops, and artist
studios on the right. Artists can be seen working if their internal blinds are open. On certain studio open days the entire
gallery expands in size.
View from the park plinth: continuation of level from Cumberland road to park plinth & Tate Bristols back entrance.
Public and sta carpark underneath the park plinth of a capacity of 125 parking spaces.
External ramp. parallel to the Tate Bristol building. Descending from the park plinth / Cumberland road to
the harbour-side promenade
View from the park plinth, looking towards Bristol Harbour in between The Library of Bristol and Tate Bristol.
The main atrium connects the Harbour to Cumberland Road. It is seen as a public street (and is surfaced in this way). In
this space large scale installations and sculptures exist. From here the visitor has an immediate understanding of the
building. The dierent coloured oors help orientate the visitor to understand which gallery and public function exist
on which oor.
Tate Bristol has two levels, on the Eastern side, dedicated to Learning. These Learning Spaces have an abundance of
public computers, which have installed the latest graphic and video software. Instead of having "hot desks" to rent
oce space in an isolated room, here we have communal spaces which are open, public and for all.
Throughout the building experience there will be numerous informal installations. In almost seemingly random places, installations,
sculptures, projections and performances will take place. The building's exibility due to its openness and organisation of the
permanent functions allows for this.
North facing galleries on the 2nd, 3rd and 4th oors. Internal gallery standard climate maintained through mechanical
ventilation & heating. The highest performance Low-E glass is used to maintain a steady temperature reducing the
amount of mechanical heating and cooling / energy used.
'The Cave' is a large circular space situated below the upper-ground level. This is a exible industrial space which is used for digital
art installations and non-commercial performances. A public space almost independent and hidden from the rest of the gallery.
Tate Bristols main digital art space is on a colossal scale. This space houses a selection of Tate Bristols permanent digital
collection. This particular room has a special emphasis on the artist Ryoji Ikeda. Ryoji Ikedas work quivers somewhere
between electronic music, digital art, installation and performance. He uses raw materials both visual and sonic: using
giant screens and huge speaker systems, Ikeda gives these hidden elements something approaching the scale and
monumentality of industrial manufacturing processes.
Walking up the main public circulation ramp; parallel and adjacent to the externally surrounding ephemeral skin. Taking visitors
on a journey; wrapping them around the extents of the building. For this ramp; it draws visitors through a main learning space and
directly into the gallery. The circulation of the building is only clear one oor at a time to enhance the experience and discovery of
the building.
The site of Tate Bristol on Spike Island will create a ow of visitors and provide an open anchor, an interior public
space and a meeting place for pedestrians and they will become the citys new icon, whilst addressing deciencies
in accessibility, adaptability and lack of space for creative enterprise. Tate Bristol will become a creative and cultural
centre for the city. Tate Bristol will be the social and creative heart of the city, connecting people of all ages, cultures
and backgrounds.
View from across the water from the public space outside of the Llyods Bank. Showing that the Library of Bristol (left)
and the Tate Bristol (right) have equal importance to the city of Bristol demonstrated by the equality of presence on the
Harbour-front sky-line.
North facing galleries on the 2nd, 3rd and 4th oors.
Internal gallery standard climate maintained through
mechanical ventilation & heating. The highest
performance Low-E glass is used to maintain a steady
temperature reducing the amount of mechanical
Top oor gallery with double height
ceiling for large works and installations.
North-East & North-West facing gallery.
Internal gallery standard climate
is maintained through mechanical
ventilation & heating. The highest
performance Low-E glass is used
to maintain a steady temperature
reducing the amount of mechanical
The yellow travellator takes visitors on a journey
from a main light gallery space, through the atrium,
and arrives them immediately into the darkness of
a main digital gallery. Eortlessly contrasting the
visitors experience; keeping them awake, alert and
excited. The public spaces and functions on the left
and back of house operations, workshops, and artist
studios on the right. Artists can be seen working if
their internal blinds are open. On certain studio
open days the entire gallery expands in size.
Walking up the main public circulation
ramp; parallel and adjacent to the externally
surrounding ephemeral skin. Taking visitors
on a journey; wrapping them around the
extents of the building. For this ramp; it draws
visitors through a main learning space and
directly into the gallery. The circulation of
the building is only clear one oor at a time
to enhance the experience and discovery of
the building.
Tate Bristol has two levels, on the Eastern side,
dedicated to Learning. These Learning Spaces
have an abundance of public computers,
which have installed the latest graphic and
video software. Instead of having "hot desks"
to rent oce space in an isolated room, here
we have communal spaces which are open,
public and for all.
Throughout the building experience there will
be numerous informal installations. In almost
seemingly random places, installations, sculptures,
projections and performances will take place.
The building's exibility due to its openness and
organisation of the permanant functions allows
for this.
After travelling through the building; taken on a
journey through its galleries, the visitors nally arrive
on the roof. On the roof exists the sculpture garden,
where numerous installations and large works live.
The roof is South facing and views of the harbour and
the new city park are possible.
'The Cave' is a large circular space situated below the upper-ground
level. This is a exible industrial space which is used for digital art
installations and non-commercial performances. A public space
almost independent and hidden from the rest of the gallery.
Tate Bristols main digital art space is on a colossal scale. This space
houses a selection of Tate Bristols permanent digital collection. This
particular room has a special emphasis on the artist Ryoji Ikeda. Ryoji
Ikedas work quivers somewhere between electronic music, digital
art, installation and performance. He uses raw materials both visual
and sonic: using giant screens and huge speaker systems, Ikeda
gives these hidden elements something approaching the scale and
monumentality of industrial manufacturing processes.
This balcony space acts as platform to view the
main, double height, digital space below from a
dierent perspective. Along this balcony various
other digital installations exist. The sound
elements overlap inherent in most digital art
pieces, unlike still works, functions more as an
attractive and moody underscore. The total eect
is often surprisingly emotional.
The main atrium connects the Harbour to
Cumberland Road. It is seen as a public street
(and is surfaced in this way). In this space large
scale installations and sculptures exist. From here
the visitor has an immediate understanding of
the building. The dierent coloured oors help
orientate the visitor to understand which gallery
and public function exist on which oor.
The site of Tate Bristol on Spike Island will create a ow of visitors
and provide an open anchor, an interior public space and a
meeting place for pedestrians and they will become the citys new
icon, whilst addressing deciencies in accessibility, adaptability
and lack of space for creative enterprise. Tate Bristol will become
a creative and cultural centre for the city. Tate Bristol will be the
social and creative heart of the city, connecting people of all ages,
cultures and backgrounds.
The entrance way from Cumberland
road, which leads through to the
public ramp / main atrium. It is
surfaced in a hardwearing way
(concrete). This is due to the amount
of people passing through as a
short-cut to the Harbour and also to
emphasis that this is an extension to
the public street.
TATE BRISTOL: KEY INTERNAL SPACES
TATE BRISTOL: COOLING MODE
TATE BRISTOL: HEATING MODE
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1
1
7.249 7.249 7.249 7.249 8.082 8.000 8.000 8.000 8.000 8.000 8.000 8.000 8.000 8.000 6.408
Natural ventilation operable
openings for exhaust at roof level
Natural ventilation operable
openings on faade for fresh air inlet
COOLING MODE
VENTILATION STRATEGY
t6TF PG DFOUSBMBUSJVNGPSFYIBVTU
t.BYJNJTF OBUVSBMWFOUJMBUJPOSVOOJOH IPVST
t7PJE"MJHONFOU
t"SDIJUFDUVSBM3FRVJSFNFOUT
t-PX&OFSHZ$PPMJOH 4USBUFHZ
Natural Vent (Fresh Air)
Natuaral Vent (Exhaust)
Thermetically Sealed
Open and Uncontrolled
Interior Climate
Mechanical Extract
Mechanical Supply
NATURAL MODE
(Mid Season)
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7.249 7.249 7.249 7.249 8.082 8.000 8.000 8.000 8.000 8.000 8.000 8.000 8.000 8.000 6.408
Natural Vent (Fresh Air)
Natuaral Vent (Exhaust)
Thermetically Sealed
Open and Uncontrolled
Interior Climate
HEATING MODE
Natural ventilation openings
closed during heating mode
Natural ventilation openings on faade
closed during heating mode
Heat exchanger collects heat from
building mixes with 10%fresh air and
then recirculates the recycled heat
around the building
Under Floor Heating
Trench Heater
General Supply
General Exhaust
Closed Control Supply
Closed Control Exhaust
Buildings Heat In
Fresh Air In
Recycled
Heat Out
100 50 10 20 0
cm.
150
scale / format
project stage project number
client
reference file
drawing number
subject
date
drawing status
key plan north arrow
project
on
revision
Gavin
Consulting Engineer
Jono
Louis
Design Consultant
Urban Design Consultant
architecture designer
rev. date drawn checked
The Tate
Typical Facade Detail & Section
Tate Bristol ('Tate Digital')
MArch Design Studio B
Bristol, United Kingdom
Landscape 001
10-04-2013
FINAL A2
X:\2_C_Concept Design\Drawings\Landscape 001
1:30
Concept Design
Landscape 001
NB:
Inconsistencies in the drawing are inevitable due to the level of detail of stage C. The drawing
will be further defined/developed in stage D.
Nicholas Socrates
UWE, Bristol
TATE BRISTOL: LANDSCAPE DRAWINGS 1:50
100 50 10 20 0
cm.
150
scale / format
client
reference file
drawing number
subject
date
drawing status
project
on
revision
Gavin
Consulting Engineer
Jono
Louis
Design Consultant
The Tate
108
10-04-2013
FINAL A3
X:\2_C_Concept Design\Drawings\108
1:50
Concept Design
108
NB:
Nicholas Socrates
UWE, Bristol
TATE BRISTOL: TECHNICAL DRAWINGS 1:50
100 50 10 20 0
cm.
150
scale / format
client
reference file
drawing number
subject
date
drawing status
project
on
revision
Gavin
Consulting Engineer
Jono
Louis
Design Consultant
The Tate
111
10-04-2013
FINAL A2
1:20
Concept Design
111
NB:
Nicholas Socrates
UWE, Bristol
TATE BRISTOL: TECHNICAL DRAWINGS 1:30
GROUND FLOOR PLAN 1:500, KEY AND 3D ZONING
22 x 0.164 = 3.600
1234
15 x 0.172 = 2.580 1234567
8
9 10 11 12 13 14 15
3.05 %
6.11 %
29 x 0.113 = 3.280
25 x 0.131 = 3.280
123456789101112131415161718192021222324 25
4.14 %
15 x 0.172 = 2.580
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
3 x 0.167 = 0.500
123
3 x 0.167 = 0.500
123
3.48 %
6 . 7 3 % 6 . 7 3 %
Sessel
0
0
0
0
0
0 0
0
0
0
16
15
14
13
12
11
10
9
8
7
6
5
4
3
2
1
G F E D C B A
Void Above
Storage under ramp
Storage under ramp
Staircase 03 A: 19.065 m2 ceramic tile H: 18.00 m
Staircase 03 A: 19.065 m2 H: 18.00 m
ToiIet 02 A: 41.925 m2 ceramic tile H: 3.28 m
ToiIet 02 A: 41.925 m2 H: 3.28 m
Exhibtion Cave 2
021
A: 99.879 m2
H: 3.28 m
Photographic CataIoguing
004
A: 129.778 m2
H: 7.28 m
CataIoguing Area
006
A: 81.298 m2
H: 7.28 m
Depot H-3.2m
011
A: 193.226 m2
H: 3.28 m
Tate Cafe & Coffee
014
A: 217.103 m2
H: 7.28 m
Sorting Space
015
A: 104.194 m2
H: 7.28 m
Interim Storage (CIean)
016
A: 51.613 m2
H: 7.28 m
Parking 119 A: 14.000 m2 concrete flooring
Lifts 03 A: 7.694 m2 ceramic tile H: 18.00 m
Interim Storage (IsoIated)
016
A: 49.855 m2
H: 7.28 m
Depot H-7.2m
012
A: 158.159 m2
H: 7.28 m
Depot CIear Circ H-7.2m
012
A: 108.768 m2
H: 7.28 m
Depot H-3.2m
011
A: 230.717 m2
H: 3.28 m
The Cave / Performance & InstaI
021
A: 562.664 m2
H: 3.28 m
Mech. 020 A: 1.044 m2 H: 4.00 m
EIectr 020 A: 1.476 m2 H: 4.00 m Pipe Work 020 A: 0.861 m2 H: 4.00 m
EIectr 020 A: 1.477 m2 H: 4.00 m
Pipe Work 020 A: 0.861 m2 H: 4.00 m
Mech. 020 A: 1.030 m2 H: 4.00 m
PubIic CircuIation
015
A: 110.692 m2
H: 3.28 m
Auditorium
021
A: 299.996 m2
H: 4.00 m
Resturant Kitchen and Store
025
A: 72.363 m2
H: 4.00 m
Tate Shop Store
026
A: 87.065 m2
H: 3.28 m
Auditorium Store & Prep Space 021 A: 49.026 m2
H: 3.28 m
Auditorium Stage 021 A: 82.184 m2
H: 3.28 m
CIeaners Room 022 A: 8.866 m2 H: 4.00 m
WheeIie Bins
026
A: 19.720 m2
H: 4.00 m
PIant
027
A: 65.228 m2
concrete floor
H: 4.00 m
Depot H-2.2m
008
A: 159.698 m2
H: 2.50 m
Deep Storage H-2m
010
A: 155.511 m2
H: 1.60 m
PubIic Street / Ramp
018
A: 785.695 m2
H: 0.00 m
5.77 %
21 x 0.156 = 3.280
1 2 3 4
21 x 0.156 = 3.280
1 2 3 4
Fire Cor / Staff & Artist Ent 017 A: 296.765 m2
H: 3.28 m
Tate Book & Print Shop
012
A: 179.244 m2
H: 7.28 m
Fire Cor / Staff & Artist Ent
017
A: 140.292 m2
H: 3.28 m
Loading Bay
001
A: 245.145 m2
H: 7.28 m
100 50 10 20 0 cm. 150
scale / format
client
reference file
drawing number
date
drawing status
project
on
revision
Gavin Consulting Engineer
Jono
Louis
Design Consultant
The Tate
10-04-2013
FINAL 112 A2
1:200
Concept Design
NB: Inconsistenciesinthe drawingare inevitable due to the level ofdetail ofstage CThe drawing
Nicholas Socrates
UWE, Bristol
s1
s1 s2 s3 e1
s2 s3 e1
s4
s5
s4
s5
e2
e2
general notes
Do not scale thisdrawing-use JXUHG dimensionsonly -all dimensionsto be checked and
verified on site.
This drawing is to read in conjunction with all relevant structural, mechanical and electrical
information.
ABCDE Stage C submission 26-03-2013 14-03-2013 02-03-2013 24-02-2013 09-02-2013 NS JM NS JM NS LR NS JM NS LR
ABCDE
2 Grants Fields, The Downs, St Nicholas, Cardiff, CF5 6SE, UK www.nicholassocrates.com
nicholassocrates@live.com www.nicksocrates.com
- Ground Floor
100 50 10 20 0
cm.
150
scale / format
client
reference file
drawing number
date
drawing status
project
on
revision
Gavin
Consulting Engineer
Jono
Louis
Design Consultant
The Tate
10-04-2013
FINAL 112 A2
1:200
Concept Design
NB:
Inconsistenciesinthe drawingare inevitable due to the level ofdetail ofstage CThe drawing
Nicholas Socrates
UWE, Bristol
s1
s1 s2 s3 e1
s2 s3 e1
s4
s5
s4
s5
e2
e2
general notes
Do not scale thisdrawing-use JXUHG dimensionsonly -all dimensionsto be checked and
verified on site.
This drawing is to read in conjunction with all relevant structural, mechanical and electrical
information.
A
B
C
D
E Stage C submission 26-03-2013
14-03-2013
02-03-2013
24-02-2013
09-02-2013 NS JM
NS JM
NS LR
NS JM
NS LR
A
B
C
D
E
2 Grants Fields, The Downs, St Nicholas,
Cardiff, CF5 6SE, UK
www.nicholassocrates.com
nicholassocrates@live.com
www.nicksocrates.com
SUBSTANTIVE ACCOUNT
The last 2 pages are oI the plans oI
the proposed Tate Bristol art gallery
on the Whapping WharI site on Spike
Island.
METHODOLOGICAL ACCOUNT
All plans were drawn in Archicad.
Each diIIerent Iunction oI the
building was given a diIIerent colour
representing its use. Many people
(in plan) were added to show the
building is busy and Iull oI liIe. A key
Ior the drawing was made in CAD
also. From the Archicad model I also
gave each zone` its proposed ceiling
height, writen into the BIM soItware,
then turned oII all layers a part Irom
zones`, the I viewed the model in 3D
to give me a 3D diagrammatic model
oI the diIIerent zones oI the building.
ANALYTICAL ACCOUNT
I Ieel that these plans are very
successIul. They are beautiIul
plans, Iull oI inIormation yet also
diagrammatic. The beige colour
oI street`/promenade is continued
through the centre oI the proposed
building to emphasise that the
buildings atrium space is to be seen
as a route through and an extension
oI the public realm. The colours Ior
the uses/Iunctions were chosen well
and the view is able to view the plans
in detail and also diagrammatically.
For the coming 2 weeks in the design
studio I will add a key along side these
plans reIerencing which each colour
represents.
The key which does appears on this
page shows the North point, where
the sections oI this building are taken
Irom, when the plans were looked at
by which tutors and when they were
adjusted. This key, I believe, to be
very inIormative.
The zones in 3D I Ieel are quite
inIormative, though it is not possible
to view the uses and Iunctions oI the
building in the lower foors that well.
I guess I was quite lucky with this
building as it has such a large atrium
space - it does make seeing through`
the building easier. I do like these
diagrammatic 3D zoning drawings,
but again a key would be useIul!
TATE BRISTOL FLOOR PLANS PLANS: GF 5TH FLOOR 1:1000
22 x 0.164 = 3.600
1234
15 x 0.172 = 2.580 1234567
8
9 10 11 12 13 14 15
3.05 %
6.11 %
29 x 0.113 = 3.280
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19
25 x 0.131 = 3.280
12345678910 1112131415161718192021222324 25
4.14 %
15 x 0.172 = 2.580
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
3 x 0.167 = 0.500
123
3 x 0.167 = 0.500
123
3.48 %
6 . 7 3 % 6 . 7 3 %
Sessel
0
0
0
0
0
0 0
0
0
0
16
15
14
13
12
11
10
9
8
7
6
5
4
3
2
1
G F E D C B A
Void Above
Storage under ramp
Storage under ramp
Staircase 03 A: 19.065 m2 H: 18.00 m
Toilet 02 A: 41.925 m2 ceramic tile H: 3.28 m
Toilet 02 A: 41.925 m2 H: 3.28 m
Exhibtion Cave 2 021 A: 99.879 m2 H: 3.28 m
Photographic Cataloguing 004 A: 129.778 m2 H: 7.28 m
Cataloguing Area 006 A: 81.298 m2 H: 7.28 m
Depot H-3.2m 011 A: 193.226 m2 H: 3.28 m
Tate Cafe & Coffee 014 A: 217.103 m2 H: 7.28 m
Sorting Space 015 A: 104.194 m2 H: 7.28 m
Interim Storage (Clean) 016 A: 51.613 m2 H: 7.28 m
Interim Storage (Isolated) 016 A: 49.855 m2 H: 7.28 m
Depot H-7.2m 012 A: 158.159 m2 H: 7.28 m
Depot Clear Circ H-7.2m 012 A: 108.768 m2 H: 7.28 m
Depot H-3.2m 011 A: 230.717 m2 H: 3.28 m
The Cave / Performance & Instal 021 A: 562.664 m2 H: 3.28 m
Mech. 020 A: 1.044 m2 H: 4.00 m
Electr 020 A: 1.476 m2 H: 4.00 m Pipe Work 020 A: 0.861 m2 H: 4.00 m
Mech. 020 A: 1.030 m2 H: 4.00 m
Public Circulation 015 A: 110.692 m2 H: 3.28 m
Auditorium 021 A: 299.996 m2 H: 4.00 m
Resturant Kitchen and Store 025 A: 72.363 m2 H: 4.00 m
Tate Shop Store 026 A: 87.065 m2 H: 3.28 m
Parking A: 14.000 m2 concrete flooring
Auditorium Store & Prep Space 021 A: 49.026 m2 H: 3.28 m
Auditorium Stage 021 A: 82.184 m2 H: 3.28 m
Cleaners Room 022 A: 8.866 m2 H: 4.00 m
Wheelie Bins 026 A: 19.720 m2 H: 4.00 m
Plant 027 A: 65.228 m2 concrete floor H: 4.00 m
Depot H-2.2m 008 A: 159.698 m2 H: 2.50 m
Deep Storage H-2m 010 A: 155.511 m2 H: 1.60 m
Public Street / Ramp 018 A: 785.695 m2 H: 0.00 m
5.77 %
21 x 0.156 = 3.280
1 2 3 4
21 x 0.156 = 3.280
1 2 3 4
Fire Cor / Staff & Artist Ent 017 A: 296.765 m2 H: 3.28 m
Tate Book & Print Shop 012 A: 179.244 m2 H: 7.28 m
Loading Bay 001 A: 245.145 m2 H: 7.28 m
22 x 0.164 = 3.600
5678910
11
12 13 14 15 16 17 18 19 20 21 22
15 x 0.172 = 2.580
67
8
9 10 11 12 13 14 15
3.05 %
6.11 %
29 x 0.113 = 3.280
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19
25 x 0.131 = 3.280
12345678910 1112131415161718192021222324 25
4.14 %
15 x 0.172 = 2.580
6 7 8 9 10 11 12 13 14 15
6 . 7 3 % 6 . 7 3 %
16
15
14
13
12
11
10
9
8
7
6
5
4
3
2
1
G F E D C B A
Sessel
0
0
0
0
0
Sessel
0
0
0
0
0
0
Sessel
0 0
0 0
0
0
Sessel
0 0 0
0
0
Sessel
0 0
0
False inclining ceiling
Staircase 03 A: 19.065 m2 H: 18.00 m
Security 014 A: 80.095 m2 H: 4.00 m
Tate Reception & Ticket Sales 014 A: 104.804 m2 H: 4.00 m
Public Space & Entrance Area 015 A: 621.885 m2 H: 4.00 m
Public Cloakroom 021 A: 31.154 m2 H: 4.00 m
Resturant UG Corridor 021 A: 56.689 m2 H: 4.00 m
Exhibtion Equiptment Storage 025 A: 90.692 m2 H: 4.00 m
Meeting Place & Chill Out Zone 021 A: 337.331 m2 H: 4.00 m
Fire Cor / Staff Enterance 017 A: 36.215 m2 H: 4.00 m
Tate Cafe & Resturant (seating) 014 A: 317.785 m2 H: 7.28 m
Performace Space "The Cave" 022 A: 151.988 m2 H: 7.28 m
Mech. 020 A: 1.044 m2 H: 4.00 m
Mech. 020 A: 1.029 m2 H: 4.00 m
Cave 2 Gallery (void below) 022 A: 20.274 m2 H: 4.00 m
ICT 021 A: 2.870 m2 H: 4.00 m Cleaners Room 022 A: 9.439 m2 H: 4.00 m
Informal Educational Screenings 022 A: 104.848 m2 H: 3.28 m
Informal Educational Screenings 022 A: 87.192 m2 H: 3.28 m
Plant 027 A: 65.228 m2 H: 4.00 m
5.77 %
23 x 0.174 = 4.000
1 2 3 4
23 x 0.174 = 4.000
1 2 3 4
25 x 0.160 = 4.000
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25
Public Street / Ramp 016 A: 1,097.911 m2 H: 0.00 m
Tate Shop 012 A: 178.237 m2 H: 7.28 m
Loading Bay 001 A: 244.824 m2 H: 7.28 m
Fire Cor 017 A: 74.523 m2 H: 7.28 m
22 x 0.164 = 3.600
1234
16
15
14
13
12
11
10
9
8
7
6
5
4
3
2
1
G F E D C B A
9 . 3 7 %
9.75 %
Staircase 03 A: 19.065 m2 H: 18.00 m
Exhibtion Gallery 023 A: 1,225.129 m2 H: 4.00 m
Fire Corridor 022 A: 65.211 m2 H: 4.00 m
Dark Gallery 023 A: 925.353 m2 H: 8.00 m
Public / Circulation Space 024 A: 746.636 m2 H: 4.00 m
Mech. 020 A: 1.044 m2 H: 4.00 m
Exhibtion Prep Space & Store 025 A: 215.195 m2 H: 4.00 m
Tate Offices 014 A: 284.707 m2 H: 7.28 m
Metal Workshop 022 A: 276.785 m2 H: 3.28 m
Wood Workshop 023 A: 358.548 m2 H: 3.28 m
Mech. 020 A: 0.704 m2 H: 4.00 m
25 x 0.160 = 4.000
13 14 15 16 17 18 19 20 21 22 23 24 25
23 x 0.174 = 4.000
1 2 3 4
23 x 0.174 = 4.000
1 2 3 4
199/5 199/5
199/5 199/5
199/5 199/5
199/5 199/5
199/5 199/5
199/5 199/5
199/5 199/5
199/5 199/5
199/5 199/5
199/5 199/5
199/5 199/5
199/5 199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
16
15
14
13
12
11
10
9
8
7
6
5
4
3
2
1
G F E D C B A
9 . 3 7 %
9.75 %
Sessel
0
199/5 199/5
199/5 199/5
199/5 199/5
199/5 199/5
0
0
0
0
0
0
Void Above
Staircase 03 A: 19.065 m2 H: 18.00 m
Studios Corridor 021 A: 82.860 m2 H: 4.00 m
Transport Corridor 021 A: 36.470 m2 H: 4.00 m
Exhibtion Gallery 023 A: 731.652 m2 H: 4.00 m
Studios 020 A: 575.250 m2 H: 4.00 m
Exhibtion Prep Space & Store 025 A: 214.167 m2 H: 4.00 m
Learing Space 022 A: 557.376 m2 H: 8.00 m
Balcony / Long Installation 023 A: 135.535 m2 H: 4.00 m
Mech. 020 A: 1.061 m2 H: 4.00 m
Mech. 020 A: 1.044 m2 H: 4.00 m
Ramp 025 A: 99.018 m2 H: 4.00 m
Plant 028 A: 373.771 m2 H: 2.00 m
23 x 0.174 = 4.000
1 2 3 4
23 x 0.174 = 4.000
1 2 3 4
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5 199/5 199/5 199/5 199/5 199/5
199/5 199/5 199/5 199/5 199/5 199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
199/5
16
15
14
13
12
11
10
9
8
7
6
5
4
3
2
1
G F E D C B A
9 . 5 0 %
9.75 %
Staircase 03 A: 19.065 m2 H: 18.00 m
Paid for Exhibtion Gallery 023 A: 597.024 m2 H: 4.00 m
Studios 020 A: 575.208 m2 H: 4.00 m
Studio Storage 025 A: 215.260 m2 H: 4.00 m
Learning Space 021 A: 658.835 m2 H: 4.00 m
Mech. 020 A: 1.058 m2 H: 4.00 m
Mech. 020 A: 1.245 m2 H: 4.00 m
Cleaners Cupboard 022 A: 15.674 m2 H: 4.00 m
Electr 023 A: 1.125 m2 H: 3.28 m
23 x 0.174 = 4.000
1 2 3 4 5 6 7 8 9 10
11
12 13 14 15 16 17 18 19 20 21 22 23
23 x 0.174 = 4.000
1 2 3 4
16
15
14
13
12
11
10
9
8
7
6
5
4
3
2
1
G F E D C B A
Plant & Out of Bounds 024 A: 254.728 m2 <floor type> H: 4.00 m
Mech. 020 A: 1.029 m2 H: 4.00 m
Exhibtion Gallery 023 A: 1,696.934 m2 H: 4.00 m
Service Lift 024 A: 21.403 m2 <floor type> H: 4.00 m
Public Sculpture Garden 025 A: 2,297.528 m2 <floor type> H: 4.00 m
Wind Break 024 A: 77.187 m2 H: 4.00 m
Ramp 025 A: 44.497 m2 H: 4.00 m
23 x 0.174 = 4.000
1 2 3 4
GROUND FLOOR: 1:500
22 x 0.164 = 3.600
1234
15 x 0.172 = 2.580 1234567
8
9 10 11 12 13 14 15
3.05 %
6.11 %
29 x 0.113 = 3.280
1 2 3 4 5 6 7 8 9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
14
13
12
11
10
9
8
7
I
H
G
F
E
D
25 x 0.131 = 3.280
12345678910 1112131415161718192021222324 25
4.14 %
15 x 0.172 = 2.580
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
3 x 0.167 = 0.500
123
3 x 0.167 = 0.500
123
3.48 %
6 . 7 3 % 6 . 7 3 %
Sessel
0
0
0
0
0
0 0
0
0
0
16
15
14
13
12
11
10
9
8
7
6
5
4
3
2
1
G F E D C B A
8.400
8.400
8.400
8.400
8.400
8.400
8.400
8.400
109.200
10.200
10.200
10.200
10.200
12.5m
12.5m
Void Above
Storage under ramp
Storage under ramp
Staircase 03 A: 19.065 m2 H: 18.00 m
Toilet 02 A: 41.925 m2 H: 3.28 m
Exhibtion Cave 2
021
A: 99.879 m2
H: 3.28 m
Photographic Cataloguing
004
A: 129.778 m2
H: 7.28 m
Cataloguing Area
006
A: 81.298 m2
H: 7.28 m
Depot H-3.2m
011
A: 193.226 m2
H: 3.28 m
Tate Cafe & Coffee
014
A: 217.103 m2
H: 7.28 m
Sorting Space
015
A: 104.194 m2
H: 7.28 m
Interim Storage (Clean)
016
A: 51.613 m2
H: 7.28 m
A: 14.000 m2 concrete flooring
concrete flooring
Interim Storage (Isolated)
016
A: 49.855 m2
H: 7.28 m
Depot H-7.2m
012
A: 158.159 m2
H: 7.28 m
Depot Clear Circ H-7.2m
012
A: 108.768 m2
H: 7.28 m
Depot H-3.2m
011
A: 230.717 m2
H: 3.28 m
The Cave / Performance & Instal
021
A: 562.664 m2
H: 3.28 m
Mech. 020 A: 1.044 m2 H: 4.00 m
Electr 020 A: 1.477 m2 H: 4.00 m
Pipe Work 020 A: 0.861 m2 H: 4.00 m
Mech. 020 A: 1.030 m2 H: 4.00 m
Public Circulation
015
A: 110.692 m2
H: 3.28 m
Auditorium
021
A: 299.996 m2
H: 4.00 m
Resturant Kitchen and Store
025
A: 72.363 m2
H: 4.00 m
Tate Shop Store
026
A: 87.065 m2
H: 3.28 m
Auditorium Store & Prep Space 021 A: 49.026 m2
H: 3.28 m
Auditorium Stage 021 A: 82.184 m2
H: 3.28 m
Wheelie Bins
026
A: 19.720 m2
H: 4.00 m
Plant
027
A: 65.228 m2
concrete floor
H: 4.00 m
Depot H-2.2m
008
A: 159.698 m2
H: 2.50 m
Deep Storage H-2m
010
A: 155.511 m2
H: 1.60 m
Public Street / Ramp
018
A: 785.695 m2
H: 0.00 m
5.77 %
21 x 0.156 = 3.280
1 2 3 4
21 x 0.156 = 3.280
1 2 3 4
21 x 0.156 = 3.280
1 2 3 4
21 x 0.156 = 3.280
1 2 3 4
Fire Cor / Staff & Artist Ent 017 A: 296.765 m2
H: 3.28 m
Tate Book & Print Shop
012
A: 179.244 m2
H: 7.28 m
Fire Cor / Staff & Artist Ent
017
A: 140.292 m2
H: 3.28 m
Loading Bay
001
A: 245.145 m2
H: 7.28 m
UPPER GROUND FLOOR: 1:500
22 x 0.164 = 3.600
5678910
11
12 13 14 15 16 17 18 19 20 21 22
15 x 0.172 = 2.580
67
8
9 10 11 12 13 14 15
3.05 %
6.11 %
29 x 0.113 = 3.280
1 2 3 4 5 6 7 8 9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
25 x 0.131 = 3.280
12345678910 1112131415161718192021222324 25
4.14 %
15 x 0.172 = 2.580
6 7 8 9 10 11 12 13 14 15
6 . 7 3 % 6 . 7 3 %
16
15
14
13
12
11
10
9
8
7
6
5
4
3
2
1
G F E D C B A
Sessel
0
0
0
0
0
Sessel
0
0
0
0
0
0
Sessel
0
0
0
0
0
0
Sessel
0
0 0
0
0
Sessel
0
0
0
False inclining ceiling
Staircase 03 A: 19.065 m2 H: 18.00 m
Security
014
A: 80.095 m2
H: 4.00 m
Tate Reception & Ticket Sales
014
A: 104.804 m2
H: 4.00 m
Public Space & Entrance Area
015
A: 621.885 m2
H: 4.00 m
Public Cloakroom
021
A: 31.154 m2
H: 4.00 m
Resturant UG Corridor 021 A: 56.689 m2 H: 4.00 m
Cataloguing Area
006
A: 81.298 m2
H: 7.28 m
Sorting Space
015
A: 103.616 m2
H: 7.28 m
Interim Storage (Isolated)
016
A: 52.998 m2
H: 7.28 m
012
A: 159.324 m2
H: 7.28 m
Photographic Cataloguing
004
A: 96.365 m2
H: 7.28 m
012
A: 111.685 m2
H: 7.28 m
Exhibtion Equiptment Storage
025
A: 90.692 m2
H: 4.00 m
Meeting Place & Chill Out Zone
021
A: 337.331 m2
H: 4.00 m
Fire Cor / Staff Enterance 017 A: 36.215 m2
H: 4.00 m
Tate Cafe & Resturant (seating)
014 A: 317.785 m2
H: 7.28 m
Performace Space "The Cave"
022
A: 151.988 m2
H: 7.28 m
Mech. 020 A: 1.044 m2 H: 4.00 m
Electr 020 A: 1.477 m2 H: 4.00 m
Pipe Work 020 A: 0.861 m2 H: 4.00 m
Mech. 020 A: 1.029 m2 H: 4.00 m
Cave 2 Gallery (void below) 022 A: 20.274 m2 H: 4.00 m
Tate Shop Store
026
A: 87.065 m2
H: 4.00 m
ICT 021 A: 2.870 m2 H: 4.00 m
Informal Educational Screenings 022 A: 104.848 m2
H: 3.28 m
Informal Educational Screenings 022 A: 87.192 m2
H: 3.28 m
Wheelie Bins
026
A: 19.720 m2
H: 4.00 m
Plant
027
A: 65.228 m2
H: 4.00 m
Interim Storage (Clean)
016
A: 50.914 m2
H: 7.28 m
5.77 %
23 x 0.174 = 4.000
1 2 3 4
23 x 0.174 = 4.000
1 2 3 4
25 x 0.160 = 4.000
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25
Public Street / Ramp
016
A: 1,097.911 m2
H: 0.00 m
Tate Shop
012
A: 178.237 m2
H: 7.28 m
Loading Bay
001
A: 244.824 m2
H: 7.28 m
Fire Cor
017
A: 74.523 m2
H: 7.28 m
VIEW FROM THE HARBOUR
VIEW FROM THE PROMENADE NEXT TO MSHED
VIEW FROM THE PARK PLINTH
VIEW FROM WITHIN ONE OF THE NORTH FACING GALLERIES
MAIN DIGITAL SPACE
VIEW FROM THE CAVE
INFORMAL INSTALLATION / DIGITAL SPACE
TATE BRISTOL: VARIOUS INTERIOR VIEWS
SPIKE ISLAND SITE ANALYSIS
GP
GP
GP
Posts
Path
Harbour Walk
Harbour Walk
Plinth
El Sub Sta
The Create Environment Centre
Bristol Record Office
Warehouse
36
Maritime
24
38
Napier Court 132
21
28
Works
21
25
96 94
Heritage
33
PH
130
23
7 to 12 17
23
32
Rowing Club
Crane
20
133
Centre
123
38 Hope Court
27
24
1 0
1 2
24
Museum
131
25
13
37
Works
31
Works
PH
Tk
19
119
27
29
3 1
15
11
40
Portland Court
11
134
Works
3 3 t o 4 4
Works
Works
PC
31
Works
1 0
22
Works
120
22
26
121
22
4 0
3 2
39
Dockyard
36
122
32
El Sub Sta
30
Wapping
14
17
(PH)
24
14
17
22
John Cabot Court
30
3 9
13
Post 13 19
21
Depot
13 3 7
15
16
12
25
17
5 to 10
19
Rescue
15 11
Tk
3 6
1 0
19
16
23
Warehouse
20
1 t o 1 2
26
25
25
Cottage
11 19
22
22
24
13
29
Engine House
26
16
5 to 10
29
32
Club
11
31 to 36 29
18
Underfall Yard
20
24 21
3 6
5 to 10
27
14
27
12
14
15
20
31
Hydraulic
16
12
3 0 t o 3 5
14
(Sea Cadet Corps)
20
Court TS Adventure
23
39
20
Westbrooke Court
14
1 a
28
40
27
25
5 t o 1 0
28
Water Leisure
24
Old Dock Cottages
26
37
Hope
15
18
Court
23
Meredith Court 26
Centre
25
The 15
27
22
28
19
28
12
PH
18
16
Inn
3 9
3 0 t o 3 5
13
17
30
29 17
38
3 7
Deal Cottage
3 8
23
21
21
Weare
18
11
3 8
18 Cumberland
Perretts Court
Merchants Row
2 4 6
El Sub Sta 86
14 to 49
Landmark Court Museum
The Quays
Court
1 to 30
81
90
72
Old Jail Workshops
PC
1 to 12
80
66
17 to34 Westgate
1 to
1 to 40
Liberty Gardens
Pennon Rise
35 to50
1 to 16
91 3 t o 6
129
1 to 84 Steamship House
Museum
Trin Mills
PH
21
Daubeny
13
1 to
17
6 t o 1 2
Court
18
1 to
18
El Sub Sta
10
Byzantine Court
Museum
Merrick Court
1 to 16
Bathurst Parade
Merchants House
Depot
1 2
Jubilee House
ASHMEAD WAY
PLACE
GRENVILLE
CUMBERLAND ROAD BRUNSWICK PLACE
SMEATON ROAD
MC ADAM WAY
BRUNEL LOCK ROAD
CUMBERLAND ROAD
CANADA WAY
GEFLE CLOSE
GASFERRY ROAD
SYDNEY ROW
MARDYKE FERRY ROAD
CALEDONIAN ROAD
HANOVER PLACE
CANADA WAY
BRUNEL LOCK ROAD MC ADAM WAY
CUMBERLAND CLOSE
ASHTON AVENUE
CUMBERLAND ROAD
AVON CRESCENT
NOVA SCOTIA PLACE
CUMBERLAND ROAD
CALEDONIAN ROAD WAPPING ROAD
DRAYCOT PLACE
CHALLONER COURT
CUMBERLAND ROAD
Piers
(Swing)
Swing-bridge
Cn
Bollards
TCB
Bollard
Caisson
Bollards
Bollard
Bollards
Chy
Jetty
Bollards Bollards Bollards
Bollards
Caisson
Bollard
FB
FB
Cumberland Basin Bridge
Chy
TCB
Stone
(Swing)
Bollards
LB
Travelling Cranes
Crane
Bol
Bollards Bollards
Bol
Sluice
Sluice
El Sub Sta
Sub El Sta
Bollards
Bols Cn
Bol
Bollards
Bol
Bollards
Cn
Bols
Bollards
Cn
Mud
Mud
Mud
Mud
Mud
SM SM
Sloping masonry
Mean High Water
Mean High Water
Mean Low Water Springs
Mean High Water MLW
Mud
Mud
Mean Low Water
Car Park
Sloping masonry
Slopingmasonry
SM
Sloping masonry
Sloping masonry
Sub
SS Great Britain
Slipway
SM
El
SM
Graving Dock
Sta
SM
Chatham Wharf
Patent Slip
(Activities Centre)
Slipway
Car Park
Slipway
Avon Quay
El Sub Sta
Caravan Site
Sloping masonry
SM
SM SM
SM
SM
SM Car Park
SM
Car Park
Car Park Baltic Wharf
Baltic Wharf
Car Park
Sloping masonry
Bathurst Wharf
SM SM
9.1m
9.4m
9.1m
10.4m
8.5m
9.1m
9.4m
8.5m
9.4m
8.2m
13.7m
14.9m
14.0m
9.4m
9.4m
10.7m
12.5m
Wapping Railway Wharf
Railway (disused)
MP
Albion Docks Boatyard
Wharf Wharf
Prince's Wharf
Merchants Quay
Prince's Wharf
Buildings
Paths
G
reen
U
ndefned site
C
ar Parks
C
aravan Park
A R
oad
M
ain R
oads
M
inor R
oads
Lanes
Back G
ardens
R
estricted Areas
R
estricted R
oad
R
ailw
ay Tracks
Land M
arks
Sem
i Public Paths
C
ycle Path
C
ycle Friendly R
oads
Bus Stops
Ferry Landing Points
N
1:5000
25 27
Sloping masonry
GP
GP
GP
Posts
Path
Harbour Walk Harbour Walk
Plinth
El Sub Sta
The Create Environment Centre Bristol Record Office
Warehouse
36
Maritime
24
38
Napier Court 132
21 28
Works
21
25
96 94
Heritage
33
PH
130
23
7 to 12 17 23 32
Rowing Club
Crane
20
133
Centre
123
38 Hope Court
27
24
1 0
1 2
24
Museum
131
25
13
37
Works
31
Works
PH
Tk
19
119
27
29
3 1 15
11
40
Portland Court
11
134
Works
3 3 t o 4 4
Works
Works
PC
31
Works
1 0 22
Works
120
22
26
121
22
4 0
3 2 39
Dockyard
36
122
32
El Sub Sta
30
Wapping
14
17
(PH)
24
14
17
22
John Cabot Court
30
3 9
13
Post 13 19
21
Depot
13 3 7
15
16
12
25
17
5 to 10
19 Rescue 15 11
Tk
3 6
1 0
19
16
23
Warehouse
20
1 t o 1 2
26
25
25
Cottage
11 19 22
22
24
13
29
Engine House
26
16
5 to 10
29 32 Club
11
31 to 36 29
18
Underfall Yard
20
24 21 3 6
5 to 10
27
14 27
12
14
15
20
31
Hydraulic
16
12
3 0 t o 3 5
14
(Sea Cadet Corps)
20
Court TS Adventure
23
39
20
Westbrooke Court
14
1 a
28
40
27
25
5 t o 1 0
28
Water Leisure
24
Old Dock Cottages
26
37
Hope
15
18
Court
23
Meredith Court 26
Centre
25
The 15
27
22
28 19
28
12
PH
18
16
Inn
3 9 3 0 t o 3 5
13
17
30
29 17
38
3 7
Deal Cottage
3 8
23
21
21
Weare
18
11
3 8
18 Cumberland
Perretts Court
Merchants Row
2 4 6
El Sub Sta 86
14 to 49
Landmark Court Museum
The Quays
Court
1 to 30
81 90
72
Old Jail Workshops
PC
1 to 12
80
66
17 to34 Westgate 1 to
1 to 40 Liberty Gardens Pennon Rise
35 to50
1 to 16
91 3 t o 6
129
1 to 84 Steamship House
Museum
Trin Mills
PH
21
Daubeny
13
1 to
17
6 t o 1 2
Court
18
1 to
18
El Sub Sta
10
Byzantine Court
Museum
Merrick Court 1 to 16
Bathurst Parade
Merchants House
Depot
1 2
Jubilee House
ASHMEAD WAY
PLACE GRENVILLE
CUMBERLAND ROAD BRUNSWICK PLACE SMEATON ROAD
MC ADAM WAY
BRUNEL LOCK ROAD
CUMBERLAND ROAD
CANADA WAY
GEFLE CLOSE
GASFERRY ROAD
SYDNEY ROW
MARDYKE FERRY ROAD
CALEDONIAN ROAD
HANOVER PLACE CANADA WAY
CUMBERLAND CLOSE
ASHTON AVENUE
CUMBERLAND ROAD
AVON CRESCENT
NOVA SCOTIA PLACE
CUMBERLAND ROAD
DRAYCOT PLACE CHALLONER COURT
CUMBERLAND ROAD
Piers
(Swing) Swing-bridge
Cn
Bollards
TCB
Bollard
Caisson
Bollards
Bollard
Bollards
Chy
Jetty Bollards Bollards Bollards
Bollards
Caisson
Bollard
FB
FB
Chy
TCB
Stone
(Swing) Bollards
LB
Travelling Cranes
Crane
Bol
Bollards Bollards
Bol
Sluice
Sluice
El Sub Sta
Sub El Sta
Bollards
Bols Cn
Bol
Bollards
Bol Bollards
Cn
Bols
Bollards
Cn
Mud
Mud
Mud
Mud
Mud SM SM
Sloping masonry
Mean High Water
Mean High Water
Mean High Water MLW Mud
Mud
Mean Low Water
Car Park
Sloping masonry
Slopingmasonry
SM
Sloping masonry
Sloping masonry
Sub
SS Great Britain
Slipway
SM
El
SM
Graving Dock
Sta
SM
Chatham Wharf
Patent Slip
(Activities Centre)
Slipway
Car Park
Slipway
Avon Quay
El Sub Sta
Caravan Site
Sloping masonry
SM
SM SM
SM
SM
SM Car Park SM
Car Park
Baltic Wharf
Car Park
Sloping masonry
Bathurst Wharf
SM SM
9.1m
9.4m 9.1m
10.4m
8.5m
9.1m
9.4m
8.5m
9.4m
8.2m
13.7m
14.9m
14.0m
9.4m
9.4m
10.7m
12.5m
Railway (disused)
MP
Wharf Wharf
Prince's Wharf
Merchants Quay
Prince's Wharf
Buildings
Paths
Green
Undefned site
Car Parks
Caravan Park
A Road
Main Roads
Minor Roads
Lanes
Back Gardens
Restricted Areas
Restricted Road
Railway Tracks
Land Marks
Semi Public Paths
Cycle Path
Cycle Friendly Roads
Bus Stops
N
1:5000
25 27
Sloping masonry
A Road
Main Roads
Minor Roads
Lanes
Paths
Undefned site
Car Parks
A Road
Main Roads
Minor Roads
Lanes
Railway Tracks
Cycle Path
Cycle Friendly Roads
Bus Stops
Buildings
Buildings
Lanes
Back Gardens
Restricted Areas
Restricted Road
Semi Public Paths
Caravan Park
Green
SUBSTANTIVE ACCOUNT
As part of our Studio B site anaylsis, I was set the task to map the transportation and communication within Spike Island.
From a DWG site plan of Spike Island, in Archicad, I started separating areas into their dierent functions and uses. I made one map with all
uses on it and I put each separate use on its own layer. From this one drawing with lots of information - I could then turn o other layers to
poduce a series of drawings which communicated dierent functions and uses
ANALYTICAL ACCOUNT
Becasue of the amibguity of the spaces on Spike Island - mapping the pedestrian routes was not always straight forward. For example the
pedestrian route or desire way may include cutting through a carpark or an unused/undesignated space. This unplanned aspect to the
island I found quite refreshing. Figure grounds are interesting, but perhaps not always useful. I combined the layers of the gure ground
with the houses back gardens and also restricted zones physical and psychological.
The diagram which explodes these dierent maps upwards - I found not really necessary and it was easier to view these drawings
individually on plan view.
SPIKE ISLAND SITE ANALYSIS
GP
GP
GP
Posts
Path
Harbour Walk
Harbour Walk ASHMEAD WAY
PLACE
GRENVILLE
SMEATON ROAD
MC ADAM WAY
BRUNEL LOCK ROAD
CUMBERLAND ROAD
CANADA WAY
GEFLE CLOSE
GASFERRY ROAD
SYDNEY ROW
MARDYKE FERRY ROAD
CALEDONIAN ROAD
HANOVER PLACE
CANADA WAY
CUMBERLAND CLOSE
ASHTON AVENUE
CUMBERLAND ROAD
AVON CRESCENT
NOVA SCOTIA PLACE
CUMBERLAND ROAD
DRAYCOT PLACE
CHALLONER COURT
CUMBERLAND ROAD
Piers
(Swing)
Swing-bridge
Cn
Bollards
TCB
Bollard
Caisson
Bollards
Bollard
Bollards
Chy
Jetty
Bollards Bollards
C
C
Bollards
Bollards
Caisson
Bollard
FB
FB
Chy
TCB
Stone
(Swing)
Bollards
LB
Travelling Cranes
Crane
Bol
Bollards Bollards
Bol
Sluice
Sluice
El Sub Sta
Sub El Sta
Bollards
Bols Cn
Bol
Bollards
Bol
Bollards
Cn
Bols
Bollards
Cn
Mud
Mud
Mud
Mud
Mud
SM SM
Sloping masonry
Mean High Water
Mean High Water
Mean High Water MLW
Mud
Mud
Mean Low Water
Car Park
Sloping masonry
Slopingmasonry
SM
Sloping masonry
Sloping masonry
Sub
SS Great Britain
Slipway
SM
El
SM
Graving Dock
Sta
SM
Chatham Wharf
Patent Slip
(Activities Centre)
Slipway
Car Park
Slipway
Avon Quay
El Sub Sta
Sloping masonry
SM
SM SM
SM
SM
SM Car Park
SM
Car Park
Baltic Wharf
Car Park
Sloping masonry
Bathurst Wharf
SM SM
9.1m
9.4m
9.1m
10.4m
8.5m
9.1m
9.4m
8.5m
9.4m
8.2m
13.7m
14.9m
14.0m
9.4m
9.4m
10.7m
12.5m
Railway (disused)
MP
Wharf Wharf
Prince's Wharf
Merchants Quay
Prince's Wharf
Sloping masonry
GP
GP
GP
Posts
Path
Harbour Walk
Harbour Walk ASHMEAD WAY
PLACE
GRENVILLE
SMEATON ROAD
MC ADAM WAY
BRUNEL LOCK ROAD
CUMBERLAND ROAD
CANADA WAY
GEFLE CLOSE
GASFERRY ROAD
SYDNEY ROW
MARDYKE FERRY ROAD
CALEDONIAN ROAD
HANOVER PLACE
CANADA WAY
CUMBERLAND CLOSE
ASHTON AVENUE
CUMBERLAND ROAD
AVON CRESCENT
NOVA SCOTIA PLACE
CUMBERLAND ROAD
DRAYCOT PLACE
CHALLONER COURT
CUMBERLAND ROAD
Piers
(Swing)
Swing-bridge
Cn
Bollards
TCB
Bollard
Caisson
Bollards
Bollard
Bollards
Chy
Jetty
Bollards Bollards
C
C
Bollards
Bollards
Caisson
Bollard
FB
FB
Chy
TCB
Stone
(Swing)
Bollards
LB
Travelling Cranes
Crane
Bol
Bollards Bollards
Bol
Sluice
Sluice
El Sub Sta
Sub El Sta
Bollards
Bols Cn
Bol
Bollards
Bol
Bollards
Cn
Bols
Bollards
Cn
Mud
Mud
Mud
Mud
Mud
SM SM
Sloping masonry
Mean High Water
Mean High Water
Mean High Water MLW
Mud
Mud
Mean Low Water
Car Park
Sloping masonry
Slopingmasonry
SM
Sloping masonry
Sloping masonry
Sub
SS Great Britain
Slipway
SM
El
SM
Graving Dock
Sta
SM
Chatham Wharf
Patent Slip
(Activities Centre)
Slipway
Car Park
Slipway
Avon Quay
El Sub Sta
Caravan Site
Sloping masonry
SM
SM SM
SM
SM
SM Car Park
SM
Car Park
Baltic Wharf
Car Park
Sloping masonry
Bathurst Wharf
SM SM
9.1m
9.4m
9.1m
10.4m
8.5m
9.1m
9.4m
8.5m
9.4m
8.2m
13.7m
14.9m
14.0m
9.4m
9.4m
10.7m
12.5m
Railway (disused)
MP
Wharf Wharf
Prince's Wharf
Merchants Quay
Prince's Wharf
Sloping masonry
SPIKE ISLAND SITE ANALYSIS: FREEDOM AND CONTROL
SUBSTANTIVE ACCOUNT
As well as mapping the transportation and communications I was also given the task, of
unocial site analysis, to record the levels of Freedom and Control on the island.
As I walked around the site I marked on a scale of 1 to 5 the levels of comfortability I felt
in all areas on Spike Island. Using the same Archicad drawing I recorded these ndings
onto the computer and translated the numerical data to the visual representation in the
form of colour.
ANALYTICAL ACCOUNT
Because of the subjectivity of the experiment 3 other people were called in to do the
same task. It appears I felt more comfortable than everyone else. Representing the data
in colour - using the gradient from yellow (comfortable/freedom) to red (control) was
visually informative.
SPIKE ISLAND SITE ANALYSIS: FREEDOM AND CONTROL
SITE PLAN / MASTERPLAN
22 x 0.164 = 3.600 1234
15 x 0.172 = 2.580 123456789 10 11 12 13 14 15
3.05 %
6.11 %
29 x 0.113 = 3.280
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28
14
13
12
11
10
9
8
7
6
5
4
3
2
1
K J I
H
G
F
E
D
C
B
A
0 25 x 0.131 = 3.280 12345678910 1112131415161718192021222324 25
4. 14 %
15 x 0.172 = 2.580 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
3 x 0.167 = 0.500 123 3 x 0.167 = 0.500 123
3.48 %
6 . 7 3 % 6 . 7 3 %
Sessel
0
0
0
0
0
0 0 0 0 0
16
15
14
13
12
11
10
9
8
7
6
5
4
3
2
1
G F E D C B A
8.400
8.400
8.400
8.400
8.400
8.400
8.400
8.400
8.400
8.400
8.400
8.400
8.400
109.200
10.200
10.200
10.200
10.200
10.200
10.200
10.200
10.200
10.200
10.200
W
A
P
P
I N
G
R
O
A
D
D
R
A
Y
C
O
T
P
L
A
C
E
9.4m
CHALLONER COURT
9.4m
10.7m
12.5m
CUMBERLAND ROAD
12.5m
10.7m
9.4m
9.4m
Void Above
Storage under ramp
Storage under ramp
Staircase 03 A: 19.065 m2 H: 18.00 m
Toilet 02 A: 41.925 m2 H: 3.28 m
Depot H-3.2m 011 A: 193.226 m2 H: 3.28 m
Parking 22 A: 14.000 m2 concrete flooring Parking 23 A: 14.000 m2 concrete flooring
Parking 48 A: 12.750 m2 concrete flooring Parking 49 A: 12.750 m2 concrete flooring Parking 50 A: 12.750 m2 concrete flooring Parking 51 A: 12.750 m2 concrete flooring Parking 52 A: 12.750 m2 concrete flooring Parking 53 A: 12.750 m2 concrete flooring Parking 54 A: 12.750 m2 concrete flooring Parking 55 A: 12.750 m2 concrete flooring Parking 56 A: 12.750 m2 concrete flooring Parking 57 A: 12.750 m2 concrete flooring Parking 58 A: 12.750 m2 concrete flooring
Parking 59 A: 12.750 m2 concrete flooring Parking 60 A: 12.750 m2 concrete flooring Parking 61 A: 12.750 m2 concrete flooring Parking 62 A: 12.750 m2 concrete flooring Parking 63 A: 12.750 m2 concrete flooring Parking 64 A: 12.750 m2 concrete flooring Parking 65 A: 12.750 m2 concrete flooring Parking 66 A: 12.750 m2 concrete flooring Parking 67 A: 12.750 m2 concrete flooring Parking 68 A: 12.750 m2 concrete flooring Parking 69 A: 12.750 m2 concrete flooring
Parking 95 A: 14.000 m2 concrete flooring Parking 96 A: 14.000 m2 concrete flooring Parking 97 A: 14.000 m2 concrete flooring
Lifts 03 A: 7.694 m2 ceramic tile H: 18.00 m Parking 129 A: 14.000 m2 concrete flooring
Depot H-7.2m 012 A: 158.159 m2 H: 7.28 m
Depot H-3.2m 011 A: 230.717 m2 H: 3.28 m
Mech. 020 A: 1.044 m2 H: 4.00 m
Mech. 020 A: 1.030 m2 H: 4.00 m
Auditorium 021 A: 299.996 m2 H: 4.00 m
Parking 111 A: 14.000 m2 concrete flooring Parking 112 A: 14.000 m2 concrete flooring Parking 113 A: 14.000 m2 concrete flooring
Parking 66 A: 12.750 m2 concrete flooring Parking 67 A: 12.750 m2 concrete flooring Parking 68 A: 12.750 m2 concrete flooring Parking 69 A: 12.750 m2 concrete flooring Parking 69 A: 12.750 m2 concrete flooring
Auditorium Store & Prep Space 021 A: 49.026 m2 H: 3.28 m Auditorium Stage 021 A: 82.184 m2 H: 3.28 m
Depot H-2.2m 008 A: 159.698 m2 H: 2.50 m
5.77 %
21 x 0.156 = 3.280 1 2 3 4
21 x 0.156 = 3.280 1 2 3 4
21 x 0.156 = 3.2801 2 3 4
21 x 0.156 = 3.2801 2 3 4
Loading Bay 001 A: 245.145 m2 H: 7.28 m
SUBSTANTIVE ACCOUNT
The last three images are of masterplans of the
proposed Whapping Wharf site on Spike Island.
These 3 masterplan drawings were all produced using
Archicad, but the render on the previous page was then
taken into Artlantis where textures were added.
ANALYTICAL ACCOUNT
I feel that this plan on this page is very successful. It is
quite a beautiful drawing and there is more information
for the proposed building. The beige colour of street/
promandae is continued through the centre of the
proposed building to emphasise that the buildings
atrium space is to be seen as a route through and an
extension of the public realm.
The render on the previous page is very impressive
as it shows that the surrounding buildings have been
modelled and it is possible to view the proposed
buildings in relation to their context. However, the
render does appear very computerized and in that
sense it is not very realistic at all. I think at least placing
some people on this render and boats in the river would
help give that drawing a bit of life.
The wire-frame drawing (2 pages back) is also
impressive. It is good to see the 2 grids (of the proposed
buildings and of the car park/public park plinth. Also it
is possible to understand the heights of the building
with the wire-frame, as well as the topology of land.
However, as far as a wire-frame drawing this one is
not really very useful. Wire-frames are good, but it is
important to be clear about what is being shown. A
wire-frame masterplan is from too far away to be able
to be useful.
MASTERPLAN SKETCHES
INITIAL MASTERPLAN RENDERS
SUBSTANTIVE ACCOUNT
These initial computer renders show the proportionate
dimensions of the newly proposed major buildings in
relation to one another and in relation to the existing
buildings on site.
The existingbuildings on this model are just masses and
also, at this point of the design, the proposed buildings
too are simply masses. These masses were all modelled
accurately on Archicad.
ANALYTICAL ACCOUNT
As a means to design from, the modelling of the
exising surrounding buildings and the overall site was
very useful to me. Meaning I could then focus on the
designing of the proposed building(s)
RENDERED MASTERPLAN
SITE PLAN / MASTERPLAN
22 x 0.164 = 3.600
1234
15 x 0.172 = 2.580 1234567
8
9 10 11 12 13 14 15
3.05 %
6.11 %
29 x 0.113 = 3.280
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28
14
13
12
11
10
9
8
7
6
5
4
3
2
1
K J
I
H
G
F
E
D
C
B
A
0 25 x 0.131 = 3.280
12345678910 1112131415161718192021222324 25
4.14 %
15 x 0.172 = 2.580
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
3 x 0.167 = 0.500
123
3 x 0.167 = 0.500
123
3.48 %
6 . 7 3 % 6 . 7 3 %
Sessel
0
0
0
0
0
0 0
0
0
0
16
15
14
13
12
11
10
9
8
7
6
5
4
3
2
1
G F E D C B A
8.400
8.400
8.400
8.400
8.400
8.400
8.400
8.400
8.400
8.400
8.400
8.400
8.400
109.200
10.200
10.200
10.200
10.200
10.200
10.200
10.200
10.200
10.200
10.200
W
A
P
P
I
N
G

R
O
A
D
D
R
A
Y
C
O
T

P
L
A
C
E
9.4m
CHALLONER COURT
9.4m
10.7m
12.5m
C
U
M
B
E
R
L
A
N
D
R
O
A
D
12.5m
10.7m
9.4m
9.4m
Void Above
Storage under ramp
Storage under ramp
Staircase 03 A: 19.065 m2 H: 18.00 m
Toilet 02 A: 41.925 m2 H: 3.28 m
Depot H-3.2m 011 A: 193.226 m2 H: 3.28 m
Depot H-7.2m 012 A: 158.159 m2 H: 7.28 m
Depot H-3.2m 011 A: 230.717 m2 H: 3.28 m
Mech. 020 A: 1.044 m2 H: 4.00 m
Mech. 020 A: 1.030 m2 H: 4.00 m
Auditorium 021 A: 299.996 m2 H: 4.00 m
Auditorium Store & Prep Space 021 A: 49.026 m2 H: 3.28 m
Auditorium Stage 021 A: 82.184 m2 H: 3.28 m
Depot H-2.2m 008 A: 159.698 m2 H: 2.50 m
5.77 %
21 x 0.156 = 3.280
1 2 3 4
21 x 0.156 = 3.280
1 2 3 4
21 x 0.156 = 3.280
1 2 3 4
21 x 0.156 = 3.280
1 2 3 4
Loading Bay 001 A: 245.145 m2 H: 7.28 m
SUBSTANTIVE ACCOUNT
The last three images are of masterplans of the
proposed Whapping Wharf site on Spike Island.
These 3 masterplan drawings were all produced using
Archicad, but the render on the previous page was then
taken into Artlantis where textures were added.
ANALYTICAL ACCOUNT
I feel that this plan on this page is very successful. It is
quite a beautiful drawing and there is more information
for the proposed building. The beige colour of street/
promandae is continued through the centre of the
proposed building to emphasise that the buildings
atrium space is to be seen as a route through and an
extension of the public realm.
The render on the previous page is very impressive
as it shows that the surrounding buildings have been
modelled and it is possible to view the proposed
buildings in relation to their context. However, the
render does appear very computerized and in that
sense it is not very realistic at all. I think at least placing
some people on this render and boats in the river would
help give that drawing a bit of life.
The wire-frame drawing (2 pages back) is also
impressive. It is good to see the 2 grids (of the proposed
buildings and of the car park/public park plinth. Also it
is possible to understand the heights of the building
with the wire-frame, as well as the topology of land.
However, as far as a wire-frame drawing this one is
not really very useful. Wire-frames are good, but it is
important to be clear about what is being shown. A
wire-frame masterplan is from too far away to be able
to be useful.
COMPETITION ENTRY INITIAL DRAWINGS
SUBSTANTIVE ACCOUNT
For a two week project I had to produce two separate
development proposals as competition entries. One of
these competition entries was situated on the Whapping
Wharf site (behind M-Shed). From this, because the ideas
were not yet set in stone and there were many sketches
and ideas still up in the air I wanted the nal image to
appear sketchy.
I did make a 3D model in Sketchup to achieve the correct
geometries and perspectives. I then imported it into
Archicad, to use their in built renderer to produce a series
of experiments, to make the computerised model appear
sketchy again. I then hand-drew in some people. I overlaid
various dierent experiments to produce the nal image.
ANALYTICAL ACCOUNT
I found that this way of representing proposals quite
eective. The hand-drawn quality to the picture is
pleasant and soft to look at. Also, maybe, it allows
the viewer to use their imagination more. For the nal
poster where I included many sketched on one page -
perhaps this was not the most eect way of presenting a
competition entry. I wanted to show that there was lots of
ideas and potentials about several dierent buildings on
the site, but perhaps this came across as confusing and
too much information on one page.
INITIAL DRAWINGS IDEAS FOR THE LIBRARY OF BRISTOL PROPOSAL TATE BRISTOL INITIAL SKETCHES AND IDEAS
MASTERPLAN SKETCHES
research queson 3
gure 2.1: site plan 1:10000
gure 2.2: site plan 1:2500
Research Queson
What quality does the enclave bring to the
space?
An enclave is a territory whose geo-
graphical boundaries lie enrely with-
in the boundaries of another territory.
gure 3.1: isometry
gure 3.2: secons a, b, c
volumetric denion 4
A
B
C
A
B
C
A
B
C
introducon 5
top, gures 3.3 & 3.4 enclave
below, gures 3.5 & 3.6 relaon enclave with surrounding streets
volumetric denion 5
1. Enclosure
The basic design objecve of the masterplan is to enclose the site. This is achieved by arranging the buildings with the same qualies; the same
funcon (their oor plans), and their modules (their facades). The basic layout of the blocks consists of 5 story buildings according to the average
height of the immediate neighboring buildings.
This can be seen as the convenonal way of creang an enclave in most European cies. What should be focused on here is the 3 addional
stories placed on top of the two buildings in the North-East and North-West. This can be thought of as an unavoidable choice for the architect.
Pouillon, increased the density of these parcular, North-facing, blocks, in order not to cast a shadow on the inside of the residence.
2. Extra volume
The appearance of the tall building is re-
duced with several strategies;
Pouillon divided the building vercally
with the upper part being recessed,
creang a running balcony. Addionally,
he divided the face of the upper part,
vercally, into narrow planes of glass,
with repeve mullions. With these two
strategies the faade can be seen lighter
and less imposing.
The placing of the low-rise garages
reduces the apperance of the high-rise
building again This was an unavoidable
choice, because the space where the
low-rise garages exist would be un-
suitable for high-rise buildings, as they
would be too close to the neighbouring
houses, physically; for casng a shadow
and also psychologically; the buildings
were set back, from the road, to create
open space.
gure 3.7: Inner Volumes L-shape
and Tower
volumetric denion 6
3. Inner volumes
Tower
The tower funcons as a Landmark, but is not higher than the tall
rectangular blocks behind it. The ground oor is open. The tower
is seen higher than it is, because of the facade of the upper part
(of the 8 story buildings), in the distance, in relaon to the 4 story
building.
L shape building
Intriguingly, this building is 4 stories high, which is one story less to
its adjoining block. The reason for this is explained below;
1. Improving the inmacy; the minus 1 story, L shaped, building
helps the complex maintain the enclave, whilst not being too high,
as of the other buildings (of 5 stories), thus not to impose its height
on the inside of the site.
2. To maintain, geometrically, the principle of an enclave; the L
shaped building, of 4 stories, emphasizes the enclave within the en-
re complex. To make the longest block to be read as one.
With this building an inmate atmosphere is created within the in-
ner space, separang the court into several parts. Without the L
shape building, the residenal complex would be too monumental,
too monotonous, and also too open to the outside
gure 3.8: dierent perspecve
views on tower
introducon 7 volumetric denion 7
view 1
view 2
view 3
1 3
2
gure 3.9: circulaon
gure 3.10: landscape
8
Circulaon
There is a strong separaon between car parking zone and pedes-
trian zone. Car parking spaces surrounding housing blocks act as
buer zones that mediate inner blocks and the streets.
Inner landscape
The architect divided the inner court into the paves and green spac-
es. Trees is arranged to play an important role translucent volume.
Plaza is designed to be like a cozy garden surrounded by tall trees
and wall made of bushes. Tall trees cast shade on the square and act
like buer for privacy.
Boundaries
The architect used physical boundaries and psychological boundar-
ies in landscaping; lawns can be crossed but is felt like barriers. And
also hedges hide up the plaza.
circulaon
pedestrians
cars
introducon 9
gure 3.11 : concept of the inner
courtyards
inner courtyards 9
Inner Courtyards
Square
In this secon of the enclave, a large open space is wrapped around
by a single building, thus creang the same atmosphere of a
square.
Plaza
A central prominent space that is enclosed by trees and buildings,
Pouillon creates a sense of a plaza like seng.
Street
Pouillon creates the eect of a street (or) mall by creang two side-
walks along a narrow space between two buildings.
square
street
plaza
inner courtyards 10
gure gure
square
street
plaza
gure 3.12: views on inner court-
yards
DESIGN RESEARCH EXPERIMENT: FACADE PANELS
SUBSTANTIVE ACCOUNT
For my design Research module I was attempting to articulate
my abstract paintings into architecture. For this iteration of
this project I was attempting to create a facade panel from a
simplied part of the painting
The paintingwas mirrored at certian places to create a repetitive
pattern which was then simplied for the creation of the facade
panel. This facade design was then traced over in CAD and
tweaked in order to be properly/physically translated into a
facade panel which represents an iron gate.
ANALYTICAL ACCOUNT
This was seen as a solution (to articulate the abstract into
architecture), which was too obvious. Firstly, because the
abstract was simplied too much turning it into almost a
symbol. This was then repeated for the purpose of fabrication.
Also then the design or the simplied art, as a faade, remains 2
dimensional and at.
SUBSTANTIVE ACCOUNT
Here I applied the chosen facade panel onto a 3D sectional
facade of a building. I was attempting to see how the facade
panel will connect to the building and what the facade will
look like from inside and from outside.
I drew up a generic sectional facade in 3D in Sketchup. I
imported the facade panel from Rhino into Sketchup and
then copied the panel along. In Sketchup I designed the
connectionsl.
ANALYTICAL ACCOUNT
Generally, I was very pleased with the outcome of these
drawings. I nd 3D details much easier to understand and
drawing it up in 3D allowed me to really make sense of how
the facade panels will connect to the facade.
DESIGN RESEARCH EXPERIMENT: FACADE PANELS
SUBSTANTIVE ACCOUNT
Instead of the facade panel being
a separate member to the facade I
decided to integrate the abstraction
process into the facade itself.
I used a similar simplied artwork
detail, but in this case enlarged it
(from single panel to entire facade).
I made this experimental model in
Rhino
ANALYTICAL ACCOUNT
I found that these working
drawings were interesting and this
experiment answered the design
research question more accurately;
to translate the abstract into
architectural space.
DESIGN RESEARCH EXPERIMENT: FACADE DESIGN
SUBSTANTIVE ACCOUNT
Instead of the facade panel being a separate member to the facade
I decided to integrate the abstraction process into the facade itself.
I used a similar simplied artwork detail, but in this case enlarged it
(from single panel to entire facade). I made this experimental model
in Rhino. I exported the le from Rhino to a 3DS and then imported
that into Artlantis where I added the people, the sky and the city.
ANALYTICAL ACCOUNT
This render I really liked. Although it is not a realistic render of a
building (like the facade panel 3D sectional detail) - it has a certain
visual quality to it in the form of a vision of a potential idea. It shows
the vision. The rst thought, unrestricted by technical concerns.
DESIGN RESEARCH EXPERIMENT: FACADE DESIGN
BK City -Redesign- Barrel Vault Skylight
The re-design will include the installation of a laminated glass Barrel Vault Skylight.
The architectural goal is to maximum transparency by optimization of structure
and glazing.
The Skylight will be supported by a similar space frame structure, to the one which
exists already.
Further research has determined that it is necessary to remove the existing, roof
supporting, space frame structure, so therefore the installation would accompany
a completely new structure (rather than adding on to the existing one).
The Barrel Vault Skylight will let in an abundance of natural daylight, increasing the
working conditions, as good light is essential, whilst reducing the use of artificial
lights, therefore saving much energy (during the daytime).
Plus, the Skylight; aesthetically will make the Atrium much more spectacular.
4123875 - Nicholas Socrates - TU Delft
The problems of the need to provide extensive cooling in summer
and insulation in winter inevitably arise with the use of large glazed
structures.
With the design of a Barrel Vault, laminated glass, Skylight, with
installed Photovoltaic films on top of the glass creating a shading
system that optimizes the flows of heat and light energy, whilst
utilizing this energy. This in turn may has a significant positive effect
in reducing the heat load and glare, enhancing the use of natural
daylight, whilst harvesting this energy, and increasing the insulation
of the building, through the use of the appropriate choice of glass,
thereby enhancing working conditions and reducing the operating
costs of the building.

BK City -Redesign- Barrel Vault Skylight
The re-design will include the installation of a laminated glass Barrel Vault Skylight.
The architectural goal is to maximum transparency by optimization of structure
and glazing.
The Skylight will be supported by a similar space frame structure, to the one which
exists already.
Further research has determined that it is necessary to remove the existing, roof
supporting, space frame structure, so therefore the installation would accompany
a completely new structure (rather than adding on to the existing one).
The Barrel Vault Skylight will let in an abundance of natural daylight, increasing the
working conditions, as good light is essential, whilst reducing the use of artificial
lights, therefore saving much energy (during the daytime).
Plus, the Skylight; aesthetically will make the Atrium much more spectacular.
4123875 - Nicholas Socrates - TU Delft
The problems of the need to provide extensive cooling in summer and insulation in winter inevitably arise with the use of large glazed structures.
With the design of a Barrel Vault, laminated glass, Skylight, with installed Photovoltaic films on top of the glass creating a shading system that optimizes the flows of heat and light energy, whilst utilizing this energy. This in turn may has a significant positive effect in reducing the heat load and glare, enhancing the use of natural daylight, whilst harvesting this energy, and increasing the insulation of the building, through the use of the appropriate choice of glass, thereby enhancing working conditions and reducing the operating costs of the building.

9 POLLUTED POND
On location drawings showing sections
through a nala (an external drain, which
was ooding on a regular basis and was
causing dangerous situation for the locals.
This polluted pond is the result of an
overowed nala. Many nalas from the
site ow this way and this particular nala
overows because it is a bottle neck and
uncapable of retaining all the dirty water.
As well as the dirty water overowing the
area becomes a spiral of decline as much
rubbish is then consequently dumped
here. Luckily this overow is naturally
made better than I rst thought as the
naurally growing plants lter the dirty
water. This nala in times of ood will not
work as a lter and the dirty water will
spread, polluting the surrounding area.
POLLUTED LAKE 8
On location section through
a polluted stagnant swamp.
Several nalas ow into this
polluted pond. It is the result of
approxamately 40 homes waste-
water. This neglected area has also
fallen into a spiral decline as it now
is also used as a small dumping
ground. The pond is likely to exist
at a very low point of the site, so
therefore the water , due to gravity
is not able to ow anywhere;
creating a stagnant pond of
polluted water. It may be possible
that this pond has been man made
as a ood relief zone, in times of
monsoon. When on site we saw
some children throw a live tortose
into the polluted pond. For sure the
tortose would die from this. This
polluted area is an important area
to clean and regenerate.
ONSITE LAND SURVEY 5
The Map shows the ow and direction of the
nalas (external drains), polluted swamps, areas of
neglect and the ow of people (the routes they
take and where they cross the railway tracks).
4
On location land survey, drawn on our rst day on site. Here we had to map a part of the slum
which was not present on any map before (centre). This preliminary survey shows signs of
looking into nala ow direction, land use and locating areas of neglect. All of which were further
realised on later surveys in the following days on site.
ONSITE LAND SURVEY
PHASE 6 8: AFFORDABLE HOUSING / CONTAINER BLOCK. PROPOSED MASTERPLAN 1:5000 138
PHASE 6 8: AFFORDABLE HOUSING / CONTAINER BLOCK. PROPOSED MASTERPLAN 1:5000 138
87 MASTERPLAN 1:2000 SHOWING THE CONTINUATION OF ACCESS FROM THE MARKET ACROSS THE TRACKS AND TO THE SITE
01
02
04
05
15
14
15
14
15
18
18
22 x 8" = 14'-9 1/4" 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22
14 x 8 1/2" = 9'-10" 1 2 3 4 5 6 7 8 9 10 11 12 13 14
14 x 8 1/2" = 9'-10" 123456789 10 11 12 13 14
14 x 8 1/2" = 9'-10" 1 2 3 4 5 6 7 8 9 10 11 12 13 14 14 x 8 1/2" = 9'-10" 1 2 3 4 5 6 7 8 9 10 11 12 13 14
19 x 6 1/4" = 9'-10"
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19
#DrgID #LayID
#DrgID #LayID
#DrgID #LayID
#DrgID #LayID
Parked
Trucks
Parked
Rickshaws
x 10
Parked Rickshaws x 5
Handicraft
on Street
Parked Trucks
x 4
Buffalo Farm
Inside Dilapidated Building
Wastepickers
Waste Land
Wood Factory
Building Materials
Bricks
Bike Shop
General Store
School
Bricks
For Sale
Building Materials
For Sale on Street
Buffalo Farm
on Street
x 4
Wastepickers
Tyre Shops
Parked Truck
Cement
Offce
Industrial Materials
Clothes Washing
Clothes Shop
Building Materials
Hair Dressers
Electrical
Store
General Store
Clothes Shop Food Stall
Parked
Rickshaws
Dilapidated
Building
New Water Tower
Abandoned / Dilapidated
Old Railway Offce
Abandoned Tunnel /
Old Railway Station
Railway Maintanance
Building & Storage
Abandonded and Dilapidated
Railway Buildings
Yamuna Bridge Railway Station;
Platform, Tickets, & Offces
Railway Control Center
School
Abandoned / Outdate
Railway Control Centre;
part used for storage
Hindu Temple
Waste Pickers
Railway Building / Generator
Old Water Tower
Abandoned
Railway Maintainance / Warehouse
General Store
General Store
General Store
General Store
General Store
School
General Store
General Stall
Outdoor
Muslim Temple
Muslim Tomb
Clothes Washing
Egg Shop
Veg Shop
Cooked Food
Hair Dressers
Games Arcade Room
Electrical Store
General Store Cement Shop
Cement Shop
Hay
General Store
N
DIRECTION OF NALA FLOW
104.500
97.000
98.500
100.000
101.500
103.000
LAND USE STUDY
General Store
School
Factory
Clothes Shop
Electrical Store
Hair Dressers
Building Materials
Bike Shop
Tyre Shop
Buffalo Farm
Waste Pickers
Food Stall
Handicraft
Parked Rickshaws
Parked Trucks
Abandoned Building
Temple
Games Arcade Room
Generic Housing Blocks
Foliage Over-Grown
Railway Buildings (Private)
Yamuna Bridge Railway Station
Old Water Tower
New Water Tower
Railway Control Offce
Waste Land / Toilet
FLOW & MOVEMENT OF PEOPLE
1:2000
99.000
99.500
99.500
99.500
99.500
99.500
100.000
100.000
100.000
100.000
100.000
100.000
100.500
100.500
100.500
101.000
96.000
96.000
96.500
97.500
98.000
98.000
99.500
98.500
100.500
1 0 5 . 5 0 0
101.500
102.000
102.500
103.000
103.500
103.500
104.000
104.500
105.000
103.500
103.000
102.500
102.000
101.500
101.000
100.500
100.000
100.000
MASS HOUSING EXAMPLE: ROBIN HOOD GARDENS
Robin Hood Gardens
PROJECT DATA
Architect: Alison and Peter Smitshon
Location: London
Year completion: 1972
Dwellings: 213
PROJECT INFORMATION
This project consists of two long housing blocks
sounding a large garden space with a small. With this
project, the Smithsons were given an opportunity to
show their ideals. There are two types of public spaces
designed. The rst type are the so called streets in
the sky. By creating meaningful public spaces (in the
form of streets) within the building mass, a new public
living can exist. The second type is the large green
space inbetween the blocks.
The long housing blocks resembles a wall, forming a
border between the city and a collective green space.
2 long housing blocks: 1 of 10 storeys, 1 of 7 storeys,
build from precast concrete slabs.
The image of the collective green area and the image
of the building blocks forms the total image of the
project.
The inner streets connects the houses with each other.
Inner streets are used to organise the blocks. These
streets are used as trac and social space.
The green space functions as a collective space which
can be used by inhabitants and people from the
neighbourhood.
The dwellings are accessible through so called streets
in the sky.
The green space connects the separated housing
blocks.
When the model of wall and plateau
is integrated in the location site
Whapping Wharf in Spike Harbour,
the wall becomes a border between
the city and the plateau. The plateau
can become the intermediate
between the public space (city) and
the private space (dwellings). The
conguration of the walls contribute
to form a collective plateau.
CONCLUSION
Because of the form of the buildings, this project can
be seen as a Grossform. The buildings become the
walls that forms the inner green space, where a feeling
of collectivity can exists. However, because of the
changingsociety and theneed for other types of public
space, the current design of the collective green space
does not help in forming a collective. The green space
looks rather deserted. By changing the design of the
inner space according to the needs of the inhabitants,
this space can again become a lively space.
The Robin Hood gardens consists of two long building
blocks around a centre green space. Inside the building
blocks, inner streets exists, but the conguration of the
buildings versus the green space is the most important
reason for the role as a grossform. Therefore, in
abstraction, it functions as a wall and a plateau.
MASS HOUSING EXAMPLE: MARINA CITY COMPLEX
Marina City Complex
PROJECT DATA
Architect: Bertrand Goldberg
Location: Chicago
Dwellings: 900
PROJECT INFORMATION
Marina city was the rst residential tower built in post-war Chicago. The aim
was to create a mixed-use building that provided rental apartments and
studios for oce workers.
The rst ve levels oer a wide range of uses such as a concert hall, a marina
and a garage. The rest of the towers consist of 900 dwellings.
The Marina City Complex is considered to be one of the rst buildings that
expresses the idea of a city within a city.
The rst ve levels of the complex serve as a common
meeting place. These levels link the dierent buildings
within the complex.
The vertical streets that consist of the elevators and the
staircases within the towers link the common meeting
place with the dwellings within the tower.
The Marina City Complex consists of two high-rise
towers.
The two towers are the over-accentuated ellements.
They serve as the attraction for the complex.
The ordering principle of the oor maps create order
within all the oors that exist within the building.
In the integration in the Spike Island site
from the abstract model of tower and
street, the site consists of ve towers
and one main street. These high-rise
towers will probably, as in Chicago, lead
to huge trac congestions in the area.
In this case, that can only be solved by
designing a perfect city within a city. A
building that people never leave.
CONCLUSION
The Marina City Complex consists of two towers and a
common meeting place that can be seen as a plateau.
The building as a whole ts perfectly within the grid of
Chicago. This complex can therefore in abstraction be
seen as tower next to a street.
The Marina City Complex consists of two towers and a
common meeting place that can be seen as a plateau.
The building as a whole ts perfectly within the grid of
Chicago. This complex can therefore in abstraction be
seen as tower next to a street.
MASS HOUSING EXAMPLE: SLICED PROROSITY BLOCK
Sliced Porosity Block
PROJECT DATA
Architect:
Steven HoII Architects
Location: Chengdu, China
CONCLUSION
Looking at the design, layout of the functions and the
multiple connections on the public and social level,
the project has the potential to be a real grossform.
The total building exist mainly out of towers in a
certain composition.
The form of the building is stronger than the function
that takes place within it.
The building and the space it forms are equally strong.
The form connect the separate buildings optically. The
base and the bridge connect it physically.
The base and the internal facades functions as public
plateaus within the building.
The most public functions are situated on the inner
facades, so they connect the buildings by collective
spaces.
The dierent buildings are placed in a certain
composition designed to optimise the sun.
If we place the project on the site on the Whapping Wharf
site on Spike Island, the coherency of the project is lost.
The layout ts on the site and there will be formed a great
plateau in between the towers, but the interaction is lost.
PROJECT INFORMATION
The Sliced Porosity Block is a hybrid of dierent functions like a giant
chunk of a metropolis. It will be located just south of the intersection
of the First Ring Road and Ren Min Nan Road in Chengdu. Its sun
sliced geometry results from required minimum daylight exposures
to the surrounding urban fabric prescribed by code and calculated
by the precise geometry of sun angles. The large public space framed
by the block is formed into three valleys. In some of the porous
openings chunks of dierent buildings are inserted. The micro urban
strategy will create a new terrain of public space: an urban terrace
on the metropolitan scale of Rockefeller Centre. This new terrain
is sculptured by stone steps and ramps with large pools that spill
into stepped fountains. Trees, plantings and benches are anked
with cafes. Roof gardens are cultivated through their individual
connections to hotel cafes. At the shop fronts there will be luminous
colour; neon, backlit colour transparency. The aim for the Sliced
Porosity Block is to form new public space and to realise new levels of
green construction in Chengdu. The complex is heated and cooled
geothermally by 400 wells. The large podium ponds harvest recycled
rainwater with natural grasses and lily pads creating a cooling eect.
MASS HOUSING EXAMPLE: SCHIECENTRALE 4B
The two slabs could be seen as landmarks because of
their independent bigness.
Schiecentrale 4b
PROJECT DATA
Architect: Mei Architecten, Robert Winkel
Location: Rotterdam
Programme: 55.000m2. oces, dwellings.
supermarket, gym, garage, school
PROJECT INFORMATION
Schiecentrale Phase 4b consists of a
striking new structure built around the
north-west sides of the old Schiecentrale
building. The new complex provides
the media centre with various types of
dwellings, for people closely involved
in the audio-visual sector and people in
other creative disciplines who like the
port atmosphere still palpable in the
area.
The fence and the white window frames create a
strong monolithic building.
The hanging balconies gives the building a less rigid
appearance.
The bigness gives a strong identity. At the same time
the construction and installation are shown. The
hanging balconies are as well over accentuated.
It is about the large form or the living units in it.
The gap between the two slabs functions both as a
street and a plateau.
The gap between the two slabs functions both as a
street and a plateau.
CONCLUSION
Schiecentrale 4b is a project with a strong identity
which provides a variety of functions and forms for its
inhabitants, but also for other users. As a summary the
building could be seen as a grossform: it embodies all
the elements of a grossform.
With slabs and streets you can create a urban pattern which
will t in naturally in the urban pattern of the Whapping
Wharf site on Spike Island. With the street and the wall
both acting as connectors the urban pattern can even be
strength.
A main feature of the project is the tall
narrow building, 130 metres long and 50
metres tall, built on top of the old power
plant. The 11-oor structure contains the
oces and living-working units. These
are accessed from a gallery nished in
stainless steel. Attached to the gallery
are storage spaces. which are situated
directly opposite the front doors. All
spaces on the west side of the building
are tted with glazed facades. This part
of the building oers a wonderful view
of the Nieuwe Maas and the harbour.
The partitions of the living/working
units can be opened from oor to ceiling
with harmonica doors, allowing the
creation of an exterior space within the
building volume. On account of the great
exibility, all technical installations in
the spaces as well as on the facades are
carried out as assembly. The complex
exudes the character of a typical port
building in which technology from the
oshore and processing sectors has
been integrated.
12 LINKED HYBRID
LINKED HYBRID
Beijing, China, 2007
Architect: Steven Holl Architects
Client: Modern Investment Group, Beijing
Plot Area: 61.800 m2
Building Footprint: 15.500 m2
Gross Floor Area: 221.000 m2
Height: 68 m
Cost US$: Unknown
Lifts: 34
Status: Constructed
EXTRA TEXT EXPLANATION
Three dierent public entrances connect the skyring with the
public space on ground oor. These entrances (coloured red in the
oor plan above) each oer a dierent variety of program. One
area for health and sportcentre, one area for recreational program
opened through the day and one area for restaurants openede
during night. The entrance to the restaurant is located next to the
acces to the cinema within the heart of the project.
FUNCTIONS IN THE RING
1. reading room
2. design/book store
3. architecture gallery
4. sculpture gallery
5. art gallery
6. viewing platform
7. dinning deck
8. ultra lounge
9. bar/cocktail
10. listening lounge
11. tness
12. juicebar
13. group axcersice space
14. spinning room
15. oce, locker rooms
16. lane lap pool
17. suspended catwalk
18. spa/massage
19. meetin place
20. viewing platform
21. hair/nail salon
22. health food store
23. tea seating
24. tea store/gaming place
25. coee shop
26. caf seating
27. book event space
28. book store
IMAGES
1. interwoven vertical and horizontal structure public vs private concept
2. core that attracts publc life
3. poetic idea of conected bodies (Matisse, la dance, 1909)
4. linked bodies after construction
SOURCES
A+T hybrids 1
Concept
CONCEPT OF THE ARCHITECT
Linked Hybrid projects a renewed thinking about the public space within
large scale high rise projects. Holl shows us in this project how his ideal
vertical city should work. It is his ideal city within a city.
The horizontal traditional urban structure, continuous plinth with services,
is combined with the vertical city, disrupted plinth.
Living is combined with commercial program in various towers. The
commercial program is located in the plinth and living above. An urban
ring of commercial and cultural public activities link the towers on the
twentieth floor. This skyhigh public space provides a cinematc experience
of the whole complex and the city surrounding it. A big variation of
urban functions are located in this ring, for example: a swimmingpool, a
fitness centre, a nail and hair studio, an architecture office, galeries, bars,
theesaloons and stores (more info on page 3).

To prevent the city within a city to become an isolated island, Holl
introduces the term urban porosity. He connects his ideal city with its
context by attracting people to the centre of linked hybrid. Urban space is
enclosed in the heart of the project. On street level pedestrians are able to
move in and out the project.
These two themes, city within a city and urban porosity are also the basis
for Holls second big housing project in China, the sliced urban porosity
block.
EVOLUTIONARY ABOUT THE CONCEPT
The ensemble of high rise towers instead of the vertical tower pinned in the
city projects a new way of thinking about high rise architecture.
The public space in heart of the large plot area connected with the highly
accesible program in the skyring makes a unique contribution to the public
life in the city.
15 ELBPHILHARMONIE
ELBPHILHARMONIE
Hamburg, Germany, 2013
Concept
The new Philharmonic will be not only a site for music; it will
include an extensive complex of ats and adaptable facilities
for a wealth of cultural activities. The core the major concert hall
seating 2200 and a multipurpose hall for ca. 550 listeners will be
complemented by a 5-star hotel with a projected 220 rooms,
with built-in services as restaurants, a health and tness centre
and conference facilities, as well as some 35 luxury ats.

The Kaispeicher A has long been a relatively mute monument to
the postwar era, through it is occasionally rented out for one-
o events; after its renovation, it will become a vital centre for
musicians and music lovers, attracting both tourists and the
world of business, the latter able to enjoy the use of state-of-
the-art technological facilities as well as the luxury of a rst class
hotel in this centrally-located historical landmark.
The bold new Philharmonic will inject the surrounding
neighbourhood with energy and dynamism. Similar cultural
implants in other cities provide impressive proof of the way in
which such projects contribute substantially to urban renewal,
enhancing the attraction of urban districts and, indeed,
functioning as agents of change. This will also be the crowning
achievement of the Hafencity Hamburg, an ambitious project of
urban expansion.
The main entrance to the Kaispeicher complex lies to the east.
A breathtakingly long escalator will run diagonally across the
entire warehouse, transporting visitors from the way up to the
plaza. Situated on top of the Kaispeicher and under the new
building, it will function as a gigantic joint between the old and
new, forming a spacious public area with a unique panorama:
to the north, downtown Hamburg and a view reaching beyond
the Aussenalster; to the east, west and south, the River Elbe and
its vast, sprawling harbour.
EVOLUTIONARY ABOUT THE CONCEPT
The new building has been conceived as an extrusion of the
warehouse, an iridescent, multifaceted crystal with an identical
ground plan, placed ush on top of the brick Kaispeicher. But the
top and bottom of the crystal are dierent: the broad, undulating
sweep of the roof rises to a total height of 100m. at the Kaispitze,
sloping down to the eastern end, where the roof is som 20 m
lower. The Elbphilharmonie will become the crowning symbol of
the expansion of Hamburgs city centre towards the south into
the harbour district along the shores of the river Elb.
IMAGES
1. Concept
2. Major concert Hall
3. The Kaispeicher A
4. Entrance, schematic
5. Entrance model
6. Plaza
7. Plaza with view of Hamburg
8. Design process
9. Plaza as a transition between old and new
10. Actual use of the building
11. Plaza dened by stairs
12. Small multifunctional hall
SOURCES
http://www.elbphilharmonie.de
http://de.wikipedia.org/wiki/Elbphilharmonie
http://www.dezeen.com
http://de.academic.ru/dic.nsf/dewiki/734027Poveda, P.: El Croquis,
Architect: Herzog & de Meuron
Client: ReGe Hamburg
Plot Area: 5.885 m2
Building Footprint: 5.885 m2
Gross Floor Area: 120.000 m2
Height: 100.0 m
Cost US$: 500 million
Lifts: 12
Status: Constructed
EXTRA TEXT EXPLANATION
The lobby will be the overture or the echo of the large concert hall.
Mounted under the belly of the great hall, a landscape of stairs an
Escherlike sculpture climbs in all directions.
The great hall and the lobby are stacked on top of each other like
bowls; the oor of the hall doubles as the ceiling of the foyer, while
the foyer in turn forms a vaulted ceiling stretching to the oor of the
Plaza and incorporating its visitors in an alien landscape that steadily
climbs past several oors all the way up to the highest galleries of
the concert hall. Everything is stairs: oors, ceilings and walls become
almost indistinguishable. Climbing the vast carpet of stairs, the visitor
reaches horizontal areas that intersect at each level,using bars or
cloackrooms. The festive atmosphere already appararent in the foyer
is heightened in the grand hall. There, the warm white of the foyer
gives way to an intense amber; the surfaces shimmer and sparkle,
reecting the light. The orchestra and the conductor are placed in the
midst of the audience; the galleries sweep into each other, overlap
and form a steep amphitheatre.
The architecture dissappears in a sea of faces; the house seems to
consist only of people, of listeners whose intense concentration on
the music becomes physically palpable.
The smaller, multifuntional concert hall belongs to the shoe box
family; seating out 550, its exible technology allows a wide variety
of dierent uses.

Nicholas Socrates' Architecture & Urban Design Portfolio 2013

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NICHOLAS SOCRATES

BA (Hons), BA (Hons), MA, MArch

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NICHOLAS SOCRATES

BA (Hons), BA (Hons), MA, MArch

S-ar putea să vă placă și

Nicholas Socrates' Architecture & Urban Design Portfolio 2013

Nicholas Socrates' Architecture & Urban Design Portfolio 2013