The Mariners’ ChurchSt Ives

The project briefRehabilitation: to restore to useful life, as through therapy + education, or to restore to a good condition, operation or capacity.

The space you will be refurbishing is a former church in St. Ives, CornwallThe remodelling and conversion of a church to accommodate a new function and customer base – boutique hotel.

You have to become a detective and undertake complex site research + analysis and decide an appropriate way forward

A brief history behind the Mariners Church and the St Ives art scene...

Downalong, St. Ives, is a labyrinth of narrow cobbled streets and alleyways; it is a network of granite cottages, converted sail-lofts and pilchard palaces that now house studios, craft workshops and galleries. They radiate from a harbour which has appeared in countless paintings and photographs. The Mariners’ Church, home of the St. Ives Society of Artists, forms a majestic foil to the jumble of smaller buildings. It can be seen from almost every vantage point. It is central to the view and it is also a central location in the story of the artists’ colony. In the 19th century fishing was the business of the town. The harbour was busy with boats. Three fleets, mackerel, herring and pilchard, were all moored in the bay when they were not at sea. The fast-sailing herring fleet were lugger-rigged boats

which had followed the shoals from Whitby, Sunderland, Hartlepool and Scarborough, round the north of Scotland to the Isle of Man and into the Irish Sea. Another large fleet was engaged in transporting pilchards to Mediterranean ports. Between 1829 and 1838 St. Ives supplied the Italian market with six thousand four hundred hogsheads of pilchards annually. The town lived from fish, but the life of the community revolved around its churches and chapels. There were never enough. The Anglicans had leased an old loft, known as ‘The Long Run’, and it had served as the Church Infant Schoolroom for many years. In 1867 it became the School Chapel. This was done in time for the herring fleet’s return. A harmonium was installed and regular services were held for fishermen and their families. Fishermen

who attended, observed that ‘the church services were not as boring and dreary’ as they had been led to expect. In 1892 the Anglican vicar of St. Ives, Cannon John Balmer Jones M.A., proposed that a new church be built for fishermen. It was only after his death in 1901 that funds were raised to make his dream a reality. The site containing the Chapel was finally purchased in 1903 by the Anglicans and plans were created for a new Mission Church. The church was erected as a permanent memorial to the priest. The architect Edmund Sedding, of Plymouth, designed an imposing gothic building intended to strengthen the Anglican congregation within the fishing community. The building was never completed. The niches never got their saints and the bell tower never got its

spire. However, in 1905 the Bishop of Truro dedicated the building to St. Nicholas, the patron saint of fishermen and children. A procession through the streets from the Parish Church was followed by a choral celebration of Holy Communion. The church was designed to accommodate 270 people, but only a meagre congregation of 100 attended the opening. The fishing families were mainly non-conformists. John Wesley himself had made twenty-seven visits to the town. Wesleyan Methodism was strong, but there were also Primitive Methodists, Bible Christians and many other rival factions. Their disaffection with the Anglican Church was due in part to an age-old dispute over tithes levied by the Church on fish landed in the harbour. This fact, coupled with the demise of the pilchard

industry and the tragedy of the First World War taking its toll of young men, meant that the new venture was doomed to fail. By the early 1940s the church had fallen into a state of disuse and disrepair. During the Second World War, Smeaton’s Pier was used as an embarkation point for the home and allied troops for deployment in Europe. The church itself was requisitioned as a field hospital and used by the St. John Ambulance Brigade and the Red Cross. In 1945 it became the permanent home of the St. Ives Society and renamed the New Gallery.

History

For many centuries pilchards were big business in the town, but by the 1880s the industry was in decline. The great shoals of silver no longer appeared in the bay. This may have been due to a warm current in the sea which had moved away from the coast. Others ascribed it to mine closure and the absence of the red water which had run in rivers from the working mines ‘thickening the ocean.’ This, they claimed, had attracted the pilchards. Whatever the reason, many of the pilchard palaces and net-lofts and the workshops of boat builders, coopers and blacksmiths became redundant. They were empty shells waiting to be re-colonised and they made fine studios. So the artists moved in.

Artists had been visiting St. Ives for many years. Turner had been twice and in the 1860s John Brett and the marine artist Henry Moore both became regular visitors. However, it only became practical to consider living there after the arrival of the railway, which made it possible to transport large paintings back to London for exhibition.

Duff Tolamache took a studio in an old sail-loft in Carncrows Street, Downalong. This is the first record of an actual studio in the town. In the same year Whistler arrived, with Walter Sickert and Mortimer Mempes, to overwinter in the town. They painted the restless sea on the inner lids of cigar boxes, trying to trap the energy of that moving mass on panels that measured nine by five inches. Their painting was about immediacy.

1800

’s

1884

1860

’s

James Lanham opened the first gallery.

1887

Julius Olsson and Louis Grier started the first school of painting in 1888. Olsson rapidly established himself as the leading seascape painter of his generation.

1888

The St. Ives Arts Club was founded. This was a centre where artists could meet and socialise. In the decades that followed St. Ives became a thriving cosmopolitan colony, with artists from France, Finland, Australia, New Zealand and the United States visiting regularly.

1889

In 1920 Bernard Leach arrived with the Japanese potter Shoji Hamada to build a climbing kiln at Higher Stennack. Leach wanted to bridge the gap between eastern and western philosophy through art.

In 1925 French style reached St. Ives when Alec Walker moved his silk factory from Newlyn and joined forces with Patrick Heron’s father, Tom Heron, to set up the Cryséde Works in the town.

Borlase Smart and Leonard Fuller opened the St. Ives School of Painting in the spring of 1938.

1920

1938

1925

The Early Artist Colonys

What is the history of the building and the context? What has it been used for? When was it built? Why was it built? Does it have importance architecturally or culturally?

The architect Edmund Sedding, of Plymouth, designed an imposing gothic building intended to strengthen the Anglican congregation within the fishing community. The building was never completed. The niches never got their saints and the bell tower never got its spire. However, in 1905 the Bishop of Truro dedicated the building to

St. Nicholas, the patron saint of fishermen and children. A procession through the streets from the Parish Church was followed by a choral celebration of Holy Communion. The church was designed to accommodate 270 people, but only a meagre congregation of 100 attended the opening.

What is the area known for?Why do people come here? Who does it attract?

St Ives is a famous hot-spot for art and artists, during the war alot of artists retreated to St Ives where they could concentrate on their work. It is also a popular seaside resort -usually couples and families. St Ives is now cluttered with holiday homes, typically ‘beachy’ B&B’s, cafes and resturants.

Site Analysis - History and Context

The immediate context, what happens around the space? What is its orientation (North facing?) Is the interior light or dark? What can you see from the site?

The building is surrounded by buildings - there is a small slither of the beach /harbour views. The semi-circular end of the chapel faces Narth - towards the beach. The first floor interior is very light considering the size and number of windows, the basement feels rather dark and rather cosy. You can’t see alot from the site, the windows on the first

floor are abit too high to see out of.

Is it an introvert or extrovert experience? Is there any outside space that can be used? What happens around the space? Can you idnetify and specific problems?

The current experiance is more edging towards the introvert - it is very peaceful inside and feels like an escape from the bustling streets surround the building. There is a small amount of outside space which could work well as a small garden, the walls and butteraces create a secluded space for guests. The building is in the centre of St Ives, the

building overlooks a pub, ‘The Slope’ - one of St Ives’ busiest pubs. The building gets battered by the prevailing winds there for the north of the building sufferes from the damp.

Site Analysis - History and Context

Alfred Wallis

1855 - 1942

A Cornish fisherman and artist. His parents, Charles and Jane Wallis were from Penzance in Cornwall and moved to Devonport, Devon to find work in 1850 where Alfred and his

brother Charles were born. Shortly after Jane Wallis died prompting the family to move back to Penzance. On leaving school Alfred was apprenticed to a basket maker before becoming a mariner in the merchant service by the early 1870s. He sailed on schooners across the North

Atlantic between Penzance and Newfoundland.

Bernard Howell Leach,

1887 - 1979

A British studio potter and art teacher. He is regarded as the “Father of British studio pottery”The Leach Pottery was founded in 1920 by Bernard Leach and Shoji Hamada in St Ives, Cornwall,

in the United Kingdom. The buildings have grown from an old cow / tin-ore shed in the 19th century to a pottery in the 1920s when Hamada and Leach first attempted to construct a climbing

kiln, (though this one failed and was re-built later) this was the first ever built in the western world, with the addition of a two-storey cottage built later, on to the lower end of the pottery (the

Pottery is built on a steep hill over an ancient river bed), followed by a completely separate cottage at the top of the site added by Leach when he married Janet Leach, which was again extended by

David Leach in the 1960s and 1970s.

Benjamin Lauder “Ben” Nicholson,

1894 - 1982

A painter of abstract compositions (sometimes in low relief), landscape and still-life.

The Artists

Barbara Hepworth

1903 - 1975

An English sculptor. Her work exemplifies Modernism, and with such contemporaries as Ivon Hitchens, Henry Moore, Ben Nicholson, Naum Gabo she helped to develop modern art

(sculpture in particular) in Britain.

Terry Frost

1915 - 2003

An artist noted for his abstracts.During his army service in World War II, he met and was taught by Adrian Heath while a

prisoner of war. Subsequently, he attended Camberwell School of Art and the St. Ives School of Art. In 1951, he worked as an assistant to the sculptor Barbara Hepworth. His career

included teaching at the Bath Academy of Art, serving as Gregory Fellow at the University of Leeds, and teaching at the Cyprus College of Art. Later he became the artist in residence and

Professor of Painting at the Department of Fine Art of the University of Reading.

Kurt Jackson

1961

The majority of Jackson’s work reflects his commitment to the environment and the natural world within Cornwall, although he also works elsewhere in Britain and mainland Europe; recent projects include bodies of work on the Thames, the Avon, the Forth, Ardnamurchan

and the Glastonbury Festival series. His paintings frequently carry small commentaries on the scene depicted and show a fascination particularly with the detail of plants and animals within an overall ecology and evoke a calm, spiritual and warm relationship with the landscape, even

of apparently bleak scenes. His work has been described as “uplifting” and “transporting”. To quote Robert Macfarlane “the bristling of landscape is Kurt Jackson’s subject as an artist, and his

brilliance as an artist lies in the success with which he represents his subject”

The Artists

Jessica Cooper

1967

Minimal and flat, Jess specialises in still lifes and landscapes - she is one of Cornwalls most popular and contemporary artists.

The Artists

Patrick Heron

1920 - 1999

An English painter, writer and designer, based in St. Ives, Cornwall.

‘Boutique hotel is a term popularized in North America and the United Kingdom to describe intimate, usually luxurious or quirky hotel environments. Boutique hotels differentiate themselves from larger chain/branded hotels by pro-viding personalised accommodation and facilities. This can be achieved through the reuse of a historic building. Sometimes known as “design hotels” or “lifestyle hotels”, boutique hotels began appearing in the 1980s in major cities like

London, New York and San Francisco. Typically boutique hotels are furnished in a themed, stylish and/or aspirational manner. They usually are considerably smaller than mainstream hotels, often ranging from 3 to 50 guest rooms.’

One of the first ‘Boutique’ hotelsDesigner and owner Anouska Hempel rebranded the hotel experience when she opened Blakes Hotel in the late ‘70s:

‘Its individually decorated rooms— occupying three adjoining townhouses —are master classes in the King Midas touch: Christie’s hat boxes, crushed velvet seats, canopy beds sheathed in raw silk drapes and floor- to-ceiling windows are sheer design gold. Frankly, these are more lairs than hotel rooms.’

What is a ‘Boutique’ Hotel?

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With its focus on fluid lines and undulating spaces, Q! does not have any right angles. The hotel’s shimmery red lobby and lounge, earthy spa, and “sand room” were designed to create a continuous flow in both form and space. The 77 guestrooms, including four studios and one penthouse, feature dramatic bed frames that wrap around the bathtub and sink, forming a sculptural statement as the room’s centerpiece. Strikingly minimal, the chosen color scheme of primarily neutral tones, whites, and dark oak, with the occasional deep red accent, keeps attention on the rooms’ rounded edges and rich textures, like (artificial) ostrich leather and soothing slate.

Since opening in 2004, Q! has become a much-loved destination for international celebrities, as well as for a loyal circle of local tastemakers in the fashion, music, and entertainment industries, who frequent the restaurant and intimate members-only bar. Lounge seating is sculpted out of the sweeping walls, so that guests are literally embraced by the hotel’s interior, offering an über-modern yet comforting retreat from Berlin’s jagged urban landscape and nonstop nightlif

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Each of the 20 luxury cabins has unobstructed views of the valley. On the private wooden terraces, guests can sit under a blanket of stars and sip regional wines while being warmed by a roaring fire. Minimal and understated the cabins may be, but modern comforts and deluxe touches have not been overlooked. Monochromatic and with an edited selection of furnishings, they provide comfortable spaces for retreat. From the pool, guests can soak up the calming solitude, while gazing out over the vast expanse. And although the location is remote, the onsite restaurant and bar ensure every comfort is met.

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DO & CO Hotel Vienna started as Attila Dogudan’s Viennese empire of restaurants and luxury catering, but now includes an architecturally adventurous and sybaritic hotel experience in downtown Vienna. Located across from St. Stephen’s Cathedral, the Haas Haus building was designed by Pritzker-prize winner Hans Hollein; later, in an unusual move, it was retrofitted to its present incarnation by Hollein himself.

The same attention to detail that carried Attila Dogudan from local restaurateur to international food celebrity has been applied to Vienna’s DO & CO Hotel. Four floors of the steel-and-glass building have been transformed into 44 unique cone-shaped guestrooms offering majestic views of Stephansplatz, Graben and the Kärtnerstrasse. Extravagant accommodations feature teak woodwork and stone integrated into a futuristic vision of modern design. Bathrooms offer two-square-meter showers, private fitness equipment and flat-screen televisions. The building’s upper floors are dominated by DO & CO’s fine restaurants, including a lounge, roof garden and culinary “temple”, an exclusive pavilion with seating for 12. The DO & CO restaurant features Viennese staples as well as fine sushi and sashimi and a high-end kebab corner, fulfilling the modern mission of this sleek building.

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Innovative Mexican hotelier Carlos Couturier’s latest project is an inland wonder, a former 19th-century water-purifying centre next to the Iglesia de San Francisco in the colonial city of Puebla. Purity is the guiding principle of the hotel’s design as executed by renowned architects Ricardo Legorreta and his son Victor: black and white are the only colours, bringing out the subtleties of the materials used – stone from the original building, old wood, onyx and custom floor tile, as well as found materials such as bottles and glass fragments, which are also integrated in the hotel’s graphic design. But this minimalism shouldn’t be confused with lack of luxury: a roof terrace and 30-metre pool provide ample recreational opportunity, and the 26 guestrooms offer spectacular views of the city, a UNESCO World Heritage Site. A ground-floor restaurant, patio, library and extensive wine cellar offer civilized diversions, but La Purificadora’s real achievement is in its mix of tradition and contemporary flavour, giving Puebla a hotel to savour on the road from Mexico City to Oaxaca.

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Those seeking a respite from the sun can watch a movie in Lunaplex – Luna2 studios’ own 16-seat cinema - or dine at the intimate Orbit restaurant, with just 30 seats. From the restaurant, a spiral staircase leads down to Pop! Lounge Bar, an understatedly decadent den with low ottomans and booths in deep shades of reds, blues and purples, where the DJ plays tracks to suit the mood until the early hours of the morning.

“The Mariners’ Church has been the home of the St. Ives Society of Artists for over fifty years. The building is over a hundred years old and in need of some essential refurbishment. Like all old buildings it constantly needs money, but the Society has survived the ebb and flow of its fortunes due to the dedication and vision of some of its notable members. There is real promise for the future.”

The Building

barrel vaulted ceiling

the bema (raised platform)

intended enterance to bell tower

three steps leading up to the bema bordered by polished, black granite

wooden herringbone floor pattern

problems with the damp as this corner of the building is unsheltered from weathering by the sea

Existing use/layout

Analysis of the site

Immediate emotional

response to the space

Postive attributes

Negative attributes

Site character and atmosphere

site orientation

Improving & re-modelled

Current function & layout

Photos/drawings/keywords Design Problems Possible Response

Light, lovely shape,very symetrical, holds the

potential to be a quiet and humbling space

Very light considering the amount of windows.

Strong architectural features. Lovely barrel

vaulted roof. The former rose window floods the building with a beam of

light.

Damp and damaged by the wind and rain on the

sea facing cornerNo views of the bay

Inside the bulding I felt quite distant from the

bustling streets of St Ives - no connection to the

outside world

In the centre of the town, very close to the sea with

the possiblity of some amazing views

Very open plan, the actual interior reminds

untouched, the gallery is appears to be a temporary

installation. Rather minimal and white, quite

clinical

Inside the bulding I felt quite distant from the

bustling streets of St Ives

I think the symmetry of the building is a strong feature and it would be

ashame to lose it, working around the existing

architectural features will be hard - which to retain?

I definatly want to preserve the humble

interior but how can I do this whilst adding an

appealing and luxury accomodation?

The damp will have to be taken into consideration

and find a way of preventing it but I don’t

think the building has alot of negative attribues

I love how the building feels so distant from

the outside world but in summer the building will be surrounded by

crowds, how will I keep the interior quiet?

I like how the upstairs feels light and airy yet the

downstairs feels rather dark and the ceilings feel low, how can I accentuate

this?

The building is long and thin and highly

symetrical, there are few windows, each spaced

evenly apart, they will play a big part in how to re-

model the layout

Inside the bulding I felt quite distant from the

bustling streets of St Ives

I want to keep the double height space in the

bedrooms because I think, in a hotel, that is rather unique and appealing

The rooms will be designed around the

existing windows

Repair the damp and line with a weather resistant

material

Accentuate the play of light and dark, the upstairs

will be light and airy and the downstairs (the bathrooms) will be dark

and cosy

I will have to take the acoustics into

consideration, I want the building to be very

quiet and distant from its surroundings

Retain symmetry and the nave to respect the former use as a church

Upstairs will stay rather minimal and white,

downstairs will be natural - probably entirly wooden

Initial Concept

The Mariner’s ChurchSt Ives

Activities

Art

Fishing

Swimming

Surfing

Walking

St Micheals Way

User/Target Audience

Feel/Genre of Hotel

Calm

Quiet Retreat

Humble

Basic

(One of three of the ‘European Cultural Walks’)

Health & Wellbeing

Would eliminate the growing problem of there being limited parking in St Ives in summer months

SummerWinter

Relaxed atmosphere

Growing interest

Spiritual

As it was during the war for Hepwoth, Nicolson etc - they used St Ives as an escape

Taking the way the stress and complications of modern day life

Sustainablity

Pure

Now

Then

Kurt Jackson

Jessica Cooper

AbstractionHepworth

Nicholson

Alfred WallisTerry Frost

Patrick Heron

Bernard Leach

Families

Couples

Solo travellers

Not oftenly considered

Always considered and catered for everywhere

Alot of hotels/ B&B’s cater solely for families and couples

Would work well with the hotels feeling of your own health/wellbeing and spirituality

Why will people choose my offer and why is it different?

Alot of hotels in St Ives are very similar (usually converted town houses or

commercial hotels)

Its in the centre of a bustling seaside town

Yet, inside, you feel rather distant from the crowds outside. It is a quiet interior

St Michaels Way

Throughout Europe there is a network of pilgrim routes which lead to one of the three most important places of Christian pilgrimage in the world - the Cathedral of St James in Santiago de Compostela, North West Spain. The St Michael's Way Trail is one of these routes.

St. Michael's Way was thought to have been used by pilgrims, missionaries and travellers, especially those from Ireland and Wales, to avoid crossing the treacherous waters around Land's End.

Dating back to pre-historic times (10,000BC - 410AD), it is believed that this route assisted in Cornwall's rapid conversion into a Christian faith.

The trail stretches from Lelant (near St. Ives) to Marazion (near Penzance) and stretches 12.5 miles/19.5 km. Visitors can expect to see a number of sights including the 'Caribbean' style waters around St. Ives, the largest sand dunes in Cornwall at Gwithian and far-reaching views of West Penwith at Trencrom Hill.

In 1987 the Council of Europe decided to promote the Santiago de Compostela Pilgrim Way as a highly symbolic and significant European cultural route. St Michael's Way has been developed by Environment and Heritage with the guidance of the Bredereth Sen Jago (Cornish Pilgrims of St James) and the Cornish Bureau for European Relations.

Pilgrim ways are often indicated by the traditional Pilgrim's symbol of a scallop shell. St. Michael's Way has been signposted and waymarked in both directions using a stylistic shell based on the Council of Europe's sign for pilgrim routes. The directional arrows are coloured yellow for footpaths, blue for bridleways and red for byways. Cornwall Council has chosen to use black arrows on roads.

What does the Client want?

Something Unique

A Statement

A Building to comply with health and safety regulations & Fire regulations More money

Publicity

Fulfilled potential of space

As many rooms as possible without compromising on quality and comfort

What does the user want?

A Building to comply with health and safety regulations & Fire regulations

Something Unique

Quality & Comfort

Calm & Relaxing

An Experiance

A Spiritual Space

Large Room/Suite

Luxurious BasicsPrivacy

Freedom

Client / User

What is the offer (the brand/experience)?A rejuvenating retreat for health conscious individuals or couples, guest will be encouraged to walk St Michaels Way - one of three ‘European Cultural Walks’. The hotel will serve as a luxury ‘half-way house’ . This retreat experience will be unique as it is positioned in the centre of a bustling seaside town although the interior of the hotel will be a quiet and tranquil environment.

What will the customer pay?£160-£300 per person per night depending on the time of year

Who is your target customer?Health conscious solo travellers or couples of any age seeking some sort of cultural get away. It will appeal to people who enjoy walking or have an interest for the art galleries St Ives has to offer but want to stay in a unique and quiet hotel which is different to the surrounding, family orientated, B&B’s and holiday parks

How will this interior appeal to them?What will people expect/want after a day of walking? A bath, a relaxing and cosy atmosphere

How will you adapt the building to make this happen?I want the bathrooms to be the main feature/selling point - each suite will come with its own luxurious bathroom with a large bathing pool/hot tub

How will the building enhance this offer?The actual bed will be sit on a small mezzanine floor which will is accessed by a ladder, the bed will lie directly beneath one of the original arch-shaped windows. Under the mezzanine platform will be a small kitchenette/dining area and a flight of stairs leading down to the rooms private bathroom

How you adapt the building to accommodate its new use. How it is subdivided to create new spaces, how is the circulation rethought? How do you select an ap-propriate architectural language that is sympathetic to the host building?Adapt the former religious quality into a secular spir-tual experiance.Reatin the high ceilings in places . The barrel vaulted ceiling is lovely but quite damaged in places because of the weather.

How you ‘read’ the building and the site?The building has an unmistakable sense of spiritualty about it , although it is humble and rather simple it has some lovely architectural features and the high ceilings have the potential to create a real impact

How you understand what the location offers and what makes it unique?The building will be used as a ‘half-way-house’ for the St Michaels Way walk, it will offer a quiet and relaxing sanctuary at the end of a long day of walking

How you identify the problems?The building is long , thin and has two floors - How can I make the rooms not only functional but still rather luxurious

How you resolve any problems?Maximise the floor space of the rooms by carefully allowing there to be 6 flights of stairs and 6 ladders in total - all leading to different facilities

How you enhance the positives or unlock the potential?The triple height ceiling space will be the main feature of the hotel - the mezzanine platforms will hover above a small kitchen - the platforms will ensure that nothing distracts from the ceiling above it, I think this will be a lovely sensation when you are relaxing in bed and its unique

How you ‘adapt’ the building to accommodate its new use?Each room will consist of three floors - the ground floor will be a large bathroom, the 1st, a kitchen/living space and the mezzanine platform , for sleeping. This will give the user a full apartment - There will be 6 apartments in total, all of a good size. I think my design maximises the amount of space I had to work with without compromising comfort

How it is subdivided to create new spaces /experiences?The living space/kitchen and mezzanine floors will be flooded with light, the walls will be white and so will the ceilings. The bathrooms below will be all wood, very dark and comforting , an entirely different experiance to the levels above

Reading the building

How to rethink the circulation route?I wanted to keep the original Nave of the church and to retain the highly symmetrical layout as I think it plays a key role in the harmonious quality of the former church

How you select an appropriate architectural language?What I have done is a rather modern and minimal yet it respects the former function of each space. When you are upstairs, everything is light and minimal whereas when you are downstairs, in the bathrooms, it is dark and comforting

What is the offer? Need to understand what the customer wants and how to design a hotel to attract a target audience. Who is the target audience? What would they want this offer to be, what would they want the interior to do?Walkers/active/health concious. Relaxing and rejuvenating. Solo Travellers or couples. Use the calming quilitys of light and water. A com-fortable and uncomplicated space to relax in after a day of walking.

How should the interior be adapted?

Design ambition versus what is appro-priate?

What are the problems?

What is needed so that the building can now function as a hotel?

Response to the building

Making value judgements? What does the building demand or

resent?What is the right thing to do?

What should be kept, what can be sacrificed?

What is integral to the current atmosphere?

Who is your target customer?

What defines them, what will attract them?

What do they want/expect?

What will it cost?

What is your brand/experiance?

What is the offer?

Narrative Moodboard

Enter through existing double doors

Long narrow coridoor leading to the reception/check in computer and public area

Projection touch screen check in

Public Area/ Bespoke semi-circular sofa

Bathrooms - Dark and cosy on lower floor

Bedrooms and Kitchens on first floor

6 Bedroom Suites

+ + +

Walkers/Solo travellers/Couples Retain the height and the light and spiritual atmosphere

Adapt by inserting floors A wooden finish in the basement bathrooms will create a cosy and dark atmosphere

Initial offer

£160-£300 per person per night

I have chosen to design an interior which would encourage health conscious couples, groups of friends or individuals to walk the St Michaels Way, I think this would be successful as the growing interest in health and wellbeing is rocketing. The offer will be a sort of secular pilgrimage. The interior will be designed for what the user would enjoy after a day of walking. I think the design preposal will be beneficial not only to the user but also

to the client and St Ives as it will establish a new reason to vist the town aswell as the hotel being situated amongst some of St Ives’ most famous art galleries

I want each room to be rather small in floor space but to have 3 different levels in each and I want each room to have a window but I did have doubts

that maybe a 2.8x2.8m room may be too small

I wanted to preserve the nave as the main corridoor, I want it to be double floor hieght to create a bold and narrow vertical which

will frame the other end of the building

After making a string outline of the room size out and thinking about how I could squeeze in a double bed and two staircases I have decided these rooms will be too small and it would be better to make half the number of self contained

appartment-style rooms

Initial ideas in plan

There will be a small kitchenette beneath the mezzanine platform (for the beds) - the guests will be asked to request there chosen foods when making their booking and the staff will put the food in the cupboards which will be included in

the cost of the room

The nave is preserved - creating the main corridor and leading to the pubic area

Fire Exits

26.7m

18m

18m

18m

The existing double doors will serve as a fire exit as well as the existing exit in the corner of the building (the stairs will need to be fire proofed).

(7.45x18.7m =136.315m2) x 2 = 278m2

(7.45x2.121m =15.80m2) x 2 = 31.6m2 x 6 = 189.6m2 2.88x2.121m = 6.10m2 x 2 =12.2m2 x 6 =73.2m2

189.6m2 + 73.2m2 = 262.8m2

Stair Regulations

Double beds on mezzanine platforms

Stairs leading from the first floor to the large ground floor bathrooms

Concept sketch visual (not to scale) X-ray screen shot of 3D model (to scale)

Small kitchen and dining area

Large bath/hot tub

Original nave and main enterance/corridoor leading to pubic area and

the receptionDouble height

Original nave and main enterance/corridoor leading to pubic seating area (with a bespoke semi-circular sofa bench and the reception

Initial Visualizations

Bath/Hot tub

Sink & toilet

Stairs leading from first floor (bedroom) to the ground floor

(bathroom)

Each room is mirrored and almost interlock on the ground and first floors

to maximise the size of the rooms

3D wireframe sketches

3D wireframe sketches

3D wireframe sketches

3D wireframe sketches

Schedule of Accommodation

First floor

Main corridor

6 Bedrooms

Mezzanine platforms

Double bed

Ladder

Kitchenette

Sink

Oven

Cupboards

Reception/ Lobby

Self check-in touch screen

Printer

Bespoke sofa/seating

Public viewing area

Ground floor

Food and laundry storage

Stairs

Bathrooms

Toilet

Basin

Bath/Hot tub

Hotel Programme

Car Park/Street entrance

Existing double doors Original nave - Main corridorStreet fontage

Bedrooms

Mezzanine platform

Self check in comupter

Public viewing area

Double Bed

Stairs

Bathroom

Toilet

Sink

Bath

Kitchen

TableSofa

Sink

Hob

Plants/Herbs

Hanging Lights

Ladder Bespoke Semi-circlular SofaTwo Windows

Food and Laundry Store

Washing MachineFridge & Freezer

Area and material requirements

(7.45x18.7m =136.315m2) x 2 = 278m2 - 22 m = 276m2

The blue area shows the area where the reclaimed wood floor and ceiling will be - the floor space will need 136.315m2 of wood and the ceiling will require the same minus 2m2 because of the flight of stairs which enter through the ceiling.

(7.45x2.121m =15.80m2) x 2 = 31.6m2 x 6 = 189.6m2

(Long Walls)

2.88x2.121m = 6.10m2 x 2 =12.2m2 x 6 =73.2m2

(Short walls)

= 189.6m2 + 73.2m2 = 262.8m2

The short and long walls of the six bathrooms require 262.8m2 of stacked and sliced log finish

The Bathrooms

Final Visuals

Public Area

The Bathrooms

Living/Kitchen Bedroom Space

Reflection

Why does the design work?

The design is based on a mix of the pure and basic spirituality of the hovering beds, high walls and high ceilings in contrast to the basement bathrooms which provide a cosy and humble enviroment to relax in after a day of actvities. The space has been used to its full potential, not only by making the rooms large and spacious for guests but also my fitting six large bedrooms, kitchenettes and bathrooms into a relatively small space which is good for the Clients business - without compromising comfort and luxury. I think the design respects the former use as a Church (by retaining the nave) and by making the original architecture a focal point in the building, the barrel vaulted ceilings and the existing windows play a huge old in the interiors atmosphere. I am also glad that I based my design concept around the St Michael’s Way walk, I think the spiritual feel of the former church compliments a walking holiday.