y2 architecture design portfolio

Second Year Design PortfolioThomas Fairbrother

housescapes

Mixed-use housing development next to the Millennium Stadium and Cardiff Central station.

At the junction of Cardiffs main transport links, this development creates a vibrant and sustainable artistic community and establishes an event place for artists to display their talents to a wide, varied and changing audience.

The concept stems from an initial group study into efficient structures. We chose mushrooms because of their formal variation and adaptation to all sorts of landscapes and how we could emulate the play of light on the fins underneath. In order to understand their structural efficiency further, we parametrically modelled the organism which allowed us to create many variations using the same rules. We then digitally fabricated one instance using laser cutting.

Critical post inhabitant studies of Nakagin Capsule Tower and Marina City projects highlighted previous errors in high capacity vertical accommodation.

I aimed also to introduce green space to increase biodiversity and open the site to the river Taf alongside.

Clarissa Evans | Sara McMullan | Sam Giles | Thomas Fairbrother

My design developed through a mixture of sketching and modelling. My initial idea was to design a high rise tower, to compete with other large scale buildings in the area. It would take the mushroom idea of repeated structural elements/ribs around a central core. These ribs would operate as the main structural system and incorporate services running vertically through them. It would also serve as the buildings formal expression. It would allow the public to experience the structural system at a personal level when entering and travelling through the building. Also, the ability to see right through the building, results in a greater legibility of the structure, due to its simplicity.

Here are some more working models. One the left, the white rubber block represents how a housing unit may nestle inside these ribs. The model to the right shows the idea of designing prefabricated units which, although also sit between the structural ribs, jut out, more like the nakagin tower. It also talks about how retail units may extend out at ground level from the same central focal point, tying the development together. The arrow shows how I intend the pedestrian traffic to flow through the site from the station to the stadium.

Here I was thinking about how I could incorporate public seating at ground level with a light well to give ample lighting to the space below ground. Getting light below ground is important as I am intending on the development to be for artists and so this would light their studio or retail/gallery space. One side is higher so that, when orientated correctly, light may be reflected into the space below. Reflected light provides better working conditions than direct sunlight for artists.

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new water bus station/waiting room

cafes, restaurants and bars

exible studio/gallery/retail space for artists

NBelow ground site plan 1:200

Basement plan 1:500

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space given to facilitate community events or pop up retail

service lift from car park to retail level

Open air cinema Outdoor public performance space

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1. Plant room2. Refuse collection area

3. Passenger drop o area4. Car park for residents and station

5. Temporary delivery parking6 Service lift

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South section 1:200

East section 1:200

mapping the micro-scale

Careful analysis of the urban realm looking at specifics of a site to understand the character of Barry. This was a primer project before our figure ground project (the level @barry).

The output was a stop motion film of two views of Barry over the same 4 hour period. It illustrates the difference between a commercial public space and a residential public space. We also created 1:1 repli-cas of the ground on both sites. With this we performed accumulation studies of chewing gun, cigarette butts, vegetation and other rubbish in order to draw more comparisons. We presented the film and plotted the ground 1:1 to communicate our findings to the rest of the year.

1Chewing gum Cigarette butts Vegetation Other rubbish

Micro-accumulation study

Site 1 5124'22.25"N, 315'56.62"W

140A Holton Roadbuilt ~1980

1. Worn road markings2. Drainage issues3. Loose protuding brick4. Concrete infill5. Metal service covers6. Lamppost7. Bin / ashtray

Site 2 5124'13.94"N, 315'40.67"W

90 - 92 Castleland Street built ~1900

1. Cracked paving slab2. Root disruption to paving3. Carved water channel4. service covers5. Water eroded paving slabs6. Mismatched paving slab7. Parked car8. Concrete inll

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Lawrence Lynch, Sher Min Tan, Tom Cooper-Cocks, Tom Fairbrother

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Chewing gum Cigarette butts Vegetation Other rubbish


Site 1 5124'22.25"N, 315'56.62"W



Site 2 5124'13.94"N, 315'40.67"W



Site plans

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Site 1 5124'22.25"N, 315'56.62"W



Site 2 5124'13.94"N, 315'40.67"W



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Site 1 5124'22.25"N, 315'56.62"W



Site 2 5124'13.94"N, 315'40.67"W



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Site 1 5124'22.25"N, 315'56.62"W



Site 2 5124'13.94"N, 315'40.67"W



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Site 1 5124'22.25"N, 315'56.62"W



Site 2 5124'13.94"N, 315'40.67"W



Site plans

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the level @barry

Performing arts centre influenced by Welsh coal mine typology in Barry, South Wales.

Thompson street was a thriving community and main transport link between the docks and town centre.The decline of the coal industry saw unemployment and desertification of the street. Victorian buildings on the street were demolished in 1970s, erasing all traces of the previous community. To remind future generations of their heritage, I played with the typology of a welsh coal mine as a framework for a performing arts centre.

The section through the site invites excavation like a coal level, a horizontal cut into the landscape. The atmosphere of underground, industrial spaces is fittingly theatrical for the programme.

Instead of containing the programme inside one building on site, I aimed to populate the area with several smaller structures, linked by a circulation spine. This idea stems from interest in the situationist school, creating a unite dambiance instead of a unite dhabitation, inhabiting public space and movement.

The underground theatre is supplied by the tower above through an interface at ground level. The tower communicates to the public what is going on below ground. Cafe and rehearsal spaces are housed in structures above ground along the spine.

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Tower

1 rooftop viewing area

2 writing room

3 interior viewing area

4 water tank

5 access to service grid

Workshop

6 ground floor

7 mezzanine floor Sheds

8 practise room 1

9 practise room 2

10 rehearsal theatre

11 waiting room

12 dressing room 1 w/ WC


14 storage and delivery serice area

15 temporary gallery space/cafe

overflow

16 bar and cafe

17 box office

18 disabled WC

19 male WC

20 female WC

21 admin office

Theatre

22 public entrance to theatre

23 staff entrance to theatre

24 cloakroom

25 control box

26 main auditorium balcony level

27 cleaners room

28 foyer

29 male WC

30 female WC

31 main auditorium seating level

32 costume storage

33 green room



36 waiting area

37 stage set door and storage

38 performers entrance

39 main stagen sunken

40 mock up stage area

Other

41 main public square

42 meadow terraces

43 outdoor auditorium

44 outdoor cafe overflow /

performance spaces

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the level @ Barry

1:200 schematic axo

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MANIFESTOSince the dissolution of the coal and merchant industries, Barry, specifically Thompson Street, has lost its character and identity.

During the industrial boom, Barry expanded rapidly and Thompson Street was at the heart of the action; a thriving and bustling community with a varied and encompassing programme. In the 70s, its community was driven out and architectural atmosphere lost when the buildings on the street were demolished, taking with it the soul of one of the vital links between the town and docks. Barry council has since decided to reconnect the dock area with the town and this project will aid the restoration of this main artery. The town has also lost most of its performance venues. Theatre is a powerful medium and has the ability to alter peoples perceptions of reality. It is an essential part of society and necessary to improve the wellbeing of the people of Barry.

The past identity of Thompson Street is not salvageable and there is no sense in attempting to restore the past character of the street based on memories, recollections or nostalgic thoughts. However, it is also important that the street not lose touch with its heritage.

I propose to construct a performing arts complex based on the indigenous industrial typology of the Welsh coal mine. The strong atmospheric qualities of the mines are powerful and something that I will aim to capture and I believe would suit a theatrical environment. The industrial nature of this precedent should result in functional and legible spaces as seen in Ash Sakulas boiler house and Haworth Tompkins Temporary Almeida theatre. The intervention should somehow reinstate the lost performance culture of Barry and catalyse the regeneration of Thompson Street in a sustainable fashion, providing it with a new focus and identity. The intervention must be an inviting welcoming and inclusive place for the people of Barry. Those young people using the space are likely to not have experienced a theatre environment before. The main performance space must be a place that is respected by both performers and audience and be somewhat imposing and disciplinary. Intervention must not be restricted by site boundaries and should integrate with existing environment. The project must have an aspiration for permanence and longevity. The intervention should be seen as an opportunity to improve the urban realm and the town of Barry.

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the Level @ Barry

1:100 SW Thompson Street section

1:100 Aerial plan

4

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1 Tower 3 a writing room

2 Tower 2 a interior viewing area b water tank

3 Tower 1 a Access to service grid

4 Sheds 2, Workshop 1 a practise room 1 b practise room 2 c rehearsaltheatre d mezzanine level

5 Sheds 1, Workshop G a waiting room b dressing room 1 w/ WC c dressing room 2 w/ WC d meadow terraces

6 Sheds G, Theatre -1 a storage and delivery serice area b temporary gallery space/ cafe overflow c bar and cafe d box office e disabled WC f male WC g female WC h admin office i outdoor auditorium j outdoor cafe overflow and performance spaces k public entrance to theatre l staff entrance to theatre m cloakroom n control box o main auditorium balcony level p main public square

7 Theatre -2 a cleaners room b foyer c male WC d female WC e main auditorium seating level

8 Theatre -3 a costume storage b green room c dressing room 1 w/ WC d dressing room 2 w/ WC e waiting area f stage set door and storage g performers entrance h main stagen sunken i mock up stage

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1:20 Detail section through tower and auditorium

1 120x100x12mm steel handrail2 2mm white fabric gauze3 LED screen4 8x70mm steel fascia5 10mm steel bolt6 160x115x12mm steel beam7 100x12mm steel mesh8 30mm glazing9 2mm lead sheeting10 6mm spacetherm aerogel insulation11 12mm ply board12 260x280x20mm steel beam13 20mm plasterboard14 50mm recessed steel bolt15 280x120x20 steel I beam16 50x50x8mm steel cage17 300x300x24mm steel square section bracing18 24mm ply board19 12mm anti-theft steel grid20 30mm structural steel grid and light reflector21 60mm steel infill panel22 60mm glazing infill panel23 1000mm in-situ reinforced concrete24 180x100x12mm steel handrail/beam25 12mm steel plate26 24mm ply board27 50x50x8mm steel stage framework and stools28 300mm reinforced concrete floor slab and wall29 1000mm concrete raft foundations30 2mm waterproof membrane31 very hard clay

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MANIFESTO

Since the dissolution of the coal and merchant industries,

Barry, specifically Thompson Street, has lost its character and

identity.

During the industrial boom, Barry expanded rapidly and Thompson

Street was at the heart of the action; a thriving and bustling

community with a varied and encompassing programme. In the 70s,

its community was driven out and architectural atmosphere lost

when the buildings on the street were demolished, taking with it

the soul of one of the vital links between the town and docks.

Barry council has since decided to reconnect the dock area with

the town and this project will aid the restoration of this main

artery. The town has also lost most of its performance venues.

Theatre is a powerful medium and has the ability to alter peoples

perceptions of reality. It is an essential part of society and

necessary to improve the wellbeing of the people of Barry.

The past identity of Thompson Street is not salvageable and there

is no sense in attempting to restore the past character of the

street based on memories, recollections or nostalgic thoughts.

However, it is also important that the street not lose touch

with its heritage.

I propose to construct a performing arts complex based on the

indigenous industrial typology of the Welsh coal mine. The strong

atmospheric qualities of the mines are powerful and something

that I will aim to capture and I believe would suit a theatrical

environment. The industrial nature of this precedent should

result in functional and legible spaces as seen in Ash Sakulas

boiler house and Haworth Tompkins Temporary Almeida theatre.

The intervention should somehow reinstate the lost performance

culture of Barry and catalyse the regeneration of Thompson

Street in a sustainable fashion, providing it with a new focus

and identity.

The intervention must be an inviting welcoming and inclusive

place for the people of Barry. Those young people using the

space are likely to not have experienced a theatre environment

before. The main performance space must be a place that is

respected by both performers and audience and be somewhat imposing

and disciplinary. Intervention must not be restricted by site

boundaries and should integrate with existing environment. The

project must have an aspiration for permanence and longevity.

The intervention should be seen as an opportunity to improve the

urban realm and the town of Barry.


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the Level @ Barry


1:100 Aerial plan

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1 Tower 3

a writing room

2 Tower 2

a interior viewing area

b water tank

3 Tower 1

a Access to service grid

4 Sheds 2, Workshop 1

a practise room 1

b practise room 2

c rehearsaltheatre

d mezzanine level

5 Sheds 1, Workshop G

a waiting room

b dressing room 1 w/ WC

c dressing room 2 w/ WC

d meadow terraces

6 Sheds G, Theatre -1

a storage and delivery serice area

b temporary gallery space/

cafe overflow

c bar and cafe

d box office

e disabled WC

f male WC

g female WC

h admin office

i outdoor auditorium

j outdoor cafe overflow and

performance spaces

k public entrance to theatre

l staff entrance to theatre

m cloakroom

n control box

o main auditorium balcony level

p main public square

7 Theatre -2

a cleaners room

b foyer

c male WC

d female WC

e main auditorium seating level

8 Theatre -3

a costume storage

b green room

c dressing room 1 w/ WC

d dressing room 2 w/ WC

e waiting area

f stage set door and storage

g performers entrance

h main stagen sunken

i mock up stage


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1:20 Detail section through tower and

auditorium

1 120x100x12mm steel handrail

2 2mm white fabric gauze

3 LED screen

4 8x70mm steel fascia

5 10mm steel bolt

6 160x115x12mm steel beam

7 100x12mm steel mesh

8 30mm glazing

9 2mm lead sheeting

10 6mm spacetherm aerogel insulation

11 12mm ply board

12 260x280x20mm steel beam

13 20mm plasterboard

14 50mm recessed steel bolt

15 280x120x20 steel I beam

16 50x50x8mm steel cage

17 300x300x24mm steel square section bracing

18 24mm ply board

19 12mm anti-theft steel grid

20 30mm structural steel grid and light reflector

21 60mm steel infill panel

22 60mm glazing infill panel

23 1000mm in-situ reinforced concrete

24 180x100x12mm steel handrail/beam

25 12mm steel plate

26 24mm ply board

27 50x50x8mm steel stage framework and stools

28 300mm reinforced concrete floor slab and wall

29 1000mm concrete raft foundations

30 2mm waterproof membrane

31 very hard clay

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MANIFESTOSince the dissolution of the coal and merchant industries, Barry, specifically Thompson Street, has lost its character and identity.

During the industrial boom, Barry expanded rapidly and Thompson Street was at the heart of the action; a thriving and bustling community with a varied and encompassing programme. In the 70s, its community was driven out and architectural atmosphere lost when the buildings on the street were demolished, taking with it the soul of one of the vital links between the town and docks. Barry council has since decided to reconnect the dock area with the town and this project will aid the restoration of this main artery. The town has also lost most of its performance venues. Theatre is a powerful medium and has the ability to alter peoples perceptions of reality. It is an essential part of society and necessary to improve the wellbeing of the people of Barry.

The past identity of Thompson Street is not salvageable and there is no sense in attempting to restore the past character of the street based on memories, recollections or nostalgic thoughts. However, it is also important that the street not lose touch with its heritage.

I propose to construct a performing arts complex based on the indigenous industrial typology of the Welsh coal mine. The strong atmospheric qualities of the mines are powerful and something that I will aim to capture and I believe would suit a theatrical environment. The industrial nature of this precedent should result in functional and legible spaces as seen in Ash Sakulas boiler house and Haworth Tompkins Temporary Almeida theatre. The intervention should somehow reinstate the lost performance culture of Barry and catalyse the regeneration of Thompson Street in a sustainable fashion, providing it with a new focus and identity. The intervention must be an inviting welcoming and inclusive place for the people of Barry. Those young people using the space are likely to not have experienced a theatre environment before. The main performance space must be a place that is respected by both performers and audience and be somewhat imposing and disciplinary. Intervention must not be restricted by site boundaries and should integrate with existing environment. The project must have an aspiration for permanence and longevity. The intervention should be seen as an opportunity to improve the urban realm and the town of Barry.

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the Level @ Barry


1:100 Aerial plan

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1 Tower 3 a writing room

2 Tower 2 a interior viewing area b water tank

3 Tower 1 a Access to service grid

4 Sheds 2, Workshop 1 a practise room 1 b practise room 2 c rehearsaltheatre d mezzanine level

5 Sheds 1, Workshop G a waiting room b dressing room 1 w/ WC c dressing room 2 w/ WC d meadow terraces

6 Sheds G, Theatre -1 a storage and delivery serice area b temporary gallery space/ cafe overflow c bar and cafe d box office e disabled WC f male WC g female WC h admin office i outdoor auditorium j outdoor cafe overflow and performance spaces k public entrance to theatre l staff entrance to theatre m cloakroom n control box o main auditorium balcony level p main public square

7 Theatre -2 a cleaners room b foyer c male WC d female WC e main auditorium seating level

8 Theatre -3 a costume storage b green room c dressing room 1 w/ WC d dressing room 2 w/ WC e waiting area f stage set door and storage g performers entrance h main stagen sunken i mock up stage

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1:20 Detail section through tower and auditorium

1 120x100x12mm steel handrail2 2mm white fabric gauze3 LED screen4 8x70mm steel fascia5 10mm steel bolt6 160x115x12mm steel beam7 100x12mm steel mesh8 30mm glazing9 2mm lead sheeting10 6mm spacetherm aerogel insulation11 12mm ply board12 260x280x20mm steel beam13 20mm plasterboard14 50mm recessed steel bolt15 280x120x20 steel I beam16 50x50x8mm steel cage17 300x300x24mm steel square section bracing18 24mm ply board19 12mm anti-theft steel grid20 30mm structural steel grid and light reflector21 60mm steel infill panel22 60mm glazing infill panel23 1000mm in-situ reinforced concrete24 180x100x12mm steel handrail/beam25 12mm steel plate26 24mm ply board27 50x50x8mm steel stage framework and stools28 300mm reinforced concrete floor slab and wall29 1000mm concrete raft foundations30 2mm waterproof membrane31 very hard clay

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plaque tournante/ unite

dambianceThomas Fairbrother

The proposal consists, instead of one singular building, a collection of structures dotted around a certain locality in Barry. By doing so I aim to design a unite dambiance, thus increasing the area of influence the architecture has and create a wider artistic environment. As the situationists put it, bring the art from inside the gallery to the streets. By keeping to the existing street plan for the arrangement of the structure the intervention is knitted into the urban fabric.

The programme is a theatre and the main performance space is underground below the tower, but I have tried to expand this theme of performance to the landscape too by designing small dwelling spaces which may be inhabited by performers. There is a more formal theatre dug into the public space facing Thompson street which follows the dimensions and sits on the axis of the main theatre. There is also a sunken area along a route exiting the west of the site which may be inhabited by buskers and a third enveloping wall which may host an outdoor music stage. The cafe, bar, box office and WCs sit within the central building.

The public space is split in two by the spine of vernacular buildings in the centre of the scheme. There is a contrast between heavy industrial and man made(taking influence form the coal industry previously supporting Thompson street) with light and natural. The buildings define this by their contrast in elevations. One side acting as a concrete facade casting shadow over the Thompson street side of the scheme and the other seeming to float with glazing to allow the light to inhabit the spaces. The landscaping is also reflected in this way by textures, rough concrete versus wildflower meadow terraces

I have outlined a potential route one may take from the town centre to the theatre.It explains how one has to pass through the darker area to get to the light. One gets glimpses of the light landscape behind the facade and is drawn in. They descend a series of steps and traverse the industrial environment. Then the squeeze through an opening in the facade and this opens up to the landscape below.

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town centre

Thompson Street

wildflowermeadowterraces

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Concept that richer and more successful public realm is achieved through a multitude or layering of architectural intervention rather than one building. Situationists coined the term unite dambiance as a counter arguement to Corbusiers unite dhabitation. plaque tournante is another term for this idea. It is difficult to translate but is similar to a turntable or node. It is used to describe certain localities of public realm which a stumbled upon whilst drifting through a city. Situationists mapped these plaque tournantes in their unique way. It opposed the cartesian logic of ordinary street maps and instead recorded more experiential and favourable alternative routes.

Reading and other interests

A selection of books, projects and practises which influenced second year work.

Darius Woo Entropic States + Dirty Architecture

Lina Bo Bardis: Teatro Oficina (Sao Paolo)

Practice Architecture

Carmody Groarke Studio East Dining

priva-seat

In May 2012 I visited Istanbul as part of a workshop, Instrumentalizing Istanbul. We proposed the following:

Cities evolve through a process of RE-TUNING

City = InstrumentInhabitants = PerformersActivity = Music

When the music sounds out of key, the instrument is retuned by the performers in order for the music to sound better. It is the way in which cities are retuned which gives them their character. Istanbulians retune their city through a process of primitive adaption and manipulation of the urban fabric. These are often cheap and quick alterations using found materials. In many western cities, efforts are being made to explore and encourage this experimental behaviour, routinely exhibited in Istanbul. The unsterility of Istanbul is partly due to their climate, culture and lack of regulation and formulates a busy, exciting and lively city. Over-sterilised modern cites have much to learn from the dynamic and organic evolutionary nature of Istanbul.

Users of the site were seeking isolation from the city so we wanted to construct a seat which allows for maximum isolation. When one transforms the surface to a seat, they create an isolated space. The seat back simultaneously acts as a visual barrier and drawbridge removing access to the private space.

y2 architecture design portfolio

Documents

ground level

structural ribs

reflected light

open site

play of light

artistsnbelow ground

housing development

main structural system