FMP | Refine... - W4

REFINING.

After last weeks tutorial, I was left slightly deflated. The process I had been living by and envisioning for my FMP, all seemed to make sense in my mind, but once I had to vocalise this process... It all went downhill from there. I only needed to look at the facial expressions around me and the sound of silence. A clear indicator I needed to reorganise my ideas.

My concept of contradicting and disrupting specific areas of London didn't seem to be understood. I tried to explain every ounce of my process. From this I learned, I had to thoroughly prepare for the tutorials, but first and foremost, pick out the key turning points, changes, new thoughts that have concretely shaped my (work in progress) final outcome.

If my blog has been misunderstood so far, below I have attempted to summarise the key points/subjects in my FMP presently:

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So far…

- Chiaroscuro

-       Baroque art

-       English baroque architecture (identifying chiaroscuro)

                                    Urban book 'Transforming Cities' (ephemeral structures) & London DVD

-       Revising through proposal, revisiting gentrification (thames), tutorial – where on the thames?

-       Thames maps (history, to help with the function), chose location from the lectures, 

-       Crit started to think of a series that tied the ideas of contradiction –

-       visited the location, was drawn to the alien atmosphere in the centre (middle dock)
- Materials Lab
- Squares

-       Netherlands (market) squares - paid slightly more attention to this in Holland

-       Starting designing contradictions (baroque in dock), remember baroque is to show off, glorify. Bringing back the history of the map, use it in baroque context. Glorify a market! – Designing started

-       Designs of market in the middle dock
- Model

simplifying series

Getting to understand what my final piece will potentially be has taken a lengthy process. I had concrete research at the beginning (Baroque locations), and after this as I went onto research into the history of my location and looked at maps. I diverted into many turns including: London DVD and the 'Transforming Cities' book. Although this was slightly off topic, it still shaped how I got to where I am now.

A few quotes from the documentary 'London', which have acted as a baseline towards my project:

'Sometimes I see the whole city as a monument (to Rimbaud)'

'The life here, like the air here, is bad for the weak, for the frail, for one who seeks props outside himself, for one who seeks welcome sympathy, attention.'

'The masses are saved by battling for their daily bread, the commercial classes by their absorption is heaping up wealth and all, by the bustle of business.'
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My trip to the Netherlands, I believe has allowed me to simplify potential ideas for the final piece. Rotterdam seemed to have this effect, as many of the buildings and structures' functions were to confusing to the viewer. The buildings and spaces weren’t abstract, but they were playful and simple structures. I realised that I had previously tried to over complicate my initial concept, and diverted off my concept to some extent. It was still relating to the urban location, just slightly off the topic of gentrification. I mentioned gentrification in my proposal, wanting to show the effects of this process in the space/structure. For example, representing the statistics in the shape and form of the building. Looking at my current work, I haven’t seemed to show this in my designs, but a minute aspect of gentrification is still seen in my work. The location of my structure being close to the River Thames relates to gentrification by the River Thames, which is what I had researched in my first project.

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Revisiting data and continuing with designs

The roofs of this design were initially taking on the form of an elongated dome from Wren's domes at Old Royal Navy College. Although, as I continued to sketch, the shape took not he influences of the curved shape of the Markthal. The two structures would be identical, with a concrete bridge joining the two structures together. In green, I included a lift in the design, but as I went to research if constructing a lift on water was possible, I found that it was not achievable. However, stairs were possible but a minimum height for the building would need to be in place.

The path would be formed from a concrete flume. I found this piece of engineering when researching if concrete could float on water. Architects Cumulus Studio used a concrete flume to create a 250m concrete pier.  

Concrete Flume 

After not having great successes with my maps at the British Library, I went on to find some books on the subject of gentrification or regeneration around the Docklands. Gentrification usually causes an increase in house prices as well as employment, this was evident in the London Docklands in the 1960's and 90's when it was being redeveloped. Taking note of these statistics, I converted them into graphs just for the visual pattern. 

This research had lingered in my book and I was unsure on whether to use the information or not. Although after starting to reflect on the concrete flume, which is just a straight path, I questioned 'what does the pier provide to a human?'. Support. Safety. Stability. These characteristics are also traits of what a job and home gives. In this present day a job and shelter are considered to be the infrastructure to one's life.

So I converted these trends, the foundation to one's life, into the shapes of the floating concrete path I would use in the middle dock to connect the market stall to the dock edge. In this sense, the concrete pathway would be a symbol the fluctuation of employment and house prices, the base support to one's life, which in essence is what bridges and paths are for.

From here, I began working out what construction methods would need to be used for large floating structures. Using concrete piles appeared to be the most efficient option. The spacing of the piles would be double the diameter of the pile. The piles I would be using would be 700mm in diameter, as this is a standard diameter for concrete piles. This worked well as the middle dock's water depth is 8500mm. 

I used the BGS borehole finder to find out the depth of the geology of the middle dock, which allowed me to determine what piles I would use.

I believed that drilling holes into the ground would be an issue, but after having seen the borehole map, I found that holes are actually constantly being driven into the ground.

At this point, I was slightly held back because I researched too much into the engineering aspect of the structure. Since the structure would need piles, in order to work out how many pile were needed, I had to find out the volume and density of the structure. I then used a website that had a 'concrete calculator', from this I could get a rough idea of the approximate weight. This ended up being slightly too complicated, and so I spoke to my peers about this dilemma and found a solution. This would be to use the standard piles used for standard floating structures.

The system I would use for the bridge would be a standard floating decking system and flotation blocks. This is one of the easiest construction methods for structures that stay afloat on shallow water.

Focusing on the roof design, which resulted in a viewing platform/gallery.

Experimenting with the shapes of the overall floor, my sketches led me onto repetitively drawing each floor multiple times, with each floor decreasing in size because on the ground floor, I want the focus to be on the market stalls.

I also began to open up the shape of the alcoves I created before, to experiment with different forms.

Expanding from my further designs

I did not take these forms any further in my designs, as I felt it became too abstract for my concept.

Sketchup

To speed up the process, I transferred my designs onto sketchup. Whilst creating the forms on the software, I did multiple variations of the forms I was going to use. I had to do this because I felt having one set design would not allow me to explore different routes into evolving my design into something more meaningful.

Once I added my vague structure to the location, it becomes evident that I would not be able to have the location in the final model because the floating structure would appear as a small dot in comparison to Canary Wharf, if it was on a scale of 1:100.

Middle Dock illustrator file, no longer of use due to scaling issues

FMP | First designs, Markets and materials - W3

As I have overrun on my research schedule, I have now need to hold back on the research and start designing. However, I stopped by the Materials Lab to give myself a sense of what textures I could potentially use in my designs, and possibly create a multi sensory journey within the market stall.
Whilst at the materials lab, I started to think about the 'series' I aimed to produce. I took on a 'themed' approach whilst navigating around the store, which meant I picked out materials not individually and then putting them together, but I chose them in clusters and then identified materials that I felt wouldn't fit with the theme. 
Below are a few examples, of materials that could achieve the atmospheric conditions I wanted with a short explanation:

'Neglect'

 

These deconstructed elements of cracks and slices in these samples enhance the texture, which would therefore enhance the multi sensory approach in the space because people would have the urge to want to touch these strange textures. The colours I have chosen are quite solemn and dark because the interior of this space would be placed into an area that hasn't been regenerated or gentrified. In this sense, the interior would 'ruin' or 'disrupt' the well maintained environment such as Canary Wharf.

'Modernised Baroque materials..?'

Here I have chosen materials that could take on a Baroque influenced structure, however its 'perfected rugged' look doesn't seem authentic enough to pose as something for the Baroque influence I wanted. For example, the first image is called 'Sugarcane', which recreates a marble effect for a column. I chose this material not for the marble effect, but for the shape it is in, which shows that when I add columns to my structure, this material could possibly be used.
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From seeing these materials, it made me realise that it did not seem to be possible to recreate raw materials with technology and create an authentic look. The samples I saw that aimed to appear like raw materials all seemed to perfected. If one would like to create authentic looking wood panels, it would be better to use the natural wood itself, but one must use it considerately.
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To heighten the sensory experience of the user of the space, they would have to remove their shoes to enter, as the floor would be carpet. Having carpet gives a soft foundation for a person when they walk upon the carpet, this would mean making the person more comfortable in the space they are in. 

I chose this sample especially because it was made up many intriguing layers, which gave the sample a slight bounce. If carpet was to be used, furniture may not necessarily be needed since people could even lie down and relax in the alcoves.

'Trapped'

One of themes I had gathered was the feelings of some of the people who were affected by Gentrification. In many articles, the same words seemed to repeat itself. No one seemed to be on their side to help them , and they felt they were left out of the process. 

From this observation, I have found samples of steel and wire, which could represent these feelings and it might it even create a stern confined atmosphere in the space.
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The materials that I have picked out from materials lab are not for the model itself but for the structure in reality. 

'Foliage'
These materials could potentially be seen in an area that doesn't have much greenery or foliage in their surroundings, and these materials that are 'wood' renditions could create a forestry visual in possibly a built up steel and glass environment or an area that is purely concrete. However, after leaving the store I realised that the materials were slightly too pre fabricated to create a 'forest' vibe. On a positive note, the textures that were made from new technologies were incredible because I hadn't seen such a variety of combinations of materials all conjoined into one sample.

Forest atmospheres 

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OFFICIAL LOCATION

After looking at Thomas Milne's land use maps, I have concretely decided that I will be placing a market of some form, in the middle dock at Canary Wharf. 

One would think Canary Wharf would be place where you feel like you are continuously surrounded by strangers, but on a friday evening, there is a vibrant but intimidating atmosphere present. 
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REFERENCE TO 'INVISIBLE CITIES' - ITALO CALVINO.
The city of Chloe, appears to reflect more of the City of London rather than the small city of Canary Wharf dropped into a larger city.
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Markthal, Rotterdam
After having seen a very modernised version of how market stalls are presented, I was left inspired to 'glorify' something that isn't usually presented as grand.

Ceiling panels with the photos of the market stalls produce.

The Markthal is an extreme comparison to my local market, which inspired me even more to carry out the idea of placing a market on the middle dock.

Basic construction for stall

A tented stall

 I am using the middle dock because the water in contrast with its environment, it just seemed to just appear there for aesthetic, it was incredibly still. A ripple of water was merely in sight.


Brief sketches

Wanting to contradict the surroundings of Canary Wharf, I quickly sketched in the facade of the Old Royal Navy College into the middle dock. From just drawing the front, I wanted to keep the market stalls hidden away, almost something exclusive. Just like the offices at Canary Wharf.

Breaking up the Old Royal Navy College, Baroque facades hiding floating market stalls

Market stalls floating on water, in the middle of Baroque facade walls
Market stalls (circles and rectangles) on different floors

Concept model
Below, I have created a brief concept model made from copper, cardboard, foam board and tracing paper.

I began creating the base with wire continuously wrapped around cardboard, but it didn't appear to be aesthetically pleasing. So I change this to cutting thin tubes, which covered the whole base.

Experimenting with different floor forms

This concept model is suppose to take on the forms of the domes of the Old Royal navy college. The initial idea for the interior was to leave the middle space as open water, so one could look out to the water. I then realised there would be no surface space for people to wander round. 

Not to scale - I created Baroque window shaped holes in the top floor because it would integrate the Baroque aspect which is not seen in the Canary Wharf area, yet one can still see the middle dock.

The structure will be able to stay afloat on water on a concrete base. I have seen this firsthand at the flower markets in the Netherlands.

For a Baroque facade, I attempted to etch into the copper to create a simplified Baroque design. The designs didn't appear to clear in the copper and just seemed to be reflected in the light. 

Representation of materials - contradictions

The following are a few examples of materials that have an underlying meaning that relates to gentrification: 

Contradicting: Steel and Glass (outcome of gentrification...)

                        Stone (higher authority)

                        Parks (witness of gentrification)

Main subjects involved in Gentrification: Resident, Developer, Council

Each location has been picked in relation to these roles.