Sam Eadington

Architectural CV and Portfolio 2015

+44 (0)7513947580sameadington@gmail.comarchieado.tumblr.com@SamEArch

Ambitious third year Architecture student with a wide ranging interest in the field of art and design. Fluent inEnglish and Spanish, and an extremely fast learner with excellent communication skills. I Enjoy taking on challenges using initiative and creativity, both individually and as part of a team. An experienced designer with a passion for creating environmentally sustainable architectural spaces which respond to their context and can adapt to the changing realities of the users’ requirements.

University of Huddersfield 2012 - PresentCurrently in third year of study.Completed second year with an overall grade of 85%, gaining a first in every module.Won the ‘All Round Performance’ award in first year.

York College 2006 - 2008A and As Levels in Spanish, Design Technology, Sport and Business Studies. FA Level 1 Football Coaching Certificate.

The Ridgeway School, Swindon 2005 - 20068 GCSEs at grade A* to B Including Maths, Science and English.

IES La Cala de Mijas, Malaga, Spain 2005 - 2006Certificado de Educacion Segundario Obligatorio (Certificate of ObligatorySecondary Education).

Student Mentor, University of Huddersfield 2013 - 2015 As part of the mentoring team my principle role is to attend tutorials and reviews, providing advice to first and second year students on their projects. As a Mentor I make myself available to offer guidance and assistance to students outside of normal university hours, both in studio and via social media.

500 Words of Design Fanzine 2013 - 2015Founding columnist and installation designer for student publication ‘500 Words of Design’.

Halfords 2010 - 2013Part time sales assistant and cycle mechanic.

Swindon College 2010 - 2012 Purchasing and procurement officer.

Challenger Sports 2011 Coached junior football (soccer) across the states of Colorado, Utah and Wyoming in the USA throughout the summer of 2011.

• Fluent in English and Spanish• Model making• Hand drawing• Presentation concepts• Adobe Creative Suite (Ps, Ai & Id)• CAD - Rhinoceros, ArchiCAD, AutoCAD, Revit & Sketchup• Good knowledge of UK Building Regulations and Planning procedure • Understanding of RIBA Plan of Work

• Art, design and photography• Sport: Cycling, running, football & cricket • Foreign languages• Yoga• Travelling• Reading and writing

Sophia Emmanouils.emmanouil@hud.ac.ukArchitecture Lecturer at University of Huddersfield

Lesley VicatLesleyvicat@Swindon-College.ac.ukFinance Manager at Swindon College

• Won the ‘All Round Performance’ award in first year of architecture degree• Joint winner of the ‘Build Your Vendor a Shop’ one day group design competition• Selected to present second year Dalton Surgery Project to the surgery doctors• Selected to present Holmfirth group urban design proposal and individual design to Community Group• Awarded Merit in the Denis Mason Jones Freehand Sketching award by the West Yorkshire RIBA in 2012 and 1013• Represented the university of Huddersfield at RIBA North West ‘Northern Soul’ Charette in Stockport• Played a key role in establishing the Student Mentoring system at the University of Huddersfield• Helped to re-establish the Huddersfield Student Architecture Society, now known as HA3D• Captain of Huddersfield University Cycling Team and collaborated with the redesigning of the team logo and kit• Represented the Spanish national cricket team at all junior levels

Sam Eadington

Profile

Education Achievements Interests

References

Skills

Experience

Holme Valley topography model made from nails, plywood, concrete and wool

Architectural PortfolioSam Eadington

Sam EadingtonU1275772University of HuddersfieldTHA1840

1914: Event. Space. Form.

Third Year

This design project came with an open brief which allowed for the exploration of a conceptual design which creates a space for events to take place and which relates in some way to 1914.

Changing Landscapes1914 saw the start of World War 1. This war, thanks to artists such as Paul Nash and

his paintings which recorded the scenes from the battlefields, changed the way people perceived landscapes. Previously viewed as calm and unchanging, the war revealed

that landscapes could be transformed over night from peaceful sanctuaries of nature to shredded reminders of death and turmoil. What was once viewed as permanent, was

unsettlingly revealed to volatile and temporary.

Inspired by Nash and his eye opening works, I have taken the changing landscape, or townscape, of Huddersfield and used it to develop my own conceptual objective for this

project:

To create a design which explores and questions the notions of temporary and permanent

Changing TownscapeSince 1914 the streets of Huddersfield and the life between these

streets have evovled and changed as the needs and requirements of its people have moved along with time.

Despite the changes, many of the streets in the centre of Huddersfield have remained the same, and could therefore be

considered more permanent elements in a constantly changing and fluid landscape.

This drawing shows the steet plan of 2014 (top left) compared agains the street plan of 1914 (bottom left) to reveal the streets which have remained as permanent fixtures (centre left) over the last 100 years.

Through reduction (centre) and abstraction (centre right) I have derived a form (top right) for my design. This form represents what is percieved to be permanent within a an otherwise turbulent and

temporary landscape.

FramesI have interpreted the streets which

have remained constant over the past century as permanent frames between which a wide variety of

temporary activities exist and thrive.This interpretation is directly transfered to my design and is explored in this concept model.

FramesThis drawing explores temporary spacial and structural ideas

within a permanent framework and how they can overlap with one another both physically and through time. The permanent

structure is purposefully non prescriptive and ambiguous, allowing interventions to be varied in their response to, and

even encouraging them to break the framework.

My design took inspiration from Paul Nash’s paintings of war landscapes and how they questioned perceptions of permanence. I took the idea of changing landscapes and applied it to Huddersfield to create a design which provides a permanent frame for temporary events to take place within.

Using the street plan of Huddersfield’s changing townscape over the past 100 years, I abstracted a form for the design. This resulted in a composition of walls, between which a variety of events can occur.

The aim was to create an ambiguous and flexible intervention for an area of underused public space.

Plan 1:100

The open public space next to the bus station is surrounded by a number of different retailers, offices and services. The uses of

these surrounding buildings are not related and draw people into the space for a number of different reasons. The primary use of

the space is as a circulation route servicing the bus station which operates between through most of the day.

My design, a form and structure derived from a concept relating to the streets of Huddersfield, is not merely dropped on the site without consideration for, or relation to, the surrounding context. The abstract intervention intends to work with and

enhance the current public space.

The scale of the structure relates to the size of the site, surrounding buildings and circulation routes. The scale intends

to create two distinct areas on the site; within the structure and outside the structure. This creates two more focused areas

rather than the scattered unfocused uses which take place on the site at present.

The orientation of the design is crucial the success of the public space as a whole. The main considerations impacting upon the

orientation are the sun path and the circulation.

The final scale and orientation of the design accommodates the current circulation routes and allows the sunlight to penetrate through so as no to detract from the space to the North of the

structure.

The site slopes down from the bus station with a height difference of 2 meters between the top of the site and the

bottom. This slope is noticeable but not severe. In some areas the slope is responded to with the use of steps and in others it is

sloped.

The site is cluttered with a large amount of street furniture including benches, street lights, litter bins, large bins,

advertisement boards and bollards. This street furniture fragments the space and defines the primary routes of

circulation.

The fragmentation of the space and the circulation routes creates a lack of focus for the space. This is accentuated by the erratic

combination of uses inhabiting the surrounding buildings.

The open public space next to the bus station is surrounded by a number of different retailers, offices and services. The uses of

these surrounding buildings are not related and draw people into the space for a number of different reasons. The primary use of

the space is as a circulation route servicing the bus station which operates between through most of the day.

My design, a form and structure derived from a concept relating to the streets of Huddersfield, is not merely dropped on the site without consideration for, or relation to, the surrounding context. The abstract intervention intends to work with and

enhance the current public space.

The scale of the structure relates to the size of the site, surrounding buildings and circulation routes. The scale intends

to create two distinct areas on the site; within the structure and outside the structure. This creates two more focused areas

rather than the scattered unfocused uses which take place on the site at present.

The orientation of the design is crucial the success of the public space as a whole. The main considerations impacting upon the

orientation are the sun path and the circulation.

The final scale and orientation of the design accommodates the current circulation routes and allows the sunlight to penetrate through so as no to detract from the space to the North of the

structure.

The site slopes down from the bus station with a height difference of 2 meters between the top of the site and the

bottom. This slope is noticeable but not severe. In some areas the slope is responded to with the use of steps and in others it is

sloped.

The site is cluttered with a large amount of street furniture including benches, street lights, litter bins, large bins,

advertisement boards and bollards. This street furniture fragments the space and defines the primary routes of

circulation.

The fragmentation of the space and the circulation routes creates a lack of focus for the space. This is accentuated by the erratic

combination of uses inhabiting the surrounding buildings.

Having considered the response to context, the more finite requirements of the function are examined and the design’s

response to these refined.

The varying heights of the walls are less confrontational and rigid, making the otherwise linear structure a little more

organic.

The structure is designed to accommodate a variety of different temporary structures, therefore a variety of different spaces are

required if this objective is to be met.

The different wall heights create a greater range of spaces.

The plan of the structure creates spaces of different forms and sizes, however, with all the walls being the same height, the

variation is limited to the plan.

The structure is now more adaptable to greater variety of temporary structures to occupy it.

The heights of the walls have been varied to assist the structure in meeting its intended functional requirements as well as

further softening its scale to sit more comfortably within the context.

The final walls.

Having considered the response to context, the more finite requirements of the function are examined and the design’s

response to these refined.

The varying heights of the walls are less confrontational and rigid, making the otherwise linear structure a little more

organic.

The structure is designed to accommodate a variety of different temporary structures, therefore a variety of different spaces are

required if this objective is to be met.

The different wall heights create a greater range of spaces.

The plan of the structure creates spaces of different forms and sizes, however, with all the walls being the same height, the

variation is limited to the plan.

The structure is now more adaptable to greater variety of temporary structures to occupy it.

The heights of the walls have been varied to assist the structure in meeting its intended functional requirements as well as

further softening its scale to sit more comfortably within the context.

The final walls.

The construction of the walls begins with a public interaction art installation where the public are invited to paint on a large

stencil on the floor where the walls will be built.

A temporary scaffolding structure is constructed around where the walls are to be built.

The formwork for the concrete walls is built within the walls. Spaces for public inhabitation are also carved out of the

structure allowing for exhibitions and usage of the temporary structure during the construction of the final walls.

The concrete is then poured into the formwork within the scaffolding. The ground anchor bolts are fastened to the top of

the taller walls.

The scaffolding is then gradually removed over time

The stencil is removed to reveal the plan of the walls. A hole is dug and the foundations cast to create a sunken seating area which can be used as a public space before the next

structure is constructed.

A timber floor is suspended over the sunken void to continue the ground level.

The construction of the walls begins with a public interaction art installation where the public are invited to paint on a large

stencil on the floor where the walls will be built.

A temporary scaffolding structure is constructed around where the walls are to be built.

The formwork for the concrete walls is built within the walls. Spaces for public inhabitation are also carved out of the

structure allowing for exhibitions and usage of the temporary structure during the construction of the final walls.

The concrete is then poured into the formwork within the scaffolding. The ground anchor bolts are fastened to the top of

the taller walls.

The scaffolding is then gradually removed over time

The stencil is removed to reveal the plan of the walls. A hole is dug and the foundations cast to create a sunken seating area which can be used as a public space before the next

structure is constructed.

A timber floor is suspended over the sunken void to continue the ground level.

The walls provide a non prescriptive and ambiguous setting, allowing for a wide range of architectural and artistic responses to the space

Scaffolding StructureThe scaffolding structure is built as an inhabitable concrete formwork. The detail model (left)

shows a section through the timber scaffolding formwork before the concrete has been poured into it. The scaffolding is a simple grid structure which can be easily assembled, demounted and

reconstructed in another location.

The interior image (above) demonstrates an example of how the structure can inhabited and used as for events such as exhibitions.

The concrete for the walls is poured directly into the formwork within the structure. Once the concrete has set, the scaffolding structure can be gradually removed to reveal the finished

concrete walls.

Upper floor level

Timber scaffolding

Canvas

Concrete formwork

Steel reinforcement for concrete wall

Ground floor level

Subterranean void

Stepped concrete strip foundation

Holmfirth

Group Urban Study

&Individual

DesignImages of nail topography model used for group presentation of Holmfirth Urban Study. As a group we produced an urban plan consisting 8 separate interventions before embarking on individual projects to design a building.

Views from yoga studio

onto roof garden

North

New bridge creates pedestrian link between

Hollowgate and Huddersfield Road

Scale, form and orientation of the Yoga Centre

follow those of the vernacular4 Disabled parking spaces

available for building users

Minimal

glazin

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his el

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verlo

oking

from bu

ilding

s

and h

igh vo

lume o

f traff

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noise

pollut

ion on

Hudde

rsfield

Road.

Public

spac

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ted be

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Piccolin

o’s Res

tauran

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Yoga

CentrePriv

ate vie

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centr

al

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om with

in the

Yoga

Centre

Piccolino’s Restaurant

Dawson & Hall Menswear

Hobson’s Florist

Yoga Centre overlooked by buildings on

Hollowgate

Yoga Centre overlooked by

pedestrians on Hollowgate

Building flows w

ith sloping

topography of si

te

Views to and along River Holme

from Yoga Studio, cafe and curve

Building orientation takes advantage of avalable sunlight and thermal

solar gains with glazed openings on South facing alevations

Hollowgate

River Holme

Hudde

rsfield

Road

Yoga Studios

The building contains 2 yoga studios, one on the upper ground floor and one on the first floor, which can both comfortably hold classes of up to 24 people at a time. The studios have large glazed openings allowing them to be flooded with natural light in order to create a

natural ambience within the spaces.

Seating areas in the curve

These seating aThese seating areas provide an indoor public space for the people of Holmfirth. The space is intended to offer

users somewhere simple, calm and quiet where they can sit and read, chat or just enjoy a coffee and the views

along the river into the centre of Holmfirth or into the cen-tral garden area.

Cafe

The cafe serves drinks and light snacks such as quiche, sandwiches and cakes. There is an indoor seating area

which is open and spacious as well as a covered outdoor seating aoutdoor seating area which overlooks the river and

merges with the seating area of Piccolino's restaurant to form a vibrant outdoor public space.

There is also a meeting room on the lower ground floor which can be used by the Yoga Centre for teaching or hired out to other users with the option of catering from

the adjoining cafe.

Roof Garden

The roof garden is a quiet public space which responds to the locals' desire for

more green public space in Holmfirth. The garden also creates a private view from

the upper studio which is in an otherwise overlooked location.overlooked location.

Changing rooms

There are two changing rooms located on the upper ground floor, one for men and

one for women. They contain toilet, shower, changing and locker facilities for

users of the Yoga Centre.

Roof Garden

The roof garden is a quiet public space which responds to the locals' desire for

more green public space in Holmfirth. The garden also creates a private view from

the upper studio which is in an otherwise overlooked location.

Roof Garden

The roof garden is a quiet public space which responds to the locals' desire for

more green public space in Holmfirth. The garden also creates a private view from

the upper studio which is in an otherwise overlooked location.

Holmfirth Yoga CentreMy individual design proposal was a small Yoga Centre with a cafe and indoor public space. The design aims to responds to the towns need for more and improved exercise facilities while being a contemporary addition to the town’s strong vernacular.

Development of the Chair Design

I developed the design of the chair from early sketches through a series of sketch models before coming to the

final design for the chair.

Cafe Chairs

This is a chair I have designed for the cafe seating area. It is a simple This is a chair I have designed for the cafe seating area. It is a simple design that is easy to manufacture from cheap and easily accessible ma-terials. The chair is made primarily from 12mm plywood with string used for the backrest. The design allows for the separate components to slot

together without the need for complex joints. These components can all be cut from one single 600mm x 1000mm piece of plywood minimising waste in its production. The simple chair suits the relaxed and open space of the

cafe and reflects the minimal ethos of thecafe and reflects the minimal ethos of the Yoga Centre as a whole.

36mm x 40mm timber battons elevated 30mm from roof surface

Waterproof membrane

150mm rigid roof insulation

20mm structural plywood corssbracing portal frame

150mm sheep’s wool insulation

Gutter

200mm x 300mm glue laminated timber column200mm x 300mm glue laminated timber column

1.8 Brushed alluminium blurred mirror interior surface

12mm Plywood

100mm sheep’s wool insulation

150mm sheep’s wool insulation

4mm double layered translucent poly-c sheet

36mm x 40mm timber battons

100mm x 12mm reclaimed timber floorborads100mm x 12mm reclaimed timber floorborads

100mm sound insulation

18mm plywood

200mm x 200m glue laminated timber beam

Gutter grate

Lead lined gutter

340mm steel reinforced concrete retaining wall

WWaterproof membrane

100mm x 12mm reclaimed timber floorborads

80mm x 40mm timber floor joist

200mm rigid floor insulation

Damp proof membrane

Drainage pipe for water build up against retaining wall

Steel reinforced concrete strip foundation

1:20 detail section

45mm aluminium extruded profile on 43mm aluminium rail 50/70 RHS on ø 25mm threaded rod PUR sheeting 67mm corrugated metal160mm steel IPN I-beam280mm wide-flange steel HEB I-beam

ø 58mm polycarbonate pipe 10mm steel-flat fin, galvanised, laser-cut

150mm sheet-steel panel, insulated130mm steel IPM I-beam100mm sheet-steel panel, insulated

80mm steel IPN I-beam70mm thermal insulation2 x 15mm plasterboardSteel-cable suspension

100/50mm steel RHS between 2 x 200/100mm steel angles

Polycarbonate profile steel section, painted white

Blackout blind

Double glazing

Methacrylate profile, backlit with LEDSteel truss

20mm wood planks20/40mm battens

Reinforced conrete retaining wall

Reinforced concrete slab foundation

El Batel Auditorium Detail Model by Sam Eadington

El Batel Auditorium by SelgasCano AEl Batel Auditorium by SelgasCano Architects is located in the harbour town of Cartagena in Southern Spain. My detail model focuses on a section of the full height of the auditorim. The 1:20 model demonstrates the variety and complexity with the structure of the building as well as the range of materials used to perform different roles. Below the model is seen along side the detail drawing and to the left are closer detail images of parts of the model.the model.

Imgage A - Detail of the polycarbonate pipe facade designed to reflect the fluidity of the harbour in which the building sits.

Image B - The suspended innner walls of the auditorium hang independently from the structural exterior wall. Blue coloured polycarbonate shingles encase the auditorium and create an aquatic feel within the space

Image C - The lower portion of the structure is supported by a series of lightweight trusses to which the methacrylate (exterioir) and polycarbonate (interior) shingles are attached. Between the two walls is a band of glazing and blackout blind to provide control over the amount of natural light entering the building.A B C

This detail section model demonstrates a range of model making techniques and incorporates a number of different materials in order to communicate the technology utilised in this structure by SelgasCano Architects. The 1.2m tall model was free standing and self supporting and was displayed in Huddersfield University’s model exhibition.

This proposal focuses on bringing together the new Dalton Surgery and the current Library, Information and Children’s centre to allow for the facilities to be shared and for a new community centre to be created along with the new building. The new building comprises five blocks in which the surgery is housed, the ‘missing’ sixth block is an open outdoor footbal court and a

bridge linking with the LIC which contains a cafe and counselling rooms, all of which are wrapped by the facade to further reinforce the idea of bringing together the community facilities. The interior of the surgery has been designed with natural materials and a considered approach to natural light in order to allow patients to feel as comfortable and at ease as possible.

The reception area for the surgery Project concept model

A simple structure comprising five blocks and bridge space between the surgery and community facilities. The design is centred around creating an intuitively navigable place for patients which is also highly functional and flexible for the requirements of the doctors. This is achieved by using familiar forms and materials, with light used to guide patients through the different parts of the surgery.

This model is a book made of 21 sectional cuts through the building, allowing the architecture to be clearly throughout and the relationship between spaces clearly understood. The pages also contain plans and other drawings to further communicate the design. This model has been exhibited at a number of the University of Huddersfield’s shows and exhibitions.

KinetitectureAira Force Performance Venue & Ferry Landing

by Sam Eadington

The lakeside building acts as a gathering point between two ar-eas of movement. As a shelter with no clear boundary between inside and outside those who inhabit the space are constantly in touch with the climate and the external elements whilst still being sheltered from the worst that the weather has to throw at them. The internal layout is unique with its unorthodox combination of a small performance venue and ferry landing. This odd mixture of uses ensures that the building and the dramatic setting within which it sits are used to their full potential.

Pooley Bridge & Penrith

Glenrid

ding &

Wind

emere

Dockray

1:2000 North100 meters

Site PlanLocated on the southern shore of Aira Point to the West of the beck the new ferry landing connects Aira Force with the lake and encourages movement between the two locations along pathways, one of which is a more direct route to the lakeside building and the other a meandering route through the trees with a more wheelchair firendly gradient. The new lakeside building acts as hub for movement in the area very much in the same ways as the visitor centre at Aira Force which currently acts as a central point from which human movement emanates. This new hub links the current lines of movement that run along the lake’s edge with the lake itself and the lines of movement which take place upon it further linking Aira Force with the lactions such as Howtown.

The steep fells at either side of the valley mean that wind only ever flows in one of two possible directions. More often than not this area sees a fairly constant wind from a southwesterly direction as air currents flow through the valley, however, on days of less wind and higher air pressure the wind can come the opposite direction from the northern end of the lake.

Aira Force Car Park and Toilets

Aira Force Cafe

Kinetic Pathways linking Aira force with new ferry landing

New ferry landing

This project looked into using kinetic architecture in response to, and using specific climatic conditions. My design is a new ferry landing and performance venue on Lake Ullswater, England, and a link connecting it with the current Aira Force Visitor Centre.

The design is a contemporary but critically regional design which sits on both land and water. It not only improves the connection between land and water attractions in the area, but also provides a unique and atmospheric setting for performances

The lakeside building acts as a gathering point between two ar-eas of movement. As a shelter with no clear boundary between inside and outside those who inhabit the space are constantly in touch with the climate and the external elements whilst still being sheltered from the worst that the weather has to throw at them. The internal layout is unique with its unorthodox combination of a small performance venue and ferry landing. This odd mixture of uses ensures that the building and the dramatic setting within which it sits are used to their full potential.

Windmill - 3mm aluminium

Troff - 3mm curved aluminium

High tensile cable 9mm

Sliding timber facade shingle 100x50x-2000mm

Glass 12mm

Timber deck 50x100x2000mm

Longitudinal structural beam 100x200x-2000mm

Sliding timber facade shingle 100x50x-2000mm

The walkway connecting Aira Force and the ferry landing responds to the climate in a kinetic manner by adjusting its walls to create shelter from wind. As wind blows onto a side of the structure the windmill on top begins to spin. This windmill is geared to allow it to be steadily powered by the wind across the top of the walkway. The windmill is attached to a cable which hoists the shingles of the exterior facade upwards until the point where they are connected and therefore seal off the side of the walkway which is taking the force of the wind. When the wind stops or changes direction the windmill returns to the central position thanks to the concave shape of the tracks. The kinetic mechanism allows for the pathway to be protected from the worst of the elements but still open to the landscape.

The pathway is primarily constructed of Scottish beech wood as this timber can be sourced relatively locally and sustainably and is a hard wearing and durable, ideal properties for a pathway.

Male WC Female WC

Disabled WC

Disabled WC

Bar/Shop

Jetty Stage Ground Floor Plan 1:200

Storage

Changing room

First Floor Plan 1:200

The ground floor of the lakeside building houses the toilet facilities and a bar/cafe which can easily chance function depending on whether the building is hosting a live performance event or whether it is performing its day job of a ferry landing. The lower of the two kinetic pathways provides wheelchair access to the ground floor and out onto the ferry jetty.

The same timber facade style of the upper pathway is continued as the path sweeps its way into the building. In doing so the pathway forms a balcony at the front of the lakeside house which overlooks lake Ullswater before curving back around and down the stairs into the building. The concrete stairs work their way down alongside the dry stone wall and into the central space.The only true interior space on the first floor is the staff room which is also used a a changing room for artists performing at the venue.

The main walls of the lakeside building are constructed from slate sourced from the local Honister Slate Mine which still emplys traditional mining methods. I have chosen this material as it is not only in keeping with the vernacular but the slate mining industry was one of the principal reasons for the introduction of the Ullswater Steamers. The first floor kinetic pathway leads round onto a balcony on the southern elevation of the building offering stunning views in the Kirkstone Pass direction before swooping down into the centre of the building. To add to the drama and atmosphere within the space, rain water trickles down the inside of the main stone wall to create a surface from which sound and light can reflect. The seating steps for the performance area floar upon the lake rising and lowering with fluctuations of the lake’s water levels to provide another experience bringing the user closer to the climate and the landscape.

There are two different kinetic elements within this design. One is the stage within the performance venue and the other is within the walkway connection walkway which links the Visitor Centre with the new lakeside building. The stage of the performance venue floats on the lake, moving with the changing water levels meaning that on wetter days with higher water levels, the room is condensed and the space is more intimate.

The connecting walkway has wind responsive walls which open and close according to the direction of the wind. This allows for protection from the often powerful winds without isolating the walkway from the beautiful surroundings.

Hillhurst United Church Ideas Competition/// Entry 5770 ///

The trees at the front of the site were the initial point of inspiration for the concept which drives this design. Trees are universally understood as a form of shelter and in this case they sit between the space for social actualisation and the community, therefore instead of forming a barrier between the two, they have been fully integrated into the architecture allowing the activities within to fade though and engage the community.

As the design needs to cater for many different people with different needs, it is comprised of many different spaces ranging from the large hall to small intimate areas which all work together to create a feeling of diverse inclusivity. The range of different spaces with their ambiguous boundaries make them adaptable for a variety of uses allowing the building users from the community to take ownership and tailor the building to their needs and build upon the already extensive amount of services, activities and events they provide.

The drawings and diagrams show how the concept has been translated into a piece of architecture which responds to ever changing social needs of a community.

Different spaces with different sizes, functions and levels of privacy allow all members of the community to find a part of the building which works for them.

The trees inform the form of the northern elevation allowing the interior spaces to connect with the branches and be affected by the changing moods of the seasons. The materials and constriction of this elevation uses the Strasbourg School of Architecture (fig.1) by Marc Mimram as a precedent. The mesh and glass combine to create a balance of transparency and privacy that would be appropriate for this kind of scheme with the large windows providing frames for the activities taking place within.

The spaces and their relationship to one another have been carefully considered to allow them to offer such flexibility and diversity while still contributing to the sense of being a part of one larger community space. The larger spaces are placed at the south side of the building to allow maximum natural light to flow through the building into the smaller areas towards the north side.

Stick installations inspired by Sou Fujimoto’s bus stop in Austria (fig. 2) flow from inside to out in blocks which engage with and pass through the trees encouraging community interaction beyond the walls of the building.

The final plan is a dynamic mix of independent spaces designed to highly functional yet exiting and relatable to all members of the community.

fig.2 Sou Fujomito’s bus stop in Austria

fig.1Marc Mimram’s Strasbourg School of Architecture

Mezzanine classroom for events such as open community art sessions

First floor pods can be used for more private events such as small meetings, study areas and dining

The main hall is the centre of activity for the building and can be used for all large scale events

The sunken provides a space for small scale perfor-mances such as talks, lectures, and performance art

The main hall can become the focal point of a large range of community eventsEnclosed classroom for quiet and private classes

Hillhurst United Church Ideas Competition/// Entry 5770 ///

Hiillhurst Community Centre

Competition EntryA collaborative design for a new community facility to adjoin the current Hillhurst United Church in Calgary, Canada. The design aims to provide flexible, playful and ambiguous spaces, allowing the facility to interpreted and utilised by the diverse community and their many different requirements.

As installation designer for student publication 500 Words of Design I am responsible for designing and construction an installation which relates the topic of the issue in order to grab people’s attention and encourage them to take a copy of the fanzine. Thinstallations have ranged in scale from the small scale bin (left) to the portal structure (below).

Concrete Coffee Table

This is a concrete coffee table I made with the ambition of creating a unique piece of furniture made from recycled materials and to expand my knowledge of the material properties of concrete. The surface of the table is smooth, shiny and tactile thanks to the formwork materials used. The concrete mix contains recycled aggregate and straw as a binding agent, and the legs are made from recycled steel reinforcement bars.

Garage Studio

I designed and build this studio workspace the loft of a garage. The brief was to deliver a simple, lively and functional creative space on a very low budget.

Straw Bale Pavilion

Design and build of a small summer pavilion in the woods. The space was well used by local members of the community, dog walkers in particular, as a relaxing resting spot on a steep path through the woods.

Straw Bale Studio

Design studio incorporating straw bale social space.

After the three week study visit to Kunmnig, China, we prepared a group analysis of an area of the city. I am now in the development stage of my final design which responds to this analysis.

My project is a city centre refuge for single mothers and their children. The refuge accommodation is linked with education and hostel facilities.

The design is consistent with my ongoing desire to produce contextual, flexible and non prescriptive spaces which can be adapted to changing uses through time. I aim to use cheap materials in as economical a way as possible and use passive environmental systems to ensure the building is an example of exciting sustainable architecture.

Current DesignKunming, China