U.S.E. Dortmund 1:1250 Masterplan Model

The focus of this year’s U.S.E. atelier is the city of Dortmund, Germany. I was fortunate to be able to take part in the study trip that saw the group, both 5th and 6th years, exploring and documenting the proposed site along with several post industrial sites. It was agreed early on in the trip that a masterplan model should be created for group discussions throughout the year and as a center piece for the end of year show taking place next June.

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“After returning from Dortmund, U.S.E. split into site analysis teams. alongside research groups, whose work was collated into a large compendium document, we were tasked with the fabrication of a physical masterplan model of the Union Quarter. 

A scale of 1:1250 was chosen due to material constraints, fitting the width of a 2440x1220mm MDF sheet. For an appropriate portrayal of information at this scale, we largely focused on the massing and blocking whilst acknowledging the railway lines, running at a lower level to the rest of the site and splitting the Union Quarter into three parcels. Other than this drastic level change, we chose to ignore other topographical features of the area; whilst the site features a gradual incline towards the westpark, this would be largely negligible at 1:1250 and would have added considerable time and effort to the construction process.

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To demarcate the site boundary, we chose to raise the union quarter on a plinth above the main model base. To economise on time, we also chose only to build massing on this plinth; outside the site boundary, roads and buildings are indicated by engravings on a plasma cut mild steel sheet. This was left outside over a weekend to rust, acting as a material metaphor for Dortmund’s steel heritage, which is highly prominent on site.

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The raised Union Quarter plinths are produced from 12mm clear acrylic recycled from display cabinets at the Manchester Museum. laser cut polystyrene sheeting was plastic welded on top, forming pavements and streets, before being spray painted white. the plinths were originally constructed from cnc’d MDF, though these were scrapped as we were not satisfied with the finish or the joining with the polystyrene sheets, which did not stick well to the timber.

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DSC05061For the massing, we were advised by workshop staff to use chemi-wood, a resin-based material known for its ease of cutting and crisp finish. buildings were hand cut; whilst being a lengthy process, we were able to add a greater level of complexity to blocking than would normally be possible with the laser cutter, such as pitched roofs.

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Blocks were then spray painted with shades of white and grey to identify their general usage, broken down into residential, public, commercial and industrial. though nearly finished to a presentation-quality standard, in future we are looking to add trees to the model as the union quarter is a particularly green urban area.”

– Daniel Kempski & Peter Lee December 2015

The main base feature of this model was the engraved 2mm thick steel sheet. On it’s arrival the steel had a light coating of oil to prevent rust which, unusually when it comes to the use of metal, was exactly the finish the group didn’t want!

DSC05104There were several discussions about how to best subtly age the steel which were all trial and error with regard to retaining the engraved detail. It was decided to clean the oil from the face of the steel and leave it outside over the weekend having been lightly sprayed with Epsom salts.

image1At best we thought it may have started to surface rust by Monday morning. To our surprise and temporary horror the rust had completely coated the sheet in the heavy rain that had ensued. Thankfully the group were able to rub back the rust with fine grade sandpaper and the effect turned out to be better than was hoped for.

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3The buildings were fixed to the floor plates and the arranged in position on the steel base. Only trees remain to emphasis the green spaces across the site but have been left off for now until the final assembly closer to the end of the year. – Scott

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‘Urban Mining: The St. Johns Quarter’ 1:100 & 1:50 Models by Daniel Kempski

5th Year MA student Daniel Kempski came to the workshop fairly late on in his project with a need to convey multiple aspects of his design proposals through model making. Having successfully completed his two projects and some valuble lessons learnt. Of particular note was the time consuming engraving and cutting of the cork elements. The results of this were fantastic but it should be noted that this can be very time consuming and therefore potentially costly in terms of laser cutting time. We asked if Daniel would write us a piece to accompany some images of his models – he responded in great detail!

We look forward to seeing some more of Daniels projects next year.

The full description of the project and the application of the models made with us is explained here:

“The culture of use:reuse within the construction industry is an emerging area of importance within the field – with firms being placed under increasing scrutiny to change their methods building demolition and deconstruction in order to evolve to meet the growing demands of waste management. It is key to address this issue parallel to the growing dereliction within our cities – with many buildings being demolished once being deemed unusable.

How this can be linked to programme arrives through the notion of an Urban Auction House: a place where individuals can bring their waste materials (arriving as deconstructed elements) and then be further sold to buyers who can make use of these products.

The scheme acts as a hub for all types of individuals within the construction industry. It tries to establish an even playing field for its users, with products being available at a reduced price due to their imperfect nature – enabling the customer to be able to purchase construction materials at a cheaper rate, seeking to reduce the current gap between small and large scale developers within the market.

The aim of the design is to maximise retention of the existing building (Albert Warehouse), while not constraining myself to remain within the existing structures parameters and potentially harming the programmatic outputs. I aimed to change and manipulate these aspects of the existing form that I felt did not fulfil its true architectural potential.

An entire new central bay is established between two existing segments of the build – enabling a more focused entrance point to be generated – recessed back from the roadside, with an element of grandeur created through the staggered, vaulted stonework.

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I feel it was key to investigate the building in two different scale models: a 1:100 Section through the scheme in order to understand the internal workings programmatically; and a 1:50 Bay Study to investigate the materiality and light qualities.

1:100 Model

One of the more demanding changes to the existing structure arrives in the form of the central bay being deconstructed and replaced by a primary structure primarily formed by reclaimed stonework sourced from Quay House (one of the four Urban Mines). It was vital to interject a new, more accessible entrance to the building for the main visitors entrance in order to establish a focal point for the east facade (for sake of both functionality and aesthetics).

Recessing the entrance away from the pavement provides a much needed forecourt, reinforcing this new change of threshold through vaulted stonework encapsulating the individual as they proceed to enter the Auction House.

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The Auction Hall is embodied within a double-height space, overlooking the River Irwell – creating the sense of theatre to be instilled upon the individual, with grand, exposed structure and a resonating acoustic acting as key protagonists. A raised platform further enables individuals to spectate during the auctions.

In contrast, the Lower Ground Floor functions as a back-of-house storage and preparation area. The workers gather and move the materials during their journey within the Auction House.

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1:50 Model

In order to gain a practical understanding of the atmosphere generated by the materials reprogrammed into southern elevation’s perforated brickwork facade,a scaled 1:50 model was constructed. The aim of the model was to investigate the internal light qualities predominantly, to ensure that the transitional space could not be deemed unwelcoming.

The model was also generated to create a built example of a key bay detail that repeats several times along that facade. The proportion between punctured brickwork and the actual structural masonry is key to enable the maximum introduction of natural light, while retaining structural integrity. The light qualities within the transitional spaces are key towards ensuring the success of the internal programme of the building – circulation spaces are there to offer relief in order to create a sense of separation between the Auction House and Galleries.

The large, double height spaces allow natural light to arrive from both the VSCs and punctured brick facade, allowing the central exhibition pieces to have their qualities maximised, as well as the space itself.

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Making the Models

It was key to establish distinguishing characteristics between each of the materials used, as the scheme revolves purely around material reclamation (both architecturally and programmatically) It was vital to represent materials under same semantic in the building specification, as the same material choice in the model – enabling an easy understanding of the intended material discourse: e.g. obvious differentiation between stonework, timber, masonry, etc.

I felt it was key not to oversaturate the models with materials, instead working with three or four strong materials that work complementary to each other provided end products that felt cohesive.

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Within the 1:100 sectional model it was key to establish a strong juxtaposition of materials in order to depict what elements of the build are retained and newly interjected. This is attempted by utilising 3D printed elements to narrate the qualities of the proposed stonework bay, with the etched 3mm plywood representing part of the retained masonry bay.

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For the 1:50 bay study, 3mm cork board was used as the primary component to replicate the texture and ultimate aesthetic of the masonry – this was to ensure that minimal finishes had to be applied to the already delicate nature of the perforation post-cutting, providing the facade with a more natural demeanour.

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Plaster-casts were made in order to distinguish a level of material separation within the space – focusing primarily between what is stonework and what is masonry. Both materials are reused, as recognised within the programme of the build, and thus is was key to attempt to create a more textured, used finish – achieved by placing a larger build-up of petroleum jelly within the moulds, creating a more textured finish.

Through the process of making both of these models, I feel that a greater understanding has been generated towards the atmosphere created within a building through the interrelationship of materials used within. It is far too easy to remain focused upon the external qualities of a site – and have that overshadow the internal conditions.

Combining both digital fabrication and hand crafted elements provides the ability to work efficiently and precisely, without generating a too-clean portrayal of the scheme. Regardless of the desired atmosphere within the build, I feel it is key to always develop your model-making understanding and techniques; with many components that could be made incredibly easily by hand, are now subject to digital methods due to sake of ease.”

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