Architecture/Movement/Text - MA Project

This project is not simply about a public or built space, it is not even about 134-146 Curtain Road, it is about learning, as a designer, the system of movement, passage and meaning that is governed by architectural form. This project is a process of learning and communicating information to the designer, the architect and the reader.

This project is about taking one space, and learning all its uses, functions and forms in parallel to the users and visitors that move in and around it.

This project is work-in-progress, it has no ending.

architecture/movement/text

architecture/local area mappingarea mapping 01 [road names]area mapping 02 [tube stations]area mapping 03 [bus stops]area mapping 04 [one way system]bus route listings

movement/users_deliveriesfrequency of deliveriestotal deliveries/entrance/device

movement/users_visitorsfrequency of visitorstotal visitors/entrance/device

picturessketches continued process

introductionquestionsbasicsdevice/floordevice/floor/companyfloor/userslift-floors frequencystairs/company/timedevice/floor/company

architecture/engaged_movement_thirdfloor mapping 01 [basement]floor mapping 02 [ground floor]floor mapping 03 [first floor]floor mapping 04 [second floor]floor mapping 05 [third floor]floor mapping 05 [fourth floor]charting spacecharting movementcharting architecturerendered perspectives 01 [wireframe+flat]rendered perspectives 02 [all floors]rendering/routes of movementrendering still frame animation

contents

understanding not necessarily for every designer, but for me, both as an individual and a designer. There in lies its generic application, not by proclaiming the ‘right’ way to approach designing for an architectural or public space, but an alternative means to realise space.

There is no specific product, nor is it overlayed with unnecessary graphical elements, there are no conclusive answers as to how designers should be creating a ‘generic’ signage/information systems for any public or architectural space. It is my belief that all space is unique, it has many uses and users, and should therefore be treated as one space rather than trying to make all applications generic, we should strive for unique systems of envisioned information by studying each space individually. Only then may we as designers be more easily accepted in to the discipline of architecture.

This book is about information, lines, dots, text and fields of data. There is no colour, no expensive printing finishes, no overload of graphical layering, and no conclusive answers. Most importantly, this book is work in progress, it represents a process, a mapping of experience, understanding and knowledge of one subject, one area, one space in particular, in short, i have focused my MA project on a public and built space called Curtain House, 134-146 Curtain Road, London EC2a 3AR.

As a process this book is not governed or determined by conclusive answers, what it does seek to establish is a route, a process, a method of working within architectural space. A method that explores the nature, language and most importantly, the usage of a space by its occupants, because only then as designers can we hope to communicate a system of design that not only supports the architectural space, but reflects the nature of the space.

In order to achieve this I have set about establishing as many details about the building as I could, so that i may comprehend the building through my eyes as a designer. The process has inevitably become the actual project; to visualise information. What you will read, view and interpret from this book is simply various systems of analysis and data concerning the building its occupants, deliveries, visitors, localised area and so on.

This book is more of a tool, a guideline to enable an

introduction

By learning about these areas you may be able to understand whether these areas communicate well together as one space, or whether there could be improvement; whether the importance of the movement space could be shifted to the third space, to enable better communication, both physiologically and informatively?

Curtain House consists of four upper floors, a ground floor, and a basement. It has one lift that can carry a maximum of six people, a stair well that runs from the basement to the top floor. Each floor differs in engaged space, movement space, and third space. There are different variants in the amount of people that work and move through each floor and office space, and it is these variables that need to be recorded, and understood, in order to comprehend how each space is used.

Engaged space, consists of space that is permanently inhabited by occupants of the building, within the office/studio space.Movement space, is concerned with the areas that allow passage in and around the building, such as the lift and stair wells. Recording these spaces allows us to record what area may denote movement, and to what extent the frequency of that movement exists in specific parts of building.Third space, is actually concerned with ‘non-space’. A space that exists as a direct parallel to the movement space, and yet adds nothing new to the experience of the movement. Such as corridors, hallways, doors, landings, intermediate landings, and so on. These areas, although important to the right of passage, add nothing, they are merely corridors of passage to allow the user to move from point A to B.

architectureengaged_movement_third

The floor and area plans are a crucial part of any public or built space, and although I have re-drawn the floor plans of Curtain House in this book to establish areas within the building that determine engaged, movement and third space, they act simply as the beginning of my interpretation of this space.

In the following section I have created my own 3-dimensional renders of the building, including just the company names, lifts and stairs (where indicated), and studio spaces. These help determine where everything sits next to each other, establishes a language for the building, and enables you the reader to look at the building in another perspective, not necessarily an architectural one, but one from the eye of a designer who is understanding the space. Admittedly it is presented to you on a mere flatland of static paper, but it is an alternative approach and technic to present the floor plans with a visual representation of space and form on a page.

Creating and rendering my own Curtain House has helped me confirm where companies sit above one another, it has allowed me the freedom to move in and around the space (on screen), but all the same it is the allusion of movement that is important in order to visualise the building. Even though I know the building, the important point is that you the reader probably does not, but you might understand it a little better by viewing the next section.

rendered perspectives 01 [wireframe+flat]

There is a lot more that I would like to have established within my research for this book, elements that I think would add clarity to its context. Mapping the movements of occupants within their particular spaces, and the building throughout a one week period would be of interest to this project. I think it would be important to narrow it down to the individual users of the building, record their every movement, so that I may completely understand the way in which each person uses the space. Possibly even interviewing them about their thoughts on the builidng itself, how they get there? how they feel when they arrive?

As discussed in the dissertation, designers are now becoming increasingly more muilt-media literate. To emphasise this i believe the use of an interactive medium to be used within architectural space is perhaps a must rather than a maybe. There are so many formats and mediums that could be applied to any space, but those conclusions should only be made after the research and investigation that this project has examined. To follow are suggestions of how various ‘interactive’ mediums could be implemented for future use as a continuation of this project. It will show the possibilities of how users could access information online within the internet, to explore, as I have, the space and all its content, stripping away information, observing users routes, visitors, usage of the lift and stairs, observing

There is nothing special about Curtain House, 134-146 Curtain Road, it is not a spectacular construction of architecture, it does not make any statements, but there is room for improving the interior of the building, this is the problem that I identified. Since this project began the actual reception has been refurbished, and repositioned by the front door, sitting opposite this new reception, instead of mirrors, is a white washed wall. There are new doors, the lifts’ interior is next to be refurbished, and all the intermediate landings outside the lift on all floors is to be re-decorated. Having been in discussion with the Landlord about this project, I have actually been asked by them to consider approaching this building and space as a ‘live’ project after my MA.

As stated before, this book is work-in-progress, it has no ending. The reason for this is because there are so many more possibilities that I would like to explore, and luckily dependent on budgets, I might actually be able to.

This project has not only acted as the starting point for developing my understanding of architectural space and form, with consideration to the input of information design, but has now developed into the core foundation of a real brief, working within an actual space.

continued process 1

continued process 2

usually has a lot of meetings, or leaves the building, their space or recieves a lot of deliveries then this could be updated on the web site which could link to the main signage system of the building? Telling the delivery personnel exactly where that person is in the building. This could be achieved by every occupant being given a security card which not only allows access to the building, but also acts as a tracking device for the internal signage system. This would mean that someone who has never been to the building before could log in to the system on entry, or ask the caretaker to do so (maybe by typing in the recipients name) and then gives the new user or visitor a visitors security card which, from that point onwards, updates LED screens that alert the new user to where they (the individual) should be going. Which would update dependent upon where you were in the building, the stairs, the lift and even alert you if you have taken a wrong turn. Maybe the actual movement of the studios and offices could somehow be recorded by heat sensors which upload on to a web site and local system of navigation. This could alert visitors and occupants of where the most activity was being created?

These ideas for systems of navigation have been derived from adopting all the data in this book, maybe they would work, maybe there would be technical difficulties, but ultimately this book is about understanding space, learning from a space and

companies and there users, and so on.

There is already a web site address registered for this project; http://www.134-146curtainroad.net, which is acting as a secondary platform for this project. You can access this site at the moment and view the contents of this book, but eventually I would like it to become a place where users and visitors can interact with the actual building. A site that could allow visitors to the building every detail about how to get there, where the entrances are, where the reception and caretaker is, what floor they will be visiting, where their final destination within the building is, and so on.

I also intend to produce a 3-dimensional engine for the web site that would work alttle like an intranet system for the building itself, that will allow users and visitors to see the building, all its floors, lifts, stairs, offices and studios, and take information about the building, how to get to certian floors, by printing out directions with actual 3-dimensional bitmapped views.

Taking into consideration the placement of actual occupants within the building so that if there is certain companies, individual occupants or departments that have a higher level of visitors or deliveries, then there could be a hierachy of information to access directly about them. For example, if an individual or company

continued process 3

how it is use, and then taking all that information and attaching it to a building so that we the designers can address the individual within a space. Making the architectural space interact with the information that is needed by visitors and other users. Many signage systems at the moment do not actually address the individual, they identify a particular place, they point in a general direction, but they are not universal or diverse. What happens if a blind or har dof hearing person visits a building or public space? How do those individuals use the space? how can the designer take all this into account and use the space to envelope every type of individual?

This MA is not this book, it is not 134-146curtainroad, it is not about answers or solutions, and it is not about what I put in the exhibition. It is about ideas, content, and questions. Questions that I have asked, and in some cases, suggested solutions. It is about this ‘continued process’ section, it is about where this project could and might progress to. This section, indeed page, should in no way be seen as the conclusion simply because it is the last page of the book. This book is just the beginning of this project.

http://www.134-146curtainroad.net

how can designers further their understanding of public or built space?what can designers offer architects?how can designers use the form and function of a public or built space in order to reflect a system of communication and information?what can architects learn from the perspective of a designers interpretations of a space?how can designers further their understand of the physiognomic language of space and movement?What happens if a blind person visits a building? or deaf? How do those people use the space? how can the designer take all this into account and use the space to envelope every type of individual?

questions

sounds, or colour according to the weather? time of day? even the mood of the individual?

b. once the individual is in the building it is important to determine what entrance is most commonly used. If there are multiple entrances and exits, then you might find it useful to find the one most frequently used, in order to establish where the hierarchy of information should have dominance.

c. there may be many floors or even different units to a site. with Curtain House, there are four floors, but there are many different companies within each floor. All vary in size, and frequency of visitors and deliveries. However, there are two methods of getting up and down to the necessary floors, the lift and the stairs. Again, by determining the frequency of both, you will be able to deduce where the necessary areas of design and information will need to concentrate upon.

Architecture is not merely about providing shelter, it is about creating and allowing movement and passage within and around public and built spaces.

When working with a public or built space to design, it is also important to know not just how the users and the building itself works, but also to have an awareness of how users, visitors and delivery persons travel to, and approach the building upon their arrival.

To follow I will elaborate this through simple diagrams, providing statistical data that will reflect the natural course in which users and visitors approach a space and move around it. There are several elements of criteria we must establish through the process of understanding the space:

a. if the majority of people, everyday users, use a form of public transport to travel partly or in its entirety to the site, then we must establish that route, understand the method they use. Try to determine how successful or stressful those journey’s are for the individual. The result of these findings may enable you, the designer, to consider using a system of colour, smell, photography, art or sound into a signage system, in order to create a space that encompasses a physiological ambience. Maybe it would be possible to create a system that changed

movementusers_visitors

name transport entrance internal device floor company

mark hough

tube

bus

car

train

walk

scooter

bike

light surgeons

pd3 + tully + co

nigel limb

nigel limb

direct dialog

direct dialog

state design

onedotzero

direct dialog

qube

de grussa larkou

mark turner + aaj nayak

families need fathers

underlines store room

vacant pig/bodgit + scarper

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paul davies

chris morris

letaps

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chris richardson

tom gray

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compass c.b.a publishing

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film office

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kio5k

o.t.t

unison

underlines/rod howe

a.k.a

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direct cidlog [basement]

front door

garage

lift

stairs

4

3

2

1

g

b

lift

stairs

4

3

2

1

g

b


mark breslin

light surgeons

pd3 + tully + co

nigel limb

nigel limb

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direct dialog

state design

onedotzero

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chris morris

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chris richardson

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opera rara

opera rara

film office

opera rara

kio5k

o.t.t

unison

underlines/rod howe

a.k.a

egelnick+webb


front door

garage

tube

bus

car

train

walk

scooter

bike

lift

stairs

4

3

2

1

g

b


philip o` dwyer

light surgeons

pd3 + tully + co

nigel limb

nigel limb

direct dialog

direct dialog

state design

onedotzero

direct dialog

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de grussa larkou





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paul davies

chris morris

letaps

b.c.d

chris richardson

tom gray

raymond shawyer

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research fortnight


opera rara

opera rara

opera rara

film office

opera rara

kio5k

o.t.t

unison

underlines/rod howe

a.k.a

egelnick+webb


front door

garage

tube

bus

car

train

walk

scooter

bike

lift

stairs

4

3

2

1

g

b


ANN KELLy

light surgeons

pd3 + tully + co

nigel limb

nigel limb

direct dialog

direct dialog

state design

onedotzero

direct dialog

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paul davies

chris morris

letaps

b.c.d

chris richardson

tom gray

raymond shawyer

rare styles

vitaminic

research fortnight


opera rara

opera rara

opera rara

film office

opera rara

kio5k

o.t.t

unison

underlines/rod howe

a.k.a

egelnick+webb


front door

garage

tube

bus

car

train

walk

scooter

bike

lift

stairs

4

3

2

1

g

b


shane walters

light surgeons

pd3 + tully + co

nigel limb

nigel limb

direct dialog

direct dialog

state design

onedotzero

direct dialog

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paul davies

chris morris

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b.c.d

chris richardson

tom gray

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opera rara

opera rara

opera rara

film office

opera rara

kio5k

o.t.t

unison

underlines/rod howe

a.k.a

egelnick+webb


front door

garage

tube

bus

car

train

walk

scooter

bike

lift

stairs

4

3

2

1

g

b


matt HANSON

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pd3 + tully + co

nigel limb

nigel limb

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chris richardson

tom gray

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opera rara

opera rara

film office

opera rara

kio5k

o.t.t

unison

underlines/rod howe

a.k.a

egelnick+webb


front door

garage

tube

bus

car

train

walk

scooter

bike

lift

stairs

4

3

2

1

g

b


anna doyle

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pd3 + tully + co

nigel limb

nigel limb

direct dialog

direct dialog

state design

onedotzero

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paul davies

chris morris

letaps

b.c.d

chris richardson

tom gray

raymond shawyer

rare styles

vitaminic

research fortnight


opera rara

opera rara

opera rara

film office

opera rara

kio5k

o.t.t

unison

underlines/rod howe

a.k.a

egelnick+webb


front door

garage

tube

bus

car

train

walk

scooter

bike

lift

stairs

4

3

2

1

g

b


toby egelnick

light surgeons

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nigel limb

nigel limb

direct dialog

direct dialog

state design

onedotzero

direct dialog

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de grussa larkou





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paul davies

chris morris

letaps

b.c.d

chris richardson

tom gray

raymond shawyer

rare styles

vitaminic

research fortnight


opera rara

opera rara

opera rara

film office

opera rara

kio5k

o.t.t

unison

underlines/rod howe

a.k.a

egelnick+webb


front door

garage

tube

bus

car

train

walk

scooter

bike

lift

stairs

4

3

2

1

g

b

recordings taken from users [usual] route to and around the building>


Scott Haycock

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opera rara

opera rara

film office

opera rara

kio5k

o.t.t

unison

underlines/rod howe

a.k.a

egelnick+webb


front door

garage

tube

bus

car

train

walk

scooter

bike

lift

stairs

4

3

2

1

g

b


chris morris

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pd3 + tully + co

nigel limb

nigel limb

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state design

onedotzero

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paul davies

chris morris

letaps

b.c.d

chris richardson

tom gray

raymond shawyer

rare styles

vitaminic

research fortnight


opera rara

opera rara

opera rara

film office

opera rara

kio5k

o.t.t

unison

underlines/rod howe

a.k.a

egelnick+webb


front door

garage

tube

bus

car

train

walk

scooter

bike

lift

stairs

4

3

2

1

g

b

mark hough

mark breslin

philip o"dwyer

matt hanson

shane walters

ANN KELLY

anna doyle

toby egelnick

Scott Haycock

chris morris

clare harris


light surgeons

pd3 + tully + co

nigel limb

nigel limb

direct dialog

direct dialog

state design

onedotzero

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product 250

paul davies

chris morris

letaps

b.c.d

chris richardson

tom gray

raymond shawyer

rare styles

vitaminic

research fortnight


opera rara

opera rara

opera rara

film office

opera rara

kio5k

o.t.t

unison

underlines/rod howe

a.k.a

egelnick+webb


front door

garage

tube

bus

car

train

walk

scooter

bike

lift

stairs

4

3

2

1

g

b

•••••••••••

lift

stairs

4

3

2

1

g

b

device/floor

light surgeons

pd3 + tully + co

nigel limb

nigel limb

direct dialog

direct dialog

state design

onedotzero

direct dialog

qube

de grussa larkou





product 250

paul davies

chris morris

letaps

b.c.d

chris richardson

tom gray

raymond shawyer

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research fortnight/


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opera rara

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film office

opera rara

kio5k

o.t.t

unison

underlines/rod howe

a.k.a

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bricklane music hall


lift

stairs

4

3

2

1

g

b

device/floor/company

light surgeons

pd3 + tully + co

nigel limb

nigel limb

direct dialog

direct dialog

state design

onedotzero

direct dialog

qube

de grussa larkou





product 250

paul davies

chris morris

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b.c.d

chris richardson

tom gray

raymond shawyer

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research fortnight/


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opera rara

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film office

opera rara

kio5k

o.t.t

unison

underlines/rod howe

a.k.a

egelnick+webb

bricklane music hall


stairs-floors frequency

Similarly to the examination of the lift, this section simply outlines the floor positioning and variable time rate that corresponds to each company on every floor using the stairs as a means for getting to each from the entrance of the building.If it was felt necessary, one could examine this further to establish exactly how long it takes to move from point A (the entrance) to point B (the destination), by asking occupants, visitors or delivery personnel of various sex and ages to record there times and movement over a period of time.This would help determine what percentage of people actually used the stairs, and how long it took them to move through each floor. Also examining use of light and colour throught these passages, because visitors and delivery personnel are going to be most influenced by these corridors and elevations, and so lighting and general appearence is important in order to create an ambience of movement and space that is encapsulated within each section of the building.

stairs

stairs/company/time 01.00 01.30 02.00 02.30 03.00 03.30

light surgeons

pd3 + tully + co

nigel limb

nigel limb

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state design

onedotzero

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paul davies

chris morris

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chris richardson

tom gray

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rare styles

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research fortnight/


opera rara

opera rara

opera rara

film office

opera rara

kio5k

o.t.t

unison

underlines/rod howe

a.k.a

egelnick+webb

bricklane


mark hough


light surgeons

pd3 + tully + co

nigel limb

nigel limb

direct dialog

direct dialog

state design

onedotzero

direct dialog

qube

de grussa larkou





product 250

paul davies

chris morris

letaps

b.c.d

chris richardson

tom gray

raymond shawyer

rare styles

vitaminic

research fortnight


opera rara

opera rara

opera rara

film office

opera rara

kio5k

o.t.t

unison

underlines/rod howe

a.k.a

egelnick+webb


front door

garage

tube

bus

car

train

walk

scooter

bike

lift

stairs

4

3

2

1

g

b

lift-floors frequency

Dependent on how long a user will wait for the lift to arive at there destination within the building, this simple chart registers a numeric value to the journey between each and every floor. These values and not exact timings, because the lifts movement between floors through each day has no set variable rate. However this does allow the designer to establish whether the lift goes to all floors, how long it takes (roughly), and whethe or not there are express lifts that allow quicker movement from point A (entrance) to point B (destination). Added details about the lift would also benefit the designer: does the lift have a maximum capacity? How is it lite? what are its features? Examinations such as these can be used to help the user engage with information, maybe a screen next to the lift should now offer more information than what floor it is at? It could indicate how many people are in the lft, what floor it is stopping at next, how long it will take to get to there position, and so on.

4

5.0 4.0 3.0 2.0 1.0 0.0 0.1 0.2

maximum capacity: six peoplelighting: halogen bulbsfeatures: blue carpeted walls, mirrored interior on back wall (creates a sense of more space, and light)

0.3 0.4 0.5

3

2

1

g

b

b

g

1

2

3

4

lift-floors frequencyjourney between floors in lift[dependent upon waiting time]

movement/users_deliveries

This section examines the entrance, movement, and usage around the building of delivery personnel, and visitors to companies within Curtain House. These two factors are two important when observing the buildings usage and passage, because they are perhaps unfamiliar with the layout of the building, the correct entrance (given that many buildings have separate entrances for delivery personnel), or even the whereabouts of the reception, stairs or lift. Further investigations could establish a record of frequencies regarding visitors and deliveries over a one week period. This would establish how many visitors and delivery people visit each office, how many use the lift or stairs; which would ascertain which route was most frequently used, and therefore determine where the most dominant form of design should sit or be used within the building.

[• = one delivery]

total deliveries/entrance/deviceall floors_deliveries recorded on28.10.00

Observations such as these enable the designer to understand how people, who are not familiar with the space, enter it and use it. This data visualises alot more than just where and how people use the building, because you could examine what companies they are visiting in particular, see how frequent those visitors are to the same companies. Find out what business those companies actually follow, which might influence the system of signage for the building; i.e most of the space on the fourth floor is dedicated to music and photography, should the signage be able to feed from this, to reflect the space by sound or photography installations?

[• = one visitor]

• • • • • • • •• • • • • • • •• • • •

• • • • • • • •• • • • • • • •• • • •

front door

garage

• • • • • • • •• • • • • • • •• • • •

direct dialoglift

stairs

basement deliveries recorded on28.10.00

direct dialog • • • • • • • • • • • • • • • • • • • •20total deliveries= 20

• • • • • • • • • • • • • • • • • • • •

front door= 11

garage= 9

• • • • • • • • • • • • • • • • • • • •

lift= 17

stairs= 3

• • • • • • • • • • • • • • • • • • • •

basementfrequency of deliveries28.10.00

• •--• •--• • •

---• ••

• •--• •--• • ---•• •-• ••

tom gray

raymond shawyer

rare styles

vitaminic

research fortnight


film office

opera rara

kio5k

o.t.t

unison

underlines/rod howe

a.k.a

egelnick+webb

first floor deliveries recorded on28.10.00

• •--• •--• • •

---• ••

front door

garage

lift

stairs

tom gray

raymond shawyer

rare styles

vitaminic

research fortnight


film office

opera rara

kio5k

o.t.t

unison

underlines/rod howe

a.k.a

egelnick+webb

2

0

2

0

0

2

0

0

0

1

2

0

2

1

total deliveries= 10

• • • • • • • • • •

front door= 8

garage= 2

• • • • • • • • • •

lift= 5

stairs= 5

• • • • • • • • • •

first floor frequency of deliveries28.10.00

• • -• • --• • ---• • • -• ••

• •

• • • • • • • • • -- -

• •-

• • • -• -•

• • • • •

state design

onedotzero

direct dialog

qube

de grussa larkou





product 250

paul davies

chris morris

letaps

b.c.d

chris richardson

• •

• • • • • • • • • -- -

• •-

• • • -• -•

• • • • •

front door

garage

lift

stairs

second floordeliveries received on 28.10.00

• •

• • • • • • • • • -- -

• •-

• • • -• -•

• • • • •

state design

onedotzero

direct dialog

qube

de grussa larkou





product 250

paul davies

chris morris

letaps

b.c.d

chris richardson

1

1

7

0

1

1

0

0

2

0

3

1

0

1

5


••••••••••••••••••••••

front door= 18

garage= 4

••••••••••••••••••••••

lift= 22

stairs= 0

••••••••••••••••••••••

second floor frequency of deliveries28.10.00

• • • • • • • • • -• • --• • -• • • --• • • • • •

• • • • • •

direct dialogue

third floordeliveries received on 28.10.00

• • • • • • • • • • • •

front door

garage

lift

stairs

direct dialogue • • • • • •6total deliveries= 6

• • • • • •

front door= 6

garage= 0

• • • • • •

lift= 6

stairs= 0

• • • • • •

third floorfrequency of deliveries28.10.00

•• • •

• • • • • • • • •

•• • •

• • • • • • • • •

light surgeons

pd3 + tully + co

nigel limb

front door

garage

lift

stairs

fourth floordeliveries recorded on 28.10.00

•• • •

• • • • • • • • •

light surgeons

pd3 + tully + co

nigel limb

• • • • • • • • • • • • •

1

3

9


• • • • • • • • • • • • •

front door= 10

garage= 3

• • • • • • • • • • • • •

lift= 12

stairs= 1

• • • • • • • • • • • ••

fourth floorfrequency of deliveries28.10.00

front door

garage

tom gray

raymond shawyer

rare styles

vitaminic

research fortnight


film office

opera rara

kio5k

o.t.t

unison

underlines/rod howe

a.k.a

egelnick+webb

lift

stairs

first floor visitors recorded on28.10.00

• •-• •--• •-•• •----• ••

• •-• •--• •---•• •----• ••

• •-• •--• •---•• •----• ••

front door

garage

lift

stairs

second floorvisitors recorded on28.10.00

state design

onedotzero

direct dialog

qube

de grussa larkou





product 250

paul davies

chris morris

letaps

b.c.d

chris richardson

• •

• • • • • • • • • -- -

• •-

• • • -• -•

• • • • •

• •

• • • • • • • • • -- -

• •-

• • • -• -•

• • • • •

• •

• • • • • • • • • -- -

• •-

• • • -• -•

• • • • •

front door

garage

direct dialoglift

stairs

third floorvisitors recorded on28.10.00

• • • • • • • • • • • • • • • • • •

front door

garage

light surgeons

pd3 + tully + co

nigel limb

lift

stairs

fourth floorvisitors recorded on28.10.00

•• • •

• • • • • • • • •

•• • •

• • • • • • • • •

•• • •

• • • • • • • • •

light surgeons

pd3 + tully + co

nigel limb

direct dialog

state design

onedotzero

direct dialog

qube

de grussa larkou





product 250

paul davies

chris morris

letaps

b.c.d

chris richardson

tom gray

raymond shawyer

rare styles

vitaminic

research fortnight


opera rara

film office

opera rara

kio5k

o.t.t

unison

underlines/rod howe

a.k.a

egelnick+webb


lift

stairs

• • •• • • •• • • •• •• • • • • • • • • ••• •• • •• • • •• •• • •• • • • •• • • •• • • • • • •• • •

• • •• • • •• • • •• •• • • • • • • • • ••• •• • •• • • •• •• • •• • • • •• • • •• • • • • • •• • •

total visitors/entrance/deviceall floors_visitors

front door

garage

• • •• • • •• • • •• •• • • • • • • • • ••• •• • •• • • •• •• • •• • • • •• • • •• • • • • • •• • •

134-146 curtain roadfloor mapping 02ground floor

brick lane music hall

entrance

dustbin store

stairs

reception/caretaker

lift

garage

engaged space

passage space

third space

toilets

light well

•••••••

134-146 curtain roadfloor mapping 03first floor

stair

kio5k

o.t.t

opera rara

unison

opera rara

a.k.a

underlines/rod howe

egelnick+web

opera rara

opera rara

toilets

film office


research fortnight

lift

o.t.t

tom gray

vitaminic

rare style

raymond shawyer

•••••••••••••••••••••

engaged space

passage space

third space

toilets

light well

stair

paul davies

product 250


chris morris


letaps


b.c.d


chris richardson

de grussa larkou

toilets

stair

lift

direct dialog

qube

state design

onedotzero

134-146 curtain roadfloor mapping 04second floor

•••••••••••••••••••

engaged space

passage space

third space

toilets

light well

stair

direct dialog

toilet

stair

lift

direct dialog

134-146 curtain roadfloor mapping 05third floor

••••••

engaged space

passage space

third space

toilets

light well

134-146 curtain roadfloor mapping 05fourth floor

stair

nigel limb

toilets

stairs

lift

light surgeons

pd3 + tully + co

•••••••

engaged space

passage space

third space

toilets

light well

134-146 curtain roadfloor mapping 01basement

direct dialog

toilet

stairs

lift

••••

engaged space

passage space

third space

toilets

This section simply deals with the surrounding area around Curtain House, locating and plotting every tube station, major road, and bus stop (including a bus route listing). Recording this data helps to know the area around a space, how the traffic moves, and is systematically controlled. It also assists in learning how people could get to the building, from which direction, what area, and how long each route takes.

This data is also linked to recording the method that users and visitors take to the building. This could easily be extended by charting occupants route to the building; which would help to establish what kind of journey the occupants experience, which relates to what frame of mind they might be in once in the building. The building represents shelter, protection from the elements, it may have heat, or air-conditioning, but it may also be well lite, smell different, have sounds playing upon arrival, anything to try and create an ambience, or a certain mood to influence the way people use and feel about the building.

architecture/local area mapping

02 03 04 05 06 07 08 09

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134-146 curtain road•arear mapping 01road names

kings road

hoxton square

hackney road

pitfield street

old street

rivington street

great eastern road

city road

tabernacle street

bethnal green road

shoreditch high street

st. paul street

worship street

primrose street

apollo street

bishopsgate

commercial road

liverpool street station

london wall

old broad street

threadneedle street

leadenhall street

cornhill

•••••••••••••••••••••••

02 03 04 05 06 07 08 09

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02 03 04 05 06 07 08 09

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134-146 curtain road•area mapping 02tube stations

tube stations

c.01 old street

northern line

british rail

e.07 shoreditch

east end

british rail

f.03 liverpool street

circle

hammersmith and city

metropolitan

central

british rail

h.06 aldgate east

district

i.05 aldgate

cirle and district

metropolitan

hammersmith and city

i.01 bank

cirlce and district

northern

central

docklands light railway

british rail

•

•

•

•

•

•

02 03 04 05 06 07 08 09

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01

01 02 03 04 05 06 07 08 09

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134-146 curtain road•area mapping 03bus stops

bus stops

old street roundabout43,, 76, 141,214, 271,55

shoreditch church 43, 55, 243

shoreditch high street26, 35, 43, 47, 48, 5567, 78, 149, 242, 243

great eastern street43, 55, 243

bishopsgate 8, 26, 35, 43, 47, 48, 78, 149, 242

liverpool street station11, 23, 42, 100, 133, 141, 214, 271, sl1, sl2,

•

•

•

•

•

•

02 03 04 05 06 07 08 09

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01

01 02 03 04 05 06 07 08 09

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bus routes

8victoria, mayfair, oxford circus, holborn, bank, liverpool street, shoreditch.

23westbourne park, paddington, marble arch, oxford circus, trafalgar sqaure, aldwych, st.pauls, bank, liverpool street.

26waterloo, aldwych, st.pauls, bank, liverpool street, shoreditch, hackney wick.

35shoreditch,liverpool street, london bridge, elephant, camberwell, calpham junction.

42liverpool street, aldgate, tower bridge, old kent road, camberwell green, denmark hill.

43friern barnet, muswell hill, archway, holloway, islington then moorgate, bank, shoreditch.

47shoreditch, liverpool street, london bridge, canada water, surrey quays, deptford, lewisham.

48 london bridge, liverpool street, london bridge, shoreditch, hackney, clapton, leyton, walthamstow.

55 oxford circus, bloomsbury, old street, shoreditch, hackney, clapton, leyton, green.

67 aldgate, shoreditch, stoke newington, stamford hill, wood green.

76county hall, waterloo, aldwych, st.pauls, bank, moorgate, hoxton, stoke newington, tettenham, northumberland park.

78 shoreditch, liverpool street, aldgate, tower bridge, bermondsey, peckham, nunhead.

100elephant and castle, southwark, barbican, liverpool street, aldgate, tower of london, wapping, shadwell.

133liverpool street, bank, london bridge, elephant, brixton, streatham, tooting.

141liverpool street, moorgate, hoxton, harrigay, wood green.

149london bridge, liverpool street, shoreditch, stoke newington, tottenham, edmonton, ponders end.

214liverpool street, islington, kings cross, camden town, parliament, hill fields, highgate village.

242tottenham court road, holborn, bank, liverpool street, shoreditch, dalston, hackney, clapton park.

243waterloo, aldwych, bloomsbruy, old street, shoreditch, stoke newington, tottenham, wood green.

271liverpool street, moorgate, old street, hoxton, holloway, archway.

02 03 04 05 06 07 08 09

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01 02 03 04 05 06 07 08 09

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rendered perspectives 01 camera view

rendered perspectives 01 [wireframe]back view

rendered perspectives 01 [wireframe]bottom view

rendered perspectives 01 [wireframe]front view

rendered perspectives 01 [wireframe]left view

rendered perspectives 01 [wireframe]right view

rendered perspectives 01 [wireframe]top view

rendered perspectives 02 [flat]camera view

rendered perspectives 02 [flat]back view

rendered perspectives 02 [flat]bottom view

rendered perspectives 02 [flat]front view

rendered perspectives 02 [flat]left view

rendered perspectives 01 right view

rendered perspectives 01 top view

rendered perspectives 02 [all floors]

This following section illustrates a perspective of the Curtain House. This rendering is not an exact replication of the building, but an indication of floors, lifts stairs, offices and studio’s as I have found them. There is every possbility that you may not be familiar with this building, but this makes no difference. This book indicates how I have approached this particular building, this architectural and built space, and performed a series of observations and investigations in to learning about the space, its usage, its occupants and there journeys to and from the building. This following section simply illustrates my interpretation of this building so that you may comprehend a better visualisation of the space with which I have been working in.

entrance

front door

garage

lift/floor

4

3

2

1

g

b

lift/floor

4

3

2

1

g

b

lift/floor

4

3

2

1

g

b

lift/floor

4

3

2

1

g

b

lift/floor

4

3

2

1

g

b

lift/floor

4

3

2

1

g

b

stairs/floor

4

3

2

1

g

b

stairs/floor

4

3

2

1

g

b

stairs/floor

4

3

2

1

g

b

stairs/floor

4

3

2

1

g

b

stairs/floor

4

3

2

1

g

b

stairs/floor

4

3

2

1

g

b

The following pages identify simple routes of movement from point A (the entrance) to point B (the destination). Enabling you the reader to understand the layout and movement that the building allows.

From a designers perspective it simply visualises the data from this book; not necessarily the movement of individuals, but the passage that could be taken to each company. Graphically it is merely an alternative form of envisioning information of systematical movement.

rendering/routes of movement

The next two pages are of a still frame animation that I rendered of Curtain House. Its purpose is to illustrate the dynamics of the building, its layout and placement of offices. Although this is still represented on a staic format, it still engages an alternative perspective of the building that you may not have seen before. As a designer, I found this extremely important, just froma visual point of view, it allowed me to view the actually building in ways that you could never do in real life.

This alone establishes an answer to Edward Tufte’s question of ‘How do we represent the rich visual world of experience on a mere flatland?’, in many ways this animation does that.,; because you are viewing something printed and static, yet at the same time something that you couldnt even experience in the ‘real’ world.

rendering still frame animation

• •

• • • • • • • • • -- -

• •-

• • • -• -•

• • • • •

• • • • • •

front door

garage

lift

stairs

• •--• •--• • •

---• ••

•• • •

• • • • • • • • •

• •

• • • • • • • • • -- -

• •-

• • • -• -•

• • • • •

• • • • • •• •--• •--• • •

---• ••

•• • •

• • • • • • • • •

• •

• • • • • • • • • -- -

• •-

• • • -• -•

• • • • •

• • • • • • • •--• •--• • •

---• ••

•• • •

• • • • • • • • •

light surgeons

pd3 + tully + co

nigel limb

direct dialog

state design

onedotzero

direct dialog

qube

de grussa larkou





product 250

paul davies

chris morris

letaps

b.c.d

chris richardson

tom gray

raymond shawyer

rare styles

vitaminic

research fortnight


opera rara

film office

opera rara

kio5k

o.t.t

unison

underlines/rod howe

a.k.a

egelnick+webb


•• • •• • • • • • • • •

•• • •• • • • • • • • •

•• • •• • • • • • • • •

total deliveries/entrance/deviceall floors_deliveries

[• = one delivery]

light surgeons

pd3 + tully + co

nigel limb

direct dialog

state design

onedotzero

direct dialog

qube

de grussa larkou





product 250

paul davies

chris morris

letaps

b.c.d

chris richardson

tom gray

raymond shawyer

rare styles

vitaminic

research fortnight


opera rara

film office

opera rara

kio5k

o.t.t

unison

underlines/rod howe

a.k.a

egelnick+webb


total visitors/entrance/deviceall floorsvisitors recorded on28.10.00

Observations such as these enable the designer to understand how people, who are not familiar with the space, enter it and use it. This data visualises alot more than just where and how people use the building, because you could examine what companies they are visiting in particular, see how frequent those visitors are to the same companies. Find out what business those companies actually follow, which might influence the system of signage for the building; i.e most of the space on the fourth floor is dedicated to music and photography, should the signage be able to feed from this, to reflect the space by sound or photography installations?

[• = one visitor]

• •-• •--• •-•• •---• ••

2

-

2

-

-

2

-

1

2

-

-

-

2

1


• • • • • • • • • • • •

front door= 12

garage= 0

• • • • • • • • • • • •

lift= 6

stairs= 6

• • • • • • • • • • • •

first floorfrequency of visitors28.10.00

tom gray

raymond shawyer

rare styles

vitaminic

research fortnight


film office

opera rara

kio5k

o.t.t

unison

underlines/rod howe

a.k.a

egelnick+webb

• • • • • • • • • • • -- -• •-• • • -• -• • • • • •

1

1

7

1

1

-

-

-

2

-

3

-

1

-

1

5


•••••••••••••••••••••••

front door= 23

garage= 0

•••••••••••••••••••••••

lift= 23

stairs= 0

•••••••••••••••••••••••

second floorfrequency of visitors28.10.00

state design

onedotzero

direct dialog

qube

de grussa larkou





product 250

paul davies

chris morris

letaps

b.c.d

chris richardson

• • • • • • • • • • • -- -• •-• • • -• -• • • • • •

• • • • • •6total deliveries= 6

• • • • • •

front door= 6

garage= 0

• • • • • •

lift= 6

stairs= 0

• • • • • •

third floorfrequency of visitors28.10.00

direct dialog

• • • • • • • • • • • • •

1

3

9


•••••••••••••

front door= 10

garage= 3

• • • • • • • • •• • •

lift= 10

stairs= 3

• • • • • • • • •• • •

fourth floorfrequency of visitors28.10.00

light surgeons

pd3 + tully + co

nigel limb

Architecture/Movement/Text - MA Project

Education

movement space

architectural space

public space

engaged space

built space

office space

officestudio space

floor floor mapping