JANA SENBERGA PORTFOLIO BA2
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1782 MAYFIELD PRINTWORKS 1910 OPENING OF MAYFIELD STATION 1940 CONNECTION TO MANCHESTER PICADILLY 1970 REOPENED AS A PARCEL DEPOT 1990 STATION LEFT UNUSED 2017 RE-USE BY THE GRUB, PROJECT WAREHOUSE AND OTHER
EVENTS
SITE MODEL OF MAYFIELD STATION AND ITS SURROUNDINGS
SITE - STRENGHTS AND WEAKNESSES
ANALYSIS: - under arches - dark, very little existing light - existing atmosphere - possible manipulation with the existing building - metaphore of a cave - connectction to the main roads if opened up - existing shelter
ANALYSIS: - all levels can be used - direct connection to Picadilly Train Station - restrictions on the ramp - faces north, thus to reach the sun, the building has to be larger than one story - building in context to the existing building - sloping ground, hight difference - different interactions with the existing building (over, under, arches, ramp)
ANALYSIS: - a lot of light, sunshine, is not overshadowed - connection to water, river - inclined ground - overhand of the station (interaction with existing building) - “tucked away” from main streets - greenery - different materiality
DIAGRAMS - THE SITE LANDSCAPE : Most of the green spaces can be noticable in the south side of the site, surrounding the river Medlock. However, the green spaces are mostly simple plots of grass making the surrounding area feel very industrial. TRANSPOR ROADS : The most traffic is around the main roads surrounding Mayfield train station - Fairfield street, the Picadilly train station and the Mancunian Way. Because of these roads, the traffic noise and polution create an unpleasant atmosphere. SURROUNDING GALLERIES : In order to understand the need of an art gallery/space in the chosen site, surrounding art galleries were pointed out. Most of the galleries are in the city centre, thus in order to bring out the blinspot that is Mayfield, an art gallery would attract more visitors as there is no surrounding art space in the area.
WALK THROUGH THE SITE Walk towards the site starts at the Picadilly station, where most of the traffic is ciming to and from it. A lot of taxis are parked alongside of the road, decreasing the area that can be used by pedestrians. Moreover, greenery can be seen when coming closer to the site A area, where the river is running along. There is almost no pedestrian movement seen off the main road. The site is better overlooked by the people standing on the platform 13/14 in the Picadilly Station.
THE SUN ANALYSIS : The sun is shining towards the Noth side, thus half of the site is well lit and the other is overshadowed by the Mayfield station. Site A has the most of the sun, as there are no high rise buildings towards the south side, however Site B and C have the least of the light obtainable if the project is below 1/2 or 2 stories tall.
BUILDING HEIGHT ANALYSIS : When looking at the section of the Manchester city, it can be noticable that the buildings decrease in size when being further away from the centre, being larger in the city centre and smaller in the suburbs. Thus, in order for the building to fit into the surroundings, the height of the project shuld not exceed the height of the buildings around, thus not breaking the skyline.
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SITE ANALYSIS - COLOURFUL VS DARK
The most noticable thing of the site was the difference between the atmosphere of Mayfield station and the outside. Mayfield station seemed dark, moody, unwelcoming even, only allowing the sun reach it throuhh small cracks and some windows. However, the outside was much more colourful, welcoming and exciting, showing that the area lights up at particular times, for example, by the amount of small lamps and colour added to fences.
MATERIALITY AND COLOUR OF THE SITE The main idea is to embrace the materiality of the surroundings in the future design, therefore creating something that would fit into the site. By creating the diagram, it can be seen that the main materials of the site are brick and steel, variating in the colours of red and grey.
CHOOSING SITE - SITE A
ELEVATOR PITCH The creative driver of the project is the connection between contrasts found in Mayfield. While visiting the site it was possible to notice how many differences it had. Although it is seemingly very industrial, it has river Medlock running through, which is surrounded by overgrown greenery. Similar is with the differences between materiality and colour – Mayfield station inside is very dark, moody, but outside ‘The Grub’ is very light with its wooden structure and colourful walls. By taking these and many other contrasts in mind and connecting them with the F. L. Wright’s idea of organic building continuing from its surroundings, the idea of transition between contrasts in form of a building was born. By choosing the Site A, which has many forms of contrasts, it is possible to create a space that would connect the structure and nature, and create an art gallery, which would bring the outside colourfulness inside and bring out Mayfield from its blind spot by bringing people to the area. The art space would allow a person to experience the connection between all contrasts in from of an art space. Moreover, the art gallery would be created for a specific artist, thus creating a place for an art studio with a possibility of an overnight stay. CONTRASTS : structure vs nature brick vs steel inside vs outside dark vs light monochrome vs colourful steep vs flat open vs closed unnatural vs natural loud vs quiet land vs water
INITIAL IDEA
The first concept collage was made to show the conncection from structure to nature by incorporating greenery and water. However, after achieving the result, it did not represent the gradual transition between one another, thus, it became as a template that would be further developed with examination of iterations.
The connection between water and structure and a place, where people can interact with both.
Difference in materiality - how steel and brick connect with each other.
Opening in the building for directing people for specific views - Mayfield station.
Openings for interaction tween light and structure.
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DESIGN ITERATIONS Design iterations show how different contrast interract within the site. By understanding the way each contrast could be connected, the iterations are made in order to comprehend what to incorporate in the design later and create a journey that would represent continuity from one to another.
CONCEPT COLLAGE The collage represents the transition between the structure and nature, incorporating art. Although plants and the building are contrasts, together they are able to create a transition one continuing into another. The place would celebrate the site, surrounding landscape - river, greenery and create a place for artists, thus bringing the colourfulness of the outside of the site into the building with artwork.
SITE SECTION 1:100 @ A2
AXONOMETRIC OF THE SITE
TRY 1
TRY 2
DESIGN IDEAS In order to understand the appropriate design for the site, three different examples were created. The first one was created to resemble the nearby buildings, all havng slanted roofs. The last design, howeverm was made out of different sized buildings varying from larger to smaller. However, the final design did not resemble the initial idea of creating a continious desgn, where an art space was created. Thus, the first design was chosen in order to represent the contiouity between the buildings surrounding the Mayfield site and Mayfield station itself, creating a whole journey.
TRY 3
By understanding the need of customer and artist, it could be understood how many rooms and which rooms are needed in the building. Main service areas are toilets and offices, which are placed at the back side of the building.
The movement of the artist is diverse, moving from one room to another without a specific pattern. However, the direction of customer is made to be straight along the ground floor, entering on one side and coming out in another.
DESIGN DEVELOPMENT - PLAN / SECTION
In the first developing stages, many considerations were made about seperation and openess of the space. First, thinking about the seperation between the artist and the visitor. The artist needs a seperate working area, however, if the gallery is of his work, he would be able to overlook it, thus the final design idea was to create a balcony floor, thus the artist would be able to work seperatly and overlook his work when creating his layout. Secondly, thinking about the openess of the space, different types of doors were considered. The main creative driver was the openess and transition of the space, thus decreasing the amount of closures during the journey. Thus, in order to create the openess, pivot doors were chosen.
The plans evolved from seperating two - outside to inside, to embracing the transition of the “broken” pieces from the start, thus creating the broken floor already inside and enchancing the idea by choosing different materials.
SEPERATING THE GALLERY :
The designed building creates a journey that would bring a person through different contrasts, thus the building itself is quite long and narrow. Therefore, in order to use the most of the inside space for artwork, an inside layout had to be thought of.
MAIN IDEAS AND MOVEMENT :
The main inspirations were the panels that could be placed in the middle of the building, thus “seperating the area into two without adding a wall - creating a possibility that the artist could change thelayout afterwards. The movement of poeple was the most important idea, as it had to maintain the idea that the movement goes only into one direction. After gaining two main ideas of either pivot wall or a seperate structure, that would reseble the detached pieces when the building starts to “shatter” wih time, thus maintaining the idea throught the whole design.
FINAL PLAN IDEA : The final idea was to recreate the shattered pieces inside, similar doing with the foor. This would carry the idea of building transitioning into pieces already from the inside.
GROUND FLOOR WITH CONTEXT 1 :50 @ A1
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FIRST FLOOR WITH CONTEXT 1 :50 @ A1
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AXONOMETRIC FLOW DIAGRAM
PRIVATE
PUBLIC
LANDSCAPE PLAN 1 :1250 @ A2
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CONSTRUCTION AND OCCUPATION 1 :20 @ A3
The gallery can be easily overlooked by the artist from the top of his art studio. The large windows also give sight to the lake, therefore bringing the outside nature inside the building. The natural colour of the plywood creates a light space and the metal detailing on the foor starts to create the idea of building shattering already inside. Each wall can be optimised by the artist, as there is no particular place where to put art, thus giving the freedom of choosing.