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Design Impact - Creative Hub-Future Crafts

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Design Impact - Creative Hub-Future Crafts

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Hackney is known for its diverse and active arts community. In Hackney, Artists can connect with fellow creatives collaborate on projects, and find inspiration to interact with people from different cultural backgrounds and artistic disciplines.  Over the years, Hackney has undergone significant urban regeneration efforts. These changes have brought concerns about gentrification and displacement of artists.

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Attended Friend's Graduation at the University of Essex

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Southend-On-Sea, Essex

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Westgate punting

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Project Summary - CREATIVE HUB -Future Crafts

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Project Summary - CREATIVE HUB -Future Crafts

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The idea is to try to adapt and reuse an original London building for design purposes. As a result, the design can contribute in the restoration of local artists, and also features docking space by utilizing the Regents Canal on the lower ground side of the site.
In order to adopt proper sustainability measures, the design concept will make use of local culture and materials. The designed space will have transparency to nearby highways to keep the hub environment where people feel connected in the building made of wood, concrete, and bricks.

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Walter Segal - Wikipedia

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From Wikipedia, the free encyclopedia

Apartment building, Knightsbridge, 1957

Walter Segal building at Surrey Docks Farm

Walter Segal (15 May 1907 - 27 October 1985)[1] was an architect who developed a system of self-build housing, the Segal self-build method. Based on traditional timber frame methods modified to use standard modern materials, his method eliminates the need for wet trades such as bricklaying and plastering, resulting in a light-weight method which can be built with minimal experience and is ecologically sound. The roofs tend to be flat with many layers of roofing felt, which allows the creation of grass-covered roofs. Foundations are minimal, often just paving slabs, the strength coming from the geometry of their construction. Segal houses have been compared to traditional Japanese houses.[2]

Segal was born in 1907 in Berlin, Germany, and grew up in Ascona, Switzerland, as the son of the Romanian Jewish painter Arthur Segal and artist Ernestine Chavas.[3][1] They spent the time of the First World War in Ascona close to an alternative community called Monte Verità (McKean: 1988). Walter Segal studied architecture among the pioneers of the Modern Movement in Berlin and Delft, Netherlands,[4] and received his first commission in 1932 from a patron of his father, Bernhard Mayer, to build a small wooden holiday cabin in Ascona.[1] This was followed by further commissions in Ascona and later in Majorca. In 1934-5 he worked in Egypt studying and illustrating dynastic chairs and stools, primarily those from the tomb of Tutankhamun.[1][5][6]

He moved to London, UK in 1936 where he met and eventually married Eva Bradt, a student at the Architectural Association School of Architecture. He taught at the school, wrote in trade journals, published a couple of books and had a few small architectural commissions. He worked on commissions for furniture and interior design and during the war he designed air raid shelters and hotels for the Ministry of Supply.[1]

He lived in Highgate, London, and their son, John, was born in 1948.[3] By then Segal had built his first main building, which was a block of flats in south London. Eva died in 1950.

In 1963 Segal married Moran Scott, who also lived in Highgate. To gain more living space, they eventually demolished and rebuilt Scott's house. They built a temporary structure in the garden using standard cladding materials and with no foundations other than paving slabs. It took two weeks to build and cost £800. This house, dubbed the "Little House in the Garden",[7] roused considerable interest and led to a number of commissions using a similar style around the country. As the system developed the clients were able to do more and more of the building themselves.

In the 1970s Lewisham Borough Council made three small sites, unsuitable for mainstream housing, available for people to build their own homes using the method. Due to the success of these a fourth site was later made available.[8]

After his death in 1985 the Walter Segal Self Build Trust was set up, and his methods have gained in popularity. A Segal house at the Centre for Alternative Technology has helped in spreading the system. At least six of these buildings and schemes have won awards, ranging from the prestigious Housing Project Design Award to Green Building of the Year. The dry-trade construction used in Segal method houses allowed such a building in London, constructed in 1988 and by 2012 scheduled for demolition, to be dismantled and re-erected on a new site.[9]

1. ^ (Subscription or "Segal, Walter". Oxford Dictionary of National Biography (online ed.). Oxford University Press. doi:10.1093/ref:odnb/63143. UK public library membership required.)

2. ^

3. ^ Martin, Geoffrey T. (2011). "The Thrones, Chairs, Stools, and Footstools from the Tomb of Tutankhamun". The Journal of Egyptian Archaeology. 97 (1): 257-259. doi:10.1177/030751331109700127. ISSN 0307-5133. S2CID 220269142. Archived from the original on 19 April 2022.

4. ^ Eaton-Krauss, Marianne (2008). The Thrones, Chairs, Stools, and Footstools from the Tomb of Tutankhamun. Walter Segal, Griffith Institute. Oxford: Griffith Institute. ISBN 978-0-900416-89-7. OCLC 214308280. Archived from the original on 19 July 2022.

5. ^ "This isn't at all like London': life in Walter Segal's self-build 'anarchist' estate" Archived 2022-06-03 at the Wayback Machine, Alice Grahame, 16 Sept 2015, The Guardian

Walter Segal, Home and Environment, Leonard Hill (1948, 1953)

Walter Segal, Planning and Transport: Their Effects on Industry and Residence Dent, for the Cooperative Permanent Building Society, (1945)

Walter Segal, Learning from the Self-Builders (Audiobook), World Microfilms Publications Ltd (December 1983)

John McKean, 'The Segal System', special issue on systems, Architectural Design, March 1976, pp. 288-96.

John McKean 'Semi prezio di buon senso' ('Not just liberation through technology, but implicit meanings too: an appreciation of Walter Segal') in Spazio e Societa (Milano), June 1986, No. 34, pp. 18-26.

John McKean 'Walter Segal: the man and the myth', extended essay in Building Design (London), 10 May 1988

John McKean, Learning from Segal: Walter Segal's Life, Work and Influence, Birkhauser (Basel and Boston) (1989) [contains full bibliographies]

John McKean, 'Becoming an Architect in Europe Between the Wars', Architectural History (The Journal of the Society of Architectural Historians of G. B.), Vol. XXXIX, 1996, pp. 124 - 146. (the story of Segal's education)

Marion Eaton-Krauss, Walter Segal, 'The Thrones, Chairs, Stools, and Footstools from the Tomb of Tutankhamun', Griffith Institute (Oxford), 2008.

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Toggle the table of contents From Wikipedia, the free encyclopedia Walter Segal (15 May 1907 - 27 October 1985)[1] was an architect who developed a system of self-build housing, the Segal self-build method.

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BLOX / OMA / Ellen Van Loon | ArchDaily

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Text description provided by the architects. The BLOX project, home of the Danish Architecture Center (DAC), contains exhibition spaces, offices and co-working spaces, a café, a bookstore, a fitness centre, a restaurant, twenty-two apartments and an underground automated public carpark, but it is not the acrobatic mixing of uses that defines this project; its ultimate achievement is in 'discovering' its own site.

The Old Brewery site, split into two by one of Copenhagen's main ring roads, didn't really register as a building site until the design of the new DAC identified it as such. Straddling theroad, making public connections both above and below, BLOX connects the parliament district with the harbour front and brings culture to the water's edge. A space for cars becomes a space for people; a space to pass through becomes a space to reside.

The Copenhagen inner harbour has a long industrial and military history. On reclaimed land, the building site initially housed a cluster of brewery buildings which burnt to the ground in the 1960s. Since then the harbour has become the home of some of Denmark's most notable architectural icons; a linear display of the tenets of Danish Modernism: monumentality, simplicity and politeness.

BLOX adds a new impulse: creating an encounter between the water frontages, Kierkegaard's Square and the city. Its square volume, positioned directly along the harbourside, creates a sheltered public city square against the traditional yellow buildings and a much needed built front for the existing library square.

Contrary to most city blocks in Copenhagen - often introverted and inaccessible - the building absorbs the city's life. The urban routes through the building lead to unexpected and unpredictable interactions between the building and the city, linking the different museums, libraries and historical sites around the culturally rich Slotsholmen area. A linear park along the harbour flows down below water level along the quay wall and through the building. The former playground is incorporated into the new building, as a partially covered and terraced public space, which can be transformed in the evening into an open-air cinema acting as a public foyer.

The building's exterior is marked by a stacking of the same geometric forms in different arrangements. The offices are contained in a rectangular ring of glass facades shaded in a white frit. The ground floor functions are located in separate volumes generating openings which form the public entrances and bring the city in to the center of the building. The apartment volumes are fragmented and recessed for privacy, the landscaped terraces encircle the DAC's central rooflight. The building's coloured textures subtly echo the sea tones of the harbour, ever-present in the reflected light of the water.

The DAC itself forms the core of the BLOX Project, positioned in the centre, surrounded by and embedded within its objects of study: housing, offices and parking. It is organized as a vertical sequence of spaces running through the building, starting below ground and moving upwards to the cafe with its view over all of Copenhagen.

Sustainability
A broad sustainability vision has been developed for the project, not just in terms of the usual energy, carbon and resource issues, but addressing the wider social and economic impacts. The Arup SPeAR® assessment served as a tool to analyse the project and record progress against a comprehensive, holistic set of criteria spanning environmental, social and economic aspects within the wider cultural and geographical context.

Denmark's advanced low energy requirements for buildings, arising from the 2009 Copenhagen Accord, demand an operational energy usage much lower than other countries. Bringing the building's design in line with these criteria involved rethinking its mass and façade concepts, involving ways to reduce CO2 emissions and embodied carbon during construction and operations, as well as researching new solutions to offset and neutralise the carbon usage. The building makes use of on-site renewable energy and achieves the Low Energy Class with a primary energy usage of under 40 kWh/m2/yr.

User comfort and lifetime flexibility are important elements for the durability of BLOX. The building is acoustically isolated from road noise and vibrations with a highway bridge construction and high insulation facades. The office facades are fully glazed to provide a generous outlook and to reduce lighting energy usage. Minimal low-energy lighting fixtures combined with user task lights are used, and both lighting and facade sun shading are automated through centralised daylight control, with user controls. The building is served by a high specification heat recovery plant which uses Copenhagen 's district heating and cooling system based on seawater cooling and the use of residual heat from electricity generation.

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Completed in 2018 in Copenhagen, Denmark. Images by Richard John Seymour, Rasmus Hjortshøj - COAST, Maria Gonzalez, Hans Werlemann, Clement Guillaume, Søren Svendsen, Dragør Luftfoto. The BLOX project, home of the Danish Architecture Center (DAC), contains exhibition spaces, offices and co-working spaces, a café, a bookstore, a...

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Portfolio composition using Indesign. Learnt a new software during my lectures which was really helpful.

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Structural and Spatial Case studies

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Canterbury Cathedral

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Experienced one of the best times in the UK

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Few months after arriving in the UK, I had to go through a terrible time. I had an accident, which required me to pull the bone from my ring and little fingers by wearing splint over the course of six to eight weeks. The hardest aspect is that it hasn't yet healed and adjusted to being displaced.

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As an international student, traveling to a new country involved a roller coaster of emotions, including saying goodbye to family and mentally preparing for life on my own in a foreign land. Excited to meet new people, discover new cultures, and other things.

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I was able to have a thorough comprehension of the plan section detailing by referring these books. It also aided in my knowledge of green buildings.

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Drafting The Plan, Section, Elevation - Future Crafts

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Drafting The Plan, Section, Elevation - Future Crafts

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Based on feedback from my Tutor, I have made few changes to my plans by detailing the section and the elevation to get a desired output.

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Using Rhino software, I created a 3D model and did a 3D printing for site model

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3D Interior rendering in Lumion - Fututre craft

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3D Interior rendering in Lumion - Fututre craft

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After completion of 3D in Rhino software and imported to Lumion and did a 3D rendering the exterior.

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Existing site model

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I used the Hackney Wick site map from Digi map and traced it in CAD. In one layer, I created building pieces for transportation access and road network. A survey on building height inequalities was conducted, as well as socioeconomic and cultural studies and land categorization.

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Based on the research, a preliminary hand-drawn design concept for the development of proposal.

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07 June 2023
1. To generate 2D visualizations, use Photoshop, Illustrator, and CAD.
2. Create 3D models in Rhino, Sketchup, and Grasshopper tools, and consider how to use materials and colors in the space.
3. Create cinematic presentations based on the spaces in the design using lumion and vray.

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14 February 2023
Research Questions
1. How can modern architecture be devoid of all characters
2. How is it that eclectism style implemented on redevelopment projects rather than a new projects
3. How to effectively showcase a potential design process of Eclectic architecture compared to a poorly  planned design?

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The location has a slope in front of it. I plan to level the slope by filling it in. The existing building have been adaptive reused for the future development. Certain part of buildings was reconstructed.

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Site Analysis - Hackney wick - Future Crafts

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Site Analysis - Hackney wick - Future Crafts

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The River Lee borders the Site's location in Hackney Wick, London, on two sides. The site was chosen because it boasts views of the Lee River on two sides, and its north-east facade is fully open with no adjacent structures or impediments, allowing natural light to enter the building. The other factor is that it is close to all transportation and other amenities.

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The Art Hub, which is used by locals and civic workers, is a significant component. Other components include studio spaces for artists in various categories, a dual-purpose venue for holding events and meetings, and digital archives for gathering art-related material. Both outdoor art areas for displaying artwork and for people to interact with one another, as well as workshop facilities for the locals to use to enhance their talents and opportunities. The proposed area is 5500 square meters.

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Direct and indirect public benefit through art - Future Crafts

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Direct and indirect public benefit through art - Future Crafts

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Direct benefit to the public:

Direct public benefit is attained through opportunities, activities, and outcomes developed especially for people, groups, and members of the public and delivered using the resources of various organizations and their partners, as well as the creativity and expertise of artists and other creative practitioners.

Indirect benefit to the public:

Examples of indirect advantages include possibilities, acts, and results in culture, society, and the public domain. These are the outcomes of the work and endeavors of artists who served as consultants, researchers, educators, educators, and facilitators in a range of contexts and organizations.

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The London artists who couldn't afford to rent studios shouted, "Hackney, I lost you."
The aim of photographer Jenny Lewis' Hackney Studio project was to highlight the creative spirit of the area, but many of her subjects have been forced to quit their workplaces as costs have soared and east London's construction has intensified.
Source - Guardian.
Because the warehouse in this image was not actually in use, I had the notion to turn it into a creative hub for artists.

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Hackney Wick - Wikipedia

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Hackney Wick is a neighbourhood in East London, England. The area forms the south-eastern part of the district of Hackney, and also of the wider London Borough of Hackney. Adjacent areas of the London Borough of Tower Hamlets are sometimes also described as being part of Hackney Wick. The area lies 4.2 miles (6.8 km) northeast of Charing Cross.

Hackney Wick is the south-eastern part of the historic district of Hackney, and also of the wider modern London Borough of Hackney. Adjacent parts of Old Ford (including Fish Island) in the London Borough of Tower Hamlets are also sometimes described as Hackney Wick, due to similar post-industrial land uses and their proximity to Hackney Wick railway station. The boundary runs along Wallis Road and the railway.

The core area lies west of the Lee Navigation, here called Hackney Cut, however the parts of the Queen Elizabeth Olympic Park within Hackney have often also been described as Hackney Wick, and the East Wick development within the Olympic Park reflects that.

The A12 and East Cross route form major barriers to the north and west (within Hackney), though the Wick Woodland, an area of secondary woodland, built on former marshland raised up by rubble from the Blitz, lies north of the A12.

The Hackney Wick First World War memorial in Victoria Park, August 2005

The area was part of the Ancient Parish of Hackney, which became the Metropolitan Borough of Hackney in 1900 and merged with neighbouring areas to become the London Borough of Hackney in 1965.

In the Roman period the River Lea was much wider, and the tidal estuary stretched as far as Hackney Wick. In 894, a force of Danes sailed up the river to Hertford; Alfred the Great saw an opportunity to defeat the Danes and dug a new channel to lower the level of the river, leaving the Danes stranded.

Historically, Hackney Wick was an area prone to periodic flooding. The construction of the canals and relief channels on the Lea alleviated that and allowed the development of the area. In historic times, the marshes were used extensively for grazing cattle, and there was limited occupation around the 'great house' at Hackney Wick. This area as well as the marshes were historically part of Lower Homerton (also a part of the parish of Hackney). The former Hackney Brook once flowed through the area, with a confluence with the Lea a short distance to the south in Old Ford.

The area had its roots in the landholding called Wick Manor, in the parish of Hackney, which was farmed from a large building known as Wick House. In 1745 the population was limited to Wick House and a handful of cottages. There was very little urbanisation until the rapid growth of the 1860s and 1870s, which followed the arrival of the railway station.

The Eton Mission; until 1880 the parochial building housed rope works.[6]

During the 19th and (early) 20th centuries, the Wick was a thriving well-populated industrial zone, as the Hackney Wick First World War memorial in Victoria Park testifies (see picture right) -the lower part of the obelisk is densely inscribed on all four faces with the names of Wick men who died in that conflict. When Charles Booth surveyed Hackney Wick in his London-wide survey of poverty during the 1890s he would have noticed that there were, amid the noxious fumes and noise, areas of lessened deprivation. Streets south of the railway such as Wansbeck and Rothbury Roads were a mixture of comfort and poverty. Kelday Road, right on the canal seemed positively middle class. To the north of the railway, streets either side of Wick Road, e.g. Chapman Road, Felstead Street and Percy Terrace were described as "very poor", with "chronic want".

It was no doubt conditions such as these which hastened the involvement of Eton College about this time to instigate their urban mission in Hackney Wick, a philanthropic and perhaps more accurately pedagogical outreach shared with several other public schools. The Eton Mission lasted from 1880 to 1971 when the college decided that a more local social project was appropriate for changed times, and has left as legacy a fine church by G. F. Bodley, a noted rowing club, and the 59 Club.

In the last quarter of the eighteenth century, water mills on the Hackney Brook were adapted for the manufacturer of silk, and in particular crêpe. In 1811, it was said that 'the works at these mills are moved by two steam engines, on an improved principle, which set in motion 30,000 spindles, besides numerous other implements of machinery used in the manufacture.'

The world's first true synthetic plastic, parkesine, invented by Alexander Parkes, was manufactured here from 1866 to 1868, though Parkes' company failed due to high production costs. In contrast shellac, a natural polymer was manufactured at the Lea Works by A.F. Suter and Co. at the Victory Works for many years. The factory at nos 83/4 Eastway commenced operation in 1927. Subsequently, they relocated to Dace Road in Bow. For many years Hackney Wick was the location of the oil distiller Carless, Capel & Leonard, credited with introduction of the term petrol in the 1890s. The distinguished chemist and academic Sir Frederick Warner (1910 - 2010) worked at Carless's Hackney Wick factory from 1948 to 1956. William J Leonard (1857-1923) was followed by his son Julian Mayard Leonard (1900-1978) into the firm, where he became managing director and deputy chairman.

The firm of Brooke Simpson Spiller at Atlas Works in Berkshire Road had taken over the firm of William Henry Perkin at Greenford Green near Harrow in 1874, but subsequently disposed of some operations to Burt Bolton Heywood in Silvertown. Nevertheless, Brooke Simpson Spiller is the successor company to the founding father of the British Dyestuff Industry. The company employed the brilliant organic chemist Arthur George Green (1864-1941) from 1885 until 1894, when he left to join the Clayton Aniline Company in Manchester and ultimately, when the British chemical industry failed his talents, to the chair of Colour Chemistry at Leeds University. At Hackney Wick, Green discovered the important dyestuff intermediate Primuline. He was a contemporary of the organic chemist Richard John Friswell (1849-1908) who was from 1874 a research chemist, and from 1886 until 1899 director and chemical manager. Perhaps even more distinguished was the Jewish chemist, Professor Raphael Meldola FRS, who is remembered for Meldola's Blue dye and is commemorated by the Royal Society of Chemistry's Meldola Medal. He worked at Hackney Wick from 1877 until 1885, where Meldola's Blue was discovered. Friswell went on to succeed Armstrong as Professor of Chemistry at Finsbury Technical College. Friswell eventually left Hackney Wick to work for the British Uralite Company at Higham although he was still a director there in 1893 when he wrote to H.E. Armstrong to describe bad trading conditions at Atlas Works. A large collection of Hackney made dyestuffs is on view at the Powerhouse Museum in Sydney Australia. The firm of W.C.Barnes of the Phoenix Works was also engaged in the aniline dye industry at Hackney Wick.

The confectioner Clarnico is synonymous with Hackney Wick. The company, known as Clarke, Nickolls, Coombs until 1946, arrived in Hackney Wick in 1879. Despite being taken over by Trebor Bassett, the name lives on in Bassett's Clarnico Mint Creams and also in the CNC Property company. Just after the second world war, Clarnico was the largest confectioner in Britain but moved further across the Lea to Waterden Road in 1955 where it survived for another 20 years. The company had its own brass band in the early 20th century.

Another pathfinding entrepreneur in Hackney Wick was the Frenchman, Eugene Serre. His father, Achille Serre, who had settled in Stoke Newington, introduced dry cleaning to England. Eugene expanded the business into a former tar factory in White Post Lane which still carries traces of the firm's name.

River Lee Navigation, off White Post Lane.

In post-industrial times, Hackney Wick has seen many changes to its topography. Very little remains of the inter-war street pattern between the Hertford Union Canal and Eastway (the western part was then known as Gainsborough Road) or the masses of small terraced houses. Many of the street names have permanently vanished due to later redevelopment. Part of the Wick was redeveloped in the 1960s to create the Greater London Council's Trowbridge Estate, which consisted of single-storey modern housing at the foot of seven 21-storey tower blocks. The estate's housing conditions deteriorated quickly and despite an attempt to regenerate the tower blocks, much of the housing in the estate was replaced between 1985 and 1996. The artist Rachel Whiteread made screenprints of photographs of the former Trowbridge estate which are in the Tate Collection as part of her series Demolished.

The Atlas Works of 1863, backing onto the Lee Navigation, was demolished to make way for housing in the 1990s. In the 1930s it had been the home of the British Perforated Paper Co, famous for inventing toilet paper in 1880.

Due to its proximity to the Olympic Park, Hackney Wick received community and public realm development grants. The Draft Phase 1 Hackney Wick Area Action Plan was developed for consultation in November 2009 by Hackney Council as a strategy to guide and manage future change in the area. The updated Area Action Plan was adopted in 2012. This should further contribute to improvements in the area, although there are fears that development may price many residents, particularly artists, out of the area.

Conversely, concerns have been raised over some of the local effects of the Olympic Park development, including the potential impact to the future of the century-old Manor Garden Allotments, which has inspired a vocal community campaign.

At the time of the 2011 UK census, the Wick ward covered Hackney Wick and nearby areas. The census showed the ward had a total population of 11,734, with an area of 163.26 hectares and a density of 71.9 persons per hectare. Of the 4,802 households in Hackney Wick, 17.0% were married or same-sex civil partnership couples living together, 36.5% were one-person households, 8.6% were co-habiting couples and 19.4% were lone parents.

In 2011 the largest ethnic group is White (48.4%), followed by Black or Black British (31.8%), Mixed (11.1%) and Asian or British Asian (8.7%). The remaining 4.4 per cent is made up of other unspecified ethnic groups. As for religion, in 2011 50.4% of residents identified as Christian, 12.7% as Muslim, 1.5% as Buddhist, 1.0% as Jewish, 0.5% as Sihk, 0.4% as Hindu, 0.4% having an unspecified religion, 8.1% not stating their religion, and 25.1% having no religion.

Hackney Wick has a long been home to a large number of professional creatives, artists and musicians. Attracted in part by the low cost studio spaces that became available with the decline of its industrial past, more than 600 individual artist studios existed in 2013. With notable artists including Banksy, Paul Noble and Fantich and Young

The area has also a number of established creative arts venues with the Schwartz Gallery, Stour Space, The Yard micro theatre, and the artists collectives such as the Performance Space, and the White Building, London's centre for art, technology and sustainability which was developed in partnership with the London Legacy Development Corporation and is occupied by Space studios.

Following the Olympic Games in 2012, Hackney Wick has seen the onset of rapid gentrification in part due to the opening of new residential locations within the Olympic legacy site but also specifically the artist culture which has been long established in recent history.

Old industrial buildings now used as artist studios. teeth-and-gums rooftop graffiti by Sweet Toof.

The defiled and HW initialled Olympic Coca-Cola mural

Further along the Eastway, the 2012 Olympic site claimed industrial premises formerly used by British Industrial Gases (later British Oxygen Company, BOC) to manufacture oxygen and acetylene and Setright Registers Limited who, between the mid-1950s and mid-1960s, made the famous bus ticket issuing Setright Machine used throughout the UK and abroad.

The historic Hackney Wick Stadium, well known throughout the East End for greyhound racing and speedway, became derelict in the late 1990s and closed in 2003. However, it became the site for the 2012 Olympic media and broadcast centre and, after the Games, was to be turned over for commercial use.

There are many other signs of revival. Not only will the area benefit from the 2012 Olympics development, but London's artistic community, increasingly forced out of the old warehousing and industrial zones to the south of Hackney borough and in Tower Hamlets by rising rents, are taking an interest in the more affordable industrial buildings out at the Wick. Though rents rose through 2011 and 2012 because of the upcoming Olympics. Hackney Wick's first arts festival, took place from 8 to 10 August 2008. The festival weekend included show openings from a series of the Wick's local art venues, including Mother Studios, Elevator Gallery, The Residence, Decima Gallery, Schwartz Gallery, Show Dome, Mainyard Gallery, Top and Tail Gallery, The Peanut Factory and Wallis Studios. 2009 saw the staging of a second 'Hackney Wicked' arts festival, which took place from Friday 29 July to Sunday 1 August. The Festival had the 4th edition in 2011, taking place between 29 July and 31 July where you can watch a film of its true spirit. In September 2012, Hackney Film Festival curated an outdoor canal-side screening of Andrew Kötting and Iain Sinclair's olympic sized travelogue 'Swandown', with a Q&A session at Carlton London during the closing ceremony of the Paralympics. The evening was hosted by Gareth Evans in association with the Mayor of London.

The notable 59 Club for motorcyclists was founded at the Eton Mission church in 1959 in Hackney Wick.

Hackney Wick is mentioned in an exchange of dialogue in The Ribos Operation, a 1978 episode of , as being a "mudpatch in the middle of nowhere" that one of the characters longs to return to.

Entrance to Hackney Wick Station

Hackney Wick railway station is served by London Overground services on the North London line. The station is near the scene of the first railway murder. The victim, Thomas Briggs of 5 Clapton Square, was returning from dining with his niece in Peckham in July 1864 and was murdered on the train.

Victoria Park railway station was on the North London Railway to Poplar, which closed to passengers in 1943 and to goods in the early 1980s. It was on the site of the present East Cross Route and opened in 1866 at the former junction of the Stratford and Poplar lines, replacing a short-lived station of 1856 on the north side of Wick Lane (now Wick Road). No trace of either remains. The redundant viaduct carrying the former goods line to the Millwall docks over the East Cross Route was removed in the 1990s. The present Hackney Wick railway station was built on the 1854 spur from the original North London Line to Stratford. The entrance poles to the former Hackney Wick Goods and Coal Depot (a site now occupied by housing) are still to be seen beside the Kenworthy Road bridge.

The local area is well served by seven daytime bus routes and one nighttime route, with three of the routes terminating at Hackney Wick. With the area having access to London bus routes 26, 30, 236, 276, 339, 388, 488 and N26, Hackney Wick has connections to areas of Central London and other areas such as Stratford.

Hackney Wick is connected to the National Road Network, with the A12 Eastway (completed late 1990s), and East Cross Route linking the area with the Blackwall Tunnel (1960s).

Hackney Wick is on the Capital Ring walking route, much of which is accessible to cyclists. The River Lee Navigation, and other local canals, have a tow path which is accessible for both walking and cycling. The Hertford Union Canal is accessed via a ramp from Wick Road, near St Marks Gate. From here, eastward, the Lea Valley Walk provides a continuous route to Hertfordshire for the particularly determined, the National Cycle Route 1 also runs on both towpaths connecting Hackney Wick to the National Cycle Network. Westwards, the towpath proceeds to the Hertford Union junction with the Regent's Canal; to the south this proceeds to Limehouse Basin, and to the north-west provides a route through north London to Islington, Camden and Paddington.

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Hackney Wick is a neighbourhood in East London, England. The area forms the south-eastern part of the district of Hackney, and also of the wider London Borough of Hackney. Adjacent areas of the London Borough of Tower Hamlets are sometimes also described as being part of Hackney Wick.

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Being an international student, meeting with individuals from other countries, and seeing new cultures allowed me to learn a lot, and working as a team on the project allowed me to get useful insights that helped me develop both academically and personally.

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A water cut with a rustic feel was used to create the porthole to give it a more authentic appearance. After Effects was used to create the animation and the aquatic setting, along with the marine life. To convey the water effects and the peacefulness that experienced, the objective is to give the viewer a sense of seeing the water layers and the sea creatures from an old rusted sinking ship.

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Screen Exploration video - Exploratory Practice

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Screen Exploration video - Exploratory Practice

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Screen Exploration has been done in different fabrics for a realistic projection

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Screen Exploration - Exploratory Practice

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Screen Exploration - Exploratory Practice

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The team experimented a different angles techniques and used a different fabrics for the better projections.

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The team has incorporated the minute detail references of what was used in the ship such as knot techniques where we have implemented the same techniques to hang the screen.

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Final Protoype Exploration - Exploratory Practice

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Final Protoype Exploration - Exploratory Practice

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The final prototype investigates how the sea layers can be seen on the screen through the projector. The final prototype uses projection to give the audience a realistic sense of the water layers.

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Model Expolaration - Exploratory Practice

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Model Expolaration - Exploratory Practice

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The team has conducted experiments from the port hole to see how the sea layers can be seen, how the port hole is hung, and how the construction functions.

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The 3D model's first prototype looked like this. Due to logistical constraints, the project called for a simplified solution where only the porthole was needed instead of the entire door.

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Creating Ideas & Concept - Exploratory Practice

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Creating Ideas & Concept - Exploratory Practice

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Following the team discussion and the tutor's comments. The team developed innovative concepts and ideas on the interaction between people and the ocean, which helped the project provide greater results.

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Any project's primary source is a case study. Each and every case study was distinct from the others and had a separate design message. The four case studies that were just described made it possible to learn more about the project in-depth.

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Mind Map after site visit - Exploratory Practice

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Mind Map after site visit - Exploratory Practice

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Following the site visit, the team gained a great deal of knowledge about the locations visited, and together, we incorporated all of these insights into a mind map that enabled the team to produce superior project results.

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A group of eight people conducted initial study on the city of Margate. was a team member and wanted to learn more about the setting and the locals' way of life.
Margate - Wikipedia

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20 June 2023 CLT construction & cladding: everything you need to know

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https://www.rockpanel.co.uk/inspiration/info-centre/clt-construction--cladding-everything-you-need-to-know/#:~:text=Cross%20Laminated%20T

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As CLT is a wood product, this often raises the question how firesafe it is. Because it consists of several layers of wood pressed against each other, a CLT construction performs surprisingly well in the event of a fire. As with a forest fire, only the outside will char, protecting the inside and keeping the structure in place.

By combining CLT with fire-resistant insulation and exterior cladding, an extra protective layer is created. As a result, the outside of the facade will not char. Because Rockpanel's facade boards are made from basalt, a volcanic rock that can withstand very high temperatures, they are naturally extremely fire resistant.

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CLT construction & cladding: everything you need to know

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CLT (Cross Laminated Timber) is an innovative product for mass timber construction that's used more and more. But what is CLT exactly and what are the advantages?

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Hackney Wick socio economic and cultural studies - Future Crafts

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Hackney Wick socio economic and cultural studies - Future Crafts

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Following the conversation, the team discussed about how to make the project realistic, discussed design techniques, discussed about the materials used in the project, in particular the materials associated to the ocean and the ship, and planned to construct a ship portal.

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The above mentioned books has been used as a references for the project.

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10 May 2023 Eco-friendly Modular Buildings

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Sustaintable Learning And Implementation - Future Crafts

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Sustaintable Learning And Implementation - Future Crafts

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Modular Buildings | Eco-Friendly, UK Award-Winning Designs (tgescapes.co.uk)

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Offering a turnkey solution for our customers, we design, build, deliver, and install eco-friendly modular buildings for schools and commercial businesses across the UK. TG Escapes have produced hundreds of bespoke modular buildings, each built around biophilic design principles in order to create bright, comfortable spaces while meeting all upcoming net-zero regulations.

Whether it's our homes, workspaces, schools or nurseries, we believe that buildings should be inspiring and beautiful places. At TG Escapes, it's this philosophy that underpins our eco-friendly modular buildings - delivering both style and substance in today's world.

What is a modular building?

A modular building is one that is constructed using prefabricated components that are built off-site and then assembled on location as a permanent building. This approach to construction brings with it a number of key benefits, with a quicker build programme and lower costs than traditional build techniques. Offsite construction also cuts emissions, by reducing the need to transport materials to a construction site.

Modular construction techniques are rapidly growing in popularity, used for everything from homes to larger commercial buildings.

Our eco-friendly modular buildings also promise a range of other environmental and well-being advantages. We understand the importance of natural light in interior design and strive to create energy-efficient spaces that work seamlessly with the natural world. Our timber frame modular buildings are manufactured to be net-zero in operation through the use of appropriate renewable energy technology, already meeting the building regulations that all companies will have to adhere to in the future.

Every building we produce starts with a bespoke design from our in-house architects, with our flexible manufacturing process allowing us to make schools, commercial sport and leisure buildings, and offices, as well as nurseries and early years buildings.

An eco-friendly modular building company

At TG Escapes, we have always been incredibly passionate about the environment, which informs every stage of our eco-friendly modular buildings solution.

We ensure that all materials used in our buildings are responsibly sourced, starting with our timber which is carefully cultivated in sustainable forests under the FSC or PEFC schemes. We also ensure that our eco-friendly modular buildings are well-insulated, with recycled glass wool reducing energy consumption across their use.

During the design and construction process, we can work with our customers to include a huge range of eco-friendly options within their buildings, including sun pipes and sedum roofs.

Bespoke eco-friendly spaces that work with nature

Throughout the construction of our eco-friendly modular buildings, whether we're creating a space for work, learning, or recreation, we strive to make sure that natural elements are included at every opportunity, allowing the building's occupants to truly connect with nature.

This principle also extends to the materials used to construct the building, with our team incorporating textures that reflect or mimic those found in nature. Natural light and high air quality are essential in our spaces, alongside views and access to the natural world outside.

This process is called biophilic building design, which we use to create spaces that are connected to the natural world. We provide the option of including living roofs in our eco-friendly modular buildings, as well as other external biodiversity features including bat boxes, birdhouses, trees and wildflowers. This not only adds more biophilic design features to a project but also helps the wider community to engage in environmental citizenship.

Construction that connects the inside and the outside

Our eco-friendly modular buildings also seamlessly connect indoor spaces with the outside world, with a specific focus on combating Nature Deficit Disorder.

This is defined as the human cost of alienation from the natural world, with less time spent outdoors and more time in front of a screen thought to have a detrimental impact on overall health and mental well-being. This is especially important when it comes to children, specifically their behaviour and capacity for learning.

Our eco-friendly modular education buildings, from nursery to secondary school, seamlessly blend the work and pleasure of teaching and learning with the life-enhancing effects of the natural world, with a focus on creating outdoor learning environments.

Our large doors open onto covered decking allowing increased contact with nature to improve the way children learn, both formally and informally. Outdoor learning brings with it a range of benefits, from cognitive and social to behavioural and interpersonal.

Classrooms that see the light

Exposure to natural light plays a key role in the design of our eco-friendly modular buildings, from our floor-to-ceiling windows providing beautiful views of nature, to our covered decking providing easy access to the outdoors,

Exposure to natural light stimulates the production of serotonin in our bodies, which is vital for many of our physiological functions like our appetites, our ability to regulate sleep and our digestive functions. It also offers psychological benefits, helping to maintain mood balance which is vital for promoting a sense of happiness and combating depression.

At TG Escapes, we create bespoke modular buildings that maximise the use of natural light, both for the benefit of the people that use them, but also to reduce energy consumption and light pollution.

Discover more about our eco-friendly modular buildings and their uses as commercial properties, schools, leisure buildings and nurseries through our website, and speak to a member of our team to find out how our team can create a stunning, sustainable modular building that meets all of your needs. Every project starts with a FREE consultation so we can understand your detailed requirements and deliver the best quality solution for you.

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Our eco-friendly modular buildings are designed, built, and installed by our team, with each building designed entirely around the needs of our customers.

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13 May 2023 Young Architect Guide: 5 Tips for Designing an Adaptive Reuse Project - Architizer Journal

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Young Architect Guide: 5 Tips for Designing an Adaptive Reuse Project - Architizer Journal

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Young Architect Guide: 5 Tips for Designing an Adaptive Reuse Project - Architizer Journal

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At their best, adaptive reuse projects breath new life into historic structures and introduce fresh new functions to long neglected spaces.

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02 February 2023 Eclecticism in architecture - Wikipedia

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Eclecticism in architecture - Wikipedia

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The Basilica of the Sagrada Família in Barcelona designed by Antoni Gaudí is a notable example of eclecticism. Elements of the Gothic style were merged with Oriental motifs and forms found in the natural world, resulting in a structure that was distinctive and original.[1] Although it was designed during the peak of the eclectic period (1883-1926), it remains under construction today.

Eclectic building. Street Alfonso VIII. Burgos, Spain (1922). Note the mix of neogothic with art nouveau and neoclassical styles

Eclecticism is a 19th and 20th century architectural style in which a single piece of work incorporates a mixture of elements from previous historical styles to create something that is new and original. In architecture and interior design, these elements may include structural features, furniture, decorative motives, distinct historical ornament, traditional cultural motifs or styles from other countries, with the mixture usually chosen based on its suitability to the project and overall aesthetic value.

The term is also used of the many architects of the 19th and early 20th centuries who designed buildings in a variety of styles according to the wishes of their clients, or their own. The styles were typically revivalist, and each building might be mostly or entirely consistent within the style selected, or itself an eclectic mixture. Gothic Revival architecture, especially in churches, was most likely to strive for a relatively "pure" revival style from a particular medieval period and region, while other revived styles such as Neoclassical, Baroque, Palazzo style, Jacobethan, Romanesque and many others were likely to be treated more freely.

Residence of Bukovinian and Dalmatian Metropolitans, by Josef Hlávka, 1882, Chernivtsi, Ukraine, with a basis in Brick Gothic.

The Aston Webb building at the University of Birmingham (1900-12), UK, in a quasi-Byzantine style.

Eclecticism came into practice during the late 19th century, as architects sought a style that would allow them to retain previous historic precedent, but create unseen designs. From a complete catalogue of past styles, the ability to mix and combine styles allowed for more expressive freedom and provided an endless source of inspiration. Whilst other design professionals (referred to as ' revivalists') aimed to meticulously imitate past styles, Eclecticism differed, as the main driving force was creation, not nostalgia and there was a desire for the designs to be original.

Church of St. Clare, Horodkivka, Ukraine, built 1910-1913, blending elements of neo-Gothic and modern twentieth century architecture

French colonial style with Angkorian elements: Banque de l'Indochine (now State Bank of Vietnam) building, Ho Chi Minh City, Vietnam, by Felix Dumail, 1929.

Eclectic architecture first appeared across continental Europe in various countries such as France ( Beaux-Arts architecture), England ( Victorian architecture) and Germany ( Gründerzeit), in response to the growing push amongst architects to have more expressive freedom over their work.

The École des Beaux-Arts in Paris, considered to be one of the first professional architectural schools, trained students in a rigorous and academic manner, equipping them with skills and professional prestige. Teachers at the École were some of the leading architects in France, and this new method of teaching was so successful, that it attracted students from across the globe. Many of the graduates went on to become pioneers of the movement, and used their Beaux-Arts training as a foundation for new eclectic designs.

Whilst the practise of this style of architecture was widespread (and could be seen in many town halls constructed at the time), eclecticism in Europe did not achieve the same level of enthusiasm that was seen in America - as it was assumed that the presence of old, authentic architecture, reduced the appeal of historical imitation in new buildings.

The end of the 19th century saw a profound shift in American Architecture. Architects educated at the École des Beaux-Arts in Paris, such as Richard Morris Hunt and Charles Follen McKim were responsible for bringing the beaux-arts approach back from Europe, which was said to be the cornerstone of eclectic architecture in America. At a time of increasing prosperity and commercial pride, many eclectic buildings were commissioned in large cities around the country. The style thrived, as it introduced historical features, previously only seen in the aristocratic architecture of European countries such as Britain and France, contributing to a richer sense of culture and history within America. In the case of Hunt and many other eclectic architects, his 'typically eclectic viewpoint' enabled him to make stylistic choices based on whatever suited the particular project or the client. This flexibility to adapt, and to blend freely between styles gave eclectic designers more appeal to clients.

The creation of skyscrapers and other large public spaces such as churches, courthouses, city halls, public libraries and movie theatres, meant that eclectic design was no longer only for members of high-society, but was also accessible to the general public. While some of these buildings have since been demolished (including the original Pennsylvania station and the first Madison Square garden-both in New York City), projects that remain from this era are still valued as some of the most important structures in America.

Some of the most extreme examples of eclectic design could be seen onboard ocean liners (which at the time were the primary form of overseas transport). The lavish interiors were crafted with a mix of traditional styles-in an attempt to ease the discomfort of months abroad and to create the illusion of established grandeur.

At a similar time, such vessels were being used to transport colonists to undeveloped areas of the world. The colonisation of such areas, further spread the Eclectic architecture of the western world, as newly settled colonists built structures commonly featuring Roman classicism and Gothic motifs.

To a lesser extent, Eclecticism appeared across Asia, as Japanese and Chinese architects who had trained at American Beaux-Arts influenced schools, returned to produce eclectic designs across Asia such as the Bank of Japan (1895) by Kingo Tatsuno. The so-called Indo-Saracenic Revival architecture, which added details from traditional Indian architecture, mostly Mughal architecture, to essentially Western forms of public buildings and palaces, was an inherently eclectic style. Most of the architects were British.[citation needed ]

As a style that offered so much creative freedom, and no guiding rules, the risk of creating an unsuccessful design was apparent to all. Projects that failed to harmoniously blend the different styles were subject to criticism from professionals (particularly those who opposed the movement).

A Mar del Plata style house in Mar del Plata, Argentina, featuring some characteristics of the cottage, Norman architecture, and Spanish colonial architecture

Enthusiasm for historical imitation began to decline in the 1930s and eclecticism was phased out in the curriculums of design schools, in favour of a new style. The shift towards Late Modernism, Postmodernism, Brutalism, Art Deco and Streamline Moderne was significant as it was seen by many as avant-garde and the new technology and materials being produced at the time allowed for greater innovation. Despite the move away from eclecticism, the era still remains historically significant as it "re-opened the doors to innovation and new forms" for architecture in the following years.

The rise in eclectic architecture created a need for interior specialists who had the skill, understanding and knowledge of past historical styles, to produce suitable accompanying interiors. This resulted in the emergence of interior designer as a regarded profession. Prominent interior designers in this era (between the late 19th and early 20th century) include Elsie De Wolfe, Rose Cumming, Nancy McClelland, Elsie Cobb Wilson, Francis Elkins, Surie Maugham and Dorothy Draper. Whilst the clientele of these early designers consisted exclusively of wealthy families and businesses, the works of such decorators were regularly featured in popular publications such as House and Garden, House Beautiful, and the Ladies Home Journal. Publishing the lavish interiors of these magnificent homes helped to spread the eclectic style to the middle classes, and less extravagant imitations or the incorporation of similar decorative elements became a desirable feature in domestic decoration. Aesthetic preferences varied from region to region across America, with Spanish styles being favoured in California, and elements of American Colonial architecture being popular in New England.

In contemporary society, styles that draw from many different cultural and historical styles are loosely described as "eclectic" though references to eclectic architecture within literature and media are usually about buildings constructed within the eclectic movement of the late 19th-early 20th century period.

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Eclecticism is a 19th and 20th century architectural style in which a single piece of work incorporates a mixture of elements from previous historical styles to create something that is new and original.

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18 May 2023
1. Adaptive reuse case studies to be done.
2. Bridge connections needs to be focused on
3. Detail out the section
4. Work on 3D

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Site Visit- Hackney wick - Future Crafts

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Site Visit- Hackney wick - Future Crafts

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following online research on Hackney Wick. I personally went there to learn more about the site's specifics and the way it was laid out. This helped me develop the idea for creating a venue for artists, for which Hackney is already renowned.

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The single cast iron monument, which was placed on Fulsam Rock next to Turner Contemporary in the summer of 2017, has been given a permit to stay there until November of 2030.
The artist Antony Gormley, known for his sculptures and installations that explore the sensation of being human and of inhabiting a human body, created a series of one hundred solid cast-iron figures that include this one.
Margate's Antony Gormley iron statue outside Turner Contemporary to stay until 2030 (kentonline.co.uk)

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Eclectism case studies. The case studies I have cited made it easier for me to comprehend how future development can work in tandem with existing structures.

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Work Shop  Learning - Exploratory Practice

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Work Shop  Learning - Exploratory Practice

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Attended a workshop to learn about how to handle machine cut, CNC cut and learned to adapt to workshop environment

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20 October 2022 Learn After Effects in 10 Minutes! Beginner Tutorial

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Software Learnings - Exploratory Practice

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Software Learnings - Exploratory Practice

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https://youtu.be/hb2bbfiNBXA

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Learn After Effects in 10 Minutes! Beginner Tutorial

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20 april 2023 Grasshopper Tutorial Part 1: Introduction to Interface

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https://youtu.be/xEiS3gkFusw

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Grasshopper Tutorial Part 1: Introduction to Interface

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My Nature of Practice - Context & Methods 

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My Nature of Practice - Context & Methods 

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During the academic year, my practice focuses on sustainability, brutalism, vernacular architecture, and parametric architecture in the future. My future design will take into account the history of a certain architectural style and produce balanced designs that preserve the past of the ancient structures.

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Research About Diagram Of Practice - Context & Methods

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Research About Diagram Of Practice - Context & Methods

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investigating a project, determining the client's needs, and coming up with the necessary design solution. Before beginning a design, it is important to understand the needs of the site.