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Site Plan 1:100
Project 1
Leicester Market
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Project 1
Leicester Market
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Elevaon 1:50
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Market Secon 1:100
Slice Plan 1:100
Project 1
Leicester Market
ARCH2035-2013-Y Design Studio 2
Christopher Walker P11247254
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Project 2
Leicester Market Intervenon
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Christopher Walker P11247254
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Bradgate Park
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Project 2
Leicester Market Intervenon
ARCH2035-2013-Y Design Studio 2
Christopher Walker P11247254
Leicester Market Intervenon - Informaon Booth
Secon 1:50
Plan 1:50
Intervenon Locaon
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Bradgate Park
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Site Analysis
Project 3
Sitooterie Charee
ARCH2035-2013-Y Design Studio 2
Christopher Walker P11247254
Site plan 1:100
Site secon 1:200
This project demanded we design a Si tooterie - Scosh, a place to sit out in.
The Sitooterie had to accommodate 3-12 people and provide a place where visitors could shelter
from the elements in Bradgate Park, but sll a llowed them to connect with the park, either through
views or materiality.
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Bradgate Park
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Sitooterie Charee
ARCH2035-2013-Y Design Studio 2
Christopher Walker P11247254
Plan 1:50
Secon 1:50
Elevaons 1:50
Design development
Sitooterie examples
Slate stone cladding
Sitooterie Design Development
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Bradgate Park
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Sitooterie Model 1:50
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Bradgate Park
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Background Research
Bradgate Park is a historic former Medieval Deer Park created from the Charnwood Forest and was rst enclosed as a hunng park over 750 years ago.
For many centuries, it formed part of the Leicestershire Estates of the Grey family and the Earls of Stamford. Even now, though only six miles from the centre of Leicester, certain areas
look much as they must have done in the Middle Ages.
Today the area of Bradgate Park extends to some 830 acres and is a locaon rich in history and natural history.
It combines extensive sweeps of parkland, within a spectacular landscape of huge areas of grass, bracken covered slopes, rock outcrops (which include some of the oldest rocks in
England), areas of marsh, network of paths and concessionary horse tracks, veteran trees and small woodlands.
Other notable features of the Park i nclude the Ruins of Bradgate House a Tudor mansion built in the early 16th century, which was the birthplace and early home of Lady Jane Grey
(9 days Queen of England in 1553) and a well known folly known as Old John Tower, which was built around 1784 a nd stands nearly 700 feet above sea level.
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The History of Bradgate Park
The area now enclosed as Bradgate Park was one of a number of parks surrounding Charnwood Forest. Since
medieval mes it has been part of the Manor of Groby. In the reign of Edward the Confessor, the area was owned by
Ulf, and the manor, along with some 100 others in and around Leicestershire, was awarded to Hugh de Grandmesnil
in the eleventh century as reward for his assistance in bale to William I. The name Bradgate is thought to derive
from Norse or Anglo-Saxon, meaning broad road or broad gate respecvely. The rst menon of Bradgate Park is
from 1241, by which me it was laid out as a hunng park, although rather smaller than the current boundary.
Bradgate House
Thomas Grey, the 1st Marquess of Dorset prepared for building Bradgate House in the late eenth century but
died before he was able to begi n. It was his son Thomas Grey, 2nd marquis of Dorset who built Bradgate House, the
likely compleon date being 1520. This is one of the rst unfored great houses in England, and one of the earliest
post-Roman use of bricks. It was lived in by the G rey family for the next 220 years. It is believed that the house was
the birthplace of Lady Jane G rey, later Queen, ruling for a mere 9 days before being overthrown by Mary I
Old John
A prominent landmark is the folly known as Old John on the top of the highest hill in the park. Built in 1784, the
folly is, by local legend, a memorial to John, an estate worker killed in a bonre accident during celebraons of the
21st birthday of the future eighth Earl of Stamford. However he was not 21 unl 1786, and a map of 1745 names the
hill as Old John. The tower was used during the 19th century as a viewing point for the horse-racing pracce circuit
laid out by the seventh earl.
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Chosen Subject Field - Archaeologist
Archaeology is the study of human acvity in the past, primarily through the recovery and a nalysis of the material culture and environmental data that they have le behind, which i ncludes
arfacts, architecture, biofacts and cultural landscapes. Because archaeology employs a wi de range of dierent procedures it overlaps the spectrums of various other subjects, such as science
and anthropology.
Archaeology studies human history from the development of the rst stone tools in ea stern Africa 3.4 million years ago up unl recent decades. It is of most i mportance for learning about
prehistoric sociees, when there are no wrien records for historians to study, making up over 99% of total human history, from the Palaeolithic unl the advent of literacy in any given society.
Archaeology has various goals, which range from studying human evoluon to cultural evoluon and understanding culture history
Archaeology developed out of anquarianism in Europe during the 19th century, and has since become a discipline pracced across the world. Since its early development, various specic
sub-disciplines of archaeology have developed, including marime archaeology, feminist archaeology and archaeoastronomy, and numerous dierent scienc techniques have been developed
to aid archaeological nvesgaon. Nonetheless, today, archaeologists face many problems, ranging from dealing with the loong of arfacts and opposion to the excavaon of human remains.
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Subject Field - Historian
A historian is a person who studies and writes about the past and is regarded as an authority on it. Historians are concerned with the connuous, methodical narrave and research of
past events as relang to the human race; a s well as the study of al l history in me.
If the individual is concerned wi th events preceding wrien history, the individual is a historian of prehistory. Although historian can be used to describe amateur and professional
historians alike, it is reserved more recently for those who have acquired graduate degrees in the discipline.
Some historians, though, are recognized by publicaons or traini ng and experience. Historian became a professional occupaon i n the late nineteenth century as research universi-
es were emerging in Germany and elsewhere.
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Photography is the art, science and pracce of creang durable images by recording light or other electromagnec radiaon,either chemically by means of a light-sensive material such as photographic lm, or el ectronically by means of an image
sensor.
Typically, a lens is used to focus the light reected or emied from objects into a real image on the light-sensive
surface inside a camera during a med exposure. The result in an electronic image sensor is an electrical charge at each pixel,
which is electronically processed and stored in a digital image le for subsequent display or processing.
Invented in the rst decades of the 19th century, photography (by way of the camera) seemed able to capture more detail
and informaon than tradional mediums, such as painng and sculpng. Photography as a usable process goes back to the
1820s with the development of chemical photography.
The rst permanent photoetching was an image produced in 1822 by the French inventor Nicphore Nipce, but it was
destroyed by a later aempt to duplicate it. Nipce was successful again in 1825. He made the rst permanent photograph
from nature (his View from the Window at Le Gras) with a camera obscura in 1826.
Subject Field - Photographer
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Bradgate Park
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Subject Field - Geologist
A geologist is a scienst who studies the solid and liquid maer that constutes the Earth as well as the processes and hi story that has shaped it. Geologists usually engage in
studying geology. Geologists, studying more of an applied science than a theorecal one, must approach Geology using physics, chemistry and biology as well as other sciences.
Geologists, compared to sciensts engaged in other elds, a re generally more exposed to the outdoors than staying in laboratories; although some geologists prefer to perform
most of their studies in the la b.
Geologists are engaged in exploraon for mining companies in search of metals, oil s, and other Earth resources. They are al so in the forefront of natural hazards and di sasters
warning and migaon, studying earthquakes, volcanic acvity, tsunamis, weather storms, and the l ike; their studies are used to warn the general public of the occurrence of
these events. Currently, geologists are also engaged in the discussion of climate change, as they study the history and evidence for this Earth process.
Their training typically includes signicant coursework in physics, mathemacs, and chemistry, in addion to classes oered through the geology department; historical and
physical geology, igneous and metamorphic petrology and petrography, hydrogeology, sedimentology, stragraphy, mineralogy, palaeontology, physical geography and structural
geology are among the many required areas of study. Most geologists also need skills in GI S and other mapping techniques. Geology students oen spend porons of the year,
especially the summer though somemes during a January term, living and working under eld condions with faculty members (oen referred to a s eld camp).
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Bradgate Park
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Site Locaons
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Residenal Site - Site Analysis
The residenal building will be located within close proximity to the
car park and main entrance into Bradgate for ease of access. The site
is also located next to the mai n pathway which cuts through through
Bradgate park, allowing the residents to ea sily traverse the rst half
of the route along the way to the study building.
Despite the public pathway being the busiest route in the park, a line
of trees seperates the site from the walkway. The space between this
line of trees and the site where the building will stand acts a a
transional space, with the trees serving as a natural and disnct
barrier between the busy pathway and the privacy of the residenal
site.
The majority of the building will stand out over the river, with the
point at which the land stops and the river starts further enhancing
the sense of isolaon from the public. When not in study, the
residents will be granted views up and down the river as well as over
the private deer reserve on the opposite side of the bank, allowing
them to relax and connect with the natural beauty of the park.
The river by which the site i s located runs through a shallow vall ey,
with the landscape rising up either side of it. This, along with the
treeline will help to shield the site and shelter it from the wind.
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Bradgate Park
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Residenal Site - Site Analysis
Site plan 1:200
Wind direcon over Residenal site
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Bradgate Park
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Residenal Site - Site Analysis
Site secon 1:200
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Residenal Site - Site Analysis
Project 3
Bradgate Park
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Bradgate Park
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Study Site - Site Analysis
Site plan 1:200
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Bradgate Park
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Study Site - Site Analysis
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Bradgate Park
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Site secon 1:200
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Residenal Building - Schedule of Accomodaon
Room Primary Uses Secondary Use Equipment/Furnishings No. of Rooms No. Accommodang Spaal Requirements Dimensions
Bedroom Sleeping Studying, relaxaon Bed, desk, drawers,
chair, lamp, wardrobe,
wash basin, vanity unit
6-12 1 Light, private 2.5m x 4m
En suite Hygiene, washing Self maintenance Sink, wash basin,
vanity unit, bathtub,
shower unit
6-12 1 Compact, accessible 2m x 2.5m
Communal Kitchen Food preparaon Socialising Worktops, dining table,
chairs, oven, extracon
units, sink, breakfast
bar, cupboards, storage
cabinets, dishwasher,
toaster
1 6-12 Open, light, spacious 8m x 12m
Communal Area Relaxing Socialising Table, coee table,
chairs, armchairs, sofas,
television, lamps
1 6-12 Spacious, light, open,
welcoming
8m x 12m
Study Area Self study Q ui et readi ng Tabl es , chairs, l amps ,
cubicles, bookshelves
1 6-12 Quiet, private, light 8m x 12m
Ulity Room Washing Washing machines,
tumble dryers, chairs
1 6-12 Small, compact 4m x 5m
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The Route
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Bradgate Park
ARCH2035-2013-Y Design Studio 2
Christopher Walker P11247254
The rst half of the route from the residenal building to the study
building will take the wal ker along the public walkway, following the
path of the river unl they reach the ruins of Bradgate house; a key
area of i nterest for Historians/Archaeology.
The route then breaks o from the main public pathway, leading
the walker past the ruins, and then o in a north east direcon into
the middle of the park. As the walker makes this journey the public
pathway gives way to the rough footpaths which have remained in
use for hundreds of years, connecng the walker to the hi story of
the park, granng them a chance to walk in the footsteps of people
who came before.
They connue in this north east direcon they wi ll walk through the
space between two patches of woodland, as i f traversing a
threshold, and as they pass through they leave the busy public
areas behind in favour of a more isolated environment.
The area beyond where the study building will be located is open
and barren with only a few trees dong the landscape, with Old
Johns Folly clearly visible atop the hill in the
distance.
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Design Development
Project 3
Bradgate Park
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Design Development
Project 3
Bradgate Park
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Design Development
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Bradgate Park
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Green wall design exploraon
Water curtain design exploraon
R id l B ildi C D i
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Residenal Building - Concept Designs
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Bradgate Park
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R id l B ildi C t D i
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Bradgate Park
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Residenal Building - Concept Designs
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Plans 1st Dra
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Plans - 1st Dra
Ground Floor Plan 1:100
First Floor Plan 1:100
Communal living/kitchen area
Silent study room
Silentstudy
room
Male W/C Female W/C
Ulity room
Site plan 1:200
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Site plan 1:200
T T T
T
T
T
TTT
T
T
T T T T
T
T
T
TTT
T
T
T
First Floor
Ground Floor
Ground Floor Plan 1:100
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Ground Floor Plan 1:100
1) Communal Living/Kitchen Area2) Recepon Area
3) W/C
4) Ulity Roon
5) Decking/Outside Seang Area
6) Private Study Room
1
2 3 4
5
6
First Floor Plan 1:100
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1) Bedroom
2) En Suite w/c
2
1
1
1
1
1
11111
1
1
2
2
2
2
2
2
22
2 22
Secon 1:100
T T T
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T
T
T
TTT
T
T
T
T
T
T
TTT
Secon 1:100
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T
T
T
T T T
T
T
T
TTT
T
T
T
T T T
T
T
T
TTT
Elevaons
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RODUCEDB ANAUODES EDUCAI ONAL RODUC
RODUCED
B
N
U
ODES
EDUC
ION
L
RODUC
RODUCEDBANAUODESEDUCAIONALRODUC
RODUCED
B
N
U
ODES
EDUC
ION
L
RODUC
RODUCEDB ANAUODES EDUCAIONAL RODUC
RODUCED
B
ANAUO
DES
EDUCA
IONAL
RODUC
RODUCEDBANAUODESEDUCAIONALRODUC
RODUCED
B
AN
AU
ODES
ED
UCA
IONAL
RODUC
Front Elevaon 1:100
Rear Elevaon 1:100
Elevaons
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RODUCEDB ANAU ODES EDUCAI ONAL RODUC
RODUCED
B
N
U
ODES
EDUC
ION
L
RODUC
RODUCED
B
N
U
ODES
EDUC
ION
L
RODUC
RODUCEDB ANAUODES EDUCAI ONAL RODUC
RODUCEDB
N
U
ODES
EDUC
ION
L
RODUC
RODUCEDBANAUODESEDUCAIONALRODUC
RODUCED
B
N
U
ODES
EDUC
ION
L
RODUC
Right Elevaon 1:100
Le Elevaon Elevaon 1:100
Elevaons
Water Curtain
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Bradgate Park
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The water curtain is a thin veil of water which ows out from beneath the rst oor on the north-east face of the build-
ing. This water curtain serves as both a funconal and aesthec feature. The thickness of the water curtain is such that it
prevents those either inside the structure or outside seeing through it without completely cung out light as a wall would
do, so it serves the enhance the feeling of privacy felt by those inside.
Small waterfalls are a common and re-occuring feature along the length of the river by which the structure is situated. By
including a water curtain in the design it serves to mimic these small waterfalls and aid the building in ng into the land -
scape, as when looking at the structure from the north-east one would see the watercurtain owing into the river, giving
the impression that the river is to some degree a product of the buildi ngs presence.
Interior view of kitchen with water curtain in background
Materials
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Slate stone walls are present across the enrety of the park and have been
a constant feature in its landscape for hundreds of years a nd are very much
an aspect of its history. Despite these walls being eecvely man-made,
they appear to t comfortably in with the natural untouched charcter of the
park. By construcng the external cladding of the residenal building from
naturally occurring slate in homage to the ancient walls that
lier the park it helps the building to blend into the park as the walls do, as
well as creang a connecon between the structure and the Parks history.
The denion of a wall is a structure which creates a division between
spaces, and by construcng the residenal buiding to mimic the slate walls
its serves to carry that
senment over, by creang a division between the privacy of the residenal
structure and the ublic aspects of the park.
Slate House, Highgate, London
Ann Demeulemeester Shop, Mass Studies, Seoul
Consorum Building headquarters, Henry Browne Borja Huidobr, Chile
Milly Film, Samyn and Partners, Linkebeek, Belgium
Green Wall
A green wall is a wall, either free-standing or part of a building, that is parally or completely covered with vegetaon
and, in some cases, soil or an inorganic growing medium.
The Green Wall has both aesthec and funconal properes. It further aids the residenal building in ng in with the
natural, untouched character of the Park. There are other numerous benets that come with the inclusion of the green
wall in the design:
Provides sound insulaon.
Filters air parculates to improve air quality.
Moderates a buildings internal temperature via external shading.
Helps a building retain heat otherwise lost to convecon.
Provides storm water management, absorbing 45-75% of rainfall.
Provides biodiversity and a natural animal habitat.
Model 1:100
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Model w/site model 1:100
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Site Locaon
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Front of the site
Site as seen from the back
Floor Plans 1:200
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Basement Ground Floor First Floor Second Floor Third Floor
Second Floor lvl. 2
Basement
Service
elevator
Service
elevator
Kitchen
Cafe
Recepon/Foyer
WC
WC
GiShop
Elevator
Seang Area
Elevator
Roof Terrace
Seminar Room
Art GalleryBalcony Gallery
SculptureGallery
Service
Elevator
Secon 1:200
This is a short secon
of the Art Gallery. It
shows the structure of
the basement, foyer,
seminar room, art
gallery and sculpture
gallery
OD U C D A A U TOD D U C A TI OA L OD U C T
ODUC
D
A
AUTOD
DUCATIO
AL
ODUCT
ODUCDAAUTODDUCATIOALODUCT
The ground oor consists of a recepon area, cafe, dining area, gi
shop and male and female toilets. The rst oor consists of a roof
terrace and seminar room. The second oor is the art gallery, with
areas for displaying painngs and tapestries, and also includes a
gallery balcony. The third oor is solely for the displaying of
sculptures and statues. There is a large service elevator
whichcan be accessed from the third oor, the back street or the
sub basement, meaning sculptures and other large works of art
can be easily stored in the basement. Customers will have access
to two ights of stairs; one at the front of the building, and one at
the back, both can me accessed from any oor. The stairway at the
back of the building also connects to the basement. Customers will
also have access to an elevator, which can also be acc essed from
any oor.
Secon 1:200
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Project 4
Art Gallery
P11247254
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Event Week
Death Star Project
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Nightclub Secon 1:200
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Event Week
Death Star Project
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Printer
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In publishing, printers are both companies providing prinng services and individuals who directly operate prinng presses.
The profession of printer became established aer the invenon of the moveable type prinng press by Johannes
Gutenberg around 1450, and proliferated throughout Europe. Such early printers oen were recognizable by individual
characteriscs in the works they produced, such as type or typography, and since early printed books were made in
relavely small quanes they are rare a nd collecble.
Prinng is a process for reproducing text and images, typically with ink on paper using a prinng press. It is oen carried
out as a large-scale industrial process, and is an essenal part of publishing and transacon prinng.
The earliest form of prinng was woodblock prinng, with exisng examples from China dang to before 220 AD, and Egypt
to the fourth century. Later developments in prinng include the movable type, rst developed by Bi Sheng in China, a nd
the prinng press, a more ecient prinng process for western languages with their more li mited alphabets, developed by
Johannes Gutenberg in the eenth century.
The advent of Prinng itself is seen as one of the most important innovaons in human history, as it meant literature could
be produced on an industrial scale, giving the masses access to knowledge which before was limited and exclusive to only a
few.
The basic method of prinng has essenally remained unchanged since its original incepon, however with new
advances in technology and science some aspects of prinng have followed suit.
Today a large part of the prinng process is conducted using digital means, whereas original ly the plates used to
produce the prints were handmade.
The most common method of prinng is the Oset Press. Oset prinng is a widely used pri nng technique
where the inked image is transferred (or oset) from a plate to a rubber bla nket, then to the prinng surface.
When used in combinaon with the li thographic process, which is based on the repulsion of oil and water, the
oset technique employs a at (planographic) image carri er on which the image to be printed obtains ink from
ink rollers, while the non-prinng area aracts a lm of water, keeping the non-prinng areas ink-free.
Prinng in Leicester
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Small scale Prinng companies
Large scale commercial Prinng
companies (some small scale)
This map shows the locaon of 141 prinng companies spread in and
around the City of Leicester.
The map below displays the concentraon of prinng companies in
Leicester based upon the types of prinng they specialise in.
As you can see from the maps, the amount of prinng companies is
higher closer to the city centre. The majority of these companies are
generally small in scale, operang from a modest facility, specialising
in the design and prinng of point-of-display work, leaets, pamphlets,
business cards and other limited projects. Some of these operaons
oer more praccal and tradional methods of prinng, such as lino andwoodblock prinng.
There are some small prinng companies located on the outskirts of
the city, though generally these parts of leicester are dominated by the
larger scale prinng operaons, as they provide a wider array of prinng
services, and therefore require larger facilies which would otherwise
be unavailable in the city centre. These larger prinng companies spe -
cialise in commercial prinng, such as newspapers, magazines, posters
and various other large, mainstream publicaons.
The site itself is quite small and due to its close proximity to the city
centre would beer facilitate a small scale prinng company.
Leicester Print Workshop
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The Leicester Print Workshop is a small arts and cras prinng company.
It promotes, sustains and helps to advance ne art printmaking as a contemporary visual art form; as
a cra; as a focus for exhibions and commissions; in schools, with community groups, to arsts and
to the general public.
Leicester Print Workshop was rst established in 1986 and became a registered charity in 1993.
The Leicester Print Workshop conducts no commercial prinng whatsoever; instead it oers
courses in print making to the general public, as well as demonstraons and one o
workshops. Here a sample of the courses and workshops the Leicester Print Company
oers:
Collagraph
Solar plate
Lithography workshop
Texle screenprinng and heatpress techniques
Photo plate lithography
Linocut
CMYK four colour silkscreen
Lithography workshop
Introducon to screenprinng
Introducon to wood engraving
Etching
Texle screenprinng and heatpress techniques
(Locaon)
P.A.B.D (Publish And Be Damned)
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Publish And Be Damned is an annual independent publishing fair held in
London at the Instute of Creave Arts. Its name comes from the retort
of Arthur Wellesley, 1st Duke of Wellington on being blackmailed by
John Joseph Stockdale and Harriee Wilson.
The rst Publish And Be Damned was rst in 2004 and created by Emily
Pethick and Kit Hammonds. It is funded by grants from various Arts
organisaons.
The types of publicaons featured each year include everything from
self-published books,newsprint tles,glossy magazines to leaets,
pamhplets, magazines and journals, all of which are independently
published. Some tles are free while most are sold. Eligibility is decided
by a panel made up of the founders and invited guests curators.
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The Client
I Bl k t i 30 ld S l Y h d t d f D M t U i it ith d i G hi D i d i
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Ian Blackwater is 30 years old. Several Years ago he graduated from De Monort University with a degree in Graphic Design, and is now
looking to open up his own prinng studio in Leicester.
The Prinng studio will be a non-prot company, concentrang on the more tradional methods of prinng with a focus on the arts and
cra aspect of the pracce, similiar to Publish and be Damned.
The business will play no part in commercial prinng whatsoever, instead it will focus on expression and creavity, producing runs of
limited, personalised work with underlying social and polical aspects.
In addion to oering a service, the studio will also oer courses and workshops akin to those run by the Leicester Print Workshop,
where members of the public and organisaons have the chance to learn about prinng as well as being able to design, develop and
print their own work.
The company will oer several tradional prinng techniques:
- Woodblock prinng
- Moveable type prinng
- Prinng press
- Etching
- Lino prinng
- Lithography
- Aquant
An Oset printer will also be available for large runs of work.
Spacial requirements:
- Workshop, oering the tools and facilies required for the development of negaves eg. carpentry tools for
woodblock prinng
- Art studio, for the designing of prints
- Modest storage space for resources and materials
- A seminar room where clients and organisaons can come and meet with the company directors to discuss
designs
- A gallery for presentaons and exhibions
- Small recepon area
- Locker room with showers/wash facilies
- Studio area where the prinng will actually take place, it must be large enough to contain several prinng
presses.
-Small computer lab for digital design work
The studio, gallery and workshop areas must have a substanal amount of natural daylighng, as the lighng
condions can aect the drying of inks and paint. Venlaon is also a key requirement, as some methods of
prinng involve the use of solvents and chemicals, the fumes of which have the potenal to be detrimental to
ones health.
Woodblock Prinng
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The wood block is carefully prepared as a relief matrix, which means the areas to show white are cut away with
a knife, chisel, or sandpaper leaving the characters or image to show in black at the original surface level. The
image cut into the block is done so along the grain of the wood. It is only necessary to ink the block and bring it
into rm and even contact with the paper or cloth to achieve an acceptable print. The content would of course
print in reverse or mirror-image, a further complicaon when text was involved. The art of carving the woodcut
is technically known as xylography, though the term is rarely used in English.
For colour prinng, mulple blocks are used, each for one colour, although overprinng two colours may produce
further colours on the print. Mulple colours can be printed by keying the paper to a frame around the
woodblocks.
There are three methods of prinng to consider:
StampingUsed for many fabrics, and most early European woodcuts. These items were printed by pung paper or fabric
on a table or a at surface with the block on top, and pressing, or hammering, the back of the block.
Rubbing
Apparently the most common for Far Eastern prinng. Used for European woodcuts and block-books later in the
15th century, and very widely for cloth. The block is placed face side up on a table, with the paper or fabric on
top. The back of the block is then rubbed to copy the image into the paper.
Prinng in a pressPrinng woodblock prints in a press works simply involves placing the block face down on the fabric or paper,
and then placing it in the press, whereby the press is either screwed down on top of the block, or the block is
rolled through the press. Both methods result in pressure being applied to the block, pressing it down onto the
fabric or paper.
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Etching
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A drypoint etching I produced, demonstrang the layering of several coloured prints to produce a single picture.
In pure etching, a metal (usually copper, zinc or steel) plate is covered with a waxy ground which is
resistant to acid. The arst then scratches o the ground with a pointed etching needle where he
or she wants a line to appear in the nished piece, so exposing the bare metal.
The plate is then dipped in a bath of acid, technically called the mordant (French for bing) or
etchant, or has acid washed over it. The acid bites into the metal, where it is exposed, leaving
behind lines sunk into the plate. The remaining ground is then cleaned o the plate. The plate is
inked all over, and then the ink wiped o the surface, leaving only the ink in the etched lines.
Alternavely, a plate of perspex or clear plasc may be used. In this method a sharp etching tool is
used to scratch or trace an image onto the perspex.
The plate is then washed in a layer of ink, aer which the excess ink is wiped o, leaving only the
ink in the etched surface of the plate. The plate is then placed face down on to either paper or
fabric, which is usually moistened to soen it and in some cases allows the ink to take to the
paper/fabric beer. Both the paper/fabric and plate are then put through a high pressureprinng-press. The paper/fabric picks up the ink from the plate, producing the print. Several prints
can be produced from a single plate.
Programme Bubble Diagram
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Prinng Studio
Workshop
Art Studio
Computer Lab
Lock Room
Recepon Area
Seminar Room
Gallery/Exhibion
Spasce
Store Room
Oce
Kitchen/Social
Space
Primary Spaces
Secondary Spaces
Terary Spaces
The Site
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The site is located in an old industrial part of the city of Leicester.
The north-west side of the site faces out over a canal, whereas the south-east side of the sight looks out over a car park, which is bordered by several other
buildings, giving rise to a small industrial complex.
The area the site occupies consists of a pre-exisng structure and a small wall which runs along the length of the canal up to the building to the right of the
site, both of which will be demolished to make way for the design.
Alongside the west side of the site runs a small alleyway, contained by the site itself and the neighbouring structure. The south end of the alleyway leads out
on to the main road, from which the car park in which the site is located can be accessed. The north end of the alleyway leads out onto a bridge which allows
access to the north bank of the canal.
The north bank consists of a small public footpath which runs underneath the bridge, and along the length of the canal. This footpath is bordered by a treeline
to the north, which oers some shelter from prevailing winds. The site can be clearly seen from the footpath on the north bank of the canal.
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Site Locaon
Images of highlighted locaons
The Site
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Images of highlighted locaons
Site Analysis
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1
1
1
2
2
Site Analysis - Site Plan Dra 1:200
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Site Analysis - Site Plan 1:200
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Locaon of site highlighted
Site Analysis - Site Secon 1:200
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City Secon 1:1000
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Site Analysis - Site Elevaon 1:200
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Autocad site elevaon linework
Rendered site elevaon
Site Model 1:100
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Site Shadowing
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Site shadows at 7:00 AM
Site shadows at 12:00 PM
Site shadows at 5:00 PM
3DS Max Site Model
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ODUCEDB ANAUODES EDUCAIONAL ODUC
ODUCEDB
AN
AU
ODES
EDUCA
IONAL
O
DUC
ODUCEDBANAUODESEDUCAIONALODUC
ODU
CED
B
ANAU
ODES
EDUCA
IONAL
ODUC
Concept Drawings
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Concept Drawings
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Spacial Representaon Model 1:100
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Spacial Representaon Model 1:100 (in site model)
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Dra Floor Plans 1:100
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Ground Floor Plan
1) Recepon area
2) Print gallery/exhibion space
3) Seminar Room
4) Sta Room
5) W/C Shower/Locker room
6) Stairwell
1
2
34
5
6
Second Floor Plan1) Workshop
2) Storeroom
3) Digital Lab
4) Prinng Studio
5) Art Studio
6) Stairwell
1
2
6
3 4 5
Dra Short Secon 1:100
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Dra Long Secon 1:100
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Perspecve view of gallery
Dra Elevaons 1:100
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Rear Elevaon1:100
Front Elevaon1:100
Dra Design Plan Revisions
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Relocate digitallab, doesnot require
large amount ofnaturaldaylight.
Relocate storage room sothat it canbe
accessedfrom studiospaces.
Remove divisionbetweenart studio
andprinng studio
Create single large studiopspace
Asthere will be asingle large studiospace, corridor will
not be necessary
Remove deadarm ofcorridor
Dra Elevaons 1:100
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Le Elevaon1:100
Right Elevaon1:100
Dra Model 1:100
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Dra Model 1:100 (in site model)
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Dra Model Light Study
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The majority of the top oor of the building consists of a skeletal framework from which sheets of glazing are suspended, as ma ny of the
rooms are studio spaces, and therefore require a signicant amount of natural daylight. However too much can cause overheang, and so the
design includes a large amount of shading. Unfortunately this shading is inadequate. The photos below model the amount of daylight entering
the studio spaces between noon and late aernoon. Despite the shading too much daylight is entering the studio spaces, and would therefore
cause overheang. This outcome suggests a redesigning of the shading.
Final Design Ground Floor Plan 1:100
3
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1) Recepon Area
2) Print Gallery/Exhibion Area
3) Seminar Room4) Oce
5) Sta Room
6) Stairwell
7) W/C
8) Shower/Locker Room
5
1
2
4
6
7
8
Final Design First Floor Plan 1:100
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1) Workshop
2) Stairwell
3) Digital Lab
4) Storeroom
5) Art/Prinng Studio
1
2
3 4 5
Final Design Short Secon 1:100
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Final Design Short Secon 1:50
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Final Design Long Secon 1:100
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Final Design Front Elevaon 1:100
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Final Design Right Elevaon 1:100
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Final Design Le Elevaon 1:100
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Final Design Rear Elevaon 1:100
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Autocad Linework rear building and site elevaon 1:200
Rendered rear building and site elevaon 1:200
Rendered rear building and site elevaon 1:100
External Cladding
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RavenRow,
1754 -2009
East London,
6A Architects
RavenRow isa contemporary art exhibioncentre locatedinSpitalelds, east London.Originally constructedin 1754, the building hasbeensubsequently addedto,
converted, neglected, damagedandrepairedover twoand ahalf centuries.The originalbuilding wasravagedby a re in1972, resulng ina large poronof the original
structure being destroyed.Whenit wasrenovatedthe architectsdecided toclad poronsofthe exterior incharredmber, reminiscent ofthe re that ravagedit.The
burnedmber andother new texturesallude tothe invisible history ofthe place andintroduce araw, tacle texture tomodernSpitaleldswhich canseem consignedto
the hermec smoothnessofCity development.
The prinng studiowillbe cladin planksof charredlarch.Thisserves bothan aesthec andfunconalpurpose.
The areathe site issituatedin isa rundownindustrialcomplex.The charredlarchcladding hasthe appearance of
being soot stained or dirty, andwill serve toaid the building inng inand adhering withthe industrialcharacter
ofthe area.
The charring processthe larchplanksundergocausesthe sapand resinin the wooditselfto move tothe surface of
the wood, serving towaterproofandpreserve the woodwithout the need for varnishor any other mber
treatment.
Steel Frame Construcon
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The primary structure ofthe prinng studiowill consist mainly ofa basic steelframe, asit isreadily available andcanbe fabricatedina relavely short
periodofme.
Steelframe usually refersto abuilding technique withaskeletonframe ofvercal steelcolumnsand horizontalI-beams, constructedin a
rectangular gridto support the oors, roofandwalls ofa building whichare all aachedtothe frame.
The use ofa steelframe inthe building willalsobe reminiscent ofVictorian ironframedbuildings, intermsof the skeletalaesthec, asthe site is
situatedina rundownindustrialarea whichwasacve over the industrialrevoluon.
(ExamplesofVictorianera ironframedbuildings)
Structure Model 1:100
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Structure Model 1:100 (In site model)
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Final Model 1:100
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Final Model 1:100 (In site model)
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Final Model Light Study
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These photos model the amount of daylight entering the studio spaces on the rst oor of the prinng workshop,
but with the revised shading design. As you can see, the amount of daylight entering the studio spaces has been
signicantly descreased, therefore reducing the risk of overheang.
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