biophilia and immersive artifice to visualise a new type of environment
Architecture & Interiors
DAIRY ART CENTRE
Founders | Frank Cohen & Nicolai Frahm
Program | 1885m2 Temporary Arts Centre | refurbishment of disused 1960's Dairy Depot
Location | London Central
The not-for-profit initiative, founded by the art collectors Frank Cohen and Nicolai Frahm, took over the former Express Dairies Depot, Bloomsbury, London in 2012 and after a year of planning and adaptation, opened as the Dairy Art Centre in April 2013 with the inaugural solo show by Jon Armleder “Quicksand”.
The Founders envisaged an environment that would respect both the aesthetic of the industrial qualities of the disused depot and allow international-standard exhibitions to be enjoyed in a non-institutional and non-commercial environment.
The Dairy was voted one of fifteen of the “World's Best New Galleries and Museums “ by Blouin Artinfo and awarded the Architizer A+ Awards special mention in 2014.
All photographs courtesy Paul Raeside
Conceived as a sequence of found and created spaces that create a curatorial navigation.
Since the collection of existing buildings and yards already promised a curatorial sequence of differentiated spaces for exhibitions and events, we developed a language for its appropriation that created new interventions only where there was a need, and then through a filter of distillation and realignment we removed and re-used elements of the existing to create a choreographed yet flexible sequence of display “niches” and rooms. There was an efficiency in this, appropriate as a sensitivity to the site’s qualities but also to a budget that was geared to the potential “meanwhileness” of the use of the site; on one hand the adaptation should express temporary, at the same time as creating a background appropriate to the standard of work that would be shown. The result is consciously passive; the “art” is the focus, with the exception of the entrance which worked hard to facilitate the functional requirements of art loading / event flow / gallery window / security / fire exit and…entrance. This was achieved through a choreography of visible doors, sliding windows, pocket walls with invisible doors and the old existing black sliding shutter as the final layer.
The material palette was deliberate: colourless, white, mirror stainless steel, glass and translucent multiwall polycarbonate. This assembly of clear, solid, reflective and translucent surfaces reveal partial views whilst reflected views are flattened within the material surface. The display walls finished sharply and struck a clear datum; display below / old depot above. The horizontal expression of this datum was further implied with a family of fluorescent lighting details developed to camouflage into the ceiling architecture. The exception being the entrance which was illuminated by a seamless back-lit fabric ceiling panel that spanned from the lobby to Room A, guiding the visitor to the first junction and acting as a liminal curating device between exterior and interior.
The site sits in a triangular pocket formed between the city grid and St George’s Gardens; a cultural poche. By nature of it’s attitude and positioning, it was likened to Saatchi’s exhibition space on Boundary Road. The industrial sheds were by their nature porous to external conditions. We challenged the level of thermal performance / relative humidity to a standard appropriate for the storage of art which resulted in a low energy installation and operation. The quality of air that one sensed felt authentic to the experience of viewing art in an appropriated industrial space.
Design Team | Jenny Jones, Micheal Boylan, Sacha Leong, Vitarat Pariyawatakul
Structural Engineers | Holt & Wotton
Conservation Engineer | Hayes & Adcock
Lighting Design | DPA
Main Contractor | Maven Interiors
Project Management | WPG
Client PM | Sarah Aspin
Planning Supervisor | Jim Slater
Branding | North
WALLED GARDEN HOUSE
Client | Private
Program | Family Home 200m2
Location | Press Castle Walled Garden, Scotland
This project was commissioned through the Architect in the House programme.
The house exemplifies a super modern and super insulated sustainable solution.
Organised in two programmatic blocks; sleeping and living; stacked perpendicularly on top of one another; their geometry and location reminiscent of the original formal quadrangle layout of the Edwardian Walled Garden. Their orientation relates to the interplay of function and sun path and also to sightlines from the adjacent Castle. Excavated earth from the build was used to form an embankment that reaches the internal level of the upper floor. It is possible to walk over the surfaces of the green roofs of the lower floor onto an embankment and flow through the garden and under the soffit of the upper block and back again into the house: blurring the boundaries between the interior and the exterior. The top height of the upper block was set out to be the top height of the historic walled garden, effectively hiding the house from outside of the walled garden. This was a focus in the design statement leading to the granting of planning permission for this proposal.
The forms and materials were deliberately simple in order that the clients were able to procure local labour. The lower block is lightweight super thermal blockwork cavity construction and the upper level is layered timber construction with recycled paper insulation. The timber cladding to the upper block uses locally sourced Larch. The specialisms were restricted to glazing supplier and green roof build-ups (sedum type).
Architect | Jenny Jones
Engineers | Elders
SUI GENERIS: ARTIST RESIDENCIES
Program | 13no. 100m2 Studios | Event Space / Community Hall, Belvedere, Tech Workshop
Case Study Location | Drill Tower, Kingsland Road, London
The poetic notion of the artist’s studio in the city & the desirability of ‘loft’ real-estate are intertwined in the collective imagination. The demand for these type of spaces is oppositional between investors and artists. We wondered if we could create a proposal that allowed a mutually beneficial relationship between non-profit uses and high-yield uses in the same space?”
Throughout the 80’s and 90’s the use of the Sui Generis “live/work” classification in the UK permitted investors to bring unused commercial spaces into use. What if we proactively built “sui generis” rooms: large footprint, high ceiling-ed, light-filled, column-free, flexible ‘rooms’ that create appropriately sized live/work studio spaces with a minimum fit-out in a 21st Century loft-style trope. This type of “factory “ building is perhaps a retro-active brief as many former industrial spaces are now re-purposed and loved not just for their scale but for their rawness, lack of fit-out and their provenance. Such a space could then sequence from artist residency to residency exhibit space to short let private rental. The highs and lows of income streams from different uses is then merged into a sustainable “middle” line.
The programmed change of use acts like a musical score, animating as the classification changes, perhaps even inspiring the creative process. As the threshold between public and private is dynamic and permeable the programming encourages the making of a place where connections are made both internally and with the community.
Case Study Location | Drill Tower, Kingsland Road, London
To illustrate how this could manifest we looked at a brownfield site in London that has a disused Fire Practice Tower (The Drill Tower) of 8 single storeys. We propose to re-purpose this Drill Tower as a free core to serve a stack of 4 new floor plates with “Sui Generis Rooms”- in total 13no. at 100 M2. We have located year-round public space: a hall and tech workshop on the ground floor and event space on the roof. All of which can be rented at community rates or coorporate rates. The Drill tower is kept as public access all year round to serve as a belvedere to the surrounding community. The studios themselves are double height with an island living core. The envelope is glazed with mullions on drylining modules to allow flexibility and transformation from 100% glass to 100% wall. Knock out portions of “party walls” allow a flow of circulation when the building acts in Show mode.
NO. 5 LOFT
Client | Private
Program | 62 m2 Loft | refurbishment of apartment in 1920’s Factory
Location | London East
The redevelopement of this loft focused on compressing enclosed functions so that the open functions could enjoy the “free-ed volume”
Using the London Plan Space Standards the footprint falls into a 1 bed, 2 storey, 2 person. With the insertion of the mezzanine we created the possibility of a 2 bedroom apartment by interlocking the kitchen, the bathroom and the upper bedroom.
We pushed also for a “4 point” bathroom with walk in double height shower. The internal window into the bathroom which sits in the centre of the plan acts as a lantern at night, allows daylight into the bathroom and is openable to allow “open plan” bathing.
As well as the structural remodel, we completed the interior design proposing the pallette, soft furnishings, the lighting design and the bespoke kitchen and furniture.
Client | undisclosed
Program | Cultural Centre
Location | undisclosed
Architect & Consultant teams | undisclosed
Jenny Jones | Strategic Design Leader
NETHERLANDS EMBASSY, BERLIN
Client | Netherlands Government
Program | Netherlands Embassy
Location | Berlin
Architect | OMA
Jenny Jones | Interior project architect from concept development to production information
A study of mass, void, circulation, Miesian values and programmatic arithmetic
The generic Miesian office cube is invaded by the trajectory! The trajectory is a device that stabilizes, ( it's structural) breathes, ( it's pressurised and pushes air to the accomodation ) delivers ( it's the circulation spine ) orientates ( it's zig zag path links contextual views of Berlin to each other ) and is dematerialised ( always aluminium internally and wood externally - break the rules if it's glass )
Team | Rem Koolhaas, Ellen van Loon (Partners in charge) Michelle Howard, Gro Bonesmo, Erik Schotte, Beth Margulis, Anu Leinonen, Daan Ooievaar, Adrianne Fisher, Robert Choeff, Christian Muller, Oliver Schutte, Fernando Romero Havaux, Matthias Hollwich, Katrin Thorhauer, Barbara Wolff, Bruce Fisher, Anne Filson, Udo Garritzman, Jenny Jones, Shadi Rahbaran, Mette Bos, Adam Kurdahl, Stan Aarts, Julien Desmedt, Annick Hess, Rombout Loman, Antti Lassila, Thomas Kolbasenko, Moritz von Voss, Paolo Costa, Carolus Traenkner, Susanne Manthey, Christiane Sauer, Tammo Prinz, Nils Lindhorst, Felix Thomas, Bill Price, Marc Guinand
Structure | Royal Haskoning / Arup Berlin
Services | Huygen Elwako / Arup Berlin
Project Management | Royal Haskoning
Fire | Hosser Hass + Partner, Berlin
Lighting | OVI, Washington DC, Berlin
Curtains | Inside-Outside, Petra Blaisse