architecture portfolio 2015 spread

Mark Popely I

“ Make big plans, aim high in hope and work, remembering that a noble, logical diagram once recorded will not die, but long after we are gone be a living thing, asserting itself with ever-growing insistence.” - Daniel Burnham

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CONTENTS +

CV

SKETCH STUD

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Moel STUD

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COLN BOOKSHOP Personal Details

Name: Mark Andrew PopelyNationality: BritishEthnic origin: White - BritishDate of Birth: 01/08/1992

Address : 10 Farmers Way CopmanthorpeYorkYO23 3XU

Tele: 01904 702682Mob: 07807851450E-mail: [email protected]

Education

September 2010 - June 2013 , Leicester School of ArchitectureBA Honours - Architecture 2.1

September 2008 - July 2010, Tadcaster Grammar Sixth Form4 A Levels - B - D

September 2006 - July 2008, Tadcaster Grammar School9.5 GCSE - A* - C

Key Skills

Architectural designAutoCAD3D visualisationSurveyingModel makingSite inspectionsRevitArchicad3DS MaxCinema 4DSketch UpAdobe PhotoshopAdobe In-designAdobe illustratorAdobe PremierAdobe After Effects

Professional Experience

Purcell Architects August 2014 - Present

With a keen interest in Conservation Architecture, I acquired a position at Purcell’s York office in August 2014. Here I have had the opportunity to work on a selection of the countries most prestigious buildings, such as The Elizabeth Tower. Purcell has provided me with an advanced level of Revit training, allowing me to take a very active roll in BIM model production. As well as developing my design abilities, the company has assigned me a mentor who has introduced me to the contract adim side of architectural practice. At Purcell, I have had the opportunity to work on varied and simulating projects, at various stages of design.

Studio MAP January 2014 - August 2014

In January 2014 I joined Studio Map Architects, a small practice with expertise in the residential sector. Here I gained vast amounts of knowledge relating to planning applications, building regulations and construction methods. My time spent with the company was very valuable, learning so much in a short period of time while hugely developing my technical understanding.

Aedas Architects August 2013 - December 2013

Soon After graduating I acquired a position at Aedas Architects’ Leeds office. Here I worked on projects in the Commercial , Education and Leisure sectors, working within a team of experienced architects. After three months I felt I was being under Utilised so opted to look elsewhere for a position which would offer me more hands on experience. My duties at Aedas included vast amounts of AutoCAD and concept work.

University Experiences and Key Projects

During my time at university, I was able to gain a vast number of skills that have developed greatly while working in practice. Understanding the design process has allowed me to take projects from conceptual idea’s through the design process, at the end creating a piece of architecture of a quality that I am proud to put my name too. Studying the discipline has allowed me to travel to some of the most interesting places within Europe such as Rome, Amsterdam and Paris, gaining an insight into the importance of cultural and historical influences upon architectural design.

As well as architectural design and technology, my third year studies allowed me to produce a piece of academic writing concerning the architect Daniel Libeskind and his deconstructionist style. My writing explored how his memorial architecture in the case of the Jewish museum in Berlin functions as a memorial, thereby constructing memories and representing history though architectural forms and spaces. Comparing it to architecture that stands for life and regeneration in the case of the world trade centre project.

Orvieto Endangered Plants Research Centre

Based in the historic Italian town of Orvieto, this project looked at providing a state of the art research environment while also replenishing the dense cities lost public green spaces.

Lincoln Book Shop

A short project confronting the Integration between old and new. This project looked at converting an existing 18th century wash house into a bookshop while adding annexes both below and above ground.

About Me

I am a Part I graduate from The Leicester School of Architecture with almost two years experience in the workplace, looking to further my career by gaining a RIBA Part II qualification in Architecture.

I have strong hand drawing skills and try to put pen to paper as often as possible. I also enjoy model-making, yet I am just as comfortable in front of a keyboard and mouse. Over recent years I have developed a profound interest for 3D imagery, finding it a very effective tool for communicating ideas and expressing spatial qualities. I am extremely competent in the use of Autocad, Revit, Archicad, 3ds Max and Cinema 4D as well as Photoshop, Illustrator and InDesign. I also possess a good knowledge of Flash and Sketch up.

Aside from my passion for architecture, outside of work and university I am a blogger, a photographer, a keen cook and have a liking for competitive sports. I also have a keen interesting in computers, assembling one to my own specification a year ago. I am impeccably punctual, hard-working and reliable. I have a cool head under pressure and can effortlessly integrate myself into new groups of people. I am honest and trustworthy and continuously strive to better myself.

Within this book is a very small collection of my very best work from the past 4 years for your consideration. I hope this provides you with a clear insight into my architectural ability. If you would like any further information please get in touch with me. I hope after evaluating a this portfolio, you can see what I am capable of.

References

Academic reference:

Miss Geraldine DenningStudio Tutor - [email protected]

Work Reference:

Andrew DobsonPurcell - Senior Architect - 01904 644001

Signed:

M A R K P O P E L YTEL : 07807851450

[email protected]

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Mark Popely I I Mark Popely

MARK P

OPELY - PART II APPLICATION

2015


SKETCH STUD

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SKETCHSTUDIES

SKETCHES

Throughout University, sketching became a very important tool in understanding design and the context in which it may sit. These sketches are just a selection of contextual studies I undertook while visiting the historic city of Orvieto in Italy. By sketching a given place, it helped me understand a great deal about the Architecture, Culture, and the landscape in which they sit.

As a young professional and recent graduate, computer based design and representation has inevitably become the adopted media. However, Purcell strongly encourage sketching as a means of creating a vehicle for architectural conversation.

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Mark Popely I

STUDY MODELS

STUDY M

ODELS BA ARCHITECTUR

E YEARS 1 - 3

Moels

The Process of model making became very important during my University studies. Modeling became a vital tool in translating idea’s into physical forms, providing a vehicle for formal exploration in three dimensions.

Fundamentally, I found physical models to closer reflect reality than other kinds of media. The model allows us to perceive a three-dimensional experience, which becomes more accessible to a wider range of people. During my undergraduate studies, I looked towards the Architectural model as a catalyse for experimenting and exploring structural aspects of my designs. 2

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LINCOLNGEORGIAN HOUSE

STUDIO

MAP GEORGIAN

HOUSE RENOVATION

3Drawing not to scale

PROJECT OVERVIEW

At Studio Map I was given my first opportunity to prepare a planning application for the complete refurbishment of a Grade II listed building. Following receipt of planning and listed building consent, the works commenced on site and were completed in August 2014. The subtle alterations included reconfiguring the internal layout and re roofing the entire house. Other interventions included the construction of a new portico and the installation of new dormer windows to the north facade. This project gave me an opportunity to develop my AutoCAD presentation skills and provided me with the chance to further develop my sketch-up skills. The resulting model, I took away to use as a base scene to develop my 3ds Max rendering ability.


STUDIO

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HOUSE RENOVATION


STUDIO

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UCK HILL - RIPON - PLOTS 6-8

RIPONDUCK HILL

1:20 Detail 1

1:20 Detail 2

PROJECTOVERVIEWI came to work on this project during its construction phase in May 2014. The scheme consists of 12 terraced houses split into four blocks, with 3 in each. The project had been put on hold 6 months prior to my involvement due to the lack of client funds. In March, a change in client meant the project was value engineered to meet the new clients limited budget. The original specification opted to use timber frames within the houses. Due to reduced cost implications, a steel framed system was found to be a cheaper alternative. The development is designed to achieve Code Level 4 of the Code for Sustainable Homes.

Mark Popely I

STUDIO

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PROJECTTASKSThe site offers a variation in Plot sizes but the bulk of houses are mainly 2 bedroom dwellings with their second bedroom in the roof space. These small attached houses optimise the available space but provide limited living and dining space, while also lacking on storage. Partaking in this exercise allowed me to understand the typical construction methods behind high scale housing developments and the cost implication associated with this popular method of residential construction. Each plot is expected to fetch between 180 – 220 thousand pounds, with a build cost of approximately £70,000 per plot.

My primary focus in this project was to update the construction drawings so the steel frames could be pre-fabricated. Working with a Part II qualified colleague, my responsibilities included refining internal spaces and liaising with the structural engineer to work through structural solutions. The change in structure meant slight alterations to the internal setting out of the houses to meet building regulations and optimise available space.

As these drawings were for construction, it was important they abided

by brick dimensions. Working to brick dimensions then informed the

positioning of the joist hangers, which in turn determined the finish floor

level on each level. This task became an informative exercise which

allowed me to appreciate the need for absolute precision to allow the

steel frame to work with the masonry while keeping the tolerance to

a minimum.

Ground Floor Plan

First Floor Plan

South Elevation

North Elevation

East Elevation

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A

B

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Wards composite wall panel

Drip flashing with ledger angle below

Brickwork

203x102x23 UB

102mm U-Roof frame

168mm U-Roof floor Casset

Xtratherm Insulation

168mm Joist binder

Blockwork

Construction Diagram

Drawings not to scaleI Mark Popely


Detail 1

STUDIO

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Detail 2

Drawings not to scale

Section A-A Section B-B

I Mark Popely

PURCELL LED

STON HALL CASTLEFORD

CASTLEFORD LEDSTON HALL

LEDSTON HALL//GRADE I LISTEDRENOVATION

Ledston Hall is a grade I listed building located in the small village of Ledston, 3 miles north of Castleford. The hall was originally a grange and chapel built by the monks of Pontefract Priory. It is a grade I listed building, and several associated buildings and garden features are also listed. The building has been mostly vacant for 70 years and has fallen into major dis-repair. Ledston Hall as it appears today is a series of annexes constructed around a C12th chapel, which now dwarf the original building. These annexes were constructed primarily throughout the 1500s and 1600s and were most recently inhabited by the Wheler family.

Bequeathed to the Wheler Foundation some 20 years ago, Ledston Hall is on the buildings at risk register and has become a victim of neglect. Purcell has been appointed via property agents Carter Jonas to detail the required fabric repairs in order for the building to then be converted into residential units for let. The subsequent rental income will allow for Wheler Foundation to secure the future of the building. The proposed scheme seeks to provide Ledston with luxury residential units as well as providing a number of public spaces suitable for various functions. The Budget for this project stands at approximately £10 million pounds, with £2 million allocated for fabric repairs and the remaining £8 million for the conversion and landscape enhancements.

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As a conservation project, we have had to produce an extensive drawing package, delving into greater detail than normally required for a planning application in order to gain listed building consent. Working in close calibration with a conservation officer has meant the proposed scheme has been sensitively designed to serve the buildings best interests.

The project will consists of a two phased approach. The first phase of works will focus on extensive stonework and roof repairs, while the second phase will primarily consist of internal works, reconfiguring the internal layout to accommodate 10 dwellings, a caretakers flat and a number of public venue spaces. The Wheler Foundation intends to retain ownership of the Hall, opting to let out the residential units to an elder clientele. A key requirement set out in the brief is that all dwellings above ground level are to be accessible by lift. Due to the organic development of the building, the spaces do not lend themselves to accommodating such modern interventions. Incorporating lifts into the design has been a difficult task, and the locations have been dictated by the existing primary structure.

My primary role in this project has been to produce a package of works for the planning application. Working with a listed building such as Ledston Hall has allowed me to understand the restrictions that the Grade I listing imposes on the client and design team. Due to the clients changing requirements, the proposals have evolved and been revised several times over the past months. The process of constant design and review from the design team and the client has given me an understanding of the importance of design dialogs and communication between various parties involved in the project. Working closely with the clients, the design team has managed to meet their requirements while serving the buildings best interests from a conservation point of view.

As part of the tender package we are required to provide an internal condition survey document, recording and determining the current state and dilapidation of the building. Visiting site on occasions to gather required information has provided me with basic survey experience and has made me appreciate the scope of information required for a contractor to tender restoration works.

As well as being involved in the technical side of the design process I have had the opportunity to attend a number of design team and client meetings, taking an observational role while recording minutes. This has allowed me to develop an understanding of how various parties collaborate in accordance to the projects programme in order to achieve deadlines and resolve potential problems.

As this is not a major application, it was not a requirement to carry out public consultation. However, the Wheler Foundation felt that it was important to consult with everyone that would be affected by the development proposals, including village residents, local schools as well as tenants and employees of the estate. It was felt that the most appropriate method of consulting with these groups was by means of community consultation, held in the grounds of the Hall. The exhibition explained the history and development of the Hall, the character of the building and historic park, an overview of the current situation/condition of the Hall and the options explored in developing proposals.

Being involved in the public consultation for Ledston Hall became an opportunity to engage with the public, taking into account their thoughts and suggestions in response to the ideas put forward. In weeks leading up to the consultation I became involved in assisting in the production of documentation to present, creating drawings and hand drawn visualisations. The day allowed me to speak with the residents of Ledston, explaining the proposals and talking through any queries/concerns they may have had.to let out the residential units to an elder clientele. A key requirement set out in

the brief is that all dwellings above ground level are to be accessible by lift. Due to the organic development of the building, the spaces do not lend themselves to accommodating such modern interventions. Incorporating lifts into the design has been a difficult task, and the locations have been dictated by the existing primary structure.

As well as being involved in the technical side of the design process I have had the opportunity to attend a number of design team and client meetings, taking an observational role while recording minutes. This has allowed me to develop an understanding of how various parties collaborate in accordance to the projects programme in order to achieve deadlines and resolve potential problems.

queries/concerns they may have had.


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West Elevation

Public Consultation Sketch

PROJECT TASKS ANDREFLECTION

REVITMODELING Joining Purcell in a time of transition between AutoCAD and Revit has provided me with the opportunity to work alongside colleagues in producing a Level 2 BIM model for this project. Due to the complex nature of the building, constructing the Revit model has been both a challenging and rewarding experience. With vast amounts of training I am now high proficient in the use of the program.

ECOLOGICALINTERVENTIONS

At present, endangered bat species occupy the building’s roof space. Working in close contact with an ecologist, I have been involved in designing proposals for a new bat loft which will reside in the middle section of roof depicted on the left. My involvement in this matter has been highly educational, expanding my knowledge on the legal obligations on the building owner regarding the requirement of provisions of appropriate accommodation for bats and other endangered animals.


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NEW INTERVENTIONS

The building underwent partial re development in the 1960’s, when the Southern wing was converted into 5 flats. Due to constant redevelopments through the centuries, the building has poor circulation spaces and does not work as a single entity. Our proposed scheme splits the building into smaller sections to provide generous 2 - 4 bedroom residential units. To inform the design, we have researched the development of the building and have kept walls/features that hold historical significance.

Most new interventions to the building are subtle as not to detract from the character of the Hall. However the Link between the ground floor public spaces will become a sleek 21st century addition. The internal Courtyard will act as a small green space, bringing social activity to the heart of the building.


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COLN CASTLE BOOKSHOP

PROJECTOVERVIEW

My first project of my third year studies was a two week assignment based in the historic city of Lincoln. Asked to design a bookshop with a secondary space for writers, I took an existing historic building, adding two extensions. The first a museum space which resides underground, and the second, a series of writing spaces which rise above the existing building, overlooking the castles and its keep.

My focal interest in this project was to create a piece of Architecture which established a clear sense of hierarchy. The building features three distinct parts including; a bookshop, two writing spaces and a small museum, housing artefacts associated with the castle and the wider history of Lincoln.

Although aesthetically very different from the original building, the annexed extensions shares similar traits of rhythm. The material choice of smooth concrete was chosen to complement and texturally contrast with the existing stone wall construction of the existing building.

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Toilet

Entrance/ Bookshop

Office

Ramped Corridor

Museum Space

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INTERIOR SPACESThe layout of the building is linear in plan, creating a sense of order and segmentation. The change in levels results in creating a number of different, yet equally interesting spaces. On leaving the bookshop space towards the secondary spaces, the occupant is confronted with two choices. Either they can descend down the corridor into the past represented by the museum space or they can opt to climb the stairs and proceed towards the future yet to be written. The writing rooms reside at the top of the staircase, representing the creativity of the future.

The use of a continuous skylight became very important on this project. The seamless roof light which resides over the corridor, connects each section of the building. The underground museum space represents the protection of the past, while the writing areas resemble the creation of the future. The corridor in-between becomes a stem, connecting each section of the building while also acting as a time line, connecting the Past to the Present and Future.

Basement Plan

Ground Floor Plan

First Floor Plan


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Section A-A

COMPOSITION ANDHIERARCHY From this section it becomes apparent to see how the 18th century wash house becomes the focus of the scheme. The wash house is now nestled between the two extensions but remains the prominent edifice due to its central location and rustic aesthetic. The choice of materials aims to add subtleness to the extensions, exacerbating the strong character that the wash house possesses.

Due to the limitations of space, this proposal aims to maximise currently underutilised areas. With a green roof solution, the roof of the wash house become a grassed terrace on which people can sit on read during the summer months. Access is gained from the ramped corridor roof.

This section shows how the building portrays a sense of hierarchy. With the basement providing a museum space, the elevating corridor leads up past the wash house to the base of the staircase, at the top of which resides two private study rooms.


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REVITANDVRAY

During my third year studies at The Leicester school of Architecture, I took it upon myself to expand by knowledge and understanding of programs which were not taught as part as the curriculum. I began to explore the possibilities of Revit, building a 3D model of my Lincoln Bookshop project. I went on to learn Cinema 4D alongside V-ray, vastly Improving my 3D visualisations skills. I used this project as a means of experimentation in preparation of my final third year project.


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ORVIETO ENDANGEREDPLANTS CENTRE

PROJECTINTRODUCTION

As the focal project of the year, the Italian city of Orvieto became a place that I became to explore and understand within the wider context of the country. The small hilltop city of Orvieto lies at the heart of the province of Terni. The city is situated on the flat summit of a large butte of volcanic tuff and is It is defined by its historic character.

Italy has a very broad and diverse architectural style, which cannot be simply classified by period, or region. Italy is known for its considerable architectural achievements, such as the construction of arches, domes and similar structure during ancient Rome as well as the founding of the Renaissance architectural movement in the late 14th to 16th century.

The site on which the city sits is among the most dramatic in Europe, rising above the almost-vertical faces of tuff cliffs that are completed by defensive walls built of the same stone called Tufa. Dating back to the Etruscan era, this city has grown and adapted through the centuries and is now is a popular tourist destination.

The design journey began by experiencing my chosen site and its surroundings. While researching the city, it became apparent that city lacked public green space. The area residing just to the west of the site is one of the only public green spaces within the city. It was under the canopy of trees that occupied this area that it became apparent that my focus would lean towards designing a building that would create a connection between the natural and man made environments.

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ARCHITECTURAL IDENTITY//HistoryCity + Culture + Context

The city of orvieto is largely defined by its Architecture, with its narrow streets seemingly encapsulating the history of the place. Unlike many cities where the history is expressed through monuments, Orvieto, free from modern architecture has been largely untouched for hundreds of years, giving an incredible sense that in this city, time has stood still. Orvieto’s strong sense of place became very obvious and defining. Studies of the city, the culture and way of life created a stark realisation of how life differs when compared to a way of life in Britain.

Embarking on a number of city journeys revealed how the city could be conceived as a spatial system composed of many parts. Studying the city in small sections as well as on a larger scale, revealed how important zoning is to the memory. It is easy to remember the cities landmarks in accordance to the architecture of the part of the city they are situated in. Many zones are defined by the architectural styles of when they were built. In Orvieto, it becomes obvious where one zone ends and another begins. Buildings which define the central route through the city are mainly residential with small commercial units on the ground level. The abundance of shops define the route of which tourist are encouraged to take.

The dominant historical characteristics of the city keep today’s modernist concepts at bay. Orvieto, unlike many larger cities does not act as a machine, driven by money and the economy. Orvieto remains in a time where its cultural values remain at the heart of society.


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MAN-MADEVSNATURE

Plants are vital to almost every aspect of our daily lives. They provide us with food, fibres, medicines, fuel, shelter, clothing and the air we breathe. Many animal species are also directly dependent on plants for their survival. Plants are essential constituents of ecosystems and play a key role in the Survival of the Earth.

Europe is blessed with a high rate of diversity, but, despite their undeniable importance, plants everywhere are under threat. Some 21% of Europe’s vascular plant species are classified as threatened. Half of the continent’s 4,700 vascular plant endemics are in danger of extinction and 64 have already become extinct in recent years. Preventing the disappearance of so many species of plants is one of the major challenges that must be addressed

in order to achieve the goal of halting the loss of Europe’s biodiversity.This project looks to provide the University of Orvieto with a state of the art research centre for the protection of endangered European plant species. Here up to forty students can come and study in an environment at one with nature. With the city lacking in public green space, the research centre aims to connect and educate students and the public with issues surrounding endangered plant species and the precautions needed to protect them for future generations.

My programme tells the story of an urban green house at odds with mother nature, with my chosen site acting as a bridge between the Urban and the Rural environments. The concept looks at the idea of bringing the man made environment together with nature. My aims were to show vibrant growth inside a controlled environment, replicating different climates within Europe. The significance of my sites location was paramount. The cliff edge site location, is the perfect place for creating an interesting composition between built and natural elements. Northwards, lies the dense urban fabric of the city. This is in stark contrast with the lush green utopia of the natural landscape to the south.

These concept images, explore how the made environment can contain and control plant life, but on the flip side explores how if left untamed, the diversity of plant life can break the man-made barriers and engulf the built environment.


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VERTICALPLANTING SYSTEM

This section highlights the relationship between the study area on the first floor and the planting exhibit below. This section also shows how the study space overlooks the southern European zone, meaning students always feel connected to the plant life below.

Due to the nature of the project, the restricted size of the site became an issue. It was important to incorporate vertical planting into the design to achieve optimal planting area, vastly increase the growing capacity of the facility. The reinforced concrete structural system is designed to support plant life on both sides of the external and internal walls.

The integrated structure and planting system take influence from the idea of stem and leaf, in both form, and function. Much like the biology of a plant, the concrete stem carries water and fertiliser up through internal pipe work to service each of the planting bays. Through a computerised monitoring system, each bay acts as a micro environment which has changeable parameters such as soil temperature and the amount of water and fertilizer supplied to a given bay. A selection of the bays act as windows, bringing light deep within the first floor study space. This structural system allows for a high degree of flexibility.

The vertical planting system is implemented throughout the building, both internally and externally. To maximise planting space, the facades of the building also support plant life. Species that are native to the surrounding area populate the facades; bringing contrast to the bare concrete structure. Aesthetically, this softens the building, creating an ore of subtleness, thus respecting its historic surroundings. This idea to creating living facades links back to the idea of the integration of the man-made and the natural. Showing how the man-made structure can support nature, yet suggesting that nature can take hold of its surroundings and prove to me the dominant factor.

The decision to use precast concrete has both aesthetic and practical implication. Concrete has a large thermal mass and absorbs heat throughout the day and then release it at night, helping to counteract night cooling in the absence of the sun.

WATERING/FERTILIZATION SYSTEM

Fabric cast concrete

shall

Steel base fixings

Concrete foundation

Water Pipe

Fertilization Pipe

Fixings


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ZONING AND INTERACTION

The building aims to break down the barriers that define interior and external environments. With generously lit spaces, the transition between internal and external spaces is made to feel seamless. Although the Southern and Northern zones are under cover, the heavy dependence on glass aims to create an spaces which mimics the external environment, bringing natural light deep within the building.

Key circulation spaces lay central to the building. Travelling from the exhibition space towards the cafe reveals a view across all the different planting Zones. In this moment one can appreciate the diversity of plant species the building has to offer.

The way people move around the building is key to understanding the programme. The experience of natural beauty one encounters while traveling through the different spaces reaffirms the importance to protect these species of plants. Throughout the design process, it was vital to create a connection with the valley below the site. The vast array of natural landscape and beauty below the building plot had a key influence on the buildings design.


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FINALOUTCOME

Given the choice of three potential site locations, it became vital to carefully consider the governing factors that would determine each sites’s suitability for my programme. Each site varied greatly in regards to size, typography, and access to sunlight. Opting for the largest plot allowed me to exploit the site, creating a building that uses the available space to its full potential without creating a towering edifice.

The final rendition of the building becomes suggestive and draws attention to the southern view due to its composition. Positioned on one of the main routes into the city, it was considered important that the building remained sensitive to its environment. The external vertical planting gives the building a rustic edge, which is in keeping with its surroundings and the overall character of the city. Adopting pitched roofs relates to the sites existing roofscape while also serving the building on a practical level, the strategically angled pitches encourages a variance in solar gain within each planting zone while shading the circulation spaces.

With a highly glazed public facing facade, approaching visitors can quickly grasp the intent of the building. Its prominent cliff top position allows it to be seen from miles around, acting as a beacon for the protection of endangered plants.

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THANK YOUFOR

READING

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“ I don’t divide architecture, landscape and gardening; to me they are one.” - Luis Barragan

architecture portfolio 2015 spread

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