My project is a building for bees and is located at the General Cemetery of Sheffield. The Cemetery appears more of like a museum of ancient graves or a park for everyone to attend. A site analysis proved that the Cemetery is a busy area that acts as a shortcut for some or a place for a walk, jogging, family time etc. The atmosphere inspires delight rather than anxiety as my figure ground drawing represents. A river running adjacent to the Cemetery is a threshold which can be reminiscent of metaphors relating to afterlife. However, for my project I chose another threshold where the landscape isolates itself to create a semicircle to embrace the river below it.
The brief required private spaces for the apiary and honey extraction as well as public spaces for education about the bees. I divided my building into shifted rectangular forms with the ground floor being private (accessible from the back) and the first floor being public. The concept was to encourage the visitor to follow a movement inside the building reminiscent to bees’ waggle dance when they spot a source of nectar. To enter the building you first experience the jungle-like areas beneath it and you then take the stair to a glass corridor. The glass corridor is a threshold from where you can dance around into open spaces which always overlook the hives. Therefore, you are dancing around the bees the whole time. Steel panels on the windows frame the landscape around you as if you are looking through the branches of a tree.
The building is overhanging on top of the river and is immersed in the landscape to reinforce the feelings of delight of the Cemetery. The project could attract all those daily walkers of the Cemetery since families or individuals could enjoy learning about the bees or relaxing in the cafe on top of the river.
A shadow theatre in Attercliffe, Sheffield aims to regenerate the area which once used to be popular and delightful. My site sits between 3 building, thus only one surface is exposed to the main road. Inspired by the concept of a curtain which always divides the audience from the imaginative world behind it, the facade becomes the curtain itself. Th choice for a shadow theatre seemed appropriate since the Islamic populations in the area are familiar with the very first shadow theatre ‘Karagiozis’ originated from the Ottoman Empire. So, the contemporary version of it could become a landmark for the area.
A shadow theatre can incorporate real dancers as well as puppets. It is a flexible black box theatre since the screen(replacing the curtain in this case) can be easily removed to transform the space. Moreover, a moving platform at the facade can help into enlarging the auditorium space or even turn the stage round so that people can see the dancers from the street,too.The ground floor is also a flexible area that can turn into an exhibition space, a cafe or a puppet theatre. The top floor includes offices with a view to the street and a structural truss which traces the pitched roofs of the area’s buildings.The crew can enter the building from an opening at the back and the whole back section of the building is their private, imaginative world.
The plans follow a clear space arrangement while the concept of shadows is the leading aspect of the project. The mesh at the facade and the ilight concrete next to the staircase allow for shadows to be created. The mesh can also be turned into a screen and the whole of ground floor can unfold to the street so the facade can constantly change appearance. Finally, the Jean-Nouvel like ceiling at the ground floor and the inflated steel forms behind the mesh complete the collage of materials of the theatre.