Architecture Yearbook 2012

V

LEEDS SCHOOL OF ARCHITECTURE YEARBOOK

2012

Contents 6

Leeds School of Architecture Student Society.

9

BA1 Architecture.

19

BA2 & BA3 Istanbul.

35

BA2 & BA3 Extreme Change: Manchester

46

BA2 & BA3 Transition: London.

56

BA2 & BA3 Bristol.

76

BA2 & BA3 Extreme Change: Liverpool.

88

BA2 & BA3 Transition: Saltaire.

102

Post Graduate: Abstract Machines.

116

Post Graduate: Crash Test.

126

Post Graduate: Urban Studio.

V

Introduction Des Fagan RIBA MArch BArch Course Leader

We see the city as a landscape of possibility: utilizing the synergy of new technologies, with the heritage and myths of the existing city, to create new futures that are sustainable and socially just. We see the city and its architecture contextually, as a nested series of interventions at scales from the region, via the city, to the building skin and the room itself.

Many of the projects we do are directly linked to making – either things or policy or methodologies. From the action research of the Transition Unit, where real-life community design projects are realised, to the Extreme Change Unit where parametric modeling allows the development of complex component driven façades, to the Istanbul/Bristol group, where process, materiality and texture is key - we engage in a creative way with the limitations imposed and possibilities presented by technologies and material.

The following is a celebration of work from final year students. We hope that, through this book, you are able to share in our thoughts and ideas.

Des Fagan RIBA March BArch

Studio 5 Leeds School of Architecture Student based Society.

BA1 Architecture Architecture of the Everyday Invisible Cities City Instrument Conversation Space Dwelling

The main purpose of year one is to challenge preconceived ideas of architecture. Via the creative exploration of ideas students question, interrogate and record what they ‘see’ in order to develop their own critical propositions. Each student begins by examining everyday objects, looking beyond the real and physical and exploring their imagined potentials via a range of two-dimensional and three-dimensional techniques.

Connections between theory and design are actively fostered via the full integration of theory and technology.

Risk-taking and experimentation are encouraged in the studio in order to question established standards of architectural practice.

Projects undertaken in semester one allowed students to collaboratively and individually explore an area of the city of Leeds, whilst transforming it with smallscale interventions. In semester two we moved further afield and specifically examined the notion of dwelling in Edinburgh and Budapest, using the devices of ‘eat’, ‘sleep’ and ‘bathe’ to examine and challenge the conventions.

Besart Redenica- Eating Space.

Dannii Levett- Invisible Cities.

David Hallam- Bathing Space

Danny Lomax- Facade Study.

Danny Pound- Configured Spaces.

David Hallam- Configured Spaces.

Hannah Geskes- House for Horkay and Jelasic.

Sophie Thompson- Volumetric Study.

Tony Kangah- Configured Spaces.

Jamie Aldus- Architecture of the Everyday.

Henry Schofield- Configured Spaces.

Mahmood Mohamed - Architecture of the Everyday.

Remi Connolly Taylor- Invisible Cities.

Istanbul This group combined Level 2 and level 3 students. The intention of the group was to study the processes of architecture through the media of film, art, poetry and music and to explore the possible relationship between a specific form and a resultant architectural form.

The first semester project was set in Istanbul and led to an architecture study of the alter ego through the meeting of East and West, of Asia and Europe, of Istanbul and Constantinople contained within one place.

During our trip to Istanbul we studied the temples, palaces, markets, teahouses, mosques, hamams, and subterranean cisterns and were inspired by the magical topography of the only city in the world to straddle two continents. We began to imagine new constructions indelibly inked into the fabric of the city.

The first study task however, was to encourage a view about architectural design that went beyond the contemplation of the building as an isolated object and gave serious consideration to its interaction with a specific context.

We studied and discovered the underlying tensions and forces that characterize a particular place, taking the investigation beyond the usual planners development control guidelines. The intention was to foster an approach to design in an established context that is open, positive and creative but sympathetic enough to endorse a sense of place in the broadest sense.

Three distinctive areas were considered within Istanbul; Einonu, Sultanahmet and Cihangir.

The use of film as a medium was encouraged during the investigation of the city and in the exploration of space, both existing and proposed.

“It was a brutal symbiosis: Western observers love to identify the things that make Istanbul exotic, non-Western, whereas the Westernisers amongst us register all the same things as obstacles to be erased from the face of the city as fast as possible.”

(Orhan Pamuk, ‘Istanbul: Memories and the City’, 2005).

Antoine, Genenan Ball, Ashley Board, William Booen, Thomas, J. Bromley, James Cope, Tomos, M. Douglas, Christopher, T. Eddison, Thomas Featherstone, Amy Gostaryfard Amirreza Hadian, Mitra Harcourt, Richard Hart-Woods, Nicholas Paraskos, Chris Patel, Danny Pickersgill, Matthew Rawson, Thomas Rayner, Naomi, J. Robinson, Harry Stalker, Sam Takvarelia, Nino Wardrope, Sarah Wrynne, Jonathan Tutors Sarah Mills Dennis Burr

Mapping-Night-Beyoglu, Istanbul: The sites in Istanbul within the Beyoglu area were connected by this mapping route where we photographed the strip of light running through all sites as a connecting feature.

Each site was dictated by candlelight. Playing alongside this on the film is the process undertaken to create the photographs.

Research Film (left) : Why Remember Me All of a Sudden?

The film is about duality - a parallel, a paradox.

The film explores the identity of Istanbul and how it has been portrayed from internal sources. A communal feeling of melancholy, nostalgia and loss compose the concept of huzun. But this goes deeper. Be patient, listen...

In dichotomy to this, the second film contrasts against the first. The main rule for the film was to embrace the legacy of Capital of Culture 2010. It investigates a possible cultural shift required to appeal to a Western society, namely the tourist. By highlighting what Istanbul has to offer, does it lose its original sensitivity?

Super 8 - Experimental Film (above) The experimental Super 8 film was created during the trip to Istanbul to examine a response to a cultural mentality of longing , known as ‘Huzun’. This helps to portray a melancholic feeling which expresses the word melancholy in a slightly different manner.

The narrative of the film merely set about to document everyday scenes within Istanbul, from traffic passing by, a man sitting reflecting, the ritual of wuzu before prayer.

This ordinary narrative set against the quality of the Super 8 evokes this feeling of melancholy. Some scenes can be seen clearly, whereas some are over exposed to light with bare understanding of what scene was happening. These broken moments add to this sense of Huzun.

Ashley Ball- An Everyday Landscape: Life and Death. “The Turkish cemetery stretches along the slope of the hill behind the barrack, and descends far into the valley.

Its thickly-planted cypresses form a dense shade, beneath which the tall head-stones gleam out white and ghastly. The grove is intersected by footpaths, and here and there a green glade lets in the sunshine, to glitter upon many a gilded tomb. Plunge into the thick darkness of the more covered spots, and for a moment you will almost think that you stand amid the ruins of some devastated city. You are surrounded by what appears for an instant to be the myriad fragments of some mighty whole; but the gloom has deceived you— you are in the midst of a Necropolis�,a City of the Dead.

Is there a solution to the need for burial space, and the need for green space in such a densely populated city?

Site Response: Ritualistic Device

James Bromley- Istanbul.

The Istanbul Stray Cat Sanctuary is positioned on one of the only pedestrian routes linking the North of Beyoglu district to the South. The function of the building is to neuter/spay the strays before rehabilitating them back to full health and releasing them into the managed cat colony. The structure of the design is inhabited by the cats in a way that provokes interaction between themselves and members of the local community, therefore attempting to make the local residents accept more responsibility for the well-being of the strays.

Sam Stalker- An Architect’s Manifesto The essence of Suleymaniye is held within its streets. Historic preservation is required to the land due to the UNESCO listing, but in order to truly preserve the area a stance has to be taken to realise this importance. A construction type is required that engrains this need, this encapsulation of the random encounters that flourish through each day between the street dwellers. The prescribed function can be intended but will not be of a definitive role as it is important for the function to response to the situation at hand, the construction has to respond to the needs of Suleymaniye at that given point, be it accommodation, trade or education. Potential of variation is the key to the streets survival.

Jonathan Wrynne Sultanamet Studios (Art Studios)

Dissertation Extract

Ashley Ball The Everyday: object and event. How can familiarly in the quotidian become strange to reframe the ordinary as extraordinary?

Fundamentally, romanticism in the everyday is there for us all to appreciate, but ones eyes and indeed other senses have to be opened up to these seemingly banal situations. The way one becomes aware of these re-framed events is not something one can predict, it simply happens. Phenomena show themselves. As Blanchot superbly writes ‘to attend to it is to lose it. We cannot help but miss it if we seek it through knowledge, for it belongs to a region where there is still nothing to know’. (page 20 on the everyday) This offers the importance of ambiguity. As we live in a culture of reason and definitive answers, this is how we learn to live our lives. However, it is my suggestion that this way of living inevitably misses out on the flows of transience around us. Approaching the everyday without thought is a natural approach. But maybe the everyday should be objectified. This is where the secondary importance is offered; the role of art. If one lives day to day within this cycle of repetition and reason, it is consequently the role of the artist to help that individual to enter, and maybe even for a brief moment, into a state of change, where the everyday is seen as something of an object.

This object has been removed from the everyday banality and reframed as something poetic. This allows a period of questioning in order to rethink this object. What may ordinarily be seen as banal could in fact be put into question, and may paradoxically be seen as something else. This is the successful transition of making the familiar strange. This principle can be expressed

by Marcel Duchamps urinal. How Duchamp made the revolutionary move to use everyday objects as art could be down to intoxicants, but the principle changed contemporary art dramatically.

Here the urinal as an everyday object was made unfamiliar by changing its positioning to the familiar, and its function to everyday use. By being placed in a gallery, the urinal made the transition into something ‘seen’ rather than being part of everyday fabric.

But can the repetition of banality in the everyday be seen as something of a phenomenon? A slight repositioning of a circumstance is needed for the ordinary to be viewed as something with substance, just as James Turrell successfully reframes the notion of the seemingly ordinary sky.

One experiences the passage of time as a constant stream, but it is not necessary for that passage of time to have a constant awareness. Supposing we are in a constant stream of beauty, one will not always be aware of that beauty. It will always be there, but only when we are directed to it. For now, these things remain as part of the unseen. Throughout time, one may reexperience this beauty, but the nature of transience undoubtedly means it will fade into the forgotten, or unseen once again.

Sheer familiarity has weakened our ability to appreciate.

Acceptance comes on two levels, one can merely accept the passage of time and carry on in day to day tasks, continuing to see the ordinary as banal. On the other hand, one may accept the passage of time and let this acceptance embed a deeper sensitivity of transience that one is a part of; continually being open to sensing this transient flux.

If this level of acceptance comes, it opens up a whole new understanding of objects and events.

The whole fabric of our daily lives is built up through the ordinary. The framework of the ordinary allows major events to happen.

These major events could be viewed as extraordinary, alternatively, it could be the framework which contains the extraordinary.

Even the bleakest of moments can indeed be something of a phenomenon. Wordsworth offered that misery can be a condition for happiness. Likewise, banality can be a condition of a phenomenon.

One must be aware of the potential in the everyday.

Dissertation Extract

Tom Booen An Invisible Architecture:Sound as space Soundscapes and soundmarks The concept of soundscape and soundmark was experienced first hand on a recent study trip to Istanbul, Turkey. Istanbul is an incredibly multi-sensory place, but the soundscape is particularly interesting, a rich composition of market noise, heavy road traffic, pedestrian noise, children, buskers, pushcarts, trams and most notably, the adhan (Islamic “call to prayer”), which punctuates the city soundscape five times a day. Whilst in Istanbul, sound recordings were taken of the most notable and evocative sounds, and collaged in a video format. The video isolates each sonic event (soundmark) before overlaying them to form an overall image (soundscape).

The notable point here is that the soundmarks heard individually do not communicate a sense of place as well as the overlaid sounds. For example, the lone sound of an electric tram could only be assumed to have been recorded from a European country, but when combined with the adhan, Turkish drum, market noise and Turkish tea glass sounds, the sense of place becomes much more defined. These signature sounds, which rarely enter our conscious mind when experienced initially, have the capacity to evoke imagery when played out of context and forced into our consciousness, altering our perception of the real space we are in.

Let us consider the adhan (call to prayer) as a soundmark.

It is interesting to note its strong cultural significance and its ability to alter human behaviour. What we see in Istanbul is several overlapping “acoustic arenas”, each centered upon a minaret, with their individual sphere of influence. These define regions “where listeners are part of a community that shares an ability to hear a sonic event” (Blesser, Salter 2007: 22).

Thomas Booen- Suleymaniye Textiles Cooperative.

Genenan Antoine- Textile Craft School.

Jonathan Evans- Istanbul Apartments.

Sarah WardropeTurkish Film Institute and Experimental Cinema Space The design for this project manifested from an interest in personal space in the city. The aim of the building was to challenge the users comfort levels, forcing them closer together in public areas and allowing them space in more private areas using vertical elements which broke through the levels of the buildings, dictating the spaces above and below. A strong connection between the intervention and the existing multi-storey car park in which the building was placed was strived for.

Chris Paraskos- Istanbul Printworks

Tomos Cope- Istanbul

William Board- Istanbul Theatre.

Nick Hart-Woods- Cinema.

Amy Featherstone- ‘Beyoglu Nest’ Istanbul.

Richard Harcourt

Naomi Rayner- Performing Arts Centre

Extreme Change - Manchester From a system theory stance, buildings can be seen as ecologies of systems. These act both at a cultural and technical level. It is important to understand that in an ‘ecology’ no one system stands alone, one will affect another, thus families of ideas will morph material and the potentialities and constraints of material systems will re-configure orientation of ideas.

The alliterative process that ensues is a negotiation between conceptual and material systems A critical awareness of these negotiations the overall goal of the Studio.

The Castlefield Incursion Propositions were designed as interventions into the existing physical and informational eco-scapes of the site. The interventions were viewed a means to redefine series of niches, latent within the site. The Castlefield’s basin Manchester, is a landscape composed of a layered palimpsest of fragments, rich in history riven by industrial and transportation infrastructure.

It accommodates an abundance of niches akin to a coral reef an open book for conceptualisation, imagination, and interpretation.

Photography by Jack Ford

Braid, Hannah, D. Cottrill, Joshua Craven, Stewart, A. Dickinson, Kerry Dow, Emily, C. Evans, Alex Featherstone, Craig Grindey, Matthew, J. Whitechurch, Gary Harmens, Jan, A. Hayes, Sam McArdle, Bradley, J. Morris, Aaron Ngai, Yuen, C. Pepper, Christopher Pickup, Christopher Charles Ryan Hicks Whelan, Daniel, L. Tutors Keith Andrews Vernon Thomas

Rapid Prototyping 3D printer built by Craig Featherstone, Aaron Morris and Gary Whitechurch

Aaorn Morris - Multi-use Media Centre

Craig Featherstone - ‘Madchester’ Museum

Gary Whitechurch - Roman Museum.

Matthew Grindey- Mycelium Research Centre A design project informed by ‘Extreme Change’.

The project creates an experimental industry in Castlefield, inspired by its cotton past. Fungal Mycelia, the root of mushroom, is a mass of branching, fibrous strands that form a structural network.

To survive, all living organisms must adapt and evolve to an ever-changing environment. By manipulating Mycelium, a new tectonic in architecture is developed that is entirely biological, biodegradable and future sustainable.

Jack Ford- Castlefield Fibre Research Pavillion.

The aspect of harmonizing old and new creates a kind of symbiosis whereby the building utilises the structure of the existing viaducts.The code of the building is distinguished as ‘weaved’ modules inside the building. Suspended by the fibrous structure.The weaving metaphor also symbolises the conjunction and co-evolution of both public and research where one wouldnt exist without the other.

Alex Evans- Origami exploration sketch models Fashion School.

Kerry Dickinson- Exo-Skeleton Rehabilitation Centre.

Hannah Braid- Mamucium Maximus History Hub

Yuen Ngai- Castlefield Technology Centre.

Gurveer Bhachu- Wine Tasting School.

Emily Dow- Channel M Media Centre.

Sam Hayes- Materials Reinvention Centre.

Bradley McArdle- Castlefield Oxygen Bar.

Mike Powell- Pedal Power. Human Powered Energy Centre Based in Castlefield, the design was the combat against Manchesters increasing overweight problem. The building uses the idea of ‘Pedal Power’ to create a centre that hires out bikes and pedalos which can create and store electricity when used This is then used to offset the running costs of the building.

Transition - London Transition Group Ethos

Communities, place making, sustainability (in all forms), materials and fabrication.

We are interested in appropriation, time, change, re-use, new life, equality, cheapness, beauty and the abstract. This is why transition is our name - ‘permanence’ and ‘transition’ are our themes. We look for opportunities to make something special out of the ordinary or unremarkable. We promote self-build and real build projects for students to design and construct.

London is in a state of flux. The upcoming 2012 Olympics have turned the East end of the City into the largest construction site in Europe. Our site – Trinity Buoy Wharf lies directly opposite the O2 arena on the Thames River. The site is a hotbed of creative industry, comprising artist communities and drama studios.

Our studio studied the ideas of temporary and permanent building – Olympic and Legacy mode, permanent and demountable structures.

Archer, Ellie Banbery David Bhachu Gurveer Boydell-Smith, Joshua Braidwood, Karl Cawthorne, Hannah, J. Couper, Ross Ghirawoo, Andrea Hansell, Paul, R. Higson, Nicholas, C. Houston, Lee, E. Muldoon, Andrew, J. Oakes Sam Sargeant, Daniel, J. Wakelin, Jack Walton, Joseph Bayliss, Sarah Tutors Simon Warren Des Fagan Simon North

Through out the 19th Century London experienced a mass implosion of population which caused a narrowing of the river.

1828 a very much arcadian scene with a gentle river flow Banks of the River Thames stretched hundreds of metres north and south compared to what we know today

Joshua Boydell-Smith- Treasure Storing Facility: Mapping of the Thames

The location of Old London Bridge. Was the only way to cross the river at the time. The multiple piers slowed down water flow and created a weir.

The river was slow enough to sail boats as taxis.

Docklands Nodes and connections

18th century built form

1967-8 Docks become idle under thatchers government.

New ways of container cshipping caused docks decline.

Banksy’s commentary on the sites of the river bank

1805 1824

1805 1855

1880

1921 1807 Narrowing of the Thames led to a 7 metre fluctuation in tide levels

1802 1806 1697

1868

London is drowning And I live by the river

Joe Strummer’s commentary on the possibility of the Thames flooding.

LONDON CALLING THE CLASH 1979

Millions of people swarming like flies around waterloo underground

THE KINKS

Many select such a dwelling-place because they are already debased below the point of enmity of filth Charles Dickens comment of the people living near Victoria Docks in 1855

Thames river flow

10,000 items of archeological finds over two years

Industrial location in docks

Thames ancient human settlement locations

Joshua Boydell-Smith- Treasure Storing Facility.

The first semester’s project focused on the idea of finding and storing small precious objects from the Thames foreshore.

Amateur archaeological enthusiasts named mudlarks spend their lives searching the mudflats to try to uncover treasures from the past. My building gives these enthusiasts a place to store and process these finds.

Joseph Walton- C

Karl Braidwood - Eel Wharf

Jack Wakelin- Hyrdogen Plant

Lee Houston- Urban Curve Farm Leamouth, London

Ellie Archer - Art Gallery

Samuel Oaks - Trinity Buoy Wharf Pirate Radio Station2

Paul Hansell - Ballet School

Tutors Sarah Mills Dennis Burr

Bristol

In the second semester a project was set in Bristol which led to a study of event and authority within Architecture.

Something is uncanny, that is how it begins. But at the same time one must search for the remoter ‘something, which is already close to hand.’

Ernst Bloch. The philosophic view of a detective novel.

The coupling of project headings event and authority was supplemented by a key architectural devise, the exploration of space. Within these themes we had invested consideration for cultural readings and phenomenological experience. The Semester 2 sites were located in the space between The Floating Harbour and the new cut in Bristol. The Floating Harbour contains 83 acres of impounded, non-tidal water and at the time it was opened, it was the largest artificiallyimpounded area of water in the world. The new cut is an artificial waterway to divert the River Avon.

The study of eccentric spaces as spatial device was discussed in the context of the mysterious interplay between the imagination and the spaces it has made for itself to live in.

‘Program is to be distinguished from event. A programme is a determinate set of occurrences, a set of utilities, often based on social behaviour, habit or custom. Events occur as an indeterminate set of unexpected outcomes. Revealing hidden potentialialites and or contradictions in a programme, and relating them to a particularly appropriate spatial configuration may create situation for unexpected events to occur’.

Bernard Tschumi 2000

Photography by Jack Ford

Collage Imagery.

Ashley Ball Sam Stalker Sarah Wardrope Jack Ford Victoria Gaskell Michael Powell

Bristol Masterplanning: Spike Island Military Base.

The concept manifested by returning land back to its original intention; a wealth generator for Bristol. Bristol has been listed as becoming one of the next super cities of Britain because of its affluence in engineering and technical innovation. So with this source of knowledge already having its presence in the city, this field of work can be utilized and preserved by ensuring funding and relevance within the city. This is to be done by establishing a branch of Military Research on the island, where government funding will be injected into the scheme to ensure the latest technological innovation. This knowledge can then radiate out into the education and health sectors and relevant and then into the everyday lives of the city dwellers where it is needed, spreading the wealth out across the city.

Bristol Masterplanning: Sustainable Spike Island.

A master plan for the revision of Bristol’s Spike Island was developed. The proposal focuses on using the island’s inherent disconnection from the city to its advantage. In keeping with the theme of events and authority the master plan reestablishes the island as service to the city similar to its operations as Bristol’s port. Bristol, despite its wealth and good reputation as a center for education research and innovation, has a serious crime problem with the second highest crime rate in the nation. Within the theme of authority the design for the island seeks to address this issue by providing a suitable place for the rehabilitation of Bristol’s criminals. This rehabilitation will be coupled with another big issue within Bristol, sustainability. Bristol has history of sustainable initiatives and has won the award for the U.K’s most green city recently. The island would accommodate most of the city’s recycling operations transforming its waste into reusable products.

James Bromley Thomas Booen Genenan Antoine Joseph Myerscough

Ashley BallAlchemists’ Den: Decommissioning Facility.

The brief begins in the restricted section of Spike Island Military Compound. To the ordinary public, this authoritative body are recycling decommissioned military equipment to sell as military collectables or to reuse in new technologies, in a programme aimed at strengthening Bristol as the capital of engineering. The idea of recycling weapons as a county is aimed at taking a social responsibility with regards to War. But deep in the heart of this compound lies a secret cult…the Alchemists’ Den; a hidden authority which goes unseen.

This forms a dualistic process, one of methodical production, the other of experimental eccentricity.

Genenan Antoine Eccentric Space Model.

Genenan Antoine Inmate Rehabilitation Centre.

Sam Stalker Freemasons Lodge / Radio tower.

Bristol’s desire for music will be exploited, ignorant shoppers will fill the new shop floor and city dwellers will receive the frequencies sent out from the tower, making the suggestion that a secret organization is devising plans of New World Order mere meters a ways completely preposterous. A disguise will be achieved with the seduction of music.

James Bromley - Bristol biodiversity laboratory.

The aims of this project are to help improve the biodiversity local to the River Avon whilst simultaneously educating the public and creating a greater appreciation of the outstanding wildlife that surrounds the city centre of Bristol. The design revolves around a timber bridge structure that the public are encouraged to explore. At the metropolitan end of the bridge there are taxidermy displays and an ecology laboratory on either side of the structure to show the public the conservational work being carried out in the area. The rest of the infrastructure is a framework set up for the habitation of different endangered species including Otters, White-clawed Crayfish and Horseshoe Bats.

Jack Ford (Year 2) Bristol Slave Trade Memorial An Emotional and commemorative journey.

The building is a testament to the unquenchable nature of human spirit and togetherness. It focusses on cinematic techniques to represent spaces that are emotive; using structure, light and dark. The spaces allow a thought provoking experience where the audience can reflect, learn and celebrate using a range of contemplation rooms, exhibitions and performance auditoriums.

Performance auditoriums emphasise the nature of free spirit and an overwhelming sense of affinity between others. The ‘freedom’ space is an area which celebrates the cultural diversity which the slave trade brought to Bristol

Michael Powell (year 2) Himalayan Balsam education centre

Joseph Myerscough (year (year2)2) Par Pyrolytic Waste to Energy Education Centre

Jonathan Wrynne Bristol Prison.

Thomas Booen- Bristol Bike Project

Harry Robinson

Matthew Redding

Sarah Wardrope - Storey Telling.

Naomi Rayner

Thomas Eddison - Bristol Borstal

Richard Hardcourt - Bristol Court

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police.public.reconnecting.

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shos the different massR Othe U G Hrealte THE B R I E Ranother. toA Rone Econcrete P O L I C E Athatwill N D T H E be P U Bused L I C on the two hemeral concrete for central atrium.

site location

history of the site development of box truss The volumtric the buidinng shos the different masson Home Office force of uniformed officers who of ss design with the two cross beams meeting at a trough and then seperating. However this es ofto protecting the building and how the realte to one another.

Constabulary and are dedicated etry of the site of clean cut angles of the building. model also conveys the harsh heay concrete thatwill be used on the two bristol unity situated at the mouthThe of the River Avon. external masses and then a lighter ephemeral concrete for central atrium. of Understanding between the Port Podevelopment of box truss , which formalises and reiterates the longlandscape of Bristol evolved in I started with the standard truss design with the two cross beams meeting at a trough and then seperating. However this t agrees the division theof responsibility. lower truss system extrudes down in tot didnt seem to fit wiht the geometry of the site of clean cut angles of the building.

he water. ustrial beacon in the proseperithe first one I did was very wide so I made it of the f loating By reinspecialist advice toharbour. the thinner harbour so that it doesn’t authorlook squad.

Trussallowing System y research base the I then added the stairs and the lift which s militar and system prosecution, thereby maer truss extrudes down in tottruss development of box truss added an additional dimension to the element. complete into maritime incidents. ign for enquiries the office space in the r. ttmpts to embody the past indust one I didwith was very so I made it and tecture an wide exposed steel lding on the f loating harbour to stand as a so that it doesn’t look squad. orm

nd then seperating. However this

protection of the water and begin to re-inthe lower truss system extrudes down in tot he water. within the redcliffe community. dded the stairs and the lift whichThe design the first one I did was very wide so I made it mbody thethinner history oflook the harbour and its enn additional dimension to the eleso that it doesn’t squad. titititittiti titititititi tittititititititititititititititititititi I then added the stairs the lift which industrial archie inf luence from theandheavy added an additional dimension to the element. he rich urban fabrication of the harbourside.

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INTIMIDATING

The urban landscape of Bristol evolved in development the chosen site is north facing and has an existing wall 12m tall on the to an industrial beacon in the proseperisouth side. the south wall offer protection from the prevailing wind howous years of the f loating harbour. ever some wind doesBy passreinthrough the site from the south west to the I started with the standard truss design with the two cross beams meeting at a trough and then seperating. However this stating y research the the the lowermilitar truss system extrudesofbase down in tottruss development box truss north east. didnt seem to fit wiht the geometry of the site of clean cut angles of the building.

ISOLATING history of the site systemdesign for the office space in the he water. building attmpts to embody the past indusfirst one I didwith was very so I made it and trial the architecture an wide exposed steel thinner so that it doesn’t look squad. concrete form

of box truss

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building requirements

the environment

ade it

the lower truss system extrudes down in tot

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Like any building, police buildings must:

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- be designed for sustainability and avoid damage to

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cenin to the city. from the south to the north and how they are currently being perceived.

ISOLATING

titititititititititititititititititititititititititititititititititititi building requirements - be easy and cost-effective to build, maintain,

tifltiflti, titititi fltiti flflflflflflflflflflflflflflflflflflflflflflflflflflflflflflflflflflflflflflflflflflflfltititititititiffffffffffffffffffff ffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffflflflflflflflfl The new controlled access of the military base will allow the police to become a flflflflflflflflflflflflflflflflflflflflflflflflflflflflflflflflflflflflflflflflfltititititititititititititititititititititititititititititititititititititi tral beacon that the public can connect with on a day to basis on their journeys titititititi

INTIMIDATING

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I started with the standard truss design with the two cross beams meeting at a trough and then seperating. However this didnt seem to fit wiht the geometry of the site of clean cut angles of the building.

of the harbour 1:500bristol is located in the south west of england near the south west coast. the chosen site is north facing and has an existing wall 12m tall on the south side. the south wall offer protection from the prevailing wind however some wind does pass through the site from the south west to the north east. tititi Pfltiti flti ffititititiflti Pfltitititi fltitifl titiqtitititi fl titifltititititititititititititititititititititititititititititititititi titititititititititititititititititititititititititititititititititititititititititititititititititititititititititititititititititititititititititititi tititititititititititititititititititititititititititititi The historical narrative of the site with the incarceration of slaves within the caves tititititititititititititititititi that tunnel in to the cliff face and the authoritive figures of the merchants that once tititititititititititititititititi commanded the wharfs leadtitititititititititititititititi me to consider figures sun of analysis authoriy within the modern the site doesn’t receive much light during the day because of exisiting georgian houses on the south side as well as tiffiffiffiffiffiffiffiffiffi society of Bristol. By investigating apparent exisiting retaining wall. within the comffiffiffiffiffiffiffiffiffiffiffi ffiflflti tifltititi current society itthewas there is aand single sut of light that ood through the gap on to the site and it is showin in the photographs below the munity a dissconnection has eveolved between the public the police. limitations of the light tititi titititititi titititi titititititi fltiti flti tititi titititi fltiti tifltiti tititifl fltitifltititi tititi fltititifltitititi flti

tititi titititititi titititi titititititi fltiti flti tititi titititi fltiti tifltiti tititifl fltitifltititi tititi fltititifltitititi flti tifltiflti, titititi fltiti flflflflflflflflflflflflflflflflflflflflflflflflflflflflflflflflflflflflflflflflflflflfltititititititiffffffffffffffffffff ffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffflflflflflflflfl flflflflflflflflflflflflflflflflflflflflflflflflflflflflflflflflflflflflflflflflfltititititititititititititititititititititititititititititititititititititi titititititi

I started with the standard truss design with the two cross beams meeting at a trough and then seperating. However this didnt seem to fit wiht the geometry of the site of clean cut angles of the building.

titititititi tittititititititititititititititititititi site doesn’t much light during the day because of exisiting georgiantitititittiti houses on the south side as well as added an additionalthe dimension toreceive the elethe exisiting retaining wall. ment. anygap building, there is a single sut of light that ood the on topolice the buildings site andmust: it is showin in the photographs below the development ofthrough boxLike truss precedents of concrete truss - be designed for sustainability and avoid damage to limitations of the light structures SYSTEMS OF AUTHORITY - be easy and cost-effective to build, maintain,

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tititi Pfltiti flti ffititititiflti Pfltitititi fltitifl titiqtitititi fl titifltititititititititititititititititititititititititititititititititi titititititititititititititititititititititititititititititititititititititititititititititititititititititititititititititititititititititititititititi tititititititititititititititititititititititititititititi tititititititititititititititititi tititititititititititititititititi titititititititititititititititi tiffiffiffiffiffiffiffiffiffi ffiflflti tifltititi ffiffiffiffiffiffiffiffiffiffiffi

tixtitititititititititititititititititititititi titititititititititititititititififififififififi

sunand analysis I then added the stairs the lift which

the environment

adapt and manage manage fftiffff fftiffff is ffff ff fffftifftititititititititititititi The systems of precedents authority followadapt a and linear formdevelopment through thesurroundings: building.

The highest securityffffffarea focused onsurroundings: the the site, eats box truss - contribute positively to their of concrete truss - contribute positively to theirof the site, - meet all statutory requirements and buildingtititititititititititititititititititi the streetscapethen and local communities side of the site-structures soall statutory thatfftiff ffffffffffffffti it is connected of authority chanmeet requirements and building to the high level car park. The consequential levels regulations ffffffff ffffffff fftiffwffffti fftiff ffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffff the streetscape and local communities I started with the standard truss design with the two cross beams meeting at a trough and then seperating. However this nel down from this point to a central porint where the two sections meet and a single cut or connection joins them together. didnt seem to fit wiht the geometry of the site of clean cut angles of the building. regulations

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INTIMIDATING

1:20 Detail model showing the definite disconnection between the ISOLATING g lazing and the concrete.

the first one I did was very wide so I made it thinner so that it doesn’t look squad. precedents of concrete truss structures

I then added the stairs and the lift which added an additional dimension to the element.

1

precedents of concrete truss structures

titititittiti titititititi tittititititititititititititititititititi

6

ENTRANCE AND CAR PARK

building requirements

HOLDING CELLS Like any building, police buildings must:

- be easy and cost-effective to build, maintain, adapt and manage - meet all statutory requirements and building regulations

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I began to consider the feasability of the site and started to experiment with different massing. Direct sunlight is also restricted on ground level apart from the strip that cuts through the gap in the Georgian houses

bristol

titititititi

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of the site I started with the standard truss design with the two cross beams meeting at a trough and history then seperating.

However this didnt seem to fit wiht the geometry the site angles of thenear building. bristol isoflocated in of theclean southcut west of england the south west coast.

8

- be designed for sustainability and avoid damage to the environment - contribute positively to their surroundings: the site,

7

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the streetscape and local communities 1:200 Perspective showing levels of authority that have moulded the design.

1 Public walkway above offices 2 Police offices 3 Central atrium 4 Evidence collection room 5 Small public meeting rooms 6 Holding Cells 7 Public Exhibition space 8 Public walkway

OFFICES EVIDENCE AND INTERVIEW SPACES precedents of concrete truss structures

precedents of concrete truss structures

precedents of concrete truss structures

precedents of concrete truss structures

ARCHIVE

1:20 Detail model showing the definite disconnection between the g lazing and the concrete.

MEETING AND INTERACTIVE finite disconnection between the SPACES FOR PUBLIC

LOWEST SECURITY CURITY

BOATHOUSE/ OFFICERS MESS

BOATHOUSE

Final detailing of the system set the glazing back in to the wall so that the two materials were distinctively disconnected. This emant the concrete would stand alone as a historical reference to the old cranes that used to loading and unload cargo from the harbour.

Final detailing of the system set the glazing back in to the wall so that the two materials were distinctively disconnected. This emant the concrete would stand alone as a historical reference to the old cranes that used to loading and unload cargo from the harbour.

channel the public through and encourage area therefore lighter materials should be uilding appear lighter glass should be used edent study.

Victoria Gaskell (year 2)- Bristol Police Station

buidinng shos the different massnd how the realte to one another.

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I started with the standard truss design with the two cross beams meeting at a trough and then seperating.

However this positve views out didnt seem to fit wiht the geometry of the site of clean cut angles of the building.

the first one I did was very wide so I made it thinner so that it doesn’t look squad.

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I then added the stairs and the lift which added an additional dimension to the element.

positve views out

the public through and encourage refore lighter materials should be ppear lighter glass should be used dy.

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first one I didwith was very so I made it and trial the architecture an wide exposed steel thinner so that it doesn’t look squad. concrete form

the first one I did was very wide so I made it thinner so that it doesn’t look squad.

HIGHEST SE-

Final detailing of the system set the glazing back in to the wall so that the two materials were distinctively disconnected. This emant the concrete would stand alone as a historical reference to the old cranes that used to loading and unload cargo from the harbour.

the connection between the cliff water

Chris Paraskos - Bristol Police Station.

Chris Douglas- Brewery

Nick Hart-woods - Open Air Theatre

Extreme Change - Liverpool The Liverpool Accommodation The focus of this semester resided in the exploration and exploitation of symbiotic relationships within a series of three host sites. Each of the sites have a specific extreme context, yet are unified in that each is literally a void, subtracted with a definite culturally defined thus temporal purpose, that has been lost.

The three contexts are intended to provide a spur facilitating a morphogenic approach to form finding. D’Arcy Wentworth Thompson, regarded the material forms of living organisms as a diagram of the forces acting upon them, could this analogy this be extended to architecture? If so, one might ask, what are the forces and phenomena active in each of the contexts? How might one manifest the intangible?

Following the assumption that buildings like living organisms could be regarded as emerging from the interaction of ecologies of systems/processes might a more valid contextually generated architecture emerge from this line of enquiry?

SITES Site 01 Themes

Liverpool Anglican Cathedral God & Death

Site 02 Themes

Back Bold Street Music & Pop culture

Site 03 Themes

Mann Island Tourism & Maritime History

Tutors Keith Andrews Vernon Thomas

Matthew Grindey- Symbiotic Burial St. James Promatorium: using the modern and technical process of Promession, to create a community burial garden, integrating death back into Liverpool city. Promession is an ecological procedure that uses freeze-drying to dispose of human remains.

An architectural language is derived from the Promession process: technical, unconventional, and absent of traditions.

Instead, the project uses biomimetics, applying the structural functionality of the human body to bridge the sites void.

Aaron Morris- Prisoner to Priest open prison.

Recent statistics have shown that personal crimes in Liverpool are much higher than the rest of the country. These low level criminals currently get dealt with in the same way as any other criminal would. Grouping them as one and consequently allowing doors to open into a much more hardened crime world. This proposal challenges this and instead puts a volunteer group of prisoners through an intense Priest training school. By the end of this they will have achieved an enlightenment to allow them back into the community to benefit instead of destroy.

Jonathan Evans - Liverpool Amphitheatre & Dance school

Craig Featherstone

Sam Hayes- After Death Centre.

Dan Wheelan- Mann Island- The U-Boat Story.

Kirsti Williams- Plasticisation Education Centre.

Emily Dow- Liverpool Memorial Theatre.

Alex Evans- Aerial Arts Academy.

Kerry Dickinson- Regenerative Medicine.

INITIAL MASSING MODEL INITIAL MASSING

He is a series of images showing a basic Here Here He is helps a series of images s massing model on the site. The model massing to demonstrate scale along with various model on the site other aspects of the design such as lighting. to demonstrate scale along This was an extremely usefullyother part ofaspects the of the design design process as it helped to visualise the This was an extremely usef general form before I went any futher with it design process as it helped and into a grreater depth. i

general form before I went i and into a grreater depth.

Jack Sanguinetti

Andy Thompson

Bradley McArdle- Mann Island Salmon Farm

Transition- Saltaire Saltaire was built as a direct response to the squalid environmental conditions caused by the rapid growth of Bradford in the early 19th Century. The unsanitary and unhealthy conditions that workers lived in in Bradford led Titus Salt to build a model village some 3 miles from the City Centre.

Today, Saltaire once more prospers as a successful community.

However the issues of climate change and environmental sustainability provide a pressing need to rethink how we live and what and how we build. Saltaire – a World Heritage Site has to respond to this.

Tutors Simon Warren Des Fagan Simon North

Photography by Michael Bland

Joseph Walton- Saltaire Winter Garden/Criminology centre.

Lee Houston- Photography Gallery and Archive

Karl Braidwood - Saltaire Textile Archive

Ross Couper- Apiarist’s Apothecary.

The proposal attempts to heal at different scales.

First with the countryside (encouraging bees- macro scale), secondly with Saltaire (a homage to its industrial heritage – meso scale) and lastly with the customers (purchasing the honey remedies – micro scale).. With an increase in the bee population there will be a greater demand on facilities for processing honey and wax. Based on this, the aim is to provide a building that enables the processing storage and sale of these products. The building will function as a factory and an apothecary. By combining herbs grown on a green roof with extracts of honey, natural remedies can be created that can then be sold to customers that pass along the canal.

Ross Couper Saltaire

Samual Oaks-

Hannah Cawthrone-

Paul Hansell - Saltaire Museum

Ellie Archer - Saltaire Hydroponic Tower.

The proposal aims to set Saltaire as a model village for future farming systems and sustainable food sourcing, with a hydroponic tower as its attraction point.

The design links in with existing allotment plots on site and aims to provide allotment space for the residents of Saltaire in an urban environment. The produce will be grown and sourced locally and sold on the proposed market space or onsite restaurant, trying to increase community interaction of the village.

The design aims to be self sustainable - with energy harnessed from the weir and a rainwater collection tank to water the hydroponic centre - setting standards for sustainable farming systems.

Joshua Boydell-Smith - Sustainable Hemp Centre The second semester’s project, based in Saltaire Bradford, investigated closed loop industries and the philanthropic principles of Titus Salt.

The first phase of the scheme was for everyone who lived in the world heritage site in Saltaire to plant 1m2 of hemp. This would then be processed in the hemp sustainable centre in the heart of the Mill to be turned in to textile; in turn creating a co-operative style business where the residents of Saltaire own shares and have control over what happens to their investment.

Sustainable Saltaire Hemp Co-operative scheme Bradford

Growing a greener future together

Hemp social club

Sustainable fashion Boutique

Hemp processing plant

Hemp retting tower

Teaching Vessels

Private Boutique circulation

Public ramp

Inverted south facing roof to flood space with light

Sustainable Hemp Centre Exploded Drawing from Mill Saltaire Bradford Drawing 003

Joshua Boydell-Smith - Sustainable Hemp Centre

Gurveer Bhachu- Salts Recycling

Jack Wakelin

Dissertation Extract

Amy Featherstone The Psychological Impact of Avatars in the inhabitation of Virtual Reality It has become apparent that experiencing ‘presence’ within virtual reality is not going to be a simple task to undertake, humans are wired to instinctively question the environment they are placed into, primarily to check for danger and obstacles in their way. This caution makes it difficult to make the brain believe it is inhabiting an area that is not physically real, but as research continues into how the brain works and the processes the body goes through when exposed to eternal stimuli the degree of finesse in the manipulation of the senses increases.

Gaming is the forerunner of this movement due to the money being made in the commercial sector of the industry but as the market share continues to grow other industries have started to pay more attention to the benefits they can reap from virtual environments. In medicine, they already have technology that is linked to haptic feedback devices that allow surgeons to practice incisions and internal reparation works. There are plans in motion to expand this to allow surgeons to remotely work on patients via a robotic machine operated by the surgeon, having the potential to allow patients to be treated by experts remotely.

Architecture has the potential to use virtual environments to greater advantage, current digital visualisations are limited to 2D flat images and whilst they be highly rendered lack the depth gained by a 3D exploration of a space. The ability to inhabit virtual buildings and witness how they react to light cycles and weather conditions gives exponentially more information about a building that a static graphic could achieve.

If predictions about the future prove to be correct and the reliance on the ‘flesh’ is no longer applicable humanity stands to inhabit virtual reality on a permanent basis, the potential of this is staggering in terms of instant learning, communication and immortality but also terrifying, if humans are no longer bound by their bodies and the fragility of their lives can they still be considered human? Humanity is defined by the will to make the most out of mortality, without this limiting a persons existence, what do they become?

Within the physical world humanity adapts to its surroundings, physically and culturally. This process is exponentially increased within the virtual world and personalities become a fluid concept. The influence that Avatars have on self perception is increasing; avatars become camouflage, communication devices and vehicles but the potential of them becoming an integral part of a persons identity is the next stage in virtual evolution. The ethical implications will theoretically belong to the programmers who in essence become virtual ‘creators’. A persons virtual actions are made possible due to their creations, so does that mean they are responsible for crimes committed within the physical world which are caused because of the virtual world?

Dissertation Extract

Matthew Grindey Through biomimicry of ant colonies, are we able to implement their functionality in order to make our cities sustainable for the future?

The city in coherence with the environment “The architecture of all forms of nature, their arrangement of material in space and over time, emerges from the dynamic interaction of energy and material within complex systems” [Wein¬stock, M. 2010 p. 245] (fig. 12). Ant colonies are complex systems. A complex system is where each entity in the system has a task. To accomplish the task, the entity uses numerous sensory inputs [Gordon, D. 2010]. The ant colony acts, as a single ‘organism’ continuously working to sus¬tain its own existence. The underlining principles of cities are also to sustain their existence.

An ant colony has no central control, no one ant giving directions. Instead, the colony functions using random interaction of ants in which information is shared. Different information is collected by ants in the colony, relative to their threshold, through stimuli. Gathering sources of information allows the colony to: construct, recycle and farm. These are vital to their existence.

The ant colony has functioned sustainably using a decentralised control system because all variables in the ‘organisim’ are being considered at local levels and the response is analytical and efficient. In contrast, cities don’t have this consideration for local impact. Rather than tailor¬ing the city to the environment, they manipulate the environment to the cities disregarding the existing eco-systems If cities used biomimicry of a decentralised control system, the resultant model would consider all locally environmental impacts and benefits. The responses would create a mutu¬alisitc reltionship. The environment and the city would both benefit from the newly created connections, rather than the environment suffering. This is the relationship ants have with the environment as explained in ‘closed-loop systems’.

There is evidence that future city developments are beginning to use biomimicry to become part of the existing ecosystem. Benyus has been advising HOK, an architectural practice specialising in large-scale planning of cities, on designing for natures benefit. HOK are currently developing the city of Lang Fang in China (fig. 13). The natural ecological system of Lang Fang was once a forest over four thousand years ago and has since been removed by the city. This has made water collection challenging and the cities natural aquifer was being consumed [HOK Architects, 2010]. Benyus, talking about the new design, says “it is now beautiful with green rib¬bons flowing through the city, tracking and echoing the paleo-channels of old rivers that used to be there” [Hubpages, 2009] refilling the natural aquifer along the way. This mutualisitic relation¬ship is the way in which all cities need sit in symbiosis with the environment as it will bring down our need to use energy, resources and create mass waste because nature will be doing the hard work.

MArch Abstract Machines

Keith Andrews, Vernon Thomas An abstract machine functions as an embedded entity separate yet indissociable from the concrete event that it animates and in which it resides……………They are agencies of assembly, organization and deployment Sanford Kwinter The objective of the Studio is the production of architectural responses in which performative diagrams are embeded, deployed and extrapolated within material and social systems.

Christopher Holmes - Future WorkSpace

Yasser Fadhl - Wakefield High Speed Interchange

Joe Roper - Souk Sanctuary

Mike Walker - Aquaponic Oasis

Natalie Chelliah - Responsive Infrastructure

Nicholas Tryer - Fabrication Institute

Gwilym McGivern - Stadium Arcadium

Christopher Allan - R&D Facility for the Sustainable Fashion Industry

Jak Drinnan - The Metabolic City

Ismael Lopes- Lagos University

Matthew Radbourne - Algae Power Hub

Jade Rufus - Recyclable Architecture Library

Kar Hau Jason Cheung - Illuminating Alchemy

Des Fagan, Craig Stott Do we dress for the crash or the ride?

We think that the city is heading for a big stack, and we must dress accordingly: Climate change, Resource depletion, Global economic downturns, Global trade, Societal change, Wellbeing and worklessness, are biting into the very flesh and bones of the contemporary city. We can’t carry on like this forever...

Through studying the Aire Valley the Crash Test Unit has developed a series of propositions designed to instigate closed loop urbanism where; Waste equals food and the Globalised city is a network of flows and interdependent landscapes. These cyclical landscapes are characterised by flows of global commodities, ideas and technologies. The networks then produce life-enhancing synergies.

Anthia Avraamidou - The Green Cell of Armley

Karl Huby - Fringe City

Sundas Rohilla - The Water Exchange

Anthony Brown - Coalbeck Carbon Mining

Ruth Sutherland - The Resilient Craft School

Ben Ponsford - The Heretical Mill of Hunslet

Julie-Ann Lambert - OfficeGreen

Felix Hatton - Fossil Free Food

Urban Studio Tony Rees, John Orrell, Simon Warren

“A ‘sustainable city’ is organised so as to enable all its citizens to meet their own needs and to enhance their well-being without damaging the natural world or endangering the living conditions of other people, now or in the future......there will be no sustainable world without sustainable cities.”

Herbert Girardet Urban Studio investigates the neglected places in the North’s post-industrial cities. We consider global imperatives and local issues. Using the chronological process of identify, define, suppose and propose we generate urban design strategies for city and community. Our urban strategies contextualise the relevant architectural propositions that follow.

Our main focus of study was Holbeck in Leeds. Prior to the world banking collapse Leeds City Centre had seen a renaissance. Money through development was made in considerable sums.

However, in stark contrast, Holbeck, a working class area on the city centre edge looked on as the skyline dramatically changed.

Some student’s focus of study was the east coast city of Hull which has both natural resources and legacies from traditional industries that together provide the potential for regeneration and the sustainable development of the city and region.

Urban Studio is also involved in ‘live’ programmes that implement the ethos of the studio. Full time students have re-imagined the David Hockney gallery space within Salts Mill at the model village of Saltaire. Part time students ‘live’ project responded to the earthguake disaster in Haiti with the design and development of a sustainable earthquake-proof children’s centre.

Katherine Pack - RigXtreme

James Lewis - Holbeck Spa Town The Aquaduct

Robert McFee - Holbeck Culinary School and Viaduct Greenhouse

Chris Pickup - Free Energy Terminal

Adeline Zeter- Holbeck Spa

Ben Garfitt - Constructing Holbeck

James Pass- Village Media Centre

Thomas Wright- Holbeck Hostel & Artist Colony

Matthew Cockburn- Bioremediation Research Centre and Seed Bank

Thomas Stubley - The Healthy Community: Adult Education Centre

Manuel Atkinson- Sustainable Community

Dave Newton - Hull Water Centre

Hannah Simpson - Health & Wellness Village

Matthew Robinson - ARCH: Advancement & Re-employment Centre for Holbeck

Matthew Whatley - Innovation & Production Centre

Thanks to our sponsors

DLA are pleased to sponsor Leeds School of Architecture Our business is founded upon the value that we attach to our clients, our projects and our people. We are committed to achieving design excellence and regard all our commissions as special, believing that we have the collective ability to create something of integrity and intellectual rigour that is consistent from concept to detail.

EDUCATION CENTRE & CAFE @ YSP DLA Design have been working closely with the Yorkshire Sculpture Park (YSP) since November 2010 to develop a sympathetic refurbishment of the former Kennel Block into a new education and learning space, along with enhanced YSP visitor facilities which include a new cafe and outdoor learning space.

Practical completion was achieved on 6th April 2011 in time for the opening of the new Jauma Plensa Exhibition, with the official opening of the Education Workshop following in September 2011 for the start of the new academic year.

The building is already being well used, providing much needed visitor facilities in a sculpture park of increasing popularity and profile.

CLAPHAM ONE DLA Architecture were appointed as architects for the Clapham One scheme in London on behalf of United House, selected as Contractor by the developer Cathedral, taking forward initial design work by Studio Egret West The scheme consists of a library, Primary Care Trust, Family Doctors Practice and 136 apartments, due to complete in early 2012. It is set to transform the High Street, but has already helped Clapham gain profile and significance in a wider area of London.

NESTLÉ PRODUCT TECHNOLOGY CENTRE

THE HEPWORTH ART TROLLEY DLA were invited to submit ideas for the design of two art trolleys that the Hepworth Gallery will use to allow children and adults to access arts activities in the gallery spaces at weekends and holidays as part of the new galleries art education programme.

After finalising the design, two colour schemes were developed; one to be used for the permanent collection and the other for temporary exhibitions.

Offices at : South Park Way Wakefield 41 Business Park WAKEFIELD WF2 0XJ Tel: +44(0)1924 858585

www.dla-design.co.uk

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In May 2011, DLA were appointed by Nestlé to provide Architectural Services for the expansion of their Product Technology Centre in York. In September 2011 the scheme which includes new offices and industrial production space was granted full planning approval.

DLA will produce a modern, dynamic office building with high design quality, and sympathetic to the function of the facility in research and development for confectionery. With this in mind, DLA have designed an extension which reflects the concept of a ‘wrapping form’ which envelops the main entrance, walls and roof soffits.

The theme continues inside, and an internally glazed, tree lined street links original and new spaces. This creates a focal point and circulation device which provides opportunities for chance interaction and stimulating informal staff breakout areas within the office space.

The scheme, which has been well received by the public, will create many new job opportunities for York and the surrounding community. Works started on site October 2011.

1 Naoroji Street Clerkenwell LONDON WC1X 0GB Tel: +44(0)207 553 3030

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Designed By

Jack Ford Victoria Gaskell Ashley Ball Sam Stalker