Page 1

University of Bath ARCHITECTURE ANNUAL

2017 2017

2017

BAThARCHITECTURE


Architecture Annual 2017 Department of Architecture and Civil Engineering University of Bath


John Perry and BLDA Architects are very proud to support the School of Architecture Annual 2017


Acknowledgements

To list the thousands of people who have in one way or another contributed to the work celebrated in this annual would be an honourable if not humbling task to say the least. However, if we are to stay true to the Department’s ethos of environmental prudence, too many trees would have to face the axe if such a task is to be achieved. So in the name of zero carbon and melting ice caps, let’s keep it short and sweet.

Firstly, a warm thank you from all to Martin Gledhill and Alex Wright, for continuing to steer their respective ships through the tempestuous seas of the BSc and MArch final year studios. Our thanks extends to Matthew Wickens, Dominic Taylor, Daniel Wong, and Toby Lewis, for sowing the seeds of intellectual curiosity and practical understanding in students in the run up to the hardships of final year (and life). Thank you to all the teaching fellows, visiting tutors, consultants and design critics, for guiding students and their work as they all progressed. Offices around the UK and the world, who continue to accept placement students and to nurture their professional skills, grounding the whole experience into reality. Technical and support staff, for providing a sense of home and resource in an otherwise stern and sober new department building, 4 East South. If it hasn’t already, we believe it is well on its way to finding a place in the hearts of the lively community that graces its hollow straights. Mothers, fathers, brothers, sisters, grandparents, sweethearts, cousins, children, pets, friends, and neighbours! For the omnipresent support, care and consideration given to each and every student, throughout their entire degree.


Contents Foreword

10

BSc Architecture First Year Second Year Third Year

14 18 22

Fourth Year: The Basil Spence Project: City in Motion

26

Individual Project: The Uncanny

66

Projects by Tutor Group Alan Keane Anne Claxton Caroline Almond Cat Martin Frank Lyons Jayne Barlow Julia Kashdan-Brown Mark Watkins Nigel Bedford Rob Gregory Rob Grover Vanessa Warnes

72 86 100 114 128 140 154 168 176 190 204 218

Master of Architecture Fifth Year

236

Sixth Year: Sustainable Cities

240

Brussels Larnaka Leipzig Saint Petersburg Sarajevo Tallinn

242 254 264 276 286 298


Foreword This year saw us occupying our new building, inventively entitled 4 East South. For some of us, the dislocation from our natural home in the Smithsons’ enigmatic original was traumatic, and a matter of considerable foreboding. As it turned out this was not the case and arguably, the lofty ceilings of our new home have been as liberating to the imagination as they have been to a sense of spatial luxury, which includes habitable levels of heat and ventilation as a bonus. As ever the sheer energy of the students’ talent, commitment and most importantly camaraderie and mutual support, is a joy to behold. So too is their relentless hauling of ideas up from the architectural rhizome. That haul is what you will find in the pages that follow. n tra elling from St. Petersburg to Leipzig amongst other cities in the 6th year and from Oxford to Dorchester in the 4th year, we hope that you will find an eclectic mi of architectural oices that celebrate political, social, cultural and psychological diversity in an increasingly binary world that seems bent on tearing itself apart or asserting a monoculture, bereft of purpose. The wor shown, thin , truly honours the intent of ohn enry ewman s dea of a Uni ersity (1852) as an environment in which to enquire – to ask questions, and moreover to ‘become’. hat you see in the wor is a generation that know, in changing themselves, will change our world through the agency of design - after all, ‘for things to stay the same they need to change.’ Martin Gledhill 4th Year Studio Leader, BSc Architecture and Director of Studies, MArch


BSc Architecture


BSc Architecture First Year Matthew Wickens

Year One at Bath is designed to be a foundation in which the students gather a broad range of experience by being asked to work in different materials for each project. We have a long tradition of team working with the civil engineering students and this starts on day one. This year that project took the form of a 6 week project to design and build a sculpture at 1:1 entitled ‘Daidala’, derived from Daidalos, one of the first nown architects and famed for designing the wings he and his son Icarus used. The sculpture was therefore to be designed to suggest weightlessness. Working with timber, fabric and rope meant the students were able to ta e this first hand e perience into ro ect wo. ro ect wo was entitled ot and the students were asked to design an exhibition stand for a specific o ect pic ed from dmund de aal s encyclopaedic canon of ceramics, from pre Columbian through to the modern day. The exhibition stand was to be built from timber but did not need to withstand the elements as it would be inside a trade hall. Therefore ease and speed of construction and the relationship of the ‘container’ to the object contained were key concerns.

Left page from top: Jake Whittaker; Group 36 Construction Sequence by Kenneth Lau, Gonzalo Garcia Villalba Sanchez, Jack Skinner, Oli Hall, Bogomil Punchev Right page from top: Zhang Quan Ng; Bogomil Punchev 14


BSc Architecture

15


BSc Architecture

16


BSc Architecture

Semester wo egan with ro ect hree called apilio which means oth a ilion and Butter y in atin. he rief was to design a small scale exhibition pavilion for work from the department sitting on the lake in the centre of campus. This time the material palette was a steel structure with a lightweight skin. These s ins were selected at random from or en Stainless Steel opper inc ead Brass olycar onate olyester coated . he final, and most comple pro ect of the year earth was to design a ed li e wor house on a rectangular plot 12m x 18m. This followed a field trip to the stoc ric factory at Cattybrook, near Bristol. The client brief was to be derived from an occupation chosen by the students which centred on heat. This could e as freely interpreted as they saw fit. his resulted in a range of home wor professions from motorcycle maintenance to hair dressing via cake making and a pet crematorium!

Left page from top: David Vuolo; Freddie Yates Right page from top: Zibo Zhang; K Min 17


BSc Architecture Second Year Dominic Taylor

Year two at Bath continues to develop the students’ design methodology by expanding their repertoire of design tools and analytical skills.

zones

enclosure

entrance

clear allignment provides three distinct zones of learning, communal and services.

the two private zones to the outside provide enclosure towards the central, communal zone.

the communal zone is pushed back to allow a public entrance to form at the heart of the school.

the classroom

The students design more complex buildings and are arsed to analyse and to respond to context. A deterministic design methodology is encouraged with an emphasis on analysis of building type, programme and context and how this can ‘drive’ the design.

form a pitched framework captures the form associated with a ‘home’ to provide a comforting learning space for the children.

07 the design ‘The right thing done badly is better than the wrong thing done well’ ouis Kahn ploration and de elopment of the uilding both in its abstract ‘generic’ form as well as how it can be optimised to the given site. While the emphasis is on ‘rational deterministic approach’, the students are also encouraged to start thinking about the building in a conceptual or ideological way as long as it does not compromise function. Presentation In the continued development of presentation skills, second year emphasises computer modelling as opposed to real modelling. By the end of second year students will be familiar with the architectural conventions of presentation and how they apply to a full range of drawing techniques. Project 1 | Royal Crescent Visitor Centre A design for a new harbour side police station. The students were given a choice of four sites, each with a different style of built context. ictorian red ric , rown ric , ric loc , breeze block, just to name a few. Project 2 | Combe Down Infant School After visiting a number of award winning schools done y the ampshire ounty architects the students designed a ‘two form entry infants school’ located on the Bath Uni ersity campus. Students were specifically encouraged to study plans by Alvar Aalto. From top (clockwise): Construction Strateg y by Adam Price; Massing Partii by Naomi Punnett; Baker Diagrams by Twearly Peaster 18


BSc Architecture

circulation

FORM

public

a central entrance provides access to all areas of the school through two corridors.

the smaller zones within the school are fragmented to provide further privacy within each area.

the central area can be opened to the public outside of school time whilst the two private zones can be closed..

the village

community

nature

views

enclosure

aspect

within in each frame are a paired set of classrooms; each shairing a breakout space with toilets, cloakroom and a design area.

a light ‘winter garden’ provides a multifunctional area with a constant relationship to the exterior.

the classrooms open up to the south via the winter garden but maintain selective views to the northern parkland.

the classrooms are wrapped in a concrete skin that provides privacy to the road sides and a clear structural form.

each winter garden has an entrance that can be opened up to provide aspect to the adjacent external spaces as well as a drop off point for parents.

19


BSc Architecture

From Left to Right: Teodor Andonov; Adam Price 20


BSc Architecture

21


BSc Architecture Third Year Daniel Jang Wong

Project 1 | Habitable Bridge Site | Poplar, East London Project 1 is based on a live situation and site. The joint-project between architecture and civil engineering students involves complex socioeconomic and cultural questions. This year’s project is located in Poplar, East London. The client was Poplar HARCA, an award-winning Housing Association and Social Enterprise Company in East London. Entitled ‘Connections’, the challenge is to investigate how an inhabited bridge over the River Lea not only physically re-links communities, but provides an appropriate social fabric for urban renewal. To do this, students are asked to determine the programme(s) that would be on the bridge, based on what each team considered to be most appropriate and sustainable for the community of Poplar Riverside. The accommodation could be related to Fashioning Poplar (a startup fashion workplace about to be developed), it could be shops and retail, it could be leisure like a café/restaurant or a gymnasium, or it could be cultural/educational like a museum... By allowing the scope to be open-ended, it encourages imaginative thinking, and experimental solutions. Each design group is required to justify their proposition based on their understanding of the environmental, social/cultural, and economic imperative for this part of London. From top (clockwise): ‘The Spine’ by Group 29; ‘Poplar Exchange’ by Group 28; ‘Strata’ by Group 15

22


BSc Architecture

Project 2 | Musée Sans Frontières Location | Le Panier, Marseille Continuing the theme of the 1st joint-project, Project 2 also asks complex cultural and moral questions: Can architecture play a role in encouraging people to reject racist and other anti-human rights, beliefs and attitudes? The individual student project is in Marseille, location for the week-long study trip. With visits to important architectural works (including Corbusier’s Unité d’habitation, and Ricciotti’s MuCEM), mapping and sketching- the-city exercises, and talks, students are immersed into the spirit of the place. The design theme is a politically topical one, that of migration in the Mediterranean, and is a small museum accommodating seven rotating exhibitions: -

of ethnicity

-

of religion

-

of language

Entitled ‘Musée Sans Frontières’, the challenge for each student is to investigate how seven narratives (galleries) might attain a right degree of togetherness, or express a mismatch between the idealised images of purity and racial harmony compared with reality of a mosaic of communities in Marseille. The students are provided with a choice of four tight urban sites in Le Panier, the old town of Marseille, with the richest of histories spanning of over 2,600 years. From top (clockwise): Marina Mylonadis, Justin Bean

23


BSc Architecture From right to left: Alejandro Fernandez; George Gil,

24


BSc Architecture

25


BSc Architecture

26


Fourth Year | Basil Spence Martin Gledhill

“…I have no notion of where I’m heading, yet it is always homeward.’ Lou Andreas Salome As part of the long standing and emblematic tradition of our Department, the Basil Spence project is conducted in design teams comprised of students of both architecture and civil engineering. This year the students were asked to design a Railway Station for the City of Oxford, using a brief derived from a live competition. Is that it then? Is a design project reducible to a building type, a tidy, logical and functional organisation of parts, albeit well dressed? And is a railway station the same - a tidy, logical and functional assembly of efficacies? Arguably the modern railway system, at least in the UK, effectively reduces the passenger to ‘self-loading freight’ and stations themselves, to an anodyne backdrop to the ubiquitous shopping mall. By way of a contrast, in their intriguing book The Railway Station – A Social History, Richards and Mackenzie position the station not only as an obvious and powerful symbol of the Industrial Revolution but moreover as a

significant (if overlooked) contributor to culture and society as a whole. Indeed, they devote a whole chapter to the films, literature and art that constellate around the subject. For some, these structures supplanted the cathedrals of the Middle Ages in both their technical daring, sheer scale and social firmament. Indeed, their architecture motifs are often borrowed from temples and churches, only to be overcome themselves by ‘Casino Capitalism’, the motor car and more recently the airplane. By the end of the 20th century the station could be read as representing the triple malaises of modernist functionalism, consumerism and individualism, perhaps displaying an interesting roof and a few architectural clichés to boot. The students were asked to address these issues head on; the light at the end of the tunnel then was less a train coming the other way, but a creative tension between function and aspiration. “If we admit that human life can be ruled by reason, then all possibility of life is destroyed.” Leo Tolstoy

The Basil Spence Prize: Matt McCluskey Emma Moberg Helen Needs Zach Wynne 27


BSc | Basil Spence Discovery and Delivery Group 1: James A.D. Wright, Hugh Pearce, Hanyuan Helen Zhang, Fleur Gibson

In a response to the current popular model of a train station, and the nature of Oxford’s hidden culture, we wanted to provide a train station that encouraged people to slow down and discover more of the city. Not a place just for transfer, but a destination. There is a difference between all passengers, and disregarding the requirement of different speeds would be unwise; on the other hand, providing a building without the intrigue and intricacy to encourage people to enjoy the moment would a shame. An important public space deserves more. Therefore, having two contrasting routes for “Discovery and Delivery” allows the train station to run at peak efficiency, while providing a high quality of public space. Having a building that provides interest and enjoyment to both the local community, and the passengers using the station creates a focal point in the area; more importantly, the building integrates with its social context and becomes a key location in Oxford. From top (clockwise): Discovery and Delivery; Sectional Perspective; Approach from Frideswide Square; Platform; View towards the Elevated Square.

28


Basil Spence | BSc Trail Group 2: Oliver Henshaw, Benedict Hignell, Helen King, Fraser Robinson, Danielle Trevail

A sharp contrast between the city’s hard urban surfaces and the open spaces towards its fringes is apparent. To enhance the experience of Oxford for its inhabitants, workers and tourists, an intervention focused on creating a site propitious to pedestrians and cyclists is essential. The intervention will reinvigorate neglected routes by creating a trail that reaches out to the four quarters of the site with each leg reacting to its distinct region creating a quarternity of programmes. With modern stations drawing users through a trail of shops to pick open their wallets in exchange for mass produced snacks the scheme displaces the retail sector by drawing in the allotments and allowing passers-by to pick fresh food and enjoy the rare connection to nature. The slow edible route runs through the allotment where “slow food”, such as potatoes and carrots, will be grown. Along the fast route the stairs are wrapped in planted beds of “fast food”, such as berries and beans, which have short harvest cycles, for the quickly moving commuter to pick as they run for their train. From top (clockwise): Hostel Isometric; Growing Quarter Sectional Perspective; Market; Site Plan; Hostel Quarter; Frideswide Square.


BSc | Basil Spence Urban Stitch Group 3: Joanna Foxley, Ariane Lieberherr, Alice Loi, Florian Lepinard. The Urban Stitch is a contextual response to the current grain of Oxford, physically and socially. Sat between the new Oxpens development and the historic old town of Oxford, our station acts as an immediate link that completes the transition, drawing in not just commuters but people from all walks of life into the precinct. Seeing the fact that Oxford is best known and almost always associated with the prestigious colleges, our station seeks to acknowledge those who weren’t affiliated with the academics - the locals - and create a platform conducive for conversations between the two social classes. To achieve this, we have adopted the ‘stitch and knit’ method - to stitch across the grain as a manner to introduce something modestly unprecedented in the city and integrate its divided society, and to knit the city pattern into the site to form a station true and unique to Oxford. “Architecture is no more than the setting of its contained activity.” Our “anti-station” is a humble series of buildings. Our aim for this project was not to design any grand gesture as Oxford didn’t need one. Our honest and pure forms provide a backdrop to human activity that fill up the in between spaces. Colour and life come from the public and our scheme provides a place that responds to the context it sits in. The work aims to mend what is missing from Oxford and provide a true public space. From top (clockwise): Axonometric View of the Scheme; Arrival Perspective; Internal Workshop Perspective; Photograph of Concept Model; Platform Perspective; Café Perspective.

30


Basil Spence | BSc Objects on a Horizon Group 4: Oliver Laity, Ross Startin, Jonathan Hill, Julie Arnesen

A new railway station for Oxford should be truly representative of the city’s position in history, education and culture. This project outlines a proposal for a railway station that aspires to be different, inspired by the journey of the Oxford Ragwort. The seedling was spread from Oxford via the train line, using the station as a portal to the nation - within 100 years, it had reached the farthest corners of the United Kingdom. The train arrives at a luscious landscaped platform, a plane upon which sit a collection of curious objects. These objects offer a connection to the public space that sits below the landscape attracting the energy of each visitor. The objects contain the intimate accommodation distributed to ensure the energy filters down through the garden and market. From the open expanse of arrival, the sheltered energy of a busy market, to the quiet, tranquil pods to sleep in, the station assimilates the street, the platform and the object on the horizon. From top (clockwise): Section; Sleeping Pod; Arrival; Platform; Street at Night.

31


BSc | Basil Spence Water Station Group 5: Caiseal Beardow, Nathan Davies, Emma Matthews, Kristin Ivanova

In the spirit of the Basil Spence project, once presented with our brief, we immediately questioned it. We interrogated the traditional station typology – a single, commercialised volume that proved inefficient for the vast majority of passengers. The city of Oxford sits within an extensive floodplain. This inherent connection between ground and water became a driving force in our design process and realisation. We defined water conceptually as three entities: a force, a resource and a wayfinder. Embracing the presence of floodwater and rain was transformative in our architectural expression; each interpretation of water is represented by a level within our scheme. A sunken concourse connects Botley to the city centre, where rainwater is channeled through the ground plane to visually direct travelers to platforms. At ground level, core elements of supporting programme are organised in three anchor buildings (transport hub, Youth Hostel/ Enterprise and staff offices). A glulam canopy connects and defines the civic space whilst facilitating rainwater collection through its form and structure. From top (clockwise): Concourse; Platforms; Approach from Botley; Conceptual precedent sketch.


Basil Spence | BSc Via Verde Group 6: Lauren Copping, Nicholas Gaul, Sophie Mayer, Chris Jackson, Martin Blagoev

The Via Verde is a gateway to two of Oxford’s public green spaces, Port Meadow and Oxpens Meadow. These rural spaces are connected by an elevated walkway which runs to the fringes of the two meadows. The walkway emulates the excitement and buzz of activity found on British seaside piers as it essentially creates a space for people of all ages to integrate and enjoy. Pavilions along the walkway provide visitors with opportunities to pause as amenities include tourist information, cycle repair and coffee shops. The train station pavilion is centrally aligned and is much grander to emphasise its importance. The significance of the station is reiterated by the kink in the walkway as it crosses over the tracks and indicates a direct route into town as it frames the view of Oxford’s dreaming spires. From top (clockwise): Train Station Ticketing; Walkway; Main Walkway Approach; Urban Pier Concept.

33


BSc | Basil Spence Intersection Group 7: Thomas Cunningham, Maria Barnes, Helena Francis, Rob Lines

Our aim was to revitalise and rediscover the typology of the train station. Not to design a monument relating to Oxford’s regional ambition, but a space for the user. To revive the mystical qualities of the station: the fleeting, the ephemeral, and the transient, a non-place. A space for brief encounters. A background to human interaction purged of the diluting factors of commercialism and constraint. A station for the future. “Non-places.. are a real measure of our times” - crucial embodiments of the contemporary human condition, “supermodernity”. From top (clockwise): Above Perspective; Below Perspective; Section showing Pavement to Platform.

34


Basil Spence | BSc


Urban Osmosis Group 8: Dessislava Dimitrova, Zhong yi Shi, Gerasimos Mataragkas, Joseph Ellis

We firstly outlined the essential problems: - The conventional layout of a train station results in the separation of the urban grain of a city, especially for a city at the size of Oxford with limited connections between two areas on each side of the railway. - The typology of a contemporary train station and the expectations of the brief lead to a shopping mall experience, without consideration of differentiated personalities of passengers. - The privatisation of public transport has lead to treating passengers as units of profit. After acknowledging the key issues regarding the railway and Oxford, we devised a key strategy that addresses all three problems simultaneously: - To dissolve the station building into urban fabric that will reconnect Oxford. - To alter the brief towards a more social agenda that will make our city the waiting space. - To create a self-sustaining economic entity that will fund the cost of the railway and allow a shift towards true public transport. From top (clockwise): Section through Station; Circulation Diagram; Way to Station; Hostel; Section.

36


Basil Spence | BSc

Placed In The Park Group 9: Maliina Toivakka, Lydia Whitehouse, Isaac Tam, Paul Duggan

Oxford’s urban form is that of historic colleges and enclosed courtyards, weaving green spaces through the city, but also making them inaccessible and unwelcoming to the general public. We saw this project as an opportunity to provide the city with an active and energetic public realm, giving the ground back to the community through dedicating the site to the creation of public parks and squares. Community amenities - retail, office space, restaurants, cafÊs, and hostel - are placed throughout the park as a means of activating the space. Then, by re-examining the needs of a station building, it too is broken into parts and placed throughout the new public realm. The timber bridge becomes a focal point in the scheme, floating above the ground and providing the link between the two sides separated by tracks. It is an inhabited object with cladding enclosing it on all sides, only revealing the mystery of its making once inside. This sculpted bridge works as an integrated component within the park, creating an urban centre on a forgotten edge of Oxford. From top (clockwise): Site Plan; Public Square; Truss; Group Photo in the Model; The Avenue. 37


BSc | Basil Spence

The Wardrobe Group 10: Emma Ward, Sara Nakandala, Amy Gaudion, Jack Scarr “Wonder is the beginning of wisdom” Socrates

-

Lucy’s journey through the Wardrobe and into Narnia has inspired the journey through the station. A contrast between outside and inside creates a moment of discovery that is only revealed once within the building. As with the Wardrobe, the exterior gives only a suggestion of the thrills beneath the facade. Transitioning between the exterior and interior creates a feeling of compression and expansion. Our scheme incorporates educational facilities, bringing learning areas to a space that anyone can access. The positioning of these facilities will encourage people to take an interest in literature and discover the magic both within the station and within the books. Literature is key to our educational aspirations and the magical world of Narnia has inspired the spaces we have created. The railway was once widely seen as a source of excitement and wonder. Our design hopes to bring some of the enchantment of the railway and Oxford back to the train station. From top (clockwise): The Wardrobe; Vista from Frideswide Square; Atrium Perspective; Sectional Perspective.

38


BSc | Basil Spence Virtue of the Edgelands Group 11: Findlay McFarlane, Issy Spence, Oliver Jack, Andrew Fleming, Matthew Kilsby

As one of the oldest and most culturally significant settlements in Britain, the City of Oxford is a hub of commerce, education and innovation. Whilst over nine million tourists step foot on the platforms of Oxford Station every year, an even greater number of commuters experience the station as a perpetual element of daily routine. A successful proposal must therefore strive for harmony between these different users, creating a world class gateway to the ‘city of dreaming spires’ without eclipsing its underlying function. Our priority was to create a radically simple, human scale scheme which excites with intricacies, beauty and delight at a user level. When visiting the current Oxford train station, it was not the buildings but the in-between spaces, wasted and forgotten, which captured our imaginations. By healing, encouraging and reclaiming we aimed to reactivate the Edgelands. From top (clockwise): The Street; Concourse; View from Botley Road; Station Model

40


41


BSc | Basil Spence Passagers Group 12: Matt McCluskey, Emma Moberg, Helen Needs, Zach Wynne

Passagers (French) : Passengers (English) ‘A monument to Oxford’s Literary Heritage’ Within Oxford lies the fantastical worlds of many of the greatest writers of all time. They can be experienced through the books and in the city itself. The Oxford of Lewis, Wilde, Hardy and Woolfe all live on through the magic of words. Despite its eminence there are no public monuments to the city’s literary heritage. What recognition does exist is found behind closed doors, in the cloisters and colleges of the University. The books create personal places for contemplation and fascination. They have been the means of time travel and transportation for centuries. In a time where we move towards “the cult of immediacy”; do we still access the oasis of literature as we once did? The scheme aims to readdress the ways in which we travel and inhabit those magical worlds created by the authors. It seeks to return the literary heritage to the people of Oxford, and let the travellers marvel at the fantastical. There could be no better setting for this than a railway station - a springing place into time and space. From top (clockwise): Worm’s Eye View; External Perspective; J.M.W. Turner Painting Perspective

42


Basil Spence | BSc

43


BSc | Basil Spence The Stage Group 13: Gala Urroz, Yacine Abed, David Janosi, Oliver Richards

“The station is a stage which sees a thousand dramas, comic and tragic, played out and mirrors the changing moods of the nation, etching itself into the working lives of some, the emotional lives of others.� - Jeffrey Richards As a place of passing, the station does not lend itself to prescribe emotions to people in the same way that a cinema or cemetery would. It accommodates any state of mind for a brief moment in time, and as a result unravels itself to be a lens onto human nature in all its glory and tragedy. In effect, the train station is a theatre of life, and the project sets out to create a stage for it. Oxford’s architectural portfolio resonates with a theme of permanence, as most of its buildings, from Saxon to modern, are designed and built to outlast centuries of use. Typologies of permanence were therefore explored in this scheme, relating not only to materiality, but to geometric symbolism, such as the anchoring strength of the axis mundi and the democratic, public-empowering force of the low-lying circle. From top (clockwise): Section through Cafe; Thinking of Her under the Bridge; Arriving on a Rainy Day.

44


Basil Spence | BSc Archway to Oxford Group 14: Jinghan Wang, Jiayi Cai, Charlie Corciulo

the frame

the box

the grid

Our response to the brief is to celebrate the impression of Oxford by designing our train station into a grand, Gothic-like structure. Timber was chosen to be the main material instead of oxford stone for our pointed arch. The idea behind this was that we want to apply a new technique to the old architecture, in order to infuse a modern sensation into this historical city. As a train station is a relatively busy public area, we also aim to bring a calm place which still connects to the outside world. We want to link the two sides of the city by having an elevated concourse above the tracks which acts as a bridge. By celebrating the structural form of its majestic height, we also want to reduce the social exclusion caused by the big class gap between the wealthy university college and the relatively poor local residential areas. “ The frame, the box, the grid� are the 3 key architecture features within our scheme. We tried to make the pure form of glulam timber portal frame work adaptively on site; the boxes under the frame act as separate structures to provide retail spaces with thermal insulation where a more static environment is needed, while the concourse and platform space is uninsulated to allow more movement to flow. From top (clockwise): Concept Partis; Gothic Feature Parti; Roof Detail; Junction Details; Sectional Perspective; Main Entrance Perspective.

45


BSc | Basil Spence The Host Group 15: Miranda Barr, Maximilian Betley, Veljko Mladenovic, Emma Gilchrist, Rose Whitfield

Where “architecture must concern itself continually with the socially beneficial distortion of the environment� (Cedric Price), and in a time where rail travel is rapidly becoming ticketless, the Host stands as a permanent placemarker that accommodates Oxford’s changing needs as a society. Our station is a hub for independent retail, social engagement and collaborative activities, acting as a catalyst for improvement both economically and socially, and encouraging a more sustainable lifestyle. In sheltering the area with a simple, minimally supported steel roof structure, we are able to open up the ground plane and allow for this increased flexibility of use. Matching the 8x8m steel grid of the Host is our transportation hub, which has been designed with consideration to adaptations of future use. The station is connected to the transport hub by a dense wildscape; a natural woodland that aims to strengthen the clarity of the grid by juxtaposing its rigidity with organic planting. The same approach is taken on the platforms of our station, where a natural landscape offers shelter to waiting passengers. From top (clockwise): Aerial View; External Views; Internal View

46


Basil Spence | BSc Pseudopod Group 16: Lilian Lam, Toby Lau, Isaac Lim, Sophie Gedge, Yuyan Zang

The contemporary train station is often associated with the emotions of anxiety, unease, and worry. This can be explained by the cult of speed infused in society today; our obsession that has deprived the experience of the modern station to a climate purely of suffocating efficiency. Hence we see an opportunity for a return to balance, for slowing down the station to the right pace. By instilling a sense of stillness in this midst of movement within the station, its meditative potential may be evoked. This is reflective of that sense of peace on the moving train, still and observing the passing of land, landscape and life through the lens of the window. It is in this contrast then, through which we hope to create an architectural language of the station which celebrates movement, in its many possible and characterising forms, but furthermore emphasise stillness amidst and in its observation of that. Our belief being that it may bring about an emotive force that may restore the sense of place to the station as an typology. We aim to create a network of movement where the station will then be defined by the dynamism sweeping around it. From top (clockwise): Waiting Room Visual; Waiting Room Model; 1:100 Model; External View

47


BSc | Basil Spence A People’s Garden Group 17: Shaofeng Chen, Tara Keswick, Harouth Arthur Mehkjian, Josh Vize, Hannah Williams

‘Modern age parks may have come to function much like churches once did, as places for solitude and sanctuary.’ - A Walk in the Park, Travis Elborough From a live competition run by Oxford City Council, our group created a brief that focused on generating a public realm for the people of Oxford. Currently, with huge over-saturated retail developments surrounding the site we believed that instead, parklands would have a greater social impact on the area. A beautiful city with dreaming spires and a bustling city centre, there is a presently a lack of pauses and places for people to unwind. The scheme seeks to provide a space to facilitate this shortage. This expansive garden with a seemingly unassuming railway station needed a single element that would act as a spinal link throughout the design. The concrete “Active Wall” manifests itself throughout the whole scheme, providing a balance between structure and architecture, taking many forms and providing many functions. The platforms, drop off, Concourse, Park, Hostel, all utilise these walls. Through their changing forms they act as place markers, creating spaces and routes. Their functions range through environmental and structural uses, to spaces for occupation. The scheme proposes a public space at a time when the public sector is under threat, and offers to facilitate a park for all people of the city when great social divides are forming nationally. From top (clockwise): Concept Diagrams; Site Plan; Section AA’; Station from Frideswide Square

48

匀䔀䌀吀䤀伀一 䈀䈀ᤠ

 洀

㔀洀

㈀㔀洀


The Frame Group 18 : Daniel Cole, Sophie Cuthbertson, Rebecca Mark, Yuan McCabe, Nalin Tanchotikul

The Frame is a new station for Oxford designed for people. The steel structure provides a framework to house human activity, trains and nature. Integrating architecture, structural engineering and environmental design, the Frame creates an open, public building that celebrates rail travel and the diverse population of the city. The honest expression of the structure echoes the traditional typology of the Victorian train shed expressed in a contemporary architectural aesthetic. The Frame celebrates the linearity of the tracks, capturing the point of convergence on the horizon as the rails run on to infinity. The modular nature of the station gives the building flexibility of use and increases its longevity. Clad in Corten, the modules convey a sense of permanence. Over time nature will subsume the building creating a flourishing green structure within the city, releasing the building from its industrial aesthetic. This building is about experience. We want people to use the station so that it feels like their own. A place to meet, a place to work, a place to be part of a community. From top (clockwise): The Christmas Market; On Platform One. 49


BSc | Basil Spence Mandorla Group 19 : Samuel Kalejaye, Joshua Page, Nina Manchorova, Scott Easter, Carlos DeMalchi

To step into the realm of the Mandorla is to break tensions; to stand in equilibrium of opposites. The railway brought people together: from villages, to towns, to cities. It was a means of unity, a catalyst for a social evolution. The station was the epicentre for life. It was a platform for the public and passengers, a civic space for all. With urban expansion the railway has become a physical barrier that divides a city. The station has become a building typology that encloses the passengers and segregates the people. Unite the Railway and the Station, for the Passenger and Public. Our station is broken down into three main elements: the ground, platform and air. The heart of the station is the concourse, which is designed as an extension of the ground, where public and passengers unite. The trains are celebrated with the tracks running above the concourse, creating a constant visual connection with them both internally and externally. Above all is the ephemeral roof structure, that frames the dreamy spired skyline from platform level. The scheme as a whole treats Oxford with respect, not overpowering the context but working with it. From top (clockwise): Aerial Perspective; Eastern Approach; Main Entrance

50


51


BSc | Basil Spence Cycletopia Group 20: Raven Chen, Scott Chen, Pitchaya Chayavoraprapa, Junshi Wace, Bo Yang

This project imagines a ‘Cycletopia’ for the city of Oxford, while providing an interesting and thought provoking interchange between different forms of transport. Cycling is seen as the ‘missing link’ between traveling on foot and travelling by public transport, in this case in the form of the railway. At the same time, this scheme aims to explore the idea of sustainability in the wider sense and promote a healthy lifestyle for all members of society. In 2012, Oxford City Council initiated the ‘Cycle City’ scheme to reduce the number of cars on the road. It is predicted that approximately 30% of the population of Oxford cycle everyday as part of their daily commute or for other purposes. This project looks to further this scheme by celebrating and highlighting cycling as a healthy, eco-friendly and highly efficient method of moving from one place to another. From top (clockwise): External Perspectives; Concourse Internal Perspective; Physical Model; Bicycle Vending Machine Facade Detail

52


53


BSc | Basil Spence Oculus Group 21: Chris Whiteside, Olivia Britten, Sav Procopiou, Emily Jones, Hui Zhang

This scheme seeks to revive the excitement and thrill of trains and their stations by converging all of its functions and their users into a united Oxford Station, while providing an oculus into the magical world of the trains and their passengers. The station will provide an axial focal point to an area of Oxford which otherwise lacks its own centre. It has a unifying presence, bridging the divide between east and west over the railway, and completing Frideswide Square. The design also incorporates a Youth Hostel and Business Centre, all of which play a part in the spectacle of the station and its trains. The landscape, skin and structure act as a veil over the internal activity, while allowing for inward glimpses of the central space and framed outward views to Oxford. From top: View from the Bus Station; The Oculus; Site Plan

POSITION

54

FORM

FABRIC


Basil Spence | BSc OXYZ Group 22: Oliver Hills, Claire Drake, Cora McLean, Patrick Hylands, Matt Spink

OXYZ is designed to be Oxford’s modern dreaming spire. The city of ‘dreaming spires’ deserves a train station that is as impressive and memorable as the city itself. The scheme embodies an axial formation with the concrete z axis acting as a place-marker for the city with a solid feeling materiality that grounds the tower in the city (axis mundi) . The x and y axis then bridge the railway and Botley Road respectively. These bridges contrast the solidity of the tower with a more lightweight feeling, exposed steel structure which is then clothed in weathered steel mesh on the x axis and timber louvers on the y axis. The tower houses a unique and memorable youth hostel with a large void hollowing out the centre of the tower, connecting the earth to the heavens and affording breathtaking views up and down the tower. The lightwell frames a pair of exposed elevators articulating the theme of movement. The top of the tower houses a viewing platform which would afford visitors stunning and uninterrupted views across the whole of Oxford. The X and Y axis house the concourse in one axis, and a covered market street in the other. The design solution creates an unforgettable gateway to the world class city of Oxford. From top (clockwise): Street approach; Concourse; Entrance plaza.

55


BSc | Basil Spence

Water Portal Group 23: Lin Qi, Jessica Abbott, Jenny Ho, Kelubia Onaro, Max Blatiak, Aleksandra Celinska

Oxford, ‘the city of dreaming spires’ is situated at the confluence of two rivers, the Thames and the Cherwell. Originating as a market town, the water has provided the people of Oxford with a source of food, transport, trade and leisure. Today, whilst the city is still host to the ancient University, it is also home to a vibrant metropolitan population and a growing hi-tech community. The role of the river continues to be at the heart of the city. The aim of our station is to enliven the area around our site by improving its connectivity with the city and creating a social hub within the site. To make a sustainable connection with the city we propose a canal that runs through our station offering regular transport around Oxford via water bus. The introduction of a canal breathes new life into the station area, integrating an architectural feature with sustainability by carrying social, economic, and environmental benefits. From top (clockwise): Plan; Inside market; The canal inside station; Section Cut through Botley Road


Basil Spence | BSc

Portale Group 24: Paulina Konkina, Sara Madbouli, Kelly Ng, Matt Smith, Toby Carver

Arches have long been associated with entrance and threshold, a sense of arrival, grandeur; a portal through which the city is framed. They were often used to mark places of note and we recognised Oxford as a city deserving of a noteworthy station. The arch is a distinctive form and can be seen from afar. It frames the view and orientates the traveller. It is a grand gesture of welcome and farewell. As well as acting as a wayfinding point, the canopy of leaning arches shelters the concourse. Our station faces and completes the newly redeveloped Frideswide Square, improving the pedestrian experience and creating a new public space for Oxford. This public space is raised to extend across the train tracks and act as a gateway into and out of the city. Oxford beckons from beyond the portal. From top (clockwise): Sectional Perspective; View of Entrance Stairs; View from Concourse

57


BSc | Basil Spence Plafond de Lumière Group 25: Thomas Ambrose, Fracesca Naddafi, James Weaver, Charlotte Russell, Alex Truman

Plafond de Lumière, or Ceiling of Light, is the most iconic part of our scheme and symbolic of the connection between the railway above and city below. When visiting Oxford station we were struck by the disconnection made by the railway tracks; a clear divide in the physical landscape and between communities. In addition to catalysing development within an area, stations provide cities with opportunities to create engaging public spaces as well as forming identifiable entrances that celebrate the city at large. The current arrangement impedes travel into the city centre and beyond by creating a bottleneck where the railway crosses over the road, marked by uncomfortably narrow footpaths and poor visibility below. Our project is aimed at tackling these key problems and designing considered moments of connection. The lack of public space in Oxford (emphasised in plan by the insular nature of the many colleges scattered across the city) encouraged us to create a single public plane that sweeps beneath the railway and provides equal access to platforms from both sides of the tracks. By integrating the station amenities into the landscape and designing the additional buildings to fit in line with the urban grain we have extended the active public realm beyond the centre of Oxford and aimed to achieve a station for all. A building creates a marker or physical obstacle on the ground, which is why we chose to integrate the station amenities into the landscape. This freed space for movement and access at the expense of an obviously defined destination. The need to identify the zone as a station was achieved by celebrating the trains through visibility, materials, light and sound. The fundamental principles of our scheme are based on the quartet of above, below, beside and between. From top (clockwise): View from Platform; Short Section; View from Under the Platform

58


Basil Spence | BSc

Lines in the Landscape Group 27: Sara Medas, Yee Wei Gan, Joanna Begleri Michael Tsoi, Chloe Foster-Chambers

A garden within a station and a station within a garden. The intention of the design is to democratise green space by giving a public garden to the city of Oxford. The linearity of the site, as perceived by the trains, platforms and tracks, informs the form of the scheme thereby creating a station as “Lines in the Landscape�. The structure shapes and supports the garden and at the same time responds to the environmental needs of the building. The station will be a place where human interaction can happen through the connection with nature. We hope to give Oxford a garden within an integrated ecosystem. From top (clockwise): 1:20 tectonic concrete model of U-beam; Visual of approach from the market; Visual of the entrance; Detail sectional perspective of the station


BSc | Basil Spence

60


Basil Spence | BSc Alight at Oxford Group 26: Tobias Stafford, Victoria Ellis, Bram Winterford, Jon Tebay, Chin Yeit Yang.

Addressing Oxford’s distinct lack of open public space caused by its courtyarded colleges and narrow streets, the project creates an elevated public plaza, bringing social and cultural activity to the previously side-lined train station. Rising and falling so as to clear the tracks and still allow access from all corners of the city, the crisp edge of this over-sailing shell is what catches a passenger’s eye as a train pulls into the city, undulating just like the natural countryside landscape against the relatively constant railway line, or in an urban context, the eye might watch telephone wires glide up and down as they fly by at high speeds. Open directly to the public, the platforms themselves become stages for public interaction, sheltered by the shell that connects them to each other and to the city.

61


BSc | Basil Spence

Oxford Market Station Group 28: Arinah Rizal, Bethan Scorey, Will Ramsay, Dan Tram, Rod Ho

Railway stations and markets share many inherent qualities; they both thrive from the presence of people and celebrate movement to create busy, vibrant environments. A station need not be a mundane part of a commuter’s daily routine nor useless, ‘empty’ space to the local community. Our scheme challenges these notions to redefine the station as a destination. A commuter who uses the station daily can collect local produce to take home after work, avoiding a detour to a disenchanting supermarket which would only elongate their working day. A nearby resident could utilise it as a food retailer as well as a space to meet friends and family for dinner. A feature of the local community, the raised building has been designed to create common ground between either sides of the tracks and to add valuable public green space at ground level, where previously the car park dominated. Visitors are presented with a place of interest which advertises the character and produce that Oxford has to offer. Combined with the hostel and tourist information it makes for a fitting and unique first impression of the city. From top (clockwise): View from Inner Market, Exploded Isometric of Outer Market Stall, Tectonic detail of Outer Market Stall, Aerial View of the Scheme, Long Section

62


Basil Spence | BSc The Rhythm, The Route, The Rush Group 29: Folasade Okunribido, Oliver Cassidy, Ben Hair, Gemma Andrews, Tom Davies

The scheme aims to ‘provide a space within which places are created and animated by all.’ Glulam frames define a regular, orthogonal space and provide a rhythm that runs throughout the scheme enabling a cohesiveness between all areas of the plan. To maintain the purity and unimpeded beat of these frames that run across the site it was imperative to avoid using any secondary members.. Instead a corrugated steel roof cladding acts structurally to span the 6 metre gaps between the frames maintaining the purity of the structure. The large glulam frames create a footprint and enclosure within which the human scale and intricacy of the plan facilitates interaction, community spirit and social mixing; the rush. The freedom of planning enabled by the overarching roof and frames create a matrix of intimate, active spaces that have been planned to create civic space that Oxford would benefit from. These buildings or parcels provide places to play, stay, exchange, develop and enjoy; a new hub for Oxford that has the social effervescence that only a train station can provide. To link all of these spaces an independent, sculptural structure is required; the route. It will act as a link from the East to the West of Oxford, a concourse and a centre piece for Oxford’s train station. A sinuous steel bridge connects the scheme and the city, flowing independently of the beating glulam frames. In essence the scheme is a rhythm; the frames, a route; the bridge, and a rush; the parcels; a space within which places are created and animated by all. From top (clockwise): A Place to Stay

63


BSc | Basil Spence

Gateway to Oxford Group 30: Rafaela Anastasiou, Marisa Savvides, Nefeli Eforakopoulou, Yu Yang, Joseph Ling Our focus from the start was to design a station that would become a contemporary symbol for the city. On a physical level, we aspired to design a station acting as a gate; a gate connecting two very different and detached parts of Oxford, but also connecting Oxford with a number of other cities within the country. On a metaphorical level, the station is to celebrate the old ‘city of glimpses’ through its bold contemporary presence. Glimpses to these hidden areas were framed through an arch opening. These spaces were exclusive, hence providing a gathering space beyond an arch is a contrast Oxford would welcome. Throughout history, arches have been used as a form to signify a gateway. Railway Stations are often regarded as modern gateways for travelers arriving in a city. From top (clockwise): Concept; External Perspective; Model


Basil Spence | BSc Station as a Street Edwin Chan, Emma Pandian, Sam Phillips, Viktoria Pravcheva, Angela Benski Our scheme aims to bring station and city together to form a series of congruous streets that connect and fuel the surrounding site. The scheme divides into a primary A street along Botley, its six secondary B streets which also act as platforms, and it’s two tertiary C streets. The traditional, ‘extraordinary ordinary’ charm of the original ‘station streets’ is once again captured with markets, allotments and museums. All this faced with the humble yet robust red brick. From top (clockwise): Exploded Isometric of a Typical Building; Sectional Perspective through Botley Road; Site Plan

65


Fourth Year | Individual Project Martin Gledhill

On Standby Pass me that small pencil, sharpened nicely At both ends, a pencil with two eyes, And up for anything – a screed, a scribble. The gold and navy stripes, still visible, Might be school uniform – the low-slung tie Of anti-fashion, mocking and awry. The pupils do their time; some pencils sidle Off desks and drop and vanish. But the word Is out, this pencil says, when a bright-voiced Young teacher names the mist in someone’s head. And the kid stares, and sees the point at last. A pencil starts from scratch, like anyone. It knows hard graft, despair and knuckled tension, A shadow flickering like a footballer’s – Designed for transfer. It diminishes, But leaves hard copy, proofed by crossings-out, Forensics of the rubber, and the bruise Of graphite on our fingers. If you’ve never Nibbled at a pencil-top, you’ve never Tasted words. Pass me the pencil! Yes, I’ll leave it by the keyboard, just in case ... From Animal People by Carol Rumens

Carol Rumens’ poem in many ways encapsulates what lay in front of students and staff alike, at the start of our year together; ‘a pencil starts from scratch, like anyone’ and by the end we all knew ‘hard graft, despair and knuckled tension…’. The humble pencil, usurped perhaps by the keyboard and its busy mouse, nonetheless stands as a kind of talisman for us all - the companion of imagination. The scribbling and floundering of some ninety-five students and fifteen tutors has cascaded into projects that say as much about their individual authors as they do about a discernable and collective momentum within our year – one that cares with flair. The choice of location for this year’s project in and around Dorchester was informed by the enchanting terrain of Dorset, replete as it is with its prehistoric tattoos, as well as the literary heritage of Thomas Hardy, who himself was an architect. The real location, however, was the creative, inner landscape that simply insists that we pick up the pencil. ACE Department Part I Design Prize: Findlay McFarlane Joshua Page RIBA South West BSA Part I Prize: Emma Moberg Ken Smithies Prize: Thomas Cunningham DKA Award for Presentation: Scott Chen Hays Prize: Isabel Spence


(opposite): Lydia Whitehouse, ‘Archi-Land’


Alan Keane

Mimi Barr

Alice Loi

Lauren Copping

Oliver Jack

Yee Wei Gan

Cora McLean

Jonathan Hill

Emma Pandian


BSc | The Uncanny

A New Path: Reducing Recidivism Mimi Barr

The remit of this design project lies with society’s relationship to the judicial system. With the rising pursuit of rehabilitation rather than re-conviction to reduce the national burden of high recidivism rates, the interplay between redemption and forgiveness amongst a community is ever more prevalent as solutions are sought through social integration. A New Path creates a wide-purpose working and living environment that nurtures an exoffender’s transition into the community. Set to de-institutionalise the rehabilitation process and blur the lines between ex-convicts and the public, the programme appropriates public and private space within a social enterprise model to open up opportunities of employment and recreation of differing degrees of public interaction to suit the individuals. With The Footprints Project and Dorchester Amateur Boxing Club as clients, the proposed form of intervention targets members of society caught in the cycle of re-offending through lowrisk c-cat crimes and those released with the aspiration to live life straight. Critical to the proposal is the material environment. Composed of reclaimed brick and Cor-ten, it pays homage to the Japanese term Wabi Sabi (the acceptance of transience and imperfection). The contrast of materials resonates with the imperfections of the individuals and provides a beauty to match human fallibility. As time-affected materials, they age and weather analogous to the process and people of the street. From top (clockwise): Cor-ten Brick Model; Nursery, Boxing and Yoga Centre; Street; Allotment, Boxing, Yoga centre and Terrace Housing

74


The Uncanny | BSc The Core Lauren Copping

During the 20th Century, urban planning created a separation between dwelling and workplace, however the digital revolution and the fact that more women are in employment seem to be influencing factors that are bringing the two back together again. The main intention of this project is to explore the idea of combining the home and workplace in one location. The project aims to celebrate the workhome, a neglected building type that has become invisible over the last 100 years. The scheme also addresses the issues of isolation that come along with home - based work, introducing shared communal spaces that can bring like-minded people together, and create communities. The buildings also connect to the wider community of the town, and aims to create a core of activity in Dorchester’s town centre. Instead of expanding on the fringes of our towns and cities, this project looks at how we can regenerate our existing urban environment. The country has the capacity for more than one million homes on Brownfield sites. Retrofitting our existing towns and cities is both socially effective and energy efficient. The idea of home-based work also contributes to the debate about how to achieve a more sustainable future. The project aims to bring life back to the streets and the square as these are the largest, most public rooms that a town has. We must grasp every opportunity of avoiding too rigid separation, and stimulate what is left of the feeling of belonging together. From top: The Court and Workshop; Section through Workhomes; The Exchange and Workhomes.

75


BSc | The Uncanny

Music in the Rings Yee Wei Gan

Music, memories, architecture. This is a proposal of a music college in Dorchester. The scheme addresses the issues of the negligence of music education, elitism and lack of passion in learning music. The music college will be built next to the Maumbury Rings, with the intention of connecting the building to the musical history of the site. Therefore, the overall intention of the project is to connect practising, performing, people and landscape as a single entity. The road separating the site and Maumbury Rings will be demolished and converted into a new pedestrian pathway to strengthen the connection to the Rings. It is hoped that the music college can bring the people of Dorchester and Dorset together as a community that would appreciate the rich historical monument of the Maumbury Rings and obtain a wider exposure to music. From top (clockwise): Dorchester Music Festival Day; Approach to the Building; The Foyer; Sectional Perspective of the Auditorium and Maumbury Rings

76


The Uncanny | BSc

77


BSc | The Uncanny Dorset County Museum Jonathan Hill

As an extension to the original Dorset County Museum of 1883, the proposal provides highquality storage and archive space for 4 million artefacts, along with research facilities and education spaces help to engage the public with the history of Dorchester through the medium of the artefact. Using the form of the Tower, the Hall and the Crypt, the Museum is able to combine large, flexible exhibition space with smaller, artefactorientated galleries, incredible views out to Dorchester and beyond, and a mysterious descent into discovery and the unknown. From top (clockwise): Entrance; Courtyard; Discovery Crypt; Visible Storage Area; 1:200 Model Photo; Section through Visible Storage Area; Isometric Detail of Temporary Gallery; Central Gallery/Social Space; Pottery Room.

78

Dorset Count y

Museum


The Uncanny | BSc The Button Factory Alice Loi

Being ‘different’ or ‘somewhere else’ is still considered an inherent characteristic of industry: architecturally, a factory gate is still the entrance to another world. Being driven out of the civic grain, industrial buildings began taking a homogeneous form. Found at the outskirts of cities, no matter the country, production zones all look similar. Constructed out of strict cost consideration and minimal built context, industrial buildings are hence designed by pattern books. This thesis re-imagines the form, function and place of a factory. Employing this proposal as critical device, the potential of industrial presence in contributing to the existing urban condition and reviving public interest in ‘making’ is investigated and further debate hopefully provoked. The choice of Buttony as the manufactured product of this factory stems from the awareness of an urgent need for public attention on various decaying or dead heritage industries in Britain, most of which affected thousands of families during the Industrial Revolution. It also draws interest in Dorset Buttony, a textile-based cottage industry that started in Shaftesbury, Dorset but collapsed after the introduction of button machines in the 18th century. From top (clockwise): Macro Issue; Street Visual; Courtyard; Approach Visual; Factory Section.

79


BSc | The Uncanny Black Down Observatory: Cosmology of the Anthropocene Oliver Jack

This project aims to help repair our mythoscientific relationship with the Cosmos through the creation of a public observatory: a place to condense the night sky into a tangible experience which can be just as much a personal philosophical or psychological tool as it is a scientific one. In order to achieve this, a journey was created that moves through the physical, conscious and subconscious levels of the scheme. Physically, the scheme is rooted in three major site conditions: the buried neolithic barrows, the found monument, and the revealed night sky. Consciously, the scheme provides different ways for all people to interpret the Cosmos through art, history, learning and tangible experience. Subconsciously, the journey reunites the individual with the collective cosmic awareness of humanity through the creation of a platform on which the numinous can be experienced. Together these elements can allow us to rekindle in the noosphere an awe of the universe, and enable us to see it once more as a living entity of which every one of us is a fragment. From top (clockwise): Planetarium; Refectory and Observation Deck; Site Model

80


The Uncanny | BSc

81


BSc | The Uncanny A Stitch in Dorchester Cora McLean

This project concerns itself with the consumption and production of high street fashion. It proposes a new model for retail that utilises an open source system where designs are shared online and produced in localised fabrication spaces. This allows consumers to customise and personalise their goods, promoting a more sustainable consumption process. Rather than competing with e-commerce sites, this physical clothing store regains purpose by providing unique services such as bespoke fitting, design consultancy and in some cases, lessons in production. The scheme works to regenerate an existing arcade in Dorchester. Proposed buildings outline a route through the site proving access from the High street to a proposed retail development at the rear. Each element activates and engages with an external pocket of space to reflect the array of pockets found within the local vernacular of Dorchester. From top (clockwise): High Street Approach Visual; Aerial View

82


The Uncanny | BSc The Spotlight Emma Pandian

Even before it was given a name, the performing arts have always been an inherent part of human nature. The foundations that the arts have been built upon - human interaction, storytelling, music, dance - are deeply ingrained within our way of life. Standing in the gateway between St. Peter’s Church and the Corn Exchange, the scheme bridges the gap between the town and the meadows, generating urban renewal and bringing energy back to the high street. The monolithic flytower forms a triage with the towers of the existing heritage buildings creating a cultural core, and a new landmark on Dorchester’s skyline to push its inhabitants out of the shadow of their literary ancestors to forge their own path. The proposal stands for a new world of theatre, where the clashing traditions of ‘performer-spectator’ and ‘performer-engager’ co-exist in harmony under one roof. It pushes the boundaries of what could be, standing as a radical expression of its inner function by encompassing the essence of theatre and theatricality in all aspects of its being. The built form is carved out to create a series of plinths, questioning what really defines a ‘stage’ and taking people on a dramatic journey into ‘the spotlight’. From top (clockwise): View from the High Street; Route Through the Flytower; Library; View from Friary Hill; Sectional Perspective

83


BSc | The Uncanny

84


The Uncanny | BSc

85


Anne Claxton

Hannah Williams

Sara Madbouli

William Ramsay

Paulina Konkina

Olivia Britten

Marisa Savvides

Rebecca Mark

Eleni Efstathia Eforakopoulou


BSc | The Uncanny

A Place at the Table Hannah Williams

As a society that worships technological advances, glorifies youth and welcomes change, the images of the elderly and the effects of time commonly come with negative connotations. Subsequently we are seeing an estrangement of the elderly and a generational divide establishing itself within our communities. The scheme seeks to present a new option for senior residential housing and celebrates the potential collaboration between old and young, through intergenerational housing. Set in Dorchester, a hub of retirement, the proposal uses food as the glue between generations: in its preparation, its ritual and its potential to be shared by anyone. The Clients: The Jamie Oliver Apprenticeship Programme and Age UK create the mix to allow the scheme to come to fruition, with the creation of a meal providing jobs to be undertaken by both student chefs and active older people, creating a system and community that works together. From top (clockwise): The Social Chimney; High Street Elevation; Section through The Hearth; The Dining Room entrance.

88


The Uncanny | BSc

The Individual

The Household

The Building

The Community

89


BSc | The Uncanny Woven Wires William Ramsey

I am proposing a postgraduate design school focusing on wearable technology as a solution to remedy the dwindling creative workforce in Dorchester and the South West. Wearable Technology encompasses many different aspects of the creative industry, bringing together many creative skills required in different corners of the industry. This along with its huge potential for expansion and growth make it a perfect example of industry to encourage people to get involved with creative pursuits. The school will be run by the Arts University of Bournemouth and will accommodate a group of 100 postgraduate students for a full-time one year course. The course will feature integrative areas of study where students will investigate the user experience, open source culture and the philosophical basis behind unifying technology and the body. As well as designing, a large impetus will be put on the making of wearable technologies to allow students to explore new materiality and fully understand how to integrate products ergonomically with the human body. The school will exhibit this making process to the public of Dorchester by opening its workshop areas out to the churchyard in the centre to involve the locals and visitors alike. From top (clockwise): View from High East Street; External Views

90


The Uncanny | BSc Housing the Elderly Olivia Britten

There is a paradox of old age; we all seem to hope to achieve it, however society sees it as a growing social problem. Elderly homes have a reputation of being detached from society, usually on the margins of cities and not integrated into the community. I believe it is important to rethink elderly housing by bringing it back into the centre of towns where services and amenities are close at hand and there is a strong sense of community. Loneliness is an increasing problem in the UK, with 43% of adults experiencing some sort of social isolation in their lifetime. Therefore, creating a sense of community and neighbours, balanced with a sense of individual peace and one’s own private space is significant to the design. Globalisation and increased geographic mobility has meant that an increasing number of people have family members that move away for work, when historically families would settle down in communities and not live far from one another. This means that grandparents may not see their grandchildren very often and vice-versa. Therefore, by having a nursery within an elderly housing scheme, this allows the residents to interact with the opposite end of the age spectrum that otherwise would not occur. From top (clockwise): View from roof terrace into courtyard, Courtyard, Section with accommodation above and communal areas on the ground floor

91


BSc | The Uncanny Hospes Rebecca Mark

Hidden on the southern face of the cliffs at Lulworth Cove is a hostel. It is a refuge connected to the South West Coast Path, and is rooted in the Christian values of hospitality. The hostel provides rest and relief for anyone who would need it, creating a space where community can be built and fellowship enjoyed. Capturing the character of the sea has been a primary driver throughout the project. The building has been designed as a stronghold against the power of the ocean, and yet, over the years, will succumb to it through gradual weathering and eventual ruin. The raw materiality reflects a turn away from luxury, embracing simplicity. The building takes on the colour of the sea and the land as it ages, making it truly of place and time. This project was born out of personal faith and a love for the wilderness. It is a place of peace and security, separated from the rush of modern society. In embracing the character of the sea, it becomes a place where one might be able to come to understand their place in the vastness of the world. Resting secure in their identity before travelling onward. From top (clockwise): Aerial view; A bedroom in evening light; The chapel from the jetty; The staircase from Lulworth Cove.

92


The Uncanny | BSc

93


BSc | The Uncanny The Joinery Sara Madbouli

There is a disconnect between woodworkers and the public, and this is contributing to the decline in wood craft. Workshops are most often ‘hidden away’ from view. The Joinery seeks to spatially bridge this gap between the public and woodworkers, with an atypical public connection to the workshop, where the full process of the craft is on display, as well as the final products. The chosen site for the project is in need of repair. The Joinery aims to rejuvenate the site by repairing the old, dilapidated existing warehouses and joining them with extensions that are sensitive to the old context. The scheme seeks to breathe life into timber craft as much as it does the site and wider area. Woodworking can be about honouring the ordinary. As a society, we have become obsessed with the ‘new and flashy’. This scheme counters this cultural issue with a reserved intervention. The Joinery aims to honour the ordinary quality of the site. Rather than ‘throwing out the old’ and anaesthetising the industrial quality of the area, the scheme honours the old and is sensitive to the beautifully ordinary building forms. From top (clockwise): Parti; View Down Raised Walkway; View from Cafe; Approach View

94


The Uncanny | BSc The Market Garden Paulina Konkina

The idea of food may not seem like a matter of life and death for most, but it still is as important today as it always has been. We may have forgotten that the cities we live in today were shaped by modern food distribution systems, and without them, they would have been very different - or wouldn’t even exist at all. Our cities are dependent on food conglomerates as ancient city dwellers were on their rulers; however, unlike them we have no direct relationship with those who feed us. Should this trend continue, they may become completely unfamiliar and uncanny to many of us, especially younger generations. An appropriate response to this arising problem may be teaching younger children and adults how to grow and cook their own food, thus introducing them to a whole range of foodrelated issues. Given the historic importance of farming in Dorchester, the Market Garden is an opportunity to re-assert the town’s rural identity whilst beginning to address a wider imbalance in access to healthy, freshly grown food. From top (clockwise): View from Fairfield Car Park; Brewery Square, Courtyard, and City Centre

95


BSc | The Uncanny

Centre for Innovation and Creativity Marisa Savvides

Abraham Maslow referred to self-actualisation as the need to express our individual talents and become the best that we can. It is the drive to fulfil our potential and explore creativity which has therefore become the foundation to my project. It was not the global effect of such a design that was my focus but rather how the community of Dorchester could fully benefit from this building. Culture and environment can affect the way we decide to work and this understanding brought to the project has enabled a design that will encourage creativity and innovation. Working alongside other like-minded people, sharing ideas and creating something from just an idea are all very fulfilling. I have therefore chosen to design an innovation centre. The project will mainly provide working spaces with other facilities to support the people of Dorchester in their efforts of pursuing their personal work interests. From top (clockwise): Cornhill street entrance, Communal space view, exhibition corridors; sectional perspective

96


The Uncanny | BSc

Μονάζειν - “To Live in Solitude” Eleni Efstathia Eforakopoulou

The scheme is a refuge from the world, a quiet and peaceful retreat that celebrates nature and gently forces constant interactions with the natural environment. Focusing on the design of a Franciscan monastery on the top of the Abbotsbury Castle Hill, the monastery is a lighthouse for rustic pilgrims, providing a pathway to restoration of faith with the natural, God-given world. The monastery, home to a total of twenty people (14 permanent residents; 6 visitors), bridges personal religious faith with appreciation of God’s creations. Direct connections are conceived through the use of external circulation, nature-laden living spaces, and need for cultivation of agricultural crops and daily manual labour, while indirect tones are passed by penetrating light, views of the Jurassic Coast, and sound reverberation, echoing throughout the halls. The contrasting and complementing designs of the cells and the sacred allow a continual interplay in experiencing the natural morphology of the land. My aspiration, and goal is that through these interactions, a loving relationship with the natural world can take place. Through the respect for the overwhelming power of nature, perhaps, a spiritual rejuvenation can happen. From top (clockwise): The Cell; The Church; External View of the Church; The Library

97


BSc | The Uncanny

98


The Uncanny | BSc

99


Caroline Almond

Yacine Abed

David Janosi

Charlie Corciulo

Sophie Mayer

Benjamin Hair

Hugh Pearce

Tara Keswick

Gala Urroz


BSc | The Uncanny

Dorchester Draftworks Yacine Abed

In its simplest description, the Draftworks project aims to present a place for collaborative creative writing and illustration in Dorchester. Revolving around the draft, the sketch, the conversation, and the rehearsal as focal objects and events, the scheme honours the value of process over final product, journey over destination. The agenda on the one hand explores the current standing of creative writing in society and the value collaboration in the act, a rare event in the field due to a cultural evolution that has stigmatised the writer as a shrivelled and shrewd creature seeking solitude to write. On the other hand, the agenda focuses strongly on the process of writing, notably the fact that most writers do not write in a chronological order, but rather gather themes, characters, and plots as separate pieces and spend most of their time tweaking and stitching those pieces into a cohesive whole. The architectural design method draws a strong parallel to the way writers write. Instead of designing from the macro to the micro, or vice versa, separate pieces of the programme and the site are solved tectonically, whilst continuously bouncing back and forth between plan, section, and detail and shifting pieces accordingly. What would result is a building where all, or most, of the pieces are self-referential, like a series of place specific structural inventions. From top (clockwise): Exploratory Studies; Approach to Feedback Theatre; Eavesdrop CafĂŠ

102


The Uncanny | BSc

Sociable Housing Charlie Corciulo

There is an understanding that unless a stigmatised estate can change how it is perceived in the community then regeneration initiatives will not work over the long term. Committed residents view the estate with a continuum of warmth despite its shortcomings, whereas improbable newcomers lie on the other end of the spectrum and believe the stigma to be true. It is the latter category that are likely to be of significant wealth and appeal to large property developers and investors as future clients; as such they make efforts to remove housing estates from these areas in a quick fix attempt at increasing the desirability of a place. Many housing estates suffer from poor reputations as well as enduring material disadvantage. They are viewed as ‘problem places’, which reflects poorly on those that reside there. It is thought that reputation problems play a part in neighbourhood decline and eroding communities, reducing the quality of life for their inhabitants. From top (clockwise): East Approach; Shared Entrances; North Approach

103


BSc | The Uncanny The Collective Classroom Ben Hair

The Collective Classroom is a project that looks to address the seemingly diminished value for educational space and the isolation of care of the very young and the very old. The current mandate towards educational space reflects the modern human condition. Today’s design standards for schools show little consideration for the spatial quality, individual value or user experience. Similarly the facilities of care for the older members of our communities are isolated and removed from mainstream society. The Collective Classroom aims to provide an educational place, integrating the very young and the very old, so that they both can prosper in the shared realm of their present. From top (clockwise): Isometric, School Yard; Amphitheatre; Classroom Internal; Refectory.

104


The Uncanny | BSc Cardia Tara Keswick

Recovering from a heart attack is a long and life changing journey, this project creates a new building typology within the healthcare sector for the UK. Taking inspiration from the successful Maggie’s Centres, Cardia looks to provide a facility of support, discussion and recuperation. Consisting of three main areas the patient will be supported and guided through all stages of their journey as well as engaging the public to think about their heart health. The scheme employs the idea of nature to provide animation, colour and view; courtyards to allow for extended walking routes as part of the physical rehabilitation process; and layering to provide privacy and protection to the vulnerable. From top (clockwise): Diagrams; Site Plan; Courtyard; Long Section; Internal View from Cafe; Approach

105


BSc | The Uncanny The Flame Camphill Community David Janosi

Camphills are communities where people with mental disabilities live and work together with professionals and volunteers as a family. During the day, therapeutic activities take place in art and craft workshops, gardens, and farms. The cafÊ and the community hall also run by the residents and create an opportunity to meet and integrate with society. The ethos of Camphill is to create a community where everyone can live at ease and develop. Following Rudolf Steiner’s humane philosophy, the aim is for each person (each flame of spirit) to realise their destiny even if their individuality might be covered by layers of inabilities and uncontrolled emotions. Based on my personal experiences as a volunteer in a Camphill and as a Steiner School student, this project is a critique on traditional Camphills and a contemporary, urban version of the traditionally rural, closed communities. Taking advantage of being close to the public, the residents and the wider community mutually benefit, help, and learn from each other. Therefore, creating layers of privacy and interaction was the key architectural challenge. The Flame Camphill Community in Dorchester creates a safe and secure home for the residents and new public and semi-public functions for the citizens by finding a balance between urban and rural, public and private, earth and sky, uncanny and sublime. From top: Section Dwellings; Gardens, Street and Workshop; Bird’s View; Approaching the site; The Cafe

106


107


BSc | The Uncanny

Bread. Sophie Mayer

The proposal looks to celebrate bread and use it to bring the community together, whilst also sensitively responding to the site as found. The programme can be split into three strands: a place to bake, a place to learn and a place for community. A commercial bakery and mill form the basis of the scheme, with the mill tower providing a dramatic finale to the crescendo of pitched roof volumes that wrap around the central courtyard. A smaller exhibition-like bakery is integrated into a lively cafe space so that customers can see the baking process in action. The proposal takes advantage of the therapeutic qualities associated with the kneading, mixing and baking of bread; as the Bakery is run as a social enterprise to help young adults with learning disabilities and autism. From top (clockwise): Axonometric of Scheme; Approach View; Courtyard View; Sectional Perspective through Commercial Bakery; Courtyard and existing Grade II listed South Grove Cottage.

108


The Uncanny | BSc

The People’s Bee Meadow Hugh Pearce

People look after honeybees and the land, the land looks after the people and the honeybees, and the honeybees look after the people and the land. This forms an interdependent system. The People’s Bee Meadow is a community apiary and honeybee visitors centre. The project houses all the facilities to maintain honeybees and educate and enthuse the public in beekeeping and the maintenance of the land. Situated just outside Dorchester on a floodplain meadow, the site provides a rich ecological resource for both the people of Dorchester and the honeybees. Due to the nature of the site, the project has the capacity to be constructed and de-constructed with minimal damage to the site, working as a kit of parts that could be moved or replicated on other similar sites. From top (clockwise): Cafe Approach; Cafe Interior; Sectional Perspective through Class and Kitchen;

109


BSc | The Uncanny

Urban Lab Gala Urroz

The Urban Lab is a civic space where the discussion focuses around how to create a better urban environment. It is a public space to promote architecture, host and showcase events and future plans for the town of Dorchester and beyond, bringing primarily three stakeholders to the space: people, architects and planners. It is not a political institution, or a generator of economic wealth. It is a learning space, where physical production is not a goal but a mere consequence of the questioning process and intellectual production from the side of everyone involved in the process. It encourages a collective approach to architecture and aims to empower both the local community and the architectural one. From top (clockwise): Approach to the building via Cornhill Street; Gem of the building: exhibition and multifunctional space; Urban Lab and new public realm strateg y in relation to context.

110


The Uncanny | BSc

111


Cat Martin

Zhong yi Shi

Dessislava Dimitrova

Chris Whiteside

Arinah Rizal

Nina Manchorova

Harouth Mekhjian

Helena Francis


BSc Architecture

The Departure Zhong yi Shi

Flying has been the dream of human beings since the very beginning of civilisation, with recent technological advancements, commercialised tourism to space might become possible in the near future. In response to this ambition, this project is designed for the development and production of spacecraft. The research and design centre will provide engineers with the opportunity to work in close proximity with the assembly line, allowing them to test out their designs during the development process and eventually enter the production phase. Alongside industrial uses of the facility, it also serves as a showroom for the space programme. Visitors will have the chance to join a tour around the facility, learn about the ongoing projects, and see the spacecrafts in live production. Passengers will be able to depart from the facility once the development of spacecrafts is completed. View of Departure

116


The Uncanny | BSc

Unaccompanied Refugee Children’s Accommodation Nina Manchorova

At present there are estimated to be over 150,000 unaccompanied refugee children around Europe. In the reality of national foster placements shortage, the scheme proposes a system of kit-of-parts modules which allow the accommodation to respond to the social conditions by growing and diminishing in size respective to the number of children increasing and decreasing. The architectural language of prefabrication is combined with the typology of the courtyard house, which is an architectural form that originated in Syria and Iraq and has transcended regional, historical and cultural boundaries. The spatial organisation of the individual houses within the system is based on considerations for the children´s needs for safety and belongingness. Integration between the children and the local community was the main drive for the choice of allotment gardens as the site for the accommodation. The transcultural activity of cultivation acts metaphorically as a consolidator of the project in the sense that it will bring the children and the locals together. From top (clockwise): Exploded Kit-of-Parts; Aerial Isometric; Section through Rooms; Section through Courtyard.

117


BSc | The Uncanny

The Ritual Garden Dessislava Dimitrova

This project aims to rediscover the forgotten rituals, customs and traditions and bring them back to life; to create and sustain social order and transmit cultural patterns in the generations throughout beliefs and sentiments. The place will act as a shared public space, establishing emotional connections to a community of individuals, where people will share memories and mentalities. The ritual venue will bind various rites of passage - both formal and informal; individual and share; related to culture, religion or social status of a person. Because every change of place, state, social position, age can become motive for a ceremony, strengthening not only the private/intimate environment, but also all the power relations in the society. Each celebration has its own special space for an individual ceremony, but they could all be memorised and celebrated with a unique view to the Maumbury Rings, at the reception hall. From top (clockwise): Concept diagram; Birth: Naming inauguration; Life celebrations; Death: Memorial space; Axonometric view: the Ritual Garden.

118


119


BSc | The Uncanny The Carnery Chris Whiteside

This project is a response to the devastating environmental impacts of contemporary livestock production and our consumer society’s dislocation from, and ignorance of, the associated issues. The Carnery provides a solution for producing meat in harmony with the environment using a totally transparent and localised process. The scheme sits between the country house and the machine as a typological hybrid. It is both a home for research and education, and a functioning machine for the production of meat. From top (clockwise): Bird’s Eye View; Street Frontage; Meat Museum; Meat Production Floor; Looking Out; Rooftop Restaurant; Algae Orchard

THE COUNTRY HOUSE

120

THE CARNERY

THE MACHINE


Women’s Refuge Arinah Rizal

Situated on the Northern periphery of Dorchester town, between the high walls of a former Prison, and the River Frome, stands a modest Women’s Refuge. The Refuge can house up to thirty people, and offers accommodation of flexible sizes. As a place of healing, there are collective spaces where mutual support, counselling, and expressive activities can happen. Additionally, there is a Public ‘Face’- an auditorium where issues on Domestic Violence can be voiced. Public awareness is a key part to this architectural investigation, as people need to know the harsh reality and sworn secrecry of domestic violence, so they can reach out... because 2 women a week are killed by their intimate partner, on average, in England and Wales. The scheme is unified by repeated fin walls that evolve structurally and conceptually from the public side to the private dwellings From top (clockwise): View from river towpath; View of Public ‘Face’; Rainwater as a Happiness Strateg y; View from Unifying Walkway; Woman at Her Bespoke Dressing Table

121


BSc |Architecture The Uncanny

The Eatery Harouth Arthur Mekhjian

By an large the scheme is a communal eatery, a series of shared public kitchens where people can come and cook and share a meal as they please. This space also works as a soup kitchen for the local community. The scheme also offers a more domestic scale dinning experience through more private and intimate kitchens and dinning rooms. Closely related to the communal aspect is the educational side of the programme which is essentialy a small scale culinary school there to educate the local public. In order to combat the commodification of food a newly introduced farmer’s market will be present on site on a daily basis unlike most existing markets as an alternative to local supermarkets and as a large ‘ pantry’ to the communal eatery.

Education Block

122

COOKING + EATING

Admin Block

Herb Garden & Orchards

An urban herb garden will be introduced as an educational tool and a prototype example of sustainable urban farming for other possible communities to adopt as a means of sustainably producing food on a local scale. From top (clockwise): The Eatery & The Table, Initial Intentions, and Communal Eatery Realtionships;

COMMUNAL EATERY

Urban Plaza & High Street

Artisan Shops Farmer’s Market


123


BSc |Architecture The Uncanny

Death by Architecture A Sanctuary for the Suicidal Helena Francis Death has morphed from a communal, celebrated ritual to something shameful and forbidden, almost an abstract topic. Two societal trends that were influential in this shift: the advent of the hospital as a place of dying, and a growing sentiment that life should be, above all, happy. Death, being sorrowful and ugly, was therefore denied. Expressing sadness or emotional turmoil is likely to be equated with bad manners, mental instability, and unnecessary morbidity. In this context the issue of euthanasia appears as an effective method of not only breaking the taboo of death but also countering the medical appropriation of death and dying. Medicalisation has led to the depersonalisation and alienation of the dying process. It has marred the potential for people to deal with their human weakness, vulnerability and uniqueness in a personal and autonomous way. Indeed, while modern medicine can cure it is also capable of producing half cures, leaving many in a limbo state; individuals describe themselves as alive but not truly living, an abyss that many can scarcely imagine. The scheme aims to be: - a comment on 21st century attitudes towards life and death. - a setting for the rituals of departure.

124


125


Frank Lyons

Nicholas Gaul

Samuel Pbillips

Jenny Ho

Samuel Oluwakolade Kalejaye

Pitchaya Chayavoraprapa

Oliver Laity

Jinghan Wang


BSc | The Uncanny

Kinesthetic School Nicholas Gaul

Standardisation of mainstream schools’ curriculum and the narrowing definition of what is deemed as a ‘successful school’ has resulted in repression of a child’s individuality. The fallout from this is that SEND (Special Education Needs & Disabilities) pupils are expected to simply fit into mainstream schools, where the curriculum does not provide any flexibility to allow the most challenged individuals to develop the right skills for a successful future. The school caters for the needs of SEND individuals through a bespoke curriculum involving kinesthetic learning and a reconnection with the natural environment. Centred around two greenhouses, the scheme responds to its site through providing a public courtyard as an extension to Dorchester market, which acts as a controlled platform for pupils to sell produce from the growing spaces and integrate within a public environment. From top (clockwise): Concept Illustration, Natural Play, Within the Greenhouse, Approach from Dorchester Market

130


131


BSc | The Uncanny

The Dorchester Healthy Living Centre Jenny Ho

Healthy Living Centre (HLC) is a new building typology that expresses a holistic approach to help people towards a healthier lifestyle. HLC focuses on education and prevention rather than just treatment. This building contains a collation of programs and spaces to support the communities’ mind, body, and spirit. In response to the demography of Dorchester and my interest in the ageing population, the project intention is to help those in late adulthood to gain back their self-esteem by honouring their age. Some spaces are designed to encouraging the interaction between different ages, level of ability in the community; some materials are chosen as a hint for self-reflection and the landscape connects back to the environment on the site. The Healthy Living Centre aims to optimise well-being in all dimensions (social, physical and mental). From top (clockwise): Plan; Courtyard; Internal View of Foyer Outside the Event Space; Section through Gym, Office, Reception, Event Space and Hydrotherapy

132


The Uncanny | BSc

Elysian Field Pitchaya Chayavoraprapa

Elysian Field is a one stop service which offers support for a person or family when they encounters death of their love ones. The service takes care from the start of the death until the grieving family is capable of going back to their normal life. This service include funeral ceremony, promession and counselling. The integration of all the process allows a seamless transition between each ritual and offer support at all stages. Elysian Field define the ideal solution to be able to not only sustainably manage the dead but also transcendentally heal the living. From top (clockwise): Conceptual Image; Sectional CutAways; Model Image; Aerial View

133


BSc | The Uncanny Durnovaria Figilina - An Edge in Balance Samuel Phillips

A retreat centre, with a focus on Pottery that aims to help people find their identity. An increasing problem in an ever advancing society that shuns all that is human. In order to provide an experience that sees this problem in context, the site has been chosen as a meeting point of three conflicting environments: The Modern Machine - Marabout Industrial Estate. Nature - The River Frome and associated flood plain. History - Poundbury Fort and associated hill. It is an escape that is distinctly aware of its prison. And one that brings these different spaces into a single moment of clarity. From top (clockwise): The Edge; Earth, Fire, Water, Wind; An Edge in Balance; Lower Ground Floor; Ground Floor

134


The Uncanny | BSc

Along the Wall Samuel Oluwakolade Kalejaye

This project is an architectural exploration of death in today’s society. It aims to address: - The relationship between the living and the dead by providing a new environment that serves the bereaved and the public in an attempt to increase our intimacy with death. - The relationship between the city and the dead by introducing a new method of burial (Promession) that tackles existing environmental problems that current methods face. - Rituals of death that appear to have been lost through cremation and non-religious funeral rites. Promession provides the opportunity to have two encounters with the deceased, one before the body is ‘promessed’ - The Committal - and one after - The Funeral. The Committal aims to provide an intimate environment between the body and the individual whereas the Funeral places an emphasis on the collective. In this service, final farewells can be made as the remains are collected and then buried or scattered with the congregation The wall acts as your guide and support during both services. The Lacunae (voids) represent the transcendent - the vertical connection to the heavens. The Chapels are volumes that embrace you along both journeys; they merely act as containers for the activities that takes place within them, therefore the architectural response is very minimal. From top (clockwise): Second Floor Plan; Funeral Chapel; Committal Chapel ; Aerial Perspective; 135


BSc | The Uncanny

Housing on the Edge Joanna Begleri

Housing on the edge, refers to diverse incorporation of the edge within the following housing plan. Firstly, the edge is observed on the land, an “edgeland” brownfield site is introduced. Secondly, the edge refers to the site’s location and morphology, located at the edge of the city and having an edge, a ridge appearing which defines its morphology and its general design. Lastly, the edge is literally used to bring the edge in the existing housing standards, thus driving them to create a dense community, which is sharing its streets and has innovative communal gardens. It celebrates a forgotten space, a contaminated land of low value next to the rail-tracks. It ‘creates space’ in an unimagined location and ground. It questions the suburban housing standards of housing developments in Dorchester. It is a housing scheme of high density of 90 dwellings per hectare. It creates a community with people forming groups and sharing communal areas, streets and courtyards. Finally, there is potential of self sustenance, a public street where people can grab a patch and cultivate. From top (clockwise): The Street; The Community, and Sectional Perspective;

136


The Uncanny | BSc The Amanda Wallwork Academy Maria Barnes

‘How would the painter or poet express anything other than his encounter with the world?’ Maurice Merleau Mankind has perambulated across the South Dorset Ridgeway since ancient times and used and scarred the land. To help create focus to my project I chose a local Dorset artist, Amanda Wallwork, whose work embodies the spirit of the land. The building uses architectural expression of the ‘above, below and on’ to become a beacon which celebrates the land, where walking nourishes the soul, artists express their imaginations and galleries exhibit local talented artists’ work. The programme of The Amanda Wallwork Gallery, Studios, Flexible Gallery Space and Artists’ Apartments are split into four simple forms. Each interact with one another, creating a balanced composition and a simple plan which is used to form a relationship of tension between the masses. From top (clockwise): Poster Series; The Vitae Studios; The Amanda Wallwork Gallery; The Horizon and The Tower; Aerial View Watercolour; St Catherine’s Chapel

137


Jayne Barlow

Lilian Lam

Sara Medas

Oliver Hills

Oliver Laity

Toby Lau

Jinghan Wang

Isaac Lim

Issy Spence


BSc | The Uncanny

The Roman Ghost Lilian Lam

Dorchester was once described as announcing old Rome in every street, alley and precinct. It looked Roman, bespoke the art of Rome, concealed dead men of Rome. Nevertheless today it only whispers the old Rome, the lost ruins are merely ghost stories with past traces. With the Dorset county continue turning its back from its ancestral past I feel there is a need to review an alternative use of the heritage that can incubate energy, curiosity and discoveries. The brief is to set up an archaeological museum to regenerate the Roman significance and bring the archaeological finds to modern context. The scheme took inspiration the way archaeologists excavate and the pre-existing Roman grid to create an underground space holding the ruins and artefacts. Light is filtered to ensure a homogeneous lighting condition that is ideal for the archaeological finds. From top (clockwise): Conceptual Gallery Space; Internal Gallery; Entrance; External View; External Gallery: Remains of Ruins.

142


143


BSc | The Uncanny The Botanic Spirit Oliver Hills

Gin. Drawing from the drinks past, this modern day Gin distillery is all about people and their interaction with the spirit and process. The project plays very heavily on the inherent sense of tension found in the history and re-emergence of Gin, a spirit that grew so rapidly and uncontrollably in popularity and caused havoc on London’s streets is seeing a renaissance as this chic, refined, eclectic drink. This tension plays out in the architecture by merging an inherently industrial building with very deliberate and defined public space in the form of a public route, garden and ‘living room for the city’. The way the large copper spirit stills, in all their sculptural grandeur, sit within a deliberately pared back architecture, creates a pleasing contrast between the traditional, industrial process and the modern, public setting. From top (clockwise): Terrace; Salisbury field entrance; Drinking hall; Viewing Gallery; Botanicus Bar; Isometric Section of Distillery and Drinking Hall.

144


The Uncanny | BSc Culinary Art School Toby Lau

The education of chefs has remained the same for the past 150 years, the increasing demand for revolutionary and creative cuisine means that the traditional way of training needs to be updated. In order to train chefs to be more creative to deal with new demands, it is proposed that culinary school should adopt design methodology in culinary art education. Instead of the traditional master-apprentice approach, a design-led approach is proposed. In this education model, students will not be expected to rote learn a dish, instead they will learn the core culinary skill blocks and use design methods to explore new application and combination of these skill blocks in a creative way. The school is comprised of a kitchen garden, a green house, a public restaurant and the main cooking studio. All of the buildings are made of the same timber frame unit, which is derived from a typical greenhouse frame. The extended eaves created 2 porches that flanks the main building and it allows indoor spaces to connect with the outdoor gardens. From top (clockwise): Restaurant Programme; Greenhouse; Cooking Studio; Restaurant; Approach; Storage Programme.

145


A Montessori Free School Isaac Lim

We are all unique and distinct, but yet traditional education rejects the individual. Education has become a system by which we are moulded to fit into society, and thereby alienating the person. Students are expected to conform and listen, but neither their voices, nor more importantly their feelings, are heard. By the time the student becomes an adolescent, he has often developed a deep distrust of other people, and has lost touch with his sense of self. What was meant to prepare the individual to integrate into society instead rejects him and attempts to reshape him into an idealised form, imposing society onto them. I have set out to investigate progressive education, specifically the Montessori Method. The pedagogy is rooted in the belief that children have their own innate aptitude and desire to learn and obtain knowledge. The Montessori approach emphasises on each individual child’s development, with self directed activity, collaborative work, hands-on learning, and the independence of the child forming the fundamental principles in the class. My project aims to explore a new typology of classroom and school which embraces and expresses these principles. I am interested in investigating an architecture that is as adaptable and free form as Montessori. This led to my exploration of a reconfigurable learning environment, which the students could freely manipulate and mould. This would complement the pedagogy in developing creativity and independence in the students. From top (clockwise): External South View; View of Classroom Closed, and Opened; Short Section.

146


The Uncanny | BSc

Memo: A Memory Museum for the City of Dorchester Sara Medas

The MEMO Museum responds to the theme of “The Uncanny� as it aims to achieve a type of building that makes people think and remember past events and situations, either personal or belonging to their birthplace. Something which first considered to be lost and forgotten and belonging to the depth of the unconscious mind, slowly comes back to light through the journey in the museum, so emerging in the conscious mind. In this way, at the end of the visit of the different galleries, the visitor will be able to join the mnemonic activities in the walled garden whose aim is to enrich the collective memory of the city. A mesh of memory lines, tracing important events and places in the city, has therefore generated not only the shape of the museum but also a series of corten external gutters and internal corten ducts serving the different galleries. The museum can be considered as a tangible manifestation of an intangible idea whose intention is to give the city of Dorchester a place of memories, enduring the erosion of time. From top (clockwise): Partii Diagram of the Plan; The Entrance; Martyrs Gallery; Sectional Perspective through the Existing Church, Thomas Hardy Gallery and Medieval Times Gallery.

147


BSc | The Uncanny Macellum Oliver Laity

Once humanity showed a great respect and reverence to the bounty of the earth. Now food is an industry of mass proportions that is hidden from the world. A change in attitude could open up the mystery behind our food and could see us form closer relationships with our agriculture. Urban centres could be rebuilt around food, just as they used to be. A central abattoir could act as a social hub of life and death, a place of interaction and contemplation. I put forward a proposal for an abattoir and community dining hall in the centre of Dorchester. A place where animal slaughter is understood and respected. It would become a movement that would lead to the community use of the abattoir, through the rearing of their own animals, bringing life and death back into the home. Challenging for a positive change towards a sacred and respectful slaughter of animals. From top (clockwise): Project Overview, Aging Material, Dining Hall and Roman Axis

148


149


BSc | The Uncanny

Durnovaria Mosaic Museum Jinghan Wang

The project aims to revive the lost art of mosaics which had been integrated to Roman architecture and Dorchester. In order to revive mosaics, programmes are developed into 4 strands restoration, display, education, reinterpretation, with particular focuses on designing spaces of various exhibtions and workshops. The idea of the scheme is to engage all the main programmes with the core of the building which houses the most important piece of mosaic in Dorchester. The facade language of the building is highlighted by a series of specially designed openings, also acts as a reminicent of volumns of mosaics. Across three levels, programmes are arranged from the past, present to the future, the internal spatial language varies from the enclosed, the semi-enclosed, to the open, which provides a rich and memorable sensing and visiting experience. From top (clockwise): Ground Floor Parti, Sectional Perspective Through the Core; Restoration; Artist Studio; Ground Floor Core; Entrance Perspective

150


The Uncanny | BSc

A Place for TED Issy Spence

We are living in a paradoxical moment of time. We have social media but reduced people skills; access to more information but less sense; reality TV but fake news. As a society, we feel more isolated and atomised than ever before. A Place for TED aims to bring people back together and re-connect us through the notion of sharing and exchanging ideas. TED, is a non-profit organisation, best known for their online 18-minute talks on a variety of topics, which are ‘Ideas worth Sharing.’ A Place for TED aims to connect Dorchester town and encourage innovation and technological development: it gives Dorchester a voice and an ability to share their ideas. A Place for TED is a home for these discussions to happen. The 250-seat auditorium has large shuttered panels at the ends, which open to the town and the rest of the building. There are Speaker’s Corner style spaces in and around the building. This project aims to challenge the typology of a conference centre, and makes a place which is accessible and open to all. There is life beyond the talks, with a series of spaces including workshops, studio spaces, TED’s kitchen and discussion spaces. From top: Approach from Brewery Square; Auditorium with opening shutters; Wor(l)d on The Street and Long Contextual Section

151


Julia Kashdan-Brown

Ariane Lieberherr

Oliver Cassidy

Claire Drake

Sara Nakandala

Hanyuan ‘Helen’ Zhang

Sophie Cuthbertson

Gerasimos - Marios Mataragkas

Joshua Page


A Reggio School Ariane Lieberherr

For this project, we were assigned the theme of the uncanny; the strange yet familiar. Beyond its unsettling quality, the uncanny experience makes us engaged and curious. We are all innately curious. Over time however, habit, modernization, and our binary way of thinking - black vs. white, science vs. art, individual vs. community - have made us disengaged. Schools play a crucial role in preserving our love of learning and keeping us curious. They help not only children to question and discover but also parents, teachers - and at a grander scale - towns. The Reggio Emilia educational movement, focusing on learning through discovery as a community, is very much based on the aims of re-engagement and reenchantment discussed above. This exploration takes place in the whole school and in “ateliers” specifically. A site which would benefit from and enrich a Reggio school is one fractured from the community today yet able to liven the town, creating new relationships and rekindling old ones. It should also offer a rich variety of experiences. The currently disused prison site at the edge of Dorchester offers such a site. Contained between the old town and the water meadows, it acts like a mediator between the two. The site has a rich history, a changing terrain, and is currently cut off because of the car park on north square and the prison’s imposing walls. My intention was to design a building that acts like a mediator. It engages with the site, the child in each of us, the community, and nature, cultivating existing, rekindling old, and exploring new relationships. The threshold becomes the key to all these intentions.

156


The Uncanny | BSc Through The Wall Claire Drake

Dorchester has a rich literary history which this project aims to revive through celebrating the oral, written and digital elements of Storytelling. The design of the Storytelling Centre animates the history of site. A large in-situ concrete wall marks the place where the old Roman road once stood. The wall is inhabited by timber lined alcoves set into the concrete displaying books and providing intimate spaces where people can sit and read. As one wanders through the centre, they will experience the Library, filled with books published by local authors and members of the public, published at the in-house Publishing Room. The Memory Archive, an elegant tower containing timber audio pods, allowing people to listen to stories told by others. The journey concludes at the theatre, which is entered through the stage and opens up to an outdoor auditorium, allowing for outdoor performances and open-air cinema events. Connecting these elements is the Book Spine, a space lined with bookcases which reveal reading alcoves and windows, framing views out into the courtyards. From top (clockwise): Entrance View; Library Interior; Book Spine

157


BSc | The Uncanny

Community

Volunteers

The Suicidal

The Journey To Hope Hanyuan (Helen) Zhang

The aim of the project is to design a sanctuary for those suffering a suicidal crisis, offering an opportunity to heal, relax, and re-integrate. The respite centre will enable two of the leading suicide prevention organisations, Mayvvtree and Samaritans, to work together with the local Dorchester community, through introducing the application of “Grain� to combine the characteristics of nature and community in the site. This architectural application can combine the healing power of nature with support from the community, allowing people in suicidal crisis to be able to choose the types of spaces that would best inspire their recovery, no matter the whether the need is quiet self-reflection space, rooms for private conversations, or opportunities for the users to re-integrate with the society. From top (clockwise): Aerial View from the East of the site; View from the river walk at the North; Interior view from the viewing platform out towards the woods; Sectional perspective;

158

Guest Area

Community Area

Staff Area


The Uncanny | BSc The Social Factory Gerasimos - Marios Mataragkas

After proving the lack of participation to the commons, in general, and the lack of primary production in Dorchester, while talking about how the commercial and administration functions of the city work together, the agenda of this project is simple. The reinstatement of the Commerce-Culture-Conscience triangle that characterises the Ideal City, by establishing a directly democratic system as a means of self-government and the return to primary production as a means of economic sustainability. The timing of this project can be considered more than relevant. With Brexit before the gates, the prices of imported goods will start rising, while the need for change in the political regime that brought England into this situation will become more and more apparent. Last but not least, the recognition of the value of culture will act as the binding agent for this project to succeed. Without culture and education, democracy becomes the tyranny of the masses. The Social Factory will become a place of political, economic and cultural exchange. A machine that will catalyse the creation of a self-sustaining city. A place about Dorchester’s Civic Identity. From top: Garden View; Hall in Market Mode; Long Perspective Section in Assembly Mode

159


BSc | The Uncanny Hearth Oliver Cassidy

Hearth is a mental health drop-in and therapy centre for Dorchester which aims to treat and de-stigmatise mental illness through community integration and a truly therapeutic environment. Mental illness is becoming an evermore prevelant issue in our society in which one is never allowed to switch off. Mental health treatment is moving out of asylums and into our communities. However, our view of its treatment is still tainted by the stigma of the barbaric procedures from very recent history. Hearth aims to challenge the current model of mental health treatment through combining a drop-in centre, a cafe and therapy workshops in a community of buildings dotted throughout the site’s varied landscape. From top (clockwise): Exploded Isometric; View of the Hearth; View from Weavery Winodw

160


161


BSc | The Uncanny Frink Gallery Sara Nakandala

This project is a tribute to Dame Elisabeth Frink, a sculptor who produced over fourhundred sculptures single-handedly over her lifetime. She is remembered for her expression of human nature, endurance and vulnerability of the male form, and also for her own determination to stick steadfastly to her own art style. Frink has a deep connection to nature and seeks to portray that in her sculpture. Her works were created to be displayed in the natural environment, and I hope to fulfil Frink’s original intent in my sculpture park and art galleries. My scheme is separated into three sections, each representing a different stage of the creative process. The tall concrete tower that is immediately visible houses the permanent Frink collection, this is the established style a solid beacon. The smaller concrete tower to the north is home to temporary collections, the timber boxes that interrupt the form show change and impermanence - the working artist. Finally the short concrete studio space to the west carries four timber boxes up among the trees. This is the place of creation, the raw form shows a state of progress and continual change. The three sculptural pieces together create a loop of creation, experienced through the walking route of the scheme. From top (clockwise): Site Plan; Frink Gallery Space Entrance to the Forest

162


The Nest Dorchester Birth Centre Sophie Cuthbertson

Birth is universally acknowledged to be one of the most painful things a woman can go through in her life, but equally it is the most natural process on Earth, and therefore should not automatically be seen as a medical procedure that occurs in hospital. The Birth Centre will be for expectant mothers looking for a natural birth, encouraging active birth techniques. To create a comfortable environment that will assist women with a natural birth, there are three key themes explored in the design. The first is the feeling of safety. Giving birth is a very personal and vulnerable moment in a woman’s life, she should therefore feel secure within the building, which in turn will allow her to relax and focus. The second is home. A natural birth by definition means no medical interventions, so the building should not have a clinical feel to it, but rather a homely one that women feel familiar with. The final theme is nature. As birth and labour is a painful process, a natural birth is no easy task. Many pieces of research have been done to show how incorporating nature into the architectural design of a building can have a positive impact on human health and reduce pain and stress. From top (clockwise): Section through Birthing Suite; Birthing Suite Day Room; Birth Room Facade; Main Entrance; Birth Room; Overall Form.

163


BSc | The Uncanny Alma Mater Joshua Page

Today, education sits at the heart of a political pendulum. Recent education reforms have blurred the lines between the public and the private sector, with the boarding school epitomising the latter. Deriving from a monastic origin, boarding schools originally educated bright young boys from the local community; supplying free accommodation, pastoral care, and a higher education. However, as wealth and social status became ever-present, these institutions became increasingly insular, moving out of cities and into countryside mansions. Here, they became a breeding ground for the noble and affluent, entering a self-perpetuating cycle of social immobility, juxtaposing their original ethos. Alma Mater is born from the necessity to reverse this process; to bring the boarding school back into the community. The scheme is oriented around a central pedestrian street, which feeds onto open and closed courtyards. Public classrooms, collective halls and individual houses all open out to these courtyards, creating a buffer space from the street. It is here where engagement occurs between the school and community, facilitating a cross-generational interchange. This contact promotes a breadth of learning, not only in formal environments, but across pupils entire lives. The aim is to spark new interests, open up new futures and invoke a liberal education. From top (clockwise): Street View; Reading Carrels; Boarders’ Courtyards; Auditorium & Housing Section.

164


165


Mark Watkins

Emma Ward

Francesca Naddafi

James Weaver

Ross Startin


BSc | The Uncanny The Beacon School Emma Ward “Look at those big, isolated clumps of buildings rising up above the slates, like brick islands in a lead coloured sea’

“The board-schools.” “Light - houses, my boy! Beacons of the future! Capsules with hundreds of bright little seeds in each, out of which will spring the wiser, better England of the future.” “Beacons of the future”. -Holmes and Watson’s conversation on the train when traveling through Clapham. It is essential that children are healthy to be productive at school. The World Health Organization defines health as “a state of complete physical, mental and social well-being.” My aim in this project was to create a primary school that promotes well-being by responding to the needs of the user and to the needs of the local community. The Beacon School will aid in the entirety of a school child’s development not merely their development of academic attainment, but the whole child. One of the main principles of the school is to encourage children to learn from the outside world that surrounds them. Acting as a “Beacon for the Future” I have created a series of gardens throughout the school which will assist in different types of outdoor learning From top (clockwise): Site Plan; The Geometry Garden.

170


Playhouse Theatre Francesca Naddafi

“The world is a stage, but the play is badly cast.” - Oscar Wilde A play on traditional theatre through the aid of an apparent transparency is the most iconic part of this scheme and symbolic of the informal theatre arrangement which intensifies the interaction of actors and audience. Upon visiting Dorchester, there was a noticeable generation gap and overarching sense of disconnection, with a lack of activities, especially in central locations, for gathering. In an age where most communication happens in front of a screen, the gathering function that theatre provides and common interest across the ages is something that matters and should be celebrated. Theatre plays a powerful, influential part in society. There is a cultural condition that has separated the critique of society through the lens of theatre that has become split away from its original purpose and from the population. An overpowering importance has been placed on the formal main performance and the ‘grand finale’, which arguably overlooks the drama involved in the visitor’s overall experience of visiting the theatre. With a rise in the popularity of immersive theatre, the audience’s role is rarely so predetermined and instead relies on a more direct relationship with the performance as well as performers. This project interrogates the current attitude towards theatre layouts, with an intimate setting which plays with the idea of an apparent transparency before entering the main theatre space as a means of intensifying excitement and interaction between both the audience members and the actors. Furthermore, the adaptability of the theatre represents an alternative to the products of dominant culture and formal layouts and caters for a flexibility in the arrangement of stage and seating. From top (clockwise): South Elevation; Layout Possibilities; Exhibition; Tranquil Courtyard 171


BSc | The Uncanny The Stepping Stone: Rehabilitation Through Social Understanding James Weaver

The scheme purposes itself with the agenda of readdressing the perception of offenders within our communities and the necessity and possibilities for (re)habilitating them into society. While seeking to help the offender, the scheme simultaneously acts as a catalyst to promote community cohesion, eroding the alienation that modern day society so readily adheres to. A new typology that aims to be accepted as an integral part of society in the same way that hospitals, schools and courts of justice are consumed by modern day society. The scheme subverts the idea of offenders as satellites to and detached from society by integrating them into the heart of the community by placing them in the centre of the settlement and challenging the notion of ‘prisoners’. The scheme aims to generate a symbiotic relationship between criminal and community while not only offering an opportunity for the offender but also all other members of society. Offenders pay a direct service to their town and are offered the opportunity to re-examine their own perception of the community and their place within it. From top (clockwise): View from High Street; View into Cafe from the Museum

172


The Uncanny | BSc Sharing Place Ross Startin

Sharing Place aims to address the negative impacts that elderly seclusion from society has had on the individual, by integrating them into the outer community. Targeting loneliness as a main cause of negative health, the wellbeing centre focuses on mental, physical and social activities as a means to heal. Through this healing, the elderly community is exposed into society without the negative connotations of illness, and are instead presented as functioning citizens of Dorchester. Located between the old town centre and the new Brewery square development, Sharing Place focuses on creating an urban shortcut to facilitate cross generational activity. From this, a central square and heart is created parallel from the route to give a sense of place to the elderly occupants. From top (clockwise): Exploded Isometric; Hall; Detailed Sectional Perspective; Square

173


Nigel Bedford

Thomas Ambrose

Helen King

Caiseal Beardow

Findlay McFarlane

Oliver Henshaw

Helen Needs

Benedict Hignell

Lydia Whitehouse


BSc | The Uncanny Politics: Made in Dorchester Thomas Ambrose

Politics today has left people either deeply divided on issues or disenthused and disengaged with the whole system. Across the last 70 years, turnout rates at elections have fallen and the chaotic times we see now point only to dysfunction and disarray ahead. Legislative buildings carry some of the weight of this failure. Despite being public institutions, they’re often imposing, unwelcoming and generally disconnected from their surrounding communities. These vital necessities of a democratic society should play a significant role in the lives of every single one of us. Dorset Councils will soon be merged, with the rural contingent in need of a new home. As the county town, Dorchester is an ideal location, but one that lacks a heart. The old Roman forum has been lost over the centuries and the place is in desperate need of both a centre ground an a vital green space. The dead-centre of Dorchester is paved in 11,000m 2 of tarmac. The underused car park is an ideal location for the new county hall, set within a green public realm and acting as a catalyst for growth and development in its surroundings. This project is about the importance of debate in a democracy. It is about the need for diversity, for open discussions and quiet reflection. It is about thought, art and everyday moments. But most of all it is about people and politics. From top (clockwise): View to the Beacon; Perspective Section through Chamber; Primary Floor Plan.

178


The Uncanny | BSc

179


BSc | The Uncanny

levels / boundaries

extend / protect

Music Workshop Caiseal Beardow carve across + through

In the past century, the way we produce, procure and consume music has undergone drastic change. Technological advances have allowed us to disseminate music through a variety of compact virtual and physical formats, dramatically increasing global accessibility. However, this commodification is at odds with the intrinsically communal and experiential aspects of music. The Music Workshop is designed as a physical response to music’s past, present and future societal roles in the context of Dorset’s musical identity. It serves as a permanent home for two local musical investors: Crimson Guitars, a luthier workshop, and DASP Music, an educational charity for young people. The scheme aims to bring musicians, craftspeople, educators and the public together in spaces where they are encouraged to make, explore and play, breaking down traditional audience/ performer relationships. From top (clockwise): Modelled Roof Plan; Entry Sequence; Auditorium; Elevation Study; Music Café.

180


The Uncanny | BSc

Forgotten Frome: Dorchester’s Wetland Retreat Oliver Henshaw

By encouraging the local community to explore the wetlands and develop a deeper understanding of the local wildlife, this scheme aims to bring life back to the River Frome. Many reasons have led to the demise of the River and wetlands. With the varying levels of the River Frome, the area is prone to flooding in Winter and with limited activities and the area’s isolation from the town, many people have no reason to venture out into the wetlands. The local community have little understanding or interest in the Frome’s disturbed ecology so the scheme will house on-site research facilities that will help to broaden our knowledge of the local area. From top (clockwise): Beacon Approach; Nest, Bolt-On Construction; Woodland Retreat; Riverside Retreat; Beacon River Bank; 200 Year Flood.

181


BSc | The Uncanny Onen Hagg Oll: Accommodation and Support Centre Benedict Hignell

‘In an anthropological spirit, then, I propose the following definition of the nation: it is an imagined political community - both inherently limited and sovereign.’ - Benedict Anderson As a signatory of the 1951 UN Convention Relating to the status of Refugees, the UK provides Asylum to anyone who has fled persecution in the own country, has a well founded fear of persecution if they return and is ineligible to receive asylum in any other country. However, for those who can apply for Asylum, it is far from a pleasant journey to receiving a decision on their Asylum Application. For individuals who have faced severe trauma from experiencing war or persecution, the UK’s convoluted system of applications, varying accommodation, support and repeated appeals can amplify the effects of such trauma and has even been found to be rapidly detrimental to people with previously good mental health. Along with providing longer term accommodation and advice about the process, to ensure that Asylum Seekers’ health can actually improve during their application process it is important to help to reconnect them with all of their identities as well as to help them form new layers of identity to best cope with the conditions and customs present in the UK. It is also important for the UK and its citizens to learn from new residents, other cultures and nations to build new layers onto their collective national identity and culture. From top (clockwise): The Square; Omni-faith Hall; Neighbour’s Terrace; Omni-faith Hall Isometric.

182


The Uncanny | BSc Nocturn Helen King

This is a place to treat the underlying risk factors associated with disordered sleep and in turn reduce the need for medication. Extreme environments are created to help people reset the mind and body towards a content and restful sleep. Many who experience this nightly difficulty have a negative psychological association with the act of sleeping. This relationship to sleep can be mended and become one of acceptance and appreciation rather than fear and resentment. When we come to truly respect the darkness bestowed upon us giving our bodies the ability to rest the world of sleep opens up and is a place of fantasy over fear. The corruption of the bedroom through 24-hour connectivity has lead to an increased number of people who experience sleep deprivation and disturbance. Our sleeping pattern has become fragmented, induced by the changing social organisation of society. This shift harks back to the segmented sleep of people in Medieval times. We have not adjusted to this behaviour and the dissolution of the bedroom is only just beginning to be addressed through design. From top (clockwise): Approach to Bedroom; Inside Bed Chamber; Aerial View.

183


BSc | The Uncanny

Within Walls Findlay McFarlane

Since the days of public execution, punishment has receded into the shadows, and prisons today continue to be banished from cities and conglomerated into rural super-prisons. This small, urban, restorative prison on the site of the recently closed HMP Dorchester reverses the reputation of a historic site of public execution, challenges the stigma the public hold against offenders, and facilitates contact between incarcerated and free communities. In making prisons a normal sight, and by giving them a rooted sense of place in their context, the aura of fear surrounding them will diminish. By reversing the inside and outside of the existing gaol, and implementing inmate-served amenities for the public, we can invigorate a forgotten corner of town, bring prison back into the urban consciousness and provide rehabilitative contact with society for inmates. From top (clockwise); Section; River View; Restaurant View; Site Plan

184


185


BSc | The Uncanny

Psyche / Soma Helen Needs

As humans we are characterised by having body (a physical presence, soma) and mind (the nonphysical presence, psyche). Laughter and tears are considered by many to be phenomena which are difficult to explain, but are examples of the mind and our emotions bringing themselves to light through our bodies. Where is the line drawn when we stop considering that our physiological responses may have psychological cause? This project aims to provide a place which focuses on treatment of psychosomatic illness, where emotions or trauma have become repressed, and instead present themselves as physical symptoms. The journey though the building is narrated by a series of boundaries leading towards spaces of calm and retreat in therapy and exercises for both mind and body. From top (clockwise): Protective Courtyard between Therapy Spaces; Meditation Room; Therapy Pool.

186


The Uncanny | BSc

Biblio-Tech Lydia Whitehouse

Biblio-Tech is an industrial park centred around the making and reading of literature and promotion of modern book arts in light of Dorchester’s rich literary heritage. Especially in literature, the historic linear model of industry is becoming increasingly irrelevant as more consumers are engaging with work by creating their own - short stories, blog posts, fan fiction and reviews litter the internet with content produced by ‘Generation Upload’. The need for physical books and the publisher are increasingly undermined by the ability to self-publish and share remotely, leading to the industry’s uncertain future. This scheme aims to re-imagine our approach to the industrial building typology, and create a more sustainable and networked model for the future. Different groups along the production line (publisher, book shop, printing arts and press) are all brought together, uniting all types of making and creating a community more resilient to change. The project is made up of new and found warehouses across the site, and uses reclaimed cardboard tubing and containers as well as brick and aluminium cladding. From top (clockwise): The Main Square; Internal of Bookstack Containers; Inside the Bookshop; The Bookshop from the Yard. 187


Rob Gregory

Rafaela Anastasiou

Kelly Ng

Maximilian Betley

Scott-Siqi Chen

Raven Xiangxue Chen

Kelubia Onaro

Ling Qui

Bethan Scorey


BSc | The Uncanny

The Centre of the Soul Rafaela Anastasiou

For this project I wanted to create a place where people could re-establish their lost relationship with the natural world. A lost relationship with sociological and psychological implications to the modern man, characterised by a general isolation to his/her environment. To that, I suggest a healing retreat, for body and mind rehabilitation, that could offer the opportunity to the modern man to leave behind the mental anguishes of life and reinvent himself through the healing powers of nature, but most importantly through introspection and his own personal spiritual journey. The healing retreat will elevate the conventional bathing procedure, gaining a pneumatic aspect, as the visitor with transits through the 3 main stages; the socialising area, to the body cleansing areas and finally to his personal spiritual quest. A ritual towards the individuals’ enlightenment. From top (clockwise): South Elevation of Spa Area; Looking Into and from the Courtyard; Meditation Garden

192


The Uncanny | BSc

Stonemasonry Centre Maximilian Betley

Dorset owes much of its architectural history to its extremely varied geological strata, with stone forming much of its rich cultural, social and architectural identity. Further to this, there were 5,534 buildings listed on the 2015 Heritage at Risk Register, of which 1,562 were in the South West and in desperate need of repair. I believe a stonework conservation centre is important in the county, to address the urgent need for conservation and reparation of its vernacular buildings. This design project offers a counterpoint to the intentions of nearby Poundbury, by educating architects, masons and craftsmen about traditional construction techniques and the many possibilities of building with stone. Its wider purpose is to reengage architects with the making process and increase the knowledge of stone in order to improve the way we build at present. By encouraging the use of materials more closely tied with their locality and less invasive construction methods we might see more sustainable approaches to building & greater care taken with historical buildings. The scheme itself is exemplary of the work it advocates, by extending and creatively reusing existing buildings on an industrial site. From top (clockwise): Before and After Skecthes; Section through Studio, Exhibition, Workshop and Courtyard; Aerial Perspective; Elevation Studies;

193


BSc | The Uncanny City in a Nutshell: Dorchester Incubator Raven Xiangxue Chen

The agenda focuses on modern day young employees and the common problems they meet due to daily commuting. Dorchester currently is an in-commuting town, with approximately 21% external workforce of the overall employee population. By offering residential, workplace and leisure facilities within one building, this project becomes the new 'home' to these young professionals in the centre of Dorchester, where they will lead a collective lifestyle and furthermore form a thriving designer-based community that benefits the local culture environment. From top (anti-clockwise): Street View; Residential Facade View; Co-working Space; Sectional Perspective; Exploded Axonometric

194


The Uncanny | BSc

The Stress Retreat Lin Qi

The retreat seeks to explore each aspect of well-being to alleviate the stress of modern day civilisation through the medium of water. Through both consumption and bathing; fresh natural spring water sourced by the natural underground aquifer. A rehabilitation retreat facility focused on the relief and prevention of stress on the body, mind and spirit. A centre which not only treats physical stress but teaches and inspires a change in lifestyle and habit. The building offers a mixture of residential, communal and therapy spaces. The centre would ‘heal’ stress using the natural environment and traditional holistic therapies. Focusing on a collective well-being and healing approach to target stress through consultation, spiritual and physical well-being to create long term lasting effects. As water is the most diverse natural element to help aid in the release of stress, there is a direct guest experience with water at every building level, including the use of a hydrotherapy spa centre. A hydrotherapy spa would require a large consumption of water and energy. The building seeks to explore the benefits of water not only through human interaction but also in an environmentally and ecologically friendly way. The scheme intends on doing this through the use and reuse of water and water management; natural reed bed filtration cleaning systems and aquaponic food growth cultivation. From top (anti-clockwise): External Views, Aerial View

195


BSc | The Uncanny

The Schoolyard Kelly Ng

A secondary school about the small scale. At full capacity, the school admits 200 students, which allows a sense of familiarity within its population. The formation of this close-knit community reduces instances of anxiety and isolation common in many secondary schools and which often results in disaffection with the educational process as a whole. The school’s pedagogy emphasises the role of the student in the learning process, which is seen as an active pursuit rather than one of passiveness. The learning programme consists of lectures, discussions, and projects conducted in various group sizes to suit the subject matter. Similarly, the school utilises a variety of spaces to conduct these activities. Learning is no longer confined to indoor classrooms - it is also carried out as large gatherings and projects in the covered outdoor courts, hands on work in the allotment, or quiet contemplation in the school’s gardens. From top (clockwise): Section through Classroom and Courtyard; View Down the Street; Scheme Overview; Opposite: View of Central Court

196


197


BSc | The Uncanny Dorchester Forum Scott Chen

As a historic market town, the market is an important character in the memory of Dorchester. Nevertheless the global decline of the typology since the last century is unfavorable for the town, causing Dorchester to become a less popular destination in the county and a place losing its identity. The project aims to bring the market back to the town in a more central position to regenerate Dorchester. Evoked by the Roman history of the town, the project is inspired by the Roman Forum and aims to explore the social meaning behind the marketplace, proposing a typology that integrates market and social programs including a community hub, theatre, gallery, auction houae and cafe. Regarding markets as a theatre of life, the scheme intends to create a stage to celebrate the interaction of people, becoming a social hub in Dorchester. for people to shop and meet in the new Century. From top (clockwise): External Perspectives; Cross Section; Aerial Perspective; Internal Perspectives.

198


The Uncanny | BSc The Wallwork Archaeological Gallery Kelubia Onaro

My architectural proposal is for the creation of an art gallery in Dorchester for the local artist, many of whom feel an absence of gallery space to display their work within their community. Thus, the Wallwork gallery represents more than just a building for the display of one artists work but aims to give a voice to the Dorset artist by encouraging public support of local art through exhibitions, public use of the gallery and the display of work of Dorset artists of a similar genre. The resident artist, Amanda Wallwork is a landscape artist, whose art is based on archaeology and geology and aims to reveal untold secrets about the Dorset landscape through her works. It is my aim to bring her work to life through the architecture of the gallery by taking elements from her design process and from the geology of the Dorset landscape and the chosen site so as to design a piece of architecture that not only speaks to her art but takes visitors of the gallery on a journey of self discovery and enlightenent through landscape enabling them to become a part of her process and most imporatntly allowing them to be inspired by their city and its landscape. From top (clockwise): Sectional Perspective; Aerial View; Exhibition within the Chasm; Landscaping Plan

199


BSc | The Uncanny Dwell Bethan Scorey

In a climate of speculative housing developments, renting and relocating, what if ‘home’ no longer applies to a house itself but rather the community that house belongs to? It’s no coincidence that modernism proclaimed open plan living, transparency and technology in the house; we are ready to allow the public realm and its promise of human interaction and community back into our homes. A direct response to the adjacent Poundbury development, my scheme is an exploration into settlement patterns and how a change to the composition of the house itself and its relationship to its neighbours, could generate and sustain the type of community that contemporary suburban developments fail to promote. The limestone wall is the first imprint upon the site; akin to foundations it anchors the settlement to the soil in an expression of permanence and community. Comprising each of the thirteen houses’ living spaces, it becomes an inhabited wall which defines the boundary and the shared garden. Meanwhile the introspective timber elements provide each house with a main entrance to allow residents a degree of privacy and individuality within the communal, allowing visitors to identify each house separately from the outside. From top: Different Conditions of Space; Communal Space

200


201


Rob Grover

Bram Winterford

Isaac Tam

Nathan Davies

Emma Moberg

Matt McCluskey

Veljko Mladenovic

James Wright

Edwin Chan


BSc | The Uncanny The Automatic Workshop Bram Winterford

This new facility for a local company in nearby Poundbury is a centre for the design and testing of components for industrial robots. This intervention on top of an existing car park adjacent to Dorchester’s high street makes it easily permissible to the public. As such, despite being an industrial building, this scheme provides spaces for visitors to experience the robotics industry firsthand. Consisting of exhibition spaces, a lecture room and a canteen area on the first floor, and offices, workshops and employee spaces below, this building provides for a wide spectrum of users by exhibiting a simple industrial clarity that aids functionality and navigability. The scheme’s textured concrete ‘chimneys’, glazed walls, steel meshes and polycarbonate roofs all suggest a kind of layered translucency; a foggy window into a usually opaque enterprise. From top (clockwise): Perspective of the Building Entrance; Perspective from First Floor Hall; Isometric; Concept Image; Front Elevation.

206


The Uncanny | BSc Casterbridge Studios Nathan Davies

Casterbridge Studios aims to tackle fundamental discrimination and prejudice towards the refugee community, challenging the rise of right-wing populism the world is currently enduring. Through direct intercultural contact, a microcosm of understanding and unity will be fashioned crafted by the hands and minds of two communities as they become one. The provision of urban autonomy to the migrant community, in addition to restoring the dignity and pride that is sure to have been deposited on the streets of countless European cities, would catalyse the demonstration of their inherent capability to successfully contribute, integrate and benefit their new host community. As with the movement of refugees across Europe after the Second World War, these newly integrated communities will once again challenge the rise of right-wing political establishments and can suppress outdated nationalist ideas. The project endeavours to construct a place of opportunity, education, and excitement that fosters participation, social interaction, and long-lasting relationships for Dorchester’s residents of all religions, classes, and origins. From top (clockwise): View Inside Creative Therapy Space; View Showing Route and Copper Thread; View Showing Multi-Use Hall and New Public Plaza

207


BSc | The Uncanny

Dorchester Alms House Matt McCluskey

The Dorchester Alms House is a subversive alternative to generic retirement homes. A focus on enriching the community and enabling social integration between people of all backgrounds are key objectives of the proposal. Located adjacent to a defunct medieval Alms House, the scheme sits at the heart of Dorchester, ensuring the constant presence of people and preventing the Alms House from being isolated from society in the way that many modern retirement homes are. Living accommodation provides a place of residence for people over the age of 65 who have lived in Dorchester for the majority of their life, and are still capable of living independently. Alongside, accommodation for a master, matron, and guests will ensure that they can be cared for should they fall ill, and can be visited by family members. A Communal Dining Space and Chamber act as buildings for the whole community. “One of the first questions we ask potential residents is, ‘What can you give to life in the Alms House?’ But also, ‘What can you give to life in the village?’” - Canon Paul Jenkins, Master of Hugh Sexey’s Hospital, Bruton, Somerset From top (clockwise): Axonometric View; External Views; Alms House Sectional Perspective; Communal Dining Space Sectional Perspective; Chamber Sectional Perspective 208


The Uncanny | BSc

209


BSc | The Uncanny The Quantum Cave James A.D. Wright

We live in a Digital Age, where we depend on technology for our survival, and if Artificial Intelligence became conscious it would either be the best or worst thing to happen to humanity. The hall of communication aims to de-construct any preconceptions that people have about machines, and encourage communication between the two parties to ensure better mutual understanding going forward into the future. Two “Everyday� reclaimed rammed earth blocks, for the staff and public, sit behind a pre-historic hillfort. The Hall of Communication stretches over one of the long abandoned barrows, constructed using gabions from the stone below; brass openings and connections highlight the presence of the machine. Abbotsbury Castle is a beautiful spot, where man and machine could both appreciate their tripartite relationship with nature, with an endless view out to sea. From top (clockwise): Entrance Void; Communication Hall Exterior; Hall Interior; Hall Detailed Cutaway; Tripartite - Man, Nature and Machine

210


The Uncanny | BSc

Lost Villages Isaac Tam

Gifted with a stunning variety of natural landscapes and a rich history of human settlement, Dorset has always been characterised by a deep connection between man and land. The rural life of Dorset, a county relatively “immune� to the effects of industrialisation, is essential in the understanding of its past development, and of its current landscape. This project focuses on the deserted villages in Dorset, and sets out to record and honour these lost communities that form an important yet largely invisible part of Dorset’s history. It proposes artefacts to be collected from lost village sites, and to be curated across the abandoned landscape of the deserted village of Winterborne Farringdon, south of Dorchester. The resulting scheme consists of a landscape proposal that appears as a ghost of its former settlement, covered by pavilions that display the collected village artefacts, and a visitor centre to celebrate this neglected part of Dorset heritage. From top (clockwise): Site Plan; Aerial view; Visitor Centre Views; Pavilion View 211


BSc | The Uncanny

Dorset House of Clay Emma V. Moberg

The Scheme is a School of Ceramics and Production Pottery on the historic West High Street in Dorchester. It acts as a Modern Guild where production on site, teaching practically through apprenticeship, connection to the high street and city life are essential aspects. The scheme stems from an interest of stories and ideas manifested in form and physical objects. Programmatically it stretches along the site’s North-Sourth axis. A Brick Landscape inserted on the site provides space for firing, drying and storing the pots. Between the masonry volumes sits a fine steel grid defining the internal created spaces from the external providing light, open working spaces for its users. Engaging the Public and the locals of Dorchester is essential, aiming to evoke curiosity and enthusiam around the made object in its context. From top (clockwise): Exploded Plan; Presence on the High Street; The Raku Courtyard; Approach from Borough Gardens

212


213


BSc | The Uncanny Mai-Dun Veljko Mladenovic

The western world stands on the verge of spiritual rebirth. A fundamental change of expansion, we are beginning to look within ourselves once more. Soul, that ethereal, yet neglected part of our being calls to us once again, and it is the Shaman that answers. Mai-Dun, a shamanic monastery overlooking Dorchester, is where the Shaman meets his spirits. Darkness and Maiden Castle’s roots to the archaic foster a direct link to the unconscious, the unfamiliar realms where our souls restlessly wander. Through ritual action and the aid of spirit guides, the Shaman conjures the power and knowledge required to help those around him re-find the other self. The monastery is a monolith. An integral part of the landscape, concealing its spirit just as the body conceals the soul. It is a journey from light to darkness; from the hylic to the pneumatic; from the conscious to the unconscious.

214


The Uncanny | BSc Symphony in Dorchester Edwin Chan

Sound Buffer from the Rail

Given the shortage of performance space in Dorset, Dorchester has the opportunity to become the cultural centre of the county, by expanding the provision of exhibition spaces for art and a variety of performance spaces. On the site beside the rail, which borders the Maumbury Rings and Brewery Square, I have decided to locate a cultural centre, consisting of exhibition spaces, a 600 seat concert hall and a 150 seat recital hall. From top (clockwise): Concert Hall; View from Maumbury Rings; Exhibition Space; Entrance Forecourt

Connection to Maumbury Rings

Foyer for Maumbury Rings

215


Vanessa Warnes

Folasade ‘Flash’ Okunribido

Tobias Stafford

Maliina Toivakka

Thomas Cunningham

Joanna Foxley

Tori Ellis

Savvas Procopiou

Emma Matthews


BSc | The Uncanny

The Hale Folasade ‘Flash’ Okunribido

Depression is on a rise, with one in four of us experiencing it in our life time, there is an increasing need to address the problem. The illness is passed through generations and is becoming most potent in the young. The Hale is a centre for young people facing depression. The building aims to shed a light on the user, that they may find a route to recovery through psychological, physical and self healing. The building itself acts to heal through nature as well as providing, Horticultural Therapy, Art Therapy, a Social Hub, Hydrotherapy and a small Cafe, with an essential area for Psychological Therapy. The scheme aims to give people a choice. A choice to be inside or outside, a choice to be in a group or to be solitary, a choice to be in the dark or the light. From top (clockwise): ‘Transcendence’ - View on entry to the large hydrotherapy Hydrotherapy Pool

220


The Uncanny | BSc


BSc | The Uncanny

University of the Third Age Maliina Toivakka

The University of the Third Age provides a new approach to the post-retirement life and an opportunity for lifelong learning. Our current approach on old age and how we treat the elderly has created a lot of issues in our society. The aging population faces isolation and loneliness, segregation from other generations and the community as well as a decline in mental health. To help create a dignified and meaningful life for the elderly, a new approach on the Third Age is needed, considering it as an opportunity and focusing on the future. Today’s active third age has recognised the benefits of lifelong learning and it’s a fast growing movement that I really wanted to promote and help improve with my project. The aim of the scheme is to create a destination within the centre of Dorchester that connects the community and the Third Age. From top (clockwise): Street View; Entrance

222


The Uncanny | BSc

Re(planned) Obsolescence Joanna Foxley

As densities increase and consumption patterns change, innovation will make waste-toenergy an acceptable and affordable source of renewable energy. This provides an opportunity for architects to integrate large industrial buildings physically and programmatically within their urban or suburban contexts, as well as potentially lessen the generally negative perception of this disputed building typology. The recycling and waste to energy plant will become a social meeting hub for the community of Dorchester; a centre for recycling and exchange of ideas and experiences, regarding repair and reuse. In practice, waste will be converted into energy, providing electricity for all 11,000 dwellings in Dorchester. Open to all, the workshops on site give people the opportunity to learn how to repair and renew objects they may have previously thrown away. There is an artist studio and four workshops, each specialising in a different material: textile, wood, metal and plastic. Members of the public are encouraged to bring along any defunct object to the appropriate workshop with the aim to learn to see their possessions in a new light and appreciate their value. It should help change people’s mindsets and kindle their enthusiasm for a more sustainable society. Repaired and no longer wanted items are taken to the cafÊ on site, The Swap Shop, and left for others to pick up and use. In a world where waste is simply another part of an object’s life it no longer becomes an issue. The entire proposal exhibits how to recycle and new ways in doing so. When we give value to things we may have previously defined as waste and of no merits, then the spaces, objects and people that make up our cities, instantly have the potential to become something extraordinary. From top (clockwise): View from the Central Spine; Entrance to the ERF and Upper Walkway; The Workshops; Partial Night Elevation Study; Axonometric of the Scheme; Section through the Workshop and Communal Workshop.

223


BSc | The Uncanny Omnisanctum Savvas Procopiou

Places of worship now serve a different purpose to that which they did historically. They used to be a place solely to find a connection with God, and pray, and provide sanctuary in what were more perilous times. These factors still exist today, however it has been developed further into places of worship providing a place to escape from the perils of modern day society, those being consumerism and technology. They seek to provide a place of solitude, reverence, peace and tranquility. The future Multifaith Sanctum seeks to provide a place for reflection, reverence and quietitude for all, to encourage and provide a platform for the education of different religions, and accommodate for those wishing to go on retreat and further their knowledge and/or practice of different religions. The Sanctum as a whole therefore consists primarily of a worship space, educational facilities, social spaces and a retreat From top (clockwise): View through Worship Space; Library; and Cafe Seating; Section through Courtyard; View from the High Street.

224


The Uncanny | BSc Doves on the Dorchester Watermeadows Tobias Stafford Breaching the strict boundary between Dorchester’s urban townscape and the surrounding countryside, the monastery provides a lifestyle with the same sense of sacrament and tranquility as might be found in a traditional religious institution, focused on a shared appreciation of nature rather than on a traditional or more formal faith system. Backing onto Dorchester’s derelict prison with its connotations of confinement utilised as a foil for the monastery’s open views and spacious situation within the natural landscape, and referencing the medieval Franciscan Friary and watermill that once stood on the site, the building sits embedded in a steep, wooded slope, overlooking the historic watermeadows. While farming on the newly reinstated watermeadows allows the community to be self sufficient, a material pallette of timber and rammed chalk dug on site connects the inhabitants to their immediate natural context, and dramatic fluctuations between light and dark and open and closed spaces provide moments in which to contemplate nature. From top (clockwise): Walled Garden Church; View onto Broken Chalk face; Cell Wing Corridor.

225


BSc | The Uncanny Tektorium - The Builder Factory Thomas Cunningham

A design and build college, this project aims to bridge the professional and practical disconnection between designing and building. I believe that humans have a collective unconscious of the repressed master builder, which can inform and guide our actions when designing and constructing. It is hoped that this project will evoke the positive aspects of the uncanny to enrich our built environment and advocate the reintegration of our profession into the ‘real world’. Tektorium is not a romantic ode to the master builder, nor a plea for its return. Instead it aims to better prepare graduates to work in a fully collaborative world. For example, architects that can engage with the delivery of their projects, or craftspeople that can contribute to the detailed design of schemes. In addressing the uncanny locality of Poundbury, the scheme aims to reinvent traditional design elements in a functional manner that responds to stringent development criteria. The result is a courtyard scheme housing studios, workshops and learning facilities, anchored by an immersive and energetic construction yard and assembly shed. From top (clockwise): Zoning Diagrams; Detailed Craft Area; Studio Desk; Construction Courtyard; 1:10 Tectonic Models: Jamb, Rain Chain and Movement Joint.

226


Salk Institute Louis Kahn

Berumquatem liquisit vene omnisit laborepero modis dolor alibus mo et occum ipidio quam sit odit pa se niendi dolut voluptatur? Qui dolorepel eaquam, utendaesed eum eum idust, ommolum veliquo ssequi blabo. Oluptatiant, vellatur? Qui consequis mos dolorruntis quiatur, siti officit eicium ut et pelenes tibus, volupta volore, seque volore assinve litatint mo dolente volorepero tentiantem hicia vellate ntiusdam, aut porum quia volorror secabo. Porum doluptati consequi dolupta solestiate la as as eosaper chillores seria descium entibusda coremquam fugia sero et offictureni cusanda soluptatur audic tor sunda velit, apis et reperit eatempor sunt odios arumqui commo occatis di consene eostia sit praturi quo intures maio tempos destrum sequae ma debis debisci atquaectium, vellacerrori quodit omniendipsam si con conse ma aut quasperitiam alibeaquos eat magnatia cuptiisti sa dolupit imus nonsecu llique exeratu rectore henihit atempor From top (clockwise): Section through Cafe, Courtyard, and Exhibition; Plan; God’s View;

227


BSc | The Uncanny The Pig Shed Tori Ellis

The Pig Shed aims to reconnect civic life and pork production. In todays gluttonous and wasteful society we have put increasing pressure on our food production system, which has championed cheap, convieient, low quality products. Understanding and valuing where our food comes from by educating people about the marvel of the pig is extremely important as we strive to lead more sustainable lifestyles and reestablish the symbiotic, relationship between humans and nature. An overarching market will strive to ‘culitvate, educate and put on plate.’ An on site abattoir and kitchen gardens will allow food to be cultivated on site. A classroom, library and business development center will provide education throughout the building. Specialised restaurants overlooking the buildings activities and cafe will serve local food predominatly from the site. Interspersed through the building are five brick chimneys which showcase the pork production process contianing the activities of; an abattoir and associated processing, butchering curing, smoking and eating. Togther the Pig Shed will provide users with an immersive learning experience into the origin of pork. The Pig Shed acts as a link between the new urban woodland with pigs situated on the south of the site and existing market on the north of the site. It will allow all aspects of the process to flourish together reconnecting field to table food production, farmer to consumer physical interactions and rural to urban communities. From top (clockwise): Approach from Brewery Square; Internal Market Space; Approach from the South across the Urban Woodland

228


The Uncanny | BSc Persona Emma Matthews

I have designed a centre for adolescents suffering from eating disorders, in which the users can reconnect their body and mind aided by the natural world. The spaces in the centre provide for a range of therapies, with a focus on therapy through creation, cultivation and movement. In particular I have focused on the benefits of horticultural therapy. The physical act of gardening engages the body, whilst herbs, flowers, fruit and vegetables can activate the sense of smell and re-engage the patients with food. Also in the act of growing plants and learning to care for something else, the sufferers can learn to care for their own bodies. Whilst some areas are open and engage with nature, the more personal and inward looking spaces have a degree of privacy and intimacy. From top (clockwise): Perspective from the Terrace; Perspective from the River; Sectional Perspective

229


MArch Architecture


MArch Fifth Year Toby Lewis

The brief for the main project this year is for Artists’ Studios containing: studio workshops, class rooms, lecture theatre, gallery, social and performance spaces. For the first time in 5th year we worked with a live client: Bath Artists’ Studios. This is their 20th anniversary and it is hoped the projects will provide a focus for debate on the future of creative workspace in Bath. The three project sites are by the river in Bath, a choice from: Windsor Bridge Road, Upper Bristol Road or Comfortable Place. The aims of the studio have been 1. To encourage each student to explore and develop their own design processes through a series of structured exercises. 2. To develop designs that address a range of scales from urban design and landscape to detail and material. 5th Year Helsinki Kalasatama Masterplan Proposal 236


MArch

The students have undertaken: - A ‘live’ threshold installation, building a group design - A manifesto on ‘beauty’ in image and text - An observing and recording exercise focused on the site - A placemaking mapping of the city from skyline to skyline - A concept workshop on ‘asking, looking, playing and making’ - A Rhino and Grasshopper CAD modelling workshop - Precedent studies of landscape, building, concrete and timber - A ‘muff on a huff puff’ game of architectural consequences - A concrete detail with a fabric formed concrete workshop - Or a timber detail with a timber structural strategies workshop - A landscape design exercise for the project site - A group urban design in Helsinki for the Kalasatama region - A building environment workshop - A series of book reports on current approaches to architecture Students have also been encouraged to design with models and to present their ideas through sketches or unfinished work. These combined have required the students to work very quickly and productively, to change gear from what some of them have been used to, to ‘jump in and splash around’ as Dennis Lasdun put it. From top (clockwise): Sketch Model by Danny Higham; Concept Model by Eilish Barry; ‘Threshold Dietro le Quinte (Behind the Wings)’ Team Installation 237


MArch

From top: Bath Artists’ Studios by Peter Cross; Bath Artists’ Studios by Lang Jin 238


MArch

Fabric Formwork Concrete Exploratory Model by Peter Cross 239


240


Sixth Year | Sustainable Cities Prof. Alexander Wright

During the first part of the final year of the Master of Architecture programme students carry out urban design projects in groups in a European city of their choice. In 2016-17 the cities studied were: Brussels, Larnaka, Leipzig, Sarajevo, St Petersburg and Tallinn.

The second half of the year is spent entirely on the students’ individual design projects. Studio work is supported by architectural tutors and specialist consultants whose aim is to help students develop and resolve the final academic project of their architectural education.

Each group carries out desk-top studies before undertaking their site visit, during which they carry out further research and analysis of their chosen locale within the city. The students then return to Bath where they explore transformative urban design proposals for their locale, based on the principles of low carbon urbanism.

The project provides the opportunity for every student to employ the full range of knowledge and expertise they have gained in the course of the architectural education. Each student is encouraged to pursue their own agenda for the project and to use the opportunity it provides as a spring board into their professional careers.

The final part of the semester is dedicated to individual work during which students prepare a design brief for a building within their locale. This builds upon their city research allowing them to develop a brief appropriate to their chosen site and consistent with the needs of local people. Students can link their final design project to the subject of their Research Paper, should they wish to do so.

RIBA Wessex Prize: Fraser Wallis Departmental Environmental Prize: Emma Hugh Departmental Landscape Prize: Emma Hugh Departmental Dissertation Prize: Thomas Gregory 241


MArch | Brussels

B RU S S E L S Belgium BRUSSELS CANAL MASTERPLAN Lee Hui Khoo Hai Wang Andreas Panagiotou Chen He Shijian Zheng Brussels, in its current state, invests a lot of its public facilities in its historic centre, appealing to the tourists as well as the privileged. This marginalises the rest of the city, especially the underprivileged population as they are delineated from the benefits of the city. The Brussels Masterplan identifies the canal quarter, an important waterway in the 19th century, to be quintessentially the representation of segregation and social divide.

Exposure & Enclosure Creating a variety of habitable spaces of visual continuity along the canal to create new waterfront experiences

The challenge of the masterplan is hence how to find a way of utilizing this lost industrial land in turning it into a place of inclusivity and positivity. The aim is to create an additional centre along the canal stretch that sets up as a common ground for all communities whilst realising the importance of the waterway for it to be rediscovered and appropriately redesigned fit for the current and future needs of the city.

Inhabitation of the Canal Inhabiting the canal at multiple levels to enrich canal activities and to create a new urban oasis within the canal territory

242


Ta x is

r&

(

f

ou )T

(e)

(f) Tour & Taxis

Ar

t i st i

c Qua r

ter

(e) Artistic Quarter d Por te e Ni nov

(c) He

(d)

(d) Porte de Ninove

yv

e

aer t

( b) Abat t

o

ir derlecht

W

et

An (a)

la n

d

(c) Heyvaert

243


MArch | Brussels

Although for a long time considered as a barrier, the canal with its strategic location between a multitude of characterized neighbourhoods and the historic core, in fact has a great potential for an urban re-composition aimed at better integration of economic, property, social, environmental and cultural dynamics. Utilising the Canal as the Urban Connector, the masterplan introduces a ‘Park-to-Park’ green thread from south (South Anderlecht) to north (Laeken Park), consisting of a series of accessible green spaces and different waterfront public realms along the Canal. Furthermore, the inhabited Canal also provides significant responses to the need for social infrastructure such as quality housing, cultural equipment, workplaces and social spaces. The Canal Territory is re-imagined as a new common ground for the communities to meet along and to cross the invisible barriers. Right and Bottom: 1:200 Proposed Canal Model

244


Bringing the Communities together The masterplan aims to reduce the barriers between each commune by encouraging people from various cultural groups to come together in the extroverted spaces of the canal.

Celebration of Canal Heritage The masterplan preserves structures of historical significance and where possible introduces new uses to them to regenerate the areas these structures are situated in. 245


MArch | Brussels

Molenbeek Art Centre Chen He Molenbeek is affected by the typical metropolitan problems, it is a place of contrasts and complexity where waves of immigrants resulted in a mix of cultures living together, set apart from Brussels centre. The edge between canal and town ought to be a thriving focus for the community but currently, there are no amenities or facilities in this location. Arts and creative activities can play a strong catalytic role in the social and economic revitalisation of Brussels. Community-based arts can bring new people and vitality to the canal, provide much needed leisure and cultural activities and encourage creative expression. The Molenbeek Arts Centre’s mission is to assist in the rebuilding of Molenbeek community area and its traditional neighbourhoods, as well as assisting surrounding areas and Brussels. It hopes that this community facility could reawaken the canal as the focus of the town. The project proposed not only as a workspace for the creative members and but also as a public place and thoroughfare to encourage interaction. From top (clockwise): On the Street Level; On the Canal Level; Visual in the Artists’ Studio; Visual in the Gallery;

246


Brussels | MArch Thaelie Art Museum & Artist Residency Lee Hui Khoo

The new Thaelie Art Museum and Artist Residency aims to fulfil the current major lack of purpose-built contemporary art museum in the city of Brussels. The project seeks to respond to the experiential turn in Modern Art which calls for a rethinking of the display methods, by celebrating the contextual relationship between art and architecture as well as the visitor’s engagement with art. The museum comprises of two main art galleries, the Permanent Exhibition which is constantly revolved around light and darkness, mass and void, and the Temporary Exhibition which allows patient explorations of the artist residents’ experimental works. From top right: Arrival Hall, The Permanent Art Galleries: (left) “From Here to Ear” (1999) by Céleste Boursier-Mougenot (right)“Narcissus Garden” (1966) by Yayoi Kusama, and Art Garden Courtyard.

Second Floor

First Floor

Ground Floor (Main Street Level)

Basement Floor (Canal Water Level)

247


MArch | Brussels Pavillons D’Urbanisme Andreas Panagiotou

Brussels is characterised by conflicting patterns of urban planning. In the 1950s, the city’s fabric began to experience radical deformations, when controversial large scale demolitions took place to make way for high capacity office towers. The city’s new role as the de facto capital of the European Union and NATO led to the proliferation of such office buildings and modernist apartment blocks. Brussels soon gave way to rapid uncontrolled urban development. The project attempts to bring citizens, planning officials and scholars together to openly question new urban development and debate the possible future trajectories of the city. In particular, it is a Museum disseminating knowledge and juxtaposing the heritage of the city with current issues in order to suggest future urban interventions. It is also a Forum engaging the public in the process of urban renewal. From top (clockwise): ‘Arrival’ with the Forum and the multistorey Museum, Aerial View, and Site Plan.

248


249


MArch | Brussels Performing Arts Centre Hai Wang

An aspect of the quality of urban life is the provision of places where people can gather in formal and informal settings. Buildings for the performing arts contribute to a pattern of provision with places for people to gather and appreciate performances of music, dance and drama. It establishes social connections as well as cultural exchange. The proposed Performing Arts Centre, situated at the heart of Brussels, is concerned with the realization of such socioeconomic aims by reconnecting the fragmented communities through the act of self-expression and performance. This is achieved through: 1) Connectivity within the urban context to become part of an cultural hub 2) Flexibility and accessibility within the public spaces to welcome people from all communities 3) Celebration of Theatre through the sense of arrival and inhabitation From top (clockwise): Exterior View from Main Entrance; Interior View of Lobby; Interior View of Flexible Theatre; Exploded Isometric Public Entrance Public Staircase Public Lift Entrance to Restaurant/Bar Private Entrance

250


Brussels | MArch Jules de Trooz Interchange Shijian Zheng

The proposed Jules De Trooz Interchange is a new typology of station complex that mixes the facilities of a traditional station with culture, retail and food & drink premises. The vision is to create a transport interchange that also exists as a destination for a multitude of activities. In addition, the scheme also deals with issues such as homelessness, littering and poor transfer link, all of which are real life problems associated with station hubs in Brussels. Jule De Trooz Interchange primarily provides three forms of public transports: cable car, waterbus and tram, which symbolically means opening up the city’s transport corridor in the air land and water. In a city context, the station marks the entrance into Brussels from North-West, acting as a secondary interchange point that connects passengers onto national railway network at Brussels Nord and Brussels Midi. The station activates Brussels green space and waterways, and extending the tram network to the new north quarter of the city. Finally, the station forms the key landmark of Basin Vergote, which is transformed to become a new vibrant location in the city of Brussels. From top (clockwise): The ‘gateway’ view, Southern Entrance, Cable Car Terminal; Station in the City;

251


MArch | Brussels

252


Brussels | MArch

253


MArch | Larnaka

L AR NAK A Cyprus YDROPOLIS Freddie Bond Thomas Boshell Marialena Byrou Emma Hugh Hannh Richmond The Ydropolis masterplan looks to harnessing Larnaka’s plentiful yet ignored resources, saturating the city via underground seasonal water storage as well as solar desalination methods. Excess stormwater from the surrounding mountains is directed and retained under the city for use during the summer; this subterranean system sprouts new growth above ground, creating green moments and routes to the coast, culminating in public plazas. Simultaneously, saltwater is brought inland via a series of channels where it is then desalinated within re-purposed oil silos which harness Larnaka’s harsh solar conditions. The meeting of these two water bodies culminate in the extensive re-imagining of Larnaka’s industrially ravaged coastline. Cleaved from each other for over 80 years by a now-redundant oil industry, the city and sea are once again re-united. Through addressing water management at a macro and micro scale, the Ydropolis masterplan aims to retain water, young people and tourists by harnessing Larnaka’s untapped resources to create new community hearts, a research district that specialises in the growing effects of climate change and a living coastline. In doing so, Larnaka will be reinstated as a thriving ecotourist destination and a test-bed for the problems faced by our future cities. From top (clockwise): The Vision, Masterplan Plan, and Problems and Solutions

254


Larnaka | MArch Identified Problems

Proposed Solutions

Water Scarcity and Abundance

A Sponge City

Larnaka experiences water shortages and flash flooding, water from which passes through contaminated land before being lost to the sea

By harnessing the flood water and bringing it into the city where it is more needed, imbalances can be restored

A Disconnected City

A Network of Connections

The city lacks in connections between the tourists and the locals, as well as the city and the sea

A series of ‘arroyos’ (routes) and ‘oases’ (hearts) create connected communities, bringing tourists into the city and Larnaka’s culture to the forefront

Abandoned Industry

A Living Coastline

The loss of the oil industry has left a significant part of the coastline in an unaccessible and contaminated state

The coast is returned to the people of Larnaka, completing the green ring and creating a new landscape thriving in ecology and plant life

Poor Public Transport

An Active Threshold

A lack in public transport and a busy seafront road disrupts connections with the sea and makes for an unhealthy city

A new tramline and park and ride system allows for higher pedestrian priority and a healthier, more connected city 255


MArch | Larnaka Macro Water Strategies

Micro Water Strategies

Sand Filt ration

Seasonal Storage

Subterranean Storage

Greener Streets

Rainwater Harvesting

Porous Pavements

Subterranean Distribution

Water Plaza

Separate System

Planted Waterfront

Raised Pavements

Sand Filtration

Solar Desalination

Tank Storage

Ideology

Rain Gardens

Water Play Areas

Urban Farming

Phytoremediation

Sponge Soils

Bioswale

Reed Beds

Saltwater Planting

Freshwater Planting

Delay Obstructions will slow down the water and allow the groundwater to recharge.

256

Retain

Re-use

Desalinate

A reservoir will hold water to recharge the aquifer and allow water to be fed in to the subterranean system.

The water will be stored beneath the city, creating new community hearts and cultivating density around them.

In addition, sea water will be brought in and solar desalinated to create an additional sustainable water source.


Larnaka | MArch

Freshwater Productive A productive strip of landscape will be planted along the edge of the built-up area. The intention is to encourage local restaurants to grow their own produce, creating a direct connection between consumption and growth

Water Plazas In order to ensure no water is lost, each ‘arroyo’ water route will terminate in a water plaza that contains a considerably larger underground storage tank, as well as a floodable terraced public space

Saltwater Productive A strip of salt marsh will run alongside the threshold, irrigated by brackish water from the desalination process. A recessed walkway will allow visitors to experience the habitat without the risk of human intervention on the ecology

The Threshold A threshold is formed along the coastline where fresh and salt water are brought towards each other, but do not touch. This will be the main transport spine for the proposal, where a tram line, cycle path and pedestrian promenade will run

Salt Marsh Salt-tolerant crops will be planted here, as well as Eucalyptus trees to minimise salt spray. This relatively unexplored research will provide Larnaka with food security and the potential to become a test-bed for future sustainable cities

Re-purposed Coastline The current lack of interaction between city and sea is addressed by re-purposing the coast as a series of interventions such as a number of urban beaches, relieving the pressure on Larnaka’s current lone beach which is heavily overcrowded

257


MArch | Larnaka The National Cycling Centre Thomas Boshell

In response to the disconnection of Larnaka’s cycling infrastructure and lack of promotion for cycling as a sport within the country, The National Cycling Centre aims to be more than a just a showcase of bicycles. As an activity centre, it aims to enrich and develop the local cycling culture and promote cycling as a lifestyle and a sport, bringing together different communities to help discover the joy of cycling on an island idyllic for it. The National Cycling Centre combines hotel accommodation, cycle hub, race venue and training facilities for both professional and amateur cyclists as well as the general public. It also acts as a gateway and landmark for all to meet, interact and set off from to experience the masterplan, wider city and surrounding landscape. Visitors are able to cycle or walk through and interact with a multitude of cycling related programs within the building. They can also explore a number of cycling tracks in close proximity to the centre. From top (clockwise): Race Day, The Approach, and The Summit

258


Larnaka | MArch

Estia_The Meze House Marialena Byrou

The personal memories and family values of one’s are the factors that shape everyone as an individual and therefore what informs a society as a whole. ‘Estia’, being influenced by my personal journey of growing up in the small society of Larnaka, re-establishes the value of family; adapted to the current social and economic needs of the city. Through the process of making the traditional Cypriot products that form the Cypriot cuisine (the meze), ‘Estia’ acts as a regeneration project that tackles young unemployment rates and provides opportunities to young professionals to make a starting point on their future work carriers and family life. At the same time it promotes the culture, traditions and customs of Cyprus. The Meze as a whole, is broken down into specific products and is expressed in the ‘Estia’ through the different houses which represent a unique traditional food category. The houses are allocated around the courtyards according to the process of making. Each courtyard is given a specific process method. In that way, the visitor meanders through different scenes and scents in each courtyard, which become part of a holistic journey through the scheme. From top (clockwise): The wine-tasting experience; Showcasing the drying process; Sectional perspective; Entrance into the feast courtyard

Seafront walkway

Salt tolerant trees

Children’s botanical playground

The Coffee shop in the yard

Salt march

Fresh production trees

Dry fruits House

The Hanging Courtyard

Dry meat House

The Feast Courtyard

Meze Restaurant

The Kiln Courtyard

Existing Households

259


MArch | Larnaka Hortus Revivdus A botanical research facility for medicinal plants in the rising crisis of antibiotic resistance.

Emma Hugh

Antibiotic resistance has become a world threat. It currently takes 70,000 lives annually, rising to an estimated 10 million lives by 2050. Cyprus is amongst the highest consumers of antibiotics globally, and the extremely high levels entering the food chain via livestock is putting the population at risk. There has been much research suggesting botanicals might be key to combating antibiotic resistance, yet due to lack of facilities, funding and research staff, their potential has not been explored. The central global position, climate and rich flora of Cyprus makes it the ideal place for world leading botanical research for antibiotic resistance. The proposal takes the theme of the walled garden, and seeks to return the traditional Cypriot home, which puts the garden at the heart. The site is situated within the urban density of the Ydropolis masterplan, so the ‘wall’ acts to define the edge between urban and landscape. This provides a protective layer to the surrounding urban density, whilst internally the programme breaks through the walls, overlooks the garden and out to sea. From top (clockwise): Diagrams, The Garden, The Laboratories, The Cafe & The Concept

260

Inhabiting the Wall

Puncturing the Wall


Larnaka | MArch Seawater Laboratory Larnaka’s Centre for Marine Research, Education and Awareness

Freddie Bond

The Seawater Laboratory provides facilities for innovative marine research, training and field experience for researchers and students enrolled at the University of Larnaka. The design is largely driven by the site’s seawater channel and Cyprus’ Mediterranean climate. The linear form sits on either side of the channel, allowing water to run through the building for research and environmental purposes. A lightweight parasol roof mitigates solar heat gain to a heavyweight roof below. The parasol roof also provides external shading, allowing the boundaries between inside and outside to be blurred and the building to open up to the sea and the gardens. Wide, shaded corridors provide storm water management and spaces for spontaneous conversation, encouraging the cross-pollination of ideas between departments. The scheme aims to re-connect Larnaka with its seafront through engagement with the coastal landscape and the playful celebration of water. By providing local residents and visiting tourists with a glimpse into the inner workings of a laboratory, the building promotes the benefits of marine research, education and awareness and becomes a landmark destination for Larnaka. From top (clockwise): Long Elevation, Atrium, Tank Hall Section, and Long Section

261


MArch | Larnaka

262


Larnaka | MArch

263


MArch | Leipzig

Densifying the Inner City

L E IPZ IG Germany A WALKABLE CITY Jessica Lydiate James Smith Gabriele Ziliute George Oliver Lydia Hair We have reached a tipping point, where more people are living in cities than are not. This trend is only set to increase. Therefore, it stands to reason that if we are to achieve a sustainable earth we need sustainable cities.

Replacing the Existing Ring Road

Cities have sprawled away from their historic centres and into the suburbs. Suburbia caters for the car, leaving communities disparate and disconnected from the services and infrastructure they require. Countering this trend, our Leipzig proposal takes precedent from the walkable communities of the medieval city grid, giving priority to the pedestrian and creating interconnected neighbourhoods. From top (clockwise): Four Key Strategies Diagrams, City Masterplan

Completing the Perforated City Blocks

Connecting Isolated Communities

264


MArch | Leipzig

et Stre igh eH th

e

in M

Zo n

10

ca re Zo ne He alt h

Gateway Weekly Market Location

ol ho

Sc

School Zone -

Marktplatz Inner City Centre

Ho spit als &

Care Facilit ies

Healthcare Zone

Link ing Re sid en tia l

Co m m

1.6km / 20Min

to es iti un

5 Minute Primary Ammenity Strip Green Spaces Recessed off the Street

The city wide proposal can be broken in to three elements; re-invigorated ring road around the historic centre, ‘stitching strands’ connecting communities and the redevelopment of two large, derelict train siding sites.

From top (clockwise): Model for Walkable Cities, Locale Entrance, Kliengarten Living. Overleaf: ‘Shopping List’

266

Mi

n Bu

sin e

B u si n e s

ss Z on e

Re sid en tia l

o sZ

ne

im

ary

C o m m u nity A m

me

i nit

1/

2

een

Spaces

2

es

m m un ity

5 Minute Primary Ammenity Strip

Pr

Inf ras tru ctu re Z one

Gr

in

Split by the River Parthe, a commercial zone is proposed in the southern most part of the site, located within a five-minute walking circle of the central train station, utilising its connections to Berlin. The development is taller along the edge next to the train station to allow for more office space and provide a strong gateway into the site. A ‘kleingarten edge’ (allotments) runs along the railway as a buffer zone, reducing noise pollution from the trains.

200m

M

Approximately 553,000m2, the masterplan locale site occupies a disused railway siding to the North of the city centre. The urban design of the locale implemented a walking circle diagram, seen as a prototype for developing the other ‘stitching strands’ identified. This took the form of an enfilade street providing a series of connected public spaces. Each proposed square has its own character, dictated by the public buildings and occur every 2.5 minutes walk. A secondary network of spaces exists alongside the enfilade, drawing reference to the arcade typology of the city centre.

800m / 10Min

5

The ‘re-invigorated ring road’ becomes a pedestrian focused space, with each ‘stitching strand’ originating from it and becoming new green links containing the distributed items on the ‘shopping list’. The strands are activated by footfall and cyclists with an improved tram network originating from periphery park-and-ride schemes. Installing the new ring road and ‘stitching strands’ provides an opportunity to connect the whole city through one holistic system, with the ring road as a central distribution point for transport, district heating, waste, water and digital infrastructure.

2.4km / 10Min

5 Min

&S ec ond ary one Com munity Infrastructure Z

Frequent Tram Stops - 5 Minutes Walk

tial den Resi

Tram Stops - 10 Minutes Walk

ry da on ec &S

Co


560,000 People 2016

6 Kindergarten & 2 Extensions by 2017 to provide 847 new places. 2017

Reinvigorate existing transport links, increased priority to bike & trams.

2019

National increase in students by 50,000 intakes per year.

Increased power/ water/ waste infrastructure, connecting all to district heating

11 Grundschule / Primary Schools

6 Oberschule / Secondary Schools

6 Gymnasium / Grammar Schools

Culture, Sports and Leisure amenities required to meet demand of population growth 2026

1119,850 [Approx.] Residentail Accomodation 1479

5 Hospitals to provide for 1749 beds [representing a 35% increase]

8 Community Health Centres

10 Nursing Homes to account for atleast a 25% in population of 65 and over 2030

722,000 People

267


MArch | Leipzig Leipzig School of Music Jessica Lydiate

Within the Garden Wall

Music Fronting the Square

Moving between Academic and Musical Education

Workspaces Permeating into the Walled Garden

Protecting the Music

Music Given back to the City

After the fall of the Berlin wall Leipzig’s population rapidly declined. This led to the demolition of many homes and community buildings. The city is now experiencing a boom in population, putting pressure on the cities infrastructure. The masterplan outlined a ‘shopping list’ setting out the requirements for the future growth of the city. The Leipzig School of Music helps to fulfil the masterplan objectives, providing an exemplary place of education. Leipzig School of Music aims to promote the practice of music in a city that has a rich musical heritage, but very little in the way of musical education. Taking precedent from the forward thinking Steiner School educational model, found throughout Germany, Leipzig School of Music aims to establish a new learning environment. This is created by intertwining academic study and musical education to enhance the learning process in both disciplines. The Leipzig School of Music is a place where the community can come together, the student and public alike, to listen, learn and perform. From top (clockwise): Journey through the Building, Music within the Garden Wall, Entrance from the Public Square and Diagrams

Sections 268

Ground Floor

First Floor


Leipzig | MArch The Publi[c]shing House James Smith

The publishing house acts to serve as agent to re-awaken the book industry in Leipzig and re connect the people to the news press. Home to the Lutheran debate, first daily newspaper, 2nd largest book fair and a city that saw the destruction of its book binding industry due to the Nazi and GDR rule it underwent. The unity of the four houses, the printing house, publishing house and archive house is defined by the geometry of the oval. With the definition of the context and exploration of the river a question of the duality of landscape and city condition. Giving the accommodation a focal point towards nature and views across the activities occurring around the building. Based on the exploration of Arcades and HÜfe typical to Leipzig’s city centre. Seeking to become a vessel for the Fecundity of culture within Leipzig. The central yard becomes a room for the city, activated by the pub and food hall. Exploring cultural values and questioning norms by use of the auditorium and the lucidity of tongue of the Food Hall and Public House. From top (clockwise): Courtyard Environment, Ground Floor Plan, Passageway Entrance, Cloister Sandstone Paving Pattern

269


MArch | Leipzig The Centre for Rail Innovation Gabriele Ziliute

On the way to becoming the largest transport industry and railway operator in the world with more than 5,5 million customers every day, Deutsche Bahn are committed to introduce driverless trains by as early as 2023. In response to the urging need for further development and training on autonomous driving and driverless rail vehicles, The Centre for Rail Innovation will facilitate academic research, small-scale business incubation and Deutsche Bahn research headquarters, with opportunities for exhibition and display for visitors throughout the buildings and on-track. The centre will provide a holistic innovation environment for autonomous control technology, which enables a closely linked network between the students and professionals, and also allows external visitors to get a glimpse of the work at The Rail Innovation Centre and become part of the development experience. The proposal is split into the Bahn Shed, accommodating academic teaching facilities and business incubation, and the Bahn Tower across the River Parthe to provide facilities for Deutsche Bahn, inaccessible to public. The proposal will function as a campus, framing the riverside realm on both sides and encouraging social interactions to take place. From top (clockwise): North - South Section through the Bahn Shed, Riverside and the Bahn Tower; East West Section through the Turntable and the Bahn Shed; Autonomous Control Laboratory; 1:250 Site Model: the Bahn Shed, Riverside Public Realm and the Bahn Tower.

270


271


MArch | Leipzig Linden Apotheke George Oliver

A Botanical Pharmacy and Research Laboratories Set Within A Physic Garden Landscape. The proposal combines the masterplan’s practical objective of providing the vital public service of a pharmacy with a poetic re-imagination of the historic physic garden. The garden’s aim is to educate, produce and challenge contemporary perceptions of medicine and well-being. Both pharmacy and physic garden are inspired by properties and mythology of the Linden Tree, the founding tree of Leipzig. Through its massing it defines a variety of public spaces that provide a large range of educational and recreational amenity to the surrounding communities. Within the wider context of a ‘green transect’, the proposal acts as an integral node, for people to gather and pass through as they travel into and out of the city centre. From top (clockwise): Landscape Plan, Glasshouse, Apotheke from Linden Square, Key Move Diagrams

Inhabited Garden Wall

Linear Glasshouse Thread

Monument & Anti-monument

272


Leipzig | MArch “Die Ganze Welt im Kleinen” The Centre for Language + Migration Lydia Hair

Reconciliation through language. Leipzig is not a very diverse city, a sleepy neighbour to Berlin. It has recently undergone a rapid shift with the number of asylum seekers quadrupling in the last two years. This has been in response to the Syrian refugee crisis faced by Europe. Almost inevitably, this has caused friction amongst the population with demonstrations and violence. The School of Language and Migration seeks to reconcile the German and Refugee populations. Language is key. A person’s identity is wrapped up in the language they speak and their ability to communicate. Although the German government offers comprehensive language courses to incoming refugees, this is only accessible to those entering into employment. This, for various reasons, is excluding a large percentage of the female refugee population, who are becoming isolated, unable to communicate. The proposal is for a new language school, specifically tailored for the marginalised female refugee population. Set in the Kleingarten (allotment gardens) the school creates an intentional juxtaposition between the typical German pastime of allotment gardening and a language school for an incoming migrant population. From top (clockwise): Concept Elevations (a building in the kleingarten), Visuals; Language Library, Learning Corridor, Main Entrance.

273


274


275


MArch | Saint Petersburg

SAINT P E T E R S B U RG Russia REFORGING WATER AND FOREST Freyja Clarke Tom Gregory Sam Shortland Jo Steeds Zoe Watson The Saint Petersburg masterplan addresses the city’s key problems: an international disconnect, swathes of underdeveloped land, flooding and widespread congestion. The proposal combines a broader city approach with a more focused, city-centre urban design strategy, which together address these issues. At an international scale the proposal seeks to improve the city’s connections, reforging it as a gateway to the wider country; the city was known historically as Russia’s ‘window to the west’, however, owing to the political and societal upheavals of the last century this has been lost. The Saint Petersburg masterplan proposes the development of derelict land behind three international stations: Finlyandskiy, Moskovskiy and Vitebskiy. Through improving the experience surrounding these international stations, the city’s international image can be enhanced and visitors encouraged to dwell. Below: Concept Diagram Across: Masterplan Proposal Overview

276


277

277


For the city centre congestion is a major problem; Saint Petersburg is dominated by 8-lane streets, making for a hostile pedestrian experience. The masterplan proposes the introduction of a circumferential pedestrianised way-finding waterway, which connects the three station sites and follows the path of the M1 Metro Line. Through the introduction of vegetation, the opportunity for interaction with water throughout the summer, and an ice-skating lane during winter months, the waterway will improve the pedestrian experience. Another intervention involves the regeneration of the most prominent Prospekts in the city, which connect the waterway with the city centre – these will be transformed into Green Prospekts where pedestrians dominate. These create greater walking opportunities, cycle lanes and increased activity zones for residents, contributing to the creation of a healthier city. Left Page: Proposed Green Prospekt (above), Proposed Waterway (below) Right Page: Proposed Site Plans and Character Images

278

GREEN PROSPEKTS

WATERWAY


Saint Petersburg | MArch

FINLYANDKSIY

MOSKOVSKIY

VITEBSKIY

279


MArch | Saint Petersburg

Vodka Palace Thomas Gregory

The Saint Petersburg Vodka Palace aims to celebrate the production of Russia’s most famous cultural export, crafting vodka grown and distilled within the city. The history of vodka is deeply entwined in the folklore and cultural identity of Russia, with its name originating from the diminutive of the Russian word for water, ‘Voda’. The location of the distillery next to Vitebskiy Vokzal, a station built on the site of the first in Russia, ties the project into a rich urban heritage. The proposal to create a new local rail terminus allows the project to form a new gateway to the city, as it is the main station through which commuters and food produce from the suburbs are brought into the city. As well as opening up the production of this national drink to the public, the distillery will create a public space in which people can gather to enjoy the collective experience of eating and drinking. From top (clockwise): Early Concept Sketch; Drinking Hall; Botanical Drying Tower; Tsarskoye Gardens

280


Saint Petersburg | MArch

The Applery Sam Shortland

The Applery was a medieval guild whose mission was to promote the apple in all forms and taught the craft of apple growing, planting orchards throughout Britain. The name of this project is inspired by this ancient order, as the project also seeks to celebrate the Apple. Russia is currently experiencing mass shortages in apples due to a volatile political landscape and is seeking 90% self sufficiency in apple production by 2020. This is coupled with a nation still experiencing a general deficiency in fruit and vegetable intake, a legacy of the Soviet era and the harsh climatic conditions of the country. These are some of the initial inspirations for the choice of an Applery in Saint Petersburg. The Applery includes a Cidery, Research Facility and Visitor Spaces. Right Column: Plan Parti, ‘Inhabited’ Section; Middle Column: Outer Orchard, Sapling Garden, Pollination Garden, ‘Industrial’ Section; Left Column: Cidery Walkway, Cidery.

281


MArch | Saint Petersburg

School of Lutherie Freyja Clarke

The Saint Petersburg School of Lutherie, violinmaking, celebrates the city’s musical heritage whilst bringing education and skills to one of the city’s poorest areas. Saint Petersburg is a city historically known as Russia’s ‘Window to the West’; a show city that celebrated music and the arts. During the Soviet era Saint Petersburg closed its doors to the West through a literal ban on travelling and the rejection of Western music and culture. The city saw dark days and the exodus of its greatest talents. With this, the trade and art of lutherie, the making of stringed instruments, was lost. Since the fall of communism, the city has emerged slowly from the darkness but it is yet to see the trade of lutherie restored. With exhibition and recital spaces, the Saint Petersburg School of Lutherie honours some of Russia’s greatest violinists and extols the beauty of the violin: its sound and its craft. Through its School, the building seeks to revive the craft and trade of violin-making, drawing in international students and providing skills and employment to the people of Saint Petersburg. Through its recital spaces, the building celebrates the beauty of the violin and the skill of the violinist. From top (clockwise): Section through Cafe, Courtyard, and Exhibition; Plan; God’s View;

282


Saint Petersburg | MArch Hope Centre Jo Steeds

‘Hope Centre’ is an Adolescent Mental Wellbeing Centre located in the city of St Petersburg in Russia. Situated along public routes, the building will provide a ‘public face’ for mental health; it will shed light on the importance of mental wellbeing and emphasize that mental health is as important as physical health. It will be an alternative to institutionalised mental health care and will instead encourage creative outlets, providing the young people with skills, purpose and physical, emotional and mental wellbeing - which aligns with priorities set out by the World Health Organisation. Timber and natural views have been prioritised to create a warm and inviting atmosphere, which is contrasting to the harsh environments of hospitals. Communal social spaces are an anchor of the building, around which other spaces circulate. The pinnacle of the building is the relaxation pool, with its dynamic timber roof structure and glazing which looks out onto tree canopies. From top (clockwise): Relaxation Pool, Performance Pavilion, Long Section, West Approach and Foyer.

283


284


285


MArch | Sarajevo

S A R A J E VO Bosnia and Herzegovina THE FORESTED VALLEY Charlotte Backshall Zoë Day Sofie Grieg Fraser Wallis Herong Zhou Sarajevo is the capital of a new country with a unique topography and rich culture, and has the opportunity to enhance its identity as the flagship city of the country. Sarajevo is inherently Bosnian. Its distinctive topographical landscape provides the opportunity for it to exploit its geographical position and Bosnia’s strong relationship to the mountains. Bosnia is known for its mosaic of cultures, and as the cultural gem of Europe, Sarajevo epitomises this with its diverse harmony of cultures and religions. Today, Sarajevo has reached a crossroad in its development. Pollution levels are at a critical point and are detrimental to the future of the city. Its green spaces are underutilised and disconnected from the surrounding landscape with urban sprawl threatening its topographical identity. Cultural spaces are neglected and diminishing due to lack of funding and interest at government level. Sarajevo now has a pivotal opportunity to become redefined as a clean city with national pride, that celebrates its relationship with the natural landscape and the meeting of cultures. From top: Concept: ‘The Forested Valley’; 6 key masterplan strategies.

green spine & forest transverses

286

cultural nodes


linear campus

densifying the valley floor

transport links

clean energy

287


MArch | Sarajevo

A green spine that runs along the river is the primary element to the masterplan, extending the river ecology into the city. This supports recreational activity and enhances the pedestrian experience, encouraging a walking city. Along with the forest transverse, the increased greenery within the city helps to filter the air, thereby reducing pollution levels. The masterplan also creates a condensed city. A dense urban edge to the green spine acts as a catalyst for future development of the valley floor. Limiting urban sprawl and relocating illegal housing through a government relocation initiative, helps to protect the valley’s forest ecology. It also limits the burning of fossil fuels within the illegally built hillside housing and creates an efficient, condensed city which is to be powered with a new renewable energy system. Re-planning of the public transport network limits the use of cars in the city. Public transport nodes become focuses of cultural activity, emphasised by a linear university campus, celebrating the culture of Sarajevo. From top (clockwise): Cultural node; Mini-tram links, connecting to the hillsides; Green spine (summer); Green spine (autumn); Overall plan.

288


Sarajevo | MArch

289


MArch | Sarajevo

Filmhouse Charlotte Backshall

The Filmhouse is a new urban development located in Sarajevo, Bosnia and Herzegovina. The proposal provides an energetic space for students and the public to collaborate through the exposed process of film. The project is inspired by the city’s culture of film and performance, with the building forming a blank canvas which is publicly animated throughout the year during events such as the Sarajevo Film Festival. The building is made up of two key massing elements, with a film production space on the south side and public and private spaces on the north side which wrap around a glazed atrium. On approach, the user enters into a large open air central foyer which acts as the connection point between the different elements of the filming process. As the user journeys through the building, they gain glimpses into the production and exhibition of film. Mesh screens and perforated partitions within the building play with light, weaving the internal spaces and connecting the building back out to the wider context. The project responds to its context by extending film sets and screenings into the park, creating a dynamic relationship between urban and rural. From top (clockwise): Section through Filmhouse; Film process montage; Filmhouse approach

290


Sarajevo | MArch

Banja Sarajevo Fraser Wallis

The Banja Sarajevo explores Sarajevo’s history as a thermal spring town and is a vessel for bathing, treatments and relaxation. Located where the Sarajevo masterplan meets to AustroHungarian city, the massing for the building is driven by the dense urban edge along the green spine and the river, the retention of the three green squares surrounding the AustroHungarian government building to the north and the preservation of sightlines to the mountains which surround the city. The building is entered via a ramped landscape which opens up the stream which runs through the site and allows it to be used for informal river bathing. Once within the building, three primary pools terrace up through the building, with each one offering a unique bathing condition, moving from dark inward looking spaces to brighter and more open pools. The pools are each designed to isolate and enhance specific senses, before reaching the open terraces at the ‘nose’ of the building where all senses are engaged by the sound of the stream running below and the views out to the mountains surrounding the city. The spaces are connected together by a thick inhabited wall which houses vertical circulation, individual treatment rooms and seating alcoves. From top: Partis showing inhabited wall, sunken entrance around river, terraced pools, terraces, dense urban edge, three squares retained and preserved sightlines; Entrance alongside the river; Long section; Third floor plan; Three pool views moving from dark and inward looking to light and open to the exterior.

291


292


Sarajevo | MArch

Sjeme Biblioteka ZoĂŤ Day

With over 5000 species and subspecies, and a diverse environment, Bosnia and Herzegovina is ric in bot ora and abitats o e er, Bosnia and Herzegovina has no central body responsible for collecting, recording or analysing data on biological diversity at a local or state le el it out t is data, it is difficult to create National Red lists to determine endangered species and help with the conservation efforts of t e countr s ora

9

5 1

7

6

2

3

4 9

8

The project explores the analogy of a seed; splitting apart and growing through the middle, Title producing ard outer s ins and softer, es ier parts n a cit scale, t e eme ibliote Namea provides an arboretum landscape that stitches together the city’s cultural buildings and celebrates t e countr s indigenous ora n a Berumquatem liquisit vene omnisit addresses laboreperoa national scale, the Sjeme Biblioteka modis dolor alibus mo et occum ipidio quam countrywide need for facilities that are dedicated sit biodiversity, odit pa se helping niendi to dolut voluptatur? Qui to preserve and educate dolorepel eumina idust, about t e eaquam, ora of utendaesed osnia and eum er ego b ommolum aveliquo ssequi Oluptatiant, providing seed bank andblabo. research facilities vellatur? consequis mos dolorruntis it spacesQui for public engagement quiatur, siti officit eicium ut et pelenes tibus, volupta volore, seque volore assinve litatint mo dolente volorepero tentiantem hicia vellate From top (clockwise): Splitting seed concept; Perspective ntiusdam, aut porum quia volorror secabo. view in glass house; Landscape plan; Landscape partis Porum doluptati dolupta la showing: representingconsequi the national forestsolestiate ecosystems, as as eosaper seria routes, descium entibusda primary route chillores and secondary mixed urban coremquam fugia sero et offictureni cusanda boulevard and tram. soluptatur audic tor sunda velit, apis et reperit eatempor sunt odios arumqui commo occatis di consene eostia sit praturi quo intures maio tempos destrum sequae ma debis debisci atquaectium, vellacerrori quodit omniendipsam si con conse ma aut quasperitiam alibeaquos eat magnatia cuptiisti sa dolupit imus nonsecu llique exeratu rectore henihit atempor From top (clockwise): Section through Cafe, Courtyard, and Exhibition; Plan; God’s View;

293


MArch | Sarajevo The Ivo Andriรง Faculty of Literature Sofie Grieg

The Ivo Andriรง Faculty of Literature is proposed as part of the University of Sarajevo. The Faculty celebrates the rich cultural heritage of Bosnia and Herzegovina through the study of literature, while re-inventing the existing aesthetics of Sarajevo to enhance the sense of place. By doing so, it accelerates the redefinition of a positive local identity, following a century of national conflict. The Faculty aspires to be a gateway between the real world and the fantastical world of literature, providing spaces enhancing and celebrating the process of consuming, understanding and producing literature. Considering this process as a duality of observation and interaction with surroundings to gain experiences and perspectives, and isolated retreat for contemplation, the Faculty utilises the surrounding context ranging from green, natural landscapes (contemplative) to dense urban fabrics (interactive). The programme of the building further provides spaces on a range from tucked away individual reading alcoves to exposed public spaces actively connecting the Faculty to the city. From top (clockwise): Study Spaces ranging from Hidden to Exposed; Stepping Library facing Internal Courtyard; Courtyard South Elevation; South Elevation

294


Sarajevo | MArch Bosnia and Herzegovina Mental trauma centre Herong Zhou The Bosnia Mental Trauma Centre comprises 3 different parts, the Diagnose block, the Therapy block, and the Continuous supporting club house, infilling the current derelict ruin of the biggest military barrack in former Yugoslavia. It attempts to turn the land of sorrow into a place filled with hope, calm and optimism. From top (clockwise): View looking at the crossing between therapy block and diagnose block; Courtyard view; Therapy room view; Concept garden sketch; Therapy block external view from the private garden.


296


297


MArch | Tallinn

TA L L I N N Estonia CITY OF FOREST AND SEA Adam Park Anna-Lisbeth Shackcloth Grace Reid Molly Price Tom Roberts Yizhou Jiang Estonia is a country that has a deep connection to its landscape, and Estonian people are often considerded as “forest people” or “sea people” with 50% of the country covered in forest, while another 20% is marshland. This is reflected in Estonian folklore and tradition, with the legend of Kalevipoeg being Estonia’s most celebrated folktale. Tallinn is a city between forest and sea, but the city’s population are moving to the suburbs and surrounding municipalities to reconnect with nature, resulting in rapid urban sprawl. The district of Pohja-Tallinn is a disconnected patchwork of different characters including the distinct communities of Kalamaja, Pelgulinn and Sitsi. These communities have been cut-off from the waterfront, Old Town and each other by industrial ‘non-space’, left behind from Soviet occupation. Below: Green chain - Future Vision Across: Masterplan

298


299

299


MArch | Tallinn

The aim of the masterplan is to reverse this pattern of urban   sprawl    by      making    PohjaTallinn an  attractive place to live,  work, play  and  to stay. Our masterplan vision is to reconnect the city of Tallinn to nature with a continuous, multifunctional  landscape of  forest  and sea;  re-instating a medieval ring of trees in the city centre. The landscape will reconnect the communities of Pohja-Tallinn and provide a healthy, playful and active landscape resource. Accessible throughout the year for people of all ages and backgrounds, this will heal the city’s fabric and social divide left behind by the Soviet occupation. The masterplan will provide new transport routes in the form of trams, boardwalks and a cycle-ski path that creates a continuous loop around the urban Estonian landscape. Around the edge of the landscape are a series of residential blocks that reflect the density and height of the forest once it is fully established.

From top (clockwise): Cycle-ski route; Tram Stop; Boardwalks; Winter in the Forest Landscape. Opposite: from top (clockwise): Folly created from derelict signal box; Establishing the Forest - Tree Growth from Year 0 to Year 25; Views from Dense Edge Housing.

300


Tallinn | MArch

301


MArch | Tallinn

Häälmaja Tallinn Vocal Arts House Adam Park

Inspired by the rich cultural traditions of Estonia, the project aims to celebrate song, in particular, as an integral part of national identity and unity for its peoples, epitomised by Tallinn’s ‘Laulupidu’ (the largest amateur choir event in the world) and the ‘Singing Revolution’, through which independence was gained from the Soviet Union in 1991. Providing three principal venues to accommodate different vocal performances - a 100-seat debate chamber, a 200-seat auditorium for traditional ‘regilaul’ and a 500-seat auditorium for choral singing, the Tallinn Vocal Arts House intends to promote the Estonian language and reinforce the importance of spoken word and song in the modern city, whilst also responding to a significant need for purpose-built performance spaces. The project also formalises a significant piece of new public realm at the threshold between iconic Old Town and the forest landscape proposed within the ‘Tallinn Masterplan’. From top (clockwise): The Singing Revolution, Rehearsal, Regilaul Chamber, Approach View

302


303


MArch | Tallinn

Oaas Tallinna Yizhou Jiang

The project responded to the needs of public sports and leisure facilities from masterplan, taking the advantage of the “forest and sea� masterplan landscape, impose the traditional Estonian culture to modern city lifestyle. In Estonia, thousands of practitioners work in the field of digital industry with little chance to exercise and go out. The proposed scheme is aim to create an urban oasis, encouraging locals to choose a physically active lifestyle, the harmony of living, work and exercise together in future Tallinn city. The scheme is formed by three main elements, The Bridge, Courtyards and Wings. Linking the medieval town and existing public facilities with proposed masterplan infrastructure into a large living community, joint the old and new, city and forest. From top (clockwise): Sauna Treatment, Outdoor Archery Range, Lake in Winter and Summer.

304


Tallinn | MArch Timber Innovation Workshop Tom Roberts

The Timber Innovation Workshop is a national centre for the research and development of timber in Estonia. It seeks to combine research and education while employing a philosophy of learning through making. The scheme aims to connect to Estonia’s cultural identity of being “forest people” and form a relationship between the forest landscape and the city. Building upon Estonian traditions, the scheme re-interprets the timber shed to create an innovative structure showcasing the potential of timber. By encouraging the involvement of the public of all ages, the scheme hopes to reestablish a community that makes use of their forest landscape and exploits the ever-growing potential of timber. From top (clockwise): ‘Connection to forest’ diagram; Long section diagram; Main workshop visual;

305


MArch | Tallinn

Tallinn Sailing School Grace Reid

Tallinn Sailing School aims to reconnect young people to the city’s shore front by providing facilities and instruction for young people and adults in the Estonian tradition of sailing in the warmer months, and ice sailing in the winter when the sea freezes over. The sailing school will have facilities to host sailing competitions and training courses for students, their families and the local community. The school will also house a sauna and swimming pool and accommodation. The design is heavily influenced by the threshold between forest and sea upon which the school sits on, with a series of vertical trunk-like columns to the south, and a seaward facing row of fins separating the balconies on the second floor to the north. This idea also manifests in the roof, with a modulating pitch which angles from the forest to the sea along the building’s length. The structure of the school is based on that of an ice boat – a long, narrow vessel reinforced with structural fins running throughout its length. From top (clockwise): Site Plan, View of the entrance to the south, 1:2500 Model and Sectional perspective.

306


Tallinn | MArch

Kalamaja Inclusive School Anna-Lisbeth Shackcloth

There is no single type of person. Everyone is an individual and experiences the world in their own unique way. However, the experiences and interpretations of autistic people can be very different from society’s definition of “normal” and the spectrum of needs and preferences is even wider than within the neurotypical population. The way neurodiversity affects someone’s experience of space is often not taken into account in everyday architecture, unlike physical disability. People can adapt to their surroundings, but this is only possible up to a certain point, after which the environment needs to be adapted to suit them. However, it is not only the environment that needs to adapt but also society. Society needs to become more understanding of different ways of experiencing the world, just as it is becoming more aware of physical differences. There is no longer a single definition of the ideal human. Kalamaja Inclusive School intends to create space to enable autistic children to reach their full potential; to allow neurotypical children to become more understanding of difference and to teach future generations to make space for neurodiversity. From top (clockwise): Tactile Façade; Cloister circulation; Classroom Section; Ariel View.

307


308


309


Bath Annual Team

Photographs

Publisher

Yacine Abed

Ferla Paolo Photography

University of Bath

Caiseal Beardow

Matt McCluskey

Thomas Gregory

David Janosi

David Janosi

Additional Photographs from Students

No parts of this publication may be reproduced or transmitted in any form or by any means, electronic, or mechanical, including photocopy, recording or any information storage and retrieval system without permission in writing from the publisher.

Matt McCluskey Arinah Rizal

For further information and a full range of programmes please see University of Bath Undergraduate and Graduate Prospectus.

Other Contributors Folasade ‘Flash’ Okunribido

Department of Architecture and Civil Engineering University of Bath Bath, BA2 7AY, United Kingdom

Joshua Page

Telephone: +44 (0) 1225 385394 Fax: +44 (0) 1225 386691 E-mail: ace@bath.ac.uk Website: www.bath.ac.uk/ace

University of Bath Architecture Annual 2017  

Showcasing student work from our BSc and MArch architecture courses. This annual is produced by students in the Department of Architecture &...

University of Bath Architecture Annual 2017  

Showcasing student work from our BSc and MArch architecture courses. This annual is produced by students in the Department of Architecture &...

Advertisement