Integrated Design Audit (IDA) Diary

City Terroir Integrated Design Audit IDA Diary Studio One, Caveh Bahreyni Toossi

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Content

Introduction to the IDA Diary Brief One: Food And The City Brief Two: Sketching As thinking Brief Three: Civic Water Study trip: Cahors , France Brief Four: Public City Voids Drawing Filming Case Study: Nottingham Contemporary Introduction Basic information overview Legal, contract and cost Client, constructor and contractors Material principles Site history Design Process The concepts, precedents and the public Design details Structural Engineering Constraints The poetic exploration journey Material Sustainability Energy management

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7 11 29 41 57 77 78 92 95 96 98 98 98 98 98 100 102 104 106 108 110 112 114 116

Integrity of design Design Flow Visual illustrations of structure Environmental Protection Extra lighting features

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City Trroir The Art of City Making The initial mass models

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Bermondsey Spa Terminus Tour The concrete factory Visiting Cambridge Architectural Pre-cast Precedents Studies Good Rooms Second Crit Structural engineering session and lectures Post second crit Alterations Tutorials and structural engineering feedback Bibliography

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Introduction to the

IDA Diary

Introduction to the IDA diary

London, we will try to produce and design The focus of the studio is on City Terroir, and a proposal which hopefully incorporates all The third year of PART I of BA of Architecture the knowledge and experience we gathered includes a written content of the experience design followed by the creation of a drinking through the previous briefs, to create a public and practice done during the academic year, fountain in Arnold Circus, a landmark in one city space which can bring the crowd together illustrated with the drawings and pictures of the oldest Council Estates in London, or to for some moments of joy and pleasure while taken while on the journey of the tasks of this the focus might be food. year.

Estate - which will both help the students to The design process will be then documented The following will try to illustrate this pathway as I went through and the process Through sketching, looking, observing and would be evaluated through a series of crits of the work. exploration of the visited structures and the which will help the students to understand the help of the earlier briefs and the smaller scale weaknesses and the strengths of their design The studio which I have been allocated at my and to help them move through the phases to third year is STUDIO ONE, presented by idea and integrate all the knowledge to create tutors Alex Banks and Sam Casswell (with Florian Beigel, Philip Christou & ARU).

There will be several briefs throughout the year and the destination for the study trip will be South of France with the aim of visiting several of the medieval Bastides around the city of Cahors, and also the monastery at Moissac.

on the idea of food and gathering in the essence of ‘city terroir’, in an area which appears to have a potential for growth and more vibe to it - although seemingly less known these days- within the vicinity of the busy Bermondsey underground station of

NOTE: All the Design Briefs shown here are those given to the students by the tutors and are presented here solely as a reference. opposite page drawing is taken from: Http://www.thecass.com/courses/studios-units/architecture/undergraduate/studio-1-2014-15-brief

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On the right: The Fight Between Carnival & Lent Pieter Bruegel, 1559

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Brief One

Food And The City

Brief One Food And The City

it changed many other aspects of human life. the large Empires to invade their territory, or create walls around their cities, or in Food also is a part of many rituals and the modern era how it became an important ceremonies, which again can bring people concept of ‘Food And the City’ and how a part of urban design, all not only shows the together. In some countries like Iran the meal, its course and sequence, its start, end season of harvest is also celebrated as a good and arrangement could be a representative of of mankind. harvest means the abundance of food for the next year so food not only is celebrated itself, urban area. The theme of our design studio In early stages food and the supply of it, or but is a cause for celebration. the place it was stored, sold or produced was food and its dynamic on city spaces, urbanism where the city expanded from, and not only and culture. acted as the central point to the city but also dictated the possible limits for its expansion.

Through this brief we will sketch the moments Later on in other cities, or kingdoms, the of a meal which we have experienced or borders were extended to the limits where the have attached memory to, and by placing food was produced or cultivated, which in the objects used in the course of that meal some instances would be places overseas and and the way that the scene will change and thus the invasions to neighbouring countries arrange itself through the time, a space will was because of the demand for food supply. be created and a concept will be born.

From the oldest cities to the modern societies, city or even it can be said that the city grows the importance of food and how it was as big as it can provide its food, which later was changed by the invention of railway, as The comments here are the writers understandings from the lectures we had with Carolyn Steel, architect and author of ‘Hungry City’ later in the year.

This brief includes at least two pieces of work, a coherent presentation of the meal and our personal recreation of it, through model making, drawing, sketching, etc.

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the physical extent of this surface and its materiality? You should then consider the objects that are added to the table.

How are they arranged? What role do they perform? What hierarchies are created and how do they define areas on the table? Is there a centre to the meal or more special elements?

What are the infrastructural pieces? Every element should be considered from the thickness or thinness of the place mat or napkins, the material of the plates or bowls, and the type of utensils used - knives and folks, chop sticks, breads, fingers? Finally you should think about the changing landscape of the table over the course of the meal. How is the eating paced? When does the different food arrive, and how is the food shared out? Don’t forget how the food and drink - their colour and form - affects the visual feast!

of scales. In order to give space for the imagination the articles on a set table should be simplified - abstracted to a degree - so that the space between is the focus of the work.

Fly over the table like a bird in the city sky, zoom in on a small intense spatial moment, consider a section in isolation, make new drawings that identify the compositional order of spaces. In this way a place mat becomes an open square in the city, candlesticks could be columns and a mound of rice a mountain on the horizon of the city.

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We’d like you to produce two pieces of work. The first piece should describe the meal in a coherent way. Imagine someone needed to recreate the meal exactly without you being there. What sketches, measured drawings, photos, models and documents would be needed to allow it to be reproduced accurately? Try to avoid using words if possible.

he challenge this year is to explore both the architecture of the city and the theme of food in public space. In this initial project you will combine the timing and spatial order of a meal with the idea of city. The challenge is to draw, model and possibly cook an expression of this relationship.

We want you to consider a memorable meal that has special meaning to you. The cuisine and setting for the meal may or may not be from your own culture. It could be an everyday meal or a special feast that you’ve experienced perhaps only once. Either way, it must be personal to you. We want you to produce drawings that describe this meal and allow you to demonstrate your ability to make beautiful representations.This exercise is an opportunity to introduce yourself to the studio.

The architecture that inspires us makes good conversations and positive interstitial spaces rather than stand-alone objects. The ‘space between’ is at the heart of enjoyable city spaces. For us the table is a social space like the city, full of spatial relationships. Examples of good urban relationships can be found at even the smallest of scales in bottles and pots on a shelf that forms the horizon in a painting by Giorgio Morandi. One can look to passionate little urbanisms such as these for inspiration when designing spaces in the city.

You will need to carefully consider all the elements that make up the meal and think how they are structured within the meal both in their placement and timings. You could start by considering the table where the meal takes place. What is

The second piece of work should be your own representation of the meal with a focus on the spatial relationships between things. The final output should be an imaginative piece - a special perspective drawing or model of the tablescape - that could be interpreted at a number

Suggested Reading: Barthes, R.: Mythologies

Beigel, F. + Christou, P.: Baukunst 01, The Idea of City Brillat-Savarin, J-A.: The Physiology of Taste Fisher, M.F.K.: Consider the Oyster Gray, P.: Honey from a Weed Jacobs, J.: The Death and Life of Great American Cities Rossi, A.: The Architecture of the City Rowe, C.: Collage City Sennett, R.: The Fall of Public Man Sinclair, I.: Lights out for the territory

Week 1

Steel, C.: Hungry City

Tuesday 30th

Project Launch + Seminar

Friday 3rd

Group Tutorial. Initial presentation of info photos, drawings on proposed meal.

Week 2

Tuesday 7th

Pin Up of drawings/information describing meal and initial concept sketches/drawing of for main meal/city drawing/model/image.

Friday 10th

Week 3

Tuesday 14th

Tutorials

Tanizaki, J.: In Praise of Shadows Tulloh, J.: The Modern Peasant Visser, M.: Much Depends on Dinner Zola, E.: The Fat and the Thin

Suggested Viewing: Babette’s Feast - G. Axel

The London Nobody Knows - G. Fletcher La Grande Bouffe - M. Ferreri The Cook, the Thief, the Wife + her Lover - P. Greenaway Tampopo - J. Itami London - P.Keiller Caro Diario - N. Moretti The Bakery Girl of Monceau - E. Rohmer

Final Pin Up. Drawings/information on meal

Big Night - C. Scott + S.Tucci

and final meal/city drawing/model/image.

Playtime - J. Tati

The sketches and the drawings try to demonstrate the feeling and atmosphere of a traditional Persian meal which is usually served on a low bed-shaped platform covered by a rug or carpet, and ornamented by large cushions to lean against for comfort.

Through these drawings and the pattern, a spacial understanding was acquired and the elements set in the drawing, and later the model, somehow started to represent an urban structure.

In the meal there are some elements which are stationary and do not generally move, these include the platform itself, the rug and usually the cushions (which might move slightly) and there are elements which are although have the ability to move, such as the plates, the tray or kebab, and so, but these mainly have a very little motion and mostly stay as they are put.

Next page image sources:

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On the contrary there are some pieces which Without these, the structure would not be complete but yet these they are not the most the meal experience, but contrary to the other place and blend in the bigger components. additions such as pickles, condiments, herbs, They are needed but not essential. nuts, fruits, yoghurt, drinks and spices.

An Introductory representation of an Iranian meal shown like the menu of a restaurant.

Http://friendlyiran.com/iran-traditional-house/ Http://www.pbase.com/hmssusan/image/105647709 https://uk.pinterest.com/sara4323/teahouses-and-picnics/

The same principles just discussed regarding the parts of a meal, apply to any urban design or area. Each space has some main structures which are the essence and the focal blocks. These are connected by some adjacent elements which will not necessarily

the details. These all together within themselves create the space which acts as a gathering or terroir. This space is not necessarily at the centre yet has its own central feeling and property to it.

Here are then those smaller pieces which contribute to the human scale recognition . these are the joints of the design as they can be placed according to the needs, desire or use and although they have their freedom in essence but yet can not be left arbitrary in the design and there must be rational thinking on their placement.

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Pictures above and on the right: Some traditional style Persian Restaurants serving food on the bed-like platform.

As we described earlier the way the furniture are placed and the platform is set, they all in essence create a space within a bigger one. The bed is not by its own and has its connections and relations to the others but at the same time it is partially separated and has control over its territory. The elements within also although are free to some extent yet do not have the ability to move to other parts or to move completely free within the area they are placed. Then the plates and the food which will be placed in the central part of the platform will be laid on it and this placements continues.

Looking closer to the sequence we can see the initial design of a public space, a city, or an urban structure follows the same principle. There will be borders and limits which exclude the site from the surrounding, which will separate it from the rest of the context yet within a wider and bigger one which might be the neighbourhood, the council, borough or the city, and etc. and then there are blocks and structures which are the essential parts and the founding elements of every city terroir and passing to a smaller reduce the emptiness.

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http://www.hanifworld.com/Sofreh/Sofre%20Khaneh%20Sonnati%20II%20Ayne-Mirror.html

A traditional Persian restaurant Image source: http://www.joaoleitao.com/motivation/travel-reasons-visit-iran/

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The sequence of a meal as it is served, from the beginning when rice is served (1) to the time that the meal is eaten and everything is gathered to be taken back (6), in a traditional Iranian restaurant.

At the tutorials making a 3D model of the illustration was suggested, with each part made out of layers to be stacked up on the top of each other. In this way the model would have a solid texture yet presenting the layers as the meal is an ongoing process and not stagnant. The pictures on the following pages selected and the layers were cut and laid on the top of each other to create the desired height.

The elements of the model each are a symbolic representation of the pieces seen on the previous drawings. They are stripped off of their details and created in a minimalistic way thus they can show their essence and character in the space.

Pieces forming this part are mostly the same in every model, with very subtle differences.

The other elements as we see, not only have been placed differently in each model, but

in every model. These are the essential but not Looking closely and having in mind the fundamental parts of the urban design. They discussion mentioned earlier on the role of could be placed based on the requirements, the elements and how their interactions are the need, the purpose and etc.. similar to those of any urban space, a glimpse of an urban design and the initial idea of a These simple and layered models originating city space could be seen. from a meal and the sequence it follows, can be e representation of any city space with There are several variation presented here. their own unique design.

All of these have the base (the platform they are built on) and the central space (which is The line drawings on the following pages marked black here). are showing the space in its simplest form to illustrate the concept in an architectural way.

The margin produced between the platform the lingering structure, those which act as the anchors of the space are put in. These are the stationary elements previously we mentioned.

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These sketches represent the elements of the mentioned meal and slightly altered with addition of urban-like structures. They, although from a different context, but yet induce a feeling of a public or urban space.

This illustration shows the sequence of the meal in motion. As seen the elements will change place during the time (two to three of the movements are shown in different shades of grey here) which altogether resemble a vibrant city space with the blocks and structures of it. The heights of some parts also have changed which

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Brief Two

Sketching As thinking

Brief Two Sketching As thinking The next brief aims to engage the students in produce sketches of the Arnold Circus and spots and locations which we capture the essence of it by our own style sketches.

These sketches are not aiming to capture all the details as we are not producing a photographic image but has to present the context and the feeling of the space.

Sketching not only helps with the drawing ability but also requires a closer look to the objects. It needs the observer to understand the main lines and corners and to avoid which might distract the viewer from the essence of the space.

Looking around for a suitable place to sketch, also allows to explore the area and look beyond the shell and the outer layer of

the area and to see behind the spaces and but the expansion of the east end resulted in buildings which are immediately in front of the area changing into housing and later with the viewer eyes. living-working slums, and one of the poorest Sometimes the sketch is a representation of areas of London with crime and poverty and the space, other times an illustration of an poor living conditions. Later as the situation area, or even only showcasing the height, turned to worse and the area was in need the grandness, or the clutter, yet each is of a change, then it was Reverend Osborne individually different and a unique scene Jay who had raised some money for the from around Boundary Estate. construction of a new church, a social club and a sport centre, persuaded the London County Boundary Estate: Council - a newly established organisation of the time - to demolish the slums and rebuild Arnold Circus is located in the Shoreditch the area completely in 1890. area of London, within the Boundary Estate.

Arnold Circus is a large roundabout-like made in London during the Victorian era, structure which has one raised walkway and and thus the buildings have the glamour and an elevated central circle with a bandstand characteristics of that period with the red at the centre. This was built upon the rubble bricks, high ceilings and tall sashed windows, and remains of the demolished slums of the gabled roofs and other ornaments of the time which were all destroyed. The circus is time. Boundary Estate was built on the slums at the centre of the Estate allowing almost all of Shoreditch in late 19th century. It was the residents to have a view on it and enjoying the scene. the Nunnery of St John the Baptist, Holywell

https://friendsofarnoldcircus.wordpress.com/history/

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At times when it is raining or too dark to sketch outside, you could read up on the history of the design of the Boundary Estate. It’s a very interesting story.

On Tuesday, 21 October you should bring in your sketchbook, scan and print your favourite 10 sketches from your sketchbook, and pin these on the wall of the studio space.

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ou will spend the next few days filling a sketchbook with sketches made on site. This is an opportunity to take a close look at a very special place in the city with its own strong sense of city terroir – The Boundary Estate and Arnold Circus in Shoreditch.Later this month you will develop proposals for a small architectural intervention on the circus.

For now, the purpose of your sketches is to look for the city space of the Boundary Estate. Sketching is unlike an illustration or a photograph in the sense that it is a type of spatial thinking. Make a series of drawings searching for the figure of the buildings in the city. When doing this, you should explore the character of the buildings and the street spaces between them that converge on Arnold Circus.

Ask yourself why is this a memorable place in the city.

Consider the scale of the streets and how they are knitted into the existing fabric of the area; how many buildings make up a block? Explore their internal courtyards remember that the Boundary Estate is not just the circus.

Your sketchbook should be approx. A4 in size so it is an easy companion. By Tuesday, we expect that you will have made so many quick or slow sketches that you will be a real expert on the place, and its role in this part of the East End. There is no need to take photographs, we only want you to make sketches – close up sketches and zoomed out sketches from imaginative vantage points. There is no right or wrong way to sketch - try to develop your own personal way of drawing.

The map on the top left shows the street pattern and layout of east London at 1870-1880 which demonstrates how the expansion of the east end and the slums resulted in poor living conditions and the increase of crime and health problems.

Boundary Estate - requiring the demolition of the area coloured on the map and the evacuation of the residents.

For its own time this was a very ambitious project with its scale and design and thus the high price again in, therefore almost all left the Estate to some cheaper neighbouring areas.

The lower right map of this page is from 1910. If compared to a current map (the lower right map on the opposite page), it could be seen that although the surrounding of the Estate has changed

Sources of the maps: Digimap

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Sources of the maps: Digimap

To create the Estate the street layout and the urban structure of the area which used to be the poorest slums of London were all demolished in the late 1890s and by the early years of the next century the Estate was welcoming its new residents.

The drawing on the left shows the street layout of the slums region around 1870-1880. The area had grown without any future planning, with no real

This massive project needed a major change in the layout to make way for the new streets all leading to the Circus at the centre. As we see on the pictures on the right the area of slums had no pattern in its structure.

gardens due to the demand and poor conditions of the people who lived there and thus the buildings were just additions to the existing structure growing along the alleys and narrow streets with connections to the main city transport network and it appears as e secluded area isolated form the surrounding.

THE ILLUSTRATION PRESENTS THE ROAD LAYOUT AROUND THE SLUMS (LATER TO BE BOUNDARY ESTATE) AND HOW THIS LAYOUT HAS CHANGED AFTER THE ESTABLISHMENT OF THE VICTORIAN ESTATE. THIS ILLUSTRATION ALSO REPRESENTS THE WAY THAT ROADS PASSED THROUGH THE SLUMS WITH THEIR VERY SIMPLE PATTERN OF STRAIGHT LINES.

Grade II listed buildings and protected.

The drawing on the left shows how the design and layout of the new Boundary Estate changed the area dramatically. With the new centre -the Arnold Circus - the estate has became vibrant and well connected to the surrounding and long wide streets are now running through the area. Also this new design although has changed the whole area yet it did not totally depart from the existing street pattern. The new plan for the housing also provided spaces in between buildings and a luxurious space with a great vision for its time was built.

THE ILLUSTRATION PRESENTS THE ROAD LAYOUT AROUND THE BOUNDARY ESTATE AND HOW THIS LAYOUT HAS CHANGED FROM THE ORIGINAL ONE AT 1860. THIS ILLUSTRATION ALSO REPRESENTS THE WAY THAT CURRENTLY ROADS ENTER THE ESTATE AND HOW THE DESIGN OF THESE ROADS HAS INFLUENCED THE PLANNING OF THE ESTATE ITSELF.

Opposite page: Top, the view of the Boundary Estate and the Arnold circus from Northwest.

Picture source: Apple map

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1 6 .1 m

1 6 .0 m

Bottom left: A plan of the Arnold Circus and the Band Stand at the centre. (Source: Digimap) Bottom right: the location of the Boundary Estate in the wider context in Shoreditch London. (Source: Digimap)

Sketching

sides are elegantly built. It illustrates the view of the streets seen from the Arnold circus and leading forward or merging into the other These sketches are all produced on site portraying how all the buildings on the side main street. within the few days allocated to this task.

It was suggested to walk around the Estate and understand the space and induce the understandings in our sketches. The purpose was to look beyond the details without neglecting them and trying to understand where to give the priority to the smaller features and when to the bigger picture.

The sketch on this page was drawn from a little playground hidden between the tall buildings. The emphasis here was to show how these tall structures create a space at the centre and also giving the feeling of isolation and connection simultaneously. From outside they appear as the towers of the old castles but stepping inside the visitor is welcomed by this big and spacious mysterious area.

On the next page the aim of the sketches are to show the depth of the streets and how the

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The four sketches on the opposite page illustrate how the streets extend from the Arnold Circus and how they run outward from this central point. Some follow a very straight path while others bend very sharply. They are mostly surrounded by tall buildings except from the street which starts with Rochelle School and Club Row (drawing number 3 on the opposite page).

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The top left sketch of this page is also an illustration of the streets emerging from Arnold Circus with a curve which hides the end of the path.

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The other two sketches show the wall-like feeling that the buildings create (opposite page) and how they act together to provide a civic space within them just by their placement (bottom left).

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Brief Three

Civic Water

Brief Three Civic Water The third brief takes place in the same area we sketched through the previous task. The Boundary Estate mentioned earlier was provided with a drinking water fountain but has been removed. As the Circus has been renovated and in a better condition, and as the surrounding area has improved, the residents have asked for the return of the drinking fountain.

In this brief Mr Finn Williams was introduced, who has been involved in the changes and improvements made recently at the Arnold Circus. Brief knowledge about the history of the Estate was mentioned and the changes which had happened around the neighbourhood, the challenges the Estate had faced and some unique moments of the history were discussed, which was followed by a tour of the Circus and pointing out some issues and also showing the placement of some of the infrastructure to be considered through the design process of the brief.

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Your first consideration should be the siting of the drinking fountain in relation to the surrounding city space.

Define a place or domain for the drinking fountain to inhabit - like a little, empty stage. There will also be some technical issues such as access, achieving an appropriate level of robustness, maintenance and making connections to existing mains water supplies / drainage systems on site. However, this is not an exercise in industrial design or sculpture. The drinking fountain should be thought of as a diminutive piece of architecture, perhaps with the character of a building. Encountering unexpected scales in architecture is often a memorable experience.

We want you to address in a precise way exactly what the user will see, touch and hear when they use the fountain.

One can create a lot of delight in a brief encounter such as taking a sip of water or filling up a bottle. You will make proposals for the materiality of; the ground surface and any seating; the type of tap or fount from

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ow that you have explored the unique spatial conditions of the Boundary Estate through sketching, Studio 01 will embark on a live design research project carried out with the friends of Arnold Circus. The challenge is to design a place for a public drinking fountain on the circus and to speculate on how this setting might evolve into a small inhabitable piece of architecture over time. We want you to understand how a small architectural intervention can influence and even hold a much larger public space.

Until relatively recently there were many public drinking fountains dotted throughout the public spaces of our cities.

Providing refreshment for people in the city is an act of civility that has become increasingly rare. Curious vestiges remain today in the form of occasional public pumps or water troughs - retained but no longer functioning. In London past, even livestock on their way to the central markets were catered for! Sources of water are often focal points for communities or found at the centre of divine gardens such as Eden or Islamic representations of Paradise. Fountains or wells continue to have profound associations with life, purity, wisdom and innocence. The community of people using Arnold Circus want a new public drinking fountain built on the circus and have asked us to contribute ideas.

which the water will flow; and the basin. How does the pipe come out of the ground and waste water drain away?

You will also consider how the drinking fountain could develop into a small, habitable piece of architecture over time.This kiosk - perhaps only large enough for one person to inhabit - might be a permanent fixture or a more celebratory, ephemeral construct for temporary events only. It will be fruitful to consider together the following three aspects when designing; the setting; the fountain; and the kiosk.

The relationship your proposal with have with the other architectural figures, benches and trees that make up the circus is important. How can your design contribute to this ensemble and enhance the existing qualities of the place? You might want to think of the journey someone takes when visiting the circus. Consider what you see and experience as you move through the space. This route should start from afar when you first glance the circus.

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Minimum Outputs:

- Location Plan of the Boundary Estate in the wider fabric of the city - Site Plan and Section – Existing + Proposed - A few good site photos

Week 1

Tuesday 21st Oct.

- Site Sketches + Design Sketches Project launch + into. from Finn Williams, FOAC Pin-up of site sketches

Friday 24th

Week 2

Tutorials (Including review of final meal drawing)

Tuesday 28th

Tutorials

Friday 31st

Group Pin Up - Initials Ideas

Week 3

- A set of final proposal drawings (plan, section, elevation, axo @1:5 / 1:10) - Images showing how the proposal evolves over time (collages, perspectives etc.)

Extra Outputs: - Physical Models

- Concepts for construction details (expected from 3rd Years) - A simple palette of materials

Tuesday 4th Nov.

Tutorials

Friday 7th

Tutorials

Week 4

- References that have given inspiration (these could come from any source)

References:

- Arnold Circus Conservation Strategy - The Secret History of Our Streets - Series 1, episode 6, Arnold Circus. BBC 2

Tuesday 11th

2nd Year Crit

- London’s existing water pumps, metropolitan drinking fountains / cattle troughs

Friday 14th

3rd Year Crit

- Quiosque de Refrescos, Lisbon, Portugal

Wednesday 19th

Depart for Study Trip

- On Certain Possibilities for the Irrational Embellishment of a Town: Ten Urban Artefacts, Eric Parry + Peter Carl, Sep 2001

The map showing the initial placement selected for the design proposal of this brief on Arnold Circus, Boundary Estate, London.

Original source of the map: Digimap (with alterations) 44

PROPOSED LOCATION OF THE FOUNTAIN

On this page: The introduction and tour meeting held with Mr Williams on Arnold Circus (TOP), the compost collection unit on the circus (BOTTOM LEFT) and the water mains (BOTTOM RIGHT)

connections to the era and the glamour of the a suitable location for a drinking fountain time the Estate was built, the Victorian time. which could later evolve into a more elaborate structure such as kiosk with the ability of In the initial proposal it was suggested to providing small snacks and drinks. simply use a Victorian bathtub, with pipelines from underneath coming on the top which Another concerning factor is the context of were terminated by Victorian faucet on the the area and a design which would nicely top, all placed on a wooden platform. This simple idea was a representation of the era unrelated piece of furniture. which the Estate was made as the Victorian bathtub was introduced during this time as Boundary Estate is an extraordinary place prosperity grew and people became richer.

the Circus, except from the southeast section which the only building facing to it is the building of Rochelle School and Club Row which have the least view and windows on the Circus.

and almost all the buildings of the Estate are The suggested location of the fountain in the design is on the southeast part of the circus. of the area but also requires the design to There are several reasons for this choice. The be able to well adjust itself to this unique axial street (Calvert Avenue and Rochelle Street) which run through the Estate and and character which lead to the opinion meet the circus through their path, together that a rigid, vigorous and box shaped design are a feature of the Estate which was tried would not suit the area and furthermore will to be unobstructed and thus the fountain become en eyesore if placed within the circles was not located along these streets. On the of the Arnold Circus. The piece should be other hand, all around the Circus there are elegant, delicate yet strong and have some residential buildings which enjoy the view of

the criticism came from the opinion that people will not accept having a bathtub in public and as a drinking fountain) and all these considered, it lead to the next proposal.

Source of the map: Tower Hamlet Council website

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Above: The map of the conservation area and listed buildings of the Boundary Estate.

Top left picture shows the difference of the context of the Boundary Estate with the surrounding, and emphasising on that by the different drawing texture. On the top right the city street around the Estate and how the enter they area has been shown and the urban layout has been presented.

Bottom left is the view of the proposed location from Rochelle school and Club row and on bottom right is the view from the Circus (from the proposed location) on Rochelle school and Club Row.

The next proposed idea was a combination of arches in a minimalistic design, only including a symmetrical curved roof, four holding steel columns and a drinking fountain in the shape of an old water basin and a pair of Victorian water taps. This will also be accompanied by the wooden panels and the connecting panels joining the two layers of the structure resembling the circular layers of the circus.

The initial ideas for material were based on those used in the area and had connections to the Victorian architecture and time, thus beside the plinth for the platform and the foundation which was considered to be concrete (cladded and covered with timber), the weight-bearing parts would be steel, the panels from plywood or sheets of timber, the steel or cast iron railing, similar to the existing ones, Brass faucets (the second choice chrome-plated taps) and the basin from tinted and rusty appearance steel to avoid a shiny new look. The roof was proposed to be transparent thus Perspex was considered.

SOUTH VIEW (RIGHT) AND SECTION VIEW (LEFT) 1:100 @A3

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) WOR BULC MORF NEES( WEIV HTUOS 3A@ 001:1

This proposal was criticised as being symmetrical and having unused spaces on either sides. Another point was the shape of the fountain which more looked like a wash basin rather than a drinking fountain, which will make it less appealing.

48 ARNOLD CIRCUS PROPOSED LOCATION

1:200 @ A1

PERSPECTIVE VIEW (NORTH VIEW)

FRONT/NORTH VIEW (RIGHT) AND BACK/SOUTH VIEW (LEFT) 1:50 @ A3

SECTION AA (WEST TO EAST) VIEW 1:50 @ A3

The different views of the proposal, including a perspective view and two sections.

SECTION BB-1 (EAST TO WEST) VIEW 1:50 @ A3

The third proposed design was an alternative to the previous one by changing the roof and an asymmetrical layout. The elements resembling the Victorian structures were kept as much as possible and the space for the future kiosk was also included.

The use of materials in this proposal were almost the same as the previous design. A concrete foundation and plinth (the latter cladded and covered with timber), cast Iron rectangular columns as it was used during the Victorian times or alternatively steel weightbearing structure, steel or cast Iron railings similar to the existing ones, timber panels with steel joints and bolts, clear Perspex roof, Victorian style brass faucet or chrome-plated as the next option, heavy duty steel connectors and bolts, for supporting the columns, tinted basin with a rusty appearance.

This design was also criticised of being improper and the external critics were more in favour of the symmetrical design and the idea of the Victorian bathtub on a simple stage which will be more in harmony with the Victorian atmosphere and also with the hipster culture of the current Shoreditch area. It was said that this design has an unpleasant roof and the dimensions of it is far too big for the purpose. In response, the future design will be smaller with a partial roof, covering the drinking fountain and some of the rest. The kitchenette will be designed as a portable box which upon request could be moved in.

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SOUTH VIEW VIEW FROM CLUB ROW 1:100 @A2

The back view (South elevation) of the proposed structure on the Arnold Circus (Top) and its side view (West elevation) on the proposed location (Bottom).

NORTH (FRONT) VIEW 1:50 @ A2

NORTH (FRONT) VIEW SEATS ADDED TO THE STRUCTURE 1:50 @ A2

PLAN SEATS ADDED TO THE STRUCTURE 1:50 @ A2

SOUTH (BACK) VIEW 1:50 @ A2

FRONT VIEW ADDITION OF KIOSK AND KITCHENNETE 1:50 @ A2

PLAN ADDITION OF KIOSK AND KITCHENNETE 1:50 @ A2

The brief had stated the design of the drinking fountain has to have the ability of changing and expanding to a more complex yet simple structure as it might be used to incorporate a facility for serving drinks and possibly snacks and small meals if the outcome and acceptance of the fountain is satisfactory. In this page on the each other has been illustrated.

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On the right: The third proposal in the context (the Arnold Circus) has been presented.

EAST VIEW (TOP) AND WEST VIEW (BOTTOM) 1:50 @A2

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person to walk in and move around doing the required tasks.

A 1- SECTION AA: EAST-WEST VIEW 2-SECTION AA: WEST-EAST VIEW 1:50 @ A2

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Study trip

Cahors , France

Study trip Cahors - France The study trip of Studio One this year was to the City of Cahors at Southwest France, which is the capital of the Lot province.

the recent time, though some have declined these market squares and tried to capture some scenes and angles from each, through less favourable and left alone. We started our our sketches, pictures and drawings. journey every day from Cahors to a few of

The purpose of the trip was to visit the Bastides of the area. These Bastides are the cities of the medieval time based on the central market square of the city. The city was built from landowner and the sovereign governor of the region and designed on a grid system which at the centre of it the market square would be built.

These cities were to attract people by offering advantages such as less or no tax on goods and by offering pieces of land to live and work on. The market squares although all look very similar as if they are siblings of a family, yet each have their own uniqueness and height, orientation and etc. and most of them are very active and attractive even in

Above: an old map of Cahors Source of image: http://commons.wikimedia.org/wiki/File:1847_Levasseur_Map_of_the_Dept._Du_Lot,_France_-_Geographicus_-_Lot-levasseur-1847.jpg

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On the right: Top left: the location of Cahors Top right: an aerial view of Cahors City and the enclosing river Bottom row: pictures taken of some architectural features of the city during our visit

Sources: Top left: http://www.map-france.com/Cahors-46000/road-map-Cahors.html#base-map-Cahors Right: http://www.frenchentree.com/holidays-in-france/regional-holiday-guides/cahors-from-mont-stcyr/

During the study trip numerous Bastides in dimension, although in some instants, as and the famous monastery of Moissac were mentioned before, masonry or stone was an visited. addition to the supporting structure.

Each of the Bastides had its own character and style, from a single storey building to a like stone columns, or masonry columns, small in scale or massive and huge, but all had the same purpose of providing space for a market.

Some of these Bastides were left unoccupied and seemed to be abandoned while the others had a very vibrant life and a lot of activity was happening in and around them.

The interesting feature was the extensive use of columns and timber in creating such a building. They had many layers of interlocking timber beams and rafters, columns and supports holding the roof and the entire structure. This was more complex in those with higher ceilings or with wider spans Above: Left: an old map of Cahors Image source: Lib.utexas.edu, (2015). Baedeker’s Southern France 1914 - Perry-Castaùeda Map Collection - UT Library Online. [online] Available at: http://www.lib.utexas.edu/ maps/historical/baedeker_s_france_1914.html [Accessed 3 Apr. 2015].

Right: one of the towers of the famous bridge crossing over the river which embraces the city of Cahors (taken on the trip)

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Top left: an aerial view of the city of Cahors and the enclosing river at night Bottom left: the pavement of the bridge and an opening in the towers on the bridge Pictures all taken on the trip

Top right: the railway bridge crossing over a road and the river of Cahors Bottom Right: a modern building (a cinema and youth centre) in Cahors

Coat of Arms Each of the visited places were inspiring and fascinating but aside from the architecture and the structure, the coats of arms were another topic which was decided to look into and the followings are almost all the coat of arms from the places visited during the study trip, including Cahors itself, and the monastery at Moissac.

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Sur Garonne, Villefranche du Perigord, and the Monastery of Moissac. During each visit about an hour was spent on observing the market square and drawing various sketches and taking pictures. At Moissac due to its larger scale and rich history a longer time was spent and a joint tour of the Monastery with London Met Studio Two was organised, as they were also visiting this monumental building.

Coat of arms:

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and 10- Villereal (Source: wikipedia)

Above: The entrance of the Moissac monastery

Sketches drawn from the inner courtyard of the Moissac Monastery (above left) and drawings of and from the void in front of the Monastery.

The word Bastides denotes a new town, that is, a town created ex nihilo, and founded between 1222 (Cordes, Tarn) and 1373 (La Bastide d’Anjou, Aude) in the standard measuring units and the documentary evidence implying the sovereign founder’s mediated control of the surveying (arpentage) strongly suggest that the sources for the regular plan are to be found in Paris, London, and Toulouse.

Source: The Bastides of Southwest France, AdrianRandolph

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Above: Pictures of the stone columns of the Gimont market square

Left: sketches from the Gimont market square (pictures on the opposite page) Right: sketches from Belves market square (pictures on the following pages)

Pictures of the Belves market square and a window with an interesting wrought iron protective blade, in the vicinity of the market square.

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Above: Pictures taken from the Grenade Sur Garonne market square. A very vibrant and lively example.

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Above are the pictures of the Villefranche du Perigord. This market square was built on a slope and thus the entrance from one side was above the street level and

could not be understood or found out the purpose of these. The other difference of this market square was the fact that the church was the adjacent building, neither in front or around the market.

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On the right: the sketches of the Villefranche du Perigord market square (top) and the pictures (bottom)

Above: pictures and sketches of the Villereal market square. station). At one corner of the market square there was an old mechanical water pump. The church here was placed at the adjacent street with a 5-10 minutes walking distance.

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Pictures taken from around the Villereal market square, and its wooden structure, and a sketch from a far distance

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Bottom row: the Solomiac market square picture and sketch

Pictures from the Beaumont de Lomagne market square. This one was built on a slope thus the columns in the front were taller than those at the end. It had produced an interesting view and the platform was not completely raised and followed the natural slope of the area.

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Brief Four

Public City Voids

Brief Four Public City Voids

suburbs of London but later with the growth square as it is, in daily motion. of industry and factories the rich people left and may houses to accommodate the workers were built.

Drawing

Through this brief a group of the students The square was heavily bombed and damaged were supposed to concentrate and focus, during WWII but the house of the famous each on a pubic space - a void - which for a physician James Parkinson has (partially) remained up until now. At the moment there to it. Exploring the area and drawing a map are a few buildings from the Victorian time and older but most of the buildings are recent were found to be important in the area and and some have tried to connect to the essence showing the space and this void and its of the area by using bricks or other similar impact on the surrounding. This will be methods. the key elements and moments of the space One of the buildings , as mentioned, which with a few statements and facts. still partially some of its original structure exists, is the home and practice of Doctor The space which we were assigned to is the Hoxton Square, a green area near Shoreditch, wrote an essay on the shaking palsy - later adjacent to Old street and within the active known as Parkinson’s Disease - at number parts of the central London.

One Hoxton square. This is the house that he and his wife Mary had their six children.

This square has been built around 1863 and As another part of the brief a short video of as a retreat for rich people as it was at the the space was shot capturing the life of the The information above is obtained from: Weinreb, B. and Weinreb, M. (2010). The London encyclopaedia. London: Macmillan, p.420.

MANAGEMENT PLAN 2012 - 2017 HOXTON SQUARE. (2012). 1st ed. [ebook] Hackney Council. Available at: http://www.hackney.gov.uk/Assets/Documents/Hoxton_ Management_Plan.pdf [Accessed 9 Dec. 2014].

Hackney, L. (2014). Hackney Council - Hoxton Square. [Online] Hackney.gov.uk. Available at: http://www.hackney.gov.uk/hoxton-square.htm [Accessed 9 Dec. 2014].

Wikipedia, (2014). Hoxton Square. [Online] Available at: http://en.wikipedia.org/wiki/Hoxton_Square [Accessed 9 Dec. 2014].

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geologist/ [Accessed 1 Apr. 2015].

We want you to go beyond a surface understanding of these places. Research the forces - natural, political, economic and cultural - that have influenced and shaped your site over time. Understand the story behind the creation of these spaces (some stories will be longer than others).

You might want to consider the following themes: Pivotal moments in its creation; the weight of the public void space in the fabric of the city; connections between void and surrounding city; the memory of landscape; proximities to infrastructural spaces or larger open spaces; good conversations between buildings from different times; fine pieces of architecture of public character – key players in the space; absences / missing elements that were once there (incompleteness); the tension between ‘the incidental’ and formal planning.

You are making these studies to equip yourself with methodologies and techniques to identify and understand particular qualities of public spaces. This will allow you to approach your final design project with a greater awareness of the variety of factors influencing the character of public city spaces.

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n the time remaining before the Christmas break you will study existing public voids in London with a very specific set of spatial characteristics.

You will be searching for your own understanding of the term City Terroir. What is it that makes these spaces unique? What are the aspects and influences that combine to create the character of these places?

To remind you, the word ‘terroir’ intrigues us because it’s rooted in a sense of place and time. Our sketching tour of market squares in the Bastide towns of Aquitaine showed you first hand the meaning of this French term- used to describe the particular qualities of a wine through reference to the effects of local climate and geographical context but also the traditional know-how of the local people. The London pub, the Parisan café and the Roman trattorias are all examples of urban terroir. The spatial qualities and atmosphere; the food and drink are all a result of their specific location and culture.

You will now expand this idea of terroir to think about city scale spaces.

The public places we’ve selected are not necessarily perfect architectural examples of city space. In many cases they may not have been ‘planned’ or had any input from an architect.

However they are all spaces people remember fondly and wish to return to. In their own way they are small gifts of public space contributing something positive to the experience of being in city. These are spaces people purposefully take detours to pass through or arrange to meet friends in.

You will work in pairs and produce two pieces of work together. The first is a large composite drawing on a good quality paper consisting of a plan with folded down elevations and key sections. This drawing might include a small site plan locating the public void in the surrounding city, a north point and a scale bar. The idea here is to

Week 1

Tuesday 25th Nov.

Project launch, seminar + screening of Patrick Keiller’s film ‘London’, 1994

Friday 28th

Tutorials in pairs to review sketches and initial impressions of sites

Week 2

Tuesday 2nd Dec. Friday 5th

Week 3

Tuesday 9th

Visit to London Metropolitan Archives

Tutorials in pairs to review status of drawings

Pin Up with drawings and proposed sketch films with possible statements

Friday 12th

Week 4

Tuesday 16th

Tutorials in pairs

Final Crit

be measured and precise with your drawing whilst still revealing the unique character of the place. A sense of the materials deployed on the ground surfaces and building facades should be evident as well as any significant planting or trees etc.

You will not need to necessarily draw everything, or to the same level of detail (key players in the space could have more detail whilst shop signs for instance or cluttered street furniture might be omitted completely). A fine line exists between communicating the intent of a drawing and what can be edited to make that intent more powerful. It is anticipated that all of the finished drawings will be printed on approx. A0 size paper at 1:200 scale. We will confirm this in due course and make arrangements for printing.

For the second piece of work you will make a short film recording of the space. This recording will capture a moment in the life of your public space. The vantage point will be fixed and remain static for the duration of the shot.

The film will pick up the quotidian life and sounds of the city over which a spoken narrative will be laid. This concise narrative will be distilled from your research of the space (the studio will visit archives together). It should take the form of three or four statements that tell the story of these places. When viewed together these pieces of work should reveal the City Terroir of your public void in the context of the surrounding city fabric of London.

AB + SC 25.11.2014

Cleaver Sq, Kennington

- Emanuele + Nelli

The Economist, St James

- Salah + Thalis

Clerkenwell Green, Islington

- Iza + Naile

Pond Square, Highgate Village

- Cindy + Shyukriye

West Yard, Camden Lock

- Leon + Delia

Flat Iron Square, Southwark

- Lauren + Thomas

The George Inn Yard, Borough

- Jelena + Alexia

Wapping Pier Head, Wapping

- Alastair + Hannah

St James, Piccadilly

- Kinga + Luke

Hoxton Square, Shoreditch

- Adam, Caveh + Niyazi

The historical maps of Hoxton square and Hoxton market place.

Top row from left: 1870-1880-1900 Bottom row from left: 1910-1950-1960 Checking these maps in the duration of a century shows that the square itself has not changed, or has remained constant with minimal alterations, but the surrounding on the other hand has been through some reconstruction phases.

Source: Digimap

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On the left: The early sketches done on the site for better understanding of the area, the architecture and the space. This sketch consisted of three segments which were attached to each other to create this as a whole.

Bottom Right: an aerial view of the Hoxton Square with indication of the square in the picture (source: Apple maps)

No. 1

The No 1 Hoxton Square is one of the oldest buildings of the area. It is a Blue Plaque building which belongs to the physician James Parkinson who had written ‘An Essay on the Shaking Palsy’ later knows as Parkinson’s Disease.

Sources: Http://www.parkinsons.org.uk/content/dr-james-parkinson Http://www.hackney.gov.uk/ep-james-parkinson.htm Http://en.wikipedia.org/wiki/Hoxton_Square

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Above: location of the Hoxton square on the map. The map is not drawn to any scale.

Source: Digimap Opposite page: the buildings drawn and textured for the purpose of the brief.

Left: The church located on the North side of Hoxton square. An outstanding building with a noticeable height and decoration which stands out from the rest of the buildings.

Centre: The Geller House building. A building currently used as a design company.

Right: The former White Cube Gallery building with its modern addition to the old building creating a unique structure and very particular view. This building also has a great impact on the view of the area.

These drawings are a continues process of creating the map of the area selected for this brief. In these pages the sketches are not scaled and have been adjusted to

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Above:

Above:

The work in progress: Once the buildings around the square are drawn they will be laid out around it and all the façades will be placed. The more important buildings such as the church on the North, the physician’s house which is a Blue Plaque building (the last southern building on the West side), the former White Cube gallery on the South, the Lux building north to the physician’s house, the village hall on the east and the old building on its right, all these will be distinguishable by adding texture or colour.

Another two buildings which will be added to the map are the Magistrate Court and the former Shoreditch Town Hall on the Southeast corner of the map.

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Top left: 1767 - Top right: 1868 - Bottom left:1863 - Bottom right: 1901 Source: Digimap, Historic Roam

Continuing the latest brief, in a group the map of the designated public square will be completed. As seen above and compared to the earlier drawing the number of buildings have increased and some texture and rendering has been added. This brief is completed by a group creating the map and followed by shooting and In the map above the East, West and the buildings on the lower right corner, the hatching behind the buildings and the fountain in the centre are produced by group-

The base map source is Digmap.

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Above: The map of Hoxton Square produced and drawn by students.

Old buildings vs. contemporary and recent buildings. previously used as a vicarage.

Bottom row (from left to right): the Village hall which is a building standing at the square from 1973, the Lux main tower, the Lux north section.

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On the left:

Above: The newer drawing for the site plan, as the work in progress for the Hoxton Sqaure map, to be completed.

Brief Four Public City Voids Filming

As part of this brief a short video was captured to understand the life and the livelihood of this city void in reality and through the video.

Several angles and locations were selected and from each one a few minutes were captured. In the video the focus has not been the passers, the stores, the cars and bikes, and the other objects as isolated parts but they are all treated as fragments of the city void the same as the buildings, the trees, the church or even a window have been.

the early morning before sunrise until afternoon.

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Case Study

Nottingham Contemporary

Nottingham Contemporary Introduction

Nottingham Contemporary was built upon the request of the Nottingham City (as the Client), by Architects of the Caruso St John, completed in 2009 . the civil, structural and electrical engineering was provided by ARUP as well as geotechnics and specialist services, and the contractor was ROK-Sol company.

The project was publicly funded and a high

It was built during 2004-2009 by Caruso St John Architects, and the client being the Nottingham City Council. This idea to create a modern art gallery was a shared idea between not only the city council but also East Midlands Art, and the two universities of Nottingham as the city has an abundance of artistic characteristic and has been mentioned to have the highest number of artists per capita than any other place in the UK. The Board felt the need of an art gallery where all the art is concentrated on and, on the site owned by the city (the Weekday Cross), the place where all the warehouses used to be – the Lace Market!

rather because of how they introduced a new concept for the galleries, which are the main purpose of the building. In their proposal the geometrical design of the building has its root from the irregular shape of the site and its mixed topography. The building represents the Victorian era that was the peak for the Lace market and the warehouses, but in a subtle way and that is why it becomes interesting.

The site is a unique place and built upon the remains of the old Lace Market on Trent Valley of Nottingham city. It is a wonderful spot but also very challenging as it is rather small and pushed in the surroundings like a The site for the project is in the central part wedge. Not only this but also the difference of the city and as mentioned it is the used- of height on either sides for about 13 Nottingham Contemporary is an art gallery to-be Lace Market area. For the design metres on the opposite side of the Weekday built in the city of Nottingham close to the of the project a competition was held and Cross downward to the Garners Hill and to place where the old lace industry once was the architects Caruso St John won the competition. They defeated many big names issue which Caruso St John dealt with it very and the city. of their league, which was not mainly for nicely. how they had designed the building, but gallery spaces in the UK. The total area of the building is 3400 m2 used in a variety of purposes including four art galleries, a high ceiling performance area with the capacity of

Sources: www.arup.com/Projects/Nottingham_Contemporary.aspx [Accessed 1 Apr. 2015].

Adrian Jones, C. (2011). Jones the planner: Box of Delights - Nottingham Contemporary. [Online] Jonestheplanner.co.uk. Available at: http://www.jonestheplanner. co.uk/2011/02/box-of-delights-nottingham-contemporary.html [Accessed 26 Dec. 2014].

Detail.de, (2014). Hitting the Note: Nottingham Contemporary. [Online] Available at: http://www.detail-online.com/architecture/topics/hitting-the-note-nottinghamcontemporary-007494.html [Accessed 26 Dec. 2014].

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The location of the ‘Nottingham Contemporary Art Gallery’ on the UK map.

Source: Google maps

Basic information overview Legal, contract and cost

The construction of the building started in January 2007 and was completed about two years later in September 2009. It costed ÂŁ12.3 million which was funded by the Arts Council with a Joint Contracts Tribunal (JCT 98), local authorities with Quantities procurement between parties.

Client, constructor and contractors

The client as mentioned was Nottingham City Council and the main contractors were the ROK/SOL Construction. Most of the engineering has been conducted by ARUP, with partnership of Elliot Wood Partnership for structural engineering design. Charcoaleblue has been engaged in the theatre consultation and Timlewers has handled the acoustics.

Material principles

The main material used in this structure include concrete, both exposed and unexposed, pre-cast concrete, brass and timber. Extensive use of concrete was due to its characteristics such as being mouldable and possible to sculpt, its low maintenance needs

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and the fact that it could be prefabricated. The view on the top of the site has its unique character as it includes the Shire Hall, the Site history churches, some old big warehouses and the In the history the site connects to the place parts of the pre-industrial town all lined up in were the Town Hall once was, which was the view from the lace market cliff. demolished to make way for the new and glorious Great Central railway in 1898 and The site at the same time has some strategic thus a part of the new gallery is at the edge of the railway. contrast with them. The lace market is on one edge of the commercial heart of the city The area was abandoned during times but and thus an Art Gallery placed one the side in 1980 a little park was made as a part of it is in opposition to each others nature. of the plans of regenerating the old Lace Also the Boroadmarsh shopping centre with Market but unfortunately the park turned to its consumerism and characteristic again a drug dealing spot and thus it was closed creates a tension between the art and the down. One reason for objection against the commerce as they present different values. The new art gallery was this park and the need new building will also have one of its edges of destroying it but the building proved to placed on the Middle Hill road Viaduct, a path create more change in the neighbourhood created in 1970s that penetrates through the than it was expected and bringing hope and Weekday Cross to the area which the gallery art together with excitement and value to the is sited. The Nottingham Contemporary new area. art gallery by making a nice reinvention of the Weekday Cross and turning it into an The site has some very great potentials. It active a splendid area has overcame all these is possible to see it from the station which makes it a visible landmark to the city and the best way. also the city tram viaduct has a direct track to it which it swerves at the very side of it.

Sources: Ajbuildingslibrary.co.uk, (2015). AJBL - Caruso St John. [online] Available at: http://www.ajbuildingslibrary.co.uk/projects/display/id/220 [Accessed 1 Apr. 2015].

Chan, K. (2011). NOTTINGHAM CONTEMPORARY MATERIAL RESEARCH. [online] Issuu. Available at: http://issuu.com/keith_chan/docs/materials_ researchboards [Accessed 1 Apr. 2015].

Adrian Jones, C. (2011). Jones the planner: Box of Delights - Nottingham Contemporary. [Online] Jonestheplanner.co.uk. Available at: http://www.jonestheplanner. co.uk/2011/02/box-of-delights-nottingham-contemporary.html [Accessed 26 Dec. 2014].

Detail.de, (2014). Hitting the Note: Nottingham Contemporary. [Online] Available at: http://www.detail-online.com/architecture/topics/hitting-the-note-nottinghamcontemporary-007494.html [Accessed 26 Dec. 2014].

Top left: the unique view above the gallery. Top right: contrasting surroundings. Bottom left and right: views of the area.

Sources: Adrian Jones, C. (2011). Jones the planner: Box of Delights - Nottingham Contemporary. [Online] Jonestheplanner.co.uk. Available at: http://www.jonestheplanner.co.uk/2011/02/box-of-delights-nottingham-contemporary. html [Accessed 26 Dec. 2014].

Detail.de, (2014). Hitting the Note: Nottingham Contemporary. [Online] Available at: http://www.detail-online.com/architecture/topics/hitting-the-note-nottingham-contemporary-007494.html [Accessed 26 Dec. 2014].

Design Process

The building and its location created another welcoming point for Nottingham, although it looks like a reinforced castle placed on the side of city with a fashionable background with all the bars and restaurants. In the distance those are the old warehouses and factories which have changed their usage through time and have bought a different type of life to the area.

geometry designed by the architect for the

The new and unconventional design for the existence of the same character at the place art gallery received both praise and criticism that Nottingham Contemporary was planned because of its unusual appearance from the to be built. public and the art society, as it seemed to stand out from the area instead of blending into context. It appeared as the new building will face a harsh welcome from the audience and a strong disapproval will be the main opinion of the public.

On the contrary the gallery itself has its view built upon a rather less exciting section of the These all have started as the design was shown to the public through digitally to industrial revolution, and also from after it reproduced renderings of the building and including some of the unpleasant necessary went as far as request for revoking the infrastructures of the time such as the sewer planning permissions. The politicians if system. were not in favour of the design there were strong possibilities of an early stoppage of The design was faced with many challenges the construction. After the completion of the and some of them were due to the fact that building the design proved to be worthy of the site was not a simple location. Issues all the effort which owes it not only to the such as drastic change of height on the sides, proposal but also to the exhibitions held in the historical importance, the infrastructure the gallery as well, while still there are those crossing through the site, the shape of the who do not appreciate it as much as others. land and furthermore the non-repetetive Sources: Adrian Jones, C. (2011). Jones the planner: Box of Delights - Nottingham Contemporary. [Online] Jonestheplanner.co.uk. Available at: http://www.jonestheplanner. co.uk/2011/02/box-of-delights-nottingham-contemporary.html [Accessed 26 Dec. 2014].

Detail.de, (2014). Hitting the Note: Nottingham Contemporary. [Online] Available at: http://www.detail-online.com/architecture/topics/hitting-the-note-nottinghamcontemporary-007494.html [Accessed 26 Dec. 2014].

Architectsjournal.co.uk, (2009). Nottingham Contemporary art gallery: Engineer’s account. [online] Available at: http://www.architectsjournal.co.uk/culture/ nottingham-contemporary-art-gallery-engineers-account/5210818.article [Accessed 16 Mar. 2015].

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Top Right: a view from the old Lace Market. Other images: views from around the Nottingham Contemporary Sources: Draper, C. and Draper, C. (2014). Panoramio - Photo of Gamers Hill. [Online] Ssl.panoramio.com. Available at: https://ssl.panoramio.com/photo/102259736 [Accessed 26 Dec. 2014].

Ssl.panoramio.com, (2014). Panoramio - Photo of Nottingham Contemporary. [Online] Available at: https://ssl.panoramio.com/photo/31455450 [Accessed 26 Dec. 2014].

The concepts, precedents and the public

these different opinions in favour of the design and against it was challenging the In the design Caruso St John is trying to whole planning permission. present the sophisticated technical aspects of the buildings of the Victorian period while The Director of Planning is the one who being overly decorated in order to create a believed in the design and considered the visual manifestation of the city at that time design to be very thorough and considerate but in a different way. The inspiration was and he understood that the main problem is the Guaranty Building in Buffalo designed that the public base their opinion on the design

by Louis Sullivan which is ornamented by according to the documents they see which terracotta carved tiles, and the Holland house are produced by computer graphics which is of Berlage beside the Gherkin in London not easy for them, or even the councillors to and a plinth of black Granite. The result was not a building that goes easy on the eyes of the viewer, nor it does have any wowing effect but leaves its mark on the scene. It takes time to understand the building and its design, especially as it is in a densely artistic surrounding.

of less concern as the inquiries were mainly on the subjects of sustainability, maintenance, on the design and his comprehensive and thorough thinking earned him the vote for the scheme which was taken unanimously.

understand especially in a three dimension way. He believes that this medium usually does not work and is less preferable for the common people.

All these issues were solved by a meeting between the architects and the authorities.

Communication and explanation made it easier to understand, also a Q&A session had This extraordinary design was strongly been arranged with the planning Committee criticised by public and those who cared for before the formal session. Interestingly during these sessions the design proved to be to any change around the Lace Market. All Architectsjournal.co.uk, (2009). Adam Caruso on the Nottingham Contemporary art gallery. [Online] Available at: http://www.architectsjournal.co.uk/news/daily-news/adam-caruso-onthe-nottingham-contemporary-art-gallery/5210817.article [Accessed 28 Dec. 2014].

Architectural-review.com, (2010). Nottingham Contemporary by Caruso St John Architects, Nottingham, UK. [Online] Available at: http://www.architectural-review.com/buildings/ nottingham-contemporary-by-caruso-st-john-architects-nottingham-uk/5218249.article [Accessed 28 Dec. 2014].

Carusostjohn.com, (2014). Nottingham Contemporary (Nottingham, GB) ÂŤ Caruso St John Architects. [Online] Available at: http://www.carusostjohn.com/projects/nottinghamcontemporary/ [Accessed 28 Dec. 2014].

Detail.de, (2014). Hitting the Note: Nottingham Contemporary. [Online] Available at: http://www.detail-online.com/architecture/topics/hitting-the-note-nottingham-contemporary-007494. html [Accessed 26 Dec. 2014].

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by-caruso-st-john-architects/ [Accessed 28 Dec. 2014].

Adrian Jones, C. (2011). Jones the planner: Box of Delights - Nottingham Contemporary. [Online] Jonestheplanner.co.uk. Available at: http://www.jonestheplanner.co.uk/2011/02/box-ofdelights-nottingham-contemporary.html [Accessed 26 Dec. 2014].

Nottinghamcontemporary.org, (2014). Nottingham Contemporary. [Online] Available at: http://www.nottinghamcontemporary.org/ [Accessed 28 Dec. 2014].

Woodman, E. (2009). Caruso St John›s Nottingham curtain raiser. [Online] Building Design. Available at: http://www.bdonline.co.uk/buildings/caruso-st-johns-nottingham-curtainraiser/3152974.article [Accessed 28 Dec. 2014].

On the right: Top: the Guaranty Building by Louis Sullivan.

Bottom: the Holland house by Berlage

Image source: 26 Dec. 2014].

Louis-Sullivans-Guaranty-Building-is-an-architectural [Accessed 26 Dec. 2014].

Panoramio.com, (2014). Panoramio - Photo of Louis Sullivan’s Guaranty Building. [Online] Available at: http://www.panoramio.com/photo/24346765 [Accessed 26 Dec. 2014].

Wikipedia, (2014). Prudential (Guaranty) Building. [Online] Available at: http://en.wikipedia.org/wiki/Prudential_(Guaranty)_Building [Accessed 26 Dec. 2014].

Osley, J. (2014). Holland House, Bury Street (C) Julian Osley :: Geograph Britain and Ireland. [Online] Geograph.org.uk. Available at: http://www.geograph.org.uk/photo/3615452 [Accessed 26 Dec. 2014].

Design details

Contemporary appears to be an important, The building presents itself in a way that high-tech and functional building with the introduces new character to the area yet does colour, the texture and the masses on the top not challenge its surrounding structures, of each other, although the viewer does not as it is only a storey high on the Weekday understand why that is. Looking closer the Cross side allowing for the scenery behind green and gold, the shiny elements and the it to clearly be seen, and does not interferer variety of material is a reminder of Vegas and with the dominance of the Unitarian church it might surprise the previous understanding!

The building also sits were the high density very well in the cliff and appears as to be in proportion to the area. the rest with the streets crossing and passing through them, and appearing as a gate in The building has been designed with subtle their forefront. principles and a simple-to-follow interior.

Entering the building, going up through the reception and the gift shop are the stairs Another spacious staircase with large window to the Garners Hill and the Unitarian Church, will lead the visitor to the educational area

hall.

Architectsjournal.co.uk, (2009). Adam Caruso on the Nottingham Contemporary art gallery. [Online] Available at: http://www.architectsjournal.co.uk/news/daily-news/adam-caruso-onthe-nottingham-contemporary-art-gallery/5210817.article [Accessed 28 Dec. 2014].

Architectural-review.com, (2010). Nottingham Contemporary by Caruso St John Architects, Nottingham, UK. [Online] Available at: http://www.architectural-review.com/buildings/ nottingham-contemporary-by-caruso-st-john-architects-nottingham-uk/5218249.article [Accessed 28 Dec. 2014].

Carusostjohn.com, (2014). Nottingham Contemporary (Nottingham, GB) ÂŤ Caruso St John Architects. [Online] Available at: http://www.carusostjohn.com/projects/nottinghamcontemporary/ [Accessed 28 Dec. 2014].

Detail.de, (2014). Hitting the Note: Nottingham Contemporary. [Online] Available at: http://www.detail-online.com/architecture/topics/hitting-the-note-nottingham-contemporary-007494. html [Accessed 26 Dec. 2014].

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by-caruso-st-john-architects/ [Accessed 28 Dec. 2014].

Adrian Jones, C. (2011). Jones the planner: Box of Delights - Nottingham Contemporary. [Online] Jonestheplanner.co.uk. Available at: http://www.jonestheplanner.co.uk/2011/02/box-ofdelights-nottingham-contemporary.html [Accessed 26 Dec. 2014].

Nottinghamcontemporary.org, (2014). Nottingham Contemporary. [Online] Available at: http://www.nottinghamcontemporary.org/ [Accessed 28 Dec. 2014].

Woodman, E. (2009). Caruso St John›s Nottingham curtain raiser. [Online] Building Design. Available at: http://www.bdonline.co.uk/buildings/caruso-st-johns-nottingham-curtainraiser/3152974.article [Accessed 28 Dec. 2014].

Above: Nottingham Contemporary

Flickr.com,

(2014).

Image source: Nottingham

com/photos/archiryan/4288610106/in/ photostream/# [Accessed 28 Dec. 2014].

Nottingham Contemporary Image source:

Structural Engineering

length of the performance space. These beams follow a rhythm in design and are meant to hold the weight of the artworks placed in the The site is located in a historic space and one gallery above. These beams all provided for of the parts to concern was the existence of about a square meter space for the services the Broadmarsh Caves as not only they are to spread through. open to public but are scheduled ancient monuments. This required to be undisturbed Economical and sustainable engineering and therefore the southwest corner of the Steel has been used for the framing structure building had to span for about forty meters of the roof over the main entrance as an long stretching over these caves. To provide economically alternative to the use of such a structure the integration of engineering concrete in such a long span. The problem and architecture resulted in the merge of the here was to design the closely placed roof load bearing structures and the exposed walls lights resulting in a densely-frmaed layout of the entrance and cafe terrace together. for the beams which is quite unusual and had

of the building which are the lace-patterend units of pre-cast concrete weighing up to eight tonnes each, and their placement on the outer side of the structure creates an immense traction force over the structure.

The problem was solved by close cooperation between Arup and Caruso St John’s architects to select the proper placement of the support and the required type, for the purpose, and for each facade.

Services

Another challenge in the structural design was the adjustment of services, the structure and the architecture together. This was not easy considering the little amount of hidden areas in the public spaces where the services are mostly required to run though, due to the use of exposed concrete walls. The problem was solved by using the space behind the 1.6 meters deep concrete beams crossing the

is balanced with the placement of slabs of locations around the roof while preventing of natural daylight getting into the galleries.

Facade engineering

The next important structure to design was the cladding supports. The unusual claddings

Architectsjournal.co.uk, (2009). Nottingham Contemporary art gallery: Engineer’s account. [online] Available at: http://www.architectsjournal.co.uk/culture/nottinghamcontemporary-art-gallery-engineers-account/5210818.article [Accessed 16 Mar. 2015].

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Picture on the right: The location of known caves in Nottingham beneath the Broad Marsh Centre. The City of Caves are those open to public.

Source: uk/places/caves/cavesmap2.htm [Accessed 1 Apr. 2015].

on the opposite page).

Source: Experiencenottinghamshire.com, (2011). City of Caves - Cave in Nottingham, Nottingham - Experience Nottinghamshire. [online] Available at: http://www.experiencenottinghamshire.com/ discover/city-of-caves-p354851 [Accessed 1 Apr. 2015].

Constraints

Adding to the complications were the heating for the building. ditches and wells, some of the major utility Nottingham Contemporary with its 3000 services or the city and the historic railway The existence of a major Victorian combined infrastructure which has been abandoned. sewer which required diversion and this was was not a simple straight forward design. The complicated by the very fragile oval shaped spaces in the building not only include leisure The occupation of the site goes back to the brick sewer from the Victorian time, limiting such as cafe and bar but also art galleries, Anglo-Saxon times and thus a thorough the amount of possible ground movements performances spaces with very high ceiling investigation of the site was required to ensure as well. These had to be redesigned and for 200 people and etc.. The constraints to a safe and danger-free construction. For this diverted. Another diversion was made in mention start from the shape of the site itself, purpose Arup faced a challenging situation the high pressure water (providing water being triangular resulted in a multi-story and had to be prepared for an archaeological- to Broadmarsh Shopping Centre) and the building which was also necessary due to the like expedition in case there were any known drainage of the highway. other limits forced by the steepness of the land or unknown remnants from the history buried under the ground, especially when The electricity cables for the mains and the excavation was approaching the western medium voltage power sources also had to As mentioned the Broadmarsh Caves were border of the site which resulted in some be repositioned and some 13 metre deep walls under the site and therefore at very early new addition to the list of caves in the city of were made on the Eastern parts of the site and stages negotiations with English Heritage Nottingham. some of the western parts to create the deep had to be done to ensure the safety and basement of the building and ensuring safety preservation of these historical elements. The Some of the major constraints regarding the beyond the extents of the existing retaining engineering process also had to be maintained infrastructure are mentioned in the Following. walls in a way to allow the public access to the The hot water heating pipes towards central caves during the construction. In some parts Nottingham with a 2500 mm diameter. These the excavations were just a couple of meters were diverted and the new route passing far from these caves which shows the amount under the sub-basement slab of Nottingham of care and precision of the engineering.

Contemporary provides an extra source of

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Source: sets/72157612271194175/ [Accessed 28 Dec. 2014]. sets/72157612319624470/ [Accessed 28 Dec. 2014].

The poetic exploration journey

itself was a copy of a hand made piece from France. This pattern was then after a long The journey of exploring this building is process transformed into a positive MDF cast rather poetic. This expedition, for some starts and then into four hard latex moulds, each at the train station. At this point from the one as long as fourteen metres. These were distance there is a sign of a building which used to cast all the concretes for the façade. tries to be distinctive from the rest but does not give any hint of what it might be, yet claiming Moving closer, the surface becomes the focus of attention with the colour and the rough lacyadopted from the 19th century buildings of like pattern which clears any doubt about the Nottingham particularly from the remarkable building. The exploration continues along façades of the Lace Market at the time. a wall (and if you come from the city centre you will approach from here) at the side of a Those exteriors of hard brick produced a shell public space with a long window which gives strong enough to withhold the structural parts the illusion of a silver screen at the cinema in the warehouses in a repeated sequence. letting the passers-by to peek inside and then Theses façades meant to be strong for they there is the entrance with the cantilevered had to be permanent – oddly they were not – roof and it is here that one will realise that and the repetition offered a special character this is – of course – an art gallery! to the area.

In the same manner which Nottingham Contemporary has a repetitive pale green precast concrete façade, which is ornamented by patterns depicted from a special example of the lace produced in Nottingham, which Architectsjournal.co.uk, (2009). Adam Caruso on the Nottingham Contemporary art gallery. [Online] Available at: http://www.architectsjournal.co.uk/news/daily-news/adam-caruso-on-the-nottinghamcontemporary-art-gallery/5210817.article [Accessed 28 Dec. 2014].

Architectural-review.com, (2010). Nottingham Contemporary by Caruso St John Architects, Nottingham, UK. [Online] Available at: http://www.architectural-review.com/buildings/nottinghamcontemporary-by-caruso-st-john-architects-nottingham-uk/5218249.article [Accessed 28 Dec. 2014].

Carusostjohn.com, (2014). Nottingham Contemporary (Nottingham, GB) « Caruso St John Architects. [Online] Available at: http://www.carusostjohn.com/projects/nottingham-contemporary/ [Accessed 28 Dec. 2014].

Detail.de, (2014). Hitting the Note: Nottingham Contemporary. [Online] Available at: http://www.detail-online.com/architecture/topics/hitting-the-note-nottingham-contemporary-007494.html [Accessed 26 Dec. 2014].

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john-architects/ [Accessed 28 Dec. 2014].

Adrian Jones, C. (2011). Jones the planner: Box of Delights - Nottingham Contemporary. [Online] Jonestheplanner.co.uk. Available at: http://www.jonestheplanner.co.uk/2011/02/box-of-delightsnottingham-contemporary.html [Accessed 26 Dec. 2014].

Nottinghamcontemporary.org, (2014). Nottingham Contemporary. [Online] Available at: http://www.nottinghamcontemporary.org/ [Accessed 28 Dec. 2014].

Woodman, E. (2009). Caruso St John›s Nottingham curtain raiser. [Online] Building Design. Available at: http://www.bdonline.co.uk/buildings/caruso-st-johns-nottingham-curtain-raiser/3152974.article [Accessed 28 Dec. 2014].

Nottingham Contemporary Image source:

Material

along with the presence of ventilation while the lower parts with the exposed concrete surface and isolated placement are suitable The extensive use of reinforced exposed for performance. This feeling enhances since concrete was the idea from the early stage by passing from the upper parts to the lower of design as it creates an ambiguity about smooth and gentle, with thin walls (non-load bearing) to dark, dull, rough and heavy the pattern intentionally followed in the which induces the feeling as if the building building itself. has been scooped out from the sandstone cliff that is stand on.

panels and which enhances the visual aspect, but also strengthens the sheets of aluminium by having a wider attachment to the base because of the curves.

The weight-bearing structure is made by in-situ reinforced concrete frames and a steel structure which holds the cladding and supports the roof.

Within the facade there are also very big

The staircase are also made of exposed inside while providing a good insulation.

132 skylights to provide with abundance of concrete but with the Chrome-plated handrails are a combination of both rough between galleries which allow for a deep lighting which will also reduce the energy and delicate at the same time and this is also consumption. Also in some of the galleries the reason that at the basement the architect The roof structure is steel and this made the the light and provide with more natural light. environment for artistic performances. numerous skylights possible which is the reason for bright galleries as mentioned This use of material and the environmental The material used for the facade is a before. This along with having wide concrete design aimed to create a homely feeling for combination of shiny gold Aluminium which beams extending through the space allows displays of visual arts on the upper level has been anodised with a rippling convex and also for the performing arts on the level pattern at the places above the green lacy below, as on the upper level as mentioned the pattern concrete. The concavity not only is natural light has been used as an advantage the opposite of the precast green concrete

Chan, K. (2011). NOTTINGHAM CONTEMPORARY MATERIAL RESEARCH. [online] Issuu. Available at: http://issuu.com/keith_chan/docs/materials_ researchboards [Accessed 1 Apr. 2015].

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On the right: A detailed section of a corner where several components meet in the structure.

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2 9 3 10 4 11 5 12 6

Left: Architectsjournal.co.uk, (2009). Working Detail: Nottingham Contemporary by Caruso St John Architects. [online] Available at: http://www.architectsjournal.co.uk/spec/working-detail/working-detailnottingham-contemporary-by-caruso-st-john-architects/5214213.article [Accessed 2 Apr. 2015].

Top right: Chan, K. (2011). NOTTINGHAM CONTEMPORARY MATERIAL RESEARCH. [online] Issuu.

Available at: http://issuu.com/keith_chan/docs/materials_researchboards [Accessed 1 Apr. 2015]. www.metalocus.es/content/en/blog/nottingham-contemporary [Accessed 2 Apr. 2015].

Sustainability

special character to the building but also acts of light travelling inwards inside the building as a thermal mass and reduces the energy Considering sustainability and energy used to heat the building in daytime. This is greatly decreases. perseverance from the early stages had enhanced by the use of thick walls around been a part of the design. It has tackled the Throughout the building natural ventilation situation to reduce the waste of energy to the windows in case of excessive sunlight. These has been integrated in the design, in places least possible and achievable amount and includes the form, fabrics, the design, use of in public areas of the building to reduce the renewable energy, proper use of plants, and the light penetration yet reduce the heat the consideration of cost. absorption by the building (and preventing apply to the areas where a strict control over from heat loss as well), thus reducing the the air condition has been required such as As mentioned the building is placed within the need for cooling the building in summer. the art galleries or exhibition areas. sandstone of Nottingham region, in a cleft, which acts as a thermal blanket, thus this The other element which reduces the energy The building is mainly heated by the mass reduces the amount of energy it needs expenditure and heat loss of Nottingham Nottingham District Heating System which for heating by creating a barrier between the Contemporary is the green roof which not runs mostly on the waste produced in the building and the surrounding. This sandstone only provides a natural and good insulation municipal area and therefore is considered at the beginning had made the cutting in the but also absorbs the rain water and eliminates green energy. This reduction in energy railway and a little portion of it is exposed. the runoff water. expenditure of the building is reinforced The Nottingham heating network which uses by the integration of a modern building renewable waste for energy production, also The way the building is placed and is passes through parts of the building site and designed enhances its gain from natural light and cooling which monitors the use and provides extra heating. informs the users in case of any leak or waste windows in the facade and skylight windows of energy.

The use of pre-cast and exposed concrete in reduces the overheating in summer and heat loss in winter, but does not affect the amount Architectsjournal.co.uk, (2009). Nottingham Contemporary art gallery: Engineer’s account. [online] Available at: http://www.architectsjournal.co.uk/culture/ nottingham-contemporary-art-gallery-engineers-account/5210818.article [Accessed 16 Mar. 2015].

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Opposite page: An art expression of Nottingham Contemporary Image source: Uk.pinterest.com, (2015). [online] Available at: https://uk.pinterest.com/pin/432978951648321607/ [Accessed 2 Apr. 2015].

Energy management

Nottingham’s district heating system runs similar infrastructure across the building, through the city but the main supply crosses which is a combination of architectural The building is supported with an advance the site and had to be diverted under the new design and engineering calculation. system which controls the mechanical parts, building. This was only achievable after long adjusts the heating and cooling for the best and exhaustive negotiations with the supplier energy usage, becomes aware in case on any (EnviroEnergy), the third parties involved and also the shareholders or anyone else who many other features to help sustainability would possibly be affected by this work. and minimal energy waste.

There were number of cavities, tunnels and furrows, utilities networks, infrastructure connections, adjacent fragile structures and historic buildings which all were some issues that Arup engineers had to address during their analysis of the site. Adding to these were the many extensive retaining structures in the area, the dramatic level changing from one side to the other, all were issues which had to be solved for the design of this particular building which had a huge segment of it under the ground.

It was very crucial for the design that architectural design, structural engineering and service planning be all working together and at the same place with complete understanding since there were many interlocking situation which any of these parts would not be achievable without the others aware and involved.

One part which the teamwork can be clearly seen is where the concrete beams with their large span covering the performance area support the heavy weight of the artworks on top during the exhibitions, while they create a

www.arup.com/Projects/Nottingham_Contemporary.aspx [Accessed 2 Apr. 2015].

Architectsjournal.co.uk, (2009). Adam Caruso on the Nottingham Contemporary art gallery. [Online] Available at: http://www.architectsjournal.co.uk/news/dailynews/adam-caruso-on-the-nottingham-contemporary-art-gallery/5210817.article [Accessed 28 Dec. 2014]. www.arup.com/Projects/Nottingham_Contemporary/Details.aspx [Accessed 2 Apr. 2015].

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Nottingham Contemporary Construction pictures - April 2009 Image source: contemporary/sets/72157618526607974/ [Accessed 29 Dec. 2014].

Integrity of design

The interior and exterior of the building also seem to be in contrast with each other as the outside has very simple shapes and is consisted of a few elements although heavily yet subtly ornamented, but stepping inside there are levels and rooms, spaces and stairs which create a totally different atmosphere

that looks very much like the lace made at this area years ago, and while the material is soft and delicate, all directing the attention to the Lace Market.

In the design the spaces around the site have been integrated in it and the aim is to merge these big, small or odd parts with the building.

For this reason we can see that walking along (the pattern on the surface, is a modern the building there is an outdoor triangular version of the Guaranty Building of Louis space – a piece of public space – which the Sullivan as said earlier). Then there is the with a tree and a stone monument at one side and the wall of the gallery on the other, and by this wall the space has been given a sense of closure, yet having a large window on this wall the connection between the gallery and outside has not been cut off. This triangular The architect states that they did not space ends at the broad steps that lead you pursue a design which looks like Pop Art, down to the entrance with its cantilevered yet something that will visually resemble roof as a gesture similar to cinema marquee, a different materiality rather than the real and creating a sheltered area. substance that has been used. This has been achieved by the concrete wall with its surface interesting after the promising start while they excitingly entered the gallery, since it seems the stairs do not follow any rhythm in placement.

www.arup.com/Projects/Nottingham_Contemporary.aspx [Accessed 2 Apr. 2015].

Architectsjournal.co.uk, (2009). Adam Caruso on the Nottingham Contemporary art gallery. [Online] Available at: http://www.architectsjournal.co.uk/news/dailynews/adam-caruso-on-the-nottingham-contemporary-art-gallery/5210817.article [Accessed 28 Dec. 2014]. www.arup.com/Projects/Nottingham_Contemporary/Details.aspx [Accessed 2 Apr. 2015].

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Nottingham Contemporary Image source:

Design Flow

collections’. This power to embrace the art for education. There were some arguments as it is displayed, and offering it a space to Stepping into the interior, to the lobby, what over this exposed parts by critics and be clearly seen, without the distraction of separates the viewer from the four exhibitions suggesting some cover might be appropriate that are placed around it, is a glass wall. and the grid made by the roof lights and the exhibit is the important part of the design of These four together with that small space at Caruso St John Architects. the entrance create an almost independent especially if the ceiling is not high, but any section. These oddly placed areas, although design, even the best has both acceptance and rejection after all! to the needs of an art gallery very well, and do not force their structure, wall or light on This change in nature (of design) is continued the exhibits but on the contrary with the high ceiling, proper placing of windows, hanging one can see suddenly you are welcomed with lights and angled walls, they work in the best the 800 mm panels of concrete on this terrace of the exhibitor’s interest. of what was seen before stepping inside – The building as a part of its design in addition that whole mass of cubes and colours – and to its transparency and the extension of interior to exterior (or vice versa) presents stairways and exposed pipes. In addition to itself with honesty in essence and puts all the this what should be noted is the retro 50s equipment, lamps and lights, pipes and other details added by Matthew Brannon in the bar, and the 17th, 18th and 19th century cabinets distinction compared to the way the concrete put in place by Pablo Bronstein, which façade hides everything with its ornamented delicate pattern of lace. These are more house the artwork in form of any ‘miniature 1

2

1

Architectsjournal.co.uk, (2009). Adam Caruso on the Nottingham Contemporary art gallery. [Online] Available at: http://www.architectsjournal.co.uk/news/daily-news/adam-caruso-on-thenottingham-contemporary-art-gallery/5210817.article [Accessed 28 Dec. 2014].

Architectural-review.com, (2010). Nottingham Contemporary by Caruso St John Architects, Nottingham, UK. [Online] Available at: http://www.architectural-review.com/buildings/nottinghamcontemporary-by-caruso-st-john-architects-nottingham-uk/5218249.article [Accessed 28 Dec. 2014].

Carusostjohn.com, (2014). Nottingham Contemporary (Nottingham, GB) « Caruso St John Architects. [Online] Available at: http://www.carusostjohn.com/projects/nottingham-contemporary/ [Accessed 28 Dec. 2014].

Detail.de, (2014). Hitting the Note: Nottingham Contemporary. [Online] Available at: http://www.detail-online.com/architecture/topics/hitting-the-note-nottingham-contemporary-007494.html [Accessed 26 Dec. 2014].

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st-john-architects/ [Accessed 28 Dec. 2014].

Adrian Jones, C. (2011). Jones the planner: Box of Delights - Nottingham Contemporary. [Online] Jonestheplanner.co.uk. Available at: http://www.jonestheplanner.co.uk/2011/02/box-of-delightsnottingham-contemporary.html [Accessed 26 Dec. 2014].

Nottinghamcontemporary.org, (2014). Nottingham Contemporary. [Online] Available at: http://www.nottinghamcontemporary.org/ [Accessed 28 Dec. 2014].

Woodman, E. (2009). Caruso St John›s Nottingham curtain raiser. [Online] Building Design. Available at: http://www.bdonline.co.uk/buildings/caruso-st-johns-nottingham-curtain-raiser/3152974. article [Accessed 28 Dec. 2014].

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On the right: Images of the construction of Nottingham Contemporary.

November 2007 & September 2008

Visual illustrations of structure

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It has been tried to connect the interior spaces with their actual reality by combining an architectural drawing with a separate series of pictures found on Flickr. sImage source:

Environmental Protection

In order to take the best advantages of the natural resources of the energy and to induce least Co2 footprint the design and engineering took close and careful steps which have been mentioned before. These include using the most possible natural light by introducing large windows and skylights and maximising the natural ventilation which is only possible because of the severe change in levels and most of the building being buried underground.

the windows on the roof, to reduce the light and these can be clipped externally on the roof-lights if necessary. lighting but needs close temperature control, In the galleries if needed the artworks can be south which needs humidity control and north illuminated with the foreseen placing of some electrical mains between the plywood coffers the lower section that is regarded as the black allowing for plugging some extra spotlighting box which is insulated and isolated from light, sound and also climate, and is naturally well-

it is used for performances. For this part air conditioning is maintained passively by the thermal mass of the exposed concrete for The use of different energy and service moderate climate adjustment. managements according to the purpose of the space such as having strict and fully Extra lighting features controlled monitoring for the art galleries to protect the exhibits, and use of the external heat sources such as the heating systems integrated with a layer of laminated diffusing passing through the basement and gaining material which prevents the occurrence of warmth through conduction and convection. uncomfortable patches of bright sun light

neatly placed between the gaps of the plywood coffers are also placed in the galleries. These lights luminance is adjusted and dimmed by the sensors positioned in each gallery which are sensitive to the daylight brightness and lighting situation of outside, thus saving energy in bright days.

lighting has been provided which could

performances or individually tailored for ultraviolet as well. To adjust the amount of any exhibition, lecture, conference, meeting sunlight there is a manual system that covers or etc..

Architectsjournal.co.uk, (2009). Nottingham Contemporary art gallery: Engineer’s account. [online] Available at: http://www.architectsjournal.co.uk/culture/ nottingham-contemporary-art-gallery-engineers-account/5210818.article [Accessed 16 Mar. 2015].

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Nottingham Contemporary Construction pictures - April 2009 Image source: contemporary/sets/72157618526607974/ [Accessed 29 Dec. 2014].

Left: the Ground Floor Plan Centre Right: Basement Floor Plan Right: Sub-basement Floor Plan Image source: Europaconcorsi, (2014). Caruso St John Architects — Nottingham Contemporary. [Online] Available at: http://divisare.com/projects/112961-Caruso-St-JohnArchitects-Nottingham-Contemporary [Accessed 28 Dec. 2014].

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On the Right: The façades of Nottingham Contemporary produced by CGI. These images might be understandable to architects or engineers but are not comprehensible to the public and certainly not very appealing to them.

These drawings are the façades presented as Computer-generated imagery for presenting the building. As seen here although they might be perfectly detailed and understandable in a professional practice and by those who have to build this project, but these images seen by the public will not be very helpful in gaining their acceptance.

Nottingham Contemporary has shown that there is a rather big difference between what might be our perception of a building according to the black and white line drawings, and the reality of

Image source: Europaconcorsi, (2014). Caruso St John Architects — Nottingham Contemporary. [Online] Available at: http://divisare.com/projects/112961-Caruso-St-John-Architects-Nottingham-Contemporary [Accessed 28 Dec. 2014].

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The Art of City Making

Brief Five City Trroir

The current brief started with introducing this brief there were initially three sites allocated and the students were asked to pick up one according to their own judgment and preferences. Each one had its characteristic and advantages, and with many potentials.

This part started with visiting the sites and was felt to be more connected and would trigger more interest in.

The site chosen here to focus the work is the Spa Terminus and the Dockley Road Industrial Estate. It is a little industrial estate very close to Bermondsey Underground Station and in the vicinity of St. James Church. It is located in Southeast London, in the borough of Southwark. The estate is adjacent to the railway bridge and thus it incorporates the arches of the railway into the estate and they are leased from the

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The Dockley Road Industrial Estate is and renovated individually according to the involved mostly in food production and is requirements of each occupier. not a market except for only Saturdays. The estate is a whole sale trade and thus it is not The fascination for comes from having the a vibrant and popular area and since there massive bridge with its strong appearance is no proper street furniture, and no real and connection to the area, its bold and public space therefore even on a Saturday it rough standing among the buildings of the does not get crowded and people just pop in neighbourhood and becoming a part of the on their way and visitors are often those who daily life of the people as it was meant to be know about it, otherwise rarely it would be there and no one now ever thinks as if this seen that people just be visiting accidentally. was an addition to a place that years ago was empty.

This is different for the brewery as it has its own seating area which people can enjoy Another interesting part is the numerous their drink inside and relax but that might be arches which have the potential to become due to the regulations that it prohibits people more vibrant and active, they all together from drinking on the street. produce a huge area which with a proper insight and management can turn into an The estate also is not very appealing and consists of very simple and monotonous during the proposals it was decided to blocks placed along each other in two rows. It prevent any interference with the arches as it is worth mentioning though that architecture was thought their essence and characteristic of the bridge itself and some buildings around has to be preserved as they are. it is fascinating.

Dockley Road Industrial Estate, Dockley Road, SE16 3SF http://www.spa-terminus.co.uk a unique grouping of like-minded food producers in the city located in the arches beneath the train line and the units of an adjoining industrial estate. Privately owned but opens to the public on Saturday mornings. Wholesale week days.

W

e’d like you to visit the following sites so you can think over Christmas about which you’d like to work in for the remainder of the year.

There are three to consider. Each has a distinctive character and its own sense of place that could be enhanced by design proposals at a range of scales. In their own way they all have a direct relationship with food and the city. Spend some time in these places, especially whilst the market is trading, and make on-site sketches of the void spaces and surrounding city space.

Your final project is to create vivid and beautiful public space through the introduction of one or more built interventions.

There is unrelenting pressure to redevelop many areas of London, and the places we’ve selected for you to work in are no different (especially as they are centrally located and well connected). Your proposals should be conceived in resistance to insensitive, mean developments and the erosion of the city’s public realm. You will be making a gift to the city through your designs. There is potential to improve the public-ness of all of these places, celebrate food and reveal their existing spatial terroir. AB + SC 16.12.2014

Between Cramer Street and Aybrook Street, W1U 4EW

off Kingsland Road, E8 2LH

an unusually large open space in central London behind Marylebone High Street currently occupied by a car park. On Sunday a farmer’s market takes place on the site. There are a number of good buildings facing the open space (including a pub) and a nearby Paddington Street Gardens. A number of high quality food purveyors occupy the street level of a terrace of buildings on Moxon Street.

a diverse, thriving food market with a lively character.

Traders located along single storey units perched on the sweeping embankment cutting of a train line. Taller warehouse buildings to the north. Regularly threatened with re-development or closure.

The Dockley Road Industrial Estate through History: The top left map shows the estate in 1870s which we can see it is mostly a residential area. Where the industrial estate is today, used to be

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which is due to the higher Demand, the expansion and the extension of the network rail in the UK. This change has resulted in the demolition Of Houses and changes in the layout of the residential area on the side of the bridge which the expansion had occurred and as we can see several houses are destroyed and a new street has been established. In the 1950s (the lower left map) the previously mentioned terraced houses were almost all demolished and just a few remaining were wiped off the map by 1960s (the lower right map) and a new massive solitary depot-like structure has been built instead. The new development which we see in the current situation of Dockley Road Industrial Estate has been started in 1980s and presented in the maps of that time (the small map).

Source: Digimap

Š Landmark Information Group Ltd and Crown copyright 2015. FOR EDUCATIONAL USE ONLY.

The pictures taken from the site and the surrounding Top left, the southwest entrance to the estate. Top centre, the viaduct. Top right, the outside view of the part where the street, the via duct and the building of the estate meet.

Bottom left, the tunnels for passing under the viaduct on southeast side. Bottom right, the view facing the southwest gate from inside the estate.

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The pictures taken from around the site.

Top left, the new residential building on the southwest side, top right, two pictures from underneath the bridge showing the structure, bottom left the outside appearance of Dockley Road Industrial Estate, bottom right, the view from inside the Industrial Estate from one of the rows of buildings.

The pictures taken from the site and the surrounding.

Top left, the remaining left from the old bonded warehouse at the southeast end of the arches along the site, top centre left, the view from the north side of the Industrial Estate with the St. James Church between the buildings, top centre right, the new scaffolding setup on the long building on southeast of the estate, top right, the inside parts of the arches exposed, bottom left, the red plaque of Transport Trust for Spa Road Station, bottom right, the interesting positioning of the waste in the backyard of one of the commercial spaces.

Brief Five: The Art of City Making

concerned is the usage of the buildings and the surroundings. Along all these the type of buildings around Dockley Estate and their After the introduction of the brief and selecting importance will also be considered. the sites, from this point these are all the core sections of this series of complementary Parallel to observing and understanding the briefs. They are all around the idea of city site modelling for an initial idea of how one terroir and to create a vibrant, delightful, might think of the future design was started, harmonious and encouraging area for people which will be well situated and seated in the be able to start developing the primary and existing contexts. draft proposal.

Along this path the site and its location, These initial ideas are shown in the three draft the surroundings and neighbourhood, the drawings on the right. These were the very internal spaces of the estate, the connections initial ideas for the proposal which through and so on all shall be understand.

This brief from this point starts with the understanding of the site, its connections to the area and its root in the history. It also requires the thorough knowledge of the infrastructures and the transport network and how it is connected to the similar sites around, and how well is this connection established or preserved. Another issue to be

not only in appearance but principles.

To start a design, it needs an initial point to lead the designer to a path which will help it to become a fully developed, the idea which These might look very unrealistic or obscure but without error there is no progress.

following pages these models and their plan and spacial perception will be more discussed.

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of the city and can be enjoyed by all. Within this spatial context you will locate buildings and identify a special one that could take on a more public role relating to food.

The first design exercise is to create quick sketch models exploring different spatial configurations within the site.

These are physical representations of your initial, intuitive feelings for the place. The sketch models should be at 1:500 scale so they can be placed in the shared models. You should try to produce three options quickly but with care.

In parallel to the model making and as a counterpoint to the bigger design moves, you should also consider the smaller, more human scale of design. This could be an intuitive idea for the materials you wish to use, a concept for a detail, a reference or something as simple as a proportion. Make a small sketch or create an image to illustrate it.

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ow that you’re getting to know your final sites we’d like to remind you of the design challenge that lies ahead for the remainder of the year.

The aim of the final project is to create vivid and beautiful public space that is well connected to the surrounding city through the introduction of one or more built interventions. You are exploring what architects can bring to the complex and collaborative art of city making.

You are being asked to identify and enhance the city terroir of an existing place through the introduction of new architectural elements. These will most likely involve adjustments to what already exists in combination with the introduction of buildings / structures of different sizes and new surfaces, taking care to make good conversations between new and old. The ambition is to give this moment in the city an appropriate civility and the ability to accommodate everyday uses with special occasions. The space should be practical, sociable and at times celebratory.

Whilst you will be making public city spaces that connect people more directly with their food, you will start your design journey without thinking too much about the details of programme. Use will come later. Your initial focus should be on making a good piece of city. To start we want you to concentrate on forming well-judged spaces between buildings, the void spaces that form the backdrop to the life

After this quick and intensive design exercise we will help you to formulate and test programmes relating to food, perhaps including some other types of buildings for living or working that compliment your ideas about food and the city. This should involve a critique of the existing development plans for the sites. The laissez-faire

Week 1

Tuesday 20th Jan.

Project launch, Design Journeys seminar

Friday 23rd Jan.

Tutorials TBC

Week 2

Tuesday 27th Jan.

Pin-up of initial design ideas: 3 x initial sketch models at 1:500 Concepts at human scale; material, detail etc.

Friday 30th Jan.

Other Key Term Dates*

Tutorials

Week commencing 9th Feb.

Celebration Week

24th / 27th Feb.

Crits 01

24th / 27th March

Crits 02

28th April / 01 May

Crits 03

*subject to confirmation

integration of generic commercial food outlets into poorly designed, mean public spaces misses the point entirely.

Food has the capacity to bring people together in physical space, it is a profound component of life that brings vitality to our streets and connects us with our past.

Throughout the final design project draw on the design methodologies and techniques learned earlier in the year to identify and understand the particular qualities of public spaces. Use sketching as a tool for exploring the physical characteristics of the place and for making design proposals. Go beyond the surface understanding of the site through exploring the everyday life of the area and its past and present histories. Make carefully observed, measured drawings in order to gain an intimate understanding of the site and in which to accurately test design proposals. Bring your own experiences to the design, compare spaces you know at the same scale to help you understand the size of the site and what’s possible. Consider a range of different scales of architectural interventions in the place, not forgetting how even the smallest, most modest proposal can contribute positively to the city.

AB + SC 20.01.2015

Opposite page: The location of Dockley Road Industrial Estate. The estate is marked by the coloured square. Also on the other side of the viaduct, on the northeast, the church has been shown as it is an important part of the area. The huge diagonal crossing line is the viaduct of national rail connecting to London Bridge station on the west side of the map (not shown). The river Thames is also visible on the map. (The map is not to any scale) Source: Digimap (with some alterations)

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The Southwest elevation of the site (personally drawn) This elevation includes the railway track, the arches of the Dockley Road Industrial Estate, the arches of the adjacent space, the residential building on the Southeast of the estate, the two rows of existing buildings of the site (in front of the viaduct), the tower above the railway and the water tower, and the section of the viaduct on the north of the site (far left of the drawing).

This drawing as presented here is not to any scale.

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The section through the two rows of the existing buildings (personally drawn) This section includes the buildings on the Northwest side of the site, the viaduct, the section of the viaduct on the southeast (the right side of the drawing), and an outlined section of the adjacent residential building on the southwest side (on the left side of the drawing).

This drawing as presented here is not to any scale

The drawing of the Dockley Road Industrial Estate with indicating the segment of the viaduct in the estate and close to it, the water tower and the adjacent buildings.

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1:1000 @ A2 The footpaths and public spaces surrounding the Dockley Road Industrial Estate.

Source: Digimap

1:1000 @ A2 The buildings and constructions surrounding the Dockley Road Industrial Estate.

Source: Digimap

1:1000 @ A2 The road and transport network surrounding the Dockley Road Industrial Estate.

Source: Digimap

1:1000 @ A2 The green area and variegations surrounding the Dockley Road Industrial Estate.

Source: Digimap

Bottom Left: the coverage of green area around Dockley Road Industrial estate.

Bottom Right: the transport network and roads around Dockley Road Industrial estate.

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The illustrations of these two pages are to show the context of the surrounding area and the huge construction with massive structures happening in the area, and comparing it alongside the giant tall new and old structures which are adjacent to Dockley Road Industrial Estate such as the water tower, the Shard, and St. James Church (the current page).

The initial mass models

differentiate the new and the old structures as the old ones were directly on the ground.

The principle of this model was based on creating levels of the landscape and introducing buildings with different heights.

The idea was to cut the site ground diagonally and to provide structures on either sides.

The next principle followed here was to create spaces between the buildings and to allow for the movements around the buildings.

As another strategy to reduce the intimidation of the structures being so close to the arches and the railway viaduct, it was suggested to have cantilever structures and overhungs to allow for creation of space beneath the buildings with providing a view over the arches on the upper levels.

The proposal would split the area into two main levels which were accessed through the stairs, the purpose of the different levels was to increase the aesthetics of the area and to make it more interesting. This will also

It was mentioned that these buildings have too many sharp angles and corners which practically could not be well used although the spaces around the buildings and the recesses add to the vibe of the design. Another advice was to either extend the upper levels so they would reach the viaduct and attach to it, or to provide more space and push them back more than they currently are.

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This model aimed to provide a similar the smaller ones for the purpose of trade or structure to the arches of the viaduct on commerce. the opposite side as an opening gate to the main part, although the rest could be directly accessed but since the trade in the arches is already established and most of the visitors are there for those, thus having a similar layout on the other side would create an arcade-like area which then will direct people to the main part.

The proposal consisted of some tall buildings on the north to avoid blocking the sun and buildings start from a shorter height from the peripheries and gradually get taller towards the northern borders.

At the far end on the northern part the tallest building was suggested as a landmark to the site and to be seen from distance and marking the new development of the Dockley Road Industrial Estate.

This massive block was mainly considered At the tutorials the distance between the two sides of the arcade was pointed out, as the two sides were not wide apart enough and might create an unpleasant feeling when walking between them. Again, the sharp corners were a negative aspect of this proposal and creation of a completely isolated space for the arcade was not encouraged. levels of ground was said to be less practical for this model and it would be better if it is tried without level change.

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The following model was based on a At this model the idea of having an arcade precedent. The main idea comes from Arnold was dismissed and instead there will be an circus in the Boundary Estate. As seen here open space in front of the arches. the proposal has integrated the buildings around a central open space, which has been elevated with a few steps.

The idea behind this design was to create the buildings in a way that they all would be facing the central part and this area could be used for various activities, not only those related to foot but to entertainment and others which will help bring people together.

The site is accessible through different ways and the buildings create the borders of the area. The whole proposal is also designed in segments thus it allows for sunlight to shine upon the central space and the raised platform is intentionally put at the northern parts of sunshine and yet it is almost protected and out of direct sight by the buildings which surround it and are covering it.

not be such a good idea and perhaps reducing them will make the design more challenging and interesting. Another issue mentioned was that the design, which as a whole looks as if it has been built be extraterrestrials and resembles alien buildings. Considering the UFO-like design which was not a deliberate act, it is agreeable that some changes in the shape would be useful, though it is thought that if the heights of maybe one or two of the buildings had been changed more dramatically and maybe two or three times taller, it could have been a better design and had reduced this spaceship appearance.

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The main idea of this proposal was to create several outdoor semi-open spaces. These spaces are on different levels (the ground Floor and the top of the buildings). They were all open on sides but had a structure which cold be either covered with a fabric, like a canopy or with proper vegetation which could grow from the ground and be extended to the higher levels.

covering the area on top. These vertical elements are also used in the southeast part of the design where the roof terminates at the edge of the site

and through these vertical parts this roof-like structure is attached to the ground and in this way it is producing a semi-open corridor.

The main public area was raised to the second level and each level was a few steps higher than the previous one. There are a few buildings creating a courtyard which the main square is placed in.

Almost all the buildings are connected through the structure on the roof which was mentioned earlier, and similar to the other model there are some paths and spaces between the buildings creating some adventures and excitement in the layout.

raised higher than the common ground between it is accessed and that is through a Gate. This

There were a few points about this design which could be improved. One aspect was the practicality of the semi-open spaces on the roof and the long extensions of the beams the bigger building on the southwest corner was that it had void spaces on some parts and extrusions on the other, which did not seem very relevant to the rest of the design.

Other issue was the layout of the whole design which seemed to be following the borders of the site and did not have its own characteristic and reasoning.

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The inspiration of this model comes from the building and the other was placed between These two structures were intentionally made Economist Newspaper Building at 25 Saint the other two buildings which were shorter James’s Street, London. This model was made and on the southeast section of the site. space. after visiting the mentioned building and the adjacent ones, and a similar approach to space and placement, also the structures was applied.

The idea was to create a space within as few as three buildings and to create a place within the surrounding structure but has its own personality and character.

In order to do this, the space was raised much more than the previous models as to completely isolate it from the rest of the ground and was also neighboured with a long rectilinear building (on the northeast of the site) standing as tall as the bridge and similar to some previous models creating a street between the new development and the existing stores under the arches. The access was limited to two stairways, one placed between the tallest and the rectilinear This model was a turning point on the approach of the design. From this point the design started to focus on a taller and stronger building, and perhaps a few, contrary to This model itself was not a suitable design since had so much similarities to the Economist newspaper building. Several other models were built after this but gradually up to the next crit the direction changed towards a massive structure challenging the giant railway viaduct crawling across the city of London and on either sides of it, the adjacent area and surrounding buildings.

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This was another model trying to create spaces between buildings and underneath them and creating multiple levels.

Although this one was an exciting experience but in the tutorials encouraged, and having spaces underneath the buildings, although they are connected, was said to be less practical.

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The aim in this model was to create one massive bridge-like structure with a few smaller extensions. The connection to the back and front of the big building was through the voids placed in it, which would provide both visual and ground connection, and prevent the bridge from being totally hidden from the other side.

The total layout was not encouraged as it looked very rigid, boxed and monolithic.

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This model was one of the last attempts in this series of mass modelling. At this stage the approach was focused on bigger structure and it was a combination of the model which looked like the Economist building but with an expansion. Also to visually lighten the building, using columns on the ground level for two of the structures were proposed.

During tutorials it was said that the number of buildings have made a clutter and the biggest building on the southwest end is not very practical.

The use of columns however was followed in the later proposals.

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space at one side but be placed within the footprints of the building and protected.

At this stage the design went towards the idea of a bigger scale building with less numbers of scattered structures and using the site area as an open free space surrounding the buildings.

In order to avoid creating buildings which look very heavy and deeply rooted in the ground, and providing some features that would lighten the weight of the buildings visually, some voids to the buildings were added, as well so they would also be less During the previous mass modelling the ideas obstructive and have some visual clearance seem to become less productive as the various for the viaduct behind them, and to allow for possible options were presented and yet no general access to the inner space.

The three pictures on the right show the change the direction and instead of planning model outside the site as individual pieces relate to each other. On the following page In this proposal it was decided to have less the four pictures illustrate the proposal in the connection to the ground to preserve the context and how they would be seen, adjacent ground space and instead increase the height to, not only the buildings around but beside the massive structure of the railway tracks so not only the space on the ground would be and the bridge. free but by having voids in the buildings it was possible to create some semi-open courtyardlike spaces which would connect to the free pushing for something big rather than many few, was accepted and encouraged. Although this was the intention to propose something out of proportion but after closer observation and considering the useful feedback of the crit, it was tried to make the necessary adjustments and to alter the design to become less monumental and grand, by adding some features or using a different approach.

The other issue was regarding the space and the intimidation caused by such huge structures which again was tried to deal with in the later design. It was also mentioned that the feeling of the public among this proposal might be less interesting as each side is limited to a big block.

The suggestion was to focus on less buildings (which apparently had been forgotten about it while working on this proposal) and create a structure which would challenge its presence next to the huge railway track and bridge, and also standing among some tall and heavy buildings such as the church on the north side of the bridge, the residential compound on the southwest, the `Shard’ in the far north and the water tower at the southeast corner (which are all mentioned and illustrated earlier here).

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This is one of the proposals made after the crit. The design consists of a tall and big main building with two annexes at both sides to make a connection to the surroundings.

The main building has a hollow segment on the third and forth the viaduct behind the building. The market area and food related with double height ceiling will be used as an event and exhibition space, or used for any activity and the upper levels for residential

The smaller structures would be used for services and other within the main market place for any particular reason.

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This proposal consisted of a building divided into three segments and a U shape addition connecting the two outer parts and creating a courtyard inside it.

On the other end at the outermost part there is a smaller attachment which connects the big building to the site and provides an entry point to it.

The inspiration of this particular shape comes from the railway tracks which are two narrow lines and by looking at this building either from above or from the sides we can see the two empty sections which make the illusion of a track on the building.

The U shaped connection acts as an anchoring part thus the

This proposal was a combination of the two others. It was a building divided into two parts with a square building connecting them on the ground with a diagonal angle to both.

On the opposite side there are two smaller buildings which were supplementary to the tall ones and acted as a transition between the larger buildings and those next to the site on the southeast side.

The main market was proposed to be in the connecting building and the two other smaller ones, while the two taller ones will be to include in the proposal.

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Bermondsey Spa Terminus Tour

During this brief we had a tour around the Dockley Road Industrial Estate and had the opportunity to learn some facts about the site and also look inside some of the current leaseholders who are running their business associated to the food industry under the arches of the viaduct. One was the cheese making store and the other a brewery.

We were told that the Viaduct, the bridge and the arches underneath it are the properties of the Network Rail and the public spaces and the adjacent ground belongs to Southwark Council.

These businesses each one used the spaces for each the advantages and disadvantages would come together. For instance the temperature of the inside of the arches and the fairly well insulation provided by the thick

brick layers, but the width of the arches and for the brewery will be better since the steam moves to a higher level compared to an were the result of the later expansion of the arched ceiling (which this is in reality, not a bridge - caused trouble when there was a problem concerning the arches). standards, though sometimes they worked to

The vision of the main leaseholder who oversees the majority of the arches at Spa Terminus is to expand the food industry but The work at the brewery also had some only for the purpose of whole sale and the problems with the arches. For instance the idea of turning the place into a market to sell length to width ratio of the arches is a big ready made food, take away, and similar is number and due to this all the requirements for the brewery including containers, raw principle idea of preserving the essence and material, packaging stuff and etc. all had to spirit of these arches and the food industry be placed along each other in a queue like attached to it if it turns into a place for quick food consumption and fast selling products to pass next to each other and thus only one with direct contact to individual customer. movement at a time is possible in the tunnel.

This means if something has to be taken in In our future proposal we might challenge at the same time as another thing needs to this idea by designing a place which could be carried out, it will be impossible. Another preserve the characteristic of the arches, problem was regarding the arched ceiling bringing a vibrant atmosphere to the area, which they mentioned due to the constant and creating a place that people could enjoy vapour and steam - which stays above the and share their happiness with the theme of space - , they realised that a squared angle food.

The illustration on the next pages shows the current industries of the Spa Terminus area and how they are located through the arches of the bridge. Depending on the production rate or wealth of the company, or according to the required space, we can see that the number of arches occupied by any individual business is different. Looking like spaces underneath the arches and how they are arranged which obliviously is not in a very predictable manner at the place of expansion. It can be understood that the newly made arches are also wider than the older ones .

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Security Hut

DISCOVERY SE16 4RA

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9

4

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4A

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7

Inn & Out

Monmouth Coffee Company

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5

Pieces

MCC (temp)

The Butchery

Little Bread Pedlar

Carrington Flowers

English Preserves

Kernel Brewery

Ham & Cheese Co.

4 Fosse Meadows & Oliveology

Crown & Queue

3 South East Fruits

The London Honey Co.

7

2 Mons Cheese w. Aubert & Mascoli

Fiveways Express

John & Elena Veg

Jayne..Duveen Shared

Monmouth Coffee Company

1 Kappa Casein

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1 3

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1

Available

Ice Cream Union

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ST JAMES SE16 4RA

8 Natoora

SPA (N) SE16 4EJ

Aon

9 Tower Pizza

Dynamic Vines

VOYAGER SE16 4RP

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Neal’s Yard Dairy

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SPA (S) SE16 3FJ Southerden

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F Co ern le V m er an ro Co w ffe e

Av a

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ble

Av a

NOTES

ila

ble

DOCKLEY SE16 3SF

GREY SHADED SPACES ARE CURRENTLY UNOCCUPIED BUT RESERVED FOR THE BUSINESS WHERE LABELLED. TURQUOISE SHADED UNITS ARE SHORTLY TO BECOME AVAILABLE. THESE UNITS CAN BE SUB-DIVIDED INTO SMALLER AREAS

Spa Terminus Ltd CURRENT PLAN SCALE

NTS

DATE

OCTOBER 2014 Matching Green Ltd

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Pictures above are taken from inside the cheese making store.

On the left is a picture of the processing room where the cheese is made. Top right and the bottom right corner the meeting point of the old and new structures of the viaduct can be seen. These secondary arches at many points do not follow the same pattern as the previous ones and create this interesting alignment. Bottom centre, the cheese storage space.

Pictures of these page are from the brewery. secondary arches by using them as extra storage space. The steam is also visible at a low level in the picture on the right, while if the angles above were square, it would have moved higher.

The concrete factory Visiting Cambridge Architectural Pre-cast

the concrete mixture were mentioned (poking stone-like texture) or using different types method or vibration, which the latter if used inappropriately can cause separation of made concretes.

As part of the IDA curriculum a visit to cement from the aggregate in the mixture and the Cambridge Architectural Pre-cast at a reason for settling).

The newly produced Cem-free concrete Mildenhall close to, and at the northeast of (a new type of concrete without cement) Cambridge city has been arranged.

We also were introduced to different types was introduced as an alternative to the of casting material (e.g. wood and rubber), conventional one. It was not a product of This visit included an introduction to concrete Cambridge Architect Pre-Cast factory but production and procedures, the sequence as the moulds might need to be carried by they were engaged in the production. of the process, some insight into the use of machinery in case of being heavy and thus substances and their purpose of use, the they require a handle to be hooked and lifted It was interesting to know that the planning reason for using different types of cement (e.g. for instance. This is required because of the application process also requires a sample using white cement for white concrete), why heath and safety of the working staff since of the to-be-used concrete in order to be according to regulations they should not lift approved. texture to be seen on concrete surface), using any object heavier than a certain amount and retarders to delay the hardening of concrete and etc..

heavy.

of concrete for types of aesthetics were The differences between the volume approach also discussed (such as using acid, e.g. and weight approach in making concrete was Hydrochloric Acid) to wash off the smooth explained, slump test was mentioned, the surface of concrete and create an natural old methods to remove the bubbles from inside

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Top row: far left and left, a view of the factory. Top right, breaking up the timber mould for recycling.

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The structure of the mould and the handles made in the mould for proper handling, the inner surface of the mould and a view of the factory

Precedents Studies

purpose is related to a delicate matter such area rising vertically and the at very top as food and human relationships. would be the head of the building with a

Continuing the approach and idea from the previous crit and considering the comments given, the improved design was changed to The inspiration of this proposal came mainly the new form shown on the next and following pages. an impact on the concept and believing in the possibility of a grand design for a civil space The initial idea was to have a building and within an urban area with residential standing on a set of tall pillars as it has been context, is the ‘Civil Government Building’ raised above the ground, and on the ground by ‘Alejandro De La Sota’ in tarragona, trapped inside these pillars will be a low Spain, (pictures on the following pages) rise building placed with an angle to the and the second one which the design of the pillars in a way that the corners of the lower building would extend outward from the (currently) luxury brand Fendi headquarters, circumferences which the pillars make on the ground. A gap between the roof of this lower ‘Giovanni Guerrini’, ‘Ernesto Bruno La building and the bottom of the one standing Padula’ and ‘Mario Romano’ in Rome, Italy, on the pillars will be created thus it would allow for a view of the viaduct behind it, from facade (illustrated in the following pages). any angle while standing facing the building.

These two buildings encouraged to aim for a Above these pillars will be the body of the massive, tall and strong building, even if its

design was gradually emerging and it was decided to use the form of arch for the openings because of it connection to the viaduct and resemblance to the arches beneath it. The the pillars, gradually was substituted with the idea of using this structure as a shell and having the main building built inside this shell with a void and gap between the two structures. It has been tried to present this idea by the sketches on the following pages.

This design will create some insulation for the building especially on the south side against direct sunlight and the heat resulted from it.

The openings on the outer shell will also

sequence and etc. of the windows were drawn and tested.

The sketches on the right are the initial designs for the proposal inspired by the two precedents mentioned above.

On the left is a sketch of the entire building with the supporting pillars creating the hollow space on the bottom, and the market beneath it, independently and free from the rest of the building, the body of the structure on the top of the pillars, and the head above all.

Top right is a sketch of the sequence of the hollow segment of the building and how the rest will be positioned on the top.

Bottom right is a sketch for the design of the facade and the appropriate length, hight and proportion of the windows which appeared more pleasing and had aesthetics quality to it.

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The pictures on this page are one of the precedents used for the EUR district of Rome, Italy, and its simple yet strong facade and proposal. Also the use of colonnades and arch shaped openings were very similar to the preferences adopted in the proposal, not to mention the transparency and hollowness of this building was very close to the idea as well.

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Image sources:

Civil Government Building The pictures of this page are of the other precedent - Civil Government Building - which its mass and also use of void in the design, along with the rectangular shape and the fact that such a rough mass is a civic building and in a civil area, all were the reasons that were looked up at this building as a precedent. Also its use of columns to lift parts of the structure above the ground, were also similar to what was added to the proposal.

Image source: https://www.bluffton.edu/~sullivanm/spain/tarragona/delasota/civil.html

As a part of the design a smaller building was added to the site to connect the bigger structure to the area and create a smooth transition from a high point of the tall building to the ground level and as an extension and anchor to the area.

the attention away from that.

The plan was proposed as just an arrangement of furniture, a small kitchenette, toilets, and a small lounge for the waiting people, and the possibility of having extra seating outside the building, during the warmer times.

This building was meant to be a one storey structure with the purpose of serving food, beverage, snacks and etc. to the people visiting the area and a point of gathering adjacent to the main section but also not so close, to provide a retreat from all the excitement of the main public space.

The precedent for this building was the Chiswick House Cafe at west London, a newly built building by Caruso St. John architects.

It has the same function and style that had to be added to the mentioned little building with the same context, as it is adjacent to the Chiswick Mansion in a large space, not so far The idea was having a building with large to be a free left alone place and not so close windows and surrounded by columns inspired to become a threat to the importance of the by the arches of the rail tracks, similar to main building. the main building, and with a simple layout, similar to the sketches on the right.

The cafe was visited and the structure, design, layout and etc. was observed and sketched, This was a proposal of a very simple building planning the little building next to the massive focal attraction of the site and will not take building of the proposal.

proposed plan as it was very simple and without any challenge or particular strategy, since it was only a square. During the later stages it was suggested to look at some buildings for inspiration and the precedent for this little building was then selected.

for the smaller building.

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Bottom: the initial plan for the main building and the adjacent cafe. This proposal was changed during the course of tutorials. The plan of the main structure had major alterations and the smaller one was slightly improved after considering the precedent.

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food. This space has to become an important part through the design in order to create this particular relationship between the users and Following the last brief of the year we were the building and food. presented with another part of it. Good Rooms was an accessory to complete the Good Rooms

introduced to some public spaces which had introduced is one part of the understanding great character and unique design and with of this brief as it was tried to connect the different food production stores together by spaces which were not necessarily indoor or outdoor, and even sometimes it was above all of them like an island and allows ambiguous whether they are in or out. for the public to have a closer contact with each other while observing the process or This part of the brief would assist in the enjoying the food. understanding of the possibilities to create a space and how the elements, furnitures, walls, windows and else will all together have an impact on the design of a city terroir.

By this brief we the focus had to be on one part of the design and through the work a space should be introduced within the proposal which will connect the users to the space and to the concept of gathering through

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Test two quite different use scenarios that bring people into more direct contact with food. The uses should have a public dimension and respond to the existing food practices in the immediate city quarter. In order to do this you will need to make simple programmatic briefs for yourself. A seminar on Food and the City has been organised to help with ideas for this. Draw the plan for one of these uses.

Then redraw the plan for the other use considering how the arrangement of rooms for the first use would need to be adapted - how might a food production space become a home? Adding furniture to the plans will help to show how the same space can be inhabited differently with only a few simple modifications.

Within your plan of rooms design one good public room in more detail. This room should have a direct relationship with the external void spaces you are creating - the space between the buildings in your city terroir proposal.

Remember the inside and the outside room should be well connected. Perspective views will help to show this spatial relationship, as might a Nolli-like plan and a number of larger urban sections.

T

he city is made up of rooms of different sizes and scales that are connected together in various ways. This connection might be part of a well-choreographed sequence of spaces or a visual one. The more interesting relationships occur between rooms of strong public character. A square can be thought of like a room in the city. Whether an inside of outside space, a good room is often determined by the same considerations:

Understand the possibilities for the size of your public room by comparing the dimensions of spaces you know, for instance a church hall such as that of St James’s in Piccadilly – or another building with a well-proportioned room. For the final crit you should aim to have made a set of drawings and a model of this room at a scale of 1:50 or 1:20. Perhaps the model is only of the corner of the room - like a stage set - made for one very specific photograph.

It is important that your drawings are getting larger.

Florian has a memorable way of putting it “large things in architecture on small drawings, smaller things on large drawings”.

AB + SC 10.03.2015

The proportion and figure of the space in plan and section; an expression of the structure or tectonics of the enclosing walls; a simple palette of materials - a good floor surface; a well framed sky or beautiful ceiling; characterful pieces of furniture; a range of different scaled spaces and territories within the larger space; considered ways in / out and connections to spaces beyond - specific views to the surrounding city.

Sometimes an interior space can evoke the city space outside or an external space in the city can have an interiority. In the end they are all just good rooms.

Make a plan of good internal rooms in one of the buildings from your framework of public spaces. This could be a combination of several large rooms for gatherings of people in conjunction with an arrangement of small rooms, say each with an exterior space. Perhaps they are connected without corridors.

Week 1

Tuesday 10th Mar.

Project launch, Good Rooms seminar

Friday 13th Mar.

Tutorials

Week 2

Tuesday 17th Mar. Friday 20th Mar.

Week 3

24th / 27th March

Final Crits - PostEaster 28th April / 01 May

Tutorials - IDA Day

Food and the City Seminar with Carolyn Steel, JoJo Tulloh and Anita Le Roy

Crits 02

Crits 03

the process from above or enjoy their time ceilings and very large openings.

Second Crit

The design process was continued to the second crit. At this stage the design had evolved and the proposal consisted of a tall The building is also surrounded by a roofed block accompanied by a smaller one adjacent colonnade which in some parts the roof is to it. eliminated and on the rest skylight windows have been placed. This is due to the hight The main structure had a plinth consisting and the depth of the colonnade, allowing for better use of sunlight and avoiding dark the one on the top is an open space without and light-less areas in the inner parts of the any obstruction, no wall and just a very large colonnade space. area for indoor activities and exhibitions.

The body of the main building is for food This space is not an enclosed space and the industry mainly as it is designed with smaller surrounding walls have openings but no openings for those which do not require proper window and thus no insulation, as excessive light. Moving upward then there are it meant to have the feeling of an outdoor openings and the high ceilings. The lower to allow for the maximum daylight in. store is equipped with a stairway leading to a At the very top there is smaller structure as a penthouse or an observatory with high on a higher level and allowing visitors to see On the opposite page: A drawing of the proposal, the main tower and the smaller building adjacent to it.

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The structure consists of two parts. The outer shell which is the parts we see on the faรงade, with the openings which continues along the colonnades to the ground, and the inner part which is the real building and is covered by this outer shell-like component. All the windows and insulation will be either in the walls of the inner part of in the gap between the inner and outer layers. This is mainly to especially on the south-facing faรงades to prevent from excess heat caused by sunlight.

By this method the outer shell will also create a thermal mass which will keep the building cool in summer and warmer in winter.

Above:

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1:200 @ A2 Left to Right: West elevation, South elevation and Elevation

Top row: the three elevations of the small adjacent building with the plan according to each elevation.

Bottom row: far left, the Northwest facade of the main building , centre, the southwest facade of the main building, right, the roof plan of the main building showing the position of the three main segments of the building and the sky lights placed on the roof of the colonnade, and the voids created in the roof for better lighting.

Above: the plan of the two buildings in the context, with their designated placement in the site.

was questioned and advised on trying to relocate the building through trial and error. It was also suggested to elongate the base and establish a better connection with the tower-like characteristic of it. Overall the height and the principles were encouraged.

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1:200 @ A1 GROUND FLOOR MEZZANINE FLOOR

Top left: the Ground Floor plan Top Right: the First Floor plan

FIRST FLOOR

THE HALLOW CHAMBER

The pictures on this page are the latest model made at this stage (the second crit) which has been presented by technical drawings shown on the previous pages. These are the pictures of the model itself without being in the context.

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The pictures of the opposite page are taken with the proposal placed in the site model which has a scale of 1:500. These three pictures try to show the relation between the proposed building, the rail track, and the surrounding buildings of the area.

Structural engineering session and lectures

The structural engineering sessions provided a better insight and understanding of the Through the last brief thee were a few sessions approaches used in designing the cores of the with structural engineers and lectures about building and proper placement of columns the relationship between food and people. and the necessity of other restraining or supporting elements. These pieces of advice Through the structural engineering session will be implemented in the design as it evolves some knowledge and insight towards structures, supports, weights tolerance and During the Food and the City seminar and etc. was mentioned. Also sessions on discussions with Carolyn Steel, who is also an architect and the author of ‘Hungry site resources were advised. For instance City’ book, and the writer of the book ‘The using the bricks of the existed demolished Modern Peasant’, JoJo Tulloh, were held and buildings or using the existing weight- the concept of food and how it has evolved bearing structure and incorporating in the through time and how the cities changed new proposal was advised. Another example through history as food and the supply of was the orientation of the building and how it changed in shape, process and delivery, especially when the imposed limits were withdrawn by the introducing railways in and proper insulation and how to achieve it modern times or newer ones were enforced were mentioned. due to the unpleasantness and unsightliness of food production in modernity.

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The suggestions made by the structural engineer and the comments of the tutors drawn on the plan of the proposed building during one of the tutorial sessions.

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The landscape process and discussion with the landscape architect about the potentials and approaches to be taken or considered on or around Dockley Road Industrial Estate, at Bermondsey Spa Terminus.

Pictures taken by: Alastair Mitchell, studio One

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The latest design Top left the new proposed building, top right, the plan of the ground Floor consisting of the market space and colonnade inside as a resemblance to the arches of the viaduct.

Post second crit Alterations

As advised during the last crit, the lower section of the proposal was extended southwards to cover more space and thus it creates more connection and resemblance to the market squares visited during the study trip at Cahors, France.

Changes made on the interior of the Ground

the tall tower as the feature of the proposal. the columns bending outward. To prevent from this the addition of restrains holding the The new design includes an entrance exterior columns must be considered. exclusively to the tower from outside the market area as the market is a public space but the upper segment of the building is not open to public. In this entrance area a cargo escape) has been considered.

Tutorials and structural engineering feedback

the arch-like brick works separating the spaces and creating a space much similar to the arches of the viaduct and the existing food industry stores which are occupying the area. These walls are not completely dividing the space and are open at the back leaving enough space for circulation and walking of the visitors and also furniture arrangements if required.

Also following the advices given, the height of the lower part was reduced to the same

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During the tutorial and discussion with the structural engineer it was advised to change the dimensions of the columns which do not support the tower structure and since the columns are load bearing the walls can be escape was mentioned. To adjust the tension on the building adding another core on the opposite side of the tower was suggested.

Another issue was the concerns for the gap between the building envelope and the outer shell as there were no connections in between, therefore there is the possibility of

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