Nurture : Volume 2

NURTURE

In this booklet I investigate a site in Dundee in terms of how it has been used over the years and how it can be designed on to enable ever changing future needs and uses. By analysing the context of the city itself and the more immediate area in which the site sits gives design cues which are also influenced by theories further from Dundee. Through each chapter there is a deeper exploration into the importance of thresholds and nature along with the sustainability in terms of materials and future possibilities of the design.

Historic Factory Wall, Brook Street, Dundee - Author’s own

BUCHANAN

NURTURE

THE AIM OF THE PROJECT

word: nurture (verb) meaning: ‘‘care for and protect (someone or something) while they are growing’’ - Oxford Dictionary

Creating a micro-community which allows individuals to thrive was the main aim with this project. The way communities can allow people to feel integrated into society and be comfortable within their surroundings is key for anybody to thrive in life. Especially for individuals with ASD, who can often feel excluded and misunderstood by those around them, building up a support group in which they can learn, work and be cared for amongst others in a similar situation as them, can have a positive effect on their lives.

With it being quite a large insertion within the centre of Dundee City, there is still a need to create a sense of contextualism, where for the project to be accepted by the existing residents in the surrounding area, there is an aim to create a recognisable but subtle design. The approach is realistic in the sense that there is an understanding that one project will not instantly change the area but the hope is that the design methodology would be translated into other projects close by (and across the city) to create an established zone which recognises the importance of history but deals with the needs of the current city’s social and economic needs.

The aim of this year was to design a scheme for individuals with ASD who are currently misunderstood by most and not accommodated for in daily life. Designing for those who see and experience life differently compared to someone who identifies as ‘neurotypical’ added a different aspect to the process of creating an architectural form. It created a stronger sense of purpose, and the understanding of ASD allowed me to think differently myself and try a new approach to design.

In the DRU module, I explored adaptability with an interest in potential and future shift in design that would allow built forms to be more sustainable. Adaptability in terms of function, envelope and user personalisation was explored, with the background question of: how can we make our designs last longer?

The idea of respecting history and referencing the original structures within the city of which we are designing was also something which was really explored throughout the design process. The idea is not to replicate historic movements and theories but to use them to educate ourselves on how cities can work in certain societal and economic situations.

Finally, historically the land on which we have built our cities was once green which had many benefits of not only keeping us alive (in terms of food) but it also kept us sane (in terms of breathing space to allow the mind to relax). So to design garden spaces into the scheme was also a key running theme which was integrated into the design process.

The development of attitude and reasoning for design moves has changed quite significantly this year. Before this year I was focussed mainly on function, either public or residential with not enough focus on the user. Studio E has forced me to really design around the specific needs and requirements of individual users rather just the general function of the building.

Before researching ASD I was naive in terms of how excluded people with disabilities feel and how much they can struggle with the average daily task because the world we have created for ourselves does not take those individuals into consideration. By not designing for everyone, we have a completely divided community of people who are on the outside, unaccepted by the world. People can only support others so far, but if there is a step and a wheelchair user, they are faced with an issue which is taken for granted by an able person so by

making sure our facilities are as supportive as people we can allow everyone to have independence and freedom. By ensuring that when we design, we take this large group of people into consideration and design for them rather than ourselves, we allow everyone to be catered for - enabling the ease of daily tasks.

As a general concept and understanding of architecture, I previously understood that architecture was about creating certain experiences but I have come to realise that architecture, especially residential, is about comfort. Creating spaces in which people want to be and enjoy, which are safe and calm especially in an urban context - meaning that they are used and not left to ruin.

There are of course exceptions to this idea where there are buildings such as the Jewish Museum in Berlin by Daniel Libeskind [see figure below] which aims to make the users uneasy due to the nature of its function - it really absorbs the visitors into an experience and forces a feeling of sorrow upon them.

From researching Patrick Geddes and others alike, I have been able to understand historic urban theories, tried and tested ideas which have informed and impacted the growth of the cities we see today. By questioning whether they are still relevant [see pages 07/08 of J1] within the current climate I have started to understand how we can progress with city design. The needs and wants of society has changed and the way we have functioned through the Covid 19 pandemic, there has been a significant shift in how we use our

Void in the Jewish Museum, Daniel Libeskind - Author’s own.

homes and cities. Residents have been re-evaluating their home situation and making changes accordingly whether that is a slight change to the layout or room function or a complete move altogether so they are closer to relatives and green space.

The grain of the initial composition of the city (Dundee being the burgage plots) informed the design greatly, combining history, nature and adaptability. The original idea of a shop front with living quarters above then being extended into the long garden space [studio E Dundee booklet page 27.28] was how the city found itself growing and developing into what we have today. After the war these plots were transformed into the tenement block as the need for housing increased where the principle in terms of street elevation and vertical plan stayed the same but instead of having the long plots for growing crops and animals they were filled with the mirror image of the building, creating a courtyard in the middle. This is where people began to be unhappy with how they lived and we have tried several arrangements since then but, as well as fashion, architecture has almost completed a full cycle with improvements along the way.

Throughout every project I have designed, there has always been some form of garden. Until this academic year I had not realised how universal the want and need for green space near our homes actually was. From public walled gardens to private plots of greenery, people are subconsciously attracted to wherever nature grows.

This year, with the introduction of public allotments within the scheme, I have discovered that there is a science behind interacting with nature and that soil has a positive effect on human health. The proximity of the allotments and the houses completes the historic cycle of testing housing types, where burgage plots have been of high influence.

‘‘not just looking at nature, but actually touching or working with plants and dirt - is good for us in ways we never imagined. Biologists have found that the bacteria found naturally in soil boosts serotonin and reduces anxiety in lab mice, and they suspect that it has the same effect when breathed in or ingested by humans’’

- Charles Montgomery, Happy City [pg 124]

Introducing nature back into our architectural designs has the deeper meaning of not only the interaction of it but also the connection back to history where houses were further apart and farmland had a greater footprint

than built form. The realisation that as people we have reached a point where city life is almost too extreme for us to live in, where the introduction of the surrounding landscape (fields) would relieve our busy lives with a sense of serenity and release.

Research and experimentation this year has influenced how I might tackle design in the future. This idea of adaptability in terms of function and therefore the sustainability of buildings (not been explored enough in integrated design project due to the underlying theme of designing for individuals with ASD meaning there were other more important elements to think about such as rhythm and calmness and control of environment.

Looking back, I realise the design is large, and does not provide me with the scope to really explore in detail the effect of nature on people and also how adaptability can allow for personalisation and therefore ease of living.

From thinking solely about the general user of the building in previous years this year has really made me look at the city as a whole and the immediate context which the design effects. It has made me think about the feasibility of the proposal, from how it would be accepted better into the community to how it would be funded and constructed and finally continued (designed to last).

The next step would be to investigate both further through an intense design project which may be a single building designed down to the intricate details, ensuring that every element of the space suits all possible users.

When we design for users in relation to history and nature we allow the built environment to form itself. Cues are given allowing the final product to sit effortlessly and quietly in the context - which is a big shift in what people think architecture is. We are so used to seeing big extravagant architectural moves, large towers which ‘respond’ to other buildings, bold forms that evoke a response, dividing society. However, I do not think our role as space designers should be about making something which goes against the grain and cause division, it should be about going left instead of right at the junction, doing the unexpected but in a controlled, considered and contextual way. Allowing the architecture to exist but in a way that is non-invasive allows the user to come first rather than the architects ego.

JOURNAL I THEORIES TRANSLATED INTO THE PROJECT AND ON THE SITE

Urban voids is an issue which most cities are dealing with at the moment. With no clear rules list to follow and a rapid increase in housing after the War, Dundee has developed in an unusual and arguably uncontrolled way. Houses were built wherever possible and with the death of the industrial revolution, sites where factories used to lie, have been left to ruin. With the historic importance of these building leading to listed structures, it has become increasingly difficult to reuse these sites for another purpose.

The idea of adaptability allows existing unused sites to have a never ending purpose, recoding functionless areas within the city. The idea of the site being ‘purposeless’ means that it can be anything that is needed for that area, resulting it having a very useful function. Instead of growing cities, we need to repair the existing fabric first so that the city still has function and attracts users.

By not filling in the gaps, we will carry on the current path where eventually we will end up with a ‘doughnut’ city with nothing in the middle but wasteland.

Urban sprawl is something which many cities are experiencing with people wanting to live in less dense environments. However this is now causing ‘‘suburban densities to rise slowly’’ [Kevin Lynch] meaning the spread will continue, so where and how does it stop?

To start, current unused city centre sites should not be given to private developers who want as many units as possible, as quick as possible and for as cheap as possible. These sites are unappealing to developers as there are often too many restrictions with historic plots which is why they are left to disrepair. Instead they should become community led developments where the more people that are involved means the more people the site accommodates and is designed for. Allowing sites to have breathing space where there is a balance between built form and nature.

Crowd funding, or similar, could be an options that would ensure the community are also happy to accept the new insertion, and gives local people control of their own neighbourhood. It would also allow those from further a field (with different experiences) who want to join the community to be introduced to potential neighbours through the design and construction process, providing a gateway into their new journey.

development

Landscape, history and rhythm are the 3 main driving themes for this design and have informed many decisions.

The main interest was with the contradiction of how the historic factory roofs replaced the ploughed fields and how they both actually look similar from above with the rhythmic pattern. There was a real focus on playing with this idea and really looking into what it could mean where ploughed fields churn up the soil to bring the nutrients up for the plants to grow, the aim with this project is to do something similar where individuals are provided with the support they need to thrive.

Along with the form of the fields being brought into the design there is the growth of plants too. Where allotments (commonly found in Dundee) are integrated to bring the residents of the site together, and other garden spaces are introduced to create strong thresholds and awareness of location and surroundings.

The plants on the site show growth as they evolve through the seasons and as they mature.

‘‘An architect builds something that will remain there. The brick doesn’t need time to grow, a building can only age. But with plants you work in time. When you start drawing, you have to see the plant in all its manifestations. The first year, what it does when its mature...how tall it becomes, whether it spreads quickly...whether its not only interesting in August or September, but also in May.’’

- Piet Oudolf: In his Own Words, 2015

This process of change is slow enough to not be a cause of concern for those with ASD but the fact it does happen allows the design to sit more naturally within its environment as it transforms over time and through the seasons.

‘‘Urban green spaces, such as parks, playgrounds, and residential greenery, can promote mental and physical health, and reduce morbidity and mortality in urban residents by providing psychological relaxation and stress alleviation, stimulating social cohesion, supporting physical activity, and reducing exposure to air pollutants, noise and excessive heat’’

- World Health Organisation (Europe), 2016

THE BLOCK [balance of nature and building]

1.

THE TRANSFORMATION OF THE CITY BLOCKS

1. original neighbourhood

2. increase in abandoned blocks and undeveloped areas

3. insertion of nature to bring back purpose and people

4. balance of building and garden

‘‘arguments have been made for the social usefulness of waste ground as a place of retreat, especially for children’’

- Kevin Lynch, 1981

The addition of bringing the external landscape back into the landscape of the city means that people do not feel the intense need to get out of the city to connect with nature. This allows for less use of harmful traffic pollutants whilst at the same time improving the air space of the city, creating a healthier environment for all (human and earth).

2. development

3. 4.

Micro-communities allow people to feel comfortable and increases the sense of the safety greatly where neighbourly connections are encouraged. This is especially important for individuals with ASD but it also improves the lives of people who identify as neurotypical, showing how when we design for the 1% we improve the environment for the other 99% of users. Creating comfortable and safe environments for all where everyone feels thought of and designed for is the aim of this project.

‘‘being around strangers involves a stressful mix of uncertainty and lack of control’’

- Peter Barber

Whilst there will still be ‘strangers’ around, being part of a close knit community, residents will be able to get to know their neighbours, creating a relaxing environment out with their personal accommodation.

1. division north and south public and private 2. enclosure courtyards provide security 3. pedestrianisation safety of residents on site and reduction of traffic noise 4. community allowing everyone to feel part of something 5. threshold providing clear layers which build up recognition to site users of where they are on site

development

There is a gradual increase in privacy the further North into the site the user goes where each ‘in between’ space is a different garden and has a different atmosphere. There is an interesting connection in the centre where city pedestrian traffic meets site traffic and also where public meets private.

By creating a pedestrianised street here allows again for a filtered entrance to the south courtyard with only 1 entrance to the north which is private and for residents/ visitors of residents only.

The more private the site gets, the more quiet it becomes where the last garden being an ‘oasis’ aiming to create a completely different experience to the rest of the built city environment.

4 zones reflect 4 seasons, acting as another reference to nature.

1. mixed ASD residential units with shared courtyards/garden spaces

2. family living with private gardens

3. learn and communicate allotments

4. work live with winter gardens

The 5 zones of buildings which create these 4 different conditions taken from the ‘power of 5’ idea explored on pages 43/44.

development

1: corrugated aluminium [external cladding]. creates a strong reference back to the industrial nature of the city and the site with the existing building being clad in red corrugated metal.

many rainwater harvesting tanks are also lined with this externally, meaning that the material palette is kept to a minimum.

2: brick. the warm colour and robust/sustainable nature of brick allows buildings to nicely integrate with the existing wall on the site whilst at the same time being durable - allowing the buildings to stay for a long time whilst aging well.

+ existing sandstone [external cladding] recycling existing materials on site is energy efficient and keeps the history.

Figure 3 : sandstone texture 2 development NURTURE

Figure 2 : Petersen brick [D46 with light mortar]

3

4

3: polycarbonate [external/internal material].

creates a diffused internal atmosphere whilst at the same time allows passers-by to see the building function from outside - allowing them to prepare for the environment they are about to enter.

4: stabilised rammed earth (SRE) [internal/ external walls].

Allows for site rubble to be incorporated into new structure and gives the impression of the earth wrapping the building, grounding the structurecreating a calming stable impression.

Figure 4 : polycarbonate facade of cultural building by EFFEKT

Figure 5 : cropped image of rammed earth from a publication

Figure 6 : birchwood texture

Figure 7 : cork texture 5

Figure 8 : Venetian plaster wall 6

7

5: plywood [internal wall/ceiling/fittings].

similar colour palette with cork and the sandstone so it is a paired back reflection of these materials. Timber is also a natural material with the wood grain reflecting nature, history and growth.

+ cork [internal floor/wall]

creates a soft waterproof environment which is especially important in the low functioning residential units where there may be more falls and spills. The material is also natural and reflects the external environment, almost looking like sand or light dirt. It also has good sounds dampening properties...

6: plaster [internal walls].

plaster creates a subtle texture with muted tones which almost look like clouds which creates a calming environment.

Figure 10 : heather in bloom 8

7: moss, crops + wild flowers [external landscape.

moss gardens are becoming encouraged in many climates due to their environmental benefits.

Figure 9 : spring vegetables

existing site wall

One of the aspects of the site which is important to the concept is the fact it is a brown field site in the centre. Compared to one of the periphery sites from the group site studies, it allows for the strong connection back to history to be formed.

Bricolage is a term usually used in relationship to art or literature and in this case, architecture is the art. It is the idea of ‘‘constructing or creating something from a diverse range of things’’ [Oxford Dictionary] where in this case, the aim is to integrate existing structures on site as they are or as rubble.

south east corner of the site with law hill in the background

retention + reuse

The attitude of the whole site, reusing ruined sites and repairing the existing urban fabric the idea of using existing site materials makes sense where the retention and reuse of sites around the city is translated to the retention and reuse of materials on site.

With the site also having such a strong connection to the history of Dundee (old brewery and jute mill) it is important to respect this and not allow the heritage to be lost. By ensuring the materials on site are incorporated into the proposed design and the way the scheme interacts with the wall allows history to be respected

There are 2 ways in which existing structures can be dealt with: insertion and integration of new structures.

Insertion allows intact historic structures to be the main element where integration allows for existing elements to be part of new designs. Both of these attitudes are used on site where there are different levels of wall conditions where some areas are falling apart and others are still standing strong. 1 : insertion

Figure 11 : Dovecote Studio, Haworth Tompkins

Figure 12 : Kolumba Museum, Peter Zumthor

rainwater management

Reinforcing the connection to nature, it makes sense to deal with something which happens a lot in Scotland sensibly. All rainwater is to be harvested and used on site whether that is within buildings for flushing toilets or collected in butts and used for the allotments and gardens, there is no addition of surface water to the existing city system which further backs up further the idea of a selfsustaining micro-community. There would be a back up in place but for normal daily use, rainwater would be the main source of water on the site.

1. water collected on building and used within

2. collection butts in raised allotment planters

3. ground level water channels from family units to allotment butts

4. water runs off directly into planters attached to building façades

5. water runs off into large wetlands garden

a. existing site recognition of historically used cooling pond to north and current underground burn

b. proposed site comparing the proposed layout with previous existing drainage solutions

c. existing underground water identifying feasible location of existing/historic underground water

d. possible SUDS location potential location of suds zone on site

e. topography re-evaluating site levels for most efficient drainage solution

f. proposed direction of site rainwater

new zone on site for collection of rainwater and location of suds

AN OVERVIEW OF THE SITE

QUEEN VICTORIA WORKS

The site is located within the centre with close proximity to the Dundee University campus. It can be seen from the location plan that it is relatively close to the River Tay, but further from the rural land which surround the city. There are 2 main transport routes (road to the North and railway to the South) providing ease of access from connecting towns and cities.

The area of the site is 12 454m2 and sits just out with the Blackness Business Place plan which has the aim revitalising the historic industrial area of Dundee by encouraging live-work units alongside cultural and social elements, and allowing creative industry workspaces and micro businesses a space to thrive.

queen victoria works

Image above copyright of Google.

queen victoria works

The surrounding context does not offer much guidance. With an uncontrolled mixture of materials and architectural style, there is a need to control this, and begin a language.

The industrial history of the area offers an opportunity for material palette and form, which this project has aimed to do.

The functions of the context however, provides the site with amenities and also reason with the majority of buildings being residential.

Cooperative food shop south west of site

queen victoria works

Existing south wall

queen victoria works

The current state of dividing street makes it an uninviting place to be. The structures are deteriorating, the gaps are used for fly tipping and the walls are used as blank canvases for people to express themselves. All of which create an unsafe, unpleasant street that nobody wants to be on.

The aim is to revitalise this area and ensure nobody feels it is acceptable to dump their rubbish and make it a busy environment that people actually look after instead of neglect.

The idea that residents of the site are not watching those around but instead are seeing them, means that antisocial behaviour is discouraged as they know there is a high chance someone will see them.

‘‘eyes on the street’’ [Jane Jacobs]

Existing site wall divided the site into north and south sections

Inside the walls of the site the story of neglect continues. However, beyond the unstable historic structure, glass and waste materials from trespassers, there is a glimpse of history, where industrial forms stand strong.

The first stage of this project would be to clear the site of potentially hazardous waste whilst retaining original features where possible (brick work/rubble to be reused) before any works started, creating a primed canvas for a community to form.

queen victoria works

CARUSO ST JOHN

A brief study into Caruso St John’s design ethos demonstrates the similar attitude taken towards this project.

Their manifesto, as talked through in ‘Caruso St John’s 25 Year Anniversary Lecture’, describes how architectural design is not actually about the building itself but more its position in time. Caruso St John as a practise view their projects as if they are ‘‘participating in something that is ongoing’’ where the designs as essentially a sentence of a book, carrying on an idea but also influencing the future story.

Much like designs on paper, the buildings themselves, whilst finished visually, are actually unfinished in the sense that traces of them are echoed into future designs of other buildings. They are a freeze-frame in time, where the ideas have to pause for a second for the building to be constructed and resumed after.

Their attitude towards keeping existing structures is different to many architects in the fact that they believe it is ‘‘not about conservation but about folding the existing buildings in with the new in order to make something much more complex’’. Many architects like to keep everything as it is or restore it, or demolish it completely, where as this seems to be somewhere in the middle.

One way of the practice ensuring this ‘folding’ integration of the historic and modern is their recognition of existing materials. In the Newport Street Gallery, they wanted to match the existing brick as well as they could but during the process they realised that actually it was ‘‘important that they were subtly different when you’re trying to balance the new and the old you need a bit of a difference but not much’’ so by using the same material that is slightly different in colour and condition they were able to achieve this.

This subtlety is something which is aimed for within this design proposal, as it respects the existing nature of the structure whilst at the same time almost renewing it to help it fit better with the new.

queen victoria works

Figure 13 : Newport Street Gallery, London by Caruso St John

Figure 14 : Warehouse, Clerkenwell

By comparing the before and after images of this lane shows how this ‘discreet’ attitude has been adopted and translated into the proposal.

The nature of the scheme means that it still has to be recognisable and signage helps with this. The scale of it is relatively familiar with the materials and forms allowing it to be recognisable without rebelling the surrounding context.

queen victoria works

word: five/5 (number) meaning:

‘‘Number 5 symbolizes curiosity and freedom and change, and represents the five senses of humanity. 5 is the pivotal point between the numbers 1 to 9 and represents a variety of experiences through its developed senses, and offers many opportunities for choices and decisions for the future’’

- Joanne Walmsley, Numerology

The idea of change and adaptation is further explored through the use of the number 5 on site. With a 5m grid layout across the whole plot with have 5 horizontal dividing masses means that the power of the number is greatly integrated, encouraging the change and adaptation of materials, plants, and people: life.

victoria works

queen victoria works

With 5 main buildings and 4 distinct green spaces, the site integrates itself within the existing area well and sets a precedent for future development in the area. The linear nature sets out a ground-scope which can be extended in all 4 directions, bringing a contemporary twist on the historic burgage plot and resurrecting it in a way that people enjoy.

This drawing shows the clarity in terms of public to private where the user/visitor/resident is almost transported out of the city into a serene ‘wild’ space.

BRIEF

[final: white = buildings taken into detailed design] [total gross internal floor area: 5277m2]

GARDEN SCHEDULE OF ACCOMMODATION (BUILDING)

8no. terraced houses - 380m2 (5 bed | 3 storey)

6no. flats - 75m2 (1 bed | 1 storey)

10no. mixed residential flats - 40m2 (1 bed | 1 storey)

3no. mews houses - 240m2 (4 bed | 3 storey)

3no. mews family maisonettes - 135m2 (3 bed | 2 storey)

3no. mews family studio flats- 53m2 (1 bed | 1 storey)

8no. mixed residential flats - 40m2 (1 bed | 1 storey)

2no. accessible flats - 50m2 (1 bed | 1 storey)

2no. live/work flats - 55m2 (2 bed | 1 storey)

4no. maisonette live/work flats - 100m2 (2 bed | 2 storey)

1no. nursery - 382 m2

1no. flexible studio zone - 700m2

1no. entrance/office block/health care centre - 567m2 (3 storey)

1no. storage + hall - 690m2

1no. plant + storage - 408m2

6no. retail units - 29m2

1no. cafe - 93m2

1no. entrance/office block - 1875m2 (5 storey)

LIVE

1no. private residential courtyard - 840m2

3no. private residential garden - 100m2

3no. private residential courtyard - 58m2

3no. private residential courtyard - 38m2

LEARN

1no. external courtyard - 225 m2

1no. allotment area - 970m2

WORK VISIT

queen victoria works

The south of the site is where it is busiest with both vehicle and pedestrian traffic so having the most public building to the South allows for the ease and filtering of pedestrians to get into the courtyard/community allotments.

The ground floor plan demonstrates the buildings which are explored throughout this journal and how they sit within the existing context. It starts to become clear how across the site there is an even split between building and nature, where the gardens become threshold spaces between each building block.

The site is made up for 43% building, 34% hard landscaping and 23% garden. With almost a quarter of the site being garden and over half being functional external space, residents are given a unique environment in the city centre where they are encouraged to spend more time outside.

Taking a look at the density section of The Housing Design Handbook by David Levitt and Jo McCafferty [also referred to in the Dundee studio E booklet pages 91/92], we can look at the updated brief and compare it to the site area to calculate the density, ensuring that it is appropriate.

In the handbook, low density = between 35 | 90

Calculations:

35 units- 10 000m2 90 units- 10000m2 44 units - 12 454m2 112 units - 12 454m2

Looking back to the revised brief on site there are 62 mixed units (domestic + non-domestic), proving how the site is low density. This density is suitable for ASD design as space is something which is needed as being too crammed can be a trigger for a meltdown. When taking into consideration the amount of garden and hard landscaping on site, the numbers seem very fair.

queen victoria works

Brook Street

THE BUILDING WITH TWO FRONTS

‘‘the sun never knew how great it was until it struck the side of a building’ - Louis Kahn

brook street

With the buildings at Brook Street having more of a public presence compared to the other units on the site, it is important for them to be identifiable so they are easy to read, easy to find and be seen, easy to be a meeting place or node.

By using familiar materials the texture of the masses blend in whilst the forms themselves create a strong elevation with their bold roof pitches referencing the industrial context.

The street composition of the building enables visitors to find it quickly as it is long and recognisable, when they find themselves in the courtyard, the scale changes and the elevation is reduced by half as it starts to cocoon around them.

The images on the following page include a historic aerial photograph where the jute industry buildings were still standing strong and the aesthetic of the site was at its best before it was left to deteriorate. This is the vision that is trying to be brought back into the area.

brook street

Figure 15 : Aerial photograph of Dundee from NW in 1947 showing mills and jute works. The view is looking down Milnbank Road and Pole Park Road

Testing this formal division on all façades questioning whether it was suitable.

The last row shows how if rammed earth is placed where the existing wall is on the front facade, it seamlessly allows the building to feel more part of the wall and vice versa.

Industrial materials (corrugated metal and brick) along with external escape stairs reflect the nature of the site in a modern way.

brook street

With Dundee being Scotland’s ‘sunniest city’ and gaining the nickname ‘Sundee’ it also makes sense to make best use of this. Through the use of top lit design (taking reference from Zenithal light in Journal 1) and PV Panels, the sun in Dundee is utilised where buildings are heated how nature intended. The factory roof structure with clean ‘warm’ roof spaces, not only allows natural light in, it is another reference to the industrial form, strengthening the legibility of the area.

There was an initial recognition of the different function on each level, where sound separation (acoustic boards/ insulation) is incredibly important.

Initially the construction was to be quick and easy to put up but it was soon realised that the concept was not shown through the section. The simple timber construction was transformed into a solid to light principle where nature was then integrated deeper into the concept and construction of the design.

brook street

Figure 16 : Bedales School, Feilden Clegg Bradley Studios

First Floor Plan (2x accessible flats + 2x live work flats)

Ground Floor Plan (retail)

brook street

Third Floor Plan

Second Floor Plan (4x live work maisonette flats)

ENVIRONMENTAL STRATEGY

The following diagrams are designed to demonstrate fire, ventilation and rainwater strategies. With the ground floor being more public and having doors opening and closing all the time it seems more appropriate to have an HVAC system at the ground and in the stair well with the upper floors using a Mechanical Ventilation Heat Recovery (MVHR) system, as the environment is more consistent and ‘airtight’.

brook street

fire ventilation (hvac ground floor, mvhr upper floors)

Referring to number ‘1’ on the rainwater structure diagram previously shown [page 23/24] the idea of reusing the rainwater within the building starts to form.

The basic diagrams below show the principles of how this process would work in terms of flushing a wc.

1. rainwater collected

2. taken down North elevation (similar to family units [refer to pages 113/114])

3. runs along channel in the ground parallel with building

4. stored in water butt at ground floor

5. pumped up to a smaller header tank

6. gravity fed to individual flats

The average person uses 142l of water per day for drinking, cooking, showering, laundry, flushing toilets etc. By ensuring the rainwater is treated and cleaned, it can be used for all these functions.

With the 8 upper floor flats accommodating up to 22 people and the retail 6 (1 owner per unit) the total consistent amount of water used per day would be just under 4000l.

The ground floor has space to hold a tank of 5400l (1800 diameter x 3000mm height) which allows for number of visitors using facilities to fluctuate.

brook street

rainwater (reused for wc’s)

IMPORTANCE OF SIGNAGE

In terms of ASD, it is necessary for buildings to be clear to allow for the ease of navigation. Informative signage on buildings helps with the navigation on site for residents and also visitors, where meeting places can be created.

Signage also creates a strong ‘brand identity’ where the site which has the aim of creating an ASD community can be easily identified. With this identity built up, other micro-communities can be connected across the city and other cities, which creates a sense of comfort for users as they can visit other communities with a feeling on familiarity.

By creating recognisable buildings stamped with their own brand can make wayfinding a more positive experience which may otherwise be stressful, especially for those with ASD.

brook street

Figure 17 : exeter college, alison brooks architects

STRUCTURAL STRATEGY

structural concept diagram 1:75 @

brook street

The building elevations are designed to be a honest expression of industrious materials, true to the area along with the building’s construction methods which is re-enforced by the conceptual links to the natural environment (heavy to light material palette as a reference to earth and sky). At ground floor the walls are constructed of rammed earth which utilises crushed and compacted rubble from the site in the mix. A timber frame structure sits on top of this, which is then clad with a brick skin at first floor and above this is corrugated steel cladding above.

The construction methods at each level means that the facade steps back at each level, emphasising the different functions and creating a formal facade.

These steps are a result of having the cavity, insulation and structure in line, meaning the true properties of the external materials (deep rammed earth, to medium brick to thin aluminium) are demonstrated.

Along with the walls, the floor structures also change at each level, from solid concrete to a light weight timber the concept of earth to sky is echoed in all aspects of construction. Looking at the section on the previous page, it can be noted that ‘heavy to light’ principle was not followed in terms of the floor structure, so to strengthen the idea further, the first floor structure was changed. The hollowcore first floor also provides greater acoustic separation and fire protection between the residential flats above and retail units below. It also completes the ground floor zone, where there is a solid base and lighter upper structure.

Underfloor heating is positioned on the ground floor, acting almost like the hot springs in Iceland and to keep the walls free for the adaptability of the floor.

Track lighting on the ground floor again allows for adaptability, with fixed pendant lighting on the upper floors for a more residential scale.

second floor wall junction detail 1:10 @ A4

first floor wall junction detail 1:10 @

brook street

COMPARISON BETWEEN RAMMED EARTH + STABILIZED RAMMED EARTH (SRE)

RAMMED EARTH

no stabilisers used soil with a high clay content must be used remains water soluble, hence will collapse if moisture rises above 13% wide eaves and surface protectant required to protect from rain cladding systems or regular coats of lime wash or render required on external surface needs to have additional exterior or interior layer of insulation and cladding thermal mass effect is lost if interior insulation is used normally 500-700mm thick larger foundations are needed to support thicker walls slow drying means it can take up to 2 months to get near full strength significant and unpredictable shrinkage occurs as wall sets due to high proportion of clay as binder poor results with reinforcement (only small openings possible)

brook street

STABILISED RAMMED EARTH (SRE)

requires normally 4% or 12% cement as stabiliser soil, quarry waste, or recycled building rubble can be used insoluble, unaffected by immersion unaffected by rain no exterior protection required insulation can be incorporated benefit of high thermal mass is maintained normally 300mm thick regular foundations suitable relatively quick drying with 70% of full strength being achieved within 7 days very small amounts of shrinkage as wall sets can incorporate steel reinforcing, lintels, etc, so windows, doors, and large openings can be formed in wall

1

reinforced (pre oiled) plywood formwork constructed

2 3 4 5 6 7

first layer of moist earth (mixture of soil, site rubble and cement) poured

layer is compacted with pneumatic backfill tamper

next layer of earth mixture added compacted process is repeated until desired wall height is achieved

formwork is removed

SRE is a material which is used in the UK more than people realise however it is less common in Scotland. The process can be time consuming but is relatively simple, and is a way to bring community together. Whilst specialists are needed, other, less experienced people could have the opportunity to help with the formwork and filling of levels.

The sustainability of the site is important where the plywood used for the formwork (if pre-treated) could be used in kitchens and planters across other buildings on the site. The rammed earth also has multiple purposes from being load bearing, to insulating and fire resistant.

The maintenance of the stabilised rammed earth is minimal due to the addition of cement, it acts more like concrete rather than regular rammed earth.

Aswell as the properties of SRE allowing the ground to ‘crawl’ up and ‘support’ the building, the patterning of the levels are very natural, looking almost like hills in the landscape. The formwork provides more definitive markings, where the pattern can be controlled and measured accurately to create a rhythmic grid.

Burgage Studios

WHERE COMMUNITY COMES TOGETHER

‘‘gardening is also a social act, especially in dense cities’’ - Charles Montgomery

burgage studios

With reference taken from the historic burgage plots of Dundee [see pages 27/28 of Studio E Dundee Booklet] and the adaptable and linear principle, the burgage studios are formed.

This area of the site is where the community within and from the surrounding area really come together and are encouraged to mix. By creating a steel rainwater structure, the historic structure is celebrated with the addition of dealing with rainwater and sunlight sustainably.

With the roof made up of louvred panels, the structure can react to weather conditions, opening up when it is sunny and closing off when it rains to collect the water and protect users below.

Similar to a flower opening when it is bright and turning towards the sun, the building has a hidden connection to nature.

The white grid below shows the 5m structural lines which are extended across the site, with the darker hatched zones representing where building would be. The spaces in between act as contemporary vennels (historic to Scottish architecture) which buffer pedestrians from the pedestrian street to the enclosed public courtyard to the south and vice versa.

burgage studios

burgage studios

[this zone of the site is not as detailed due to the adaptable nature of it]

DETAIL

It is a council led scheme to encourage start up/ small businesses as per business place plan so a client (artist/small community business)would approach the council about constructing a unit.

Client works up simple unit design from the list of modular sized panels. The cost is £1000 p/m2.

Information gets sent to manufacturer who make number of panels required for intended design.

Ease of constructions means that contractor is not required to pass on cost savings and allows client construct unit themselves.

Additional fitting (such as kitchenettes) added and connected to water supply tank/appropriate connection.

Client moves in and start using space, whether it is just for them or community workshops etc.

The idea is that it is a buy to rent unit, so the client will agree on a contract which suits them in which the full amount has to be paid by.

Once final payment is made, the client has the decision whether to keep the unit, alter it or sell as is/sell panels back to manufacturer to be reused on site. [If panels are to be reused they would need checked for any damages and repaired where appropriate before another client purchased.]

Process is repeated.

Figure(s) 18 : Phabb MODU modular housing, Morris + Company

ALLOTMENTS

Dundee has more allotments than visitors and existing community might realise, however the council also have an agenda to create more. With 612 existing plots, there is a still a large waiting list of individuals wanting to grow their own fruit and veg, so introducing another allotment that is closer to the city would only be encouraged.

The map to the right shows the current allotments and their location (with some off the map) which the council are responsible for in dark green and the others which are leased by private owners from the council in the lighter green.

With the release of Dundee City Council’s ‘Allotment Strategy 2010-2015’ document, there has been an improvement in available plots but with the population rising, and this proposal being part of that, there will always be a requirement for more.

For meeting the demand for allotments, DCC have stated that one of their actions to do this is to ‘‘Regularly assess the number of plots within the City and monitor regularly the demand and waiting lists for them.’’ [page 4] So with this and the fact that the document is reviewed itself every 5 years shows how there is a push for encouraging allotments, giving a valid reason for introducing them to this micro-community proposal.

Figure 19 : Table from Dundee City Council’s Allotment Strategy (20102015) document

burgage studios

‘‘ever time a slice of urban land is transformed into a community garden, the salubrious effects of flow through the brains and bodies of the people who work it and those who just pass by’’

- Charles Montgomery, Happy Cities [pg

PROTECTIVE BARRIER BETWEEN PUBLIC AND PRIVATE

The existing structure on site is a large corrugated steel mass, so the initial reaction was to demolish it as it is ruined and in an un-repairable state and replace an almost like for like structure to respect the history of the site. The idea of using corrugated aluminium allows for this, and also means the Brook Street building is visually connected for unity across the site.

This part of the site also sits north of the pedestrianised street, meaning there is an interesting dynamic between the public and private. The attitude towards this relationship was to embrace it, and create a layering of threshold spaces. The aim of the street was for it to be busy, so ensuring the residents of the family units have control over how much connection they have with it was important and a first priority.

The balance of 50% building and 50% private garden was also key to ensure that the total plot shape was linear and continued the long ‘burgage’ style plots over the site along with the reference back to nature and the rhythm of the ploughed fields.

existing building on site

Following on from the journey section in J1 (page 71) the middle of the elevation is opened up, providing a through route. The nature of this route (covered) forces the user to become aware of their surroundings and that the privacy of the site is increasing. This meaning that not everyone passing should find themselves walking through it without realising they are entering a private residential courtyard, and if they do they soon realise it is private when they are faced with the high care units to the North.

Along with this journey there is the reference back to historic mews (refer to pages 73-78 of J1). The modern take on the traditional mews typology means that neighbours share external spaces and have a shared raised planter, encouraging positive neighbourly interaction as they both care for/appreciate the plants between them. The indented elevation also means that the entrance is set back enough to create a private zone/threshold before entering and discourage passers-by walking too close and looking inside.

This elevation is also where there is a connection between project and DRU, where the openings are the same on each unit but the way they can be adapted means that each resident can personalise their home and relationship to the street.

sketch of traditional threshold with front garden and path to entrance door

family mews

The initial floor plan was aimed at ensuring that the dynamic connection between building and street at different levels was translated internally. With split levels and visual connections into other rooms it could mean that residents would be able to be with each other in different spaces. It allows for personal freedom whilst at the same time providing comfort knowing where everyone else is and what they are doing.

Due to the houses being for ASD residents the spaces are more generous and adaptable to ensure the house is suitable for how each family functions.

Starting from the ground floor the kitchen was designed to have dual aspect where there was a connection to street and garden, so residents could have their morning coffee on the sunny street alcove and their evening BBQ in the spacious private garden. To not have too many rooms facing the street (for privacy purposes) a double sided bin store was integrated into the plan for ease of throwing out rubbish and the collecting of bins for the council. It also ensures the street stays clear of unattractive bins which smell and spill out rubbish. The balcony on the first floor enables another opportunity for looking on the street without feeling required to engage with passers-by.

Reading nooks have also been introduced where residents can withdraw themselves if they want down time or simply to relax and read.

There was still opportunity with this design. To start it could be pushed up to 3 storeys to have greater presence on the street, create a stronger boundary between public street and private courtyard to the north, make full use of the sun to the south and to have a visual connection over the south of the site.

To allow for true adaptability, it not only needed to happen on the elevation and interacting with shutters but also internally. The ‘bedrooms’ did not have to be prescribed and instead could act more like the brook street maisonette flats where the bedrooms could become studios, offices or similar.

To add further dynamic between street and building, there was a thought to not limit the design where introducing external steps to upper levels could provide separate residency between levels. This idea later translated into the introduction of steps to the north or ‘back’ of the building explored further on pages 115/116.

family mews

Originally, the elevation was going to have a clear division down the centre, however it was realised quickly that this was almost too inviting to external passers-by. The solid mass had also been broken, going against the idea of replacing a like for like building of what is currently on site in terms of it being a large corrugated metal single form.

Elements which were taken forwards however were the steps up to the ‘backs’ and the introduction of 2 types of houses. The orientation of all staircases was also changed to be face North-South direction to translate the linear nature of the burgage plots within the internal environments.

Type A (left): respite on ground floor flat and upper floor maisonette where families of residents elsewhere on the site could stay for a week or long weekend and visit their relative in a controlled, comfortable and familiar environment for the permanent resident on the high care units for example.

Type B (right): solely town house for permanent residency for those who have atleast 1 or more person with ASD within their family.

Ground Floor Plan family mews

Second Floor Plan

First Floor Plan

The idea behind the Type A units are to provide a space for families and relative of those on the site to stay close to their family members whilst they are visiting (for families from out with Dundee). The paths from the houses to the gardens provide a direct route through the garden to the high care units, where they will more than likely be visiting someone they know.

The image below demonstrates one of several ‘nooks’ within the family units where there is the opportunity for withdrawing from the internal environment but still be connected to outside within the safety of the accommodation.

Section a-a’

Section b-b’

Ground Floor Plan family mews

Second Floor Plan

First Floor Plan

Type B is solely a family unit for a group of relatives with 1 or more people with ASD. There are generous in size but that is because of its purpose were there is a need for escape spaces and chill out rooms of different natures. The nature of the bedrooms shown in plan is similar to that of the brook street building where each room could be an office or work space which I think is really appropriate in terms of speaking above Covid19 but also adaptability to each family and how they function.

In both types, the section really begins to explain how the different levels and opportunities to communicate with others is encouraged. The connectivity within also allow for residents to be in different rooms but still feel connected to one another.

Section a-a’

With this visual especially, the aim was to accurately represent what the space would be like. There is a recognition that not everything is perfect, and a single insertion project within Dundee will not change the way people act. Individuals will still drop litter and others will always want to put their stamp on a place but it is a start, an attempt, towards the changing of attitude. To provide people with accommodation to take pride in which will gradually spread across the rest of the city, and country.

family mews

As mentioned previously, the indented entrances along with the planters between neighbours provides an opportunity for socialising over a shared (neutral) object.

The open rainwater pipes create an event out of something which is usually an after thought. Referring to numbers ‘3 and 4’ the attitude towards the use of the water changes from being used internally to external. Where the water travels from the down pipe, it cascades into a water channel which acts as a subtle division between the houses and creates a rhythmic pattern on the street. This channel (shaped like a ploughed field for practicality but also as reference to the analogy) leads to the public allotments where the water is stored under the benches and reused for gardening on site. The downpipes are made an integral part of the design in not just a physical term but also in terms of creating a playful social dynamic too.

The North elevation is a reference back to the history of British architecture and the ‘backs’ of buildings where there is stacked accommodation and elevated circulation which provides a chance for communication between neighbours.

The relationship between the gardens is more intimate and controlled with familiar faces providing a comfortable and relaxed environment.

Figure 20 : 1958 Whorterbank, Lochee, Dundee

High Care

THE MOST PROTECTED UNIT FOR THOSE WITH ASD + OTHER DIFFICULTIES

The initial concept of the high care residential units was to divide the plan into 2 zones: public and private.

The public spaces are the areas which visitors use and the private spaces are intimate and include the bedroom, sensory room and shower room.

The circulation wraps around a central core meaning there are always two entrances/exits to every room, providing safety and ease of movement for everyone in the accommodation.

At this stage, several questions were asked during the process:

1. would a single bed be better for those using wheelchairs and getting on and off?

2. should there be a bath?

3. what kind of dining space is appropriate?

4. how large should the kitchen be - who will usually be using it and what for?

5. would pocket doors be more suitable compared to the common swing door?

Answers:

1. a double space provide option for more space for hoist above if required.

2. Baths require careful supervision compared to a wet room/shower room

3. dining area depends on each individual resident where having the option to have a full sized dining table that faces a wall and external environment would be needed

4. usually with high care residents, the kitchen will not be used by residents for complex cooking. The kitchen does not have to be large as it will more than likely be used for external visitors. It should however have an alternative exit from it for the safety of carers, in the event that a resident has a meltdown.

5. pocket doors, if heavy duty enough, would allow for the ease of opening in the event that the resident had a fall and was blocking the door. high care

The initial desire for the elevation from the east and west was to have a layout that enabled these profiles to reflect the saw tooth roof found on the brook street building to create a sense of unity. The arrangement of the units had to be tested first to be able to see the outcome.

The orientation and connecting junctions were influenced by numerous factors but the main one was orientation and realisation that the building would be better if it was more connected, reading like one long building rather than individual units beside each other.

The private garden to the north which enhances the idea of layered threshold and privacy across the site allows for the connection between neighbours. Similar to the family units there are shared planters which run north and south of the units but the encouragement of interaction is not as intense. These units are for resident with ASD where comfort is of the utmost importance, so ensuring they do not feel pressured to do something they do not want to is important. high care

The sensory room is a space which is solely a relief space. It is really about comfort and protection with the roof light that allows diffused light in and a relaxing controlled view up and out. The idea of the space is that it is very neutral and can be adapted to suit the resident and their needs.

This type of space is also found in the family units and is key in any ASD accommodation due to individuals having meltdowns and needing a space to recover.

There is enough storage for necessities, disguised as wall panels to create that finished and uninterrupted environment.

The rooflight shown allows for an uninterrupted connection to sky (therefore nature) where sun light is allowed to flood in, or covered with a blind if user preferred.

From the previous versions on the plan it can be noted that the plant store (originally positioned so that boilers etc can be serviced without effecting the resident) has been relocated and instead a high cupboard unit in the kitchen has been put in place. This allows for internal walls to line up, creating a clearer plan with larger spaces.

The plan has been mirrored horizontally to allow for the continuation of the planter along the north elevation. The way each unit is slightly staggered (refer to site master plant) means that each unit is defined from its neighbours.

This building is where there is a strong relationship to the DRU project, where built in storage is used to open and close the more public zone of the floor plan. The disguised storage creates deep thresholds and a clear distinction between the zones. Including so much storage into the plan also allows the units to be clear of clutter which could be hazardous or be a trigger for the residents with ASD.

The north elevation (facing the private courtyard) has plenty of glazing for diffused north light to enter, and also to create that strong relationship between resident and nature, with a view out.

high care

The elevation here as solely to show the independent unit, however they are connected on the east and west to their neighbours. The reason for showing them like this is to understand how unique and individual the residents will be and how they can exclude themselves if they want to into the safety of their personal flat. The image on pages 133/134 shows how they would connect to each other along with the site plans. This connection allows residents to feel part of a bigger building but still have their own space, so the have the choice to be alone or together.

The zones between the rooflights on the south elevation is where PV panels would be to utilise and harvest the sun’s energy and use it to heat the buildings.

The chimney forms on the elevations act as familiar elements as they are seen frequently in the context, and add a domestic scale to the forms. They also act as natural stack ventilation for the units.

high care

North Elevation

East Elevation

South Elevation

West Elevation

The ASD specific material choices within this design are as below:

1. sealed cork (softer to land on)

2. sprung floor (as above)

3. diffused artificial light (easier to control than natural daylight and create a softer light)

4. heavy to light in visual material palette (cork resembles earth, timber panels trees and plaster as a cloudy sky - reference back to nature which is soothing)

To continue the earth to sky methodology from the brook street building, the walls are load bearing brick with and the roof is a lighter timber construction (heavy base, light top).

Due to the floor plans being accessible means that the entrances must be also. By referencing guidance from the Building Standards Technical Handbook (domestic 2019) the following points have been followed:

4.1.7

‘‘An accessible entrance to a building should: have an unobstructed entrance platt of at least 1.2m by 1.2m, with a crossfall of not more than 1 in 50, if required to prevent standing water, and have a means of automatic illumination above or adjacent to the door, and have an accessible threshold, and

have a door leaf giving a clear opening width of at least 800mm in accordance with the diagram below...’’

‘‘to assist in preventing collisions, a clear glazed vision panel or panels to a door should give a zone of visibility from a height of not more than 500mm to at least 1.5m above finished floor level.’’

‘‘thresholds should be designed to prevent the ingress of rain.’’

‘‘externally, the surface of the platt should be not more than 10mm below the leading edge of any sill, with any exposed edge chamfered or rounded’’

‘‘the threshold should either be level or of a height and form that will neither impede unassisted access by a wheelchair user nor create a trip hazard.’’

It is also important to note that acoustic insulation has been used in the roof structure. With their being a ‘warm roof’ there is no separation between room and structure and where metal sheet roofing may be an issue for ASD residents as it can make a lot of noise when it is raining, extra precaution has been taken to ensure this is not an issue.

A COLLECTION OF BUILT EXAMPLES OF HOUSING DESIGNED AND BUILT FOR THOSE WITH ASD

CORK HOUSE

LOCATION: Social housing | Eton, Berkshire, England

ARCHITECT: Matthew Barnett Howland with Dido Milne + Oliver Wilton

AREA: 44m²

VALUE: unknown

COMPLETION DATE: 2015

Cork House is exactly that, a cork house. It tests the boundaries of building materials, questioning the normal and embracing nature.

The roof form and focus of zenithal light allows for the use of a darker material, allowing the building to cocoon around the user, like a cave.

Light timber floors and kitchen units are used to soften the space which otherwise might be dark and almost harsh and bring a sense of warmth and comfort. The palette itself is very paired back, minimising itself to 3 materials at most, focussing the eye on the forms themselves and play with the external lighting.

precedent

Figure (s) 21 : collection of precedent images

LOCATION: Co-housing | Cambridge, England

ARCHITECT: Mole Architects

AREA: 4300m²

VALUE: £8 300 000

COMPLETION DATE: 2018

Marmalade Lane by Mole Architects is a project that is a very familiar scale to traditional British architecture. The use of brick is apparent with timber openings to soften where the user will come into contact with the structures daily.

There are apparent thresholds between public areas and private houses where there is also the integration of green space. In the public zones there are many suggestions for people to sit, creating a relaxed, comfortable and sociable environment for all those old young and in between.

Figure (s) 22 : collection of precedent images

LOCATION: Social Housing | Bordeaux, France

ARCHITECT: Christophe Hutin architecture, Frédéric Druot, Lacaton + Vassal

AREA: 23 500m²

VALUE: unknown

COMPLETION DATE: 2016

This transformation of a large apartment block in France focussing heavily on the introduction of winter gardens and balconies. Each flat has their own external space of some description where there is the opportunity to grow plant and have a connection to nature, even when the residents are so high off the ground.

The encouragement to keep plants is obvious with this playing a part in the elevation also, almost as if it wants to be green facade. This ability to see greenery from out with the block gives a sense of life beyond.

Figure (s) 23 : collection of precedent images

LOCATION: Family House | Montreal, Canada

ARCHITECT: La SHED architecture

AREA: unknown VALUE: unknown

COMPLETION DATE: 2016

The Clark House by La SHED architecture is an example of how existing building are adapted to suit the modern family. The aim of the project was to convert an existing home into one which faces the garden with elements such as the bathroom and storage being location on the street site, a private intimate family space is designed.

The layout of the plan allows for different levels to be connected physically and visually with low pendant lighting bringing the scale down of larger spaces.

The material palette is light, airy and fun with large openings allowing for a visual connection to nature, letting the seasons change the internal light conditions. These large openings also provide good conditions for internal plants to grow - again bringing nature in.

Book shelves not only store books but also divide larger spaces effortlessly, bringing the scale back down creating cosier more intimate spaces.

Figure (s) 24 : collection of precedent images

WHAT HAS BEEN EXPLORED AND HOW IT MIGHT INFLUENCE DESIGN IN THE FUTURE

The story of the micro-community is shown through the layout of this publication. From a busy public building at the south to the secluded intimate garden to the north, the increase of privacy and protection increases the deeper the visitor enters, creating a safe space within the city.

The attitude towards rainwater harvesting, utilising the sun’s energy and growing crops allows the community to be very self sustaining, ensuring it acts as a discreet insertion into the Blackness area of Dundee with little impact on existing services in the surrounding area. The opportunities which the site allows for residents and also visitors is important, from providing a space to relax, to work, to learn and teach, individuals are nurtured into their best selves and their lives are improved greatly. Being directly in touch with nature has many benefits from personal mental health to city air quality, the impact on general well-being of the city’s residents are improved ever so slightly, only increasing the more of these projects are introduced.

The introduction of this project into an area like Blackness, Dundee, sets a precedent for future development within and out with the city. The hope is that it creates a domino effect, where more of these communities will quietly appear, improving the quality of life for more and more individuals.

By repairing urban fabric instead of increasing it, cities can evolve with its residents. Adding to the urban environment another layer of history, with the understanding that this is not the end, there is more to be learnt from this projectbut we cannot learn unless it is tested.

So lets start testing our ideas instead of avoiding them. We need stop expanding just because we don’t know what to do with what we have. Work with what is there, so we can create rich, meaningful environments which change and adapt with the people that are using them everyday.

WHERE ALL THE IMPORTANT INFORMATION WAS FOUND

BOOKS

Montgomery, C., 2013. Happy city. 1st ed. Penguin Books.

Batchelor, A. and Karakusevic, P., 2019. Social Housing. [S.l.]: RIBA Publishing.

Lynch, K., 2001. Good city form. Cambridge, Mass.: MIT Press.

Levitt, D. and McCafferty, J., n.d. The housing design handbook.

Youtube.com. 2016. Caruso St John 25 Year Anniversary Lecture. [online] Available at: <https://www.youtube.com/ watch?v=Wedhb2irmlA> [Accessed 28 April 2021].

Dundee City Council. 2005. Allotment Strategy (3.41MB PDF). [online] Available at: <https://www.dundeecity.gov.uk/service-area/ neighbourhood-services/environment/publications/allotmentstrategy-341mb-pdf> [Accessed 30 April 2021].

Gov.scot. 2019. Building standards technical handbook 2019: domestic - gov.scot. [online] Available at: <https://www.gov. scot/publications/building-standards-technical-handbook-2019domestic/> [Accessed 17 April 2021].

Euro.who.int. 2016. Urban green spaces and health - a review of evidence (2016). [online] Available at: <https://www.euro.who. int/en/health-topics/environment-and-health/urban-health/ publications/2016/urban-green-spaces-and-health-a-reviewof-evidence-2016#:~:text=Urban%20green%20spaces%2C%20 such%20as,and%20reducing%20exposure%20to%20air> [Accessed 19 April 2021].

Spencer, T., 2015. Piet Oudolf: In his own Words. [online] The New Perennialist. Available at: <https://www.thenewperennialist.com/ piet-oudolf-in-his-own-words-2/> [Accessed 28 April 2021].

Rammedearthconsulting.com. 2021. Rammed earth at the Eden Project. [online] Available at: <http://rammedearthconsulting.com/ rammedearth-edenproject.htm> [Accessed 21 April 2021].

Garg, A., 2015. Rammed earth construction. [online] Issuu. Available at: <https://issuu.com/akashgarg.iit/docs/rammed_ earth_construction> [Accessed 22 April 2021].

Waughthistleton.com. 2021. Bushey Cemetery | Waugh Thistleton Architects. [online] Available at: <https://waughthistleton.com/ bushey-cemetery/> [Accessed 22 April 2021].

ElliottWood. 2018. Rammed Earth – Engineering, Sustainability and Craft – Latest – ElliottWood. [online] Available at: <https:// www.elliottwood.co.uk/latest/using-rammed-earth-at-busheycemetery> [Accessed 23 April 2021].

Figure 1 : Corrugated metal clad house Wallpaper*

https://www.wallpaper.com/architecture/barcelonahouse-arquitecturia-spain [accessed 18th January 2021]

Figure 2 : Petersen Brick (D46) Peteresen TEGL https://en.petersen-tegl.dk/bricks/products/d46 [accessed 18th January 2021]

Figure 3 : Red Sandstone Texture http://naturalstonecreation.com/product/dholpur-red/ [accessed 18th January 2021]

Figure 4 : Polycarbonate facade https://www.archdaily.com/902877/streetmekka-viborgeffekt [accessed 18th January 2021]

Figure 5 : Rammed earth https://issuu.com/akashgarg.iit/docs/rammed_earth_ construction [accessed 14th April 2021]

Figure 6 : birch wood texture https://www.istockphoto.com/photos/clt-wood-texture [accessed 18th January 2021]

Figure 7 : cork texture

https://www.fabric.com/buy/0628522/landscapemedley-coarse-cork-texture?cm_mmc=pinterest-_social-_-product-_-0628522 [accessed 18th January 2021]

Figure 8 : venetian plaster wall https://www.sightunseen.com/2018/09/crocopenhagen-recycled-steel-furniture-scandinavianminimalism/ [accessed 18th January 2021]

Figure 9 : spring vegetables https://www.calicoandtwine.com/blog/how-to-plant-aspring-garden [accessed 18th January 2021]

Figure 10 : heather in bloom https://fineartamerica.com/featured/heather-in-bloomon-hiddensee-island-norbert-rosing.html [accessed 18th January 2021]

Figure 11 : dovecote studio (2010) Haworth Tomkins https://www.archdaily.com/89980/dovecote-studiohaworth-tompkins [accessed 25th January 2021]

Figure 12 : Kolumba Museum (2007) Peter Zumthor https://www.archdaily.com/72192/kolumba-musuempeter-zumthor [accessed 25th January 2021]

Figure 13 : Newport Street Gallery (2015) Caruso St John https://carusostjohn.com/projects/newport-streetgallery/ [accessed 28th April 2021]

Figure 14 : Warehouse in Clerkenwell (2016) Caruso St John https://www.youtube.com/watch?v=Wedhb2irmlA [accessed 28th April 2021]

Figure 15 : aerial photograph of Dundee (1947) (2017) https://i.pinimg.com/originals/24/6e/ f3/246ef3a1bb25c83d82bda4182b40042d.jpg [accessed 1st May 2021]

Figure 16 : Bedales School (2016) Feilden Clegg Bradley Studios https://www.archdaily.com/877262/bedales-schoolof-art-and-design-feilden-clegg-bradley-studios [accessed 31st January 2021]

Figure 17 : Exeter College (2015) Alison Brooks Architects https://alisonbrooksarchitects.com/project/exetercollege/ [accessed 14th November 2020]

Figure(s) 18 : Phabb MODU modular Housing, Morris + Company https://www.archdaily.com/950853/morris-pluscompany-launches-phabb-modu-modular-housing [accessed 16th February 2021]

Figure 19 : Table from DCC Allotments Strategy https://www.dundeecity.gov.uk/service-area/ neighbourhood-services/environment/publications/ allotment-strategy-341mb-pdf [accessed 1st May 2021]

Figure 20 : 1958 Whorterbank, Lochee, Dundee https://www.flickr.com/photos/118069284@ N05/19268137855 [accessed 5th April 2021]

Figure(s) 21 : Cork House mixed images (2019) Dido Milne, Matthew Barnett Howland, Oliver Wilton https://www.archdaily.com/938586/cork-housematthew-barnett-howland-plus-dido-milne-plus-oliverwilton [accessed 20th January 2021]

Figure(s) 22 : Marmalade Lane mixed images (2018) Mole Architects https://www.archdaily.com/918201/marmalade-lanecohousing-development-mole-architects [accessed 3rd May 2021]

Figure(s) 23 : Transformation of 530 Dwellings mixed images (2016) Christophe Hutin architecture, Frédéric Druot, Lacaton & Vassal https://www.archdaily.com/915431/transformationof-530-dwellings-lacaton-and-vassal-plus-fredericdruot-plus-christophe-hutin-architecture [accessed 3rd May 2021]

Figure(s) 24 : Maison Clark mixed images (2016) La SHED architecture https://www.lashedarchitecture.com/en/ [accessed 3rd May 2021]