Portsmouth City of Makers (M30640)

PORTSMOUT H

MAKER S

M30640 Design: Architectural Narra ves

OF

ABOUT THIS MODULE

1 2

WHAT IS NARRATIVE IN ARCHITECTURE ?

THE MAKERS

3 4 5

THE SITES

FRAMEWORK BRIEF

CONTENTS

SUBMISSION REQUIREMENTS

6

WHAT IS NARRATIVE IN ARCHITECTURE?

1

Adjaye Associates & Ron Arad Architects, Holocaust Memorial and Learning Centre, London

An architectural narrative is the story told by a building through its form, materiality and technologies, together with the way it responds to its local and global context. The narrative guides the design process from inception to completion. Successful narratives have empathy for their stakeholders and their physical, environmental, social and economic context.

In a building, the characters are the people who are connected with the site, whether patrons, users or visitors; the image is the physical appearance of the building and the impression it creates; the backstory is the rootedness of a place in its historical context; and the theme is the underlying belief or principle that the architect wants to communicate.

(archisoup.com - edited)

ARCHITECTURE?

2 ABOUT THIS MODULE

In a building, the characters are the pe

During this module you will develop an architectural proposal inspired by the narratives discovered within the city, whilst building on the skills you have learned during M30639: Architectural Investigation. It is an opportunity to explore urban architecture by examining the uniqueness of a particular place. This will challenge you to inform your work through empathy,curiosity and rigorous research.

You will select an urban site and investigate in detail its component parts and represent this and your chosen narrative by creating an artefact and formulating a designbrief, using narrative as the central tool and the accommodation schedule that will be given to you. Following this you will develop an architecturaldesign, integrating construction and environmentaltechnology, supported by discussion and feedback during studio sessions, the year meeting lectures and your History and Theory and Technology modules. You will use the skills developed in the Representation and Communication and design modules in TB1 to present this in an engaging and professional way. are connected with the site, whether patrons, users or visitors; the image is the physical appearance of the building and the impression it creates; the backstory is the rootedness of a place in its historical con-

LEARNING OBJECTIVES

To help you plan your time and to have an overview of the design should download your own copy of the Process and Progress there is space to record the progress of your project.

See also: Appendix A | Process & Progress Chart

On successful completion of this unit you will have: LO1

Analysed, examined and illustrated an urban locality and interpreted its characteristics by designing a moderately scaled design project. LO2

Generated a design brief for a building of modest complexity through interpreting clients needs, examining site and the use of narrative.

design process through to the completion of this module, you

Chart and refer to it weekly for themes and work targets,

LO3

Applied and tested the environmental, structural, material and construction ideas to a building, demonstrating testing, research and evaluation.

LO4

Planned, drawn and presented a building design based on the synthesis of discoveries from the site analysis and the interpretation of the brief.

Progress

SETTING THE SCENE

The Hotwalls Studios are a series of artists’ spaces that were created in 2016 by EMRC Architecture Ltd with Deniz Beck Partners for Portsmouth City Council within the 15th century Point Battery 'arches' in Old Portsmouth that are situated between the Round and Square Towers in Old Broad Street. They have been let to artists as ‘incubator spaces’ for a maximum period so that they could develop their practise and business. For some of these artists this initial period has now come to an end and they are seeking permanent work spaces elsewhere. They have also joined with some other artists who currently work at home.

Students from the School of Environment Geography & Geosciences (SEGG) are working with the artists to identify potential sites (Module Coordinator: Dr Carol Ekinsmyth). You will be researching one of those sites, collaborating with the artists and proposing new work and collective spaces that engage with the artists’ group, the local community and the wider public, identifying ways that the new building could support the venture using pop up events.

The Hotwalls’ Studios, Broad Street, Old Portsmouth

Consultation Workshop,15 November 2022, Round Tower, Old Portsmouth

During November 2022 your studio representatives and I attended a consultation workshop with SEGG. At this event artists shared their hopes for new studio spaces, the outcomes were recorded and these will be made available to you.

The first few weeks of the project will be concerned with site and you will be producing a concept box representing the discoveries detailed in your sketchbook.

In later weeks there will be opportunity to meet individual artists and discuss the nature of their work and processes, more specific requirements and ask questions so that you can generate more detailed information for your project.

You will need to work with empathy and curiosity and evaluate what you have discovered, recognising the artists priorities and using this information and your design skills to generate a proposal that responds specifically to these issues.

The nature of the workspace for each artist will be fundamentally different and these qualities should be clearly represented in your sketchbook and final proposals.

3 THE SITES

In a building, the characters are the pe You will be working on an urban site in Portsmouth and your proposal must include the adaptive reuse of part or all of an existing building; however, this should equate to no more than 50% of the total floor area of your project. Restricted urban sites present a particular architectural puzzle but also an opportunity to respond to the constricts creatively and with rigour. Working with models and section from an early stage will be beneficial.

As a historic port city with Global, Regional and Local Networks and connections, Portsmouth is a rich textile of spaces, places and narratives. Part of a seafaring tradition, spanning centuries the city sees potential at the edge of a map and as a point of arrival and departure, the city of defences or sanctuary.

As you know from TB1 Portsmouth is prominent for being the United Kingdom’s only island city, founded for the most part on Portsea Island. It is the second most densely populated place in the UK (after central London) and the 13th most densely populated place in Europe. of the building and the impression it creates; the backstory is the rootedness of a place in its historical context; and the theme is the underlying belief or principle that the architect wants to communicate.

(archisoup.com - edited)

Portsmouth, Island City

In a building, the characters are the pe Site1 are connected with the site, whether pa The Albany Buildings 104 to 112 Elm Grove Southsea, PO5 1LPv longer.divide.glaref

Site2

are connected with the site, whether pa Site Adjacent The Lady Hamilton

The Hard Portsea

PO1 3DT, miss.slot.prone

he rootedness of a place in its historical context;

and the theme is the underlying belief or principle that the ar-

chitect wants to communicate.

(archisoup.com - edited)

Site3

are connected with the site, whether pa

Site Adjacent Queen’s Hotel

Osborne Road

Southsea

PO5 3LJ, u

food.cooks.catch - edited)

4 THE MAKERS

THE MAKERS

Choose two artists to design for.

AliceHume

“I am a Textile Artist and Weaver based at Hotwalls Studios in Old Portsmouth. I have been weaving for over 12 years and graduated from Winchester School of Art with a degree in Woven Textile Design in 2013. I have studied textiles internationally at weaving schools in Sweden and Japan

After Graduating I collaborated with my father to make handmade frame looms called Hume Looms from recycled wood which I use to teach weave workshops. In 2018 I designed and created a wool window display in Covent Garden for store allbirds which consisted of nine handwoven wool hangings. I have also been awarded Arts Council Funding three times including projects Interactive Weaves and From Soil to Cloth.

Inspired by my travels and different cultures my work combines embroidery, wrapping, knotting and hand weaving on my Harris and George Wood Floor Loom. I experiment with unusual materials of recycled copper, raffia and 1970’s vintage silk yarns to create wall decor, hanging copper moons, clutch bags and Textile earrings. Vanderhume is named after my ancestors who were Flemish weavers.”

vanderhume.co.uk

AliMolloy

I’m a creative born in Portsmouth. Having completed my Art Foundation at Portsmouth, I studied Graphic and Media Design (specialising in experimental image making) at London College of Communication where I stumbled across a design article ‘Towards a Holistic Profession’. This influenced my varied career within the creative industries: Design, Software Engineering, Photography and Government Policy. In a nutshell, enjoy collaborating, experimenting and learning through creativity: I tinker with various mediums, be they code, printing, vector graphics, or mixed media.

I collaborate with genomicists and epidemiologists, at Oxford University and the Wellcome Genome Campus where I translate complex data and concepts into communication formats for WHO and various publications such as Nature.

Currently I’m researching creative public engagement avenues for the threat of antimicrobial resistance and wider understanding of complex data in the community. I’m also a trustee at the community craft charity Making Space in Leigh Park.

(work in progress) alimolloy.com

THE MAKERS

ElisaMott

“I create glass jewellery, glass homeware gifts and glass wall art. The techniques of kiln forming glass I use include fusing, slumping, casting and kiln carving, I am also familiar with the hot glass technique of lampworking. I believe my glass products and workshops bring colour and happiness to the people involved.

My unique jewellery range is distinctive, colourful and eye catching. I love to make my customers feel confident and individual. My quality homeware collections and art pieces will energize your style and bring a striking focus to your living spaces.

I take my inspiration from wildlife especially birds along with my travel adventures. This is expressed in my glass design through imagery, colours and textures. I have been a member of the RSPB (Royal Society for The Protection of Birds) for as long as I can remember. My love of wildlife started at junior school with our caretaker who used to plan lunchtime wildlife trips. Seeing my first ever kingfisher had me mesmerised and I find it such a rewarding hobby to this day. “ shakeyourglass.co.uk

EllaKilgour

“Ella Kilgour is a painter and portrait artist. Born in 1980 she studied Industrial Design at the Royal College of Art, London. She worked as a designer, illustrator and a gallery curator before turning her attention to painting.

Self taught, Ella uses a lively mix of classical and contemporary techniques which result in an instantly recognisable style which is uniquely her own.

I am interested in the place where Old and New worlds collide. And the ‘fuzzy edge' between the Real and the Imagined. I am always pushing and pulling between the two. There is also a tension between the discipline of accurate representation, and the looseness of energy and feeling. At times my painting breaks through into the dreamy world of expressive marks and vivid colour, only to pull back in other moments into a more structured and controlled observation.’

Ella exhibits regularly in the UK and also in Australia, where she lived for many years. She is represented by Grainger Gallery in Canberra.”

ellakilgour.com

n its historical context; and the theme is the underlying

THE MAKERS

KarlBailey

“Karl is a photographer born in Hampshire, 1991. His work focuses on documenting modern life in Britain, primarily based on the south coast. He is working within his home city of Portsmouth, exploring themes of class, wealth, and politics; Karl has been recently granted a Develop Your Creative Practice grant by Arts Council England to allow him time to explore and develop new work, which you can view under the working title ‘Heavens Light Our Guide’.

Karl has recently created ‘Fascination’ - a collection of photographic stories in a tabloid newspaper format. It brings together past and brand-new works as short and long-form series, some of which will continue in further issues.

The decision to commit to a long-form, physical body of work derives from the contemporary consumption of photography. I wanted to remove the viewing process from tiny phone screens, giving you something tangible that you can hold in your hand and feels more like an experience and less like part of an everyday, automated process.”

karlbailey.co.uk

the site, whether patrons, users or visitors;

5 FRAMEWORK BRIEF

In a building, the characters are the pe

The accommodation schedule outlines the core requirements including 4 studios for 2 different artists and two spaces for interns. You should develop, enhance and adapt this based on your city discoveries and your narrative. The building must provide spaces for public engagement and this will be central to your proposal.

Artists’ studios + community learning hub: The creation of a new type of environment, which allows engagement in learning that is embedded within the city and its daily life and linked with the creative stimulus of artists' studios. This facility could also provide an important link between the City and the University and will be fully inclusive. Apart from the sale of works, the community created will be looking to support their work by holding pop-up events. Your narrative should determine what events these might be and design the spaces, outlined in the accommodation schedule, accordingly.

of the building and the impression it create the backstory is the rootedness of a place

6 SUBMISSION REQUIREMENTS

In a building, the characters are the pe

STAGE 1: CONCEPT BOX & DESIGN DIARY (20%)

Concept Box: (alternative option: book, vol 1) A physical representation, no larger than an A43 sheet, that explores the culture of the city, shows a deep understanding of place (the physical and social context) and can be used to generate ideas, containing a series of beautifully crafted and creative elements that represent the chosen site.

Design Diary (physical): Record of the research into the physical and social context of your site and the development and determination of your narrative (reflecting on skills gathered in TB1).

of the building and the impression it create the backstory is the rootedness of a place

Articles inside