Walmer Yard Case Study Booklet

THEMATIC CASE STUDY

GROUP 3

ARC3001

WALMER YARD

18 DECEMBER 2020

Introduction

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Front Page Illustration - Courtayrd View

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User

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Bibliography

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Illustrations

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Ghost Group

Machine 3 Team Members Jessica Dunn User Jacob Hughes System Colin Rogger Climate Rashmi Jayasinghe Type Edward Salisbury Theory Edward Salisbury Introduction & Layout Colin Rogger Introduction & Layout

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PETER SALTER WALMER YARD

Introduction

After setting up his own practice in 1982, having before worked with Alison and Peter Smithson, Salter now has over 20 years of experience as a visiting critic and lecturer to UK schools of architecture and as a guest speaker at architectural organisations across the globe, he currently sits as the Professor of Architectural Design at Cardiff University having previously worked at the AA and UEL. In 2011 he was awarded the Honorary Fellow of the Royal Institute of British Architects and in 2004 he received the Annie Spink Award, both celebrating contributions to education. His Thai fish restaurant also won the AJ/Boris Royal Academy award in 1991, after he spent time in Japan doing two commissions for International Expositions in the early 1990s.

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Figure 1

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Figure 3 - West Street View

Introduction

Beginning of Design Conception: 2003 Construction Completion: 2016 Area: 450m2 Residential Client : Crispin and Seb Kelly Associate Designer: Fenella Collingridge City: London

Colin’s Collage

Located in Notting Hill, Peter Salter’s first residential project in the U.K. is composed of four irregularly design houses surrounding a shared courtyard, accessed via an underground car park and coated steel gateway. Developed over 13 years the project seeks to embody Salter’s theoretical standpoints whilst acting as the home of the Bay light Foundation – a registered charity whose primary aim is to increase the general public’s understanding of what architecture can for its inhabitant. By using handcrafted techniques of constructing, it stands to test how we can feel more ‘at home’ by deploying traditional methods instead of digitally processed ones. Salter designed the houses for the client (Crispin Kelly), who had a formed a close learner relationship whilst studying under him at the Architectural Association, both enabling for what Pallasmaa describes as the re-attachment “things particularly from the lived and emotive context” . The scheme seeks to promote the re-integration of more monolithic forms of building back into our technological society.

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Site Plan 1:2500

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“I’m not expecting

lots of sun in these houses, I rather like the sort of moody and some might say dull rooms that you get.

Which the estate agent is not very keen on”

“How do you get

light in and how do you make the most of the light you get?”

– Peter Salter, Newcastle University Visiting Lecture, 28th January 2013*

Illustrations as one - Figure 7

Internal Photographs of spaces which test domesticity Internal photographs taken from all four houses illustrate the wide variety of material choices employed across the scheme, handcrafted carefully chosen finishes are revealed around each different corner of its programme, inspired

by Japanese design the user always steps up or down into the room.

Windows and small openings at varying heights are inspired by Minka houses allowing light to reach the shallow depth of room plans, creating a wide variety of alternating ‘moody’ experiences.

As people can come and book to stay the intent is for them to realise a new domestic setting, one where those people co-relate with the house around them, attracted by the rough finishes which once used to be a common quality in architecture. The only rooms in which lighter finishes are used are in those at the top of the structure involving roof lights, as a way of creating a stark contrast as those cross up through the threshold via the steel stairs.

Introduction 9

1:200 Plans Lesser Senses & Domesticity The user’s senses are central to Salter’s design, by using craftsmanship rather than technology the dwellings aim for the re-attachment of architecture from its context of the lived and emotive sense, irregular finishes and raw surfaces serve to give a deeper connection between dweller and architecture. Irregular non-gridded plans seek to show a journey, devised by Salter, which reveals and hides engaging materials as you pass through and climb up; extended circulation circa sight means that you encounter more and more throughout, offering a ritualistic and choreographed way of living. He subtly alters conditions and thresholds through material choice to change the feeling of semi-private to private domestic setting, encouraging sharing, a theme adopted by multigenerational living in Japan. Each house has a different layout and different material interior, Salter’s design is there to challenge the way in which we produce architecture, promoting the use of craftsmanship over technology.

Theory

Technology vs. Handicrafts Collage Autonomy & Innocence Dissimilar to modern projects it took 13 years for completion, Salter developed his drawings over a period of 6 years, beginning in 2003. His deep understanding and variance in using hand crafted materials fights against the modern way of producing architecture, reminiscing and promoting past methods of designing, he aims for innocence, working in ways that we used to – coming together as a larger group over multiple years with our hands to offer a building which has a deeper cultural prevalence. By taking more time and working with less perfect machine cut methods, his stance aims for buildings to gather an existential emotive grounding. The collage shows a character torn between living in a technologically formed world or one where the materials are only formed via craftsmanship.

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Figure 8 and 9

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Ram packed Japanese Wall Collage & Kamiichi Mountain Pavilion Pre-cursor Japanese Influences Salter’s only manifested works are based in Japan dating from 1990, smaller scale works intended to investigate vernacular relations between craft and domesticity, where materials are prioritised to create more close experiences. Japanese Minka houses which demonstrate delicacy and strength mixed together; within these houses floor defines the space, as you step up into spaces material change marks the existence of a threshold (something which can be seen exactly in Walmer Yard). Internal patchworks are made by combining different clays and paper, something which is replicated in many of the bedrooms where white clay is used near ceiling heigh windows to reflect daylight deep to enliven dark corners or sections at Walmer Yard. The principle taken from the Japanese vernacular is its wearing of mixtures of materials, from the leaching of the clay or the revealing of the straw, Walmer Yard exemplifies this throughout where hand formed structures become more weathered. The collage demonstrates the change of colours and textures overtime if the exposed rammed walls in Japan. Scanned in pages from the external landscapes log show the Kamiichi rsting pavilion which uses the copper plating pattern illustrated in the collage opposite.

Figure 11 - Kamiichi Pavilion

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1:200 Plans Salter’s Way of Representing In our technological epoch hand drawn works tend to be continued as architecture becomes commoditized, capitalist concerns of tme and efficiency no longer allow for the practice of higher art. Demonstrating imperfection Non-CAD works often are seen as only partially correct, they are a dying art from which Salter looks to celebrate. His drawings reflect upon the methods of craftsmanship within the development, hand drawn, hand crafted thier imperfectness resembles the building’s and shaped materials from the interior and shared courtyard.

Although some incomplete, the drawings show a journey and control via iterations which take pleasure in the fact they are hand drawn.

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“ arling, Vermilion Sands is Vermilion Sands. Don’t expect to find the suburban norms. People here were individualists.”

Courtyard Collage & Scanned in Page The Psychotropic House of Vermillion Sands agrees with Walmer Yard in raising sensory design questions; in many ways Walmer’s Yard is a real manifestation of a Ballardian standpoint, an architecture which is shaped by the Wengagement of the users sensors with the architecture. It is must be said that a ‘senso-cell’ house is not achievable in our current world, the houses cannot therefore be the exact same, however, like the senso-houses they put how we experience a domestic setting from inside at the centre of their ambition. Similar to Ballard’s views, Salter sought out a sense of uniqueness to it that draws the re-attraction of humans once they have already been, developed overtime and not outcast like those grand mansion mentioned in The Thousand Dreams of Stellavista. Those water coloured facades illustrate kinetic timber panels which have the ability to enable the buildings external mood to change. Salter states in his 2013 Newcastle University APL visiting lecture that the development aims to attract “people who live separate lives almost”.

Themes to take away from case study Sensory Design Technology vs. Handicraft Vernacular Craftmanship Choreographed Journey Sensory Design Figure 14 - Thousand dreams of stellavista page scan In

Construction over a long time

Theory 13

Systems Creating architecture within London typically requires the designing from the inside outwards, due to the tight spatial restrictions often imposed. In doing so, the design language is partially formed in relation to the site boundaries - the systems of the preexisting build landscape has an effect on the proposed building. In Walmer yard this appears to be the case, as the refracted lines seen in the site plan appear to reflect the irregular-shaped site boundaries - even though the general design language works in opposition to the surrounding architecture.

System

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Systems of both change and permanence exist within Walmers yard. The top image represents the idea that although the bold, in-situ concrete walls suggest ideas of an unchanging and ‘set in stone’ building, many aspects of the dwellings suggest change.

Dynamic systems include the constant flow of residents due to the short-stay style of residency, adaptable shutters, and revolving car park. Although the permanence may suggest positive qualities of reliability, could there be more done to accommodate the ever-shifting nature of its inhabitants?

Looking at the complex initially, we may assume the tightness of the dwellings in addition to the presence of a shared courtyard and garage would suggest a sense of community to emerge between households. However, there are many reasons which suggest otherwise, such as the client stating to have as much of the space as possible in private ownership. Furthermore, as residents filter inand-out of the dwelling regularly due to the short-stay style of residency, meaningful connections between households will be difficult to form. This isolated social system stands in opposition to shared housing complexes, such as Copper Lane in London, which uses a shared ownership typology where residents foster connections through the shared ownership of the complex and spaces within it.

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Architecture or Art?

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It may be easier to view the project as more of an artwork than a functional piece of architecture which seeks to address wider contextual issues. There are many issues facing housing, especially within London, which Salter’s creation arguably fails to address. Salter drew upon many design principles gathered through years of learning and teaching - however many of these features seem to focus on the ‘finer’ aspects of architecture, perhaps neglecting more contextual issues. This is supported through the website’s language when used to describe the project, highlighting aspects such as light, shadow, colour and materiality.

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The idea of the building’s purpose relating to an experience is also supported by the fact all proceeds would go towards the Daylight foundation charity - a charity which aims to help the public’s understanding of what architecture can do and how it can be experienced. Although directing profits to a charitable cause is admirable, it can seem that it enforces the notion that for the wealthy, it’s easier to see architecture as an experience or artwork, when for the less wealthy it’s more commonly associated with a need especially in a place like London.

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limate: How does the case study relate to it’s environmental / climate crisis context?

Figure 22 - A Map locating construction materials/A photo from Walmer Yard Above is a map detailing the origin and the production methods of the materials used in Walmer Yard. Included are the routes taken and the C02 emissions as a result of this.

In-Situ Concrete The structure mainly consists of load bearing walls and floor elements of in-situ cast concrete. To offset some of the carbon footprint caused by the production of cement, the architects replaced 35% of the cement with the coal energy powerplant by-product GGBS. This concrete is cast against reused wood in certain places, to amplify the graining effect. In others, a manufactured form-work material is used, which is made artificially smooth. This is a one use material and cannot be recycled.

Figure 23 - Black steel staircase and concrete cast walls

Black Steel Additionally, black steel, imported from wales and coated in bee’s wax (not vegan) act as party walls. Industrial scale bee’s wax is not ethically sourced.

Timber The timber for the Louvres and the Yurt is locally sourced. The Yurt is a timber frame structure, infilled with natural wool insulation, which has relatively low embodied energy being carbon negative.

Yurt structural exploration in section The second drawing highlights the timber Yurt and features a detail section and a construction detail.

Climate

In terms of relating to a climate crisis context, the structure takes only one active stance. The materials used are not sustainable and any thoughts on sustainability are superseded by aesthetic decisions.

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Figure 25 - A collage of a London wide context plan, with a site map at 1:11043 as well as a perspective view of the building from Walmer Road. Highlighted are the green belt and brownfield site location as well as crucial services in the immediate area

Figure 27- An annotated 1:200 plan showing how the basement space could be redesign to accommodate extra dwellings and a bike store

Climate

Figure 26 - An axonometric section exploring the tessellation of various building shapes and sizes, and how they communicate and interact with each other

Wider Context Re-using brownfield sites is a key principle behind plans for dealing with the increasing population of London. This provides an overall benefit to the environment since the alternative would have been for housing to spread south into a suburban setting, then requiring building to take place on green belt sites.

The site makes considerate use of a tight site. Using various building typologies, one of which is lowered into the ground to allow views into nature, made it possible for the four houses to take maximum advantage of the space. This is an efficient use of space, which is sustainable in regards to rising populations.

Each house has access to private gardens, allowing for nature to return to the site. Furthermore, a courtyard is created, and although it is made artificially, with wooden elements, the outside space allows for the buildings program to expand outdoors.

A criticism resides in the emphasis and focus given to the large parking garage. Having this amenity encourages users to drive, and this has an impact on the environment due to high CO2 emissions. There is no bike rack which further discourages more sustainable modes of transport.

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Sunlight Getting sunlight into the spaces was extremely carefully considered:

Figure 28 - Bedroom with the sunlight and the timber louvres

Figure 29 A sketch of an office space with some sunlight

- The ramp to the garage and the stairs into the courtyard act as a oculus which funnels light into the set back space.

- Smooth finishes to allow light to reflect (in particular the ceilings, cast against the phenolic form-work) - Louvres to reflect or deflect light (flexibility reduces reliance on artificial energy) - Slits in party doors, to allow sunlight into the hallways - Pieces of glass that act to magnify the light rays into the staircase -Glass lamps in staircase and Yurt - A clear hierarchy of openings, relating size to their function - Reflective finishes (gold and brass) on door hands and other small details - Roof terraces House one is double aspect, so it can take advantage of the whole range of the sun path. Houses two and three are single aspect meaning it relies on the reflected light from the courtyards. House 4 is so enclosed by the surrounding buildings, it is entirely lit from above, with skylights.

Efficiently harnessing the sun light reduces energy demand and connects people to nature, aiding the battle against climate change.

“B eyond the entry gate you’re led up a gentle set of steps, funnelled leftFigure 30 - A sketch of the courtyard with the sunlight shining into it

wards, through the dappled canopy of almost-touching overhangs; then suddenly the full extent of the courtyard opens up on your right, and the sun hits you again.”

- Quote from a journal article in AJ by Will Hunter

Climate

Figure 31 Collage of drawings showing how sunlight bounces throughout the rooms

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Figure 32 - Drain system with options to make it more circular and to recycle the water

“These

Figure 34 Axonometric drawing of the bedroom and bathroom Heating, Water, Ventilation When it comes to heating the structure performs poorly. The U-value of the structure is too high, at .35. To get this to the acceptable standard of the time, .20, each flat needs a wood burning stove. This is not as efficient means of heating as it requires a lot of wood, and releases contained CO2.

The thick concrete does act as thermal mass, but it needs to supplemented additionally by in-wall heating. The large number of openings allow for temperature regulation by the user. The sunlight provides some warmth, although the spaces tend to side more with a gloomy atmosphere.

When it comes to water the structure has no efficient means of water recycling. The drain system is sculptural and functional, one a basic level, but not in a considered, sustainable manner. The ventilation system in the building is manual. The openings allow air to be let in and let it flow back out. The use of Tufa block near the openings and in the bathrooms allows for the air to be filtered manually. In the bathroom perforated ventilation strips, as well as extraction systems allow for moisture to be drawn out from the bathroom.

In terms of the climate crisis this shows that the structure is not using its energy efficiently. Water, which is becoming a rarer commodity, is being waste, as is energy and wood in using the stove the heat the flats. This could have been avoided by using more efficient insulation methods, by using a concrete finish on top of an insulated timber frame structure. This would reduce the buildings footprint all around. The ventilation does however perform well and requires no energy.

Climate

over-sized gutters are designed so that you can hear the rain swoosh down the front of the buildings,” says Salter. “I like the idea of the buildings “having weather” - Quotes by Salter

Figure 33 - Heating with the furnace

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ype: How does Walmer Yard relate to other buildings of its type?

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he project attempts to reinstate the sense of an interior found in the working mews and pubs that I recall from my childhood in the area, and tries to carry the intensity, the variation, something of the smaller scale of the locale,’ explains Salter. Each house has a particular geometry in its form and orientation, in a “push-mepull-you” arrangement that maximises the use of floor area across the development.“ - Peter Salter, Article by Architects Journal, January 2017

Type

Figure 35 - Axonometric of Walmer Yard portraying Salter’s ideas on designing at a domestic scale

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hey are not like suburban housing,’ says Peter Salter, describing this scheme for a quartet of houses in London’s Notting Hill. ‘They are quite cellular, like pueblo dwellings.’ This really is speculative housing at its most conjectural; it defies ordinary categorisation and cannot be judged in conventional terms. It doesn’t relate to contemporary and urgent discussions around housing. It offers dense urban living, not to those whose budgets prescribe it, but for wealthier buyers. In that sense it is a stunning rebuke to the anaemic offerings for the rich elsewhere on the market. It should perhaps be sold not as expensive houses, but as an undervalued artistic masterpiece. ”

Figure 36- Domestic Living through geometry and form following human scale

- Article by Wallpaper* Walmer Yard is not an ordinary set of dwellings.

The housing scheme explores various ways of domestic living. Salter had many influences in designing Walmer Yard including Japanese architecture. The yurt shaped buildings are uncommon to most form of dwellings. The attention to detail is another important aspect where they designed furniture specially for the housing. The dwellings allow people to experience a type of living that is unconventional and allows them to explore their senses. Geometry and form are used with meaning in Salter’s houses from curves to rigid forms. Each space has its own narrative which flows from one space to another.

Figure 37 - Geometry and form Inspiration from the Japanese Montain Pavillion

Figure 38 - Attention to detail for user experience between one of the living rooms and the communal courtyard

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Attention To Detail Through Materiality Materiality played a key role in forming spaces that were unique. Salter’s material pallete consists of rather odd types of materials put together in a harmonious way. Steel , clay, concrete and timber were among the most prominent materials used to create these spaces. The lacquered finish of the wardrobe doors and the wax finishes are some of the techniques to go out different textures for the occupent to feel the mystery of the dwellings.

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here is sprayed lacquered resin and in some instances you can’t tell the lacquer colour – which is an indigo colour – from the steel. Steel is black, the lacquer is blue and the two things start to merge and you can’t tell the form. These are curved forms just like the bathrooms are curved.”

- Peter Salter, Walmer Yard Journal

Figure 40 - One of the bedrooms of the four houses: Inspired by the Japanese Minka houses, Salter brings in the combined materials that evokes the sense of awareness as you step into a space and knowing that you arrived into a different space.

Figure 39 - Interior of an entrance to a bedroom that portray the combination of materials used by Salter Figure 41 - The clay and straw walls of one of the Yurt Spaces with its sculptural lights

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The straw on the dark clay walls glistens when the light reflects on the straw dust giving a warm tone to the space.

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Light and Shadow Lighting was a key concept apparent through Salter’s four houses. How the light gets into these rooms is quite important. Most of the light is from the top ranges of windows, which spreads light on the ceiling and the ceiling then reflects the light into the interior of the room.

Figure 42 - Photograph of one of the staircases: Some spaces like the bedroom and the staircase have a sense of gloominess to them where Salter took inspiration from a bedroom in Venice. He wanted to take the same way of how the light bent around the wall, to be present in all the houses. The controlling of light in the rooms gives the room a sense of intimacy and privacy where every corner is a mystery.

Figure 43 - Living room area in house 3, the lightest house of all. Another example of how Salter uses geometry to bring in natural light in various forms.

Some spaces have more light in them while others are more darker. It is evident that each house has different spaces.

Figure 45 - The light across the clay walls of a bedroom: Figure 44 - Light and Shadows from horizontal windows of themaster bedroom in house 2

White Clay is used above Brown clay to bring in more light from the long horizontal windows into dark corners of a room

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“Maybe architecture isn’t actually about the walls, and the floors, and the roofs; but it is more about everything that moves through those things. The time, and the light, and the people...”

- Neil Mclaughlin

... the User.

User

Figure 46 - Own Drawing, sketch of photograph by Jim Stephenson

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Peter Salter’s design of Walmer Yard is centralised around the senses of the user. The design of the building, as architectural photographer Jim Stephenson described, has a choreographic nature to it; The user narrates the spaces as they venture through the structure, unlike a typical mass housing project. This was communicated even at the earliest stages of the project, as seen in Figure 48, Salter’s initual drawings communicate a juxtaposition of lines and curves interacting with each other to create an almost poetic composition. A unique choreography of lines creating an experience for the user, unlike no other.

Figure 47 - Trace of Peter Salter’s Axonometric drawing. Colour added to show the range of different materials alongside the range of architectural lines and geometrics.

The building itself should be described as overwhelming, in every sense. The layers of colour, material, light and structural depth is ever changing as the user ascends through the rooms.

Salter used a combination of new, old and non-standard materials, selected for fitness for purpose rather than ease of construction, convenience or cost.

This resulted in a wide range of materials being welded together, all with a specific purpose, which created a space of not only functional convenience but of aesthetic rawness.

User

Figure 48- (Collective) Photography by Jim Stephenson and Hélène Binet. Chosen to show depth of different materials used throughout the building, both interior and exterior.

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Figure 50 - Still from video created and shot by Jim Stephenson.

I chose this image to sketch out as I thought it was a key visual in showing the success of the design intensions in a visual form. It shows one of the house’s kitchen space and has been created to allow as much natural light as possible to flood in. This is a great example of user centric design as the kitchen is a fundamental part of a dwelling and so to make it an appealing space to work in, with as much warm light as possible, is incredibly beneficial to the user.

Figure 49 - Own drawing showing a user in one of the dwelling’s kitchen space, preparing a meal. Image based on photograph by Jim Stephenson (figure 50).

Salter’s perspective drawings often include the user within the space he is illustrating. As seen in figure 51, he also uses colour to portray the tones of light flooding into the space. By using figures in his drawings, it brings an aspect of scale and function into the spaces, in which without the user, would look empty. It subsequently shows how even in the initial stages of designing the space, Salter was visioning how the space would be occupied by not only physically beings, but also the natural light and the atmosphere this would create.

User

Figure 51 - Peter Salter drawing, illustating the user within one of the master bedrooms

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Figure 52 - Trace of Peter Salter drawing, showing the same kitchen space.

Figure 53 - Own drawing of figure 49 in the style of Peter Salter.

Figure 55 - Drawing focused on one of the main staircases in Walmer Yard. The colour and tone contrasts dramatically to the warm light found elsewhere in the building.

Figure 54 - (Collective) Photography by Jim Stephenson

The building creates an atmosphere in each of its spaces in which the user can sit and stare and be taken elsewhere, they can have a truly unique experience in every space. This is due to the building being in continuous movement, the light changes the space constantly. Every hour, every day, ever season; telling a new story.

The tone of light created is also key in analysing the user’s experience as each room radiates a different temperature, whether it be a completely different colour or the slightest change in shade, it plays a significant role in ensuring the user’s experience is part of an ever-changing movement. As seen Figure 56, the cool tones of light enabled by the cold materials gives this staircase, an aspect in which is typically a simple and purely functional space, a unique persona in which entices the user to enter.

The placement of the furniture can also be interpretated as a user of the space, especially when it is assembled in a specific manner for the architectural representation.

When architectural photographer, Jim Stephenson, was capturing Walmer Yard it was (and still is) unoccupied, and so to manipulate the shots he composed objects in such a way that hinted to user occupied spaces yet with the absence of any physical human beings.

User

Figure 56 - Own drawing of a chair within Walmer Yard.

Figure 57- (Collective) Photographs by Jim Stephenson. Showing how the user can be shown through objects in architectural representation.

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As seen in figure 58, the light occupies the spaces within Walmer Yard as if it was the user. Due to the cleverly designed window placements, the light is able to dance around the space and by doing this creates unique experiences for the physical user constantly. The positioning of the windows also creates gloomy areas of the space, a key feature Peter Salter wanted within the project.

Figure 58 - Stills from a video shot by Jim Stephenson, showing the light flood into the room

Every detail of Walmer Yard has a purpose, Salter managed to develop a threshold, a stair, a window or a ceiling from a practical necessity into a particular moment in existence, with its own possibilities for making connections between the human and the physical. For example the windows inside this bedroom are particularly placed at different heights to allow light into the dwelling at specific times of day.

User

Sitting in bed.

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Figure 59- Trace of a Peter Salter drawing, showing the bedroom space and highlighting the 3 different window heights

Laying in bed.

Standing height.

System

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BIBLIOGRAPHY & ILLUSTRATIONS Introduction: Illustrations Cover - Image from, https://www.theguardian.com/artanddesign/2016/nov/20/ walmer-yard-london-peter-salter-review Figure 1 - Image from, https://walmeryard.co.uk/team/ Figure 2 - Own drawing Figure 3 - Image from, https://www.architectsjournal.co.uk/buildings/walmer-yard-by-peter-salter-four-independent-yet-intimately-related-houses Figure 4 - Own drawing Figure 5 - Own drawing Figure 6 - Edited from Digimap Figure 7 - Images from, https://walmeryard.co.uk/photography/ and https:// architizer.com/projects/walmer-yard/ Theory: IllustrationsFgiure 8 - Own traced and edited drawing from, https://www.architecture.com/ awards-and-competitions-landing-page/awards/riba-regional-awards/riba-london-award-winners/2017/walmer-yard Figure 9 - Own drawing Figure 10 - Own drawing Figure 11 - Images from, https://entirelandscapes.space/Kamiichi-Mountain-Pavilion Figure 12 - Own traced and edited drawing from, https://www.architecture.com/ awards-and-competitions-landing-page/awards/riba-regional-awards/riba-london-award-winners/2017/walmer-yard Figure 13 - Own drawing Figure 14 - Image from, https://www.pinterest.co.uk/ pin/661395895250914498/ Systems: IllustrationsFigure 15 - Own traced drawing from, https://orca.cf.ac.uk/49330/1/Salter%20 four%20houses%20in%20London%20REF.pdf Figure 16 - Image from, http://comparelli.com/walmer-yard/ Figure 17 - Own drawing Figure 18 - Own drawing Figure 19 - Own drawing Figure 20 - Image from, https://www.economicshelp.org/wp-content/uploads/2016/02/ftb-house-price-to-earnings.png Figure 21 - Own traced and edited drawing from, https://ro.pinterest.com/ pin/545991154805512052/

System

Climate: Extra Bibliography-“Exploring Peter Salter’s Walmer Yard.” Haworth Tompkins, Lovers, 17 Sept. 2019, www.haworthtompkins.com/process/walmer-yard.

-Salter, Peter. Peter Salter: Drawing Walmer Yard. Piano Nobile, 2016.

-Baylight Foundation. “Home.” Walmer Yard, Daylight Foundation, walmeryard.co.uk/.

-Beardsell, Peter, et al. Peter Salter – Walmer Yard. Circa, 2019.

-ORCA. “Four Houses in London, a ‘Back-Lot’ Development, an Example of Packed Urban Dwellings in Which Privacy, Quietness and Defensible Space Are of Strategic Importance.” ORCA. -Hunter, Will. “Walmer Yard by Peter Salter: ‘Four Independent Yet Intimately Related Houses.’” Architects’ Journal, 12 Jan. 2017, doi:https:// www.architectsjournal.co.uk/buildings/walmer-yard-by-peter-salter-four-independent-yet-intimately-related-houses.

-Dean, Corinna. “Property of the Week: Peter Salter’s Interlocking Walmer Yard Homes.” The Spaces, VF Publishing, 22 Nov. 2016, thespaces.com/ peter-salters-interlocking-walmer-yard-homes/.

-AASchoolArchitecture. “Peter Salter - The Walmer Road.” YouTube, YouTube, 28 Sept. 2015, www.youtube.com/watch?v=B3d6nhnBVk0.

IllustrationsFigure 22 - Own drawing Figure 23 - Image taken from, https://www.pinterest.ie/ pin/317151998756497648/ Figure 24 - Own traced and edited drawing from the book, “Peter Salter: Drawing Walmer Yard” - Piano Books Figure 25 - Own collage including a digimap map, an original drawing and original anotations as well as my own traced drawing from, “Peter Salter: Drawing Walmer Yard” Figure 26 - Own traced and edited drawing from, “Peter Salter: Drawing Walmer Yard”

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Figure 27 - Traced drawing by Edward Salisbury with own drawing overlayed and own anotation Figure 28 - Image taken from, https://walmeryard.co.uk Figure 29 - Own drawing Figure 30 - Own traced, edited and collaged drawing from the book, “Peter Salter: Walmer Yard” - Circa Press Figure 31 - Own traced and edited drawing from the book, “Peter Salter: Drawing Walmer Yard” - Piano Books Figure 32 - Own traced and edited drawing from the book, “Peter Salter: Drawing Walmer Yard” - Piano Books Figure 33 - Anotated image from, https://domstayandlive.com/properties/ walmer-yard/walmer-yard-by-peter-salter-copyright-jim-stephenson-2019-10/ Figure 34 - Own traced and edited drawing from the book, “Peter Salter: Drawing Walmer Yard” - Piano Books Type: Extra Bibliography-https://www.architectsjournal.co.uk/buildings/walmer-yard-by-peter-salter-four-independent-yet-intimately-related-houses -https://www.wallpaper.com/architecture/peter-salters-walmer-yard-is-awork-of-poetry -https://www.theguardian.com/artanddesign/2016/nov/20/walmer-yard-london-peter-salter-review IllustrationsFigure 35 - Own traced and edited drawing from, https://walmeryard.co.uk/ drawings/ Figure 36 - Own traced and edited drawing from, https://www.pinterest.co.uk/ pin/550776229422506626/ Figure 37 - Own traced and edited drawing from, https://walmeryard.co.uk/ drawings/ Figure 38 - Image taken and edited after from, https://walmeryard.co.uk/journal/ Figure 39 - Own traced and edited drawing from, https://walmeryard.co.uk/ journal/ Figure 40 - Image taken and edited after from, https://walmeryard.co.uk/stay/ Figure 41 - Own drawing, Image taken and edited after from, https://walmeryard.co.uk/photography/ Figure 42 - Image from, https://www.themodernhouse.com/journal/walmeryard-notting-hill-field-work-crispin-kelly/ Figure 43 - Image taken and edited after from, https://walmeryard.co.uk/stay/ Figure 44 - Own drawing Figure 45 - Image taken and edited after from, https://www.themodernhouse. com/journal/walmer-yard-notting-hill-field-work-crispin-kelly/ User: Extra Bibliography-https://walmeryard.co.uk/journal/zoomedin-festival/ -https://youtu.be/HXN-B2mvfik IllustrationsFigure 46 - Own drawing based on, https://clickclickjim.com/project/248/walmer-yard-london-peter-salter-and-fennela-collingridgex Figure 47 - Own traced and edited drawing from, Figure 48 - Images from, https://clickclickjim.com/project/248/walmer-yardlondon-peter-salter-and-fennela-collingridgex and Helen Binet Figure 49 - Own drawing based on, https://clickclickjim.com/project/248/walmer-yard-london-peter-salter-and-fennela-collingridgex Figure 50 - Image from, https://clickclickjim.com/project/248/walmer-yard-london-peter-salter-and-fennela-collingridgex Figure 51 - Image from, https://www.archdaily.com/800485/walmer-yard-peter-salter/583df2d2e58ecefe3700011c-walmer-yard-peter-salter-sketch?next_ project=yes Figure 52 - Own traced drawing from, https://www.archdaily.com/800485/ walmer-yard-peter-salter/583df2bde58ecefe3700011b-walmer-yard-peter-saltersketch figure 53 - Own drawing Figure 54 - Images from, https://clickclickjim.com/project/248/walmer-yardlondon-peter-salter-and-fennela-collingridgex Figure 55 - Own artwork Figure 56 - Own drawing Figure 57 - Images from, https://clickclickjim.com/project/248/walmer-yardlondon-peter-salter-and-fennela-collingridgex Figure 58 - Image from, https://clickclickjim.com/project/248/walmer-yard-london-peter-salter-and-fennela-collingridgex Figure 59 - Own traced drawing from, https://www.archdaily.com/800485/walmer-yard-peter-salter/583df2c7e58ecee67900005b-walmer-yard-peter-salter-detail?next_project=yes

System

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