Academic Portfolio - MArch ESALA by Cormac Lunn

ACADEMIC Po r t f oli o Masters of Architecture // PART 2

CORMAC LUN N

ES A LA | M (A rc h ) | 2 0 2 2 - 2 0 2 4

1

ACADEMIC Po r t f oli o Masters of Architecture // PART 2

CORMAC LUN N

ES A LA | M (A rc h ) | 2 0 2 2 - 2 0 2 4

Refl e ctive State me nt

Le a r n i n g Ou tcome s

This Academic Portfolio offers a comprehensive record of academic work completed

This course, taken in the final semester of the programme, requires students to curate

throughout the duration of the 2022-2024 Masters of Architecture program at the

the outcomes of academic work undertaken during the programme and present it in

Edinburgh School of Architecture and Landscape Architecture [ESALA]. The

the form of an integrated academic portfolio that demonstrates compliance with the

collection encompasses a diverse range of thematic explorations, featuring a two-

ARB Part 2 criteria. Various forms of presentation (drawings, installations, printed

year design thesis undertaken within the ‘Grounding Naples’ integrated pathway,

books /reports, models, photographs, films, digital material, etc.) and any other

theoretical essays and journals in ‘Unpacking Log,’ , and a selection of technical

evidence of work, which has been assessed as part of the programme leading to an

projects and drawings completed during the ATR and AMPL courses. Serving as a

award of Part 2, will be represented in the portfolio.

meticulously curated representation of academic achievements, this portfolio reflects both personal fulfillment and adherence to the professional standards required for

LO1

the RIBA Part 2 qualification.

The ability to produce a coherent, well designed and integrated architectural design portfolio that documents and communicates architectural knowledge, skills and abilities through coherent projects; and that synthesizes and presents work produced in diverse media (sketch books, written work, drawings and models, etc).

LO2 An understanding of the relation of the ARB Part 2 criteria and Graduate Attributes to the student’s own work, as demonstrated through a referencing system, covering the totality of the criteria, in the portfolio.

LO3 The acquisition and development of transferable skills to present work for scrutiny by peers, potential employers, and other public groups through structuring and communicating ideas effectively using diverse media.

2

GC GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

G EN ERA L C R I T E R I A GC1 Ability to create architectural designs that satisfy both aesthetic and technical requirements.

The graduate will have the ability to: GC 1.1 prepare and present building design projects of diverse scale, complexity, and type in a variety of contexts, using a range of media, and in response to a brief; GC 1.2 understand the constructional and structural systems, the environmental strategies and the regulatory requirements that apply to the design and construction of a comprehensive design project; GC 1.3 develop a conceptual and critical approach to architectural design that integrates and satisfies the aesthetic aspects of a building and the technical requirements of its construction and the needs of the user.

GC4

GC7

GC10

Adequate knowledge of urban design, planning and the skills

Understanding of the methods of investigation and preparation of

The necessary design skills to meet building users’ requirements

involved in the planning process.

the brief for a design project.

within the constraints imposed by cost factors and building

The graduate will have knowledge of:

The graduate will have an understanding of:

GC 4.1 theories of urban design and the planning of

GC 7.1 the need to critically review precedents relevant

The graduate will have the skills to:

communities;

to the function, organisation and technological strategy of

GC 10.1 critically examine the financial factors implied

GC 4.2 the influence of the design and development

design proposals;

in

of cities, past and present on the contemporary built

GC 7.2 the need to appraise and prepare building briefs

and specification choices, and the impact of these on

environment;

of diverse scales and types, to define client and user

architectural design;

GC 4.3 current planning policy and development control

requirements and their appropriateness to site and context;

GC 10.2 understand the cost control mechanisms which

legislation, including social, environmental and economic

GC 7.3 the contributions of architects and co-professionals

operate during the development of a project;

aspects, and the relevance of these to design development.

to the formulation of the brief, and the methods of

GC 10.3 prepare designs that will meet building users’

investigation used in its preparation.

requirements and comply with UK legislation, appropriate

GC5 and between buildings and their environment, and the need to

Adequate knowledge of the histories and theories of architecture

relate buildings and the spaces between them to human needs and

and the related arts, technologies and human sciences.

scale.

The graduate will have knowledge of:

The graduate will have an understanding of:

GC 2.1 the cultural, social and intellectual histories,

GC 5.1 the needs and aspirations of building users;

theories and technologies that influence the design of

GC 5.2 the impact of buildings on the environment, and

buildings;

the precepts of sustainable design;

GC 2.2 the influence of history and theory on the spatial,

GC 5.3 the way in which buildings fit into their local

social, and technological aspects of architecture;

context.

GC8 Understanding of the structural design, constructional and engineering problems associated with building design.

The graduate will have an understanding of: GC 8.1 the investigation, critical appraisal and selection of alternative structural, constructional and material systems relevant to architectural design; GC 8.2 strategies for building construction, and ability to integrate knowledge of structural principles and construction techniques;

GC 2.3 the application of appropriate theoretical concepts

GC 8.3 the physical properties and characteristics of

to studio design projects, demonstrating a reflective and

GC6

critical approach.

Understanding of the profession of architecture and the role of

building materials, components and systems, and the environmental impact of specification choices.

the architect in society, in particular in preparing briefs that take

3

varying

building

types, constructional

systems,

performance standards and health and safety requirements.

Understanding of the relationship between people and buildings,

GC2

GC3

regulations.

account of social factors.

GC11 Adequate knowledge of the industries, organisations, regulations and procedures involved in translating design concepts into buildings and integrating plans into overall planning.

The graduate will have knowledge of: GC 11.1 the fundamental legal, professional and statutory responsibilities of the architect, and the organisations, regulations and procedures involved in the negotiation and approval of architectural designs, including land law, development control, building regulations and health and safety legislation; 123 2 GC 11.2 the professional inter-relationships of individuals and organisations involved in procuring and delivering

GC9

architectural projects, and how these are defined through

Knowledge of the fine arts as an influence on the quality of

The graduate will have an understanding of:

Adequate knowledge of physical problems and technologies and

contractual and organisational structures; 2 2

architectural design.

GC 6.1 the nature of professionalism and the duties and

the function of buildings so as to provide them with internal

GC 11.3 the basic management theories and business

The graduate will have knowledge of:

responsibilities of architects to clients, building users,

conditions of comfort and protection against the climate.

principles related to running both an architect’s practice

GC 3.1 how the theories, practices and technologies of the

constructors, co-professionals and the wider society;

The graduate will have knowledge of:

and architectural projects, recognising current and

arts influence architectural design; 2 12 2

GC 6.2 the role of the architect within the design team

GC 9.1 principles associated with designing optimum

emerging trends in the construction industry.

GC 3.2 the creative application of the fine arts and their

and construction industry, recognising the importance of

visual, thermal and acoustic environments;

relevance and impact on architecture; 2 2

current methods and trends in the construction of the built

GC 9.2 systems for environmental comfort realised within

GC 3.3 the creative application of such work to studio

environment;

relevant precepts of sustainable design;

design projects, in terms of their conceptualisation and

GC 6.3 the potential impact of building projects on

GC 9.3 strategies for building services, and ability to

representation.

existing and proposed communities.

integrate these in a design project.

GA GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

to

individual

G RA D UAT E AT T R I B UT E S GA2 With regard to meeting the eleven Graduate Criteria at Parts 1 and 2 above, the Part 2 will be awarded to students who have:

GA 2.1

GA2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

Ability to generate complex design

Ability to evaluate and apply a

Ability

materials,

Critical understanding of how

Understanding of the context of

Problem solving skills, professional

Ability

proposals showing understanding

comprehensive range of visual, oral

processes and techniques that apply

knowledge is advanced through

the architect and the construction

judgment, and ability to take the

learning needs and understand the

of current architectural issues,

and written media to test, analyse,

to complex architectural designs

research to produce clear, logically

industry, including the architect’s

initiative and make appropriate

personal

originality in the application of

critically appraise and explain

and building construction, and to

argued and original written work

role in the processes of procurement

decisions

to prepare for qualification as an

subject knowledge and, where

design proposals;

integrate these into practicable

relating to architectural culture,

and building production, and under

unpredictable circumstances; and

design proposals;

theory and design;

legislation;

appropriate, to test new hypotheses and speculations;

4

to

evaluate

in

complex

and

architect.

identify

responsibility

required

[Ye a r] Course Title

MODULE / PROJECT

Tutor Name Tutor Name

Title which summarises the succeeding course and body of work.

Cours e Synops is

Le a r n i n g Ou tcome s

A summary of the course brief outlining the

A summary of the course brief outlining the

expectations and scope of the relevant body work.

expectations and scope of the relevant body work.

This studio explores the ideas of . .

LO1 - The ability to develop . . .

LO2 - A knowledge of . . .

LO3 - A critical understanding of . . .

[Contributors] Student Name Student Name

5

MOD

Ye a r MO D UL E P ro je ct

Cou rse T i tl e

ATR

[MArch 1]

AD_C

GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

B R I E F // TASK / T I T L E

AD_D SCAT

P R OJECT T I T LE Sub Criteria

AD_A

[MArch 2]

AMPL

Task

General Criteria

Graduate Attributes

Visual markers of the ARB General Criteria

Visual markers of the ARB Graduate Attributes

AD_H REP

shadows development from Ground Naples

11.1

11.2

11.3

renders development from Ground Naples during design studio H.

during design studio H.

Module Brief Breakdown A selection of key images curated to visually describe the thematic notions explored within the course.

Course Index Mapping includes a page number of the readers progression through the mapped course, and academic term the course was completed and the indexed course

Response

Reflective Paragraph A selection of key images curated to visually describe the thematic notions explored within the course.

Collaboration Acknowledgment I have been lucky enough to collaborate across a multitude of course over the two year MArch course with my creative and talented peers. Initials of collaborators are highlighted when the work has 6

been the result of a shared effort.

[LM] [IW] [IS] [WX] [ZY] [OM] [LF] [DB] [FGG] [XL]

7 MArch 1 MArch 2

[120 credits] [120 credits]

Semester 1 Semester 2 Semester 1 Semester 2

[60 credits] [60 credits] [60 credits] [60 credits]

DESIGN REPORT

[2 024] ARCH1 10 69

[10 cre dit s ]

ARCHITECTURAL DESIGN: STUDIO H

[2 024] ARCH1 1 174

[40 cre dit s ]

ARCHITECTURAL DESIGN: STUDIO A

[2 023] ARCH1 10 93

[40 cre dit s ]

ARCHITECRUAL MANAGEMENT, PRACTICE + LAW

[2 023] ARJA1 1002

[2 0 cre dits ]

STUDIES IN CONTEMPORARY ARCHITECTURAL THEORY

[2 023] ARCH1 10 70

[2 0 cre dits ]

ARCHITECTURAL DESIGN: STUDIO D

[2 023] ARCH1 10 92

[40 cre dit s ]

ARCHITECTURAL DESIGN: STUDIO C

[2 022 ] ARCH1 10 91

[40 cre dit s ]

ARCHITECTURE TECHNOLOGY RESEARCH

[2 022 ] ARCH1 10 75

[2 0 cre dits ]

MOD

M ODU LES // M as te r of Arc h i te cture

ATR

[2022] T E CH NO LO GY RE S E ARCH

000

AD_C

[MArch 1]

ATR

GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

AD_D SCAT

[2022]

AD_A

[MArch 2]

AMPL

ARCH ITECTURE TECH NOLOGY RESEARCH

AD_H REP

AR C H1 1075

[Co urs e Aim s ]

[Cours e Synops is ]

[ Le a r n i n g Ou tcome s]

[Course Organiser]

The aims of this course are:

Architectural Technology and Research recognises

LO1

Kate Carter

1. To develop approaches for research in technology

the growing need for a deeper relationship between

An ability to appraise the technological and

and environment, and reflect on its role in the design

practice and academia, particularly regarding research

environmental conditions specific to issues in

process.

and its application in practice.

contemporary architecture, eg. sustainable design.

GC 5.2, 7.1, 8.1, 9.1, 9.2 // GA 2.3

2. To help create an ongoing interest in the acquisition and synthesis of knowledge regarding the

Methods of building are continually changing

LO2

design, construction and performance of built form.

and evolving across the world. New materials;

An ability to organise, assimilate and present

3. To investigate the link between architecture and

new processes; and new design tools create an

technological and environmental information in the

the Climate Emergency.

environment where traditional paradigms may have

broad context of architectural design to peer groups.

less validity.

GC 9.1, 9.2 // GA 2.2, 2.3 LO3

[Contributions]

The course focuses on the research process and

An ability to analyse and synthesise technological

the discovery of new knowledge in the context of

and

architecture, technology and environment. Students

particular context (eg. users, environment).

will work in small groups to develop two research

GC 5.1, 5.3, 7.1, 8.1, 8.2, 8.3, 9.1, 9.2 // GA 2.3

Isaac Sherriff [IS]

projects leading to two outputs. Task 1 will be a

Isabelle Warren [IW}

response to existing built environment and the

information

pertinent

to

LO4 An understanding of the potential impact of

Wenjing Xiao [WX]

climate emergency, Task 2 will be a response to a

Zhaoyi Yan [ZY]

specific context that can be linked to the design

architectural design on a broader context.

studio. The process will be supported by tutorials

GC 5.1, 5.2,5.3, 8.3 // GA 2.3

throughout the semester.

8

environmental

technological

and

environmental

decisions

of

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

ATR

[2022] T E CH NO LO GY RE S E ARCH P O RT E D GAR

001

AD_C

[MArch 1]

ATR

GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

ST UDY 1 //

AD_D SCAT

M EAS U R I NG I M PACT OF DESI G N

ACTIVE N EIGH BOURHOOD

AD_A

[MArch 2]

AMPL

Task

AD_H REP

80% of buildings that will exist in 2050 have already been built. The study will respond to the issues created by existing built environment in the ‘Climate Emergency’. It will be framed around an existing site with a number of listed buildings.

The study requires research into the impact of our design decisions and the development of a design response to an existing building. The focus will be on the embodied and operational carbon across the life of a building.

Response Ac t ive N e i g h b orh o o d s is a social regeneration project seeking to build five core community pillars within the LAR Housing Development at Port Edgar. These pillars being: local community space, a circular local economy, an active transport network, clean energy and biodiversity. Given the buildings isoulated coastal site, the pillars of this retrofit project were built upon the principles of a 15 minute neighborhood, creating a programme which enables the residents of the new Port Edgar Housing Development to reach the vast majority of their day to day needs within a short walk from their home.

9

[LM] [IW] [IS] [WX] [ZY] [OM] [LF] [DB] [FGG] [XL]

ATR

[2022] T ECH NO LO GY RE S E ARCH P O RT E D GAR

002

AD_C

[MArch 1]

ATR

GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

ST UDY 1 //

AD_D SCAT

M E AS U R I NG I M PACT OF DESI G N

AD_A

[MArch 2]

AMPL

Five Pillars

AD_H REP

The pillars we identified for achieving a 15 minute

1. Net Zero Gym

neighbourhood were: local community space, a

2. Community Garden

circular local economy, an active transport network,

3. Village Hall

clean energy and biodiversity. Our programme is

4. Bike Rental Space.

designed to engage with all local demographics

5. Local Shop

throughout all times of the day; establishing the former “Officers Mess” as a multipurpose community hub.

We aim to build these five active pillars of community through the construction of a Village Hall, Community Garden, Net Zero Gym, Local

1.

2.

3.

Users We identified from census data that working age people make up the majority of the local population, with 16-64 year olds accounting for 55% of the local area. With employment being predominantly sourced in the city, a sizable commute can make life

4.

5.

all the more hectic - having all the essentials on your doorstep as well as an active social life and accessible fitness can make all the difference (Scotland’s Census, 2011).

10

[LM] [IW] [IS] [WX] [ZY] [OM] [LF] [DB] [FGG] [XL]

ATR

[2022] T E CH NO LO GY RE S E ARCH P O RT E D GAR

003

AD_C

[MArch 1]

ATR

GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

STUDY 1 //

AD_D SCAT

M E AS U R I NG I M PACT OF DESI G N

AD_A

[MArch 2]

AMPL

Fabric First

AD_H REP

Our approach to retrofitting prioritised environmental sustainability and energy efficiency while minimizing

Passive solar gain plays a crucial role in our design,

waste. By retaining existing structures and recycling materials through careful demolition, we aimed to

significantly enhancing heat gains and reducing the need for artificial lighting. The incorporation of

Key Graphs

improve operational energy with the lowest embodied

rooflights in the village hall and a mezzanine level

carbon during construction. In implementing these

in the gym has notably increased the influx of direct

HVAC

principles, we opted for a cold roof design with sheep's wool insulation, chosen for its sustainable

sunlight into the building, marking a substantial Heating Total

Cooling Total

kWh/m2/yr

kWh/m2/yr

Gains

54,344

7,543

10,980

8,412

Losses

74,077

13,460

12,108

10,661

sourcing, excellent insulation properties, and low embodied carbon. For the walls, we decided on

improvement in natural light utilization.

internal insulation to maintain ventilation and moisture regulation, balancing thermal performance with the preservation of the building's character.

Additionally, insulating above the slab and below the screed allowed for underfloor heating, offering

Energy Use Intensity

a more efficient heating solution and potential

kWh/m2/yr

24,811 kWh/yr 6,532 kWh/yr

energy savings. This holistic approach reflected our commitment to creating a more sustainable and

50% below UK SAP bencmark:

52

52

energy-efficient building environment.

Actual:

80

23

Findings The improvments to the layout and material build

Energy Segments

Roof Conduction

kWh/yr

17,208 kWh/yr

up of the officers mess dramatically improved the energy use of the building. The building now falls

Heating:

34708

6983

well under the UK SAP Benchmark with an energy

Cooling:

590

335

use intensity score of 23.

Lighting:

21284

18

Equipment 10642

25

The building still remains heating dominated

Fans:

7161

698

however the amount of energy needed to heat the

Pumps:

2692

294

building has dropped from 34708 kWh/yr to 6983 kWh/yr. This is thanks to a reduction in heat loss in 11

the building through the walls, roof and floor.

Wall Conduction

3,492 kWh/yr

Floor Conduction 13,700 kWh/yr 1,477 kWh/yr

[above] Lux levels on March 21 at 9am measured at 1m above the floor plate.

[LM] [IW] [IS] [WX] [ZY] [OM] [LF] [DB] [FGG] [XL]

ATR

[2022] T E CH NO LO GY RE S E ARCH P O RT E D GAR

004

AD_C

[MArch 1]

ATR

GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

STUDY 1 //

AD_D SCAT

M E AS U R I NG I M PACT OF DESI G N

AD_A

[MArch 2]

AMPL

Passive Measures

AD_H REP

The retrofit integrated several sustainability measures aimed at improving the building’s performance and environmental impact. By capping and filling

Key Drawings

Roof Detail

Ground Slab Detail

chimneys, moisture-related issues are mitigated, and energy efficiency is enhanced by preventing downdrafts and reducing heating needs. Introducing sun pipes in lieu of skylights not only maximizes natural light but also reduces energy consumption.

Retrofitting the lobby with insulation serves to bolster thermal comfort and energy efficiency, while rainwater harvesting initiatives promote sustainable water management practices. Additionally, upgrading

U-Value = 0.13 W/m2k

U-Value = 0.18 W/m2k

windows to triple glazing not only decreases heat loss and noise transmission but also contributes to overall comfort and efficiency. Collectively, these measures demonstrate a comprehensive approach to creating a more sustainable and eco-friendly building environment.

Insulated Wall

First Floor

Build Up

Detail

U-Value = 0.18 W/m2k

U-Value = 0.15 W/m2k

Findings Measures such as cold roof insulation, internal wall insulation, and underfloor heating greatly improve the building’s energy efficiency, resulting in reduced energy consumption for heating and cooling. This approach focuses on building details and material with low embodied carbon, such as sheep’s wool insulation, while minimizing waste through careful demolition. Overall, the findings highlight how a comprehensive retrofitting approach can achieve significant improvements in both environmental 12

sustainability and energy efficiency.

[LM] [IW] [IS] [WX] [ZY] [OM] [LF] [DB] [FGG] [XL]

ATR

[2022] T E CH NO LO GY RE S E ARCH N AP L E S

005

AD_C

[MArch 1]

ATR

GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

STUDY 2 //

AD_D SCAT

RESEA RC H FOR DESI G N

BACTERIAL BUI LDI NG BLOCKS

AD_A

[MArch 2]

AMPL

Task

AD_H REP

The climate and ecological crises affects the technological and environmental context of any architectural project. The a im o f t his s tudy i s t o develop a deep understanding of an issue linked to sustainability in architecture. The research should consider a particular context (eg design studio). You may wish to discuss this with your studio course leader. The topics for the studies are subject to agreement with the course organiser.

The study requires research into the impact of our design decisions and the development of a design response to an existing building. The focus will be on the embodied and operational carbon across the life of a building.

Response Isabelle and I had visited Naples in October 2022 and were struck by the level of degredation occuring in City.

The purpose of this study was to evaluate the

benefits,

limitations

of

effects,

and

Bacterial

Biomineralisation

treatment as a means of protecting

Neapolitan

potential

consolidating

it less susceptible to further degradation consequently compared

extending the

and

Yellow Tuff, rendering its

performance

and

lifespan. We of

bacterial

biomineralization treatment on the exterior surface of NYT architecture to other more established – although notably ineffective – intuitive approaches to consolidating the stone already practiced in the 13

city of Naples to assess its viability.

[LM] [IW] [IS] [WX] [ZY] [OM] [LF] [DB] [FGG] [XL]

ATR

[2022] T ECH NO LO GY RE S E ARCH

006

N AP L E S

AD_C

[MArch 1]

ATR

GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

STUDY 2 //

AD_D SCAT

RESEA RCH FOR DESI G N

BACTERIAL BUI LDI NG BLOCKS

AD_A

[MArch 2]

AMPL

“There are a good range of case studies in the appendix. It would be good to see them better integrated into the study.”

Introduction

AD_H REP

Appendix A2

The decision to prioritise the consolidation and preservation of existing Neapolitan Yellow Tuff (NYT) over advocating for the demolition and subsequent reconstruction of sections within Naples

This capability is evidenced via petrographic studies Pages

on volcanic tuff which show deposits of carbon and

was underscored by the remarkable carbon-capturing

other heavy metal particles at the surface and deeper

capabilities intrinsic to NYT.

within the inner layers of the sample.

NYT’s porous composition facilitated the absorption and sequestration of carbon and various pollutants.

Airborne contaminants, alongside those suspended in water vapour, could effectively permeate the stone and become entrapped within its pores. Given the widespread utilization of NYT throughout the urban landscape, this characteristic yielded notable benefits, notably in the mitigation of local air pollution and its consequential impacts on public health. Moreover,

Key Graph

on a broader scale, it contributed to the global imperative of combating climate change by reducing carbon emissions.

The deliberate choice to preserve NYT serves as a strategic endeavour, aligning with sustainable urban development principles. By using existing natural resources and maximizing their environmental benefits, Naples sets a precedent for responsible urban planning practices. This approach not only

Samples

Pumices (%)

Lithics (%)

Matrix (%)

1

40.4

15.7

43.9

2

22.6

13.3

64.1

3

14.1

12.2

73.7

4

7.9

6.5

85.6

addresses immediate environmental concerns but also fosters a more resilient and environmentally conscious urban fabric.

14

[LM] [IW] [IS] [WX] [ZY] [OM] [LF] [DB] [FGG] [XL]

ATR

[2022] T ECH NO LO GY RE S E ARCH

007

N AP L E S

AD_C

[MArch 1]

ATR

GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

STUDY 2 //

AD_D SCAT

RESEA RCH FOR DESI G N

BACTERIAL BUI LDI NG BLOCKS

AD_A

[MArch 2]

AMPL

“The mechanism through which the Neapolitan Yellow Tuff degrades is explained clearly and in detail, and the supporting graphs are helpful.”

Moisture Damage

AD_H REP

Due to rainfall, rising damp or general proximity to the sea NYT is regularly exposed to periods of saturation defined as the wetting and drying cycle of the stone. As a clay containing, porous material

Pages

NYT when saturated is subject to a certain level of swelling/strain.

As part of a damaging reciprocal relationship when NYT becomes saturated repeatedly over time regular swelling and stain results in the pores of the stone expanding microscopically, which in turn means the material becomes more easily saturated next time it is exposed to rainfall etc. Gradually over time a deformation of the natural wetting & drying cycle occurs. In depth studies into the degradation of NYT (and other porous volcanic tuff stone types)

Key Graph

unambiguously show that clay increased swelling/ strain, relative to the wetting and drying cycle of the stone, is the primary cause of exacerbated degradation.

An additional problem related to the swelling/strain and expansion of material in the context of NYT degradation is the resultant loss of uniaxial strength as the pores of the material expand. The loss of strength when wet is visualised in the corresponding graph.

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STUDY 2 //

AD_D SCAT

RESEA RCH FOR DESI G N

BACTERIAL BUI LDI NG BLOCKS

AD_A

[MArch 2]

AMPL

Findings

AD_H REP

Compared to the other methods for consolidating

In

NTY previously discussed in this study we proposed

biomineralization consolidated the NYT to a

that bacterial biomineralisation could offer noninvasive

alternative, which

would

outperform

terms

of

surface

condition,

bacterial

considerable extent, aiming to reduce scaling Pages

and flaking, unlike other discussed consolidation

traditional methods of consolidation, in terms of

methods. It couldn’t address surface ‘crust’ presence

strengthening the exterior surface of the stone,

directly; case studies indicated the need for careful

reducing swelling factor and improving hydrophobic

removal of unwanted deposits before M-3P

properties, with the benefit of not altering the

treatment application. However, it prevented crust

appearance of the Neapolitan architecture so intrinsic

recurrence for at least 5 years, surpassing other

to the city. That if applied to the buildings of Naples

methods that merely covered unsatisfactory surface

the treatment would delay the process of decay and

conditions.

prevent any subsequent intervention for a minimum of 5 years, resulting in the reduction of observed

The primary advantage of bacterial biomineralization

decay and necessity for continual construction

treatment

activity in the city

properties to the substrate,” addressing NYT Key Graph

was

imparting

“swelling

inhibition

degradation caused by wetting and drying cycles.

This treatment targeted the core cause of NYT material deterioration.

Furthermore, extending bacterial biomineralization treatment

could

render

NYT

hydrophobic,

inhibiting water saturation initially. While this prevents material strength loss associated with wet NYT, it also reduces the stone’s carbon-capturing capability by preventing water vapor absorption.

However, other consolidation methods, involving significant material additions to NYT exteriors, likely completely inhibit NYT’s carbon-capturing abilities by creating a barrier against air or water vapor permeation.

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AMPL

ARCH ITECTURAL DESIGN [STUDIO C]

AD_H REP

AR C H1 1091

[Cours e Synops is ]

[ Le a r n i n g O b j e ctive s]

[Tutors]

In Architectural Design Studio C, the focus will

LO1

Dr Chris French

be on navigating between the practical concerns

The ability to develop and act upon a productive

Michael Lewis

of urban materiality and the speculative potential

conceptual framework both individually and in teams

of architectural design. The studio will alternate

for an architectural project or proposition, based on a

between abstract and concrete approaches, aiming

critical analysis of relevant issues.

to create a space for both creative exploration and

GC 1.3, 2.3, 3.3 // GA 2.1

practical engagement with the city of Naples.

LO2

This will involve two main phases: Move 1, where

material language that is carefully considered at an

environment, detached from Naples but in dialogue

experiential level and that is in clear dialogue with

with its realities, for research and creative work; and

conceptual and contextual concerns.

Move 2, where students will propose an Observatory

[Contributions] Olivia McMahon [OM] Liam Findlay [LF]

17

The ability to develop an architectural spatial and

students will develop a studiolo within their studio

GC 1.1, 1.3, 2.3, 5.1, 5.3 // GA 2.1

within a specific site in Naples, bridging the gap

LO3

between gathered data and the conceptual space of

A critical understanding of the effects of, and the

the studiolo. Through these processes, students will

development of skills in using, differing forms of

grapple with Naples’ climate, structures, geology,

representation (e.g. verbal, drawing, modelling,

and morphology, exploring various perspectives

photography,

and methodologies to inform their architectural

techniques), especially in relation to individual and

interventions.

group work.

film,

GC 1.1, 3.3 // GA 2.2

computer

and

workshop

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

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O P E N I N G //

AD_D SCAT

FI G U RE + OBJECT

[CAPTURI NG] SURFACE EFFECTS

AD_A

[MArch 2]

AMPL

‘First, he receives a true impression f rom the place itself, and takes care to keep hold of that

Task

as his chief good ... and then he sets himself as

AD_H REP

far as possible to reproduce that impression on

Present a selected FIGURE relevant to Naples, and an

the mind of the spectator of his picture’

associated OBJECT or collection of objects related

to that figure. The FIGURE should be an individual

John Ruskin, Modern Painters (1856)

pertinent to Naples, either directly or indirectly.

These could be historical figures, fictional figures or cultural figures... They could be made present as figures, through a portrait or photograph, or through a piece of their work (a book, a painting, an article, a film, a piece of clothing, and so on).The OBJECT

could be drawn, made or found. It can be an original object, put forward to emblematise the thinking of your figure, or just an intriguing object through which to consider Naples.

Response A page from his sketchbook illustrates his inquisitive

For this opening exercise I chose J.M.W Turner,

nature and eagerness to register such a sublime event.

the English landscape who visited Naples in 1819.

A number of scholars have followed John Gage’s

Turner’s sketchbooks show that during his 1819

suggestion that these were made by a shower of hot

tour of Italy, he relied heavily on pencil point work.

For him, pencil sketches served a single purpose: to

[above] Gandolfo to Naples, 1819 Page 85, Assent of Vesuvious

record facts and serve as a repository of topographical

with Ash captured on the surface of the page

information.

He painted seven watercolour studies of Naples, but only a small proportion of these, if any, were done in the open air; the rest were done from memory after the pencil sketches were completed.

18

volcanic ash during Turner’s ascent of Vesuvius.

This triggered a fascination of my own, one concerned with registering the ground, the small details that often escape notice but hold profound significance. This initial study ultimately leads to an observatory concern with rendering one sensitive to the subtleties of weather and surface.

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MOVE 1 //

AD_D SCAT

STU DI OL I

AD_A

[MArch 2]

AMPL

Task

AD_H REP

Developing from these initial installations, in Weeks 2 and 3 in your working groups you are to collectively re-install your objects and figures in such a way as to re-shape and re-construct the studio; we will turn the studio into a space of several studiol. Over the course of the semester these studioli will become both working spaces and tools for drawing, describing, and presenting your work and the city of Naples. This will involve the construction of specific furniture-like apparatus, low walls, desks, reading spaces, shelves, micro-architectures found, constructed, and installed, as well as the gathering of research material, drawings, and surveys.

Response The studioli is emblematic of a sort of archaeological device, where a series of layers come to represent the sequential process of making and un-making precarity. The surrogate surface, the sieves, the desk, the roll of paper and the needle formulates a language that begins to tie together the performative acts that our figures might engage in.

In order to continue the cycle of mark-making through the disruption and undoing of the surface, we propose a device that may register tremors and movement and, in turn, respond by tapping and chipping away at the surface.

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GA 2.3

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GA 2.5

GA 2.6

GA 2.7

MOVE 1 //

AD_D SCAT

STU DI OL I

AD_A

[MArch 2]

AMPL

[1]

[2]

[3]

Surrogate Surface

AD_H REP

The tools used to carve are stored in the same place as the deposits, within the table itself and treated with equal importance. The distinction between tools for marking and surfaces being marked are blurred, much like how the tabletop also acts as a wall to be projected on, or fragments of the “geographical paper” become imprinted on the scroll of paper below. The repetitive nature of this mark making generates a hermeneutical approach to the drawing process.

The surface created is intentionally fragile, so as to create unpredictable conditions, through mark making. It becomes a sketchbook, or a wall; a Neapolitan surface behaving geologically to describe a perplexing landscape. Drawings or workings deface themselves, becoming performative pieces, collected in trays, vials, scrolls, and stored in the desk to create an ever-evolving archive of pigment, deposit, sediment, and dust.

[4]

20

[1]

Writers Desk

[2]

Paper Roll

[3]

Surrogate Surface

[4]

Sifting Trays

[above] annimated drawing of the studiolo

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FI E L DWO R K //

AD_D SCAT

SETTI NG S + ZON ES

AD_A

[MArch 2]

AMPL

Task

AD_H REP

Buildings “should be constructed with the smallest

[1]

Andesite

stones so that the walls, fully saturated with mortar

[2]

Brick

made of lime and sand, will bound together for

[3]

Piperno

longer. For since these stones are soft and thin in

[4]

Paint

individually (although you should never work on a

consistency, they dry out the mortar absorbing the

[5]

Ash

site alone; ask for assistance from, and offer assistance

moisture. But when the amount of lime and sand is

[6]

Tufo

to others where needed). Groups could be linked to

great and plentiful, the wall will not give way quickly

your studiolo or could be formed through emerging

since it contains more moisture, but is held together

mutual interests in the city.

by these material.”

While in Naples you will have two central tasks: identifying and surveying a SETTING and recording a ZONE. These tasks can be completed in groups or

- Virtuvius, Ten Books on Archietcture (1999) Response Captured surfaces serve as registers of material conditions, or a “double register” as Andrew Benjamin describes, where walls and landscapes are both surfaces and surface effects. Using the concept of ‘Terroir,’ the fieldwork re-engages the theme of

[1]

[2]

[3]

[4]

[5]

[6]

capturing surface effects within a larger context. In Naples, we collected mineralogical samples, building fragments, rock dust, rubbings, and photographs to construct material studies and taxonomies. This recontextualizes materiality within broader landscapes, following Jane Hutton’s ‘Reciprocal Landscapes.’

Our 1:1 material studies involved surveying degraded areas like landscapes, generating contours, and providing scale through a grid.

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FI E L DWO R K //

AD_D SCAT

SETTI NG S + ZON ES

AD_A

[MArch 2]

AMPL AD_H REP

[above] aerial view of parco ventaglieri 22

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FI E L DWO R K //

AD_D SCAT

SETTI NG S + ZON ES

AD_A

[MArch 2]

AMPL

A City Void

AD_H REP

Parco Ventaglieri presents itself as a void in the city, a ravine of sorts that sits as a materially charged space, particularly relevant to our various material investigations. We found that it was incredibly hard to build up a picture of Naples due to the very subject we were investigating. Atmospheric effects, such as smog, dust, clouds and an undulating topography

1860 - Parco Ventaglieri non-existent

1891 - Parco Ventaglieri non-existent

blur distinctions between surfaces, landscapes and buildings. The site, however, acts as rich backdrop in which to develop and understanding of these conditions.

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MOVE 2 //

AD_D SCAT

OBSERVATORY

AD_A

[MArch 2]

AMPL

Task

AD_H REP

Through Move 2 you are to devise, design and draw a small Observatory to be installed within

your surveyed SETTING, re-situating, grounding, your studiolo as an architectural project in Naples.

The precise scale, programme and nature of this Observatory will be specific to your emergent theses, but it should enable the development of spatial, material strategies, and the exploration of architectural atmospheres and qualities. The working title Observatory is not intended to invoke telescopes or other viewing devices. While ‘observing’ implies ‘looking’, to observe something is to be attentive, to notice or perceive significance; this is not strictly or exclusively visual. Rather, we use the term here to echo the organisation ‘Citizens Observatory of the Commons’, an agency in Naples charged with monitoring the use of public spaces, auditing the city and its environment. Developing from the architecture of your studioli, your Observatories should develop similar, specific monitoring functions.

Response The structure serves as a meterological observatory, providing a place to measure, record and monitor atmospheric

conditions.

Such

conditions

are

brough to a degree of visibility through a ‘twitching’ architecture that moves and shifts in response to the surrounding environment.

24

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MOVE 2 //

AD_D SCAT

OBSERVATORI ES

AD_A

[MArch 2]

AMPL AD_H REP

[above] perspective elevation showing the circulation and supporting framework across different levels of the observatory. [left] perspective view of the meteorological observatory

25

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MOVE 2 //

AD_D SCAT

OBSERVATORI ES

AD_A

[MArch 2]

AMPL AD_H REP

Animated Architecture The relationship between art and architecture is further explored through the possibility of action that distinguishes the latter. The verb-essence of architectural experience manifests through places for preparing, recording, exposing, painting, sheltering, descending and storing.

[above] 1-50 tectonic model of screening device for painting and canvas drying [left] diagrammatic axo of painting balconies

“A meaningful architectural experience is not simply a series of retinal images. The elements of architecture are not visual units, they are encounters, confrontations that interact with memory. In such memory the past is embodied in action. Rather than being contained separately somewhere in the mind or brain, it is actively an ingredient in the very bodily movements that accomplish a particular action,’” - Edward S Casey, Remembering: A Phenomological Study, Indiana University Press, 2000,

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MOVE 2 //

AD_D SCAT

OBSERVATORI ES

AD_A

[MArch 2]

AMPL AD_H REP

The proposition framed the thesis well through its manifestation of atmosphere as a ‘twitchy’ architecture, shifting and moving in response to climate.

The observatory facilitates the descent through a system of lifts, stairs, and painting balconies, each providing a unique view point of the city. Traversing these levels are a set of shutters that respond to fluctuations in moisture levels. Monitored by a hygrometer discreetly nestled within the arches, these shutters twitch and shift, offering an ever-changing panorama from the external painting balconies

[above] renders of connecting bridge and painting studio [left] isometric of observatory

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MOVE 2 //

AD_D SCAT

OBSERVATORI ES

AD_A

[MArch 2]

AMPL

Perspective Section cutting through connecting bridge, painting balconies & studio

AD_H REP

[1]

[2] [3]

[4]

[1]

entrance terrace

[2]

lift

[3]

connecting bridge

[4]

painting balconies

[5]

painting studio

[6]

drying hall

[7]

urban canyon

[8]

parco ventaglieri

[5]

[6]

[8]

[7]

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MOVE 2 //

AD_D SCAT

OBSERVATORI ES

AD_A

[MArch 2]

AMPL AD_H REP

[5]

Some of the drawings (renders in the pamphlet and rendered iso in the portfolio) were incredibly effective at communicating the atmosphere and material qualities of

[6] [1]

the scheme. Where work is needed is in the orthographic

[3]

drawings. The heavy shadows dominated, making the organisation difficult to read and obliterating the finer tectonic components.

[7] [2]

[4] [9]

[8]

Observatory Plan at Level +4 cutting through painting store, hygrometer & studio

29

[1]

paint store room

[2]

hygrometer

[3]

connecting bridge

[4]

studio

[5]

lift

[6]

staircase to gallery

[7]

staircase to balcony

[8]

canvas store room

[9]

lower painting balcony

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MOVE 2 //

AD_D SCAT

OBSERVATORI ES

AD_A

[MArch 2]

AMPL AD_H REP

Model-making was a key driver during this studio, from the studiolo through to 1:50 spatial explorations.

The act of making invited a curious approach to the materials being used and tested the sensibility of the architectural proposal. Every model served to deepen my understanding of the project, refine or redefine its conceptual underpinnings, and reduced the reliance on renders to articulate the atmospheric and spatial qualities of the proposal.

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AD_D SCAT AD_A

[MArch 2]

AMPL

ST UD I O R EF LECT I ON

AD_H REP

Throughout the semester, I continued to establish a sophisticated conceptual framework, drawing inspiration from the studiolo and conducting thorough

research

on

Naples’

environmental

conditions. This foundational work provided a solid basis for the development of my architectural proposition,

particularly

the

design

of

the

Observatory.

While I am pleased with the overall outcome of my studio work, there are areas where I recognise the need for improvement. For instance, I have noted feedback on the compression of material in my pamphlet, lack of development drawings and the clarity of my orthographic drawings. These insights have highlighted opportunities for refinement in my presentation techniques and technical skills moving forward.

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[2023]

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[MArch 2]

AMPL

ARCH ITECTURAL DESIGN [STUDIO D]

AD_H REP

AR C H1 107 0

[Cours e Synops is ]

[ Le a r n i n g O b j e ctive s]

[Tutors]

In Architectural Design Studio D gives students

LO1

LO4

Dr Chris French

the opportunity to develop or initiate a major

The ability to develop and act upon a productive

A critical understanding of the effects of, and the

Michael Lewis

design project, and to bring students explorative and

conceptual framework both individually and in teams

development of skills in using, differing forms of

creative processes into dialogue with technological

for an architectural project or proposition, based on a

representation

and environmental decision making. This will

critical analysis of relevant issues.

photography, film, computer and workshop techniques),

GC 1.3, 2.3, 3.3, 7.2, 7.3 // GA 2.1

especially in relation to individual and group work.

LO2

GC 1.1, 3.3 // GA 2.2

involve two main phases: Move 3, where students identify a material and sites within Naples in which the material manifests; and Move 4, where students explore how architecture might foster the

material language that is carefully considered at an

production of these conditions, might break down

experiential level and that is in clear dialogue with

borders between sites or spaces, might intervene

conceptual and contextual concerns.

in the composition of the air or nullify or amplify

GC 1.1, 1.3, 2.3, 5.1, 5.3 // GA 2.1

certain sounds to unsettle fixed atmospheres. These

LO3

pieces should describe an ambitious architectural,

The ability to investigate, appraise and develop

landscape and urban proposition for Naples, one

clear strategies for technological and environmental

that introduces programmatic, social, cultural, and

decisions in an architectural design project.

environmental concerns through a re-framing of the

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Neapolitan city landscape and its reciprocities.

[Contributions] Olivia McMahon [OM] Liam Findlay [LF]

32

The ability to develop an architectural spatial and

(e.g.

verbal,

drawing,

modelling,

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N EA POL I TA N G ROU N D

[AGITATI NG] SURFACE EFFECTS

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Task

AD_H REP

Through

Move

3:

Neapolitan

Ground

and

GROUNDING(S) you are to identify a material, and sites within Naples in which that material is manifest, as both the focus of production and the object of consumption or use (Hutton’s second approach). Describe these sites through drawing/ma ing, depict their limits, and qualities, how material is found there, where, and how it is processed, and where it is subsequently employed (first approach).

Describe the material itself, its structural, formal, and technical properties. Describe its displacement, how

it traverses the city or enters other sites and cycles of production (third approach).

Response Vitruvius’ description of the construction of a wall folds together material, constructional and

window infill using tufo masonry on via domenico

brick coursing between tufo blocks to reduce rising

weathered tufo wall on the west face of castel

cirillo

damp

dell’ovo

supporting tufo arches at the galleria borbonica

environmental concerns. “Since the stones used are soft and porous,” he writes, “they are apt to suck the moisture out of the mortar... But when there is abundance of lime and sand, the wall, containing more moisture, will not soon lose its strength, for they will hold it together.” With a sustained interest in Neapolitan surfaces and through the scale implied by ‘Neapolitan Ground’, we explored the broader ecological territory and material reciprocities that underpin this notional wall. It explores how the constituents of the wall—the tufo, lime and sand— belong to broader, an often problematic, conditions and ecologies.

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Volcanic Substratum

AD_H REP

The geological formation of the volcanic bedrock, combined with the area’s rugged terrain, seismic events, bradyseism, and other natural occurrences, contribute to an inherently unstable ground condition for the city’s foundation, independent of any human alterations. This instability is exacerbated by the susceptibility of the volcanic bedrock to erosion by water.

[Campi Flegrei]

[Mount Vesuvius]

[above ] magma chamber below the cities suspended morphology 34

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Geology of the City

AD_H REP

The subterranean strata of Naples serve as a geological chronicle of the city, preserving records of past volcanic activities and eruptions from neighbouring regions. The layered bedrock, in conjunction with the overlying soil strata, is composed of several compacted pyroclastic flows, leading to the unique varieties of tuff found in the area. Despite the common belief that a city founded on rock would be inherently stable, Naples exhibits a different scenario.

A pronounced tuff ridge cuts through the city, marking a shift in the city’s geological base, from thick pyroclastic sediments on the ridge’s crest to friable pyroclastic deposits at its base. This disparity in sediment structure leads to varying erosion rates.

Districts such as Montecalvario, Quartieri Spagnoli, Vomero, and Posillipo are located on this less stable foundation, rendering them prone to erosion due to water infiltration and runoff along the ridge.

[above ] superimposed mapping of tuff with the cities topography 35

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Urban Cavities

AD_H REP

For many centuries, the inhabitants of Naples favoured the extraction of tuff from subterranean locations for construction purposes, leading to the formation of a complex network of cavities beneath the city, as opposed to using embankments or openair quarries which would have necessitated significant material transportation.

The techniques used for extraction led to the

Bottle or Bell

Gallery

creation of large voids within the rocky substratum, typically hidden from sight at ground level. Tuff, once extracted from the quarries, was often used near its source, resulting in a direct relationship between the city’s growth and the increase in these underground cavities. Areas such as Montecalvario, Posillipo, and the Quartieri Spagnoli (Spanish Quarters) experienced

extensive

tuff

extraction, thereby

housing the greatest density of subterranean voids.

This increased occurrence of underground cavities makes these districts especially prone to subsidence in the overlying subsoil.

Catacombs

Crypta

[above] cavities beneath the city of naples 36

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MOVE 3 //

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Ground Agitation

AD_H REP

Saharan advections in Naples can significantly increase PM10 loads on the ground, leading to a decline in air quality. PM10 refers to particulate matter with a diameter of 10 micrometers or less, which can penetrate deeply into the respiratory system and cause respiratory and cardiovascular problems. A recent study has shown these unfavourable meteorological conditions caused by desert dust, including reduced rainfall and relative humidity and increased temperature, can hinder pollutant dispersion.

This is particularly problematic in a city like Naples, with high pollution levels and a topography that can exacerbate the effects of these meteorological factors. The mountains surrounding the city can trap pollutants and prevent them from dispersing, while high temperatures and low humidity can cause pollutants to accumulate in the air. This is further worsened by the narrow but tall ‘urban street canyons’ that impede and or trap the movement of air. [above] mappings showing saharan dust over the city of naples

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Indexing Faults

AD_H REP

Our investigations from the beginning of the semester have been concerned with capturing material incompatibilities, or what we have chosen to call Faults. Faults from a geological standpoint but also a social, cultural and ecological one. The drawing is concerned with exploring existing material reciprocities and interrelations within Naples, tying together networks of quarries, sinkholes, landfills and atmospheric particulates with networks of corruption and contamination.

These performative interrelations are represented through a deep section - a ground cycle drawing that considers Naples as a core sample, acknowledging the complex ecological, social and biogeochemical processes taking place above, below and within the urban ground of Naples.

The bottom portion of the drawing can be read as geological ground and the top portion as a sort of aerosolized ground. The drawing allows us to relate phenomena occurring below ground to that above ground, depicting the entangled nature of Neapolitan surface.

[above] ground cycle drawing [right] index of agitants

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ZON E C ONSTRU CTI ON

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Task

AD_H REP

Through Move 4: ZONE Constructions you are to explore how architecture might foster the production of these conditions, might break down borders between sites or spaces, might intervene in the composition of the air or nullify or amplify certain sounds to unsettle fixed atmospheres. You are to develop a complex, architectural/landscape strategy for a territory within Naples, ambitious and yet carefully focused on the concerns of your emergent thesis. This should be given spatial and material form, through models and drawings.

Response Informed by readings of “Il Sottosuolo di Napoli” (The Subsoil of Naples), our on-going investigation of the Neapolitan ground can be re-contextualised, where Neapolitan ground can now be divided into six distinct geotechnical zones.

These zones relate to the varied geotechnical conditions and strata of different kinds of soils and rock that presuppose Neapolitan ground, enabling us to identify particular urban areas of interest. A series of drawings that relate to soil contamination, air contamination, geological conditions, cavities and fault lines help to delaminate the investigations already completed as part of the Neapolitan ground drawing, enabling for a deeper understanding of ground conditions in Naples.

[above ] superimposed mapping of tuff with the cities topography 39

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ZON E C ONSTRU CTI ON

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[MArch 2]

AMPL

Re-constructing Ground

AD_H REP

Our explorations have centred around how to best represent the various ground conditions that our zones embody.

Initial explorations involve the articulation of two sets of complementary construction systems – timber laths and a metal framework – to represent the intersections between fault lines and subterranean networks. In addition to this, we also began to explore how we may create footings or support systems for this framework through prototyping boreholes at a 1:1 scale, which would be represented through rammed earth columns.

Taking our understandings of the geotechnical zones These boreholes would be emblematic of the varied

further, our investigations of Neapolitan ground

geological conditions within each zone. A series of

can now be re-contextualized by activating it as

detail drawings come to represent possible earth

a synthetic field. The term ‘synthetic’ here refers to

construction footing systems that may be used within

the depiction of ground as both established through

the synthetic field construction.

natural and man-made forces, but also as a field that may be re-configured and re-worked through our proposals. The synthetic field construction thus emblematises the various ground conditions of the zones that our proposals are sited on, whilst also performing as a field in which to situate and archive our work.

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G ROU N DI NG S

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[MArch 2]

AMPL

Task

“It is really clear how the collective environmental

AD_H REP

concerns inform the programme, organisation and spaces

Alongside the development of this Neapolitan

of the architecture, eliminating mechanical ventillation

Ground and ZONES, you are to identify what we will

specifically. There is a considered link between programme

refer to as a series of GROUNDINGS, sites or places

and remediation, and the use and adaptation of the

in which your imagined city-landscape might come

existing structure to generate new types of spaces.”

into contact with Naples. These GROUNDINGS, collectively, should identify and develop potential and proposed programmatic and material reciprocities for Naples, a network of programmes and architectures that engage in beneficial exchanges.

Response In the context of degradation, [Sup] planting Ground: A Repository for Pigments, Parts and Particulates intervenes as a mediator, seeking to further agitate and transform the existing ground condition by contending with aerosolised and excavated states. A series of undercutting and destructive gestures engage with and challenge the existing ground qualities of the site, with a particular focus on the Belvedere di Sant’Antonio Posillipo, a deteriorating concrete ruin that obstructs the tuff ridge. Liminal spaces operate as intermediaries, cultivating, conserving, and archiving elements of

[above] section through the water colletion basins

a synthetic field that operate at a particulate and territorial scale. These spaces enable a program that demands both confinement and ventilation, light and dark, moisture and dryness, with an acute sensitivity to the site’s materiality and context.

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G ROU N DI NG S

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[MArch 2]

AMPL

Identifying a Site

AD_H REP

Posillipo, a name derived from the Greek ‘Pausílypon’ or ‘respite from worry,’ has provided a haven outside the old city walls since the 1st Century BC, offering a sweeping panorama for villas that overlook the Bay of Naples. But as with many other coastal regions, Posillipo has fallen prey to unchecked development, pollution, and the loss of historic sites to modern construction or neglect. The ground, once porous, now bears the scars of extensive excavation, filling, terracing, and capping, leading to an artificial landscape that exacerbates drainage issues and atmospheric instability.

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AMPL

Filed Labs

AD_H REP

The individual proposal established a grounding within an existing concrete ruin.

This field lab

belongs to a larger set of enquiries and wider landscapes concerned with air remediation and ground movement, articulated through stack vents that remove the need for mechanical ventilation and a water collection system.

“Despite the programmatic and environmental richness, there is, however, still a sense that the proposal is detached from the language held by the Ground and Zone Construction. The scheme is contextually specific, but given the concerns of the thesis how might the descriptions of Ground embodied by the models and drawings challenge what we understand as architectural systems/spaces?”

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Mediating Agitators

AD_H REP

The repository is housed in a deteriorating concrete ruin that plugs into the tuff ridge. The interplay of incompatible materials, a high elevation, and a steep topography creates a place of highest potential for air remediation via a system that uses pressure gradients within. Through this incision point, the ground becomes activated, with a succession of skins (or fronts, to use a meteorological term) to the building that channel particulates in the air through both dry and damp spaces. Within is a programme that works with these conditions and further agitates the concrete shell.

[above] renders showing the reuse of deteriorating ruin [right] exploded isometric of the ventilation hood

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ST UD I O R EF LECT I ON

AD_H REP

This semester, I successfully tested the development of a design thesis through social, material and climatic issues. This was explored through group ‘Ground’ drawings and the Zone construction (drawings and installation), with further refinement developed in an individual ‘Field Lab’. It was clear how collective environmental concerns informed the programme, organisation and spaces of the architecture, but there was still a sense that the language held by the Ground and Zone construction was detached.

In terms of representation, the project was consistently drawn, in a variety of ways, although models were lacking. There were some really compelling drawings, particularly in 3D, but the renders lack specificity. Orthographic representation and speculative drawings still remain an aspect of my work I need to improve.

[above ] etching of surface faults for zone contruction 45

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UN PACKI NG LOG: MATERIAL WRITI NGS

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Stud ie s in Co nte mp o ra r y Arc his e ct ural The ory AR C H1 107 0

[Co urs e Aim s ]

[Cours e Synops is ]

[Course Organisers]

The course aims to:

Log records “observations, speculations, and ideas

A capacity to research a given theme, comprehend

Dr Ella Chmielewska

1. Develop and expand your understanding of what

on architecture and the city at this point in our

the key texts that constitute the significant positions

theory is, and how it relates to architecture, design

time and space.” Now in its 52nd issue, observation

and debates within it, and contextualise it within a

and the city.

and speculation remain thefocus of Log; each issue

wider historical, cultural, social, urban, intellectual

2. Enhance your skills in critical reading and

gathers short written reflections on architecture, art,

and/or theoretical frame.

analysing the ideas presented in texts..

exhibition, history and theory, presented in such a

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3. Refine your ability to write and communicate a

way as to “resist the seductive power of the image in

LO2

focused critique of, and response to, texts.

media.”

An understanding of the way theoretical ideas and

[ Le a r n i n g Ou tcome s] LO1

theories, practices and technologies of architecture

[Seminar Organiser] Dr Chris French

Through Unpacking Log we will look back at the

and the arts are mobilized through different

now-past present of architectural thinking charted

textual, visual and other media, and to explore their

by Log. We will focus particularly on the question

consequences for architecture.

of material, on how material has been written about,

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described, theorised and made present in text in Log.

LO3

Working through and around selected texts from the

An ability to coherently and creatively communicate

journal examining material — and accompanying

the research, comprehension and contextualisation of

para-texts specific to Log such as the postcards

a given theoretical theme in relation to architecture

issued with each issue, summary sentences on the

using textual and visual media.

back cover, ‘Cover Stories’ and ‘General Observations’

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scattered through each volume.

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B R I E F 00 //

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FORMAT

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Brief

AD_H REP

The formats of the essay and journal are open, but their design must be thought out as a deliberate part of the submission. Think about the relation between text and image, and consider how you can use the structure and design of the documents to work in concert with the arguments that you are making.

Contents The structure of the

MODALITIES OF REPRESENTATION document is as follows:

Prologue Mode 00 Mode 01 Mode 02 Mode 03 Mode 04

ERASURE VIRTUAL MODELS ABSTACTION ARCHIVAL DRAWING ALTERNATIVE CARTOGRPAHY

Mode 05

[RE]FRAMING

Essay

VISUAL BOUNDARIES

[above] journal and essay entities provocking the format of Log

01

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02

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REA DI NG JOU RNA L S

MODALITI ES OF REPRESENTATION

[left] Prologue introducing Log, how it frames work,

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and how the themes explored in my journal emerged in response to the framing offered by Log. Task

AD_H REP

The reading journal (course diary) records your ongoing critical reflections and responses to the weekly readings and seminar discussions. You may reflect on what you find most interesting or most challenging in the reading, or discuss specific points of view. You may elaborate upon the significance of some aspects of the readings for contemporary architecture and/or urbanism. Each weekly entry should be at least 500 words and it should be illustrated as appropriate.

Response In my exploration of Log magazine, I noticed a fascinating evolution in its approach to images.

Initially, the

focus

was

on

textual

content,

deliberately challenging the allure of images to foster deeper engagement with discourse. However, over time, there was a gradual incorporation of colourful visuals, perhaps reflecting a shift to online platforms and an acknowledgment of images’ power in shaping discussions. Inspired by this trajectory, I reflected on the interplay between image and text in architectural discourse, using the same format as Log itself.

[above] Log 55 - Observations on architecture and the contemporary city

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B R I E F O 1 //

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Mode 00

AD_H REP

This journal reflection explored Robert McNulty’s work in Log No.5, titled ‘What’s the Matter With Material?’, which served as an outlier in the set of representational modes explored. Despite this, it functioned as a tool for refining later explorations of Log and was purposely included as both a reference and symbolic act of erasure.

Mode 01 In Virtual Modes, the entry begins with a discussion surrounding the Biennale Archittetura 2016, curated

by Monica Ponce de Leon and Cynthia Davidson, as an exhibition aimed at sparking critical discussions, particularly regarding the architectural imagination and its relevance in Detroit. I critique the exhibition’s virtual portrayal of architectural projects for Detroit, noting that they often lack a genuine understanding of the city’s context and needs. I also question the appropriateness of using Detroit as a platform for architectural discourse without offering tangible solutions, and emphasise the importance of further exploration and inquiry into the role of imagination in architecture.

Key Readings Davidson, Cynthia. ‘The Architectural Imagination’.

Log, no. 37 (2016): 22–31.

Herscher, Andrew. ‘Unreal Estate: An Introduction’.

In The Unreal Estate Guide to Detroit. United States: University of Michigan Press, 2012. https://www. jstor.org/stable/j.ctvdtphxh.4.

Lynn, Greg, Melissa Shin, Sean Boyd, May Wang, Jasper Lynn, Peter Vikar, Jia Gu, et al. ‘Center for Fulfillment, Knowledge, And Innovation’. Log, no. 37 (2016): 194–203.

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GC 7

GC 8

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

B R I E F O 1 //

AD_D SCAT

REA DI NG JOU RNA L S

AD_A

[MArch 2]

AMPL

Mode 02

AD_H REP

In Abstraction, I explore the dynamics of urban experience through the lens of the London Underground and Manhattan’s grid layout. Jobst’s observations lead to a philosophy of dislocation and endless compositions, departing from Heidegger’s rootedness and embracing indeterminacy. Drawing from

Deleuze, Jobst

proposes

a

philosophy

that constructs spaces amidst existing terrains, emphasizing

experimentation

and

intentional

connection. This refiguring of abstraction offers a deeper understanding of urban space as a complex, dynamic system, constantly evolving and layered with meaning.

Mode 03 In Archival Drawing, I explore the complexities of architecture and urban history through John Randel’s 1820 Farm Map of Manhattan. I discuss issues

of

archival

violence

and

architectural

neglect, as well as proposals by Jerome Haferd and Mabel Wilson to rethink the role of architects in repairing historical omissions. This prompts a call

Key Readings

Key Readings

Jobst, Marko. ‘Abstracting the Text’. Log, no. 26

Haferd, Jerome. ‘An Archaeology Of Architecture:

(2012): 9–13.

The Harlem African Burial Ground’. Log, no. 48

Rajchman, John. Constructions / John Rajchman.

(2020): 145–54.

Writing Architecture Series. Cambridge, Mass. ; MIT

Wilson, Mabel O. ‘Radical Repair’. Log, no. 48

Press, 1998.

(2020): 21–26.

for architects to actively engage with communities and histories in our work.methods as transformative tools in architectural representation. This journal underscores the subjective nature of architectural practice and calls for a repositioning of architects as agents of repair, actively involved in engaging with communities and histories in our work.

50

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GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

B R I E F O 1 //

AD_D SCAT

REA DI NG JOU RNA L S

AD_A

[MArch 2]

AMPL

Mode 02

AD_H REP

In Abstraction, I explore the dynamics of urban experience through the lens of the London Underground and Manhattan’s grid layout. Jobst’s observations lead to a philosophy of dislocation and endless compositions, departing from Heidegger’s rootedness and embracing indeterminacy. Drawing from

Deleuze, Jobst

proposes

a

philosophy

that constructs spaces amidst existing terrains, emphasizing

experimentation

and

intentional

connection. This refiguring of abstraction offers a deeper understanding of urban space as a complex, dynamic system, constantly evolving and layered with meaning.

Mode 03 In Archival Drawing, I explore the complexities of architecture and urban history through John Randel’s 1820 Farm Map of Manhattan. I discuss issues

of

archival

violence

and

architectural

neglect, as well as proposals by Jerome Haferd and Mabel Wilson to rethink the role of architects in repairing historical omissions. This prompts a call for architects to actively engage with communities and histories in our work.methods as transformative tools in architectural representation. This journal underscores the subjective nature of architectural

Key Readings

Key Readings

Latour, Bruno. “Seven Objections Against Landing

Alonso, Pedro Ignacio. ‘Mountaineering’. AA Files,

on the Earth.” In Critical Zones: The Science and

no. 66 (2013): 81–86.

Politics of Landing on Earth, 12-19. Cambridge, MA:

Varnelis, Kazys. ‘The Potential of Passaic’. Thresholds,

MIT Press, 2020.

no. 36 (2009): 72–77.

Salgueiro Barrio, Roi and Gabriel Kozlowski. “Cutting

Marullo, Francesco. ‘To Desert’ Log, no.55 (2022):

the Earth: Seven Cases of the Planet in Section.” Log,

121-130

no. 51 (Winter/Spring 2021): 63-74.

Renken, Anna. ‘Reassessing Critical Zones’ Log, no.51 (2021): 61-62.

practice and calls for a repositioning of architects as agents of repair, actively involved in engaging with communities and histories in our work.

51

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GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

B R I E F 02 //

AD_D SCAT

ESSAY

VISUAL BOUN DARI ES: BLURS, SPLITS + FRAM ES

AD_A

[MArch 2]

AMPL

Key Images

Task

AD_H REP

An illustrated essay (approximately 3,000 words

Extract 1:

+ abstract + references + captions) that explores a topic of your choice, arising from the seminars and readings. The essay is not intended to be a comprehensive analysis or overview of the material covered in the seminar option, but rather an investigation of a specific topic connected to it that interests you. [above] ‘A Massive Fog Machine’

In this sense, the drawings of Blur are perhaps

[1]Diller + Scorfidio. ‘Blur Building’ (Website) Last

being limited to the more concise title of Blur, this

most effective when viewed in conjunction with the

accessed 10th May 2023. https://dsrny.com/project/

pavilion stood as both a physical embodiment and a

accompanying film of the project. Through the use

blur-building

metaphorical representation of a cloud. Its cloud-like

of a diptych shot, the interior and exterior scenes

[2] Diller + Scorfidio. ‘Blur Aerial’ (Website) Last

appearance was entirely contingent on the structure

converge, capturing the mist and fog that swirls and

accessed 10th May 2023. https://dsrny.com/project/

of the pavilion, defying conventional notions of

blurs visitors as they traverse the pavilion. In this

blur-building

volume by eschewing clear boundaries and failing to

composition, the fleeting qualities of the cloud linger,

[3] Diller + Scorfidio. ‘A massive fog machine’ Blur:

delineate space.

preserved within the juxtaposition of frames.

The Making of Nothing (2002): 98.

Initially referred to as a “cloud machine” before

Extract 2:

[4] Diller + Scorfidio. ‘correspondence: structure’ Blur: The Making of Nothing (2002): 82-83.

Abstract: This essay embarks on an exploration of blurs, splits, and frames in the realms of art and architecture, interrogating conventional notions of representation and perception. A visual dialogue is established, bringing together the works of Diller+Scofidio, John Ruskin, J.M.W Turner, Marcel Duchamp, Alexander Brodsky, Peter Zumthor, and James Turrell. The aim is to delve into the complexities of capturing ephemeral phenomena, such as clouds and atmospheric experiences, in static forms. In scrutinizing these diverse artistic and architectural explorations, the essay unveils the multifaceted nature of representation and perception. It calls into question the visual boundaries that confine our understanding, urging us to embrace the fluidity and complexity inherent in capturing the ephemeral and embodying the intangible.

52

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ATR

GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

B R I E F O 2 //

AD_D SCAT

ESSAY

AD_A

[MArch 2]

AMPL AD_H REP

Representing ephemerality poses a challenge in capturing objects and perceptions’ fleeting nature.

John Ruskin proposed simplifying perspective for the sky, but it failed to capture clouds’ motion.

J.M.W. Turner’s paintings, like Pools of Solomon, expressed the ephemeral atmosphere, breaking through perspective’s limits. Ruskin attempted to quantify Turner’s work with a curvilinear system, contradicting

the

cloud’s

nature. Brunelleschi

ingeniously used a conical aperture and mirror to capture the Baptistery’s perspective, omitting the sky.

Extract 1:

Representing ephemerality in a way that captures

Extract 2:

The attempt to deconstruct an image also works to

Key Images

both the nature of objects and a viewer’s perception

question what it is to construct one. While Ruskin’s

of them poses a significant challenge. This challenge

grid was predicated on a split between sky and

[10] Filippo Brunelleschi, ‘Perspective Technique’

has its roots in the 18th-century preoccupation

ground, leading to a plane that worked independently,

(Website) Last accessed 10th May 2023, https://

with exploring the fleeting nature of perception and

this construction of space begins to challenge the

www.sas.upenn.edu/moyer/coursepages/hist308-ren/

the understanding that even stable objects such as

notion of how we describe and construct a view,

data/Alberti.html.

buildings appear different from various viewpoints,

echoing the themes explored in Damisch’s analysis

[11] Shem Louis. ‘Brunelleshi and the re-discovery of

times of day, and to different viewers. This awareness

of Brunelleschi’s painting of the Baptistery of San

Linear Perspective’ (Website) Last accessed 10th May

of perception’s heterogeneity was further complicated

Giovanni in Florence.

2023. https://editions.covecollective.org/content/

by

the

changeability

of

objects

themselves,

highlighting a central problem in representation: how to fix an object in a state of constant change, to capture the evanescence of a cloud.

Key Images [6] John Ruskin. ‘Cloud Perspective (Rectilinear)’, Modern Painters (1888) vol. V plates 64.

[7] The Fitzwilliam Museum. ‘Pools of Solomon,

by Turner’ (Website) Last accessed 8th May 2023.

https://collection.beta.fitz.ms/id/image/

media-1569848515.

[8] John Ruskin. ‘Analytical Sketch of the sky’, Modern Painters (1888) vol. V fig. 83.

[9] John Ruskin. ‘Cloud Perspective (Curvilinear)’, Modern Painters (1888) vol. V plates 65.

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GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

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GC 9

GC 10

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GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

B R I E F O 2 //

AD_D SCAT

ESSAY

AD_A

[MArch 2]

AMPL AD_H REP

Damisch

suggests

clouds, in

their

excessive

Extract 1:

Duchamp’s version of perspective was clearly

nature, challenge perspectival confines, exploring

operative in the conception and creation of Etant

transposing 3D scenes onto a 2D plane. Duchamp’s

Donnes. The figures themselves were deliberately

“Etant Donnes” employs fixed eye-level viewpoints,

designed to appear flattened and foreshortened, a

elevating

limits.

consequence of the fixed eye-level viewpoint inherent

Conversely, Brodsky’s installations merge art and

in perspective. The distant landscape backdrop and

architecture, delving into depth and surface interplay.

the immediate foreground of the door through which

clouds

beyond

perspectival

Extract 2:

This relationship between the two-dimensional plane

Key Images

to the three-dimensional space, the surface of the

one peers are integral components of the illusion. [above] Given: 1. The Waterfall, 2. The Illuminating Gas

pool and the depth of its reflection, sets up a space

[12] Marcel Duchamp. ‘(Given: 1. The Waterfall, 2.

akin to Brunelleschi’s reflection in his depiction of

The Illuminating Gas . . .)’ (Website) Last accessed

the Baptistery, but the rendering of these static

10th May 2023. https://www.artsy.net/article/artsy-

objects held within a grid is more reminiscent of the

editorial-duchamps-work-hold-one-final-secret

Ruskin’s techniques for drawing the sky, only in this

[13] Anne d’Harnoncourt and Walter Hopps. ‘Etant

instance is the sharp outline within this grid are not

Donnés: 1° La Chute d’eau, 2° Le Gaz d’éclairage:

clouds, but silhouettes of the objects held in light –

Reflections on a New Work by Marcel Duchamp’,

an object sky per se. As Brodsky himself puts it, the

Philadelphia Museum of Art Bulletin 64, no. 299/300

“Vienna installation, with this reflection, is also an

(1969): 6, https://doi.org/10.2307/3795242.

attempt to bring the quality of etching into big scale,

[14] Marcel Duchamp. ‘(Given: 1. The Waterfall, 2.

three-dimensional work. So, it’s kind of a drawing.

The Illuminating Gas . . .)’ (Website) Last accessed

Space drawing.”and like any drawing, the closer you

10th May 2023. https://www.artsy.net/article/artsy-

observe its details, “the more you see.” The mystery

editorial-duchamps-work-hold-one-final-secret

surrounding the space, a depth of understanding we

[15]

struggle to grasp creates an interpretive challenge.

Architekturzentrum

It could be said to be a form of slow art, as seen in

Last

the works of James Turrell, juxtaposing flatness with

archdaily.com/375085/alexander-brodsky-at-

depth, stillness with motion.These qualities compel

architekturzentrum-wien-in-2011

ArchDaily. accessed

10th

‘Alexander Wien May

in

Brodsky

at

2011’ (Website)

2023. https://www.

us to engage with the artwork for an extended duration, fostering the expectation of uncovering additional layers of meaning or visual richness.

54

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ATR

GC 1

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GC 5

GC 6

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GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

B R I E F O 2 //

AD_D SCAT

ESSAY

AD_A

[MArch 2]

AMPL AD_H REP

Zumthors Sepentine Pavilion created a vertical

Extract 1:

What unfolded was a construction of space

division, with the sky forming a separate plane,

predicated on a profound division, both laterally

enhancing the ethereal ambiance. Similarly, Turrell’s

and, in the context of Ruskin’s and Brunelleschi’s

Skyspaces merge interior and exterior realms,

renderings of the sky, vertically. The patch of sky

inviting viewers to reevaluate their perception of

occupied a separate plane, distinct from the ground

space. Unlike Zumthor’s enclosed garden, Turrell’s

plane, thereby establishing a unique dichotomy. The

Skyspaces focus on contemplation of the sky itself,

interplay between these distinct realms imbued the

blurring boundaries and expanding visual horizons.

pavilion with an ethereal quality, as the luminous

Extract 2:

Key Images

Skyspaces also work to give material form to a

backdrop of the sky played its part in the theatrical performance of light within the structure.

In the context of Diller + Scorfiodio’s Blur, Turrell’s

[above] James Turrell - Skyspace

formless object, with light opposed to the cloud

[16] James Turrell. ‘Skyspaces’ (Website) Last accessed

assuming a tactile quality.They frame like the camera

10th

lens of there accompanying film. Just as Turner,

turrell-gives-us-an-insight-into-his-roden-crater/v

the painter of light, fascinated Ruskin, Turrell,

[17] ArchDaily. ‘Serpentine Gallery Pavilion 2011’

too, was captivated by the painterly qualities of

Website) Last access 10th May 2023. https://

light. However, Turrell moved beyond traditional

www.archdaily.com/146392/serpentine-gallery-

painting techniques and began to work with light

pavilion-2011-peter-zumthor/whimg0090-press-

itself. The monumental Roden Crater project in

page?nextproject=no

Arizona epitomizes his engagement with light

[18] Sarah Lee. ‘Zumthor’s Serpentine Pavilion’

and transcendent proportions. At Roden Crater,

(Website) Last access 10th May 2023. https://

he sculpts the sky, evoking the concept of “celestial

www.theguardian.com/artanddesign/gallery/2011/

vaulting,” perceiving the sky as a moulded inverted

j un/2 7 /p e t e r- z umt ho r- s e r p e nt in e - p a v i l i on -

bowl rather than a shapeless expanse.Turrell

architecture#img-1

incorporates the immense dimensions of nature,

[19] Guggenheim. ‘James Turrell – Skyspace’

harnessing celestial light and the boundless expanse

(Website) Last accessed 10th May 2023. https://www.

of the sky. The desert assumes a central role serving

guggenheim.org/artwork/4089

as both the context and framing device that envelops

[20] James Turrell. ‘Shadowed Bowl in Grey, 1992’

the entire composition. The absence of building

(Website) Last accessed 10th May 2023. https://

envelope becomes a way to capture the cloud.

www.nevadaart.org/art/exhibitions/james-turrell-

May

2023. https://tlmagazine.com/james-

roden-crater/

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AMPL

MANAGEM ENT, PRACTICE AN D LAW

AD_H REP

AR JA1 1002

[Co urse Aim s ]

[Cours e Synops is ]

[ Le a r n i n g O b j e ctive s]

[Course Organiser]

The course will allow students to:

This course delves into themes highlighted by

LO1

Dr Chris French

1. Acquire understanding of the processes and

RIBA (and ARB), covering economic, legislative,

An understanding of codes of professional conduct,

delivery of design projects, and of project and

organisational, and cultural aspects impacting

practice management, competency and ethics as

practice management.

architectural practice. Lectures explore regulations,

relevant to the role of the architect in the design

professional

the climate crisis, activism, public procurement,

team, and in the context of the construction industry

responsibility and the legal, statutory, and ethical

gender, fees, and representation, shedding light on

within society.

implications of the title of architect.

pivotal issues within the profession. Discussions

GC 6.1, 6.2, 11.1, 11.3 // GA 2.5, 2.7

3. Understand the roles and responsibilities of

address structural practices, architects’ roles in

LO2

the architect in relation to the organisation,

environmental and social concerns, and challenge

An understanding of the roles and responsibilities

administration, and management of an architectural

professional norms. It prompts critical examination

of individuals and organisations within architectural

project and the execution of an architect’s professional

of professionalism, emphasising architects’ societal

project procurement, including the management of

and social responsibilities.

responsibilities

costs and risks, contract administration and post-

4. Develop an awareness and understanding of the

navigating RIBA’s framework and developing

occupancy evaluation.

financial, social and ethical matters bearing upon the

informed

GC 6.2, 10.1, 10.2, 11.1, 11.2 // GA 2.5, 2.6

creation and construction of the built environment.

participants are encouraged to engage with the

LO3

5. Develop an awareness of the changing nature of

profession’s evolving landscape and contribute to

An understanding of the influence of statutory, legal

the construction industry, including relationships

societal well-being.

and professional responsibilities on the development

2.

Understand

of

beyond

perspectives

legal on

obligations.

architectural

By

issues,

of architectural design projects.

modern-day building procurement.

GC 4.3, 6.1, 10.3, 11.1 // GA2.5, 2.6, 2.7

Francisco Frankenberg Garcia [FFG]

56

concept

between individuals and organisations involved in

[Contributions] Lewis Murray [LM]

the

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

AMPL

[2023] AM P L

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MAN AGE M E N T, P RACT I C E & L AW

AD_C

[MArch 1]

ATR

GC 1

GC 2

GC 3

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GC 5

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GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

OVE RVI E W //

AD_D SCAT

COU RSE REPORT

AD_A

[MArch 2]

AMPL

Task(s)

AD_H REP

1. Critical Contemporary Practices Essay

Key References of the Report

A critical, researched response to one of the course

‘Architectural Salary Guide | 9B Careers’. Accessed

lectures in the form of a Critical Contemporary

16 December 2023. https://www.9bcareers.com/

Practice(s) essay. The essay is intended to encourage

careersupport/salary-guide.aspx.

the development of research competency and critical thinking. In addition to making reference to the key

GOV.UK. ‘Green Paper: Transforming Public

readings and supporting texts listed in this syllabus, I

Procurement’, 15 December 2020. https://www.

was encouraged to pursue my own research, contact

gov.uk/government/consultations/green-paper-

organisations and individuals who are concerned

transforming-public-procurement.

with the themes under discussion, and develop my own reading and resource lists.

Highfield, Anna. ‘Who Pays the Most? Pay 100 Publishes Latest Salary Survey’. The Architects’

2. Three Thematic Reflections

Journal (blog), 1 November 2023. https://www.

Three short reflections on three other lectures in the

architectsjournal.co.uk/news/who-pays-the-most-

lecture series which are chosen from the lectures to

pay-100-publishes-latestsalary-

guide these reflections whilst remaining informed by

survey.

my own interests and sense of the urgencies affecting contemporary architectural practice.

‘How Do Architects Calculate Their Fees’. Accessed 17 December 2023. https://www.architecture.com/

3. Contractual Scenario Response

working-with-an-architect/how-do-i-calculate-an-

A response to one of the contractual scenarios

architects-fees.

explored through the Contract Workshops. This takes the form of a file note for my practice records,

‘What Does Our Business Benchmarking Report

documenting the relevant factors guiding my

Tell Us about Architects’ Salaries’. Accessed 16

response (the circumstances guiding my decision, the

December

events and dates that impact this decision, and the

staticpages/10290/what-does-our-business-

contractual clauses relevant to this decision), and a

benchmarking-report-tell-usabout-

formal response to a relevant party involved in the

architects-salaries/.

2023.

https://jobs.architecture.com/

scenario, in this example, a letter to the client and member of the design team outlining an appropriate course of action.

57

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GC 8

GC 9

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GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

STUDY 01 //

AD_D SCAT

ESSAY

HOW MUCH DOES AN ARCH ITECT COST

Essay

Interview with Neil Dall

AD_A

[MArch 2]

AMPL

Summary

AD_H REP

1. Low Pay

2. Economic Context

3.Setting Fees

Title // How Much Does an Architect Cost?

Question // Discuss the links between fees, work,

“I think the sorts of figures indicated from The Pay 100

and wages in the context of recent RIBA surveys

survey indicate fees are just too low across the board and if

(‘Future Trends Survey’, ‘Architectural Market

individuals who are working for practices effectively have

Economics Report’, and so on) monitoring the

to prop up the fees by doing unpaid overtime, then the fees

state of the profession, and debates around the

are just too low. Something needs to change, either the fees

remuneration of architects.

have to go up, to let the salaries go up, or the salaries stay the same and the unpaid overtime stops.”

This essay examines architectural remuneration challenges, emphasising low pay and fee structures

[above] extract from interview with Neil Dall

despite RIBA’s call for fair compensation. Data from The Pay 100 survey reveals persistent issues, including substantial unpaid overtime. Escalating interest rates and declining sectors, like private housing, further strain small practices. Forecasts predict a workload contraction, intensifying fee pressures amid heightened industry competition. Competitive procurement exacerbates fee compression, fostering an unsustainable ‘Race to the Bottom’ culture.

Proposed solutions advocate for standardised fee scales, particularly in public projects, to ensure fair compensation and quality services. Recognising architectural value beyond construction and fostering professional solidarity are key. Industry-wide reform is urged to align compensation with architects’ contributions, requiring

collective

collaboration among stakeholders.

action

and

Extract 1:

According to Pay 100’s data, Foster + Partners pays

Extract 2:

This decline is not uniform but rather pronounced

Extract 3:

Flexibility exists to arrange distinct fee structures

its Part 1 architectural assistants the highest average

in sectors pivotal to architects, witnessing a 2.2%

for different project stages. For instance, a sole

annual salary of £31,000. However, Foster + Partners

decrease in private new housing and a substantial

practitioner like Neil might propose a fixed sum for

is also among the practices where Part 1 assistants

3.9% dip in housing repair and maintenance. 9

RIBA stages 0-4 and subsequently adopt an hourly

claim to be putting in the most unpaid overtime. The

These sectors are particularly crucial for smaller

rate for stages 5-6. This approach mitigates financial

Pay 100’s platform also notes, “Compared to other

architectural practices reliant on housing projects for

risks across the project duration, especially compared

professions in the UK, architectural salaries have

viability.

to percentage-based fees that might inadvertently

remained static in recent years.”

incentivise increased client-driven cost-cutting, potentially leading to more time invested for lower

58

financial returns.

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GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

ST UDY O 1 //

AD_D SCAT

ESSAY

Essay

Interview with Neil Dall

AD_A

[MArch 2]

AMPL AD_H REP

Reflection

4. Competitive Procurement

5. Fixed Fee Scales

6. Recomendations

This topic emerged in response to recent reports

Bibliography

on architect pay, which have sparked significant

‘Architectural Market Economics Reports 2023’. Accessed 18 November 2023. https:// www. architecture. com/knowledge-and-resources/resources-landing-page/architectural-marketeconomics-reports-2023.

‘Architectural Salary Guide | 9B Careers’. Accessed 16 December 2023. https://www.9bcareers. com/career-support/salary-guide.aspx.

‘Building Safety Act 2022’. King’s Printer of Acts of Parliament. Accessed 16 December 2023. https://www. legislation.gov.uk/ukpga/2022/30/contents/enacted.

Douglas, Mary. ‘AJ 19.10.23: Power Out of Restriction’. The Architects’ Journal (blog).

Accessed 16 December 2023. https://www.architectsjournal.co.uk/digital-edition/aj-19-1023-power-out-of-restriction.

GOV.UK. ‘Green Paper: Transforming Public Procurement’, 15 December 2020. https://www. gov.uk/ government/consultations/green-paper-transforming-public-procurement.

GOV.UK. ‘Transforming Public Procurement - Government Response to Consultation’.

Accessed 17 December 2023. https://www.gov.uk/government/consultations/green-papertransforming-public-procurement/outcome/ transforming-public-procurement-governmentresponse-to-consultation.

Highfield, Anna. ‘Who Pays the Most? Pay 100 Publishes Latest Salary Survey’. The Architects’ Journal (blog), 1 November 2023. https://www.architectsjournal.co.uk/news/whopays-the-most-pay-100-publishes-latest-salary-survey.

‘How Do Architects Calculate Their Fees’. Accessed 17 December 2023. https://www. architecture.com/ working-with-an-architect/how-do-i-calculate-an-architects-fees.

‘Inflation and Price Indices - Office for National Statistics’. Accessed 16 December 2023. https://www.ons.gov. uk/economy/inflationandpriceindices.

‘RIBA Future Trends Survey 2023’. Accessed 16 December 2023. https://www.architecture. com/knowledge-and-resources/resources-landing-page/future-trends-survey-2023#availableresources.

‘The Leistungphasen / HOAI Explained. - ARCH x TECTURE - Architekt in Berlin’, 10 October 2022. https:// archxtecture.com/en/hoai-explained.

Waite, Richard. ‘Exclusive: Survey Reveals Architects Were Handed a Real Terms Pay Cut in 2023’. The Architects’ Journal (blog), 13 December 2023. https://www.architectsjournal.co.uk/ news/freezing-salaries-architects-handed-a-real-terms-pay-cut.

———. ‘News Feature: The Era of the Super Low Fee Bid Is Back’. The Architects’ Journal (blog), 6 December 2018. https://www.architectsjournal.co.uk/news/news-feature-the-era-ofthe-super-low-fee-bid-is-back.

‘What Does Our Business Benchmarking Report Tell Us about Architects’ Salaries’. Accessed 16 December 2023. https://jobs.architecture.com/

concern among my peers regarding our future earning potential. The issue of compensation in the architectural profession is multifaceted, reflecting broader

socio-economic

trends

and

systemic

challenges within the field.

Findings Proposed solutions include standardised fee scales for public projects, recognising architectural value beyond

construction,

educating

stakeholders,

and promoting solidarity within the profession.

Industry-wide reform is essential, advocating for fair compensation models that reflect architects’ contributions. Collective action among architects, clients, and industry entities is crucial for a thriving architectural profession.

Extract 4:

59

The implications of this race to the bottom are

Extract 5:

The current architectural market’s prevalence of

Extract 6:

Recognising and responding to the insights gained

profound. Unsustainable fee bids underscore low

fee-undercutting necessitates a fundamental shift

from the Pay 100 survey marks the first step

wages, ultimately leading to compromised services

in project bidding strategies. Perhaps it calls for

toward rectifying these entrenched issues. The

and mistreated staff. As articulated in the interview

the implementation of a fixed fee scale, especially

wage transparency survey provides an incentive for

with Neil Dall, fees based on past project appraisals

on publicly funded projects, serving as a guide for

practices to increase wages and collectively reduce

that rely on unpaid overtime fail to accurately

both architects and clients. This shift is not anti-

undercutting, for which “no one practice is solely

reflect the available resources. The Pay100 survey

competitive; instead, it aims to enhance quality and

responsible”. This initiative necessitates a united

underscores the widespread nature of this issue,

prompt clients to recognise the value architectural

effort within the architectural community and

particularly pervasive in larger architectural practices.

services offer in exchange for the proposed fee.

collaborative endeavours to devise fair fee structures.

[LM] [IW] [IS] [WX] [ZY] [OM] [LF] [DB] [FGG] [XL]

AMPL 004

[2023] AM P L MAN AGE M E N T, P RACT I C E & L AW

AD_C

[MArch 1]

ATR

GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

ST UDY O 2 //

AD_D SCAT

T H EMATI C REFL ECTI ONS

AD_A

[MArch 2]

AMPL AD_H REP

1. Health and Safety

2. Ethics and Purpose

3. Climate Bibliography Reflection 1 Changing Social Attitudes Toward Disability: Perspectives from Historical, Cultural, and Educational Studies. Routledge Advances in Disability Studies. Abingdon, England: Routledge Publisher, 2014.

GOV.UK. ‘Access to and Use of Buildings: Approved Document M’, 7 June 2021. https:// www.gov. uk/government/publications/access-to-and-use-of-buildings-approved-document-m.

McLaughlan, Fiona. “Inclusive Design” Lecture at University of Edinburgh,2023.

Reflection 2 Ewing, Suzanne. “Speaking of Architectural Practice” Lecture at University of Edinburgh, 2023.

Petrescu, Doina. Altering Practices: Feminist Politics and Poetics of Space / Edited by Doina Petrescu. New York: Taylor and Francis, 2006.

‘RIBA Code of Professional Conduct 2021’. Accessed 18 December 2023. https://www. architecture. com/knowledge-and-resources/resources-landing-page/code-of-professional-conduct.

Shonfield, Katherine, Adrian Dannatt, Rosa Ainley, and Muf. This Is What We Do: A Muf Manual / Text by Muf ; Contributions from Katherine Schonfield and Adrian Dannatt ; Edited by Rosa Ainley. London: Ellipsis, 2001.

Reflection 3 ‘2030 Climate Challenge’. Accessed 16 December 2023. https://www.architecture.com/about/ policy/climate-action/2030-climate-challenge.

GOV.UK. ‘Conservation of Fuel and Power: Approved Document L’, 2 February 2023. https:// www.gov.uk/government/publications/conser vation-of-fuel-and-power-approveddocument-l.

‘How BREEAM Works - BRE Group’, 11 April 2022. https://bregroup.com/products/ breeam/howbreeamworks/.

Part Z. ‘Part Z’. Accessed 16 December 2023. https://part-z.uk.

Participation, Expert. ‘Climate Change Act 2008’. Text. Statute Law Database. Accessed 16 December 2023. https://www.legislation.gov.uk/ukpga/2008/27/contents.

Robertson, Craig. “Responsible Specification, Procuring Performance” Lecture at University of Edinburgh, 2023.

60

[LM] [IW] [IS] [WX] [ZY] [OM] [LF] [DB] [FGG] [XL]

AMPL 005

[2023] AM P L MAN AGE M E N T, P RACT I C E & L AW

AD_C

[MArch 1]

ATR

GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

STUDY O 3 //

AD_D SCAT

CONTRACT SC ENA RI O

AD_A

[MArch 2]

AMPL

Scenario 8

AD_H REP

“At a site visit you note that rainwater is ponding on an area of single-ply membraned roof, causing water to back-up and infiltrate, and joints between pieces of the membrane to delaminate. The works, completed by a subcontractor, were valued as part of a previous Valuation compiled by the QS, accepted by you in a previous Interim Certificate, and paid (belatedly) by the client. You have requested that these works be re-done, but the Contractor is arguing that as these works have been paid for and the liability has transferred to the employer. They will only rectify the works should they be paid to do so. Are they entitled to payment?”

61

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AMPL

[2023] AM P L

006

MAN AGE M E N T, P RACT I C E & L AW

AD_C

[MArch 1]

ATR

GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

ST UDY O 2 //

AD_D SCAT

R EG U L ATORY DRAWI NG

AD_A

[MArch 2]

AMPL

Task

AD_H REP

Produce two curated drawings studying and describing how a critically selected precedent (or precedents) responds to aspects of the Planning, Building

Regulations,

Equality

Act

and/or

Construction Design and Management (CDM) regulatory

frameworks.

Explore

how

these

frameworks impact the design of these precedents, or how these precedents change or overturn these frameworks.

Stillpoint by Piers Taylor // Shapped by Planning Constrains & Accessibility Access

Begun: Aug 2010 Completed: Apr 2012 Floor area: 700m2 Sectors: Arts and culture, Office, Residential Total cost: £1.4M Procurement: Traditional JCT contract Address: Old Orchard, Bath, BA1 5BG, United Kingdom

62

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AMPL 006

[2023] AM P L MAN AGE M E N T, P RACT I C E & L AW

AD_C

[MArch 1]

ATR

GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

ST UDY O 2 //

AD_D SCAT

R EG U L ATORY DRAWI NG

AD_A

[MArch 2]

AMPL

Courtyard Arrangement:

Right to Light:

In the centre of Bath’s World Heritage site, Stillpoint

The courtyard layout aligns with historic riverside

The building design prioritises light preservation for

by Piers Taylor is a 600m² mixed-use project that

workshop arrangements, meeting C3 BH6 guidelines

neighbouring buildings. Angled roofs and stepped

includes two residences, an alternative health centre,

in the Bath and North East Somerset Local Plan.

structures ensure sunlight access to Old Orchard

and a martial arts dojo. It took five years to negotiate

It emphasises the preservation of buildings, street

Cottages while providing ample daylight in the new

part wall agreements, planning consents, neighbour

patterns, and historic features contributing to the

development through roof lights. This aligns with

consultations, listed building permits and intricate

Conservation Area’s character. This layout effectively

Policy D2f of the Bath Local Policy, ensuring minimal

access arrangements in order to complete the

divides different programs on-site, centered around a

harm to existing or proposed occupants’ amenities

incredibly difficult project. The urban move is crucial;

shared courtyard.

due to light loss. Additionally, it complies with the

Planning Constrains

AD_H REP

it defines a sequence of constrained and condensed

Prescription Act 1832, protecting surrounding facade

urban areas that end in a courtyard that is open to

windows with Rights to Light, safeguarding 20 years

the public and is encircled by tall buildings. The necessity to preserve sun penetration into all regions

of uninterrupted daylight enjoyment.

Preservation of Roofscape: Privacy / Overlooking:

of the site and to the nearby structures, as well as the requirement to define distinct hierarchies across the

Diminutive massing and form of building maintains

site, dictate the building shapes and preserve clear

the arrangement of roofscape of preservation area,

The development complies with Policy D2 f of the

view corridors throughout the site.

with stepping down to river as per point iii of policy

Bath Local Policy:

C3 BH6 in the Bath and North East Somerset Local Plan (including minerals and waste policies where

“the proposed development will not cause significant

proposals should show: “the impact of the proposed

harm to the amenities of existing or proposed

development on the townscape, roofscapes, massing

occupiers of, or visitors to, residential or other sensitive

and relative scale and importance of buildings in the

premises by reason of increased overlooking”

area” Overlooking to Old Orchard Cottages from the new development is prevented by having windows facing courtyard and river only, ensuring a 20m distance between habitable rooms. The arrangement of dwellings by river bank and the public buildings in other side of courtyard ensure privacy to dwellings.

The private nature of the clinic at ground floor has meant windows facing the road are minimal and narrow.

63

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AMPL

[2023] AM P L

007

MAN AGE M E N T, P RACT I C E & L AW

AD_C

[MArch 1]

ATR

GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

ST UDY O 2 //

AD_D SCAT

R EG U L ATORY DRAWI NG

AD_A

[MArch 2]

AMPL

Approved Document M

AD_H REP

The development does not satisfy Requirement 2.7

The Stillpoint development impressively responds

g in Approved Document M as weather protection

to a number of planning restrictions regarding

is not provided from the exterior across the entrance

conservation and rights to light. However, the

threshold for manual non-powered doors. A type of

accessibility of the public building, and how

canopy at the entrances to the public buildings would

it responds to regulations seems to have been

make the development compliant.

disregarded. Provision of parking, vertical circulation and toilets do not comply with policies in Approved Document M. The drawing highlights these non-

The development does not satisfy Requirement 2.7

compliances and how the building could have

g in Approved Document M as weather protection

complied whilst not affecting other components of

is not provided from the exterior across the entrance

the design.

The development does not satisfy Requirement 5.18 d in Approved Document M as no accessible individual self-contained shower facilities and

threshold for manual non-powered doors. A type of canopy at the entrances to the public buildings would make the development compliant.

changing facilities are available, given that it is a sports facility. The development would comply if an additional changing room/ shower facility were “in mixed use developments part of a building may be used as a dwelling while another part has non-domestic

provided with dimensions appropriate for disabled people.

use. In such cases, if the requirements of Regulations for dwellings and non-domestic use differ, the requirement

The development does not satisfy Requirement 3.24

for non-domestic use should apply in any shared part of

c in Approved Document M as no lift or lifting

the building.”

platform is provided to first floor level (access to Karate Dojo) to provide access to persons with

Approved Document M

impaired mobility. The arrangement has space for the provision of accessible vertical circulation and therefore be compliant with regulation.

64

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AD_A

[2023] GRO U N D I NG NAP LE S

000

STUD I O A

AD_C

[MArch 1]

ATR

GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

AD_D SCAT

[2023]

AD_A

[MArch 2]

AMPL

ARCH ITECTURAL DESIGN [STUDIO A]

AD_H REP

AR C H1 1093

[Cours e Synops is ]

[ Le a r n i n g O b j e ctive s]

[Tutors]

Through Architectural Design Studio A, you are

LO1

Dr Chris French

expected to design and detail a complex building

A sophisticated approach to the programmatic

An understanding of the issues relating to the

Michael Lewis

or series of buildings to a high degree of structural

organization, arrangement

of

question of sustainability, and its concomitant

Neil Cunning

and internal environmental resolution, incorporating

a complex architectural assemblage in a loaded

architectural, technological, environmental, and

a tested, situated attitude toward sustainable

contextual situation (e.g., the built, social, historical,

urban strategies.

design. Your proposals are to be described and

technological, urban, and environmental contexts).

GC 1.2, 5.2, 8.3, 9.1, 9.2, 9.3 // GA 2.1

communicated in clear and appropriate ways. You are

GC 1.1, 1.3, 3.3, 5.1, 5.3, 6.3, 7.1, 7.2, 7.3 // GA 2.1

LO4

to respond to these expectations individually, but this

LO2

A critical understanding of, and ability to present

response may take various forms: you might produce

A knowledge of how to develop the structural,

complex design proposals through appropriate

an individually authored building project; you may

constructional,

and

forms of representation (e.g. verbal, drawing,

develop an individually authored project in dialogue

legislative aspects of a complex building to a high

modelling, photography, film, computer, installation,

with a larger group project; or, where a group are

degree of resolution, with reference to discussions

performance, and workshop techniques).

focusing on one building, may develop and document

with a team of specialised consultants.

GC 1.1, 3.3 // GA 2.2

individual areas of responsibility within the larger

GC 1.2, 1.3, 4.3, 7.1, 8.1, 8.2, 9.1, 9.2, 9.3, 10.3 //

collective scheme. Crucially, the resolution of this

GA 2.3, 2.5

LO3

material,

and

structuring

environmental

building project should be seen as means for you to advance your thesis.

65

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AD_A

[2023] GRO U N D I NG NAP LE S

001

STUD I O A

AD_C

[MArch 1]

ATR

GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

MOVE 05 //

AD_D SCAT

RESETTI NG G ROU N DS

TH E HYDROLOGICAL GUI LD

AD_A

[MArch 2]

AMPL

Task

Synopsis

AD_H REP

Prepare a Briefing Document outlining a proposed

The reason for surface movement is multifaceted. The

site, programme, scale, and schedule for a complex

cities unique topography, featuring a deep aquifer,

public building, carefully situated within the

sloping terrain, and numerous cavities, allows water

theoretical context established by Moves 1-4 and the

to permeate the ground above the tuff. Initially

urban context of Naples (as defined by your thesis

robust, this terrain can gradually shift due to water

projects).

absorption, leading to erosion caused by significant hydraulic gradients. These ongoing, albeit minor,

This document should include:

movements contribute substantially to the erosion of ageing structures and infrastructure.

1. A written description of the project, its setting, and its relevance to the larger thesis.

However, any disruption, such as a rupture in an aqueduct or sewer line overload, intensifies water

2. A site plan and site surveys with selected

infiltration. This amplifies the previously mentioned

photographs, scale drawings, and digital models,

phenomena, potentially culminating in collapses and

describing the project’s immediate environment.

sinkholes, furthering the challenges faced by the area.

3. An overview of the proposed program/functions and a detailed schedule of accommodation, outlining required spaces and their users.

4. A description of the qualities (material, atmospheric, environmental)

and

requirements

(technical, servicing, security) of key spaces.

5. A

drawing/image

of

the

grounding/zone

construction, situating the proposed program within the broader thesis and indicating intended material and tectonic qualities.

66

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AD_A

[2023] GRO U N D I NG NAP LE S

002

STUD I O A

AD_C

[MArch 1]

ATR

GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

MOVE 5 //

AD_D SCAT

RESETTI NG G ROU N DS

AD_A

[MArch 2]

AMPL

Surface Movement

AD_H REP

The Hydrological Guild seeks to address the problems of surface movement caused by water seeping into the porous tuff ridge of Posillipo. This is accomplished through a range of programmes underpinned by a series of retention basins. These strategically placed basins are intended to control excess water during periods of heavy rainfall, reducing soil erosion and stabilising the landscape.

By carefully managing water runoff, The Guild aims to lessen the effects of hydraulic gradients, reducing the burden on infrastructure and contributing to the overall stability of the ridge.

Location Plan The Hydrological Guild

67

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AD_A 003

[2023] GRO U N D I NG NAP LE S STUD I O A

AD_C

[MArch 1]

ATR

GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

MOVE 5 //

AD_D SCAT

RESETTI NG G ROU N DS

AD_A

[MArch 2]

AMPL

Stabilising the Ridge

AD_H REP

The tuff ridge of Posillipo face challenges of shifting climatic conditions and the looming threat of landslides. In response, the thesis proposes an artificial landscape intricately carved into the cliff face. This intervention serves a dual purpose— controlling the aquifer level while shielding the surrounding ground-level buildings from potential flooding.

[above] posillipo ridge with the proposed hydrological guild 68

[LM] [IW] [IS] [WX] [ZY] [OM] [LF] [DB] [FGG] [XL]

AD_A 004

[2023] GRO U N D I NG NAP LE S STUD I O A

AD_C

[MArch 1]

ATR

GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

MOVE 5 //

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

AD_D SCAT

Isometric View

RESETTI NG G ROU N DS

showing the water collection strategy of the hydrological guild

AD_A

[MArch 2]

AMPL AD_H REP

[1] [2]

[1]

stack vent gutter

[2]

laboratory rain collection

[3]

water flow rate channels

[4]

sluice gate

[5]

retention basin 1

[6]

winery rainwater collection

[7]

retention basin 2

[8]

refectory rainwater collection

[9]

retention basin 3

[10]

retaining wall

[3]

[4]

[6] [5]

[7]

[8]

[9]

[10]

69

[LM] [IW] [IS] [WX] [ZY] [OM] [LF] [DB] [FGG] [XL]

AD_A 005

[2023] GRO U N D I NG NAP LE S STUD I O A

AD_C

[MArch 1]

ATR

GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

MOVE 5 //

AD_D SCAT

RESETTI NG G ROU N DS

AD_A

[MArch 2]

AMPL AD_H REP

[1]

[2]

[3] [5]

[4]

Perspective Section CC [6]

through laboratory, winery & refectory

[7]

[8]

[9]

70

[1]

stack vent

[2]

hydrological laboratory

[3]

water flow rate monitoring

[4]

water collection channel

[5]

retention basin

[6]

winery

[7]

refectory

[8]

accommodation

[9]

water overflow channel

[LM] [IW] [IS] [WX] [ZY] [OM] [LF] [DB] [FGG] [XL]

AD_A 006

[2023] GRO U N D I NG NAP LE S STUD I O A

AD_C

[MArch 1]

ATR

GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

MOVE 5 //

AD_D SCAT

RESETTI NG G ROU N DS

AD_A

[MArch 2]

AMPL AD_H REP

71

[LM] [IW] [IS] [WX] [ZY] [OM] [LF] [DB] [FGG] [XL]

AD_A 007

[2023] GRO U N D I NG NAP LE S STUD I O A

AD_C

[MArch 1]

ATR

GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

MOVE 5 //

AD_D SCAT

RESETTI NG G ROU N DS

AD_A

[MArch 2]

AMPL AD_H REP

The Hydrological Guild utilises the existing concrete structure that serves as a support for the viewpoint point adjacent to the church of Sant’Antonio in Posillipo. In its current state of disrepair, it presents a significant hazard to the local inhabitants. Nevertheless, it appears that those who are less privileged to reside in one of the expansive surrounding villas have taken up residence in the ruin.

72

[LM] [IW] [IS] [WX] [ZY] [OM] [LF] [DB] [FGG] [XL]

AD_A

[2023] GRO U N D I NG NAP LE S

008

STUD I O A

AD_C

[MArch 1]

ATR

GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

MOVE 5 //

AD_D SCAT

RESETTI NG G ROU N DS

AD_A

[MArch 2]

AMPL AD_H REP

The Hydrological Guild seeks to address the problems of surface movement caused by water seeping into the porous tuff ridge of Posillipo. This is accomplished through a range of programmes underpinned by a series of retention basins. These strategically placed basins are intended to control excess water during periods of heavy rainfall, reducing soil erosion and stabilising the landscape.

By carefully managing water runoff, The Guild aims to lessen the effects of hydraulic gradients, reducing the burden on infrastructure and contributing to the overall stability of the ridge.

73

[above] exploded isometric of the hydrolical guild

[1]

belvedere stack tower

[2]

conditioned envelope of gallery

[3]

timber & steel primary structure

[4]

laboratory stack vent

[5]

Pine of Naples by J.M.W Turner

[6]

gallery circulation & viewing balconies

[7]

Villa Crespi by Davide Pacanowski

[8]

hydrological laboratory

[9]

amphitheatre

[10]

accommodation vessels

[11]

greco di tufo winery

[12]

refectory

[13]

observation walkway

[14]

pedestrian bridge

[LM] [IW] [IS] [WX] [ZY] [OM] [LF] [DB] [FGG] [XL]

AD_A

[2023] GRO U N D I NG NAP LE S

009

STUD I O A

AD_C

[MArch 1]

ATR

GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

MOVE 5 //

AD_D SCAT

RESETTI NG G ROU N DS

AD_A

[MArch 2]

AMPL AD_H REP

[8]

[2]

[1] [6]

Short Section BB

[3]

[5]

through retention basin, laboratory, auditorium [7]

[1]

viewing terrace

[2]

timber stack vent

[3]

observation walkway

[4]

retention basin

[5]

hydrological laboratory

[6]

concrete stack vent

[7]

amphitheatre

[8]

Chiesa di Sant’Antonio a Posillipo

74

[4]

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AD_A

[2023] GRO U N D I NG NAP LE S

010

STUD I O A

AD_C

[MArch 1]

ATR

B GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

MOVE 5 //

AD_D SCAT

RESETTI NG G ROU N DS

F

AD_A

[MArch 2]

AMPL

C [4] [1]

[3]

[5] [7]

AD_H REP

[6]

[8]

[2] A

A

F

Site Plan at level 8 through exhibition rooms, stack vent & lab office

75

[1]

temporary exhibition room

[2]

stack vent

[3]

exhibition room

[4]

viewing walkway

[5]

sketchbook room

[6]

storage rooms

[7]

concrete stack vent

[8]

lab office B [LM] [IW] [IS] [WX] [ZY] [OM] [LF] [DB] [FGG] [XL]

AD_A 006

[2023] GRO U N D I NG NAP LE S STUD I O A

AD_C

[MArch 1]

ATR

GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

MOVE 6 //

AD_D SCAT

TH I C KEN ED FOOTI NG S

AD_A

[MArch 2]

AMPL

M - Materiality E - Environmental Task

AD_H REP

Through Move 6: THICKENED FOOTINGS you are to focus on the design of a space in contact with the

F - Function C - Contextual

Capture M - Steamed metal + Primary LVL columns + Secondary steel tension wires

E - Holds water collected from the facade and keeps it at a high gravitational potential

F - Collects rainwater runoff and avoids over saturation of the ground below

C - Mirrors the parallel cliff face and frames views towards Vesuvius

city. This should be a space within your building from which a private interior might spill forth into the city, and in which an urban public may gather. It will

Stack

exist as a point of contact between public and private

M - Primary LVL Columns/Beams + Secondary LVL Stressed

spaces. You are to consider and design the relationship

E - Pulls fresh air through and to reduce the need for AC system

between these two spaces, their interpenetrations,

Skin Cassette Panels

F - Provide fresh air to gallery spaces behind C - Supports tuff facade system

how they are kept separate and how this line of separation is consistent with (or distinct from) the thermal or environmental envelope. This relationship

Channel

could be explored physically or digitally, but the final

M - Tuff cladding panels + steel support frame

output for exhibition and submission should take

collection trays

two forms: a large (approximately A0), 1:20 drawing,

E - Provide breathable facade while channelling water into F - Channel and store water C - Mirror cliff face

exhibited in the studio, and a 1:50 or 1:100 study model, exploring a part of the proposed space or a system within which that space is embedded.

Stair

M - CLT steps + LVL Stressed Skin Cassette Panels + Timber cladding

E - Vertical transition through states of atmosphere and moisture F - Circulation + scale (scala)

C - Connects and breaks through the existing concrete belvedere

Enclose

M - Tuff stonework + Concrete retaining wall

E - Create a dry, dark, sheltered space for Turners artwork

F - Protection from the elements + Collection of rainwater in pool

C - Provides a lighting quality to display light sensitive artwork

by Turner

76

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AD_A 01 1

[2023] GRO U N D I NG NAP LE S STUD I O A

AD_C

[MArch 1]

ATR

GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

MOVE 6 //

AD_D SCAT

TH I C KEN ED FOOTI NG S

AD_A

[MArch 2]

AMPL AD_H REP

[1]

[2]

[3]

[4]

[7] [5]

Footing

[6]

throughstack vent, gallery & bains

[8]

[9]

77

[1]

stack vent

[2]

viewing balcony

[3]

upper reception area

[4]

gallery

[5]

ventilated corridoor

[6]

observation walkway

[7]

gallery

[8]

concrete pile foundations

[9]

retention basin

[LM] [IW] [IS] [WX] [ZY] [OM] [LF] [DB] [FGG] [XL]

AD_A

[2023] GRO U N D I NG NAP LE S

013

STUD I O A

AD_C

[MArch 1]

ATR

GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

MOVE 6 //

AD_D SCAT

TH I C KEN ED FOOTI NG S

AD_A

[MArch 2]

AMPL AD_H REP

Floor Construction FC 01

30 mm wood boarding; 60/60 mm battens with insulation; vapour-retarding layer; 15 mm OSB 60/160 mm wood bearers with glass wool 80/120 mm wood bearers with glass wool 300 mm concrete floor slab

EW 02

FC 02

FC 01

5 mm PVC flooring; 70 mm screed 200 mm reinforced concrete slab 100 mm acoustic insulation 20/89 mm oak louvers suspended ceiling FC 02

External Walls EW 02

300mm LVL Beam Stressed skin cassette panel Aluminium angle brakcet flashing tuff panel

78

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AD_A

[2023] GRO U N D I NG NAP LE S

014

STUD I O A

AD_C

[MArch 1]

ATR

GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

MOVE 6 //

AD_D SCAT

TH I C KEN ED FOOTI NG S

AD_A

[MArch 2]

AMPL

[1]

AD_H REP

[2]

[4]

[3]

[6]

[5]

Long Perspective Section AA through retention basin, laboratory, auditorium [7]

[1]

upper arrival area

[2]

viewing balconies

[3]

stack vent

[4]

gallery

[5]

retention basin

[6]

vineyard

[7]

refectory

[8]

retention basin

[9]

lower arrival area

79

[8]

[9]

[LM] [IW] [IS] [WX] [ZY] [OM] [LF] [DB] [FGG] [XL]

AD_A

[2023] GRO U N D I NG NAP LE S

015

STUD I O A

AD_C

[MArch 1]

ATR

GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

MOVE 6 //

AD_D SCAT

TH I C KEN ED FOOTI NG S

AD_A

[MArch 2]

AMPL

External Walls

AD_H REP

EW 03

200 mm tuff stone wall 20 mm cement mortar; sealing layer 30 mm cement mortar, coated 120 mm brick wall, plastered FC 03

Floor Construction FC 03

65/65 mm solid oak handrail 15 mm glass balustrade 10 mm steel plate 9 mm three-ply oak-veneered plinth fascia, 10 mm shadow joint 380/119 mm angled steps: 5 mm oak veneer on 15 mm chipboard 10

EW 03

FC 04

mm composite wood board fixed to concrete structural stairs

FC 04

10 mm finely sandblasted Tuff stone 65 mm heated screed 10 mm impact-sound insulation 40 mm insulation 40 mm polyurethane thermal insulation 220 mm concrete slab

80

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AD_A

[2023] GRO U N D I NG NAP LE S

016

STUD I O A

AD_C

[MArch 1]

ATR

GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

MOVE 6 //

AD_D SCAT

TH I C KEN ED FOOTI NG S

AD_A

[MArch 2]

AMPL AD_H REP

Foundations FC 04

300 mm piperno slab 500mm concrete strip foundation 11500mm concrete pile foundation

FD 01

81

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AD_A

[2023] GRO U N D I NG NAP LE S

017

STUD I O A

AD_C

[MArch 1]

ATR

GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

MOVE 6 //

AD_D SCAT

TH I C KEN ED FOOTI NG S

AD_A

[MArch 2]

AMPL

Roof Construction

AD_H REP

RC 01

0.5 mm tin-plated stainless-steel standing seam roofing 27 mm composite wood boarding 120 mm ventilated cavity underlayer;

RC 01

16 mm fibreboard 2≈ 100 mm mineral-wool insulation vapour-retarding layer; 2 5 mm OSB 100 mm mineral-wool insulation 9 mm 3-ply laminated softwood boarding 320 mm rafters

EW

External Walls EW 01

01

27 mm untreated softwood boarding 2≈ 60 mm mineral wool 16 mm fibreboard; 60/180 mm wood bearers with mineral-wool insulation between 15 mm OSB; 40/60 mm battens with insulation 19 mm 3-ply lam. softwood internal lining

82

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AD_A 018

[2023] GRO U N D I NG NAP LE S STUD I O A

AD_C

[MArch 1]

ATR

GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

AD_D SCAT AD_A

[MArch 2]

AMPL

ST UD I O R EF LECT I ON

AD_H REP

This semester, I successfully developed a thesis through a complex set of socio-cultural history and pressing contemporary urgency (managing water and erosion). These are expressed through a spatially rich architecture that is framed effectively through a larger concern for urban sustainability, with a focus on groundwater, rainwater, run off and soil erosion.

The need for technical resolution this semester encouraged exploration of these wider concerns through the material and technical specification of a building. I feel the specifics of how these concerns were manifest in the technical resolution of the project were detached from other drawings within the project. It could have been clearer how the strategic, material and environmental descriptions are codependant on one another through a further set of drawings. Overall, I feel this semester positioned the thesis well for final resolution in Studio H.

[above] perspective view of the Guild in the tufo ridge 83

[LM] [IW] [IS] [WX] [ZY] [OM] [LF] [DB] [FGG] [XL]

AD_H

[2024 ] GRO U N D I NG NAP LE S

000

STUD I O H

AD_C

[MArch 1]

ATR

GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

AD_D SCAT

[2022]

AD_A

[MArch 2]

AMPL

ARCH ITECTURAL DESIGN [STUDIO H]

AD_H REP

AR C H1 1 174

[Cours e Synops is ]

[ Le a r n i n g Ou tcome s]

[Course Tutors]

The submission for Architectural Design Studio

The ability to develop a research inquiry which

Dr Chris French

H will focus on physical outputs, in the form of

is clearly and logically argued, has awareness of

Michael Lewis

drawings, models and installations in the studio,

disciplinary and interdisciplinary modes of research,

Victoria Bernie

supported by digital documentation. This aims to

draws from specifically defined subject knowledge,

address the distinct focus of Studio H, which is

and is relevant to current architectural issues.

centred on the communication of a considered,

GC 1.3, 2.3, 7.1, 7.2 // GA 2.1

consolidated architectural design-research project.

LO2

LO1

The ability to test hypotheses and speculations in

[Contributions] Daniel Bennett [DB] Francisco Frankenberg Garcia [FFG] Xinyi Liu [XL]

The emphasis is on the closing of a design thesis

architectural design, which may be informed through

inquiry relevant to current architectural issues,

materials, processes and techniques of building,

including testing hypotheses and design speculations

the design and development of cities, histories

at a range of scales. The course seeks to develop

and theories of architecture and the related arts, or

awareness of, ability to recognize, and work with a

management, practice and regulatory frameworks.

guiding research inquiry, and to understand how this

GC 1.1, 1.2, 2.3, 3.1, 3.3, 4.1, 4.2, 7.1, 7.2 // GA 2.1,

informs and is activated by architectural design and

2.3, 2.5, 2.6

urban proposition. It is expected that the course will

LO3

culminate in appropriate presentation of complex

A critical understanding of, and ability to present

architectural and urban and/ or landscape proposals,

complex design proposals in the context of a research

represented as part of an identified research inquiry.

inquiry through appropriate forms of representation (e.g., verbal, drawing, modelling, photography, film, computer, installation, performance, and workshop techniques).

GC 2.2 1.1, 3.3 // GA 2.2

84

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AD_H

[2024 ] GRO U N D I NG NAP LE S

001

STUD I O H

[MArch 1]

ATR

GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

O P E N I N G // AD_D SCAT

F RA M I N G N EA POL I TA N G ROU N DS

SURFACE MATTERS

AD_A

[MArch 2]

AMPL

Task

AD_H REP

The final semester of Grounding Naples allows you to fully contextualise your thesis, achieving architectural clarity across scales and developing finely crafted spatial and material designs. You’ll critically curate and narrate your work, presenting it to Naples and a wider audience. This involves reflecting on and revising previous work to align with your developed thesis, and further exploring the architectural, spatial, and material implications.

Guided by individual and group theses, the semester will center on conversations and reviews rather than prescribed ‘Moves,’ focusing on three scales of work and integrating concepts from Studios C, D, and A. SCALE I: NEAPOLITAN GROUNDS SCALE II: ZONE CONSTRUCTION SCALE III: GROUNDING(S)

85

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AD_H 002

[2024 ] GRO U N D I NG NAP LE S STUD I O H

AD_C

[MArch 1]

ATR

GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

SCAL E 1 //

AD_D SCAT

N EA POL I TA N G ROU N DS

AD_A

[MArch 2]

AMPL

Mapping the Bay

AD_H REP

When mapping our separate material flows in the Bay of Naples, we were able to identify specific site of extreme overlapping ground conditions.

When delineating these forces we developed a joint language of drawing communication as a way of being able to develop joint architectural hybrid figures. The Neapolitan Ground Drawing shows the 1-50,000 mapping generated during this process.

86

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AD_H 003

[2024 ] GRO U N D I NG NAP LE S STUD I O H

[MArch 1]

ATR

GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

SCAL E 1 // AD_D SCAT

N EA POL I TA N G ROU N DS

AD_A

[MArch 2]

AMPL AD_H REP

[above] rastered wall showing surface movement across the bay

87

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AD_H

[2024 ] GRO U N D I NG NAP LE S

004

STUD I O H

AD_C

[MArch 1]

ATR

GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

SCAL E 1 //

AD_D SCAT

N EA POL I TA N G ROU N DS

AD_A

[MArch 2]

AMPL AD_H REP

Following on from the identification of these sites of dense overlapping ground conditions, we were able to generate transects of specific intervention (areas that would be at the behest of most of these forces simultaneously). These transects appear at four separate points down the coast of the Bay of Naples, and each of them has an area within which architectures are proposed, as well as a wider area.

This wider area contains the data of these forces in full. As a result the area of specific interest not only sits within these transects but also pulls in the forces from a wider field of research.

88

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[2024 ] GRO U N D I NG NAP LE S ST UD I O H

005

AD_C

[MArch 1]

ATR

GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

SCAL E 2 //

AD_D SCAT

ZON E CONSTRU CTI ON

AD_A

[MArch 2]

AMPL

Task

AD_H REP

The ZONE CONSTRUCTION invites an articulation of an urban network of projects and sites, of territories with shifting and fixed atmospheres, qualities, and conditions within which your architectural projects operate. It asks you to propose urban and spatial moves through which your architecture instigates specific atmospheres. It speaks to the relationship between architecture and the city, its morphology, density, and topography.

Response Across the tuff ridge, four monitoring zones observe surface movement, each focusing on specific geological and infrastructural phenomena:

Landmovment Risk

1. Landslides triggered by groundwater changes, seismic activity, and human interference.

2. Sinkholes caused by the dissolution of soluble rocks or the collapse of underground cavities.

3. Aquifer rebound, where the ground level rises as the aquifer’s water level recovers.

4.

Deterioration

of

buildings

due

to

age,

environmental conditions, and poor construction practices.

High Medium Low UNESCO Boundary Sewerage Network Cavities

89

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AD_H

[2024 ] GRO U N D I NG NAP LE S

006

ST UD I O H

AD_C

[MArch 1]

ATR

GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

SCAL E 2 //

AD_D SCAT

ZON ES

AD_A

[MArch 2]

AMPL AD_H REP

[Zone 1 ] Parco dei Ventaglieri Meteorological Observatory Painting Studio Belvedere

[Zone 2] Chiesa della SS. Trinità delle Monache Stone Yard Drawing Office Belvedere

[Zone 3]

[Zone 4]

Largo Petraio Funicular Station

Belvedere di Sant'Antonio

Water Commission Office

Hydrological Laboratory

Tabbacci

Gallery

Belvedere

Winery Refectory Belvedere

90

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AD_H

[2024 ] GRO U N D I NG NAP LE S

007

ST UD I O H

[MArch 1]

ATR

GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

SCAL E 2 // AD_D SCAT

ZON ES

AD_A

[MArch 2]

AMPL AD_H REP

[above] annotated Ridge Model

91

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AD_H

[2024 ] GRO U N D I NG NAP LE S ST UD I O H

008

AD_C

[MArch 1]

ATR

GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

SCAL E 3 //

AD_D SCAT

GRO U NDI NG S

AD_A

[MArch 2]

AMPL

Task

AD_H REP

GROUNDING(S) articulated a building as a focal point within a broader, charged context, integrating spatial and programmatic agendas within the cityscape of Naples. In Studio H, you are to develop or reposition these outputs, considering both the scale of the body and the building. This will require detailed descriptions of a building project (or projects) at scales appropriate to your thesis, possibly including

detailed

architectures,

architectural

strategies for various situations, or descriptions of an existing context with proposed new architectures.

Response Nestled within the historic Chiesa della SS. Trinità delle Monache, the stone mason’s yard emerges as a bastion safeguarding Naples’ cherished craftsmanship and reverence for heritage. This initiative reflects an acute understanding of the city’s architectural history and the imperative for meticulous conservation - a commitment to stone that requires careful stewardship. The vision extends to the renovation of the churches Nave and altar, once adorned with frescos and the artwork of Ribera.

Location Plan The Mason’s Yard 92

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AD_H

[2024 ] GRO U N D I NG NAP LE S

009

STUD I O H

AD_C

[MArch 1]

ATR

GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

SCAL E 3 //

AD_D SCAT

G ROU N DI NG S

AD_A

[MArch 2]

AMPL

chiesa trinita

[2]

drawing office

[3]

terrace

A2

[4]

draughtsmans office

B2

[5]

water collection gutters

F1

[6]

gantry control room

[7]

ventilated bridge

[8]

gallery walkway

[9]

drafting gallery

[10]

gantry arm

[11]

stone cutting yard

[12]

water collection basin

[13]

stone delivery yard

A1 B4

D1

AD_H REP

[1]

B1

A4

A3

B3 A3 A1 B2 A1

A2

[1]

[2] [3]

[4]

[5]

[6]

[7]

[9] A1

[8]

F1

[10]

[11]

C1

A1

[12] A1

C1

C2

C2

A2

C2

A - Plasters and Mortars

B - Brickwork

C - Wooden Elements

E1 - Metal Elements

A1 - Cement Mortar

B1 - Brick

C1 - Fixtures

E1 - Metal Wedge Nails

A2 - Lime-based Plaster

B2 - Tuff Masonry

C2 - Boards against agents

A3 - Stucco

B3 - Stone Facing

A4 - Frescoes

B4 - Tuff Blocks

A5 - Lime-based Mortar

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C2 E1

[13]

F - Plastic Elements D - Stone Elements

F1 - Electrical Conduits

D1 - Marble

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[above] handdrawn south elevation 94

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Perspective View

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Yard Entrance [1]

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Chiesa della SS. Trinità

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Drawing Office

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Draftsmans Gallery

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Gantry Control Room

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Foremans Office

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Cutting Floor

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[left] view from the draughmans gallery overlooking the stone cutting yard where inricate stone details are replicated on drawing boards above.

[above] view through drafting office overlooking the yard 96

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B

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[above] detail of the dome after the collapse

[3]

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Gallery Plan at Level +1

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cutting through drafting gallery, stone yard and foremans mess

[1]

chiesa trinita

[2]

drafting gallery

[3]

Stone delivery yard

[4]

stone cutting yard

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gantry arm

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water collection basin

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stairs to gantry control room

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ventilated bridge over stone detailing yard

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foremans mess

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[above] rooftop view overlooking The Masons Yard 98

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Perspective Section

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through drawing room, detailing yard & drawing office

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rear access to stone yard

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drawing store room

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water misting jets for stone dust

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stone detailing yard

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water attenuation basins

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ventilated bridge

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water collection gutters & sink

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terrace overlooking quartieri spagnoli

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drawing office

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[above] masons in the stone yard moving tufo blocks into position using a gantry arm. These blocks are then cut to size and water is collected in the basin below.

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ST UD I O R EF LECT I ON

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This semester, the primary focus for conveying a considered architectural design-research project was the installation of physical material in the form of models and drawings for exhibition. Having amassed a significant body of work over the past three semesters, we were tasked with critically reviewing and revising previous work, repositioning it for presentation to a broader audience. I feel I maintained a good balance in both reflective and forward-thinking approaches to how we might install our projects, ultimately leading to a well considered studio installation.

This collective approach to exhibiting the work facilitated the presentation of shared outputs in relation to the individual concerns of projects. I formed a new working group and felt this massively improved the productive output throughout the semester.

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DESIGN REPORT SUR FAC E MATT E RS: [E X ]P OSI NG PARADIGM S FOR A SH I FTI N G GR O UN D

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AR C H1 1069

[Aims]

[Cours e Synops is ]

[ Le a r n i n g Ou tcome s]

[Course Tutors]

The aims are to:

This core module, taken in the second semester of

LO1

the MArch Year 2, requires the student to produce a

The ability to communicate, critically appraise and

Dr Chris French Michael Lewis

1. Construct a design report as a designed object

comprehensive design report that documents in

argue the rationale of a design proposal using text

Victoria Bernie

that effectively, efficiently and eloquently introduces

detail the final studio project they completed during

and image in the context of a printed report.

an architectural design project or design thesis

the MArch Programme.

GC 2.1, 2.3, 3.3 // GA 2.1, 2.4, 2.6

undertaken during the MArch Programme.

LO2 The Design Report sets out the research and design

Demonstration, through architectural design, of the

a

development undertaken, incorporating images

integration of knowledge in architectural theory,

comprehensive design report as a fully referenced

including the key representations of the project

technological and environmental strategies, and an

academic document which demonstrates integrated

itself. The design report should allow the reader

understanding of architecture’s professional and

understanding of a range of architectural issues of

to follow the student’s study process, allowing an

economic context

culture, technology, sustainability, society, professional

understanding of the material examined, decisions

GC 2.2, 2.3, 8.1, 8.2, 9.3 // GA 2.1, 2.2, 2.3, 2.4, 2.6,

practice, value, theory and design and reflects upon

taken, etc. The design report is also a reflective

2.7

aspects of personal architectural practice.

document allowing the students to reflect not only

LO3

on their finished project, but also on key aspects of

The development of transferable design skills and

their methodology and practice.

techniques through the preparation of a sophisticated

2.

Appropriately

structure

and

present

graphic document.

While the report is an academic document that must

GC 1.1, 3.3 // GA 2.2, 2.4

be fully referenced and observe all relevant protocols as set out in the briefing materials issued to students, it is also itself a designed object.

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STR UCT UR E //

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SU RFACE MATTERS

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Format

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The report is to be a designed object as well as an academic document. While this is a digital pdf submission only, the Report will be printed and exhibited during the ECA Graduate Show, and should therefore be conceived as a ready-for-print document. Indeed, after the submission, students will be responsible for printing their Design Reports for exhibition. This is not a submission requirement, and will not affect your mark, but it will be a requirement for inclusion in the ECA Graduate Show.

Response The design report describes a series of Surface Matters concerned with the intensely material nature of the city. Through a collection of projects along the ridge extending from the Belvedere di Sant’Antonio a Posillipo at Mergellina where J.M.W. Turner sketched Vesuvius, to the north of Chiaia and up the west of the Quartieri Spagnoli to Parco Ventaglieri, architecture is positioned as a device through which the interplay between structure and substrata is made manifest. The design report works through the thesis via five surface matters, these being: 1. Substrate // Characterising Precarity 2. Particulate // Capturing Suspended States 3. Disrepair // Inhabiting a Ruin 4. Ridge // Mediating Uncertain Ground

Relfection on working Practice within smaller booklet

5. Detail // Defining Architectural Footings

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OVE RVI E W //

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Chapter 1: Substrate

Key Pages:

Key Pages:

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Extract from text: “The geological formation of the volcanic bedrock, combined with the area’s rugged terrain, seismic events, bradyseism, and other natural occurrences, contribute to an inherently unstable ground

Extract 1:

“… an infinitely porous, spongy, or cavernous texture

Extract 2:

““As porous as this stone is the architecture. Building

condition for the city’s foundation, independent of

without emptiness, caverns endlessly contained

and action interpenetrate in the courtyards, arcades,

any human alterations.”

in other cavers: no matter how small, each body

and stairways. In everything they preserve the

contains a world pierced with irregular passages…”

scope to become a theater of new, unforeseen constellations.””

Structure: I. Volcanic Substratum

- Gilles Deleuze and Jonathan Strauss - Walter Benjamin

II. Unstable Ground III. Geology of the City IV. Urban Cavities Group Working Reflection :

Crafting Reflection :

Chapter 2: Particulate Extract from text: “Integral to the exploration of the Naples has been the analysis and interpretation of J.M.W. Turner’s 1819 visit to the city, as documented in his sketchbook ‘Gandolfo to Naples’.”

Structure: V. Constructing a Studiolo VI. Taxonomy of Materials VII. A City Ravine VIII. Turner in Naples IX. The Urban Canopy Layer X. The Meteorological Observatory 105

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Chapter 3: Disrepair

Key Pages:

Key Pages:

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Extract from text: “historic places of worship within Naples’s World Heritage Site zone are at risk of being damaged or destroyed by sinkholes caused by the collapse of underground cavities.”

Extract 3:

“The assessment of the level of degradation forms an

Extract 4:

“The Hydrological Guild seeks to address the

archetype and a material taxonomy for other ruins

problems of surface movement caused by water

Structure:

within the city. This knowledge informs suitable

seeping into the porous tuff ridge of Posillipo. This

XI. Buildings at Risk

interventions and support mechanisms for the city’s

is accomplished through a range of programmes

XII. Decay of Chiesa SS. Trinata

architectural fabric.”

underpinned by a series of retention basins. ”

XIII. Preservation of Craft XIV. Surveying a Ruin XV. The Stone Masons Yard XVI. Occupying the Nave Surveying Reflection :

Drawing Reflection :

Chapter 4: Ridge Extract from text: “Spanning the expanse of this tuff ridge, there exist four distinct monitoring zones that are dedicated to the observation and analysis of surface movement.”

Structure: XVII. A Hydrological Crisis XVIII. A Shifting Surface XIX. Traversing the Ridge XX. The Hydrological Guild XXI. Inhabiting a Belvedere XXII. Stabilising the Ridge XXIII. A Network of Monitoring 106

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Closing Reflection Creating the Academic Portfolio has been an illuminating experience, allowing me to reflect on the work completed during the two-year ESALA Master of Architecture program. This process has highlighted the recurring themes explored through the integrated pathway, revealing an understanding of the material nature of a city from both practical and poetic perspectives.

The Portfolio has been a reflection of the growth in essential skills, techniques, and tools developed to meet the required Attributes and Criteria. These include workshop methods, research skills, and, notably, collaboration with group members. The outcome is a design practice grounded in investigative, dynamic, and performative methodologies. The course has emphasized the importance of understanding social, cultural, and historical practices alongside the technological and material conditions of any given context.

This document clearly demonstrates the crucial role collaboration has played throughout the course, with most modules resulting from joint efforts. Exploring the themes presented across the course through various mediums such as animation, photography, and model making has been highly rewarding. I am confident that the ability to work effectively in teams, while being creatively, theoretically, and technically challenged, has established a solid foundation for my transition from the Part II course to a professional work environment.

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