Feminist Figures Document 2, Manchester School of Architecture

*THIS PDF IS INTERACTIVE. PLEASE CLICK ON THE PAGE NUMBERS IN THE

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CONTENTS TO NAVIGATE TO EACH PAGE AND THE COLOURED BUBBLES (SEEN RIGHT) TO NAVIGATE BACK TO THE CONTENTS*

Contents 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49

Contents and Studio 3.1 Recap The Transition of the Project Title Feminist Modelling Kits The BIG Model The New Project Title: “Active Archive” Faces and Voices Story-telling Spaces Experiencing the ARCH-ive Flexibility and Plurality = Longevity The New Project Title: safety 1:500 Site Axonometric Re-mapping Upper Brook Street Car Park // Skate Park // Safe to Park The BIG Small Model A Glowing Facade Taking and INTER-Sectional Perspective One to Five Sectional Changes One to Five Changes The BIG Medium Model Unwrapping the Facade 1:200 Ground Floor Plan 1:200 First Floor Plan 1:200 Second Floor Plan 1:200 Roof Plan The New Project Title: Safe and Sustainable Codes & Regs: Part B Fire and Safety Codes & Regs: Part M Accessibility Codes & Regs: Part XX Feminist Standards Codes & Regs: Part XS Design for Children Codes & Regs: Vertical Core Study Green is the New Pink The Community Yard The Community Yard Collage The New Project Title: People and Spaces Physical and Historical Links Detailing the Glass Link 1:5 The Non-Standard Staircase 1:200 North and South Elevations 1:200 Long and Short Sections 1:200 East and West Elevations Experiential Vignettes Experiential Vignettes Experiential Vignettes Experiential Vignettes Ten Final Compositions Thumbnails Project Roadmap Bibliography

* The markers to the RIGHT will be used throughout this portfolio to indicate the node explored on the page and the progression of the project through the pages* ** Pages are not chronologically but to form a narrative of concept through to creation**

Studio 3.1 Recap

Five X Five The diagram below explores five inter-sectional aspects of the project and, of each aspect, five different decisions taken or issues tackled. Local user participation is central to the project and these 25 starting points will act as stems for the design to develop and evolve from in this next stage of the project.

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The BIG Model

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V i s u a l i s i n g S o l i d s a n d Vo i d s i n t h e B u i l d i n g

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The Big Model tests the levels, circulation and internal form of the archive building. The model was constructed from minimal materials at 1:200 scale to explore the form and flow in three dimensions simply and quickly. The model explores the building as a whole, while the vignettes above focus on three key circulation spaces or spaces with particular forms and level changes.

Firstly the archive ‘lobby’ space on the North-Western corner. This space is directly off the main entrance to the building and so is designed to be open, welcoming and easily navigable. The double height space allows visitors to glimpse into the different archive exhibitions above gives the entrance a sense of grandeur. The model helped visual how this double height room might feel at a human scale in three dimensions, and how a visitor may interact with it. The post-production overlaying shows this in a scenario.

Secondly the courtyard space and curving // embracing southern perimeter. This curved wall is a primary feature of the interaction between the Archive and the Pankhurst centre. The courtyard serves as a multi-functional community space that ties the programmes of all four areas of the site together. The layering of space is explored in the vignette and the post production overlaying depicts how visitors may lead separate journeys through the space and yet still be connected by this central area.

Finally the main stair is modelled and explored, with the overlaying highlighting the visibility of this spiralling staircase through the exaggerated picture arched windows. This staircase links most of the circulation between levels and the different spaces of the archive and is crucial to achieving a natural and easy circulation around the archive.

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F a c e s a n d Vo i c e s Establishing the Archive Contents

Continuing from the first exploration and research into the contents of the archive I decided it was important to piece together what may be displayed and stored in the archive in order to define and develop the spatial properties of the building. In order to determine the artefacts and exhibition pieces, I first needed to research the women that may potentially feature as ‘Feminist Figures’ in the archive. The faces and voices of these local Manchester based women

are documented in the collage above manifesting into several categories of physical things and digital displays that will feature in the spaces. The archive is intended to be ‘active’ and to constantly evolve and change, following current ‘histories’ of local women and so there is an underlying programme of flexibility within the spatial arrangements of artefacts documented above, however the collage helps set a foundational base for the spaces.

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Stor y-telling spaces Routing the Archive Exhibition

Experiencing the ARCH-ive

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Exploring exhibition types

Circulation begins at a central reception and entrance space, overlooked by the mezzanine floor above. The exhibition space is populated by individual digital interactive screens and the listening booths. Alongside a visitor’s board and reception with access to the cafe and central staircase away from the front entrance: encouraging visitor’s to explore the exhibits. Typical of museum layouts the exhibition is intended to be taken in a specific direction and the plan addresses this route encouraging visitor’s one way by obscuring other routes, while leaving them accessible for staff and researchers and for exit in an emergency. The route curves around the building initially following a timeline of feminism with links to Manchester. The route then opens up to a talk and lecture space at the rear, and then connects to the Pankhurst Centre via a glass link, the Pankhurst centre becomes part of the exhibit covering the history of women’s suffrage and Emmeline Pankhurst. The route then snakes back and up a large curving staircase to a non-linear part of the archive.

Crucial to the archive is the use of both digital, analogue and social mediums, bringing an interactive and modern-age layer to the site whilst celebrating the significance of analogue archives and artefacts as story-tellers. The mix of digital and physical is intermittent around the exhibition to keep the route and pace interesting for both adults and children. Digital exhibits include interactive full size touch screens as well as smaller tablet-style screens. The entrance space features individual life-size screens with changing images of ‘local heroes’ who can be voted in and recommend by the public and on the website for the archive. This gives the archive a foundation for interaction with the community and a social presence. Analogue archives will include clothing, banners, artefacts and books and texts that tell the story of the fight feminism in the UK. Alongside the digital and physical and social layers to the archive there is a fourth layer in the listening, recording booths and talk space that allow visitors to tell their own stories and listen to others like them This fourth layer of ‘the personal’ is crucial in creating a sustainable and wellconnected, community-centred building.

Alongside the obvious digital and physical differentiation of the exhibits it is important to consider the sensory experiences of the archive. Using a combination of both visual, audio, tactile and interactive exhibits makes the archive accessible for all ages, abilities and levels of understanding of feminist history. The listening and recording booths are key to this, and add another element beyond the typical majority of visual matter of the archive. The interactive user elements relates the issues of the museum to the visitors and makes the archived material seem relate-able and accessible for anyone despite their past and privileges. The mixture of physical and digital lends itself to using both visual and tactile archives, which makes the journey through the archive interesting and varied. The archive encourages informal visitors who may not have been seeking or intending to learn about feminist history to participate and emerge themselves with the use of audio and oral archives as they require less focus and participation of the visitor and are a easier and less intensive way to enjoy and immerse themselves within the history.

Flexibility + Plurality = Longevity

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Exploring the multi-purpose space

Changing the Floor The central archive exhibition space is designed to be flexible and multi-functional so that the space can be used by the community for a number of events and workshops alongside its primary role as a Feminist Archive. The open plan space allows for temporary dividing walls to be set up and taken away to divide or open up the room. This also feeds into the sustainability strategy which considers longevity and re-use of the archive if and when it no longer serves its purpose in the community.

The diagrams above show a few different arrangements of the space that allow for certain activities: the full archive exhibition, the workshop and talk and the community event such as Book Fair. In order to be a fully flexible space the electricity outlets need to be accessible from all points within the large space and close enough to partition walls to serve digital displays without causing trip hazards. The floor was therefore adapted to feature a raised concrete slab on top of wooden joists which provide service space for electrical wiring connected to flush floor outlets. These changes are not reflected in the previous 1:20 section as they are part of the progression of the project but will feature in future drawings.

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1:500 External A xonometric

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Re-mapping Upper Brook Street

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A key theme in my project alongside the development of the archive space was re-mapping and rethinking Ardwick as a precedent for a vision of a Feminist streetscape. The section into plan map to the left explores a finalised proposal which implements feminist urban planning ideas from the earlier readings and research and fits it into existing planning guidelines in terms of road width/ speed and height standards.

The importance of making our cities and streets safer has become an ever-more relevant and pressing issue in the aftermath of Sarah Everard’s murder when out walking home at night in March 2021. Her death has sparked a new wave of anger towards women’s lack-ofsafety going about our daily lives on the streets we live in, with new statistics emerging that 97% of women have been sexually harassed or assaulted during their lives. The need for change is of course more deeply rooted into societal issues but as architects and planners of the city it is crucial we consider our responsibility to at least create a streetscape that doesn’t make an environment where harassment is easily hidden and gives women a sense of safety and welcome.

Beyond these practicalities the map shows the re-populating of the street by all groups especially those who before now considered the street a dangerous place to walk. Wider pathways, a Dutch-style cycle lane and more frequent crossing points make the road safer to commuters in the day, while increased bus stop points and a resting area make it more accessible for older or disabled people, and high and low level street lighting and separation from vehicle to pedestrian by raised beds make it a safer walk at night.

C A R P a r k // S K AT E P a r k // S A F E t o P a r k

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exploring the concept of introducing skaters into the Grafton Street Car Park

PARK, PARK PUBLIC CITY ARCHITECTURE CALGARY, CANADA 2020

Reclaiming a parking lot as a mixed use Park, that is also a Car park, the colourful scheme allows for free un-programmed use of the space and in-turn transforms a vacant zone of the city into usable public space that is safe and open to all.

The car park on Grafton Street was kept for its convenience of access by car for those visiting the Archive and also for those working in the nearby hospital and Univerisity. While it was kept to make journeys to the site safer and easier, in its architecture the multi-storey space has become a hotspot of crime itself. I am proposing the introduction of several mini skate-parks within the car park, taking some of the surplus floor space and creating flexible and freely open skating space. By introducing skaters to the car park the site is no longer a vacant space and is occupied in a positive way and so would deter potential crimes or anti-social activity. It also gives the local student skater population a space to skate without fearing interference from police or council.

Skateboarding is some what of a ‘gorilla sport’ reclaiming and reusing existing public spaces and reinventing the way they are interacted with, however often faces opposition from council and private landowners resulting in the huge increase in skate deterrent architecture. The flexible spaces within the car park would provide a designated space for skaters to meet but also one that is un-programmed and free enough to allow them to still feel a sense of claiming a part of the city.

PROJEKTS MCR ARCA ARCHITECTS MANCHESTER 2020

A skatepark-cafe-event amalgamation nestled under the Mancunion way in Ardwick. The park is ran by Projekts MCR who teach and train skaters and the park has become a official meeting ground. The Grafton Street Car Park - Skate Park proposal has potential to be part of their expanding network and outreach in the community.

Alongside the addition of mini skate parks, the diagram to the left shows proposals for further changes to the car park to make it a safer space, especially for local women to use. Designated pink spaces on the ground floor close to entrances will go alongside disabled spaces for women who feel nervous parking, to use. Increased interior lighting as well as the removal of some elements of the facade will also allow more visual permeability into the building during the day. Pink spaces are common in some Asian countries such as Japan and have increased lighting , are often near exits and have increased visual permeability.

These additions are purely conceptual proposals and would co-inside with the work of local organisations such as Projekts MCR and Women’s Aid alongside input from local people and the council to be successfully implemented.

The BIG Small Model

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Detailing the Polycarbonate Facade

The Big Small model explores the interior spatial effects of the archive store on the top floor of the archive. This upper floor uses triple layered polycarbonate cladding to reduce UV impact on artefacts and documents whilst allowing researchers and visitors to study in natural lighting, as well as creating a highly insulative envelope to aid with maintaining Passivhaus standard internal environments. The polycarbonate panels are extruded in

a sectional grid that gives the material its translucency and ability to reflect UV rays, this non-linear section is represented by ‘corrugated’ tracing paper, while wooden battens take on the role of the recycled steel frame and aluminium rails that the panels hang from. The sectional corner model explores the layers of the facade and the way that light transmits into and out of the building at different times of day. Giving a subtle light with which

to work by during the day, and then illuminating the surrounding streetscape during the night. The reasoning for the model was to explore this effect in a real-world scenario, rather than through analytic software on a CAD model in order to visual and understand the experiential effect that the material gives to the spaces and the buildings context, rather than regurgitating a set of data or black rendered shadows that do not give a feeling of the

buildings atmosphere. The model utilises rudimentary materials and processes within the context of ‘working-from-home’ but produces a much more successful and thought-provoking understanding and exploration of the buildings interior than that produced under ideal conditions with little ‘hands-on’ modelling, and especially that of the ‘neater’ alternative of a tiny model on a computer screen.

A Glowing Facade

1 . 5 D e t a i l o f t h e P o l y c a r b o n a t e Wa l l t o R o o f j o i n t

SPE CIFICATION// PERFORMANCE The polycarbonate cladding is intended to melt to allow vent to form in the case of a fire but to maintain its structural integrity. Escape routes are sufficient for all floors and capacity. The specification of the panels, their thickness and U-value is intended to maximise thermal gains while reducing harmful UV rays

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PAINTED WHITE REFLECTIVE BOARDING. hides appearance of insulation through roof, gives impression the roof is also translucent. Reflective material minimises overheating from sunlight and maintains internal temperature key to archive storage ALUMINIUM CAPPING to aesthetically and minimally join the roof to wall polycarbonate panels

ALUMINIUM FRAME visible from the outer walls to highlight the inner structure, and ensure water-tightness. More high quality finish than polycarbonate standing seams.

Made from recycled aluminium EXTRUDED POLYCARBONATE PANELS CURVED INTO ROOF PANELS - gives aesthetic translucency and allows to glow at night.

Prefabricated and also adapted to have as low U-value as possible for improving thermal insulation of the building

FINANCIAL FACTORS Use of polycarbonate panels is the most significant cost reduction in comparison to glass tiles or panels. The prefabricated nature of construction also minimises on-site labour costs while the use of geothermal energy reduces long term maintenance costs of the building

DAMP PROOF MEMBRANE LAYER to aid waterproofing in roof panels where water could enter through seams.

ENVIRONMENTAL THERMOCORK RIGID INSULATION greener choice of insulation made from natural materials still with a low U-value to maximise thermal envelope performance

Alongside the use of Geothermal piles to store and gain natural energy, the thermally efficient envelope reduces energy usage. The embodied carbon is reduced using local material providers and a lightweight easy transport structure and cladding.

SOCIAL

UTS BLACKFRIAR’S CHILDREN’S CENTRE// DJRD + LACOSTE + STEVENSON CHIPPENDALE, AUSTRALIA 2018

The main social driver is the illumination of the building at night to improve street safety. The use of natural ventilation strategy and a considered approach to daylighting makes for enjoyable space and beneficial to wellbeing

AIR GAP AND LIGHTING RIG Led lighting hung in air gap to illuminate street at night. Air gap also increases insulation barrier.

EXTERNAL EXPERTISE The design and detailing of the archive requires a team of specialist input from CABE and THE NATIONAL ARCHIVES who specialise in maintaining and preserving archive material. They will ensure that the internal environment is suitable for archive storage and continue with maintenance and monitoring of the humidity and temperature and its impact on the archive materials.

VENTILATION RIG AND LIGHTING secondary layer to increase illumination glow, ductwork removes stale air through the interior walls

PRIMARY STEEL STRUCTURE hidden within polycarbonate to give seamless and floating appearance to the interior space

SECOND POLYCARBONATE LAYER using a multiwall polycarbonate system maximises the thermal envelope performance and increases the opacity of the building protecting from UV glare.

Detailing the Polycarbonate Cladding is crucial to ensuring it serves its purpose in the Archive: protecting and housing the fragile and special archives stored in the building. The conceptual aims of achieving Passivhaus standard air-tightness and reducing impact of glare and UV rays on the artefacts requires a level of detailing and understanding. I explored this in the 1:5 detail to the left which cuts through the roof to wall corner joint of the polycarbonate cladding. Three layers of the translucent skin in a 10Wall formation act as a very high performing thermal insulation while the click and lock joint connections ensure water-tightness. The translucency of layers are at 30% which protects the interior from UV rays but allows sufficient sunlight to be able to work and read in. Some of the precedent work and research was based upon the details of the Blackfriar’s Children’s centre (above) by DJRD, Lacoste and Stevenson Architects.

Ta k i n g a n I N T E R - S e c t i o n a l P e r s p e c t i v e 1:20

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One to Five FLAT ROOF 1:5 EXTERNAL 2mm BITUMEN MEMBRANE 75mm CONCRETE SLAB 2mm VAPOUR MEMBRANE 300mm RIGID THERMOCORK INSULATION 75mm CONCRETE SLAB CAST INTO 75mm METAL DECKING 254X254 RECYCLED STEEL BEAM PAINTED IN PINK FIRE RETARDANT (EXPOSED SERVICES/LIGHTING) INTERNAL

GREEN ROOF 1:5 EXTERNAL 100mm ENGINEERED SOIL WITH PLANTING FILTER FABRIC 50mm RESERVOIR LAYER MOISTURE RETENTION LAYER 30mm AERATION LAYER 150mm RIGID THERMCORK INSULATION 30mm DRAINAGE LAYER ROOT BARRIER MEMBRANE 275mm CONCRETE SLAB CAST INTO 75mm METAL DECKING 254x450mm PERFORATED RECYCLED STEEL BEAM PAINTED IN PINK FIRE RETARDANT 500mm SERVICE SPACE 25x50mm TIMBER FRAMING 12.5mm SUSPENDED BOARD CEILING WITH LIGHT FIXTURES INTERNAL

WINDOW DETAIL 1:5

BRICK SLIP // PARAPET 1:5

TOP

EXTERNAL

(BEHIND) BRICK SLIP PANEL CREATING ARCH DETAIL ON 15mm MAGNESIUM OXIDE BOARD 3x 6mm E-COATED GLASS TAN TINTED ALUMINIUM FRAME TAN TINTED ALUMINIUM WINDOW CILL COMPRESSIBLE SEALANT LAYER DPC IN BETWEEN TIMBER LINTEL 20mm TIMBER INTERNAL WINDOW SILL

30mm // 10mm POINTED BRICK SLIPS 10mm MAGNESIUM OXIDE BACKING BOARD 50mm STEEL FRAME/AIR GAP 50mm THERMOCORK INSULATION IN-BETWEEN STEEL RAILS VAPOUR MEMBRANE LAYER DPM LAYER 150mm THERMOCORK INSULATION IN BETWEEN STEEL SECONDARY STRUCTURE 12.5mm PLASTERBOARD 5mm CLAY PLASTER FINISH

BOTTOM

INTERNAL

GROUND FLOOR // FOUNDATION 1:5

INTERNAL FLOORS 1:5

TOP

EXTERNAL

65mm SANDBLASTED CONCRETE WITH UNDERFLOOR HEATING PIPES DPM LAYER 300mm RIGID THERMOCORK INSULATION VAPOUR MEMBRANE LAYER 200mm CONCRETE FLOOR BEAM 500mm x3000mm CONCRETE PILE FOUNDATIONS WITH GEOTHERMAL HEATING SYSTEM

65mm SANDBLASTED CONCRETE WITH UNDERFLOOR HEATING PIPES 75mm SPRAY FOAM ACOUSTIC INSULATION IN BETWEEN TIMBER FLOOR JOISTS 75mm METAL DECKING FILLED WITH CONCRETE + 75mm CONCRETE SLAB 500mm SERVICE SPACE 25x50mm TIMBER FRAMING 12.5mm SUSPENDED BOARD CEILING WITH LIGHT FIXTURES

BOTTOM INTERNAL

Sectional Changes 1:20 [in pink]

Changes made to 1:20 section detail come after consultation with a structural engineer during studio. The general wall and structural make up was approved as being sensible, changes included increasing depth ratio from beam to slab, and increasing number of secondary beams (not seen in section).

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One to Five Changes

[changes in pink made after consulation with structural engineers] GREEN ROOF 1:5 FLAT ROOF 1:5

EXTERNAL

EXTERNAL

100mm ENGINEERED SOIL WITH PLANTING FILTER FABRIC 50mm RESERVOIR LAYER MOISTURE RETENTION LAYER 30mm AERATION LAYER 150mm RIGID THERMCORK INSULATION 30mm DRAINAGE LAYER ROOT BARRIER MEMBRANE 275mm CONCRETE SLAB CAST INTO 75mm METAL DECKING 254x450mm PERFORATED RECYCLED STEEL BEAM PAINTED IN PINK FIRE RETARDANT 100mm SERVICE SPACE 25x50mm TIMBER FRAMING 12.5mm SUSPENDED BOARD CEILING WITH LIGHT FIXTURES

2mm BITUMEN MEMBRANE 75mm CONCRETE SLAB 2mm VAPOUR MEMBRANE 300mm RIGID THERMOCORK INSULATION 75mm METAL DECKING FILLED WITH CONCRETE + 75mm CONCRETE SLAB 254X254 RECYCLED STEEL BEAM PAINTED IN PINK FIRE RETARDANT 100mm SERVICE SPACE 25x50mm TIMBER FRAMING 12.5mm SUSPENDED BOARD CEILING WITH LIGHT FIXTURES INTERNAL

Beams were made deeper with less service space and bolting details added

INTERNAL

WINDOW DETAIL 1:5

BRICK SLIP // PARAPET 1:5

TOP (BEHIND) BRICK SLIP PANEL CREATING ARCH DETAIL ON 15mm MAGNESIUM OXIDE BOARD 3x 6mm E-COATED GLASS TAN TINTED ALUMINIUM FRAME TAN TINTED ALUMINIUM WINDOW CILL COMPRESSIBLE SEALANT LAYER DPC IN BETWEEN TIMBER LINTEL 20mm TIMBER INTERNAL WINDOW SILL BOTTOM

a built in window seat was added and the cill height lowered, hatching was removed as not cut

beam depth thickened and service space reduced

EXTERNAL 30mm // 10mm POINTED BRICK SLIPS 10mm MAGNESIUM OXIDE BACKING BOARD 50mm STEEL FRAME/AIR GAP 100mm THERMOCORK INSULATION IN-BETWEEN STEEL RAILS VAPOUR MEMBRANE LAYER DPM LAYER 150mm THERMOCORK INSULATION IN BETWEEN STEEL SECONDARY STRUCTURE 12.5mm PLASTERBOARD 5mm CLAY PLASTER FINISH INTERNAL

beam section made thinner and joint added

GROUND FLOOR // FOUNDATION 1:5 TOP

INTERNAL FLOORS 1:5 EXTERNAL

65mm SANDBLASTED CONCRETE WITH UNDERFLOOR HEATING PIPES DPM LAYER 300mm RIGID THERMOCORK INSULATION VAPOUR MEMBRANE LAYER 200mm CONCRETE FLOOR BEAM CONCRETE PILE FOUNDATIONS WITH GEOTHERMAL HEATING SYSTEM (DEPTH TO BE DETERMINED BY STRUCTURAL ENGINEER AFTER INVASIVE GROUND SURVEY)

65mm SANDBLASTED CONCRETE WITH UNDERFLOOR HEATING PIPES 75mm SPRAY FOAM ACOUSTIC INSULATION IN BETWEEN TIMBER FLOOR JOISTS 75mm METAL DECKING FILLED WITH CONCRETE + 75mm CONCRETE SLAB 254x450mm PERFORATED RECYCLED STEEL BEAM PAINTED IN PINK FIRE RETARDANT 100mm SERVICE SPACE 25x50mm TIMBER FRAMING 12.5mm SUSPENDED BOARD CEILING WITH LIGHT FIXTURES

BOTTOM

INTERNAL

beam depth thickened and service space reduced

The BIG Medium Model

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exploring the brick slip patterning

The Big Medium model explores the detailing of the brick slip cladding on the lower floors of the building. Brick-slips can often look like a cheap and unthoughtful compromise to other stonework/ masonry cladding options. It was important to make the brick slips a playful and yet timeless characteristic of the building facade. The slips are hung in a panellised system mounted on magnesium oxide board, and so allow for patterns to be created where normal brickwork would need to be structural. The bricks frame the arched picture windows uses three outer offsets that allow the window to sit back within the insulation line without creating a sharp recess. The arched ‘frames’ highlight and play with the concept of arched forms that are repeated throughout the design. To give texture and interest to the facade two different brick patterning techniques are used. The top and bottom edges of the walls are flagged by vertically turned bricks to define the edges and perimeters of the solid ‘base’ in contrast to the ‘floating’ top floor.

The lower half of the wall is patterned by alternating thicker brickwork with slim brick slips creating repeated brick sweeps that give the lower walls a tactile playfulness while defining the floor line where the double height windows do not.

The Bricks are designed to match the imperial dimensions of the Pankhurst centre bricks. During the Mid-Victorian era the standard brick dimensions were slightly longer and thinner than current standards and so the brick slips are designed to match to these historic dimensions to create a seamless link with the Pankhurst centre and to be considerate of context and narrative on-site.

Unwrapping the Facade detailing the elevations

Arch Detail

Second Floor

G r o u n d // F i r s t F l o o r

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Polycarbonate Cladding

TACKLING THE CURVE

Peforated Facade for Bike Store

Projecting Brick work

The curved ‘embracing’ facade is a major form and programme influencing move of the design and creates a number of challenges in terms of structural and envelope detailing. The polycarbonate cladding can be bent under heat to form the curves of the facade, and can be extruded around corners to merge the roof and wall panel into one.

The brick slip cladding can be attached onto a curved magnesium oxide board and shaped to form the curve, and is much less complex and time consuming than traditional brickwork. The precedents to the right show examples of both materials in use on curved façades.

MUSEUM OF ENERGY, ARQUITECTURIA, 2011, SPAIN

DE EEKENHOF, CLAUS EN KAAN ARCHITEKTEN, 2008, HOLLAND

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Ground f loor 1 CAFE

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2 CRÈCHE

12 COMPUTER LAB

3 CRÈCHE ENTRANCE

13 READING ROOM

4 EXHIBITION SPACE

14 RESEARCH ROOMS

5 GLASS LINK

15 SPECIAL ARCHIVE STORAGE

6 TALK SPACE

16 RESTORATION ROOM

7 CORES

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8 WC

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9 BIKE STORE

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1O PANKHURST CENTRE

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First f loor 1 CAFE

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Second f loor 1 CAFE

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Roof 1 CAFE

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14 RESEARCH ROOMS

5 GLASS LINK

15 SPECIAL ARCHIVE STORAGE

6 TALK SPACE

16 RESTORATION ROOM

7 CORES

17 DATA STORE

8 WC

18 CRÈCHE PLAY SPACE

9 BIKE STORE

19 COMMUNITY ALLOTMENT

1O PANKHURST CENTRE

20 REFLECTION GARDEN

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CODES & REGS: Part B - Fire Safety & Escape

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POLYCARBONATE CLADDING

THERMOCORK INSULATION

-traditionally considered a highly flammable material and cautioned for use in large exterior cladding the polycarbonate used in the cladding has been especially adapted to soften in the event of a fire providing venting which reduces smoking inside -as a non structural cladding on only the top floor the burning of the cladding would not cause the building to fail

-Thermocork insulation is classed as Euroclass ‘E’ regarded as highly combustible, however this classing should be examined further as it in fact will resist burn through for 60-90min per 40mm [with wall insulation in the archive at average 200mm] compared to less than 10 seconds for extruded polystrene which lies in the same Euroclass ‘E’. Therefore while it isn’t the most fire resistant choice, it is sufficient for the size and scale of the building and both a sustainable and economical insulation.

CODES & REGS: Part M: Accessibility

28 Crucial to the foundational concepts of Feminist// Inter-sectional Architecture the Archive is designed to be fully accessible, with equal considerations for able bodied and disabled people. The entrance space is universal with wide openings and automatic doors, while the floors are kept at one level with minimum width standards kept throughout the exhibit.

The amendments and furthering of the plans displayed to the left show the designing of accessible bathroom space as well as considering access in the lecture theatre space. The Archive goes beyond minimum requirements to provide surplus space and accessible features for all.

CODES & REGS: Part X X: Feminist Standards

Alike to the Wing, the Archive, especially the Cafe space considers women’s usage of the space. Women in architectural ergonomics are typically considered as 80% of men. In reality all bodies, of women and men, are individual and require different spaces and amenities . The cafe provides nursing spaces, should mothers wish to have a more private space to nurse their babies, while baby changing spaces are separate to accessible toilets to give each individual need its own space. Lounging and up-right chairs are provided, with soft and upholstered materials giving the spaces a warm and welcoming feel. Furniture in working spaces and computer rooms are adjustable allowing for people of all heights and sizes to sit comfortably when working. Sight-lines and privacy are both considered with open entrance space with increased street lighting to ensure people feel safe to approach the archive, while spaces inside are divided and sheltered to vary private and communal space. The changes to the plan include changing toilet stall units to individual genderless units to ensure the spaces feel accessible for all. While the addition of resting space on stair landings considers people with limited mobility

CASE STUDY THE WING, LONDON / CHICAGO/ NY LAETITIA GORRA, 2019 A FEMALE-ONLY CO-WORKING SPACE WHICH IS DESIGNED WITH WOMEN INVOLVED AND IN-MIND.

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CODES & REGS: Part XS: Design for Children

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Originally the Crèche space was intended to visually connect with the cafe space through a central glass courtyard. However after considerations of safeguarding this has been adjusted to include a stud-divider wall that allows small visual insights into the space at non-invasive ankle and torso height levels. This maintains some visual connection and nod to an intergenerational space while abiding by safeguarding regulations.

The crèche itself is now also divided further to make it feel more at a ‘child’s-scale’ and help separate a number of programmes and functions in the space.

C O D E S & R E G S : Ve r t i c a l C o r e S t u d y

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Plan key

The stair cores are considered and designed to meet Approved Document K, whilst also providing space for lifts, service risers and storage space.

The run and rise distance is within the maximum ratio and maximum dimensions, while the U-shaped stairway, allows for a break in the run every 12th step and a change in direction which limits potential injury in a fall. The landing spaces also provide over the maximum space for a place of refuge for use during escape in the event of a fire. The core is also full protected for fire escape.

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The Sectional Perspective shows the environmental strategies of the building applied in three dimensional form. The building features two main cores with service risers that distribute electricity and water throughout the building. It uses a mixture of solar and geothermal energy alongside passive strategies to minimise carbon impact through energy usage.

Green is the New Pink environmental strategy

The Communit yard

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designing the garden space Community Allotments -giv ing loc al residents of all ages space to grow their ow n food if they don’t have a g arden. Will org anise g ardening activities and street markets to sell produce

TRENEZIA WATER VILLAGE MASTERPLAN, WAUGH THISTLETON, BERGEN NORWAY, 2019 Sitting within a lake in Bergen City centre, the floating village is designed to be low-carbon and sustainable minimising water usage and wastage.

The homes are mixed generational and each share communal garden spaces that sit nestled within the blocks. These community gardens are the main source of inspiration for the archive courtyard. The garden spaces serve both an elderly persons home, and kindergarten, and also act as allotment space for residents. The purpose of the grow space is to bring together the community and pool resources minimising wastage and also culturing a more sustainable lifestyle in which residents can be self-sufficient and source their produce locally to reduce their carbon footprint.

The Communit-yard bring together the programmes of the archive, the crèche and the Pankhurst Centre and brings in a fourth layer in the form of an allotment space. The courtyard is divided into semi-private and public spaces keeping children sheltered and safe but also allowing interaction between different generations and groups of the community.

The crèche extends into the garden giving children play space to run around and be active, with its perimeter wall providing ‘hidey-holes’, sand pits and insect homes that the children can interact with. Beyond the wall the grow space connects directly to the Pankhurst Centre, building upon the existing work of the Women’s Aid charity and Pankhurst gardens. It has multiple accessible planters, for those with reduced mobility, children and adults and introduces an Arched green house to increase the seasonal usage of the space. The grow space is sectioned by low level planters to allow visual connection back to the archive whilst also giving the space a solid perimeter. The last element of the garden is the reflection space that directly links to the terrace above, seasonal planting and wild flowers are used along a weaving path with different seating areas for rest and reflection. The terrace features a still pool to provide a literal connection to the reflective programme of the spaces.

Crèche Garden A n ex tension of the crèche indoor space, w ith play ing f ield for children to r un and a discover y zone w ith insect houses and bee friendly plants. The curving wall creates separation bet ween the dif ferent zones and abides safeg uarding r ules

Ref lection Space A small court yard garden follow ing a circular plan around a central oak tree. The seating is mi xed in w ith w ild-f lower and seasonal plant ing and fount ains create a quiet space for ref lection af ter v isit ing the A rchive.

The Communit yard designing the garden space

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Physical and Historical Links

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exploring the glass link bridge INITAL CONCEPT SKETCHES

CASE STUDIES CHURCH HOUSE, SUSSEX, UK JOHN D CLARKE ARCHITECTS// ION GLASS COMMON USAGE OF GLASS LINKS ON HERITAGE AND LISTED PROPERTIES HIDDEN JOINT, FRAME INSET INTO LEDGE AND SECURED WITH SILICON[BOTTOM]

The glass link between the new archive building and the old listed Pankhurst Centre serves as a buffer and boundary between the two typologies and sympathetically leads the programme from one to another. Glass links are often used on heritage schemes as a non-invasive extension of the original building that provide a secondary structure whilst maintaining visual connection. Glass acts as a neutral material in the case of the archive separating the cream brick slip cladding and the traditional brick work of the Pankhurst. The glass link whilst considered in terms of materiality had not yet been explored and examined in terms of form and structural connection and stability.

The study over the next two pages explores multiple iterations of the link, trialling double height space against narrow single width glass corridors. The final idea settles on using a double skin of glass with the central walkway following the width of the doorway wall, whilst the secondary wall encloses the entire bay window up to 3m.

The concept stems from being as non-invasive as possible whilst also creating a sense of wrapping around the existing form of the Pankhurst Centre bay window. The space between the two walls is left open as a sheltered garden space in which different seasonal flowers can be planted, and can be accessed by two discreet doorways.

Detailing the Glass Link

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exploring the glass link bridge

The diagrams above explore the conceptual drivers behind the final iteration of the link. The programme continues from the archive into the Pankhurst and so creating a direct route was key. The other main drivers is the mirroring of the Pankhurst centre’s perimeter and the secondary wall not meeting or eroding into the listed building to minimise impact and physical change to the building. The link bridge would have to be approved by a heritage officer, but the concept is taken from

several precedents of glass links on heritage sites and is likely to be approved. The diagrams to the right explore the load path and structural grid of the link. The glass walls and roof are structural and support themselves rather than tying back to the other buildings. The enclosed link sits into a small indented alcove in Pankhurst and is sealed with silicone to make it airtight and watertight. The secondary walls sit just shy of the original building so not to touch but appear enclosed,

1:5 The Non-Standard Staircase

P a r e n t s a n d Yo u n g C h i l d r e n

Visitors and Families

Older and Disabled People

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The NON-STANDARD staircase uses Feminist Design theory of equity and flexibility within the space to accommodate all people regardless of gender, ability or age. The staircase is designed to meet the needs of more than just the STANDARD person on which most architectural objects and finishes are designed for. It ignores the premise that women are 80% of a man in terms of size and instead follows research and data on the average dimensions required by different people. The staircase has three different heights of handrail, allowing everyone from small children to the elderly to use comfortably. It is cast in a single form of concrete and curves and sweeps around itself in the void. The wooden handrail is gentle and warm on hands and illuminated by LED recessed lights to make it obvious to those with visual impairments. The landing space also serves as a resting space for pregnant women and people who struggle with mobility to rest, the wooden bench is carved at different seat heights to be comfortable for different people

North Elevation 1:200

South Elevation 1:200

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East Facing Section 1.200

North Facing Section 1.200 east facing

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north facing

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We s t E l e va t i o n 1 : 2 0 0

East Elevation 1:200

Experiential Vignettes

Inspiring Future Figures

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Reflecting on the Archive

banners displaying upcoming events double height entrance space interactive displays in waiting area bring the archive into the public realm

visual displays using the entire space

circular form to represent reflection and learning exposed structure representing the Feminist Spine

sensory garden with tactile planting, smells and sounds

glimpse into the allotments

seasonal planting done by local volunteers and archive staff

Experiential Vignettes

Nuturing a new generation

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Encouraging change

natural daylight

education and tactile play things

ergonomic childrens furniture breaking the space into corners and zones for activity

private outdoor playspace

local charities and organisations hold talks and workshops

dynamic seating to take away ‘stuffy’ lecture theatre connotation

open to all

accessible seating creating nooks for reading and resting

Experiential Vignettes

Te l l i n g Yo u r S t o r y

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Inter-generational Learning

cultural objects and traditions

recording rooms for visitors to share their own stories

original artefacts or objects from the ‘f igures’ life

interactive exhibitions for both children and adults

led and ran by local students and young people

access to free printing for school children and local people

promoting older people to become familiar with technology

especially relevant in the covid-cautious world where physical meeting is limited

Experiential Vignettes

Uncovering ‘Her-stor y’

Claiming space in the City

polycarbonate facade - blocking UV rays to protect the documents

Collaborative work tables for meetings and group projects

Views into the community garden space accessible upon request

small workspaces for private research

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Specially Insulated space with separate MHVR system

desks for study and individual work

bubble chairs for reading and individual study

Te n F i n a l C o m p o s i t i o n s T h u m b n a i l s

1:1250 Site Axo

External Render

Court yard Render

1:200 Exploded Structural Axo

1:50 Exploded Facade

1:50 Animated Section

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Remapping of the Street

1:20 Section into Elevation

Archive Render

Creche Render

These final images showcase the key theories, concepts and programmes entwined into the archive building and the connection streetscape mapping. I wanted to use a mixture of technical drawings with a personal and playful twist by introducing people and objects to give scale and meaning to the drawings, alongside larger rendered images of the scheme. The renders capture significant aspects and moments within the building and are animated by the local community and visitors who would populate the spaces.

The compositions attempt to weave in the narrative of the community and key people and groups that the archive is designed for. They also highlight my overarching style of working and the developments of my use of Autocad, Revit and also rendering software over the progress of the project and my entire degree. They act as a final summary of the projects ambitions and the progress of both the design and my way of thinking as a Feminist Architect.

Project Road Map

FEMINISM DOESN’T NEED TO BE PINK Although my portfolio might say otherwise, I learnt through this project that the details I drew and the designing I did, did not need to shout about being FEMINIST to be Feminist. It was more about being inclusive in my design and considering people, places, the environment and the city in each design move I made.

E N V I R O N M E N TA L LY FRIENDLY FEMINISM Having already established a general idea of my environmental strategy I needed to dive in deeper and take a Feminist perspective. This meant not thinking of eco-friendly on a surface level but understanding how environmentally friendly can also directly link to the community and the programme of the building increasingly accessibility and the enjoyment of the spaces. The green roof I had initially outlined then developed into an entire strategy: with rain water feeding into community gardens and the increased insulation helping to protect the archived documents.

un-learn

learn

THE TYPICAL PROJECT As before in Studio 3.1 I have had to evolve my outlook on what a typical project looks like. Studio 3.2 takes a step I had never before and revisits a design that on the surface seemed very resolved and it was difficult but important for me to push through my inner resistance to not change anything and embrace doing multiple revisions on my entire design from plan down to door handles

ONE TO ONE SCALE The scale of one to one became even more important at 3.2 as I began diving into the details of the spaces. Except now I didn’t simply want to consider the stereotypical user but also a whole wealth of other people that have a completely different requirements of the space. I learnt to weave universality, accessibility and flexibility into each stage of the project.

THE ORDER OF WORKING Alike to my previous point on unlearning the typical project I had to unlearn the linear way of working I was used to in order to be able to revisit and change things in my design. I learnt the benefits of being looser and less chronological in my work and working through decision making rather than box ticking.

BEING AWARE OF CURRENT AFFAIRS Whilst I was completing this project and working on my ‘remapping’ of Upper Brook Street, in the UK the case of Sarah Everard’s abduction and murder caused an explosion in the media. The same experiences I had felt on the streets of the city were being shared by thousands of other women and demand for women’s safety was dominant with vigils and protests.

CODES AND REGS When studying and revisiting my plans in order to meet regulations I decided to take my design a step further and created my own set of Feminist and Child-Friendly regulations using previous Praxxis student work as precedents. This allowed me to actually design safety and accessibility into my building rather than just making additions to tick boxes.

re-learn

NOT ELIMINATING PEOPLE

BY OVER DESIGNING A crucial part of designing a universal space was not going to far to design for some that I ended up designing out other peoples needs. I worked around this by creating designs with plurality such as the staircase with three handrail levels, and adjustable desks, or open bench seating in the lecture theatre with open accessible spaces.

GOOD THINGS TAKE TIME Doing the Ten Compositions I found quite frustrating as some of the images I wanted to create took several days if not a week to fully complete which meant I felt I wasn’t being productive enough, however the final images are all worth the extra time spent.

reflect

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BEING TECHINCAL

A PORTFOLIO I AM PROUD OF Having finished both Studio 3.1 and 3.2 and looking back I can clearly see the progress I have made in this final year, the confidence I now have in using software I would have ran from a year ago and the perspective on Feminism in Architecture and in Life will be influential on the rest of Architectural career.

evaluate

JUGGLING PORTFOLIOS YOU CAN’T ALWAYS MAKE A PRETTY MODEL I was unable to access to model workshops to make the beautiful final model I had imagined in my head but I learnt the benefit and value of simple handmade (slightly rough an ready) models and using them to inform my design decisions sped up the progress of my project.

TAKING IDEAS ON BOARD I made a number of adaptations to my original design for remapping Upper Brook Street after reading and seeing the media outburst regarding Sarah Everard’s death. Being exposed to other women’s experiences highlighted things I had not seen myself and the project benefited from this plurality of views.

Whilst doing this 3.2 Portfolio I also had to juggle creating Application Portfolios and job searching. This was the most stressful and overwhelming part of my entire degree as I am a planner and I like to know where I am going next and knew I needed to invest time into finding a job without causing detriment to my work. I am proud of my work ethic through those few months and that the stress has since paid off

REFLECTING ON THIRD YEAR Third year has been a blur of countless Lock-downs and too many zoom calls to count, and although I am sad to have never had an in person studio in this final year, I do take away the value that working online has taught me in self-motivation and stamina.

A PROJECT IS NEVER QUITE PERFECT Whilst I am content and proud of my final result there are a few nagging things I wish I could change, however I see this as progress as in reality hundreds and hundreds of changes are made to a design and it can never be perfect (at least not to everyone), but now I am able to take a critical eye to my work and make revisions without feeling as though I am backtracking. I have adapted this year to be less precious and less cautious and to learn from my mistakes and my successes and to take feedback on board which I know will be crucial in my time in Practice next year.

Feminist Technologies was a foreign concept to me at the beginning of Studio 3.2, however through my project evolution I have come to understand the term.

Making decisions about materials, joints and detailing from a one to one perspective considering how they feel and serve the people that use the building and also applying a craddle to craddle strategy to both structure and plan of my building will make it enjoyable, and sustainable.

BEING A COMMUNICATOR I have had to adapt my portfolio most recently, reordering and re-organising pages to make sure it communicates the ideas I had in my head clearly. I have been able to consider how a person outside of the project would be able to understand my work and made sure my images and portfolio are legible to these people also.

Some of this learning came, also, through having to make Application Portfolios and be selective and intentional with which work I displayed.

WHAT KIND OF FEMINIST ARCHITECT DO I WANT TO BE? As I finish my degree and look forward to the next stages of my career I wish to bring the Intersectional approach I have learnt in Praxxis with me. I want to be the kind of architect that considers people, that looks at the scale of a space by the way it feels and makes people feel, and the kind of architect that doesn’t follow rules to tick boxes but goes beyond them to make their buildings accessible and enjoyable for all.

Bibliography

STORY-TELLING SPACES https://mmwonderwomen.wordpress.com/2018/03/05/ellen-wilkinson/ https://www.manchester.ac.uk/discover/news/beatrice-shilling--engineer-and-battle-of-britainheroine/ https://www.historytoday.com/working-woman%E2%80%99s-place https://www.manchestereveningnews.co.uk/news/nostalgia/gallery/way-were-cottonindustry-6085540 https://www.greatermanchester-ca.gov.uk/news/ground-breaking-new-artist-residency-schemeto-explore-lgbt-visibility-in-older-people-s-homes/ https://www.followthehalo.com/features/2018/9/11/neither-here-nor-there-the-new-exhibitionbringing-bme-artists-together-to-confront-anti-immigration-sentiment https://www.greatermanchester-ca.gov.uk/news/ground-breaking-new-artist-residency-schemeto-explore-lgbt-visibility-in-older-people-s-homes/ REGS AND DOCS https://issuu.com/sallyloft/docs/inter_xx https://www.gov.uk/government/publications/access-to-and-use-of-buildings-approveddocument-m https://www.gov.uk/government/publications/fire-safety-approved-document-b TAKING AN INTER-SECTIONAL PERSPECTIVE https://assets.publishing.service.gov.uk/government/uploads/system/uploads/attachment_data/ file/441786/BR_PDF_AD_M2_2015.pdf https://assets.publishing.service.gov.uk/government/uploads/system/uploads/attachment_data/ file/937932/ADB_Vol2_Buildings_other_than_dwellings_2019_edition_inc_2020_amendments.pdf https://www.nationalarchives.gov.uk/documents/information-management/environmentalmanagement.pdf https://www.architype.co.uk/project/hereford-archive-and-records-centre/ https://icon.org.uk/standards-conservation POLYCARBONATE CLADDING https://www.brettmartin.com/~/media/Files/Plastic-Sheets-Documents-English/TechnicalDocuments-English/PST_Prop_Insulation.pdf https://danpal.com/products/controlite/#howitworks https://www.archdaily.com/922735/what-is-exactly-a-polycarbonate-translucent-facade UNWRAPPING THE FACADE https://www.dezeen.com/2011/08/31/museum-of-energy-by-arquitecturia/ https://www.archdaily.com/36446/de-eekenhof-claus-en-kaan-architekten CODES AND REGS https://www.insulationsuperstore.co.uk/help-and-advice/product-guides/insulation/a-guide-tofire-rated-insulation/ http://www.thermacork.com/what https://www.dezeen.com/2020/02/17/the-wing-williamsburg-brooklyn-co-working/ https://www.archdaily.com/946116/the-coven-co-working-space-for-women-studio-bv?ad_ source=search&ad_medium=search_result_projects https://www.planningportal.co.uk/info/200135/approved_documents https://issuu.com/sallyloft/docs/inter_xx https://www.gov.uk/government/publications/access-to-and-use-of-buildings-approveddocument-m

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https://www.planningportal.co.uk/info/200135/approved_documents/80/part_m_-_access_to_ and_use_of_buildings/2#:~:text=Summary,including%20to%20toilets%20and%20bathrooms. https://www.gov.uk/government/publications/fire-safety-approved-document-b CAR PARK - SKATE PARK - SAFE TO PARK https://projektsmcr.com/ https://www.archdaily.com/246526/why-skateboarding-matters-to-architecture?ad_ source=search&ad_medium=search_result_all https://planetgeogblog.wordpress.com/2020/05/20/undercroft-skate-park-a-not-so-temporaryreimagining-of-urban-space/ https://www.archdaily.com/949125/park-park-public-city-architecture?ad_source=search&ad_ medium=search_result_projects COMMUNITY YARD https://www.archdaily.com/951734/yuecheng-courtyard-kindergarten-mad-architects?ad_ source=search&ad_medium=search_result_projects https://www.dezeen.com/2019/06/28/trenezia-masterplan-waugh-thistleton-bergen/ THE NON STANDARD STAIRCASE https://architizer.com/blog/practice/details/floating-staircases/ https://www.allcadblocks.com/a-built-in-handrail-with-hidden-lighting-guides-people-up-thesefloating-stairs/ https://www.allcadblocks.com/design-detail-these-wood-stairs-have-a-handrail-with-hiddenlighting/ https://www.planndesign.com/collection/2299-rcc-and-metal-frame-staircase-hidden-lightingdesign-dwg-detail https://www.dezeen.com/2021/03/18/cnc-cut-plywood-spiral-staircase-tommy-rand-self-buildhouse/?li_source=base&li_medium=bottom_block_1 https://www.dezeen.com/2019/05/31/hapimag-headquarters-hildebrand-concrete-spiralstaircase-office/ GREEN IS THE NEW PINK https://blog.palram.com/construction-and-architecture/why-use-polycarbonate-in-building-andconstruction https://inhabitat.com/imperial-war-museums-passivhaus-targeted-archive-breaks-world-recordsfor-airtightness/ https://www.elementalsolutions.co.uk/passive-archives-and-museums/ https://www.cycling-embassy.org.uk/faq/so-its-all-about-dutch-style-cycle-paths https://impeccabuild.com.au/sustainable-building-materials/#:~:text=Plant%2DBased%20 Polyurethane%20Rigid%20Foam%20is%20the%20eco%2Dfriendly%20version,popular%20 insulation%20material%20Rigid%20Foam.&text=A%20combination%20of%20bamboo%2C%20 hemp,insulation%2C%20furniture%20and%20even%20surfboards. h t t p s : // w w w . j u s t m e n s r i n g s . c o m / E c o - F r i e n d l y - A l t e r n a t i v e - M e t a l s _ c _ 8 7 9 . html#:~:text=Cobalt%2C%20steel%2C%20and%20tantalum%20are,reduced%20risk%20to%20 the%20earth. http://www.reidsteel.com/steel-buildings/eco-friendly/ https://european-polycarbonate-sheet-extruders.prezly.com/sustainable-building-design-withmultiwall-polycarbonate-sheets https://www.epa.gov/chp/what-chp https://soilsmatter.wordpress.com/2015/01/21/how-do-rain-gardens-help-with-storm-water/

THE GLOWING FACADE Herefordshire Archive And Records Centre Architype, 2015, Hereford, Uk Lizigou Red Brick Ceremonial Hall Building Keyworks, Rengarch, 2019, Luoyang, China Sports & Culture Centre Brandlhuber+Emde, Burlon, Dorte Mandrup Arkitekte2006, Coppenhagen, Denmark https://www.brettmartin.com/~/media/Files/Plastic-Sheets-Documents-English/TechnicalDocuments-English/PST_Prop_Insulation.pdf https://danpal.com/products/controlite/#howitworks https://www.archdaily.com/922735/what-is-exactly-a-polycarbonate-translucent-facade https://www.nationalarchives.gov.uk/documents/information-management/environmentalmanagement.pdf https://www.architype.co.uk/project/hereford-archive-and-records-centre/ https://icon.org.uk/standards-conservation https://assets.publishing.service.gov.uk/government/uploads/system/uploads/attachment_data/ file/441786/BR_PDF_AD_M2_2015.pdf https://assets.publishing.service.gov.uk/government/uploads/system/uploads/attachment_data/ file/937932/ADB_Vol2_Buildings_other_than_dwellings_2019_edition_inc_2020_amendments. pdf TEXTUAL Foran, C (2013) How to Design City for a Woman [online] Accessed 10/12/2020 http://www.citylab. com/ commute/2013/09/how-design-city-women/6739/ Kern, L. (2020) Feminist City: A Field Guide, London: Verso Middleton, M (2019) ‘Feminine Exhibition Design’, Exhibtion Vol. 38, no. 2] National Association for Museum Exhibition Sidorova, M., Lammelova, Z., Bainakova, A., Fajmonova, V., Mazzini, M., Stara, K (2016) How to Design a Fair Shared City?

8 short stories based on equitable urban planning in everyday life, Prague: Tiskarna Daniel Sánchez Del Río, E. (2017) Everyday Life Spaces as a tool of empowerment for Low Income Women to own and shape their cities according to their needs and experiences., London: UCL Unknown (2017) Space to Grow., Edinburgh: Scottish Government VIRTUAL INTERVIEWS Structural Consulation, Anna, 12/03/21- conducted through Zoom Skate/car park consulation, John Lee [senior lecturer and lead architect for ARCA], regarding ProjektsMCR skatepark in Mayfield, 18/03/21 - conducted through Zoom