Part 1 Academic Portfolio

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Ephra Charlton Hutchinson MA (Hons) Architecture

Part 1 Academic Portfolio [2018-2022] Ephra Charlton Hutchinson s1862125

MA (Hons) Architecture Part 1 Edinburgh School of Architecture and Landscape Architecture

[2]

My time at the university has facilitated me with a diverse range of skills and attributes by exploration of a mix of media to communicate. Now considering my development, I can see that my work ethic has been inquisitive, thorough and explorative. Almost always underpinned by the understanding of the contextual and thus the environmental and social aspects. Knowledge of technical and engineering solutions has helped form a vital understanding of construction methods which worked with to create a holistic and practicable design, making sound judgements about appropriate material and connection styles.

Edinburgh School of Architecture and Landscape Architecture

[ 2022 ]

Exploration of the theoretical side has helped inform my work thoroughly and it is something that drives me from the beginning of each project. With this grounding I have been able to locate, analyse and scrutinise the wider impact of interventions and of the architect in society. Evaluating evidence of these through reasoned arguments and sound judgement of how they fit within theoretical, social, artistic and cultural architectural dialogue.

This year has been invaluable in my development as an individual in my studying towards becoming an architect, I have undertaken an indepth research covering a wide range of issues which all underpin the role of architecture within society as well as the relevance of regulations, planning and other constraints to the way we design.

I have also engaged with contexts outside my ordinary awareness.

Gaining an insight into theory and cultural drivers for design in other countries. It was also interesting to recieve lectures from both a concrete company Movarcem and Extinction Rebellion in Serbia, these helped locate the differing construction practices, technical

and aestheic requirements. Locating these insights within the context of the UK and Brexit and of COVID19 has also allowed me to consider the professional qualities needed to make decisions about the uncertainty of the construction industry. This was explored in my speculative design brief in Tectonics, and the narrative approach to future world building in the collapse of fossil fuel, introduced a more extreme context of understanding the use of existing structures and what may be easily attainable or readily available in future unpredictablity. Making design decisions in this context has directly changed my approach to supply and demand and has made me think more carefully about material choice and its environmental legacy.

I believe this is also a good example of identifying learning needs and the personal requirement to pursue further education. I have sought ,this year, new ways of enriching my education through my time in EUSAS, ESALA Climate Action, EASA and travelling through Switzerland and Italy to see the Venice Biennale in 2021. Learning from others has been my driver and with a dedicated group of architectural friends I have come to appreciate the boundaries and therefore the opportunities of architectural practice and the academic discipline ,and how they intersect in joyful and sometimes disjointed ways.

Moving forward I am able to take the attributes I have learnt from the entire four years into new contexts confidently, ready to learn new ways of practicing and gain a deeper understanding of what it means to be an architect. Always keeping my interests and skills as a toolkit to support my development.

Ephra Charlton Hutchinson MA (Hons) Architecture

Reflective Statement

Part 1 {MA (Hons) Architecture}

[ 2021 ]

[ 2022 ]

Architecture Dissertation

Architectural Design: Tectonics

Landscapes of Abandonment and Inhabitation

Architectural Design: Logisitics

[ 2020 ]

[ 2021 ]

Academic Portfolio

* Ephra Charlton Hutchinson

Preface

This portfolio is a comprehensive documentation of the academic outcomes produced during the Part 1 MA (Hons) in Architecture course at the Edinburgh School of Architecture and Landscape Architecture (ESALA), University of Edinburgh). It includes design project works, essays, reports and dissertation.

Architectural Practice: Working Learning

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Architectural Practice: Reflection Architectural Design: Explorations

[ Placement ]

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Edinburgh School of Architecture and Landscape Architecture

[ 2018-2022]

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Architectural Theory

[ 2019 ]

[ 2020 ]

Architectural Design: In Place

Architectural Design: Any Place

Technology and Environment 2A: Building Environment

Technology and Environment 2B: Building Fabric

International Development, Aid and Humanitarianism

Urbanism and the City: Past to Present

[ 2018 ]

[ 2019 ]

Architectural Design: Elements

Architectural Design: Assembly

Art and Design: Thinking Through Drawing

Technology and Environment: Principles

Architectural History 1A: Introduction to World Architecture

Architectural History 1B: Revivalism to Modernism

Ephra Charlton Hutchinson MA (Hons) Architecture

Academic Portfolio

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[ GC6 - Understanding of the profession of architecture and the role of the architect in society, in particular in preparing briefs that take account of social factors.] [ GC5 - Understanding of the relationship between people and buildings, and between buildings and their environment, and the need to relate buildings and the spaces between them to human needs and scale.]

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[ GC7 - Understanding of the methods of investigation and preparation of the brief for a design project.]

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[ GC2 - Adequate knowledge of the histories and theories of architecture and the related arts, technologies and human sciences.]

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[ GC3 - Knowledge of the fine arts as an influence on the quality of architectural design.]

[ GC1 - Ability to create architectural designs that satisfy both aesthetic and technical requirements.]

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Edinburgh School of Architecture and Landscape Architecture

[ 2018-2022]

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This diagram outlines the ARB/RIBA criteria which will be referred to throughout the document in red, highlighting the proposed achievement of specific criteria.

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* Ephra Charlton Hutchinson

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

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Part 1 {MA (Hons) Architecture}

[ GC4 - Adequate knowledge of urban design, planning and the skills involved in the planning process..]

[ GC11 - Adequate knowledge of the industries, organisations, regulations and procedures involved in translating design concepts into buildings and integrating plans into overall planning.] [ GC10 - The necessary design skills to meet building users’ requirements within the constraints imposed by cost factors and building regulations.] [ GC9 - Adequate knowledge of physical problems and technologies and the function of buildings so as to provide them with internal conditions of comfort and protection against the climate.]

Ephra Charlton Hutchinson MA (Hons) Architecture

ARB/RIBA General Criteria

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[ GA ]

ability to identify individual learning needs and understand the personal responsibility required for further professional education. knowledge of the context of the architect and the construction industry, and the professional qualities needed for decision making in complex and unpredictable circumstances; and

Part 1 {MA (Hons) Architecture} * Ephra Charlton Hutchinson

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understanding of the alternative materials, processes and techniques that apply to architectural design and building construction;

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ability to evaluate evidence, arguments and assumptions in order to make and present sound judgments within a structured discourse relating to architectural culture, theory and design;

ability to apply a range of communication methods and media to present design proposals clearly and effectively;

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Edinburgh School of Architecture and Landscape Architecture

[ 2018-2022]

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This diagram outlines the ARB/RIBA Graduate Attributes which will be referred to throughout the document in red, highlighting the proposed achievement of specific criteria.

ability to generate design proposals using understanding of a body of knowledge, some at the current boundaries of professional practice and the academic discipline of architecture;

Ephra Charlton Hutchinson MA (Hons) Architecture

ARB/RIBA Graduate Attributes

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[ Page-[ 6 ] Number ]

Course Introduction Navigation:

Title:

Title of exercise/self-named project

Subtitle

Course description with brief and outcomes.

Learning Outcomes:

LO1: Learning Outcome One LO2: Learning Outcome Two LO3: Learning Outcome Three LO4: Learning Outcome Four LO5: Learning Outcome Five

Short summary of the course aims, set/devised brief and intended outcomes

Reflective Statement: Reflection on course in relation to graduate attributes and general criteria.

Student name [Ephra Charlton Hutchinson].

MA stage [Part1]

Ephra Charlton Hutchinson Student Name: MAMA (Hons) Architecture Stage:

studio/module/ seminar title

Title of course

Listed outcomes defined by the school

Course navigation bar: Modules are intialised and organised by year. Where initials are highlighted in red, this responds to the contents of the page and helps to show where this fits within the degree.

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Tutor Name: Tutor Name:

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Year in which course was undertaken

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Project Page Navigation:

Name: Name:

List of those who also worked on the project, this appears in the title and project pages and highlights when and which work is produced collaboratively.

[ Graduate Attributes ]

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Graduate Attributes identified on Page 3 are highlighted in bold to show which apply in the individual course (i.e. Architectural Design: Elements)

General Criteria identified on Page 3 are highlighted in bold to show which apply in the individual course (i.e.

Architectural Design: Elements)

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[TYPE OF PROJECT] Student Name: Ephra Charlton Hutchinson Stage: MAMA (Hons) Architecture

Title of Specific Project Subtitle / Location Beginning of project / description of project

DEVELOPMENT WORK

FINAL DESIGNS CONCLUSIONS

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Elements Architectural Design

Learning Outcomes:

L.O. 1. Awareness of basic architectural elements and issues that inform their disposition in architectural designs.

L.O. 2. Awareness of different dimensions of the design process, from analysis and research individually and in teams to iteration and reflection in the formation of architectural designs.

L.O. 3. Skills in the representation of simple architectural designs, including design process, in the portfolio format

Reflective Statement: This course was a very important introduction into architectural representation that satisfies aesthetic requirements through a mixture of media and with an aspiration of future users needs (GC5) and using appropriate scales to fit the local context of Campbell’s Close. Additionally by taking a critical approach I was able to start to understand the desirable atmospheres and technical conditions favourable to a Writer in a Writer’s Retreat (GC1). Also introducing how to reprecent specific materials and their structural qualities in order to pick the most appropriate (GC8).

These ‘grounded’ further exploration of these skills. well.

Ephra Charlton Hutchinson MA (Hons) Architecture

The first five weeks of the semester worked as a block of short exploratory tasks aiming to introduce five architectural principles: Light and Dark ,2. Mass and Void, Space and Enclosure, Sequence and Threshold, Surface and Texture. This was investigated through the architectural elements/conditions: Ground, Wall and Openings, first in isolation, and then in combination. These were explored through observation and iterative representation, using a variety of tasks and techniques. The second part looked at representing these in architectural conventions (drawing, scale model making) and the third applied these to the design of a small-scale ‘writer’s retreat’ set in the context of Edinburgh’s old town which introduced the dimmension of site into consideration. These were developed in weekly tutorials and reviews.

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Elements (Semester 1)

Architectural Design

[ 2018 ]

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Laura Harty Calum Duncan

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Architectural Design: Elements

Architectural Design: Assembly

Art and Design: Thinking Through Drawing

Technology and Environment: Principles

Architectural History 1A: Introduction to World Architecture

Architectural History 1B: Revivalism to Modernism

Ephra Charlton Hutchinson MA (Hons) Architecture

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Alex Mariiachak Tidings Mazomba-Felix

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[DESIGN] From Cave to Hut: Ground, Wall, Openings Ephra Charlton Hutchinson MA (Hons) Architecture

Studio assembly of group ‘ground’ models.

Drawings and photographs of observed ground conditions.

Individual ‘Ground’, ‘Wall’ and ‘Opening’ model.

This project involved making observational drawings from Edinburgh’s Old Town which in turn, allowed us to produce ‘ground’ models in groups. These were then divided into sections to individually develop ‘wall’ and ‘opening’ conditions.

The steps from observational drawing, to model making, to drawing and re-modeling gave a vital chance to develop the skills manipulating conditions by hand. The maleable nature of clay also was key in understanding the thickness of ground and helped to later understand that architecture does not only rest upon the earth but occupies it.

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Lastly, when exploring the individual model, I was tempted to completely remodel the section I was given with the addition of the curved steel wall. This was discouraged and gave me a useful lesson in building on the strength of what already exists rather than starting again from scratch.

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Elements

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Group ‘ground’ model with Alex Mariiachak and Tidings Mazomba-Felix

Plan and Section of Individual ‘Ground’, ‘Wall’ and ‘Opening’

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[ Collaborators ] Alex Mariiachak Tidings Mazomba-Felix

[ Graduate Attributes ]

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[DESIGN] From Cave to Hut: Space, Scale and Representations

Ephra Charlton Hutchinson MA (Hons) Architecture

This model begins to explore how the ‘ground’, ‘wall’ and ‘opening’ conditions can be represented architecturally through section, plan, elevation and perspective drawings.

And inhabitation through the inclusion of figures. The space is both dynamic and restful, the user is led along a ‘harsh’ wall which funnels them into a seated enclosure that frames the view out into the city. The curve takes the user through the arch and up the mound to level grounf where they get a 360 degree view as well as a sense of power as they walk directly above those entering the space.

Perspectives

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Sequence of Spatial Conditions

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Section

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Architectural Design

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[ Collaborators ] Alex Mariiachak Tidings Mazomba-Felix

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[DESIGN] Writer’s Retreat, Campbell’s Close, Edinburgh A writer’s retreat in the characteristic closes of the Royal Mile required both survey of the site to make a joint site model and drawings. which then informed plans and sections and models.

Ephra Charlton Hutchinson MA (Hons) Architecture

Surveying Campbell’s Close through biometrics

Clay model intitial

Final model exterior

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Initial models of the writer’s retreat proposal in which views would dictate the delineation of rooms. There would be a lounging area with greater privacy and a desk which allowed the user to look out while working. Modelling this in clay worked well to show mass and void, especially in section but did not allow accuracy in floor levels or room heights and it was necessary to model again in another material to convey these.

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Elements

Architectural Design

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Final model

Mass and void conditions in plan and elevation

To the left is the final model constructed in foam board to convey a more accurate width of walls and floors and cleaner understanding of light conditions through measured openings. It takes an entrance at both levels from older examples along the Royal Mile. The upper space can only be accessed by first going outside which forces the change of attitude from working to relaxing before entering the lounging space. The lower levels are darker to allow the user to enter a state of contemplation and focus (as is achieved in the Scottish Parliament Building) to work of writing. Connection and inspiration from the outside world is important however the position of the writer’s studio aims to make it inobtrusive, in order for the writer to watch goings on without being observed themselves.

Final model interior

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Introduction to World Architecture

This course is intended as an introduction of historical architectural practices and examples around the world pre-1800. This included studying Ancient Greek, Egyptian, Roman history and moved to the Middle Ages, Islam, Pre-Columbian America following with the Renaissance in Northern Europe (France, England and Scotland) and Southern Europe in the Italian Baroque. Indian, Chinese and Japanese architecture were visited. The course was concluded by bringing it to the 1800s in the study of English Enlightenment.

Learning Outcomes:

Presentation / Houses and Palaces of Greek Antiquity

Architectural History / 1A

[ 2018 ]

L.O.1: Demonstrate knowledge of the history and theories of architecture and their related arts before 1800.

L.O.2. Demonstrate appreciation of the significance of critical approach to architectural precedent in the context of design.

L.O.3. Demonstrate development of verbal and visual communication skills in key themes of the module demonstration a critical and reflective approach.

James Legard

Reflective Statement: This course was a useful point to start locating my position within the long preceeding architectural tradition. After studying it, I was able to both see the influence of these ancient forms in the way I understood Edinburgh’s buildings as well as in the way I understood material structural qualities. It was interesting particularly to research and evaluate the origin of concrete which has a great influence on the possible forms in the following architectural history course (Revivalism to Modernism). Although I found this more engaging as its application to current life felt more realistic, it did however also highlight how architectural structures develop through a historical canon (GC2). And analysising these structures gave an insight into the socio-historical context and meanings in which architectural designs and urban planning represent as well as impact societies (GC4).

Ephra Charlton Hutchinson MA (Hons) Architecture

Architectural History

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[ Collaborators ] Cecilia Horacek Fin Stewart

[PRESENTATION]

1. The House

Houses and Palaces of Greek Antiquity

Houses and Palaces of Greek Antiquity

Architectural History

[ 2018 ]

Typical House Plan and sketch isometric Ancient Greek homes and palaces varied greatly dependent on location, the earliest houses had a simple plan and constructedcollaboratively, not designated to skilled craftspeople. The focus instead was directed towards temples, theatres and public buildings of the Agora; a display of civil wealth. Part of the rationale behind this would have been the location – and its propensity to earthquakes.

There was just no point in investing in a lavish home that might well be destroyed in several years. One inference might also be that houses usually tended to be self-sufficient - plots of land would be farmed outside of the cities and towns and stored or sold in the market. It was the women and slaves who spent much of their time ‘spinning and weaving’ inside the homes whereas the men worked outside. This focused their attention away from the home and thus any significant architecture. Anothe reading too, would be the case that Greece was a democracy in the 4th and 5th Centuries BC, as in orator Demosthenes’, On Organisation we are to understand that: “The private houses of those in power then were modest and keeping with our democratic ideas of equality”

[ General Criteria ]

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2. The Palace In earlier Minoan and Mycenaean instalments we can see the ‘palace’ form serve as a residence for wealthier aristocracy. One of the most well-known of these was the Palace of Knossos on the island of Crete. The first palace emerged in around 20th or 19th Century BC (The Middle Bronze Age), when, due to some local and regional control of trade, the population could transform from clan-based system to a more hierarchical one, controlled by ‘one or two elites’. Over a period of roughly five hundred years, the complex grew with increasing trade with mainland Greece and Asia Minor. This is a time of prosperity and thus the structure of the palace was built around a culture of trade.

It is important to note what Sir Arthur Evans found was so distinct from what he had seen before, it must be ‘non-hellenic’ therefore his restoration of the remains biases a ‘Minoan’ Bronze Age palace, however it has been later acknowledged that the distinctive features Evans found such as the throne room - were likely remnants from alterations to the second palace (1700), when the mainland Mycenaeans had an administrative role over Knossos (1450). What we know is ts that the palace would have been enclosed by massive walls which were ‘plain and barren, with nothing to indicate the intricacy of design, or marvellous wealth of decoration lavished on the interior’.

These walls, though impressive in their monumentality, were not fortified. The enormity of the structure would require a great deal of planning, skilled craftspeople and organisation, something which indicates a complex social order and a surplus wealth.

The scale of this complex is also imposing, with several additional secondary palaces added later all communicate status and power. Perhaps those considering invasion, would think twice. Instead it could establish its primary role - trade. The ‘long gallery’ was the commercial vein of the palace, flanked by a series of subterranean storage rooms with access to the Great West and and South-westporticoes. Large pithoi (containers) suggest practices for storing oil and wine. As well as these, a small number of vessels, with the very finest in eggshell are argued to be integral parts of large resplendent feasts.

The best vessels were reserved for the patron and the few elite whilst others cemented their roles of varying subordination at the feast.

The courts also formed an important part of palace life, they were spacious and served as public gathering spaces for the community, as resembled in the “Sacred Grove” fresco which depicts ritualistic dancing among trees. Ritual practice was important for Minoans and Mycenaeans on the site as we can see from the ‘throne room’ and ‘lustral basin’ both unique to Knossos. The ‘lustral basin’ was a small room with a sunken floor. These are supposed to be sites of ‘initiation, purification, symbolic descent into the earth, and bathing.’ The throne room too served as an integral part of ritual worship, where offerings would be placed for the deity. Frescoes also depict priestesses and celebrants further illuminating the importance of religious practice and cementing the function of Knossos as a public space.

Evans restoration also extends to the intricate frescoes of the palace, one of the most impressive is that of the ‘Dolphins’. The Minoans appear to be one of the first civilisations to depict animals in their natural context with the absence of humans, this suggests they had a certain wonderment with nature. In another famous piece, there depicts the sport of ‘bull-jumping’ which appears to have been a popular sport and perhaps a reference point for the later myth of Theseus and the Minotaur. Sport as well as ritual practice, trade and indeed ‘art’ were important for the culture’s longevity which remained during the Mycenaean times and was only wiped out in 1100 BC.

Ephra Charlton Hutchinson MA (Hons) Architecture

This was given to the seminar class, we worked on the theme of Houses and Palaces among a group of three, I gave the presentation on Greek examples. Looking at this now, I am able to suprised by the depth with which even the short semester-long course was able to give in terms of insights into the long history of architecture, the place of architects in different societies and the formal origins of many of the examples of neo-classical architecture seen in Edinburgh (Athens of the North).

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Dolphin Frescoes at Knossos

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Plan of the Palace of Minos at Knossus

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[Essay]

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Parthenon

Maison Carree

Arch of Augustus

Pont du Gard

The significant features of Greek temple can be observed at its pinnacle in the

As we can see from a number of examples the post and lintel from was the

main always a child. For what is the worth of human life, unless it

Athenian Parthenon, 447-438 BCE which demonstrates the Greek attention to

extremes of the post and lintel form and gives a feeling of transparency in the

is woven into the life of our ancestors by the records of history?”

detail, creating the perfect form for the viewer by distorting width and distance

opening of the space. Indeed, this is what the Romans are famous for and it

between the columns and the stylobate which would be made convex. The

is through the use of arches and subsequent manipulations of these as vaults

As Cicero expounds, the Romans valued history greatly when con-

colonnade, cella wall, pediment, ascending steps and use of orders would be-

and domes that we can appreciate Roman innovation. It is true that Romans

structing their vast empire. As Kellow notes, Cicero ‘deliberately em-

come motifs in Etruscan temples. Instead of approaching from any angle as with

did not invent the arch - Sear suggeststhey were ‘probably of eastern origin…

ploys the language of growth and maturation on the part of the individ-

the Parthenon, Etruscan wood and mud-brick architecture had only one entry

making a tentative appearance in Hellenistic and Etruscan architecture by the

ual to explain the value of historical knowledge’, this tells us a lot about

point, taking the colonnade and applying it only to the front elevation, creating

fourth century.’ The earliest examples such as the gate at Volterra date from 240

the approach the Romans took to architecture. The expanse of their

a portico approached by stairs. This embedded the ‘isolated’ Greek temple in

BCE and the ‘Arch of Augustus or Gate of Augustus at Perusia (now Perugia), the

empire, with direct contact to the Greeks and Etruscans so much so

o the urban landscape with a distinct axis leading to it. The emphasis instead

second century BCE. The double voussoirs shaping the semicircular true arch

that ‘Etruscan and Greek influence was so overwhelming that Roman

was approach and height which is in turn imitated by the Romans. As we can

would have given the Romans much inspiration when they invaded Perusia.

architecture seems to become for awhile just an Etruscan dialect’,

see in Maison Carree, Nimes, 2 CE, the East elevation is obvious in its axiality

provided an excellent foundation in form and material from which the

as steps lead up to an impressively high portico defined by freestanding Co-

The arch was used to ‘bring grandeur to the public realm as reminders of civic

Romans could build upon. How much of the ingenuity to which they

rinthian orders. The ‘colonnade’ of twenty columns that stretches around the

greatness’ in the form of triumphal arches and in forms social utility. In the case

are credited today was their own creative innovation? How much was

temple is instead engaged with the cella walls so, these become more props

of Trajan’s market, Rome, 98-113 CE the monumental arcade makes use of the

imitation? This essay will discuss the extent to which the Romans’ use

than fully weight-bearing structures. Here the Romans are playing with prec-

vault to divide the space at several levels. It uses concrete to construct a groin

of forms such as the temple, orders and arches and vaults and materi-

edents to create something unique but perhaps not structurally innovative.

vault which defines the central space that is then divided into six further groin vaults supported by flying buttresses, with each shop defined by individual bar-

als such as marble and concrete to drive these forms to new heights.

Year 1 / Semester 1

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2. The Arch

1. The Temple

“To be ignorant of what occurred before you were born is to re-

Architectural History / 1A

Essay / Roman innovation or emulation?

[ General Criteria ]

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This ‘superimposition’ of the orders can be seen in the monumental flavian Colosseum the largest Roman amphitheatre dating from 70 CE, and located in Rome. The structure’s elliptical shape is set into with three tiers of ascending Doric, Ionic and Corinthian orders topped by an attic. These orders however provide no structural support and are purely a facade, a nod to the Greek theatres such as that of Epidaurus, 320-330 BCE of which the amphitheatre evolved. The Romans were able to use superimposition as, instead, they had a new form; the arch and vault which was more flexible than the Greeks’ post and lintel or trabeated structures. These were limited the width between vertical elements as the horizontal lintel would break if not adequately supported.

rel vaults. The new arch and vault here are constructing a completely new idea of space, one adapted to Romes increasing commercial requirements.

Arches and vaults, although not invented by the Romans do show the propensity for Romans to take a form and experiment with it the new forms created by these preexisting ones can certainly be called innovative in the way they deal with problems pragmatically, developing forms to fit alternative uses.

Ephra Charlton Hutchinson MA (Hons) Architecture

[ 2018 ]

How much did the forms and materials of Roman architecture emulate what had come before, and how much did they represent innovation?

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3. Concrete The most famous of all writings on Roman architecture come from that of Vitruvius who sets out six elements of architecture which define the perfect “Roman” building, however, the most prominent examples he uses are recognisably Greek. He obsesses over their classical orders and temple architecture, seeming to cast aside the familiar Roman construc-

Ephra Charlton Hutchinson MA (Hons) Architecture

tions such as the amphitheatre or aqueduct. This suggests that Roman architecture is built on the principle of emulation, a philosophy as - outlined earlier by Cicero - for copying the temple form that was so refined by the Greeks and the emulation of that by the Etruscans which became Pantheon

prominent in Roman architecture. The significant features of Greek tem-

“To be ignorant of what occurred before you were born is to re-

ple can be observed at its pinnacle in the Athenian Parthenon, 447-438

main always a child. For what is the worth of human life, unless it

BCE which demonstrates the Greek attention to detail, creating the per-

is woven into the life of our ancestors by the records of history?”

fect form for the viewer by distorting width and distance between the

Essay / Roman innovation or emulation?

Architectural History / 1A

[ 2018 ]

columns and the stylobate which would be made convex. The colonAs Cicero expounds, the Romans valued history greatly when con-

nade, cella wall, pediment, ascending steps and use of orders would be-

structing their vast empire. As Kellow notes, Cicero ‘deliberately em-

come motifs in Etruscan temples. Instead of approaching from any angle

ploys the language of growth and maturation on the part of the individ-

as with the Parthenon, Etruscan wood and mud-brick architecture had

ual to explain the value of historical knowledge’, this tells us a lot about

only one entry point, taking the colonnade and applying it only to the

the approach the Romans took to architecture. The expanse of their

front elevation, creating a portico approached by stairs. This embedded

Key References

empire, with direct contact to the Greeks and Etruscans so much so

the ‘isolated’ Greek temple in to the urban landscape with a distinct axis

Cicero, Brutus. Orator (Cambridge, 1989).

that ‘Etruscan and Greek influence was so overwhelming that Roman

leading to it. The emphasis instead was approach and height which is in

architecture seems to become for awhile just an Etruscan dialect’, pro-

turn imitated by the Romans. As we can see in Maison Carree, Nimes, 2

Kellow, Gene. ‘The Rise of Global Power.’ Enduring Empire: Ancient Lessons for Global Politics (Toronto, 2009).

vided an excellent foundation in form and material from which the Ro-

CE, the front (East) elevation is obvious in its axiality as steps lead up to

mans could build upon. How much of the ingenuity to which they are

an impressively high portico defined by freestanding Corinthian orders.

credited today was their own creative innovation? How much was im-

The ‘colonnade’ of twenty columns that stretches around the temple is

itation? This essay will discuss the extent to which the Romans’ use of

instead engaged with the cella walls so, these become more props than

forms such as the temple, orders and arches and vaults and materi-

fully weight-bearing structures. Here the Romans are playing with prece-

als such as marble and concrete to drive these forms to new heights.

dents to create something unique but perhaps not structurally innovative.

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Adam, John. Roman Building: Materials and Techniques (London, 1994).

Lay, Mark. Ways of the World: A History of the World’s Roads and the Vehicles That Used Them (New Brunswick, 1992).

Sear, Frank. Roman Architecture (Oxon, 1998).

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Art and Design

Reflective Statement:

The course is made of two main components: a lecture series delivered by diff erent architects, designers, and artists that aim to present different approaches to creative practices and a series of drawing exercises and projects (informed by historical, cultural, and technical guidelines) developed both in small groups and individually. Each projectis structured in diff erent phases and aims at building awareness and confidence in understanding reality and communicating ideas through drawings.

Learning Outcomes: LO. Demonstrate experimental on and fundamental understanding of drawing using a range of techniques and materials.

LO2. Demonstrate an awareness of Art and Design process in researching, testng and developing ideas to find creative solutions.

LO3. Communicate ideas and complete work in a well-structured and coherent way

This was the course I most enjoyed in the first semester as I already had a strong grounding in Art and Design, the part I found challenging was communicating with the group to come to a well informed outcome. It introduced through its lecture series, the cultural, social and intellectual histories, theories and technologies that influence the design of buildings ( GC2); as well as the key role the fine arts has played in the representation styles of those buildings and the interconnectedness of both influencing each other. (GC3). Inhabitation being a key word, this course also helped gain an understanding of the people scale of buildings and how their inhabitation of them and the spaces in between can inform design decisions (GC5).

Ephra Charlton Hutchinson MA (Hons) Architecture

Thinking Through Drawing

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Art and Design

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Observational drawing at the Royal Commonwealth Pool

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Translating observations into representations

Time Royal Commonwealth Swimming Pool Ephra Charlton Hutchinson MA (Hons) Architecture

This brief “Time” investigated recording and communication techniques through observational drawing at the Royal Commonwealth Pool. This individual exercise became a group project where three outcomes were presented in a review style.

This was a group exercise and and helped bring together elements of all of our observations into one drawing. Bringing in the element of time we were keen to explore the different atmospheres through periods of differential use and made a series of drawings responding to this.

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This final set of drawings using collage, paint and thread show a build up of the use in the pool. This gave us a time to reflecting on the needs of a pool and how this tends to run in rhythms throughout the day.

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This exercise explored the inhabitation and light conditions of the building which further allowed the development of an understanding of the needs and aspirations of the building users. Despite having a strong background in fine arts, this course helped to develop an understanding of the connection/relevance of this to architectural discourse and representation.

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[DRAWING] Inside / Outside Main Library, University of Edinburgh

Investigating light conditions through shaded Axonometric drawings

Ephra Charlton Hutchinson MA (Hons) Architecture

As with brief one, the course was split between observation and representation, drawing conditions this time within and without the Main Library, a building by Basil Spence. This was then individually translated into three outcomes.

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Mass and Void: Observational drawings of the Main Library

Interpretating observational drawings through use of mass and void as geometries which were represented in collage.

Stacking the series of axonometric drawings showed the previous element of ‘time’ come through by observing the change in light conditions at different times of the day.

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Assembly This course was divided into two main components, one which explored how the elements in different typologies and materials came together as an assembly of buildings on site. Each building: Kiosk, Mess,

Learning Outcomes:

L.O. 1. Awareness of principles of assembly, materiality, specific constructional and environmental logics and how they inform the design of architecture.

L.O. 2. Capacity to manipulate architectural form in the consideration of interior, exterior space and context in the resolution of simple programmes L.O. 3. Skills in the representation of simple architectural designs, including design process, in the portfolio format.

Reflective Statement: It was through this course I really found my love for quick designs, sketching, drawing and modelling Responding to a site that had such natural possibility was something that I found really engaging and awareness of the site in relation to the local context made me consider which designs were appropriate and which responded to the needs of the users best (GC5), taking inspiration from material experiments and precedent studies and their technical constraints (GC1). as represented through drawing (GC8).

Finally preparing a specific brief for the Scottish Youth Parliament allowed be to understand the scales of certain spaces through choice of the articulation of structural and physical components (GC7).

Ephra Charlton Hutchinson MA (Hons) Architecture

Architectural Design [Design]

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[SITE ANALYSIS] Assembly Holyrood Park, Edinburgh

Ephra Charlton Hutchinson MA (Hons) Architecture 1

Assembly

Architectural Design

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Mapping the “Assembly” site through the personal scale allowed us to measure the dimmensions and area of proposed assembly buildings. Here I also became interested in the response of form to the trees onsite, subtly introducing the need to evaluate how the buildings fit into the local context and thus consider environmental concerns such as orientation and cast shadow as well as foundational interventions’ need to navigate the below ground conditions such as roots.

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[SITE ANALYSIS] Assembly Holyrood Park, Edinburgh

Balsa wood model

Ephra Charlton Hutchinson MA (Hons) Architecture

This project involved the design of a small kiosk from timber. It is intended to serve tea, coffee and other hot drinks with snacks. The design is meant to be respectful to the green site, by allowing it to discretely be closed using shutters. During and beyond its use as a kiosk it also provides space to sit and enjoy the view by sitting on top of the structure.

Section 1:200

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Initial concept sketches showing how design relates directly to research on tree height, width and location in site analysis

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Helsinki Pavilion, 2012 designed by Alvar Aalto Wood Studio students

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[DESIGN] Privy Holyrood Park, Edinburgh

Ephra Charlton Hutchinson MA (Hons) Architecture

This project involved the design of a brick privy with the provision of showers to wash, basins, changing rooms and toilets. This design was inspired by the Brick Kilns in Portobello. As a site of privacy, it was necessary for the building the be protected as such the design was for a circular space in which the user enters in one direction and all showers and toilets follow this outer shell, delineated by an inner shell from the central wash basins and divided by internal walls within this ring. The light conditions were especially important as it was felt that window would undermine the protective shell wall. As a result of this and a desire to celebrate the central space, an opening would be maintained at the top of the basin enclosure. This was inverted to allow for the collection of rainwater, used again for washing.

Portobello Beach Brick Kilns Brick studies Testing the construction qualities and connection styles using wood bricks.

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Sketches exploring programe and form

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Sketch plan and section showing brick arch structure and water collection

Model showing individual arches

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[DESIGN] Mess Holyrood Park, Edinburgh

Ephra Student Charlton Name: Hutchinson MAMA (Hons) Stage: Architecture

This project involved the design of a concrete mess. This involved the provision of a kitchen and dinning space. This design stipulated the inclusion of large curtain-wall glazing to provide the best possible views towards Arthur’s seat and Sailsbury Crags. This was elevated to make use of the cantilevering potential of concrete and to hide the entrance behind a hedge below. The design was inspired by a sports centre shown below. The table was a key feature and was intended to be a long cast-concrete table to allow for a communal feast.

Elevation originally at 1:50

Shaded Section originally at 1:50

Initial sketch and model originally at 1:50.

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Precedent

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First Floor Plan originally at 1:50

Ground Floor Plan originally at 1:50

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[DESIGN]

Ephra Charlton Hutchinson MA (Hons) Architecture

Hall Holyrood Park, Edinburgh This project involved the design of a steel mess. This involved the provision of a large events space. The design was intended to mirror the jutting and topographic tectonics of the park it was heavily influenced by the model which was an exploration of the different types and was of connecting steel elements (bending, welding). The design includes a thermal lobby space to buffer heat and accoustic spillage.

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Perspective sketch

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Atmospheric elevation

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Models originally at 1:50 Sketch plan with thermal lobby and stage area indicated

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[DESIGN] Assembly Holyrood Park, Edinburgh

Ephra Charlton Hutchinson MA (Hons) Architecture

This was the assembling of each individual building on site in a coherent plan. Most buildings were already understood locationally on plan but this was a chance to see their connections and the interstitial spaces created between them.

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Assembly Plan

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Atmospheric Axonometric sketch Section through Mess and Privvy

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Section through Hall, Mess and Kiosk

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Canongate North Elevation to Holyrood Palace

[SITE ANALYSIS + DESIGN] Ephra Charlton Hutchinson MA (Hons) Architecture

Scottish Youth Parliament, Assembly Building Canongate, Edinburgh The site was situated in Canongate, opposite the Scottish Parliament Building and our intervention was intended to be an assembly building for the Youth Parliament which meets several times a year. Part of the building should also respond to the year-round activities of the SYP, allowing for both an assembly and a public exhibition space. The chosen materials were Timber and Steel as these were the ones that I most enjoyed working with and the materials which felt most appropriate to the site.

North-West Elevation

Through site analysis it was clear that this space was an unusual break in the high tenements of Canongate and offered the chance continue the line of the street.

Manipulating these elements to allow for a public reveal of the exhibition space (including altering the landscape to a slight slope to invite people in and negotiate the not so slight gradation of the streetscape towards the Royal Mile).

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Maggie’s Centre Precedent Model

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North-West Elevation

Sketches of Street Elevation Treatment of Facade in intended to create a protected shell which is peeled back to reveal less private spaces as well as the timber frame.

Concept model

Concept models at 1:500 with a start to delineate functions

Final 1:500 model

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[DESIGN] Scottish Youth Parliament, Assembly Building Canongate, Edinburgh

Ephra Charlton Hutchinson MA (Hons) Architecture

These are the drawing and sectional model originally made at 1:50.

They show the inhabitation of the spaces including how they respond to the street conditions. As the site is quite tight, the proposal aims to have the assembly space cantilevered over the street using glue-laminated beams. Visibility as well as shelter was the intention and a large window looking towards the Royal Mile would allow the public to see into the assembly space and feel a visible connection with their practice.

Section Bowling Green

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1B: Revivalism to Modernism [PRESENTATION + ESSAY]

This course was structured around a series of lectures which tracked styles, architects, movements and buildings from the early 19th to the early 21st Century. Each week the content of the lectures and readings were discussed in semminars, the course was assessed through a presentation given to the seminar group on a particular building, an essay on a chosen building and an essay-based exam covering a list of 100 buildings from the breadth of the course.

Learning Outcomes: L.O. 1. Awareness of the profession of architecture and the role of the architect in society L.O. 2. Ability to evaluate evidence, arguments and assumptions in order to make and present sound judgments within a structured discourse relating to architectural culture, theory and design; L.O. 3. Ability to generate design proposals using understanding of a body of knowledge, some at the current boundaries of professional practice and the academic discipline of architecture

Reflective Statement Whilst I had enjoyed the first course in Architectural History as a way to provide a grounding on the long history of building tradition and buildings as manifestation of cultural ideas, ideologies and motivations (GC2, GC6, GC4); I found much more enjoyment in more recent precedents - especially those that were associated with accomodating the masses rather than the select wealthy elite.

Ephra Student Charlton Name: Hutchinson MAMA (Hons) Stage: Architecture

Architectural History

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1.1 1.2 1.3 1.4 1.5 1.6

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Architectural History

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2.6

James Legard

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[PRESENTATION]

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Fig. 6, View of Palace from second floor staircase

Altes Museum, Berlin Karl Friedrich Schinkel Plinth raises colonnade to prominence

the span of education on the same pedestal as the divine ruler.

Altes Museum,

The Altes Museum sits within the development of what came to be Fig. 1 known as Museum Island. ‘island’Schinkel formed between the central KarlThe Friedrich river Spree and the estuary of the Kupfergraben. Schinkel, with a great regenerative urban plan in mind, had begun to construct the Neue Wache (Guard’s House) and the Zeughaus (Armoury) as well conducting restoration on the existing Cathedral (Domkirche) and designing the lustgarten or pleasure gardens for King Frederick William III’s Palace (Schloss).

The need for a public museum came about from several factors: the difficulty of conducting the traditional Grand Tour due to the French Wars and thus the need for scholars to study the ancient world; the growing engagement in public education with the foundation of the first state education system by Alexander von Humboldt, as well as a national association with the Greeks who united against the persians in the same way that the Germans united to defeat Napoleon.

Admiration of the Greeks was pivotal in Schinkel’s vision for the new lustgarten, with the renovation of the West elevation of the Cathedral with giant corinthian orders he was able to create a spiritual as well as aesthetic dialogue with his new building. The double height Ionic columns nod to the ancient stoas of Athens as well as the Erechtheion.

The use of the ionic order, of course, refers to the importance of this as a place of knowledge, educating the public on the cultural semblance to that of the ancients, where there is purity of form and ideology (democracy, philosophy etc). The colonnade of 18 ionic columns appears to stretch the building almost infinitely except for the antae on either edge which serve to contain the span of the columns horizontally and give emphasis on the monumentality of the structure. These represent both the span of knowledge contained within and the heights that this will elevate the visitor to.

Fig. 8 Section through Altes Museum ‘here, the sight of a beautiful and noble room must create an atmosphere of pleasure and recognition of what the building holds’

Cathedral or Berliner Domkirche

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Architectural History

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Fig. 7 Plans of all three floors, Altes Museum

Fig. 2 Schinkel’s plan for what came to be known as Museum Island, with south facade facing the royal palace.

Fig. 9 Section through The Pantheon, Rome

The rotunda in opposition is introspective; bringing the light through the oculus created by the glass and iron skylight and into the space within, highlighting the coffered dome, and twenty ionic orders which draw the eye to the ancient statues. Symbolically showing that light from the ancient world can be brought into Berlin’s context and consciousness. It is also significant that the dome in the museum is hidden within rectilinear facades unlike the pantheon, this gives a sense of a need to be within the building to appreciate the true beauty of the architecture. The dome acts as a foyer to direct the visitor to parts of the collection. Schinkel wrote that, ‘here, the sight of a beautiful and noble room must create an atmosphere of pleasure and recognition of what the building holds’. The statues integrated within the architecture provide the most appropriate introduction to the ancient collection.

Fig. 10 Perspective view of the Museum from the Kupfergraben

Perspective view of the Museum from Kupfergraben

The plinth was also significant in Schinkel’s vision. Its purpose was to some degree functional as it allowed the structure to rise above the marsh ground of the site protecting the collection from possible flooding. It also had a decidedly visual intention; it was only through raising the colonnade significantly above the ground level was the entirety of it made observable from a distance. It also allows a comprehensive picture of the building which allows it have total unity, something crucial for Schinkel in his vision and would have been vital for all classical architects.

This total work of art or gesamtkunstwerk was the pinnacle of architecture for Schinkel - where important conversations were made between all of significant buildings in the city; as Athens had done in apparent total purity with the acropolis. The forms and materials spoke of the use and fundamental role of the structure within the cityscape. Schinkel appropriated the with admiration, using the ionic order to speak of the wisdom one could reach when they observe the ancient world.

The whole structure allows for this philosophical ascension in the most ceremonious and grand manner. And whilst access to knowledge is greater than ever now, the importance of the Altes Museum as a form of physical interaction with the ancient world will continue to be powerful in the way Schinkel intended.

Ephra Charlton Hutchinson MA (Hons) Architecture

● Sense of wonderment through the sturdy ionic columns towards the View of Palace from second floor staircase palace, setting up a connection with the patron of the museum and putting

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2000 words

Scottish Parliament building, Enric Miralles and EMBT/RMJM (Scotland), 1999- 2004.

Drawing by Enric Miralles showing embeddedness of parliment of building: ‘Illustration 1, EMBT drawing’, A. Balfour and G. McCrone, Creating a Scottish Parliament (Edinburgh, 2005), p. 80.

Revivalism to Modernism

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[ 2019 ]

The site, a former brewery, posed some ‘problems’ for the architect: how to bridge the space between urban and natural? To reconcile the entirety of Scotland into one building. A mammoth task which needed a considered solution. Sought through competition, a panel headed by the then First Minister, Donald Dewar, selected the Catalan, Enric Miralles’ design. The two main concepts - ‘es un lugar mental, the Parliament is a form in the people’s mind, and el Parlamento se reune en la Terra, the Parliament sits in the land. These were received with enthusiasm despite a lack of consolidated form, he comments; ‘If one is unconcerned with the forms, the architecture gains enormous formal freedom.’ This formal freedom saw the design alter significantly throughout the Parliament’s construction especially in the circumstance of Miralles’ and Dewar’s deaths in 2000. The building emerged as something somewhat unexpected in 2004: curving concrete forms, leaf like skylights - a seeming “mishmash” of sculptural tectonics and abstracted conceits.

The Queen described the building as having a ‘difficult and controversial birth,’ a phrase which could refer to a number of things: its choice of site, of a ‘foreign’ architect, its style, its public inquiry or the fact that it was opened three years late and between ten to forty times over-budget. All of these factors could call into question the success of the resolution of the project: could the Scottish Parliament Building, that was sold as something inherently Scottish; that rises from Scotland be truly Scottish if the architect is Spanish?

Ephra Charlton Hutchinson MA (Hons) Architecture

‘We shape our buildings and then they shape us’, quoting Churchill on the opening of the Parliament, the Queen acknowledged the critical role Miralles’ Scottish Parliament would play in the devolution of Scottish politics in 1998 . The quote, in 1943, pertained to the rebuilding of the Commons Chamber at Westminster which had been destroyed in the Blitz. Churchill stipulated that the chamber should remain in the confrontational, two party, rectangular form rather than change to the horseshoe favoured by other assemblies. Perhaps it is interesting, therefore, that the Queen should use a quote that suggests a staunch attitude to change and a connection to the institution in which this building serves to separate from. However, one might also take this literally, where Churchill refers back to existing traditions, the Scottish Parliament building (being the first of its kind in three-hundred years) should seek to create new ones that would aptly shape a newly devolved nation.

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‘Second floor plan, EMBT drawing’, Slessor, C., ‘Nature Nurture’, Architecture, vol.94, no.2, (Feb 2005), p.35.

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Principles

[PRECEDENT STUDY + ANALYSIS, DESIGN + ANALYSIS, EXAM] This course was the first introduction to how to design for comfort levels, energy efficiency and how those walls and roofs can be design to perform for certain tasks.This was split between the design for a live/work studio and an analysis of a structural precedent - looking at environmental conditions and impact on design decisions [missing].

Learning Outcomes:

L.O. 1. Understanding of the key concepts in the physical behavior of structural systems and their application in architecture.

L.O. 2. Appreciation of the integral nature of material assembly and environmental systems to the development of architectural designs.

L.O. 3. Breadth of knowledge and understanding of the principles of architectural structures, material assembly, environmental systems and sustainability in the built environment.

Reflective Statement This course was certainly challenging as physics nor maths are my strongest areas, however I pushed myself and began to understand the principles of building materials and their performance against environmental conditions such as wind load, daylight and moisture (GC8, GC9). I learnt that a deep plan can sometimes behave like a bunker rather than a comfortable place to live and work, however this was a great lesson ingetting dimmensions appropriate (GC5) This allowed me to meet technical requirements and aesthetic requirements (GC1) as well as make a brief that fit to the techical requirements (GC7).

Ephra Charlton Hutchinson MA (Hons) Architecture

Technology and Environment

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[DESIGN + ENVIRONMENTAL ANALYSIS] Building Environments: Live/Work Studio

Ephra Charlton Hutchinson MA (Hons) Architecture

AXONOMETRIC

The Live/Work Studio is located within Baulks View Gardens in the Southside of Edinburgh, a site that is highly urban to the North but forms a greener edge to the estate by its visual connections and physical closeness to Holyrood Park.

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The studio is intended to be occupied by one person and accomodates a study, dinning room, bedroom and bathroom. The additional sunspace is inspired by the likes of Frank Lloyd Wright’s Sun House and the Hockerton Housing Project. This was intended to capture South light and use its warmth to heat the thermal mass which makes up the barrier between the sunspace and living quarter’s.

Whilst the building is extremely unobtrusive and diminishes its impact on the parkland, it is clear now that the dimmensions of the deep plan would have made the bedroom and bathroom extremely dark, here rooflights over the spaces would have made them more comfortable.

The plan would also benefit from a greater width than depth to invite as much sunlight as possible into the living and working spaces.

Additionally, it is clear that the butting of timber batterns to the soil would be unsafe practice as exposure to high levels of moisture would cause the quick degradation of the wood and the loss of its structural integrity. However, this was a good introduction to designing to energy efficiency requirements.

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ROOF BUILD-UP

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WALL BUILD-UP

Ephra Charlton Hutchinson MA (Hons) Architecture

Principles

Technology and Environment

[ 2019 ]

The design of the building was intuitively working towards passive and sustainable systems from the start. I think this is what allowed the design to achieve an 86 on the SAP scale. The use of planted roofs and heavily insulated walls certainly helped, especially the extremely efficient Sheep’s Wool insulation which is highly abundant in Scotland. This allowed the wall U-value to be 0.16 and roof values 0.06 which falls under the maximum 0.18 value. The walls perhaps would have had a lower and therefore more efficient value if the had been padded with extra topsoil in the calculations.

Despite passing as an efficient building there are certainly things to improve upon to bring the rating up to 100 or even above (allowing the dwelling to exist off-grid and sell excess energy back to the grid). This would mean using more sustainable heating methods such as full heating the building from a wood-burning stove. Indeed I would certainly be interested in replacing some of the manufactured materials such as Jablite Polystyrene and Polyurethane Insulation with greener alternatives such as Flax and Hemp, Cellulose or Wood Fibre.

To raise the energy efficiency by another 10% I would also use a material with a higher thermal mass such as brick to make the internal walls thicker and conserve greater energy.

I learnt a lot from this project about drawing, calculations and designing to realistic efficiency parameters.

It has given me a desire to further explore the possibilities of greener designer and employment of materials for passive rather than active heating, ventilation and lighting systems.

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[ 2020 ]

Architectural Design: In Place

Architectural Design: Any Place

Technology and Environment 2A: Building Environment

Technology and Environment 2B: Building Fabric

International Development, Aid and Humanitarianism

Urbanism and the City: Past to Present

Ephra Charlton Hutchinson MA (Hons) Architecture

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In Place This course involved the designing of an Architecture School within the Edinburgh city context. The work began with a research phase investigating a precedent building individually and then working for the remainder in teams to study the proposed site, draw up a brief and then design and present the school in a reasonable-level of resolution.

Learning Outcomes:

In Place

Architectural Design

[ 2019 ]

L.O. 1. Investigation: Ability to investigate through design-research architectural and urban issues that impact on architectural design decisions.

L.O. 2. Design: Capacity to respond to brief and site by synthesizing a range of programmatic components, formal and spatial strategies, and contextual themes of modest complexity within an architectural design.

L.O. 3. Communication: Ability to effectively explore and communicate design ideas and propositions, articulate by visual means an architectural argument, individually and in teams, in a range of digital and analogue formats.

Fiona Lumsden David Byrne

Reflective Statement This project firstly beginning with a precedent study was a first chance to learn Rhinoceros and develop Photoshop and Illustrator skills as well as improving my modelmaking. I felt that the software was certainly an uphill battle but one for which I am stronger today. This investigation helped me observe existing architectural approaches to the stree-scape, daylighting and materiality through the Munster Library.

(GC7)

Ephra Charlton Hutchinson MA (Hons) Architecture

Architectural Design

The second phase, site research brought up a range of architectural, social and urban issues which helped me develop a more holistic sense of Edinburgh and the contexts which I would later respond in other studios. (GC1, GC5) Crucially it, plus research into the programmatic needs and styles of masters student through interviews, aided the drawing up of a brief for the design for a Postgraduate Architecture School in Gayfield Square, Edinburgh. It was challeging as it was the first building designed at a considerable scale and therefore programmatic complexity. At times group work was difficult as we each brought different ideas to the table which did not always chime as one coherent design. However, I believe we were able to resolve this through sketching and redrawing as a group. Meaning, in the end, we had strong conceptual argument which translated mostly to a strong visual argument. Although I believe we did meet GA1, more consideration of the precedents we had study as influencers would have supported the development of the material and experiential language of the spaces.

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[PRECEDENT STUDY] Munster Public Library, Bolles + Wilson

The site lies on the peripheries of this boundary with its form allowing a connection to both the ‘new’ and the old (St. Lamberti Church). In fact, the building that stood on the site previously, was raised to the ground by wartime bombing.

Ephra Charlton Hutchinson MA (Hons) Architecture

Munster Old Town Boundary.

The articulation of the roof form allows for the sun to light the spaces inside year round. Diffuse sunlight also is able to light the central passageby reflection down from the copper roof fins.

Site Model, 1:500

Whilst Bolles and Wilson acknowledge the historial of the site, it was crucial that the design be formally independent from its predecessors. In this way the form of the building is quite distinctive, both in plan and in section. Prefering, instead, to take its formal drivers from environmental and programmatic clues.

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The situation of the library lies almost directly across the East-West axis. This encourages the most daylighting and solar gain to the South elevation. However the splitting of the programme allows for light to reach farther into the design, illuminating the grand entrance and circulation volumes.

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Precedent Study: Munster Library

Architectural Design /In Place

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Site Model, 1:500

Whilst Munster lies in a temperate climate, it is subject to strong South-Westerly winds. Bolles and Wilson have used the form of the lower block with it’s rounded facade to deflect wind from entering the central passage between the two buildings.

Sectional model, 1:100

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Section showing daylighting strategy, 1: 500

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[Design] Postgraduate Architecture School

Leith

Calton Hill

Forth Bridge

Ephra Charlton Hutchinson MA (Hons) Architecture

The activity of the washroom is variable and moves in stages in a similar way to the progression of an architectural project. The need to repeat actions and to move between them is clear. In the way one might move between drawing, model making and analysis; one might also move between wash, drying and bathing. With several of these happening simultaneously.

Calton Hill

Site Context

Architecture School

Architectural Design / In Place

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In the wider context, the proposal sits just north east of Edinburgh city centre in an area that was regarded, once, as the industrial heart of the city. Although the area is now deindustrialised, it has become a hotspot for the creative industries. And, despite the connection to Leith no longer being a necesity, it is, important to acknowledge. The views to Leith and the sea, are also visible walking down to the site aare visible from the site when raised above the height of the opposite tenements. This view is a driving point in the design. The site also lies just past the grand, regimenetedly planned New Town and this proposal acts as a negotiator between the two, with the proposal allowing a confluence of people from both areas in a architectural style removed from either.

The site currently is home to the Gayfield Police Station and Edinburgh Printmakers. The present police station was built in the 1960s however, a station has stood on the site since at least the 1890s.

Similarly the Printmakers occupies a building that was once an old public washouse, these served a vital role in reducing the spread of infection in overcrowded tenements where it was commonplace to share laundry and clothes. Cleanliness was linked to Godliness and so washhouses became symbolic.

Year 2 / Semester 1

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[Design] Postgraduate Architecture School

Ephra Charlton Hutchinson MA (Hons) Architecture 1

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Architecture School

Architectural Design / In Place

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The proposal, located on Gayfield Square near Leith Walk, off ers a new, independent school for the study of Architecture at a postgraduate level.Students would study the RIBA/ARB Part 2 Qualifi cation, and be part of either the fi rst or second year masters programme. The capacity of the school would be limited to forty students, twenty per year. In this way, the school would have the feeling of being quite intimate; encouraging the connection and collaboration between years as well as an interation with the public. The programme includes facillitations for: two, connecting studios; staff offi ces; an exhibition space; library; lecture theatre; workshop and cafe as well as break out spaces, indoor and outdoor social spaces.

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2A: Building Environment

This course centred around two group projects each undertaken with myself and one other student. The first project involved the surveying and choosing of a site around the Main Library, Edinburgh and the subsequent design of a reading room.

The design would be lead by environmental conditions which defined lighting strategy, thermal comfort and energy efficiency.

The second project was conducted alongside the precedent study in ‘In Place’ and involved the analysis of environmental conditions and a local, building and room level including energy efficiency, airflow, daylighting and accoustic levels.

This also required we consider a future context of more extreme climate change where adaptations to the building should be proposed to mitigate the effects of the environmental condition change on the building.

Reflective Statement This course fiercely improved my understanding of technical and engineering requirements and possibilities (GC8, GC9) by investigating a context that I was familiar and responded to in an inobtrusive manner (GC5) . I learnt that varying daylighting for different times of the day in one study space may not be entirely comfortable and that anti-glare strategies would be useful additions to considerations of user comfort levels.

Ephra Charlton Hutchinson MA (Hons) Architecture

Technology and Environment

Learning Outcomes:

L.O. 1. Build on concepts tied to environmental performance introduced in TE1 while emphasising their application through and analysis of built projects.

L.O. 2. Introduce design methods for minimising energy consumption and qualitative and quantitative assessment methods for testing these design strategies.

L.O. 3. Apply theory to practice through visiting case study projects and designing small-scale public buildings that demonstrate environmental performance.

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Building Environment (Semester 1)

Technology and Environment

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Peter Robinson Victoria Lee

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[Design] Reading Room

Daylight Factor: (R Wall) x (Wall Area) = (0.5)(11.35) = 5.68 (R Floor) x (Floor Area) = (0.3)(4.28) = 1.28

The reading room will be located along North Meadow walk south of the library. The area we have chosen links to the library through a small opening in the adjoining wall allowing the PhD students to move between the library and reading room easily, whilst also allowing themto take a short break from work.

(R Ceiling)x (Ceiling area) = (0.7)(19.24) = 13.47 =20.43 R= 20.43 = 0.59 34.8 ADF = 0.75(6.7)(14) = 3.1%

WIND

Artificial LED reading lights

Building Environments / Reading Room

Technology and Environment

[ 2019 ]

34.8(1-(0.59)(0.59)) Lux Level = 155

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Looking at the entire site in a wider context, there were several other factors that determined our decision. Firstly, we considered the wind, in Edinburgh the prevailing wind comes up from the South West. With this in mind the site we chose may seem vulnerable to this, however, the meadows are relatively successful in breaking up the wind with many trees inhabiting the area.

Daylighting Strategy The entrance room/common room is largely illuminated by a central skylight which captures a large amount of southern light. This light hits the north wall and ceiling, which both have a light matt surface to reflect the light into and throughout the room, distributing the light evenly. This skylight arcs around the perimeter of the central room to ensure natural light is captured throughout the day as the sun travels from east to west. The skylight is the main source of light for the building, providing an even light without glare.

SUN We also strongly considered the natural light of each area.

When we took the readings, the sky was overcast, which provides a useful reading as in Edinburgh there are few clear days. Whilst analysing the site we narrowed our location down to three locations (A, Band C), the lighting in location C was poor (Lux reading of 246 which is below the minimum required lighting for reading at 300 Lux). Location B, despite having a higher Lux level than our chosen location was also ruled out as looking at a sun path diagram, it is clear that this location would not receive any direct sunlight until at least 11AM for most of the year. This would mean the reading rooms would be cold and dark allmorning without any artificial lighting or heating, which is clearly an issue for energy efficiency and human comfort.

Ephra Charlton Hutchinson MA (Hons) Architecture

Plans, Sections and Elevations, 1:500

Solar Study

Looking at the solar study diagrams it is clear that the majority of the site north of the library receives less than south of the library due to the height of the surrounding buildings. South of the library there are no buildings and only a few Deciduous trees. During the winter when the trees have no leaves, sunlight can reach the building. In the summer when the sun is stronger, the trees will block direct sunlight ensuring the building does not over heat.

Lighting at 12 noon, Summer, Winter and Spring

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Skye Brownlowe

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[Design] Reading Room

ROOF U-VALUE

WALL U-VALUE

Using the wall assembly as visible in the drawings to the right, we were able to calculate the U-value of both the Roof and Wall structures. Both came in at 0.15W/m²K, falling below the maximum 0.18W/m²K value for efficiency stipulated.

Building Environments / Reading Room

Technology and Environment

[ 2019 ]

The calculated comfortable internal temperature would be 20C, requiring just 950KWhr per year to maintain that temperature of which half is generated by solar gain. The SAP rating is 86 which falls in the ‘Good’ or Rated B Efficiency parameters.

WALL BUILD-UP Dry stone - (Basalt), 0.1m Service Void Plywood Sheathing, 0.012m Vertical Battens, 0.045m Breather Membrane, 0.001m Wind-proof Gypsum Board, 0.009m

Reconciliation of occupant needs, environment and intentions.

Sheep’s wool, 0.3m

We feel that we have reconciled the needs of the occupant, the environment and our own aspirations by having clear necessities regarding views, socialisation and daylighting set out by the client. We took the social space as a centre for the design and expanded around it to create a sheltered space for the client to enjoy their academic pursuits.

This need for specific window placement allowed us to play around with the concept of fortification which influenced our other decisions.

That idea gave way to an ability implement passive strategies like thermal mass and take advantage of local materials as well as ideas to try to keep the building within comfortable temperature boundaries.

Plywood Sheathing, 0.012m

Timber I- Beam, 0.3m

Vapour Membrane Barrier, 0.001m Timber Batten, 0.045m Vertical Lining Boards (Scottish Larch), 0.045m

• All the internal surfaces are clad with Scottish Larch Lining Boards as timber has an especially low thermal conductivity allowing the surfaces to feel warm and comfortable. It is also a sustainable material as it is renewable and locally sourced as well as being carbon-neutral. The selection of a framed construction in timber is also on environmental grounds.

• The use of a thick Sheep’s Wool insulation means that the building can take advantage of the plentiful local material which is an excellent insulator.

• The use of a basalt exterior envelope nods to the nearby SalisburyCrags and Arthur’s seat, as well as providing a thick thermal mass which helps to regulate the internal temperature of the building.

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The desire to glazed the whole front elevation was tempting but after talking to the client we realised this strategy was too obtrusive, the heat loss during the winter and solar glare and gain during the summer wouldn’t make the space a comfortable let alone an industrious one.

We learnt too that making a list in the way of a brief and drawing with these requirements on top of the site plan and sections was beneficial and allowed us to dispel less appropriate responses. This project has allowed us to juggle requirements and learn how to start analysing a site in regards to more complex environmental conditions.

Ephra Charlton Hutchinson MA (Hons) Architecture

In terms of passive ventilation, heating and cooling strategies, the design is focused towards the temperate but cool temperatures of its location in Edinburgh. The wall make-up which includes the use of a basalt rock wall as a thermal mass to retain heat for longer periods and at a more consistent temperature. The wall make-up including the Sheep’s Wool insulation also is used to ensure heat generated by solar and metabolic gain is retained. Solar gain is the major passive way of increasing internal temperatures. Calculated to be 461.96W, the solar gain is optimised by having a large degree of South facing windows, windows that are not directly south-facing, do follow the suns trajectory. There are no north windows to reduce heat loss. Cooling and ventilation are manual so those who use the building would be able to open the clearstory and individual windows to adjust the temperature and air quality, the total ventilation heat loss as calculated by 0.33 x n x V came to 25.23W/K which is minimal, if the windows are open this will increase but for good reason, as the temperature may want to be reduce in any case. The total heat-loss is 71.97W/K including heat lost through the fabric of the building. The reliance on solar gain reduces the need for active strategies.

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All charts generated using: Hoyt Tyler, Schiavon Stefano, Piccioli Alberto, Cheung Toby, Moon Dustin, and Steinfeld Kyle, 2017, CBE Thermal Comfort Tool. Center for the Built Environment, University of California Berkeley, http://comfort.cbe.berkeley.edu/

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[PRECEDENT: ENVIRONMETAL ANALYSIS] Munster Public Library Bolles + Wilson Overshadowing SITE LEVEL ANALYSIS

The building is broken into two parts, horizontally along the East/West axis. This means that, because the site is inthe Northern Hemisphere, the sun hits the South facing elevations most acutely. The splitting of the programme also means that the North facades are comparatively dark, especially that which lies within the square of existing buildings.

The use of articulated copper walls with the facing facades, aids the reflection of light into the intermediary space. The skylight in both but at different heights responds to the height of the sun year round - lighting the high internal circulation areas. The height of the North block is also raised by two floors, encouraging light into the horizontal skylight (pictured) and into the passage below. The series of diagrams outline the sun pattern and its lighting and shadowing effects on the Munster City Library (highlighted in orange). They demonstrate the sun will be highest in summer and thus light a greater number of spaces and cause fewer buildings to cast shadow on the library. The reverse is true in winter, where shadows are longer as the sun is lower and the day is shorter.

Ephra Charlton Hutchinson MA (Hons) Architecture

Solar Orientation

The diagrams to the right are stereographic sun path diagrams, showing the influence of the of other buildings within the context on daylight availability at the ground level of different evelations of Munster City Library. Each of the diagrams focuses on a different obstruction with, the second detailing extent of shading from the south part of the library on the north. This demonstrates that shading is present from morning until evening half of the the year - between Autumn and Spring. During the Summer, the Sun should reach the ground on the South facade of the North block. The roof light and window situated higher on the facade will permit natural light into these spaces despitethe obstruction from the South.

Looking at the final diagram we can also see that the North Elevation of the North block which only recieves sun (at ground level) during the Summer mornings and evenings, the block at the rear of this further prevents the sun from reaching the site mid mornings and part of the evenings.

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Building Environments /Munster Public Library

Technology and Environment

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BUILDING LEVEL ANALYSIS

Thermal Zoning

As recognised by the EN-15251 psychometric chart, the activity of sitting, writing and reading are given the low metabolic rate of 1 compared to that of ‘walking about’ which is 1.7 and climbing stairs which is around 2.5. It is in this vein that the library is zoned; with spaces designed for more activity typically larger in volume (both plan and height), have more glazing and thinner walls. These are outlined below as predominantly the circulation spaces. On the ground floor the majority of the plan comes under this thermal zone, the space is very open with no spaces that would encourage people to sit down.

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Accoustic Zoning Accoustic zoning follows a similar pattern as the thermal zoning, where the noisiest spaces are the circulation space, followed by the reading and the lecture room and then more secular spaces such as offices are quietest. The buildings’ accoustic techniques include - the use of glazed and perforated acoustic brick in the newspaper room to reduce the spread of noise pollution from the check in areas and cafe to those working within the room.

And, the perforated beech accoustic panels on the interior wall of the copper element of the information and book buildings.

These are detailed in the drawing below. They include accoustic insulation between the beech faced plywood and timber spacers and serve to create an ambient noise level.

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Tidings Mazomba-Felix

[PRECEDENT: ENVIRONMETAL ANALYSIS]

Daylighting Calculation for standard overcast sky during Winter Solstice

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Materials

Area of Room:

Munster Public Library Bolles + Wilson

Floor = 5602 Walls = 7002 Ceiling = 985m2 Windows = 60m2 Total Area = 2305m2

Ephra Charlton Hutchinson MA (Hons) Architecture

Reflectivity: Floor = 560 x 0.3 = 168 Walls = 700 x 0.5 = 70 Ceiling = 985 x 0.7 = 689.5 Windows = 60 x 0.1 = 6 Total = 933.5 R = 933.5/2305 = 0.4 Average Daylight Factor: = 0.75 (22)(71) 933.5(1-(0.4)(0.4) = 1.49% Average Lux Level: 5000 x1.49% = 7450lux

Building Environments /Munster Public Library

Technology and Environment

[ 2019 ]

ROOM LEVEL ANALYSIS

This calculation shows that even on an overcast day, the room would be very well lit (if only for several hours in the midday). The smaller windows to the South would permit this regulated low light to enter during Winter and evenings and morning the rest of the year when the sun is lower in the sky. The lux level would be even greater during the summer when the sun is higher in the sky.

Thermal Comfort in the Summer Thermal comfort graph showing the optimal ranges of comfort with inputs taken from average temperatures in July. From this it can be established that the room complies with the EN-15251 standard although improvements could be made. A slight increase in room temperature by a few degrees would push the room towards a more comfortable bracket of the chart. Changes on an individual level could be made in the form of additional layers of clothing or reducing the air speed by closing windows or doors. Also to consider the days of above average temperatures in summer measure can be taken to cool the temperature of the room such as opening trickle vents, opening windows, air conditioning or removing layers of clothing. In winter however when temperatures reach 0 degrees it can be expected that students will dress more appropriately for the conditions with the addition of thicker clothes. It can be presumed that at this point all windows would be closed to retain heat and minimalise and draughts that would make the space uncomfortable for the occupants.

The materials used to form the envelope of the building are suitable enough to create a comfortable environment that is well within the acceptable U value range. To create a better result the use of timber frame within the structure rather than steel would create a more environmentally friendly building and would boost the production of timber in the country. Also prefabricating most of the building materials saves cost on vehicles to transport the material and the machinery required to construct the materials on sight also meaning that the emissions will be reduced that would otherwise have been created from running the machines. The residents would also benefit from prefabricated materials as they would not have to listen to the noise generated from the heavy machinery and tools required to manufacture on sight.

U-Value through Wall

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Solar orientation effecting room

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IDAH was an elective course comprised of lecture and seminar style learning.

Each week we would read three or four articles and then respond to them through reasoned discussion. Each week explored different global issues and a new person would lead and chair the discussion with a prepared statement. Particpation was graded, as was a policy brief we had to self-research and design on a issue that we were interested in. A 2 hour exam completed the course.

Learning Outcomes:

L.O. 1. Have a critically informed overview of contemporary international development and humanitarianism, policy making and political economy, locating policy agendas historically and within a global context.

L.O. 2. Have an ability to apply the skills and knowledge acquired in social science disciplines to global challenges.

L.O. 3. Have a critical understanding of and engagement with key issues, themes and arenas of policy making and intervention in the arena of international development and humanitarianism.

Reflective Statement This course was an insight into the world outside architectural education and the seminar format required much more reading and critical articualtion than I was previously used to. This however, gave me the opportunity to explore issues related to architecture, urbanism and the social and cultural drivers and effects of so called “development” (GC4). In this way, it helped me further understand the relationship between people and buildings, and between buildings and their environment and the role of the architect in society (GC5). Here I could see the case for both an absence and a presence of the architect in designing solutions to support negotiation between communities and between communities and the state. There is sometimes a desire to think the architect is the ultimate problem-solver and this was a good opportunity to grasp the complex interrelations of planners, state actors, inhabitors, immigrants, residents, landlords and policy makers in sculpting the urban condition (GC 6).

Ephra Charlton Hutchinson MA (Hons) Architecture

International D eve l o p m e nt , Aid and Humanitarianism

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International Development, Aid and Humanitarianism

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A New Strategy for the Myanmar’s Urban Peripheries: A DfiD Policy Brief for the Improvement of Lives in Hlaing Tharyar: Yangon’s ‘most populous township’.

Union Solidarity and Development Party, USDP).

Situation on the ground

IDAH

Policy Brief

Push and Pull factors Although urban migration in Myanmar is not a modern phenomenon, it has seen numbers increase rapidly in recent years with a reported 800,000 migrants arriving in Yangon between 2009-2014, though this figure is likely to be higher. Several environmental and economic factors such as ‘stagnating rural wages’, ‘landlessness’ and soil erosion can explain these increases. Too, political and economic transformations increased prosperity and mobility. This is particularly prominent following the 2010 elections in which the long serving military junta was replaced by the military-backed civilian government (the

Transport - improvement of bus and rail networks throughout the city to encourage movement between the inner centres and rural peripheries. Allowing more choice of employment. Improvement of transport systems also reduces the need to travel privately, promoting intermingling of social groups and reducing congestion (and pollution).

Utilities - improvement in access to utilities will be fundamental in ensuring homes are clean and businesses are able to run in all areas of the city. Current utility suppliers are unreliable and expensive - there may be room for market competition to improve access and prices.

Education - the need for education is highlighted in the desire for trained factory workers, this would be in the form of providing vocational, industry-based courses.

A holistic approach: These measures outline the larger scale requirements needed in encourage development in the Urban Peripheries of Yangon, specifically Hlaing Tharyat. It is only with these proposals that these communities are able to address actions 9, 16 and 17 of the UNs ‘17 Steps to a Better World. Perhaps the most neglected in the work of Dobermann (2017) and that of projects of WFW and Red Cross is recognition of the need for ‘peaceful and inclusive societies.’, emphasis on mediation and inclusion will nurture communities and provide new links to enhance development.

Urbanisation as an intergral part of development Cities are crucial to development. They form a key hub for industry, innovation and economic growth. The attraction of industry brings together diverse minds and, in the case of Brazil, have promoted ‘insurgent’ or active citizenship (Holston, 2009), giving voices to new actors who ultimately change legislation.

The task that accompanies this liberalisation and democratisation of countries and is that of organising growing cities. This policy brief is concerned with the communities in Yangon’s urban peripheries and the development of these in order to best ensure Myanmar’s sustainable future for all its citizens.

Community Mediation - architecture and programmes that links communities, mediating ill feelings between different groups.

The recommendation to DfiD is to consider funding for these initiatives: Affordable Housing - collaboration between different organisations to promote the construction of affordable housing by and for locals. This also includes a formalisation of the system of housing and land tenure whereby the recipient receives official documentation of their right to the land and therefore is able to apply for a National Registration Card.

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Policy Proposal Formalisation of Land Tenure, Improvement of Infrastructure and Integration Within and Between Communities: A Holistic Approach.

Ephra Charlton Hutchinson MA (Hons) Architecture

The growth in migration has led to an expansion in informal settlements in the peri-urban and suburban settlements around Yangon. These have been present since the turmoil of post-independence in the 1950s and 60s with several hundreds of thousands forcibly relocated to the peripheries at regular intervals over the years as the city expanded. One of the largest of these townships is Hlaing Thayar, which has been recognised as a residential area since 1993, it now has 20 urban wards and 9 villages of which many residents are migrants following the Cyclone Nargis. This does not however mean that all the residents have any formal tenure, infrastructure or protection. In fact, only a fifth of those who originally moved to the area were given land plots and these were usually in low lying areas with a high flooding risk in part due to the settlements location. Most land appropriation is informal and expensive, with many ‘big people’ (lue kyi) exploiting the desperation of the migrant settlers.

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Key References

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Any Place

This course is designed to take the scale and complexity designed durin ‘In Place’ and exploring this in an unfamiliar context: El Cabanyal, Valencia. This was split into five different exercises: precedent study, postproduction (joint section), site survey, design and tectonics. This was cut short in early March 2020 due to COVID-19.

Learning Outcomes:

L.O. 1. Ability to develop architectural designs that appropriately respond to specified non-local conditions and that integrate an explicit investigation through research; L.O. 2. Capacity to synthesize a range of programmatic components, formal, spatial and technical strategies of modest complexity within an architectural design that responds to specified urban conditions; L.O. 3. Ability to critically explore and effectively communicate design ideas and propositions individually and as part of a team, in a range of digital and analogue formats, including portfolio.

Reflective Statement This course I found fascinating, and I thoroughly enjoyed the progression between precedent study in which we explored specific conditions in “room” drawings and models (GC4), to the way that translated to a programme of rooms in a joint section (GC 5) which was manipulated according to how the users should experience the spaces and in what sequence.

Precedent studies also helped develop new languages of materiality, particularly the idea of skin and frame in David Chipperfield’s Des Moines Library (GC8, GC9).

It was disappointing that the course was cut short due to the first COVID-19, UK lockdown in 2020. It is for this reason the design development did not reach technical completion.

Ephra Charlton Hutchinson MA (Hons) Architecture

Architectural Design

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Any Place

Architectural Design

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Room Axonometric at 1:100

[PRECEDENT STUDY] Des Moines Public Library, Iowa, David Chipperfield Architects

Ephra Charlton Hutchinson MA (Hons) Architecture

Des Moines Public Library is a form sitting within a park strip breaking from the urban block style neighbourhoods. It emerges as part of the landscaping lying at only two-storeys on a large plan.

The form, although seemingly abstracted, is articulated within a strict grid of in-situ cast-concrete columns. The skin is flush at both levels, forming a continuous copper mesh integrated glazing. This semi-permeable layer shields the direct glare for users and gives privacy whilst at night allowing passers-by a glimpse of its goings-ons.

The rhythmn in plan through gridding, the liminality of the skin and the continuation of the landscape within were main drivers for the next phases of design development.

1

AD AH A+D

Exploded Axonometric

AD AH T+E

2

AD T+E IDAH

3

Architectural Design

AD AT APR APWL PLA

Any Place

[ 2020 ]

AD T+E URB

4

DISS LAI

1:100 Model

AD LOG

[ Collaborators ] Ivy Yan Elida Harjo-Hansen Ronan McCormac

[JOURNEY SECTION]

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Collage Section

Imagined Library

Ephra Charlton Hutchinson MA (Hons) Architecture

Section 1

Section2

1

AD AH A+D

1:50 Room Model, Entrance Condition

AD AH T+E

Any Place

Architectural Design

[ 2020 ]

Using individual models of a variety of observed rooms from precedents we had individually studied, we put these together to create a journey section through an imagined library (left and top right).

These were then drawn in hard line in the two sections below suggesting two different library environments, with a particular attention given to roof conditions (extracted from Alvar Aalto’s Ruveniem Public Library.

During our review, these were printed across four pieces of trace which allowed their rejigging which resulted in the final section. This was a combination of sides of both to improve the light conditions and drama of each.

It was also an opportunity to fix parts which were unsafe (handrails for example).

2

AD T+E IDAH

Combined Section

AD T+E URB

3

AD AT APR APWL PLA

4

DISS LAI AD LOG

[ Collaborators ] Ivy Yan Elida Harjo-Hansen Kaitlyn Smith

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[SITE ANALYSIS]

Ephra Charlton Hutchinson MA (Hons) Architecture

El Cabanyal is a neighbourhood of Valencia, previously a fishing village, that has undergone pressurised gentrification by the local council as a means to connect the desirable beachside location to the city proper. As a result the people of El Cabanyal have fought fiercely to defend this change, developing a strong sense of identity. Growing architectural interest including a music venue designed by Eduardo de Miguel, adjacent to the site and a culture of convening in the pockets of urban public squares lead to the design of a storytelling library which would seek to keep alive the hard-fought identity of El Cabanyal. The site was tight, occupying a disused double-pitched warehouse and opening up to a green public square where children would play after school.

Site Elevation

El Cabanyal, Valencia

Inhabitation of El Cabanyal

Site Model at 1:500 Site

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Architectural Design

AD AT APR APWL PLA

Any Place

[ 2020 ]

AD T+E URB

4

DISS LAI

Section through Teatro musical and site, El Cabanyal

AD LOG

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[BRIEF + DESIGN DEVELOPMENT] Storytelling Library, El Cabanyal, Valencia

Ephra Charlton Hutchinson MA (Hons) Architecture

This library on, the fringe of El Cabanyal, Valencia, must address the unique history of the neighbourhood and the ongoing struggle of the residents for self-definition. This prosposal seeks to embrace the ‘street as an extension of the living room’ philosophy by combining this with a desire to make those stories of a rich and difficult past (and present) with future generations and those in the city proper.

In light this, it is important to prioritise an ‘undefined’ or flexible space for performance of stories. This should take up the greatest floor space. The urban grain should also allow for the space within the site to extend to intergrate the playground of the Plaza Calabuig square and other gaps (as seen in the Noli style plan previous) which are as yet disused but could form a selection of smaller reading and sharing spaces. The proposal also includes a stipulation for: Brief Requirements:

Any Place

Architectural Design

[ 2020 ]

Area sqm: Helpdesk

100

Storytelling space

1000

Café

100

Children’s library and seperate story space

100

Toilets

100

Helpdesk

50

Main loan areas

200

Main reading areas (incl. outdoor)

800

Recordings Area

50

Computing area

50

Research, workshop and study rooms

50

Library staffroom

500

Studios for resident artists

100

Book deposit

60

Storage

50

The design sought to preserve the joyful charcater of the Placa Calabuig square adjacent to the site allow filtering into the building through internal courtyards and adjustable timber screens .

1

AD AH A+D AD AH T+E

2

Permeability of light and semi-transluscence to create eerie effects for storytelling (shadowpuppetry and distorted voice).

- Dressing Room, El Teatro Musical.

AD T+E IDAH AD T+E URB

3

AD AT APR APWL PLA

4

DISS LAI AD LOG

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[DESIGN DEVELOPMENT] Storytelling Library, El Cabanyal, Valencia

Ephra Charlton Hutchinson MA (Hons) Architecture 1

AD AH A+D AD AH T+E

2

Any Place

Architectural Design

[ 2020 ]

This process was a rigorous study of the different massing concepts which could occupy the space - sizing blocks in accordance with majar programmatic spaces to allow for different interaction with the street scape. Taking inspiration from Des Moines, th e treatment of the skin and control of entry through landscaping became important features of the design.

Models and drawings study the role of geometry iin creating ‘undefined’ and interstitial spaces to be used for flexible scales of reading and performance. And the axonometrics test the stacking of geometry to create visual connections with other public buildings in the urban vein.

Iterative plans, 1:500.

Iterative massing models, 1:500.

Axonometrics, 1:500.

AD T+E IDAH AD T+E URB

3

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DISS LAI AD LOG

[ 53 ]

Ephra Charlton Hutchinson MA (Hons) Architecture

Last day in the studio pre-COVID-19 lockdown 1.

[ 54 ]

2B: Building Fabric

This course explores the principles of structural materials and their technical application. It develops the introduction of knowledge in 1A and 2A by the design of a medium sized structure to a reasonable level of technical resolution through detail drawings. It further teaches the importance of material and their structural qualities through four main building systems: timber, concrete, masonary and steel.

Reflective Statement This course was a more successful detailing of a design for a timber walkway. It was good to be able to calibrate technical calculation with design desicions and therefore tangible outcomes which would function under the given loads (GC1, GC8, GC9)

Ephra Charlton Hutchinson MA (Hons) Architecture

Technology and Environment

Learning Outcomes:

L.O. 1. Apply the mechanisms of design of structures that address increasingly complex interactions between forms, human use and the environment of a site, in terms of imposed actions and the impact of the chosen material.

L.O. 2. Understand the process of choice and assembly of material systems in the design of buildings to provide internal conditions of comfort and its aesthetic expression.

L.O. 3. Understand the range of applications of the principles of assembly and structural performance with regards to the main material systems (masonry, timber, steel and concrete) in the design of medium-sized structure

1

AD AH A+D AD AH T+E

2

Building Fabric

Technology and Environment

[ 2020 ]

AD T+E IDAH

Dimitris Theodossopoulis

AD T+E URB

3

AD AT APR APWL PLA

4

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Elida Harjo-Hansen Esther Fletcher Skye Brownlow

[ 55 ]

[DESIGN AND ANALYSIS] Broughton Primary School, Timber Walkway

DesignLoads: Loads: Design Liveload load Live Selfweight weight Self Totalstress stress(q) (q) Total

PPrirm imarayryBBeeam ams:s: .5𝑘𝑘𝑘𝑘𝑘𝑘𝑘𝑘//𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚22 44.5𝑘𝑘𝑘𝑘𝑘𝑘𝑘𝑘 . .5𝑘𝑘𝑘𝑘𝑘𝑘𝑘𝑘//𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚22 005𝑘𝑘𝑘𝑘𝑘𝑘𝑘𝑘 5𝑘𝑘𝑘𝑘𝑘𝑘𝑘𝑘 5𝑘𝑘𝑘𝑘𝑘𝑘𝑘𝑘//𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚22

TimberChoice: Choice: Timber ScottishLarch Larch(C16) (C16)has hasbeen beenselected selectedfor forthis thisproject projectfor foritsits Scottish durabilityespecially especiallywhen wheninincontact contactwith withthe theground groundinin durability externalcontexts. contexts. external

16𝑘𝑘𝑘𝑘 16𝑘𝑘𝑘𝑘//𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚 𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚22 / / 17𝑘𝑘𝑘𝑘 17𝑘𝑘𝑘𝑘 𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚 𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚22

.8𝑘𝑘𝑘𝑘//𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚 11.8𝑘𝑘𝑘𝑘 𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚22 8000𝑘𝑘𝑘𝑘 8000𝑘𝑘𝑘𝑘//𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚 𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚22

MeanElasticity ElasticityModulus, Modulus,𝐸𝐸𝐸𝐸𝐸𝐸𝐸𝐸 Mean

, 𝛾𝛾𝛾𝛾inin (Takenfrom fromTable Table13.

13.Slenderness Slendernessmodification modificationfactor factor𝑘𝑘𝑘𝑘𝑘𝑘𝑘𝑘 𝑘𝑘𝑘𝑘𝑘𝑘𝑘𝑘, 𝛾𝛾𝛾𝛾 (Taken termsofofthe thematerial materialproperties propertiesofofthe thestress stressclass classand andthe the terms slenderness𝛾𝛾𝛾𝛾𝛾𝛾𝛾𝛾ofofthe thecolumn column. . slenderness

Length: Length:2150𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚 2150𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚

Section Section(b(bx xd):200 d):200XX150𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚 150𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚 Length: Length:750, 750,1000, 1000,1750, 1750, 2000mm 2000mm

Columns Columns

Section Section(b(bx xd): d):150 150XX147𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚 147𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚 Span: Span:880𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚 880𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚

Secondary SecondaryJoists Joists

This group project involved the designing of both the experience and structural composition of a timber walkway structure which would be routed within the context of play and discovery.

Technology and Environment Timber Walkway

[ 2020 ]

The context with its industrial structures, washhouses, chimneys and smallscale houses are visible on the approach down to the school from Leith Walk makes the surrounding area feel particularly tectonically active. Spatially this was someting that became important in the design process. As aspiring architects ourselves, it felt apt to pass our growing understandings of how space in manipulated and how those different manipulations are experienced. Its intention, to introduce architectural conditions such as enclosure, compression, expansion and elevation into the playground. This spatially rich experience would be suplemented with other sensory stimulants such as touch and sound.

Attention to the sensory was inspired by quotes taken from both my parents who are teachers.

“It is important to allow for some inclusion within the playground set up. Anyway we’re all on the autistic spectrum but for those who are at a more intense level, we would like to provide some opportunities for sensory processing with the equipment. These could be simple equipment like pots and pans tied to a wooden pallet stranding up that the children can bang; different surfaces mounted on a wall can give tactile messages to children. ” - Lee, Teacher at special needs school.

“We have an timber structure in our playground, it’s for play - an outdoor classroom if it’s dry in Summer. The kids decide really. The problem is, it’s not really built for kids, the stairs are a bit steep; and the handrail too high. We have a playground initiative: OPAL (Outdoor Play and Learning. This give us lots of training in how to support children to become adaptable, improving core skills such as cooperation and negotiation in play.” - Miranda, Teacher at a primary school.

Section Section(b(bx xd): d):50 50XX195𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚 195𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚 Span: Span:1500𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚 1500𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚

Decking Decking

Section Section(b(bx xd): d):28 28XX140𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚 140𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚

= 𝑓𝑓𝑓𝑓𝑓𝑓𝑓𝑓,𝑓𝑓𝑓𝑓 =

Checking against

× × × × 𝑓𝑓𝑓𝑓𝑓𝑓𝑓𝑓𝑓𝑓𝑓𝑓𝑓𝑓𝑓𝑓 𝑘𝑘𝑘𝑘𝑘𝑘 𝑘𝑘𝑘𝑘𝑘𝑘𝑘𝑘𝑘𝑘𝑘𝑘𝑘𝑘𝑘𝑘𝑘𝑘𝑘𝑘 𝑓𝑓𝑓𝑓𝑓𝑓𝑓𝑓𝑘𝑘𝑘𝑘 𝑓𝑓𝑓𝑓𝑘𝑘𝑘𝑘𝑓𝑓𝑘𝑘𝑘𝑘 𝛾𝛾𝛾𝛾𝑓𝑓𝑓𝑓

. × . × . × . × ) (0 55 1 0 1 1 1 0 16

𝑓𝑓𝑓𝑓𝑓𝑓𝑓𝑓,𝑓𝑓𝑓𝑓

1.3

2 = 7.466𝑁𝑁𝑁𝑁/𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚

𝑓𝑓𝑓𝑓𝑓𝑓𝑓𝑓,𝑓𝑓𝑓𝑓 ≥ 𝜎𝜎𝜎𝜎 =

𝑀𝑀𝑀𝑀𝑀𝑀𝑀𝑀𝑀𝑀𝑀𝑀𝑍𝑍𝑍𝑍𝑥𝑥𝑥𝑥𝑥𝑥𝑥𝑥 ≥ 𝜎𝜎𝜎𝜎 =

=

Mmax Mmaxtotal total==2.889 2.889++5.200 5.200==8.089kNm 8.089kNm 𝐿𝐿𝐿𝐿 𝐿𝐿𝐿𝐿 2150 2150 == 16 ==134.35𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚 134.35𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚 16 16 16

.375𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚.AAdepth The Thedepth depthofofthe thebeam beamshould shouldbe beatatleast least134 134.375𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚. depthofof195𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚 195𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚was was chosen chosentotofurther furtherstrengthen strengthenthe thestructure structureand andtotoallow allowthe thebeams beamstotobe beeasily easily standardised. standardised.The Thevalue valuefor forthis thiswas wasinitially initially50mm 50mmsosothis thistest testproved proveduseful usefulinin reasserting reassertingthe theplausibility plausibilityofofthe thedesign. design.

TThheeDDeesisgin gn(P(Peerm rmisisisbiblele) B ) BeennddininggSStrteress s(S(Strterenngtghth):): MMooddififciactaitoionnfafactcotorsr:s: 𝑓𝑓𝑓𝑓𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚 𝑓𝑓𝑓𝑓𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚(service (serviceclass class3:3:permanent, permanent,external, external,

.55 00.55 .

110.0

fully fullyexposed exposedsolid solidtimber timberframe) frame) (depth (depthddless lessthan/equal than/equaltoto150mm) 150mm) 𝑘𝑘𝑘𝑘𝑘𝑘𝑘𝑘𝑖𝑖𝑖𝑖𝑖𝑖𝑖𝑖𝑖𝑖𝑖𝑖𝑖𝑖𝑖𝑖(instability (instabilityfactor factorfor forfull fulltorsional torsionalconstraint) constraint) B𝑓𝑓𝑓𝑓ending Moment for Secondary Joists: 𝑓𝑓𝑓𝑓𝑚𝑚𝑚𝑚𝑘𝑘𝑘𝑘 𝑚𝑚𝑚𝑚𝑘𝑘𝑘𝑘(load (loadsharing sharingfactor, factor,beam beamspan spanless lessthan than5m) 5m) 𝑓𝑓𝑓𝑓𝑐𝑐𝑐𝑐0𝑘𝑘𝑘𝑘 𝑓𝑓𝑓𝑓𝑐𝑐𝑐𝑐0𝑘𝑘𝑘𝑘(bending (bendingstrength, strength,𝑘𝑘𝑘𝑘/𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚 = 2)2) 𝑘𝑘𝑘𝑘/𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚 Linear load on beam: 𝑤𝑤𝑤𝑤 𝑞𝑞𝑞𝑞 𝑀𝑀𝑀𝑀 𝑠𝑠𝑠𝑠 𝛾𝛾𝛾𝛾𝑚𝑚𝑚𝑚(partial 𝛾𝛾𝛾𝛾𝑚𝑚𝑚𝑚 (partialfactor factorfor forsolid solidtimber) timber) 𝑤𝑤𝑤𝑤 = 5 𝑀𝑀𝑀𝑀 0.5 = 2.5𝑘𝑘𝑘𝑘𝑁𝑁𝑁𝑁/𝑚𝑚𝑚𝑚

11.0.0 11.1.1 16 16

11.3.3

The ofBending the timber elements: primary beams, columns and secondary Sizingsizing Beam for Moments: Max bending for UDL: by calculations of bending moments, shear and dejoists were moment determined 𝑤𝑤𝑤𝑤 × 𝐿𝐿𝐿𝐿2 flection. Permissable valuesMmax were = then compared to standard dimensions to 8 5 × 0.882 choose suitable structural members.

Mmax = = 4.84𝑘𝑘𝑘𝑘𝑁𝑁𝑁𝑁𝑁𝑁𝑁𝑁 8

Max bending moment for point load:

Mmax =

𝐿𝐿𝐿𝐿 16

2.5 ×𝑓𝑓.882 4

=

3

=

88𝑓𝑓 16

0.871kNm

= 55𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚

.

After this calculation the sectional beam values were adjusted according to Table 12 choosing, instead, a beam (200 X 195𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚) that would withstand the stress of 3 3 1086.355 × 10 𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚 . Although, visually these are quite heavy, they give the impression

of safety and grounding which contrasts to the lighter elements such as the rope bridge.

The Design (Permissible) Bending Stress (Strength): Modification factors: 𝑓𝑓𝑓𝑓𝑓𝑓𝑓𝑓𝑓𝑓𝑓𝑓𝑓𝑓𝑓𝑓 (service class 3: permanent, external, fully exposed solid timber frame) (depth d less than/equal to 150mm) 𝑘𝑘𝑘𝑘𝑘𝑘𝑘𝑘𝑖𝑖𝑖𝑖 (instability factor for full torsional constraint)

𝑓𝑓𝑓𝑓𝑓𝑓𝑓𝑓𝑘𝑘𝑘𝑘 (load sharing factor, beam span less than 5m) 𝑓𝑓𝑓𝑓𝑘𝑘𝑘𝑘𝑘𝑘𝑘𝑘𝑘𝑘 (bending strength, ) 𝑁𝑁𝑁𝑁/𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚2

𝛾𝛾𝛾𝛾𝑓𝑓𝑓𝑓 (partial factor for solid timber)

1

AD AH A+D AD AH T+E

2

𝑃𝑃𝑃𝑃 × 𝐿𝐿𝐿𝐿2 4

The depth of the beam should be at least 55𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚. A depth of 195𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚 was chosen to allow the beams to fit within the primary beam structure creating seamless cohesion between elements.

𝑓𝑓𝑓𝑓𝑚𝑚𝑚𝑚,𝑑𝑑𝑑𝑑

= 1086.355 × 10 𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚

22 4.5 4.5×2.15 ×2.15 5.200kNm ==5.200kNm 44

Mmax Mmax==

Empirical evaluation of Depth (rule of Thumb):

𝑀𝑀𝑀𝑀𝑓𝑓𝑓𝑓𝑀𝑀𝑀𝑀𝑥𝑥𝑥𝑥

3

𝑃𝑃𝑃𝑃𝑃𝑃𝑃𝑃××𝐿𝐿𝐿𝐿2𝐿𝐿𝐿𝐿2 Mmax Mmax== 44

Mmax =

𝑍𝑍𝑍𝑍𝑀𝑀𝑀𝑀𝑀𝑀𝑀𝑀

8.𝑓𝑓89×1𝑓𝑓6 7.446

Max Maxbending bendingmoment momentfor forpoint pointload: load:

Mmax total = 4.84 + 0.871 = 1.355kNm

𝑀𝑀𝑀𝑀𝑚𝑚𝑚𝑚𝑀𝑀𝑀𝑀𝑀𝑀𝑀𝑀

Hence:

𝑤𝑤𝑤𝑤𝑤𝑤𝑤𝑤××𝐿𝐿𝐿𝐿2𝐿𝐿𝐿𝐿2 Mmax Mmax== 88 22 55××2.15 2.15 Mmax Mmax== ==2.889𝑘𝑘𝑘𝑘𝑘𝑘𝑘𝑘𝑚𝑚𝑚𝑚 2.889𝑘𝑘𝑘𝑘𝑘𝑘𝑘𝑘𝑚𝑚𝑚𝑚 88

Empirical Empiricalevaluation evaluationofofDepth Depth(rule (ruleofofThumb): Thumb):

Dimensions DimensionsofofChosen ChosenStructural StructuralMembers: Members: Primary PrimaryBeams Beams

SSiziizninggBBeeam amfofor rBBeennddininggMMoommeenntst:s: Max Maxbending bendingmoment momentfor forUDL: UDL:

Ephra Charlton Hutchinson MA (Hons) Architecture

ModificationFactors: Factors: Modification BendingStrength, Strength, Bending Compressivestrength strengthparallel, parallel, Compressive Shearstrength, strength, Shear

Linear Linearload loadon onbeam: beam:𝑤𝑤𝑤𝑤𝑤𝑤𝑤𝑤 == 𝑞𝑞𝑞𝑞𝑞𝑞𝑞𝑞𝑥𝑥𝑥𝑥𝑥𝑥𝑥𝑥𝑠𝑠𝑠𝑠𝑠𝑠𝑠𝑠 𝑤𝑤𝑤𝑤𝑤𝑤𝑤𝑤 == 55𝑥𝑥𝑥𝑥𝑥𝑥𝑥𝑥11 == 5𝑘𝑘𝑘𝑘𝑘𝑘𝑘𝑘 5𝑘𝑘𝑘𝑘𝑘𝑘𝑘𝑘//𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚

0.55 1.0 1.0 1.1 16 1.3

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[ Collaborators ] Elida Harjo-Hansen Esther Fletcher Skye Brownlow

Scottish timber. We chose Larch, a Scottish softwood with a high durability. It has high levels of resin, and this gives it the ability to withstand water which is important due to the frequent rainfall in the Scottish climate. It is relatively resistant to scrapes and damage, and therefore ideal for a structure that children will be climbing and running over every day. It also weathers to an attractive silvery grey.

Additional advantages include insect resistance and fire resistance, both contributing to its longevity.

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PRIMARY BEAM AND SECONDARY JOIST TO COLUMN 195 x 200mm primary beam 150 x 195mm larch column 25mm diameter, 200mm length steel dowel

195 x 150 mm larch column 195 x 10mm steel foot plate into oak column 1mm diameter, 195mm length steel dowels 150mm steel screws into foundations 200 x 195mm, afixed to concrete with screws

In terms of construction details, the contractors decided to minimise bracing as they felt it looked out of place within the forest setting. They also considered wind loading and planned for this by setting the structure on concrete foundations. we considered this in the design of our own foundations.

PRIMARY BEAM TO SECONDARY JOIST (LAP JOINT) 195 x 200mm primary beam 50 x 195mm secondary joist

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Technology and Environment Timber Walkway

DECKING TO PRIMARY BEAM AND SECONDARY JOIST

[ 2020 ]

Ephra Charlton Hutchinson MA (Hons) Architecture

COLUMN TO GROUND

PRECEDENT: Salsey Forest Treetop Walkway

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195 x 200mm larch primary beam 150 x 195mm larch column 28 x 140mm larch decking 150mm steel screws

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AD AT CLADDING AND BALUSTRADE 195 x 200mm primary beam 50 x 200mm balustrades 28 x 140mm cladding 150 x 195mm larch column 25mm diameter, 200mm length steel dowel 70mm steel screws

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[ESSAY] New Waverley, Structural Analysis: Steel

Ephra Charlton Hutchinson MA (Hons) Architecture

to form but, is more versatile in shape. The shaping process involves the folding of a galvanised steel sheet, it is appropriate for beams supporting cladding or other light loads. In the New Waverly Site as pictured in was located on the upper floors, it provided a lighter feel to the space (still external) compared to the weightier concrete below. Although not visible, the site manager discussed the erection of a beam that was angled wrongly and the need for it to be disassembled and replaced - presumably with the breadth of shapes the coldrolled sheets can take on, this is a more frequent occurrence than the standard industrial forms of hot-rolled members.

New Waverley site as seen from the West looking East.

This essay will outline the fabrication processes of concrete and steel with a particular focus on the qualities of the materials which define its structure and assembly in a medium sized construction. A comparative evaluation will then be offered as to the strengths and limitations of both materials using the case studies of the New Waverley development in Central Edinburgh.

Iron is the main component in the alloy steel. Iron came to provenance as a prestigious and scarce material in the form of cast iron used in small amounts for connections between masonry, ‘tension members’ to secure domes or vaults or as a form of decoration. The use of cast iron in place of the more traditional materials came in 1779 with ‘Ironbridge’ in Coalbrookdale. The use of coke in the fabrication process allowed members to be produced in great quantity and variety in the newly industrial age. Cast iron was praised, in construction, for its malleability, high compressive strength and resistance to corrosion. It was however recognised that the high carbon content in cast iron would reduce ductility which would mean that under excess tensile stress the structure would rupture easily rather than undergoing any significant plastic deformation. Cast iron was therefore better used for small columns rather than beams owing to its comparatively stronger behaviour under compressive forces.

Technology and Environment Timber Walkway

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In the 19th century cast-iron was largely replaced by wrought-iron owing to the process of rolling the cast iron to remove impurities including reducing the carbon content to a minimum. It was therefore stronger in tension than cast iron, the combination of both could be used to build major engineered structures such as London St. Pancras.

Steel is the further controlled alloy of iron, carbon and other metals. These metals include Magnesium, Chromium, Nickel and Copper and are added in varying amounts for different uses with construction steel low in Carbon and Magnesium content. These are added at the secondary stage where plant processed iron ore, limestone and coal are heated in a Blast Furnace. The subsequent processes are outlined below - the difference between hot-rolled and cold-formed steel is at the milling stage. Cold-form steel is usually more difficult

View of hot-rolled steel H-beams and columns (maroon) and galvanised cold-formed steel beams (grey).

The more widely used hot-rolled steel is more plastic due to the extreme temperatures it is subjected to during heating in the ‘continuous reheating furnace’. This process creates standard shapes with the example of the H-beam (or I-Beam) as outlined below. These shapes are both strong in compression and tension. Characteristically these have deep webs and flanges, the deep web is a result of the second moment of inertia: that the farther the material from the neutral axis, the greater the section modulus and therefore the the greater the bending moment that can be withstood. This means that less steel is used which is therefore lighter (heavy material at a load of 79kN) cheaper to manufacture and easier to transport to site. Once it has arrived at site it can be quickly assembled by bolting the pre-drilled members together allowing fitting to take place promptly.

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View of hot-rolled steel H-beams and columns (maroon) and galvanised cold-rolled steel beams (grey) with particular attention to bolted connections and long spans.

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[ESSAY] New Waverley, Structural Analysis: Concrete

concrete will have reached its full strength. 100msq block samples are taken when the concrete is cast and strength tested at 2, 7 and 28 days to check if they adhere to regulations.

In the case of New Waverley and most other constructions the lift core is erected first to allow access, will each layer cast and jacked up using specialist grooves. With a concrete staircase cast quickly into a metal frame.

Ephra Charlton Hutchinson MA (Hons) Architecture

Concrete is first poured into foundations and each layer of the frame is erected upwards. Wooden framework as pictured below in comes in regular sized with irregular shapes requiring cutting to specifics. These are joined and supported by steel pole supports, which are bolted into the floor and ceiling.

Internal Courtyard

Technology and Environment Timber Walkway

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When referring to concrete in construction this essay will refer to RC or Reinforced Concrete. This is the use of steel reinforcement bars within the structure. As ‘pure’ concrete is comparatively weak in tension these reinforcements make the already compressively strong structure more uniformly strong. Concrete is the global default mode of construction due to the ease of acquiring its components: aggregates, cement and water. Variations in each of these will produce different effects.

Aggregates could be stone, brick or concrete crushed to differing sizes for a more coarse (10-40mm) or fine (5mm-dust) for different applications. Cement too can be varied, it combines a fine fired limestone and clay dust mixed with a clean water to harden mixture. Water sparks the chemical reaction in which the limestone hydrates, the control of the ratio is important to ensure the strength of the concrete is sufficient to withstand loads without failure. This ratio should allow for between 23-38% water content, with the higher estimation a more workable mix, where the water acts as a lubricant for the aggregate content.

The concrete is malleable for 45mins where it can be moulded on or off site as pre-cast on in-situ. The first 2 days are critical in terms of the structure setting to a satisfactory strength, this is where the concrete should be cured (kept at 5-20C). Less water should be added in countries with colder temperatures (below 0c) as this slows down the hardening process.

After 5 the formwork can be taken down and after a month-several years the

In terms of strengths and limitations this essay has outlined the merits of universality and ease use in terms of construction in the medium sized constructions such as New Waverley. It is a plastic material and can be cast to form both orthogonal frames and more fluid structures. Concrete can be found to buckle under axial compression, with reinforcement the deformation is minimally structurally damaging. This can improve chances of survival if damage did occur.

It is also fire-resistant, reducing the spread of fires between parts of the building.

Some limitations include the necessity for formwork (which is wasteful), it has a long curing time (compared to the immediate set-up of steel frames), there is a need for skilled craftsmen to ensure exact mixture ratios, placing and curing.

The overall structure at New Waverley is a in-situ cast-concrete framed construction. It was noted that although the concrete columns in the top three align, the bottom to are pulled forward which requires the construction of an additional beam and column to strengthen the point at which the second floor column transfers the load of the above floors. If this were not inplace, the load would be too great for the floor and would cause it to shear, under excess compression.

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Finally, it can be concluded that steel and concrete and their relative properties make both viable and well-used materials for construction. Steel can be praised for its high tensile and compressive strength. It can be fabricated with specified mixtures to regularised forms from great to small. There are limits to size however, with this being restrained by the dimensions of transportation. This is where concrete can be comparatively useful, with its relative availability and potential for monolithic connections. It is also malleable, able to take on forms that are not framed as well as framed. Concrete does fall short in previously mentioned criteria such as skill required and necessity for formwork. Both however are impressive construction techniques, especially in person.

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Past to Present

This course examines the global history of cities and the built environment from the beginnings of civilization to the present day. Through major historical writings and key secondary literature on urban design, it explores how modes of urban planning, construction, and revision have developed over time and circulated between cultures.

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Reflective Statement This course initiated my love of urbanism and the city as a site of nationbuilding, social and cultural issues in which designer must respond (GC4). The role of the architect could be viewed here in relation to all other actors and held up to a critical light (GC7).

[ 59 ]

Ephra Charlton Hutchinson MA (Hons) Architecture

Urbanism and the City

[ Graduate Attributes ]

Learning Outcomes:

L.O. 1. Grasp urbanism as a subject and demonstrate understanding of major trends in global urban history from the beginning of civilization to the present day.

L.O. 2. Understand the process of doing urban history. Show ability to develop an original research project through engagement with primary sources and close reading of key scholarly literature.

L.O. 3. Show familiarity with the histories and theories of urbanism. In a position to explain the works of the major post-1800 thinkers on urban history and design.

L.O.4. Demonstrate why urban design matters historically and in the present day.

The ablity to articulate how urban development instantiates systems of political and cultural authority.

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Past to Present

Urbanism and the City

[ 2020 ]

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Silvia Ojeda Garcia

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[ESSAY]

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2000 words

To what extent is the construction of Modernist capitals a successful practice in creating a new, ‘imagined community’ of the nation state?

Past to Present

Urbanism and the City

[ 2020 ]

Le Corbusier's Chandigarh plan from 1951. Note the sector interiors have not yet been designed. Courtesy of Liverpool University special collections and archives.

Congress National, Photo: Burri, R. (1997). BRAZIL. Brasilia. 1997.

BRAZIL. Brasilia. Oscar NIEMEYER architectural structures. 1997.

National Congress. https://library.artstor.org/asset/AMAGNUMIG_10311543609.

Costa, L. plan of 1957 (Plano Piloto), Vale, L. (1992) Architecture Power and National Identity. New Haven; London: Yale University Press. p.135.

Notions of modernity seem to implicitly reject the role of established tradition, creating in turn a mutually exclusive dichotomy. This comes with three main problems: firstly, it dismisses accumulated knowledge which informs region-specific, social behaviours; secondly, as Edward Shils phrases it, “‘modern’ means being Western without depending on the West;” and thirdly, it neglects to appreciate that a person cannot conceivable detach from influence and in fact it is unwise not to. Despite efforts to reject existing urban patterns, Brasilia was a city who’s imaginings did not correlate to the stratification of one of the most socially divided and poorest nations in the world. The reality of living in ‘harmony’, Holston lamented, ‘proved explosive, igniting class and status conflicts among the residents.” This conflict lead to the unforeseen, but perhaps foreordained, extension of the city to include satellite settlements. Rather than the unity which Niemeyer and Costa sought, the poorest residents were pushed out to the very peripheries, whilst officials built lavish mansions across the lake in desperate relief to return to the accustomed luxury. Whilst Chandigarh prepared for the eventuality of stratification by designing it into the scheme, one questions the extent of imagination beyond the status quo. By comparing Brasilia and Chandigarh discovery of different definitions and approaches to creating an ‘imagined community’ of the nation. Brasilia sought to equalise classes and monumentalise governance with intentions, both, to connecting legislature with the people and seeking recognition globally. Global recognition also befitted Chandigarh’s objectives; employment of famous European architects would certainly help. The city would seek to ingratiate the wider population with a new nationalism, pride at the wonderous capabilities of new India and its leader Nehru.

Ephra Charlton Hutchinson MA (Hons) Architecture

Planning of cities are overwhelmingly understood in axes of totalitarianism. Throughout history we see conquering forces regurgitate the same plan for reasons of political control. The very fact that Roman cities were organised according to the plan of route-march camps with a central commander’s tent shows the extent to which the ‘imagined community’ should be subservient to their leaders. The importance of cities is therefore in the of specific values they attempt to embody, the difference with capitals is they are “spaces that represent centre points of political power.” Crucially, they are the seat of government for a nation or state – the capital which cradles the capitol. With this much symbolic potential, the construction of ‘new’ capitals has been used by postcolonial nations to assert power and self-actualise in the wake of newfound agency. Two such ‘new’ cities are that of Brasilia and Chandigarh. Brainchildren of their respective presidents, these Modernist cities would have the key role of proving to their people – and the world - just how bright the future was to be if, their people also bought into the vision. Part of this was to foster a new ‘imagined community’, a modern people who rejected the subjugation of their oppressors and drove forth the economy in new, more equal modes of living and working. This essay seeks to establish a comparative analysis of the conception and execution of these two new capitals with regards to the ways in which the urban plan, morphology and building design have been used to create new imaginations of national society.

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Le Corbusier (1887-1965), Swiss, French, architect. creation date: 1952-1956. High Court of Justice, View Description: exterior, entrance portico. Courthouse. https://library.artstor.org/asset/ ASAHARAIG_111212446095.

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Key References Holston, J. (1989) The Modernist City: An Anthropological Critique of Brasilia. Chicago: University of Chicago Press.

Jackson, I. (2013) Maxwell Fry and Jane Drew’s early housing and neighbourhood planning in Sector-22, Chandigarh, Planning Perspectives, 28:1, p. 5.

Meier, L. (2009). Urban Imaginaries - Locating the Modern City.

Alev Çinar and Thomas Bender, editors. Urban Geography, 30(1).

Singh, G., Kahlon, S., & Chandel, V. (2019). Political Discourse and the Planned City: Nehru’s Projection and Appropriation of Chandigarh, the Capital of Punjab. Annals of the American Association of Geographers, 109(4), p1227.

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[ 2021 ] Architectural Practice: Working Learning

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Architectural Practice: Reflection Architectural Design: Explorations Architectural Theory

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Explorations

This course provides a platform for discussing issues explored in depth across units through a series of course-wide reflective events. These included student-led presentations of progress work, a series of open lectures by unit leaders and invited guests exploring representational strategies, design methodologies, and their relevance within broader social and environmental contexts, and more advanced digital tutorials that build on the skills taught in first and second year. These coursewide events were intended to expose a broader range of approaches to architectural investigation and to develop abilities to critically appraise work within a broader topical and methodological context.

Reflective Statement Explorations gave a chance to design a modest-sized intervention with a long research period which linked the final design to the fine arts by looking at the work of Olufur Eliassen and architects dealing with colour (GC2). It also grounded the technical knowledge with innovative design briefs which met the technical and aesthetic requirements (GC1).

Ephra Charlton Hutchinson MA (Hons) Architecture

Architectural Design

Learning Outcomes:

L.O. 1. Demonstrate ability to adhere to a design methodology that builds on the conceptual framework and key theoretical, cultural, and representational concerns outlined in the project brief.

L.O. 2. Demonstrate knowledge of the ways in which research and analysis of context, program and construction inform architectural design and the ability to synthesize these concerns to develop a coherent architectural proposal.

L.O. 3. Demonstrate ability to communicate research findings and design proposals using appropriate and varied modes of visual, verbal and written production.

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Architectural Design

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[DESIGN] Establishing a conceptual and theoretical framework

Ephra Charlton Hutchinson MA (Hons) Architecture

These inquisitive explorations of light and colour in space gave a good grounding in the behaviour of colour, its associations which was a useful insight allowing it to be translated into users within a person-scaled understanding of spaces for the third part, the design.

Behind the scenes

Colour is a product of light formed of electromagnetic radation and wavelength of lights which is reflected off of an object. Colour is complex, physiology and cofnitive interpretion all affect the way we see colour is. Colour can be broken down into hue, chroma and light reflectance value. Hue is the degree of lightness, darkness, strength in a colour. Chroma is the intensity of the colour and value is the luminosity, whether it is light or towards a black scale.

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Creating Dimmension in the Control of Light

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Architectural Design

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The introduction to this course was concerned with establishing an understanding of colour and how it operates within space as a result of light conditions and adjacencies to other colours. This was explored through modelling colour in simple ‘room’ models.

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Manipulating Spatial atmosphere and dimmensions using colour

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[DESIGN] Derivation, construction and documentation of a colour palette

NCS S7020-R10B

NCS S8010-Y50R

NCS S6030-R10B

NCS S8505-G80Y

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NCS 4550-G50Y

NCS 5040-Y80R

NCS S6030-R

NCS S5040-R

NCS S8010-Y10R

NCS S7020-R20B

NCS S 5040-Y50R

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NCS S 6030-R10B

NCS S 8505-Y20R

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NCS S 4550-Y90R

NCS S 8505-Y80R

NCS S 8505-Y20R

NCS S 7020-G

NCS S 5040-R10B

NCS S 7020-R

NCS S 7010-R90B

NCS 8500-N

NCS s 7020-R80B

NCS S 8010-G30Y

NCS S4040-G50Y

NCS S 5040-R

NCS S 8010-G90Y

NCS S 8010-Y30R

NCS S 8505-Y80R

NCS S 8010-Y50R

NCS S 7020-G50Y

NCS S 7020-Y50R

NCS S 2070-Y90R

NCS S 3560-Y80R

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NCS S 5040-G50Y

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NCS S 3050-G40Y

NCS S 7020-Y50R

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NCS S 8010-Y30

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NCS S 2070-G30Y

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NCS S 3060-R10B

NCS S 6010-R90B

NCS S 4040-Y40R

NCS S 3560-Y60R

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S 7020-Y50R

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NS 7020-R10B

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S 5540-G70Y

S 4040 -Y60R

S 5030-G90Y

S 3010-Y40R

S 6030-Y

S 4020-Y30R

S 2050-Y70R

S 3040-Y10R

S 2070-Y20R

S 4040-Y50R

S 3040-G90Y

S 1070-Y60R

S 7010-Y30R

S 3020-Y

S 5010-G50Y

S 2060-Y10R

S 2070-Y30R

S 3030-Y30R

S 3010-G70Y

S 1050-Y70R

S 5020-Y40R

S 3050-Y10R

S 2060-Y10R

S 4005-Y50R

S 1515-Y30R

S 1020-Y30R

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S 4010-Y10R

S 2020-Y50R

S 6020-Y30R

S 2570-Y40R

S 2005-Y10R

S 3020-Y20R

S 2030-Y

S 4040 -Y10R

S 2030-Y30R

S 3010-Y40R

S 1015-R

S 3020-Y10R

S 3005-Y20R

S 1510-Y40R

S 4010-R10B

S 1020-Y40R

S 3010-Y20R

NCS S4040-Y10R

NCS S5040-Y60R

NCS S7020-Y30R

NCS S 6030-Y60R

NCS S0580-Y60R

NCS S 7020-Y30R

NCS S 4050-Y60R

NCS 5040-G10Y

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NCS S 3060-Y60R

NCS S 1070-Y90R

NCS S 2750-Y60R

NCS S 5005-G80Y

NCS S 3020-Y20R

NCS S 3060-Y40R

NCS S 3060-Y40R

NCS S 4040-Y30R

NCS S 2030-Y

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S 4040-G50Ym

s 3060-Y30R

s 3060-Y30R

S3848-Y50R

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NCS S3560-Y70R

NCS S 2050-Y30R

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NCS S 1080-Y70R

NCS S 2570-Y80R

NCS S 3010-Y60R

NCS S 2060-Y

NCS S 1020-R80B

NCS S 3060-Y20R

NCS S 1510-R90B

NCS S 5040-Y40R

NCS S 5040-Y60R

NCS S 5040-Y80R

S 2010-G90Y

S 4020-Y20R

S 4020-Y20R

S 5030-Y10R

S 5020-Y20R

S 4020-Y20R

S 3010-Y60R

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NCS S4040-Y10R

NCS S3040-Y10R

NCS S 4040-Y

NCS S7020-G50Y

NCS S1070-Y20R

NCS S 3050-Y

NCS S 4040-Y

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NCS S 3560-R

NCS S1050-Y30R

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NCS S 3040-Y10R

NCS S 2010-R80B

NCS S 3060-Y60R

NCS S 1070-Y10R

NCS S 2050-Y20R

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S 2020-Y20R

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NCS S 3010-G70Y

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NCS S 2060-G50Y

NCS S 3060-G80Y

NCS S 1010-R90B

NCS S 2060-Y

NCS S 2060-Y10R

NCS S 2060-Y

NCS S 5020-Y30R

NCS S3050-Y70R

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S 1060-G90Y

S 2000-N

S 2000-N

S3060-Y20R

S 2010-Y20R

S 2020-Y70R

S 3560-Y20R

NCS S4030-B

NCS S5040-R

NCS S1555-B10G

NCS S 7010-R70B

NCS S2060-Y20R

NCS S 3020-Y

NCS S 1550-B10G

NCS S 5030-R70B

NCS S 4040-R20B

NCS S 2040-R10B

NCS S 1030-R90B

NCS S 3005-G50Y

NCS S 3050-G70Y

NCS S 3010-G90Y

NCS S 5040-G50Y

NCS S 2050-B80G

NCS S 3020-R10B

NCS S 4040-G80Y

NCS S 3060-Y50R

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S 1515-G90Y

S 3040-Y

S 2040-Y

NCS 3060-Y50R

NCS S4050-R90B

NCS S 8010-G50Y

NCS S5030-R70B

NCS S 3050-Y60R

NCS 2020-Y40R

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NCS S 5020-R80B

NCS S 2050-G

NCS S 4010-Y90R

NCS S 1515-R80B

NCS S 5540-G70Y

NCS S 1580-Y80R

NCS S 2005-Y40R

NCS S 3560-Y30R

NCS S 4020-B90G

S 1050-G90Y

S 2040-Y10R

S 2030-Y40R

NCS S7010-Y10R

NCS S3040-B

NCS S5030-R80B

NCS S5020-R70B

NCS S 3010-R50B

NCS S 1050-G50Y

NCS S 1510-Y60R

NCS S 3030-Y20R

NCS S 3050-Y10R

S 1040-Y20R

S 3020-Y20R

S 2070-Y50R

NCS S6020-R

NCS S2050-B20G

NCS S 5010-Y30R

S 3020-G30Y

S 2010-R20B

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NCS S 7020-R

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S 8010-G70Y

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S 3040-Y

S 8505-Y20R

S 7020-Y50R

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S 2570-Y90R

S 1515-Y50R

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NCS S3030-Y

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S7020-Y20R

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S 3560-Y70R

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S 3020-Y

S 7010-Y50R

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S 7010-Y30R

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S 7020-G30Y

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S 1015-R

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S 5540-G70Y

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S3060-Y20R

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S 5040-G90Y

S 5030-Y10R

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S 1020-Y30R

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NCS S 5040-G50Y

S 5020-Y40R

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S 4010-R10B

NCS S 5005-G80Y

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S 4030-Y60R

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S 2050-Y90R

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NCS S 3050-G40Y

S 4030-Y10R

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S 4020-Y20R

S 3050-Y70R

S 2020-Y50R

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S 2020-Y50R

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Ephra Charlton Hutchinson MA (Hons) Architecture

Y

D3

S 3050-Y70R

S 2020-Y20R

S 1010-Y50R

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S 7010-Y50R

NCS S7020-G

NCS S 3010-R60B

S 8505-Y20R

S 4030-Y60R

NCS s5010-Y30R

Analysis of over 25 dishes from 5 different people through colour capture of significant hues led to the collection of over 100 colours which were then sorted into hues along a spectrum. Investigations into the colour of food found that most hues were muted tonally and distributed in the Yellow-Red spectrum. From this, colours from each spectra (Y-R, G-B) were chosen as a palette.

S 5040-Y40R

S 5030-Y40R

NCS 5020-Y10R

N100

S 6030-Y40R

S 8010-Y50R

S 6030-Y50R

NCS S 5040-Y20R

D3

S 7020-Y30R

S 8010-Y10R

S 2570-Y90R

NCS S3560-Y80R

D2

S 8505 -Y80R

S 4550-Y70R

S 7020-Y60R

NCS S8010-Y30R

D1

S 3560-Y70R

S 7010-Y70R

S 2570-Y80R

NCS S4550-Y70R

NCS S 2005-Y80R

S 8010-Y50R

S 5540-Y90R

S 6030-Y60R

NCS S7020-Y50R

NCS S 5040-Y70R

S 9000-N

S 4550-Y70R

S 6020-Y40R

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S 7020-R10B

N

S 2000-N

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Explorations

Architectural Design

[ 2020 ]

N0

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They also produced an interesting selection of proportions and compositions which were analysed through paintings. Colours sometimes changed dramatically when interpreted in this way and it was useful to consider the ratioal for these decisions.

FINAL PALETTE

NCS S 6030-Y

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S 1020-Y30R

S 2060-Y10R

NCS S5020-R70B

NCS S 1020-R80B

NCS S5030-B

NCS S7020-G

NCS S 2050-G

S 3020-G30Y

S 8010-G70Y

APR APWL PLA

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DISS LAI AD LOG

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Laksa preparation and stages

[DESIGN]

boil serve

Derivation, construction and documentation of a colour palette

Ephra Charlton Hutchinson MA (Hons) Architecture

The rhythm and ceremony around food also became important to the programme through investigative drawings began through filming ourselves cooking. These curated our understanding of food as intrinsically linked to the kitchen and our patterns of behaviour therein. Colours therefore had spatial qualities through social activities. This we explored through a selection of methods and drawings based on the preparation of two meals.

22.

Laksa - point of view drawing with overlay of each temporal stage

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Architectural Design

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Explorations

[ 2020 ]

Sukiyaki - drawing from plan view, temporal overlay of each stage

Sukiyaki kitchen axonometric Videos

Laksa kitchen axonometric

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DISS LAI AD LOG

[ 66 ]

Ephra Charlton Hutchinson MA (Hons) Architecture

Colour Strategy Perspectives

Food and Wellness Centre

Kennedy Tower, Morningside, Edinburgh This project involved the retrofit of a 1960s tower block currently used as a Psychology Unit within the Royal Edinburgh Hospital. The tower was expensive to run and swayed between extreme temperatures due to thermal bridges and strip windows on all elevations.

As a result interventions included the addition of a pure-glass block facade inspired by Hiroshi Nakamura and NAP’s Optical Glass House in Hiroshima. The intention was to create both sun room to passively heat the remainder of the building and provide shade through growth of trees. This joins to the green house on the roof and used to grow vegetables which are sold in the marketplace and used to make meals in the community kitchen.

Axonometric 1:500, colour strategy for entire tower.

[ Collaborators ]

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[DESIGN] Food and Wellness Centre Plan Kennedy Rooftop Tower, Morningside, Edinburgh

Ground floor plan

Top floor Plan

Overlaying our movement drawings onto drawings using ingredients from the laksa and sukiyaki dishes.

Ephra Charlton Hutchinson MA (Hons) Architecture

Here plans were derived from overlaying our movement drawings onto drawings using ingredients from the laksa and sukiyaki dishes . This also helped us consider which spaces would be suitable for the the different activities that were proposed to take place in this centre. As a reparative space we were keen to have areas for upcycling and music as well as having a strong theme of food, preparation and eating throughout the building. The key spaces were the marketplace for selling produce, the community dining room and kitchen and the greenhouse. These provided the main areas of intervention

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Kitchen and Dinning floor plan

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Ground Floor Plan 1:400

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Explorations

Architectural Design

[ 2020 ]

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Shapshots of movement through key spaces in the building 1. Community Kitchen 2. Marketplace 3. Cafe/dining pod 4. Mezzanine walkway through to greenhouse

East Section 1:100

Greenhouse floor plan

APR APWL PLA

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Greenhouse

Community Kitchen

Ephra Charlton Hutchinson MA (Hons) Architecture 1

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Marketplace Community Hall

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Explorations

Architectural Design

[ 2020 ]

Community Hall

AD T+E URB Oscar Putz - Kix Bar, Vienna

West Section, 1:200.

West Section, 1:200.

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Colour Strategy at key floors

AD LOG

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Ephra Charlton Hutchinson MA (Hons) Architecture

Glass block brick detail, sectional axonometric, 1:100

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Architectural Design

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Explorations

[ 2020 ]

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Detail section through kitchen and greenhouse spaces, 1:50.

Collage of intended materiality of new intervention

DISS LAI AD LOG

[ 70 ]

[ESSAY + REFLECTIVE JOURNAL]

This course is aimed at reflecting upon individual assumptions about architecture and there interaction which theoretical literature. This comes from a position of questioning and is intended to explore issues of confusion.

The essay builds on the skills developed in the creation of the journal and provides an opportunity to explore a particular issue in greater depth.

Reflective Statement This was a chance to further the interest in urbanist theory with a critical lens on several topics intersecting sociology, urbanism, international development and planning among others (GC4). These also allowed me to critically investigate the role of the architect in urban planning, specifically that which concerns participatory practices (GC6). It proved an inspiration for my dissertation project which was concerned with the same theoretical principles.

Ephra Charlton Hutchinson MA (Hons) Architecture

Architectural Theory

Learning Outcomes:

L.O. 1. Knowledge of contemporary design theories and the ways in which they can inform specific approaches to, and practices of architectural design.

L.O. 2. Ability to demonstrate and analyse how architectural production fits within wider philosophical, historical, social, political and economic discourses through careful argument.

L.O. 3. Ability to research issues in architectural theory, to critically reflect upon them, and to organise and present those reflections in the format of scholarly writing.

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Architectural Theory

[ 2020 ]

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Michelle Bastian

3

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DISS LAI AD LOG

[ Collaborators ]

[ESSAY]

2000 words

[ Graduate Attributes ]

[ General Criteria ]

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1. Theory 2. Practice

What is the right to the city and what implications does it have for architects?

The subject of ‘successful’ placemaking has been the preserve of architecture and urban planners for centuries. In Ancient Greece we saw the use of the column form to communicate values embedded within a space. This language ascribed the ‘success’ of the place to the embodiment of the values intended by the architect or patron. Understanding placemaking in these terms can help us reflect on the inherent values that are a part of all constructed spaces and, in doing this, radically alter towards becoming ‘favourable to happiness’ for those who occupy them.

Often misconstrued as the ‘individual liberty to access urban resources,’ the ‘Right to the City,’ argues for the creative and transformative potential of citizens to, not only remake the city but, in doing so remake humanity. Critically this is manifested in the ‘ephemeral city, the perpetual oeuvre of its in inhabitants.’

Urban/Public/Commons

Architectural Theory / Essay

[ 2020 ]

Embedded in Lefebvre’s ‘Right to the City’ are the notions that: change must be revolutionary to find solutions to urban problems and, that change is most likely to come from those outside ‘the framework and possibilities of the prevailing society’ . Thus, the right to the city can be heard as a battle cry for an alternative urban life rather than a proposal for what that might be. There is plenty of room in theory for expansive and utopian thinking. The belief of something beyond the presently conceivable is the start of any great invention and seems entirely appropriate to radical reimaginations of urban life.

Of course, the identifiable difficulty lies in Lefebvre’s tendency to ‘leave the actual spaces of any alternative frustratingly undefined.’

This has led to splintering interpretations from; “DIY Urbanism” to “Guerrilla Urbanism”. All these practices relate heavily to the creative importance of ‘citadins’ (urban dwellers) in the process of decision-making in the city. This essay disseminates elements of ‘the right to the city’, the splintered interpretations in theory and examples their implementation. This gives way discussion into their implications into the wider agency of the architect.

Architectural Theory / Semester 1

In the example of Navarinou Park the ‘commons’ emerges from the needs of a community and this collective effort allowed public space to be reclaimed as necessarily open and equal to all. In ECObox in Paris, the intervention that began as architect-led and became community-managed might be considered an alternative to the more widespread discontent need as precursor to the ‘Squares Movement’.

ECObox also demonstrates ways in which the movement can operate at the local and city level by creating networks of reclaimed spaces managed by local communities. In this way, quite naturally, new spatial relations and politics could become transformational to the wider city.

This approach could however put the onus too greatly on a bottom-up transformational model and instead, involvement might include the collaborative efforts of planners, legislators, and politicians, alongside strong top-down welfare delivery.

In ‘Designing Disorder: Experiments and Disruptions in the City’, Sennett describes the need for planning law to ‘enable things to evolve, to be unfinishable just as the city itself is an unfinishable project.’ Designing sites of ‘disorder’ might then become a requirement for new projects and therefore a consideration of the architect in more practical terms. Enaction of this at city scale also allows for architects to consider the impact of connections between these spaces in encouraging intercommunity encounters and the ‘perpetual pursuit of unknowable novelty’ afforded by the unplanned.

Navarinou Park, Athens

Ephra Charlton Hutchinson MA (Hons) Architecture

“What are and what could be the most successful places? How can they be discovered?’ According to what criteria? What are the times and rhythms of daily life which are inscribed and prescribed in these ‘successful’ spaces favourable to happiness?”

This essay has discussed the meaning and relevance of Lefebvre’s the ‘right to the city’ to architects through divergent interpretations. The role of the architect can be linked more closely to that of the urban dweller. Therefore, the traditional remit of the architect is shared or even taken on entirely by the citadin and the architect may start to employ other skills more appropriate for discourse. Stavrides and Barker et al believe that role of the architect lies within their role as a citizen and do not see the architect as exceptional to that community.

Whereas attempts to understand the ‘right to the city’ within existing legal and political frameworks by the World Charter and Brazil’s Statute to the City, are potentially more actionable as they exist within the current urban reality but does not engage radical rethinking of architecture.

ECObox, aaa, Paris

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15-M Movement in Spain

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The ‘right to the city’ is the right for the ‘citadin’ to remodel life by remodelling the city. Spatially this means creating new thresholds and subsequently new types of space for new interpersonal politics to grow. Implications for the architect lie in radically repositioning the degree of involvement, the type of involvement and the rethinking of the role and permeance of architecture in the built environment.

APR APWL PLA

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Drawings by Pablo Sendra from Designing for Disorder

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When is a House Not a House? Turning the Gaze Inwards

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3000 words

Why Theory? Theory and its Enemies It certainly felt this way in Derrida and Eisenmann’s ‘Chora’ where questions were raised about the roles of the architect and the philosopher. I was frustrated by the expected polarisation of the architect as purely practical and the philosopher as purely theoretical. Setting the experiment up in this way, meant that in the potential of the architect to simultaneously consider the wider idea, as well as how it might be realised was lost.

Recognition of the role the architect as multi-faceted was also absent. Instead of understanding each other within the confines of their ‘camps’ of knowledge, they could have benefitted from seeing that the roles of both have a fundamentally recursive nature.

Dis/orientation: Languishing in a State of Unknowing In the ‘Site of Reversible Destiny’ , a work by architects Arakawa and Gins in Tokyo, this is unescapably present. It flows through the unreliability of the ground-scape; the giddy maze of walls also reflected on the soffit in eerie disillusionment. This experience appears utterly bewildering by its attempt to realign the body with its natural sensibilities.

Spaces that therefore disrupt the assumptions can help to further our attempts to ‘build in speculative spaces’ . This consolidating effect could improve our breadth of personal knowledge by dispelling assumptions which might restrain us from knowledge. Cultivation of a ‘second sight’ allows us to become vastly more aware of the bias I carry with us into every situation. By placing ourselves at liminal reaches of the ‘other’ we can find new ways of designing that goes beyond the confines of the presently possible. By also constructing spaces which encourage disruptions this effect may be compounded.

5

Interrogation of our own philosophies is crucial as architects for we design a world in which others live. It is the great burden, and the great joy of architecture. However, in designing for other cultures, countries and communities architects often are unaware of their own biases whose application may be wholly inappropriate for the context. In the example of Maxwell Fry and Jane Drew’s involvement in designing housing in the Indian city of Chandigarh, the architects understood the common practice of sleeping on rooftops as not befitting a ‘modern city’ and so designed this as an impossibility. In doing so they erased a part of daily life for the new residents. Embedded in the bricks of these houses - and every other construction - is the philosophy of the architect and their ideals.

In this way, I believe ‘constant movement’ and continual re-evaluation is the only means in which to design beyond my preconceptions to design for contexts beyond myself.

Policing Architecture: Race in Place In Messelson’s deduction of Inner-City Johannesburg’s reaction to the new pseudo police on the block: ‘there is a desire for, and consequent legitimacy of, harsh physical approaches to policing.’ On reading this I found myself protesting – “how could residents desire to encourage violence?”, “are they subject to some sort of bias toward harsh measures?”. The article begins with a story of a ‘police on the beat’ style search of which the residents are so accustomed as to shrug it off with no further thought, it is ‘allowed’ the man utters. Is it not strange to expect this as a part of daily life? Messelson explains that ‘Bad Boyz’ and other community based ‘security’ companies represent the need for community policing in the dearth of non-terrorizing state policing. These private companies primarily secure residences but their ‘broken windows’ philosophy means that this action extends to streets, playgrounds and football pitches. Unlike the State and their ‘Operation Clean Sweep’, they do not come from the outside with divisive action instead, those that work in ‘Bad Boyz’ are residents in the community and have a stake in its welfare.

Urban Public Commons: Designing Disorder In ‘On Social Control and Collective Behaviour’, Park proposes that man makes the city in conjunction with his hopes and in ‘remaking the city, the man has remade himself’.

In the modern imagining of the city, he had made himself a capitalist. By virtue of the amassing of people, collective action at sites of power was inherently more possible. The ‘Right to the City’ sees the working class as potential revolutionaries, best placed to enact change outside of ‘the framework and possibilities of the prevailing society’ because they are not beneficiaries of the system. Man had again remade himself as a rebel.

1

4

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[ General Criteria ]

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Ephra Charlton Hutchinson MA (Hons) Architecture

2

3

[REFLECTIVE JOURNAL]

[ Graduate Attributes ]

Pandemic Architecture: Where is the Place of the Architect?

In Killian Doherty’s evaluation of the Ebola crisis in Sierra Leone , he also comes to the same conclusion, ‘The intangibility of the Ebola outbreak makes it a disaster in which it is difficult, almost irrelevant, to place architecture at the heart of discussions surrounding intervention. He suggests that the treatment centres appear as alien ‘Western institutions’ which do not marry well with Sierra Leonian understandings and rituals around health. So much so that many would avoid the buildings altogether. Perhaps the role of the architect here is to avoid rushing in with unfamiliar systems and instead meditate upon the needs of the community, learning how their skills may be put to other use.

AD AH A+D AD AH T+E

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Architectural Theory

[ 2020 ]

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[ 73 ]

Working Learning

The MA (Hons) Architectural Practice: Working Learning is acourse that introduces students to architecture as a professionalpractice. The course addresses a range of topics - the architect/client relationship, the role of professional bodies, legislative framework and modes of procurement – in order to offer students a framework of professional knowledge, preparing them for future employment.

Learning Outcomes:

L.O. 1. An understanding of business management and knowledge of the legal and statutory frameworks within which Architectural Design is practiced and delivered.

L.O. 2. An understanding of the role of the client, Architect and related professions in the costing, procurement and realisation of architectural design projects.

L.O. 3. An understanding of the role of the Architect in society, including knowledge of professionalism and emerging trends in the construction industry.

Reflective Statement Whilst I had failed to find a placement for the second semester of third year to which this course lead up to and runs over ordinarily, I felt I gained a good grasp of the operation of the industry (and its failings) through an intertwined historical, social and economic perspective. I began to grasp more why the conditions were the way they were in the studio as a result too. The design report gave me a good chance to investigate in depth a contemporary building and disseminate the design decisions related to immediate and wider context as well as the process of and a tate of the documents required from design proposal to post-construction.

Ephra Charlton Hutchinson MA (Hons) Architecture

Architectural Practice

1

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Working Learning (Semester 1/2)

Architectural Practice

[ 2020/1 ]

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[ESSAY]

2000 words

Problems in the Profession: A Reflection on Workplace Exploitation in the UK Architectural Industry

The nature of the Industry’s fraught relationship with capital has made exploitative working practices common; “practices are undercutting each other, competing on fees in a race to the bottom.” By choosing to inadequately pay employees for their hours worked, and perpetuating a narrative of projects as ‘a labour of love’, employers are able to achieve low tendering fees and thus are likely to secure more work.

This is a trend in the wider job market too, and encourages more temporary, low paid and precarious working conditions for the pursuit of higher margins between cost of delivery and pay.

Architectural Practice: Working Learning Problems in the Profession

[ 2021 ]

The use of competitions as a contract model, provides the client with a range of possible outcomes but only one design is eventually chosen.

This gamble can mean practices loose out and therefore use unpaid overtime to reduce the outgoings. Sacrifice of employee time for the greater good of the financial stability the practice has been such as successful myth that many practices even require employees to work unpaid overtime, contractually. Others are pressured to opt out of the Working Time Directive which gives workers the right to only work 48 hours per week, and rest at least 11 hours in any 24 hours. Exploitation in the workplace has reached a tipping point with the exacerbation of existing problems coupled with those brought about by the COVID-19 pandemic causing the eruption of union, activist and journalistic activity.

Education: Studio Culture In ‘AJ survey shows unpaid overtime endemic’, Alan Dunlop suggests this mentality arises from the competition rife in architectural education. Students earn a “badge of honour” for working through the night. Respect among peers is garnered by sacrificing sleep and health for the collective ‘art’.

[ General Criteria ]

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Workplace: Studio Culture In one account anonymously given to the Future Architect’s Front (FAF), they describe an expectation to “work like a robot and say goodbye to your life” citing, that if you left at five-thirty then you were not ‘dedicated’. Another describes the two-hundred hours unpaid overtime they worked over a three-to-four-month period as something that was “expected” and that if they had said no, “it may have jeopardised my [their] employment”. Whilst many cite unpaid overtime as expected some also describe it as an exchange for ‘a pat on the back from management’. By actively encouraging unpaid overtime employers are engendering a culture of exploitation.

Workplace: Underpaid and Overworked Charlie Edmonds of FAF deplores the lack of guidance given on the role of architectural assistant, in his interview on Architecture Social, he indicates that ‘the role is just simply not working in the way it was intended to work’. In his open letter to the RIBA then, he calls for ‘effective oversight on the Architectural Assistant role.’ This includes regulation against being ‘trapped in entry-level positions beyond the time necessary to fully qualify’. It is obvious employers are taking advantage of the lack of regulation around the role so it would be an important step to see the RIBA make strict protocols that allow it to fundamentally focus on the professional education of students.

Unionising and Collective Action The impact of a lack of regulation in the workplace has been greatly exacerbated during the COVID-19 pandemic where a need to stay at home and has had employers make unacceptable and unchecked demands on their employees. Union member, Jake Arnfield understands that a ‘worryingly large percentage of members have been asked to work while furloughed’ a request that is entirely illegal but that he feels many are ‘too vulnerable to report’. Too vulnerable because speaking out could see them unemployed and unable to find work in an unstable job market. The newly formed member-led trade union, United Voices of the Work - Section of Architectural Workers (UVW-SAW) says membership has tripled since the COVID-19 pandemic clearly indicating an upsurge in mistreatment in the industry.

The director of professional practice at the Architectural Association says: ‘It’s not just one or two practices; it’s a fundamental problem. I don’t know anyone who has had a very good experience in practice.’

As a problem that is now endemic to the profession it may be the governing body, the RIBA that we should pressure to create systemic change. The Future Architects Front believes this, demanding that the RIBA: end unpaid overtime in all chartered practices; and among others, accountability for exploitative work environments. In their response RIBA’s incumbent President, encouraged individuals to report illegal behaviour through improving whistleblowing channels. He also outlined some initiatives such as The Compact which proposes to eliminate unpaid work for architectural assistants. To move forward it seems tackling the culture of exploitation must come from the top in the RIBA and the bottom in UVW-SAW. Many practices are good places to work but we cannot rely upon them individually to change without enforcing the RIBA Codes of Practice, Real Living Wage requirements and creating new measures to protect architectural assistants from exploitation.

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Ephra Charlton Hutchinson MA (Hons) Architecture

“There is the belief that architecture is a profession that demands all or nothing” says Architect Andrew Maynard whose article, ‘Work/ life/work balance” became an important discussion point for conversations about “masochistic” working conditions in the Architectural Industry. In this, he describes his insistence to work to the hours of his contract and not beyond, garnering him the labels ‘not a team player’ and ‘not committed’. This expectation to adhere to the studio culture at personal detriment, Sean Griffiths refers to as “The Master and Slave Mentality”. And it drives 81% of architects and 88.6% of architectural assistants to work beyond contracted hours with no compensation. These numbers suggest a serious problem with exploitation of workers in the profession. Exploitation, in this essay is defined as ‘the act of using someone unfairly for an employer’s own advantage.

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Consider how the architect’s remit differs between ‘Traditional’ (client-led) and ‘Design + Build’ (contractor-led) contracts?

Architectural design in the UK is subject to a wide range of regulatory requirements. Describe the architectural implications of a specific regulation contained within Building Standards (Scotland): 2019 Domestic. S Scottish Building Regulations, updated in 2019, are split into two categories: domestic and non-domestic with each sharing and differing in stipulations because of their different users. One such regulation, of which this essay will describe the implications of, is set out under 4.1, ‘Access to Buildings’: ‘Every building must be designed and constructed in such a way that all occupants and visitors are provided with safe, convenient and unassisted means of access to the building.’

Architectural Practice: Working Learning Four Short Essays

An increasing number of architectural firms are choosing to organise themselves as an Employee Owned Business (EOB). How is this form of office structure advantageous to young architects?

This can mean that EOBs have a stronger long-term focus - commitment to shared values of the business hails good staff retention.

This may mean that young professionals could stay on in the business longer as they believe they have some impact on the wider operations of the firm. The egalitarian, flat-hierarchy of an EOB also means that the directors are salaried and do not get paid dividends which would alter financial reward - young architects are as likely to receive financial reward as directors. Care is also at the heart of this scheme allowing young people to grow and accumulate new skills in management and business. The collaboration, shared values and financial prudence afforded to this scheme are much in favour of those entering the profession, as they place the inexperienced on an equal footing within the workplace.

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This refers to need for inclusive design throughout the design process not only as an afterthought. Inclusive design as mentioned refers to those with obvious physical impairments also including a requirement that everyone, including those who might experience barriers socially, have ‘safe, convenient, and unassisted access’ .

Ephra Charlton Hutchinson MA (Hons) Architecture

The decision between ‘Traditional’ or ‘Design and Build’ procurement routes will depend on the type of project and the expertise required, their availability, the client’s finance route, risk strategy and priorities.

The architects remit is greater in traditional procurement routes, acting as the overseer for the entire pre-design, design and pre-construction phases, in contrast the remit of architects within the ‘Design and Build’ route is usually limited to the concept or design phase.

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2000 words

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The ARB maintains the register of architects in the UK but how successful are they at safeguarding the architect’s title and function?

The Architectural Registration Board or ARB are responsible for safeguarding the architect’s title and function in the UK. This essay will evaluate the success of the Board in doing this.

Enshrined in the Architects Act 1997 is a legal protection ascribed to the title of architect under Section 20. This prevents those who have not gone through the education, training and practice required to register for ARB to use the title of ‘architect’ lawfully. Requirements for registering with the ARB are set out in the ‘Criteria for the Prescription of Qualifications’ Individuals or businesses who use the title incorrectly are committing a criminal act and can therefore be prosecuted.

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800 words Location

Design Principles

The location lies at the end of an urban limb to the south of Lewes. It is bounded by the River Ouse, with low-lying conservation land on the opposite.

It runs parallel to the busy A26 and is the first building as you enter the town, a prominent position.

Layout Layout of plan distances the main living spaces from the road reducing the impact of road noise. External sheltered ‘niches’ reduce noise externally.

Appearance and Materials The appearance of the building is striking, using materiality to create visual connections its surroundings. The Cor Ten steel makes the building a striking ‘gateway’ to the town.

Wharf House

Integrity and Environmental Health Height of river wall increased, and drainage system employed.

Unstable ground combatted with Pile Foundations.

Insulation allowed and layout reduce the noise disturbance inside key areas.

The boldness and scope of architectural ambition bring a new contemporary interest to the town.

Proposal

142 South Street, Lewes, East Sussex, BN7 2BS Completed: September 2015 Area: 257 m²

Ephra Charlton Hutchinson MA (Hons) Architecture

Scale and Form To demonstrate RES6 condition, siting ‘in a location appropriate to its surroundings and to the enterprise concerned’, is met, the design aims to be in dialogue with the materiality, form, and scale of the context.

Team Architect: Sandy Rendel Architects Structural Engineer and Quantity Surveyor: Stephen Evans Associates LLP Developer: Peter Carter – Myriad Construction Ltd. Client: (Private)

Fig. 3: Site Plan with boundary line.

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Procurement Method

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Fig. 2: Site Section showing views to and from the building.

Architectural Practice: Working Learning Design Report

Traditional Lump Sum. Awards

[ 2021 ]

RIBA National Award 2017, RIBA South East Award 2017, Sussex Heritage Award 2016 and, The Sunday Times British Home Award 2016.

History The site served as a wharf where chalk from the pit would be loaded onto barges to be taken to port. It operated from 1870s 1927 when replaced by cement works. After the works closed in 1981, South Street was closed as a through-road, replaced by the A26.. Deconstruction of both lead to a build-up of debris on the site.

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Fig. 1: Terrain Birdseye View of site and design.

Brief To design a single, family dwelling that was also bold and contemporary in form andmateriality. The client wanted a respectful and complimentary approach to the character and grain of the site.

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Wharf House

Fig. 4: 1920s view of Lewes Portland Cement and Lime Works (South Street from across the river)

Fig. 5: 1920s view of Lewes Portland Cement and Lime Works (South Street from above)

Fig. 12: Study models showing the progression of the design to an abstracted vernacular form

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[ 77 ]

NOTES All Dimesions are from structure to structure unless indicated otherwise.

Elements of structure and services are indicated for coordination purposes. For full structural and services layouts refer to Structural and Services Engineers' drawings Do not scale directly from drawing. All dimension to checked on site prior to construction or fabrication of any elements.

Fig. 19: Material Palette and Contextual Inspirations

Any discrepencies between figured dimensions to be reported to architect for clarification prior to comencing work.

For legend see signature sheet 103_B07_001. © Copyright Reserved

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Elevation from River Ouse

Fig. 20: Image of Building from East Riverbank.

Sandy Rendel Architects Ltd 93 Choumert Road London SE15 4AP T: +44(0)20 76395034 E: info@sandyrendel.com

Appearance and Materials

December, 2011 Planning Rev

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Material Conditions Noise and Disturbance The A26 generates a large amount of noise which could prove unacceptable for client if not addressed in the design. Comments from Environmental Health require 30-35dB to be achieved in specific rooms.

Layout

Niches Walls Fig. 9: Diagram to show distribution of sheltered external niches at ground level

The program divides the served and service spaces along the north-south axis therefore, living areas are protected from the noise of the road and can open west for the best natural light and views. The plan creates sheltered niches to allow for equal enjoyment of views externally.

Fixing rails to specilaist subcontractor design xed o the renolit alkosolar support pro les hot welded to roof membrane.

Renolit Alkorplan F (Lead Grey) 1.5mm single ply membrane roo ng mechanically xed and installed according to manufacturers standard details and approved speci cation on 120mm Kingspan Thermaroof TR26 Rigid Insulation with Renolit Alkorplus Vapour Contol Layer beneath (to include all sealing tape, protection layer, metal trim/sheet etc. as membrane manufacturers details).

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Slope and position of roof valley.

2mm Corten expanded mesh cladding with corten support brackets to specilaist subcontractor design. Mesh orientation reversed to encourage drainage to membrane beneath.

The form is abstracted from local vernacular. Its relationship to the context remains considerate by keeping the ridge of Wharf House. The form allows for all the stipulated internal rooms by the client, with the division of living and sleeping creating a comfortable occupation pattern.

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The design replaces an existing timber shed, following its footprint roughly - minimising changes to the density of the context.

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2 part 3mm Corten eaves trim pro le to close top of vented cavity and drain into gutter.

Marley Alutech Evolve Deep ow Gutter pro le laid level with outlets at each end and 76mm diameter ush t rainwater pipes.

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2mm Corten expanded mesh cladding with corten support brackets to specilaist subcontractor design.

Stamisol Color UV facade breather membrane to face of SIPS panels installed according to manufacturers recommnedations and approved details.

3mm Corten window surround with fully welded corners 2mm Corten expanded mesh xed vent panel in front of inward opening window supported o corten window surround

Approximate position and slope of undderside of steel valley beam.

Double glazed aluminium framed inward opening window.

FFL 9.750 Top of Steel 9.705

142 Sips Panel

2mm Corten expanded mesh xed vent panel in front of inward opening window supported o corten window surround

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Stamisol Color UV facade breather membrane to face of SIPS panels installed according to manufacturers recommnedations and approved details.

2mm Corten expanded mesh cladding with corten support brackets to specialist subcontractor design.

Top of Concrete 9.350

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142mm Kingspan TEK SIPS panel to specilaist subcontractor design.

Steel edge beam and oor joists to structural engineers' details and speci cation.

3mm Corten bottom trim pro le to close bottom of vented cavitybehind mesh cladding.

Dotted lines indicates position and o set of Marley Alutech Evolve 76mm diameter ush t rainwater pipe beyond.

Insitu reinforced concrete column beyond.

Insulated render system to exposed external so t.

The building’s attention to cultural heritage and relationship with natural landscape satisfied an appeal. It also promotesopportunities for public understanding by designing a new architecture for the area.

Top of SIPS on GL 1 12.132

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Approximate Glazing Line (frame Pro le to be con rmed)

Scale and Form

Eaves line

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Fig. 11: Cross Section A-A’ showing existing timber timber shed against new form

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Flood Plain Likelihood of severe flooding.

Piles were drilled 15m deep into the bedrock to protect the river wall from pressure from the house and works.

An updated Flood Risk Assessment determined the site is not at risk, the design should however prepare for risks of climate/change. The section of the existing river wall in front of building wall is raised to +6.250 in in-situ concrete with French drain and gravel infill in recess behind top of river wall.

Renolit Alkoplan metal trim with galvanised steel retention bracket on compressive foam sealing tape.

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Treated sw kerb at eaves.

Ground Quality Unstable ground from dumping of chalk and concrete from the quarry.

National Park The project should fulfil the purposes of the additional planning restrictions within the South Downs National Park: 1. To conserve and enhance the natural beauty, wildlife, and cultural heritage of their areas; 2. To promote opportunities for the public understanding and enjoyment of the special qualities of their areas.

Internal studwork partitions to achieve min 40db sound reduction with 50mm Rockwool Flexi insulation fitted tightly betweenstuds and 1 layer of 12.5mm acoustic rated plasterboard to each face.

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Design, Appearance and Materials The design must be appropriate to the site and use appropriate materials.

Integrity and Environmental Health

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Effect on Listed Buildings and Conservation Areas Peoples’ concern over the appropriateness of the design against the Grade II listed, houses and conservation area.

Strong objections on the grounds of its dominant position and size, querying bypassing of RES6 (New Residential Development in the Countryside) requirements.

Walls Service Served Fig. 8: Diagram to show distribution of service and serviced spaces at both levels

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Layout and Density of Building Design, Visual Appearance and Materials The site is tight, a considered approach to floor plan is necessary. The materiality must be appropriate.

Road Noise

The palette consists of three main materials: Cor Ten steel, ash-glazed brick, and board-marked in-situ concrete. (Internally: concrete, timber, and charred timber).

The Cor Ten steel wraps the upper mass. Its red, oxidised skin is durable and self-finishing, its colour changing over time. This evokes the industry of the site.

The form is emphasised as all servicing lies beneath the skin. The ash-glazed brick is common locally and its subdued character emphasises the steel. The board-marked concrete on the ground floor responds to the character of the rough river wall.

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Origination Date:

140 South Street, Lewes

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Fig. 21-23: Images of Internal Materiality including handmade timber staircase and charred timber entrance hall.

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SandyRendelArchitects 140

Elevation from South Street

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Reflections

This course offers the opportunity to reflect on the workplace environment. A range of topics are examined through five succinct journal entries exploring particular aspects of architectural practice (or related activity) to be carried out (if possible) during the Practice Experience period.

Reflective Statement This was a very useful course in gaining a deeper understanding of the practice of architecture and the remit, problems and possibilites of the profession (GC10, GC11) . It may have come at a time in which I was searching for a job and not being successful and in that I was even more determined to uncover the reality of what lay instore.

Ephra Charlton Hutchinson MA (Hons) Architecture

Architectural Practice

Learning Outcomes: LO1: Demonstrate an ability to identify key themes and issues in practice and the workplace.

LO2: Show understanding through critical reflection of the academic, social, and cultural contexts of practice and the workplace.

LO3 Demonstrate an ability to communicate effectively and rigorously the process of your practice period.

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Reflections

Architectural Practice

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3750 words

Globalisation: Public Consciousness This acontextual approach is a symptom of globalisation and can result in highly unsuitable buildings for both local climate and lifestyle.Eldemery, however, point to the Retractable Umbrellas at The Prophet’s Holy Mosque in Medina, Saudi Arabia as a positive contextualised intervention using materials and production only available through globalisation. The mosque is a destination for millions of pilgrims globally, with the shifting of the lunar calendar, this pilgrimage is currently undertaken in the hottest months of the year, meaning that sunshade is essential to protect and accommodate visitors. As a global project, the architectonic planning of was undertaken by German firm ‘SL-Rasch’ which adapted the fabric design to be manufacturedin Japan. I believe learning from Medina can help architects recalibrate the public debate by identifying where new projects offer an opportunity to support or pose a threat to existing sociocultural, environmental conditions.

Pilgrims praying under the shade of the Umbrellas, Medina Haram Piazza.

Speculation: Changes to the Profession In fact, in 2014, AIA reports that although student enrolment is 44% women, licenced women architects make up only 18% of AIA membership. And, in the 172-year history of the RIBA Gold Medal only 2 winners have been women. Hilary Satchwell attributes this to the opacity involved in the nomination process and a narrow view of excellence. And, even if your work does fit, you might not: ‘[W]hat if someone else – your boss perhaps - claims credit for your work because working for a large company is the only way you could deliver projects.’ Not only might you face your work being appropriated, you may be expected to undertake unpaid internships to gain ‘valuable’ experience in a reputable firm. Those from poor backgrounds may find their career is held back by the inability to engage in these.

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Presentation: Preparing my CV I have not managed to secure an internship or Part 1 architectural assistant position yet. Although, I have set a goal to contact them by phone if they do not respond within two days. Itshould convey that I am proactive, organised and above all enthusiastic and therefore boost my opportunity for success. Whilst I continue my search, I also intend to work on an architectural competition with a landscape architecture student. This is a deliberate decision to learn more about the considerations of ecology in design, and I hope will make me a desirable candidate in the climate-conscious future.

Threats versus Opportunities in Globalised Architectural Approaches.

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Consolidation: Career Progression Over the course of the last few months, I have had little success with securing employment. Given the uncertain financial situation in which 57% architects reported a decreased cash flow – a knock on effect from delayed (80%) and cancelled projects (30%) I was not surprised that I, among 70%, of our year group have not secured a job.3132 It is hard to reflect on my expectations and reality of architectural employment having not experienced professional practice. I will, however, reflect on the expectations and aspirations I had before searching for work and my realisations and learnings over the course of four months.

Collaboration: Construction Management After attending a lecture entitled ‘Climate Literacy and the Built Environment’, I became aware of not only striving for net zero emissions throughout the lifetime of the building, but for the construction to actually be restorative and regenerative. Restorative design can be defined as ‘humans doing thing to nature – assisting in the evolution of subsystems’ whilst regenerative design sees ‘humans participating as nature – the co-evolution of the whole system’. Approaches have included biomimicry – modelling from natural forms, materials and strategies; biophilia – an integration of nature for wellbeing and; a ‘Cradle to Cradle’ material strategy which allows materials to be truly returned to the earth. The approach of restorative and regenerative design principles a deep co-relationship with science and ‘green technologies’ that are derived from observing natural processes.

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Practice

This course offers the opportunity to reflect on the workplace environment. A range of topics are examined through five succinct journal entries exploring particular aspects of architectural practice (or related activity) to be carried out (if possible) during the Practice Experience period.

Reflective Statement Coming to this period in the wake of yet another COVID-19 lockdown from January until April, financial uncertainty meant very few offices were hiring as a result I spent two months applying but did not get anyway. Instead, I learnt how to make wine, got reacquainted with the outdoors and applied to attend a summer programme in Serbia. It was in May, I also joined EUSAS as Membership Coordinator and jointly set up ESALA Cliate Action Students. These are a few of the things I have included in this section.

Ephra Charlton Hutchinson MA (Hons) Architecture

Architectural Practice

Learning Outcomes: LO1: Demonstrate an ability to identify key themes and issues in practice and the workplace.

LO2: Show understanding through critical reflection of the academic, social, and cultural contexts of practice and the workplace.

LO3 Demonstrate an ability to communicate effectively and rigorously the process of your practice period.

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Practice Period

Architectural Practice

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[SOCIETY ORGANISING] EUSAS

Tom Slater Marion Wibaux Amy Drabble Mark Woulfe Gregor Hughes Lewis Evans Molly Sinclair Tay Haq

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Ephra Charlton Hutchinson MA (Hons) Architecture

The role of membership coordinator was a great opportunity to get involved in the community of EUSAS. The special quality of the society is the mix between years and programmes within ESALA and outside the school too. I have thoroughly enjoyed the greater connection to the professional world through having level conversations with invited speakers, some of which I have come away from thoroughly inspired.

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Society meeting over Zoom during one of many lockdowns

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The role has made me attend the lectures and therefore see work and meet professionals I might otherwise have missed. In this role I have been involved in organising lecture intake and checking memberships as well as adding new ones and answering enquiries.

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Our first in-person lecture with Bennetts Associates

Lecture Series for Semester 2, 2022

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[ Collaborators ] Lewis Evans Thomas Everrett Tom Sterling Julie Naess-Karlsen

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Banner-making for COP26

[LECTURES, SEMINARS, PROTESTS, SURVEYS] ESALA Climate Action

Ephra Charlton Hutchinson MA (Hons) Architecture

Missing election as Sustainability Secretary for EUSAS, the student society, Lewis Evans offered to combine forces and share the role. Growing the team, we formed a small but dedicated group, holding weekly seminars on a chosen topic with invited guests (Climate Conversations), a three-part lecture series, a student survey, presenting the results in a report and event to staff and students, regularly liasing and collaborating with the staff climate action group and finally, making posters and joining the protests at COP26 in Glasgow.

Architectural Practice: Practice ESALA Climate Action

[ 2021 ]

Lecture Series This series which took place over the period in which COP26 discussions were happening in Glasgow. It sought to explore some of the possibilities beyond what we may have explored in the studio or the workplace. For me, I was touched most Anna Gidman's assertion that "retrofit is the future". I found this enlightening and it has given me a new vigour to attempt to reuse and retain as much of an existing structure as possible.

Survey

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Activism in... Architectural Education This lecture brought together two key figures driving changes from within and without architectural education.

Activism in... Architectural Practice This lecture was initially meant to bring together Duncan Baker-Brown of BakerBrown Studio and Alex Lidell of Method Architecture, however in the end, Duncan could not attend and we reach out to the "ACAN COP26 Taskforce" whatsapp group and both Tom Bennett (Studio Bark) and Anna Gidman a tutor at the University of Liverpool and architect. Anna presented on her small scale projects and learnings within ACAN and Alex....

Activism in... the Wider World This lecture took the themes discussed in the previous weeks and began to understand the place of architecture through large scale planning practice and activism in other countries - France and Norway. This discussion was chaired by myself and Julie Naess Karlsen.

Karen Ridgewell spoke about the how she had pushed for climate concious design in practice and how Architecture and Design Scotland have been piloting place-based climate action in seven "Climate Action Towns" in Scotland.

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Results This lecture brought together two key figures driving changes from within and without architectural education.

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Armelle spoke about radical uses of architecture in protest and challenging power relations.

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Timeline of Action Outlining changes and timescale proposed to see these enacted

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All 150 people at EASA

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[STUDENT ASSEMBLY] EASA (European Architecture Students Assembly)

Ephra Charlton Hutchinson MA (Hons) Architecture

EASA this year was held in Kragujevac, Serbia under the theme of Reality. Reality, a ‘thing’ that we had become entangled in over the period of the COVID-19 pandemic, lockdowns, and digitally dependent interactions. In a smaller than normal gathering of 150 participants, helpers, and tutors; we brought, exchanged and developed new realities through two week-long workshops, lectures, discussions and by virtue of living together. The realities were not often congruent with our expectations and workshops did not necessarily follow or go to plan but this tended to evoke rather than supress new possibilities.

Dancing in the abandoned school building used as our workshop space

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Sleeping in a school gym on the floor

Reality Imaginarium A day of deliberation on the topic creating new realities, what we identify as challenges for the architecture profession, education and industry and considering ways that these might be transcended or 'reimagined'.

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Eating Serbian meals communally in the school grounds

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Satellite, EASA Commons (England) event in Sheffield where we explored possible sites for commoning and engaged in a series of lectures, tours and workshops introducing Commons as a subject and Sheffield and its history and social context.

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[ Collaborators ] Marigon Derguti Shqipdona Amiftari Dora Halamova Stefi Smakova Luigi Mugliett Gabriel Bonavia

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Ephra Charlton Hutchinson MA (Hons) Architecture

Reflecting on ourselves: tutors Samed and Ozum

[INSTALLATION] Portal Alchemist

Architectural Practice: Practice EASA Reality: Installation

[ 2021 ]

River Lepenica, Kragujevac, Serbia Our workshop, Portal Alchemist was much changed by Serbian reality. The working timescale constantly shifted due to a lack of supplies, damaged materials and an intially optimistic plan of action. Portal Alchemist was concerned with making small, material changes, that would create openings to other realities. Using interventions with mirrors, we hope to create a practical reflection of how our everyday reality is often subject to distortion. Equally, by activating a site beside the beautiful but, poorly maintained, river Lepenica, we were keen to question our own warped relationship between the natural and built environment.

Our intervention took the form of a series of interrelated mirrors set within frames in order to best search for portals to the other realities that were also synchronous. Seven mirrors were placed on site and two others were safely glued in order to be used freely by those who wished to interact with the installation. Mirrors, respectively, had the aim to show: the passing train, a hidden message, a conversation with another person but looking at the landscape, the people passing on the road above and, conversations with people behind you.

These were achieved in the most part, some calculations required a precision that simply could not be achieved and, in fact, it became more fun for those who interacted with the space, to find their own realities not prescribed by us.

Opening evening.

Placing the viewer within the landscape.

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Building the frames

Mirrors fabricate as well as facillitate interaction.

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Ephra Charlton Hutchinson MA (Hons) Architecture

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[ 2022 ]

Architecture Dissertation

Architectural Design: Tectonics

Landscapes of Abandonment and Inhabitation

Architectural Design: Logisitics Academic Portfolio

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The architecture dissertation courses provides an opportunity to investigate a chosen topic negotiated with a member of academic staff. The course will support the undertaking of sustained and in-depth research so as to present a coherently argued, academically referenced and carefully illustrated piece of writing.

Reflective Statement The dissertation was an incredibly rewarding and challenging project which gave the chance to conduct research and explore a subject in significant depth. It explored planning practices and regulations, urban design, use and restrictions as well as building regulations and the possible issues with their current models (GC3, 4, 10, 11)

Ephra Charlton Hutchinson MA (Hons) Architecture

Architectural Dissertation

Learning Outcomes:

L.O. 1. Demonstrate detailed knowledge of the chosen subject demonstrating sufficient understanding of relevant cultural, historical and philosophical themes.

L.O. 2. Demonstrate ability to construct and synthesise an intellectual argument expressed against stated objectives and presenting original conclusions.

L.O. 3. Demonstrate ability to product a substantial piece of academic writing, coherent, attractive, illustrated, well-written, using correct referencing conventions and the acknowledgement of sources.

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Architectural Dissertation

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10,000 words

An Investigation into Zu Studios: How might the alternative use of empty buildings facilitate the design of more inclusive cities?

Participatory Urban Design

Dissertation

[ 2021 ]

Introducing the investigation of Zu Studios, an artists studios and multi-use venue, which was initiated by an artist in Lewes, East Sussex it is possible to compare the theoretical strategies with a successful model which was sustained for eight years over 2008-2016. For Zu it was suggested that whilst the use was sanctioned by the owner, it began “under the radar” the founder citing the isolated spot as positive contributor to the freedom of activities that could occur there. The legitimisation through the councils provision of a premises license and the safety approval of the fire service assured the founders and had the effect of supporting the growth of rather than controlling the use of the space, suggesting that a space can contend with being “loose” and be legitimised perhaps pointing to the greater role of enabling rather than restrictive policy. Tax reductions for owners who accommodate non-profits like Meanwhile Space (a community interest company which help facilitate alternative use in London) has shown that policy can make inroads by incentivising inclusive use which might further be extended full recognition of the potentials of alternative use as a viable means of designing inclusive cities through a more comprehensive policy of protection and support for its instigators. The Zu Studios case also identifies the need to show “a material start” to retain planning permission as a major factor in the untimely closure of the space – still yet to be developed five years on. It may be that the omission of this stipulation can allow for spaces to be used for longer, potentially allowing for the cultivation of tenable, community-led proposals.

Protest in Town Centre .

Communities can take charge of signalling for and meeting these needs. In the case of Zu, a space that began as a response to a lack of affordable studios soon began a place with the possibility to be shaped to provision a far greater range unmet needs. By providing a space for free, there was no economic threshold for participation and thus more people could have access – a feature discussed Oswalt et al. as distinct asset to alternative use. Communities may therefore benefit most from keeping spaces free to use where possible, finding ways to inventive ways to raise funds such as an “all night-party every month”.

The practice of saying “yes” to most suggestions also can help encourage diverse personal inputs which can have a long-lasting impact on the nature of the space. Crucially there may be a need to curate these inputs to ensure there is no overwhelming “voice”. This may be facilitated to potential benefit by a “company style” organisational structure where experiments could be allowed quickly and easily. For Zu, public perception did, at times, mean that the space was perceived as “other” to the town’s residents – suggesting that being within a “bubble” can foster hostility as well as opportunity.

Since Zu was initiated in 2007 and ceased to run in 2016, one wonders what how great the feasibility of alternative use is today with an arguably very different urban condition in England. Whilst its feasibility might be reduced as a result of economic factors, the COVID-19 pandemic has shone an even brighter light on the failure of local councils to meet the needs of its residents, meaning that communities have banded to take responsibility for this themselves with considerable results. It might be reasoned that, where austerity prevails, the alternative use of empty buildings by communities might be forced into policy by the scale of urgent, unmet needs. This exploration ends with an urgency both propelled by a seeming disinterest in drastically responding to the climate crisis and a further tightening of police control of the right to freedom of expression and assembly through the new Police, Crime and Sentencing Bill (2020). Spaces therefore which are resilient to changing needs and provide a means to contest dominant order are as important as ever in creating cities that defy exclusion, seeking instead to extend and include.

Zu eclect-ion of objects Urban Condition Hypersecuritisation of Public Space The desire to find spaces that can encourage and accommodate participation has led some communities to seek spaces away from the traditional public sphere. One of the drivers for this, Hou (2010) believes, is the “hyper-security, surveillance and new forms of control” which have invaded our post-9/11 (and in the UK, post-7/7) world. These, he considers, have greatly infringed our freedom of movement, expression and the range of activities that can take place in present-day public space. Whilst threats from terror attacks remain relatively low, the state emergency has remained.7 Stavros Stavrides describes this as a “test” where, “[n]ew mutations of the partitioned city are justified by recourse to exceptional conditions that demand exceptional measures, such as those that suspend basic civil rights.”

Privitisation of Welfare Compared to other wealthy countries, the English local government has noticeably “limited revenue-raising powers”: it has the lowest tax collected at a local or regional level of any other G7 country (2014).14 Since 2009 revenues from council taxes have increased whilst Central Grants have decreased significantly which has meant spending powers for local governments have reduced overall. Metropolitan districts (local authorities in cities) suffering the greatest reductions (more than 20% less compared to 2009). This has been felt more greatly in areas of higher deprivation where government grants consist of a greater part of local authority income.

Policy and Feasability At present, the occupation of privately-owned empty buildings to live in (adverse possession/‘squatting’) is illegal in residential buildings resulting in heavy fines or short imprisonment. It is not illegal in non-residential buildings however associated acts such as damage to the property and not leaving when instructed by the owner, police, council, or court, are crimes.In line with the Land Registration Act 2002, only after ten years of adverse possession is the squatter enti-

Ephra Charlton Hutchinson MA (Hons) Architecture

“How might we plan and design inclusive cities?” This relies on the definition of the opposite - the conditions of exclusivity in the city.

Defining these in an English context one can identify the issues of securitised public space; a neoliberal development policy that favours private interests and a crumbling welfare state, hitting the most deprived metropolitan areas hardest. By identifying these as drivers of a move away from the overlooked and overmanaged public domain, it is possible to identify patterns of alternative use which have appropriated traditionally private spheres such as the industrial warehouse. This appropriation has been theorised in three, key ways: defined as the “urban catalyst” where alternative use seeks to guide further development in the direction of the needs of its users , the “designed void as incubator” which instead employs the use of architects and planners to demarcate land for eventual appropriation by users and, finally, the “left loose” approach which highlights a central function of the space as a contestation of prevailing orders and by remaining informal has a greater range of potential activities permitted.

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tled to apply to be registered as proprietor (owner) in the place of the registered proprietor of the land.If after this time there are objections from the owner then the application may still be opposed. This puts an individual, community, or group in a position of little security, if even after ten years they may not have any rights to the land.

Urban Catalyst One model for the use of empty buildings and vacant land is the “Urban Catalyst”, the theory that temporary use of urban spaces can help to catalyse the long-term development of an area towards the users’ needs. What began as a research project in 2001, “Urban Catalyst”, with its instigators – Philipp Oswalt and Klaus Overmeyer, and research partners in Helsinki, Naples, Vienna, Amsterdam, and Berlin, became a three-year project to explore the role of temporary use as a means of citizen-led city improvement. Oswalt et al. (2013) describe Urban Catalyst as, “an appeal to again make the use of the city as the gateway to urban development—in contrast to the paternalistic practices of the classic welfare state and the neoliberal concept of the entrepreneurial city.”

Participatory Urban Design

Dissertation Participatory Urban Design

[ 2021 ]

Designed Voids as Incubators While she is keen to point out that the “Urban Catalyst” model is useful in advocating and formalising alternative activities, Desimini (2015) suggests that thinking of alternative use as temporary can have the effect of maintaining the users’ insecurity by perpetuating the view that users are “unwelcome intruders rather than valued alternative users.”52 Suggesting instead that; “[T]he temporary should be universal and durable. Indeed, it should not be considered temporary at all. If loose space is what breeds vitality, it cannot be seen as filler, as something that happens at a bracketed moment in a leftover space, but as an important aspect of permanent maintenance of vitality.”

“Leave it Loose” – Subversion and Informality Németh and Langhorst (2014) counter the desire for the “permanent”, questioning whether it is “appropriate given the widely varying causes, durations, contexts and patterns of vacancy and the inability of similarly scoped government-led programs to thus far achieve intended goals or improve local quality of life.”The authors assert that designing for the contemporary city –inherently in a state of flux through migration of diverse groups – requires a system that is resilient, reflexive and responsive.Németh and Langhorst, question whether the pre-planning of these spaces would serve to lose their “transgressive” role if they were legitimised by authorities.The very power of these spaces can be in their contestation of privatised own-

Making new proposals to contest Santon’s plans Discussion area - adapted for use. ership – subverting the intended use can also prove to undermine the possibility of long-term “spatial fixes” (Lefebvre, 1968), and emancipating potential interactions, functions and meanings by disrupting the hegemony of urban landscapes.Franck and Stevens (2007) define these as “loose spaces” where a “very rich variety of activities not originally intended for those locations” occur. Sometimes these occur simultaneously to their intended uses or in spaces where their intended use is no longer possible.The authors distinguish their concept of “loose space” from eclectically used spaces by intention: “people must recognise the possibilities inherent in it and make use of those for their own ends, facing the potential risks of doing so”. For Franck and Stevens, activities that occur in loose space may be planned or unplanned; regular or isolated; usual or foreign; long-term or temporary but, ultimately, “they occur without official sanction and assurance of continuity and permanence from those in authority.”

Analytical Framework Three categorisations of use of empty sites introduced above help to understand the possible models and involvements of different actors and contribute to defining an analytical framework to explore the concept of inclusive space. Interrogating the literature, four core qualities of inclusive spaces were identified through the research: inclusive places do not only encourage but require negotiation between and within groups; who need to adapt the space for their needs; inclusive spaces allow individuals to feel a sense of agency in impacting or crafting a place in the city and these give users the freedom to experiment with new or alternative ventures that may not be possible in public or private life.

Methodology The research will use a case study to explore and advance the theory around informal reuse of empty buildings. The selected case is “paradigmatic,” and helps develop the research domain with a study which

has not previously been investigated.Flvbjerg (2010) notes that within this approach the analysis can be used to make conclusions that have a general relevance to the question of how we might design and plan cities more inclusively. The justification for the use of singular “holistic” case was due in part to the constraints of the dissertation length and allocated research time as, van den Brink et al. (2010) suggest, it permits the most comprehensive understanding of the conditions and strategies of alternative use in a given context.The choice of this particular case study was determined by the expectation that the case would exemplify - be a perceive success as a model for inclusive design.

Analysis and Discussion Negotiation The analysis of the research noted that community structure – with the founders as “key agents” – was an unusually helpful dynamic, one of the founders describes they, “sat behind a desk together for eight years and just said yes, yes, ok.”They also describe how this arrangement was different to other communities with horizontal hierarchies they had been members of. These, they indicate, were akin to “trying to move a blob in space,” because “if one person’s got an issue with someone or something they can block and idea.”In this way, they identify this structure as a being a positive way to try out many different things quickly, in a very experimental way as suggested by Németh and Langhorst (2014).

It also suggests that an important part of this role was also curation.

The founders assert that almost anyone could make their contribution but there was a need for all the experiments to be carefully considered within the space (fig. 4.1).This suggests that the founder also acts as a curator: “walking around tweaking, making changes here and there,” to the placement of inputs, Jody White the secondary interviewer

Ephra Charlton Hutchinson MA (Hons) Architecture

Urban Strategies for the Alternative Use of Empty Buildings

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provision of a space for people to “connect, to have beautiful conversations […] we feel it is important for society that’s all continued.” 146 This analysis indicates that the initial space within an isolated, empty building may function most effectively as an incubator. The closure of the initial space may therefore herald the permeation and integration of the incubated values within the public domain and consciousness.

Ephra Charlton Hutchinson MA (Hons) Architecture

Agency

One of monthly parties held to cover running costs points to the way in which the thoughtful positioning of objects and influences in the space had a role in making the space diverse visually. The analysis suggests that, with so many inputs, tension may arise in the perception of these spaces by outsiders as: “so much junk.” It may be inferred therefore that eclectic influences are in opposition to, accustomed, highly controlled spaces with chiefly the designers or occupiers input only.

Participatory Urban Design

Dissertation

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Adaptation Based on the data gathered, it was possible to conclude that there is a need for the nature of the spaces to be responsive with a founder noting that it, “all happened naturally, I suppose it was workshops, studio space. It was an artists’ space really; it came about through necessity to pay the bills. Suddenly we would get these massive electricity bills.

And so, then the events and parties, cinema space upstairs just lent itself to talks, so just gradually, organically, shapes sort of shifted and changed.”144 The founder notes that, where the evolution of the space for more public use as a venue occurred, Zu was able to continue – which may indicate that the space has to be adaptive not only to current, unmet needs but, to needs that present themselves over time.

As Franck and Stevens (2007) attest, for space to be “loosened” users have to breakdown strict programmes so that embedded functions can be transcended (fig. 4.2). Analysis of the content of the interview suggested that there is an element of fluidity to spaces constructed by users within empty buildings that lends itself to being resilient in this way. Further, with the uncertainty of alternative use in the current policy environment, the analysis of these interviews highlight the actual “foundation or first chapter” space which initiates an organisation or collective may not survive permanently and thus users may have to find new spaces to continue the evolution of the values and connections made initially. Zu Café (fig. 4.3), no longer in an empty building is described as a “really different creature” precisely because of the need to attend to the practicalities of salaries and “eyes and ears” of the town due to its more central location where the warehouse reportedly offered a space that was, because it was perceived to be “on the outskirts,” “more radical and free.”145 However, the interviewee also suggests that the ethos has continued through the continued

The analysis of the content of the interviews suggests that agency can come too from a feeling of purpose achieved through participation.

A founder recalls asking people when Zu was closed down why it was important to them, expecting them to respond with “oh yeah I had a good party, I had a good this, I had a good that,” instead the response was “it saved my life,” “it gave me purpose,” “it connected me back with people again.”The realisation that having a space that was a shared project meant that those who were isolated or without purpose felt they had some agency to act and make a difference. The openness of the space to possibility also meant people felt welcome and at home. In some cases, connection to a part of a wider project made people feel included even if their contribution might be perceived as small. They explain how their “biggest learning” was that people wanted simply to be a part of something, “people would ask what they can do, and I would just put them on the washing up or give them a job to do, or get them doing something,” and at that point the focus would turn to the job rather than the persons home or personal life.The inclusion in the space without the need to change yourself first could be considered unusual and liberating.

Freedom to Experiment With this organisational structure too, it became clear that there was an allowance for “yes” to be empowering; by saying yes to almost everything, the space became receptive, accepting contributions without needing qualifiers. The founder recounts: ‘it was just people saying well you know ‘I could do this’ and ‘I could do this’ and, ‘Have you tried vertical planting?’ and I’d go ‘Great!’ and so we would try vertical planting. And someone would say, ‘I can do a beehive,’ and so we would try a beehive here. And so, all of these amazing, fantastic things started happening because people realised that we were providing a space of love and connection.” From this it can be drawn that the strong focus on participation meant anyone could suggest a possibility and there would be a likelihood that it would be taken up.

Thus, encouraging a more diverse range of inputs. It also is clear from this quote that the ability to approve most proposals promoted an enthusiasm in trying new things, in turn gathering momentum in the experimental process.

Key References “1.1: Introduction.” NSQ: Planning Application Overview: Planning Application Relating to North Street Quarter, Lewes, East Sussex, (February 2015). https://www. southdowns.gov.uk/wp-content/uploads/2015/03/North-Street-Quarter-Planning-Application-Overview.pdf.

Coaffee, Jon. “Protecting Vulnerable Cities from Terrorism: Enhancing the Resilience of Everyday Urban Infrastructure,” The City Between Freedom and Security: Contested Public Spaces in the 21st Century (Basel/Berlin/Boston: Walter de Gruyter GmbH, 2017).

Desimini, Jill. “Limitations of the Temporary: Landscape and Abandonment,” Journal of Urban History 41(2) (2015): 290, https://doi.org/10.1177/0096144214563502 Flyvbjerg, Bent. “Five Misunderstandings About Case-Study Research,” SAGE Qualitative Research Methods 12, no. 2 (2010): 219–245.

Franck, Karen A. and Stevens, Quentin. “Tying down loose space,” Loose Space: Possibility and Diversity in Urban Life (London, New York: Routledge, 2006).

Hou, Jeffery. “(Not)Your Everyday Public Space,” Insurgent Public Space: Guerrilla Urbanism and the Remaking of Contemporary Cities (London: Routledge, 2010).

Németh, Jeremy and Langhorst, Joern. “Rethinking Urban Transformation: Temporary Uses for Vacant Land,” Cities 40, no. b (Oxford: Elsevier Ltd., 2014): 145.

Sennett, Richard. The Uses of Disorder: Personal Identity and City Life / Richard Sennett (New Haven, Yale University Press, 2008).

Stavrides, Stavros. Towards the City of Thresholds, (New York, Philadelphia: Common Notions, 2019).

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[Logbook and Essay]

This course unfolded some of the meanings of landscape through the lenses of abandonment and inhabitation, shedding light over the pertinence of some concepts in particular historical periods and the cause of their oblivion in others, for example, concepts of nature and environment; wilderness and sublime; or landscape urbanism, social urbanism or informal urbanism.

Learning Outcomes:

Landscapes of Abandonment and Inhabitation

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L.O. 1. Demonstrate a deep and multi-layered understanding of landscape through different theoretical and historical positions.

L.O. 2. Articulate the interrelationship between humans and the environment for the construction and perception of essential typologies of landscape.

L.O. 3. Produce a written research review document, in a course related theme, based on the development of skills such as bibliographic research and critical thinking.

Francisca Lima

Reflective Statement This course was an invaliable insight into the world of landscape architecture and I felt I gained a good grounding with the more philosophical aspect of architecture, particularly the theories surrounding the ontological divide between nature and human and nature and the built environment which has had a great impact on how I consider the role of and how I approach the non-human/more-than-human into the design process. It has also grounded more contemporary studies I have undertaken in International Development Aid and Humanitarianism; Urbanism and the City and Architectural Theory courses and complemented my Dissertaition through exploring historical perspectives (GC3, 4).

Ephra Charlton Hutchinson MA (Hons) Architecture

Landscapes of Abandonment and Inhabitation

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Kashmiri goats in Wales: What do contemporary depictions of “nature is healing” tell us about how humans perceive the “natural” landscape and characterise its “preservation”?

Landscapes of Abandonment and Inhabitation Essay

[ 2021 ]

“The goats have been entertaining the locals from their windows,” goats climb on stone, garden wall.

“Did someone say all you can eat,” Kashmiri goats eat garden hedge.

Ephra Charlton Hutchinson MA (Hons) Architecture

“Coronavirus: Goats take over deserted Llandudno,” reads the headline of a BBC News article from 31st March 2020. The Kashmiri goats whose “hilly home” is usually the Great Orme (a limestone headland on the North Coast of Wales), became “surprise stars” gathering internet fame as they galloped through the urban centre of Llandudno whilst residents watched from their locked-down windows (Figure 1).

The relative freedom of the goats to explore, nibble and “rampage” was labelled as an example of “Nature is healing” a phrase which quickly rampaged through the social media sites Instagram and Twitter and whose repeated use became a “meme”. This “meme” used first as a perceived “true” representation of nature in “recovery” in the wake of greatly reduced human activity brought on by COVID-19 “lockdowns” (referred to as the “anthropause”). Later, it became deployed in subversion to dispute the ontological divide of the “human” and “natural”, contest the idea of “nature” as “out of place” in the urban landscape and expanded to expose the “inconsistency of claims toward rationality in existing governing orders.” The meme (“unit of popular culture that are circulated, imitated, and transformed by individual Internet users, creating a shared cultural experience in the process”) can serve to represent contemporary discourse on the concept of “nature”, the “wild” and of “healing” which evokes the concepts of “preservation”, “protection” and “pristine nature”. Using the case of the Llandudno goats, this essay unpicks the claim that “nature is healing” by uncovering its various falsehoods, assumptions, and contentions through an exploration of its historic and symbolic relationship with humans. Through these revelations, the paper speculates on contemporary and historical perceptions of “nature” through the lens of the “nature is healing” meme and discusses how this might help us better understand and approach the minefield of “preservation”.

This essay explored how use of the “nature is healing” meme revealed how “nature” and “humans” are culturally constructed, it has suggested the ways in which these constructions are made have an invariably inconsistent understanding of “nature”. This can heavily influence the how it is interacted with and how a landscape is “conserved” or “protected”, the example of the goats in Llandudno questions how “nature” can both be viewed as “healing” through its presence as dominant over the urban landscape and equally be perceived as “natural” within a landscape in which it is a “non-native”. Our perception of “natural” may depend on when we encounter a landscape and how that becomes embedded in the psyche as a the “natural” baseline.

The problem of perception does not however lessen the reality of its existence and therefore as Monbiot (2014) suggests: “[R]estoring a functioning ecosystem does not equate to purging all non-native species. It requires only that we control or suppress those species which deprive many other of a foothold here.” In that way regulation by humans as with the cull of the goats proposed in 2006 may be necessary to strike an ecological balance. We must, however, be mindful that our idea of “nature” will influence to some extent this regulation.

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Fig. 6: “Baphomet”, drawing by Éliphas Lévi.

Key References Bosworth, Kai. “The Bad Environmentalism of ‘nature Is Healing’ Memes.”

Cultural geographies (Aprill 22, 2021): 1-22. https://doi-org.ezproxy.is.ed.ac. uk/10.1177/14744740211012007.

“Nest of Eurasian coot in a canal.”

Elliott, Cathy. “‘Nature Is Healing’: The Politics of Enchantment.” Renewal 28, no.2 (2020).

Fine, Julia C. and Jessica Love-Nichols. “We Are (Not) the Virus: Competing Online Discourses of Human-Environment Interaction in the Era of COVID-19.” Environmental Communication (2021). https://doi-org.ezproxy.is.ed. ac.uk/10.1080/17524032.2021.1982744.

Monbiot, George. Feral: Rewilding the Land, Sea and Human Life (London: Penguin Books, 2014).

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Pristine Nature Where Simmel and Ingold explore the human perception of nature through landscape, Malcolm Budd and Ronald Hepburn theorise about its aesthetic appreciation. Budd proposes that nature appreciated aesthetically can take two forms: appreciation of “nature as art” and “nature as nature”. Hepburn suggests that the experience of aesthetic appreciation is “engulfed by nature rather than quasi-theatrically over-against it,” and therefore comes from an acknowledgement of the minds connection to the nature it is experiencing.

Making Ourselves at Home in the World Our perception of landscape is further theorised by Georg Simmel and Tim Ingold who disagree on the nature of landscape as a phenomenological construction. For Simmel landscape is separate to “nature” because its construction – akin to the way in which a painter recreates a landscape – is both a fragment and a mirror. Humans, he proposes, are unable to experience nature as nature instead, the mind constructs its perception through mood. Ingold instead believes our perception of landscape is totally immersed in the reality of it, proposing that the human mind is a continuation of the logic of nature.

Wastelands and Everyday Landscapes Christian Norberg-Shulz and Vittoria Di Palma evoke a phenomenological interpretation when presented with the issue of experiencing “nature”. Norberg-Shulz locates landscape in “Genius Loci”, the idea that through being we construct our perception of landscape. Di Palma explores how the experience of landscape can change over time depending on its characterisation. Taking “wasteland” she charts the use of the word from common resource to its a place of “bodily danger and hardship […] through which redemption can be won”.

10 9

Both Catherine Ward Thompson and Kathryn L. Gleason explore the motivations and contentions present in the construction and management of public parks. Gleason introduces Porticus Pompeiana as “the first public park” in Ancient Rome’s urban periphery, conceptualised as means to provide civilians with a place to convene with senators away from the growing urbanity. “Nature” here acts as a mediator of unidirectional civility in opposition to the “urban” Forum. Ward Thompson also suggests historic American parks were created in opposition to prevailing urbanity and this presence of nature would instead serve as a “scenic antithesis to the urban condition.”

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Landscapes of Expansion

Social/Informal Urbanism Robert Neuwirth suggests that “all cities start in mud,” summoning the image of the medieval city to describe the way many cities still or, until recently have, developed. Informal urbanism Neuwirth argues has evaded the historical record precisely because engagement in formal society was minimal. The presence of informality can occur as a result of immigration, with cities representing the promise of a different life that the rural. Cities not only provide access to greater economic and intellectual capital and urban resources but as David Harvey suggests, present the possibility “to change ourselves by changing the city.”

Key References

Temporary Urbanism and Landscape The topic of “temporary” urbanism (the use of spaces “vacant” from human inhabitation) also provides a means explores a more immediate need-meeting system evoked in Ingold’s “dwelling perspective”.

Vacant sites arise as a product of deindustrialisation, suburbanisation or post-socialism. Németh and Langhorst suggest that the temporary urbanism can provide opportunities for: reversing a “negative ripple effect”, collaboration of “disparate parties”, and bring attention to social and environmental inequalities. In light of a sustained assault of welfare and neoliberal planning practices in the U.K., the temporary seems to be promising, as ‘‘a manifestation of a more dynamic, flexible and adaptive urbanism, where the city is becoming more responsive to new needs demands and preferences of its users.

Di Palma, Vittoria, “Chapter 1”, Wasteland: A History, (New Haven: Yale University Press, 2014): 12-42.

Contemporary Urban Wilderness Just as cities provide space to consider the nature of “being”, they also provide spaces for “wildernesses”, through “ambivalent” interstices in the otherwise controlled urban fabric. For Solá Morales’ they are “terrain vague,” a ground vacant or has the quality of being a wave. This reading of urban wildernesses considers these spaces as both absent and promising. But are they absent? As evoked by Rose Macauley’s description of the Blitzed landscape of London, growth is mingled with destruction, but “is the vegetation a physical manifestation of human neglect and disregard, or part of a natural healing process?”

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The problem of perceived “naturalness” also underlies the question of “preserving” and “protecting” a “nature” outside of the urban context. Yellowstone National Park, the first ever National Park provides a historical example of the way in which attempts to “preserve” “nature” can be misguided. The trouble lies in the concept of “pristine nature”, a nature understood to be untouched by humans. North America itself was perceived (by its colonisers) as a “nature”: “the way it was without humans having touched it,” a true “wilderness” despite twelve-thousand years of management by Native Americans.

Modernism and the City The industrialised landscape of the 19th Century gave rise to a new figure in the Blasé man, a man experiencing a "physical and metaphysical homelessness […] within the whole world”. In a state of disconnection this wanderer began to symbolise renewed existentialist fascination.

Descartes proposes that “there is a true and certain knowledge about nature; about history nothing can be known truly and with certainty.”

In this “nature” seen as an inalienable truth – “the object of mathematical physics.”

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Landscapes of Abandonment and Inhabitation Logbook

[ 2021 ]

Escapism and the Natural Sublime

Abandoned Landscapes Gafijczuk (2013) considers, the possibilities that emerge from spaces which hold an active exchange between presence and disappearance - what he calls “inhabited ruins”. From these inhabited ruins emerges an overlayed existence in which, instead of “a pile of rocks” each constructed reality is constantly “falling into the other, disarticulating their previously sharply drawn edges.”

Cronon, William. “The Trouble with Wilderness: A Response.” Environmental History 1, no. 1 (1996): 47–55, https://doi. org/10.2307/3985063.

Desimini, Jill. “Limitations of the Temporary: Landscape and Abandonment.” Journal of Urban History 41, no. 2 (2015): 279-293. https:// doi-

Gafijczuk, Dariusz. “Dwelling Within: The Inhabited Ruins of History.” History and Theory 52, no. 2 (2013): 149-170, http://www.jstor.org/ stable/24542849.

Ephra Charlton Hutchinson MA (Hons) Architecture

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[LOGBOOK] 3000 words in 10 “logs”

Gleason, Kathryn L. “Porticus Pompeiana: a new perspective on the first public park in ancient Rome.” The Journal of Garden History, 14, 1 (1994): 13-27. https://doi.org/10.1080/01445 170.1994.10412494.

Hepburn, Ronald. “Nature Humanised: Nature Respected.” Environmental Values. 7, no.3. (August 1998): 267-279.

DOI:10.3197/096327108X343158.

Ingold, Tim. “Building, Dwelling, Living: How animals and people make themselves at home in the world.” The Perception of the Environment: Essays on Livelihood, Dwelling and Skill. (Hove, Psychology Press, 2000): 172-188.

Neuwirth, Robert. Shadow Cities: A Billion Squatters, A New Urban World, (London, New York: Routledge, 2004).

Németh, Jeremy and Langhorst, Joern. “Rethinking Urban Transformation: Temporary Uses for Vacant Land.” Cities 40, no. b (Oxford: Elsevier Ltd., 2014): 143-150. https://doi. org/10.1016/j.cities.2013.04.007.

Norberg-Schulz, Christian. “Genius Loci: Towards a Phenomenology of Architecture,” Natural Place, (New York/London: Academy Editions, 1980): 23-42.

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Tectonics

This design course aimed to fully integrate the technical side of technology and environment courses and the more speculative aspects of explorations. It was split with the first five weeks centred around mapping exercises and the second around developing a detailed design for a “support-structure” that aided a transition away from petroculture as dominant. The studio, “Getting (un)Stuck: (De)Signs and Stories Beyond Petroleum”, was an investigation into architectural methods of (un)knowing, recalibrating our relationship with the extractive fossil fuel industry and its infrastructure.

Reflective Statement This course combine many aspects of the graduate criteria and felt like the ultimate culmination of all four years work. It explored both aesthetic and technical representation in actual terms whilst also being a vehicle to uncover theoretical and social implication of design and the construction industry.

Ephra Charlton Hutchinson MA (Hons) Architecture

Architectural Design

Learning Outcomes:

L.O. 1. Understanding of tectonic, structural, constructional, environmental and contextual matters.

L.O. 2. Ability to research, analyse, synthesize and integrate with design an appropriate technological approach.

L.O. 3. Skills in deploying specified two-and three-dimensional representational techniques correspondent with accepted architectural conventions.

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Tectonics

Architectural Design

[ 2022 ]

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Sepideh Karami Rosie Milne

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JOURNEY

Anthony Cousens Be Yang Sarah Chen

[ Graduate Attributes ]

[ General Criteria ]

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[ 94 ]

Le Havre, FR Braefoot Bay, UK

Moerdijk, NL

Kaarsto, NO

Ephra Charlton Hutchinson MA (Hons) Architecture

Goeje, SK Nagasaki, JPN

Gadani, PAK Alang, IND Chittagong, BAN

Suez Canal

JOURNEY

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[MAPPING]

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Goeje, SK Nagasaki, JPN

Travelling Theatre

Mapping

Architectural Design: Tectonics

[ 2022 ]

Mossmorran Petrochemical Plant, Fife, Scotland This project was a semester long research and design studio in which the site was determined but the typology and tectonics were developed as a response to these. The final design, a travelling theatre, came about through a desire to keep alive the oral tradition and theatrics of storytelling which had been a big part of Scottish tradtion and provide a space for interaction, exchange and education between places globally linked only by their connection to the gas and oil industry. This proposal sought to reverse the extractive relationship with a supportive one which might aid a future beyond petroleum.

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Braefoot Bay, UK

Kaarsto, NO

Moerdijk, NL

Le Havre, FR

[TIME]

Suez Canal

The most extreme weather patterns have now become commonplace. Supplies of fossil fuels are scarce and it has largely become inefficient to mine them. Gas and oil companies have collapsed and the infrastructure they relied upon to become redundant. Ships have been abandoned and only few continue to operate for the purposes of trading the little remaining gas and oil in circulation. Large-scale uprisings as a result of so-called energy crises have allowed these previously enclosed infrastructure spaces to become common property for the experimental recallibration of societies away from petrocultures. These are spaces of possibility.

Gadani, PAK

Alang, IND

Chittagong, BAN

Goeje, SK

Nagasaki, JPN

Journey diagram showing ports visited by tanker ship on final voyage.

Mapping of positions of all gas and petrol tankers globally on 30.2.22.

Images of all ports visited by tanker in order left to right.

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[MAPPING] Travelling Theatre Mossmorran Petrochemical Plant, Fife, Scotland

Scene I: Unknowing Scene II: Grounding Scene III: Testing

Ephra Charlton Hutchinson MA (Hons) Architecture

ACT I Now Now Now

ACT II Scene I: Supporting Scene II: Building Scene III: Breaking

Future Future Future

ACT III Scene I: Returning

Future

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Mapping

Tectonics

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As the semester was divided between collaborative and individual work, my involvement was both in leading the group during reviews and in producing work as well as carefully researching the oil and gas infrastructure, especially shipping which I had not any knowledge of previously. This lead me tackle designing within a tanker ship with bamboo, an ambitious task and one which I took to honestly, iterratively drawing and redrawing by hand and using Rhino and the Adobe suite. As the final project of my Undergraduate degree I enjoyed it thoroughly and felt I have learned so much by taking on something unusual that deals with a future scenario in which adaptive reuse might expand to global infrastructures after their collapse.

Year 4 / Semester 2

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Sketch of gas holders interventions as theatre space.

Experiential section collage and plans of gas holders.

Gas holders at Braefoot Bay.

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[ 96 ]

[MAPPING] Travelling Theatre Mossmorran Petrochemical Plant, Fife, Scotland

Ephra Charlton Hutchinson MA (Hons) Architecture 1

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Site Plan, Braefoot Bay, 1:5000

Site drawings showing connection of Mossmorran to Braefoot Bay with soundings and ship course charted. The first contact with the site was through a device made for “Unknowing” this, intended to uncover disturbance to waves caused by docking ships. Whilst it was difficult to measure these conditions specifically, the device did start a narrative of giving agency back to the sea and allowing its story to be told. The form and tectonics of movement later were imitated by the movement of sets and objects bby cranes on the ship.

Mapping

Tectonics

[ 2022 ]

Site Plan, Mossmorran, 1:5000

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Device: The Wavewriter

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[DESIGN DEVELOPMENT] Travelling Theatre Mossmorran Petrochemical Plant, Fife, Scotland

Ephra Charlton Hutchinson MA (Hons) Architecture

Designing within infrastructure, these initial sections explore the shell and its functions and limitations by fully investigating the fabric which makes up the ships and harbours and where interventions can cling, be hung or hang within.

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Mapping

Tectonics

[ 2022 ]

Section Braefoot Bay Marine Terminal Harbour and first iteration of theatre on deck.

Year 4 / Semester 2

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[ 98 ]

[PROGRAMME] Travelling Theatre Mossmorran Petrochemical Plant, Fife, Scotland

Sketch layout diagram

Programming

A’

Ephra Charlton Hutchinson MA (Hons) Architecture

Whilst initial designs suggested the theatre would sit on the deck, it was decided that for the most dramatic potential use of two tanks within the ship would be cleaned and repurposed as the theatre and workshop spaces. These were divided in relation to the tank boundaries, providing a large penetration for the stage area and small exits into fire lobbies and protected exits which are use to navigate between floors

[ACCESS TO ALL FLOORS]

[ACCESS TO ALL FLOORS]

bridge

The theatre is intended to be a community build and is therefore made to B have simple connections in bamboo Whilst the exits are more permanent structures. The theatre as displayed is one example of the formation of a flexible bamoo frame.

[ACCESS TO ALL FLOORS]

B’ A’

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[ACCESS TO ALL FLOORS]

[LOBBY]

[WORKSHOP TABLES]

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look out

A

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Travelling Theatre

Tectonics

[ 2022 ]

[THEATRE]

[LOBBY]

[STAGE ]

[WORKSHOP BUILD SPACE]

[WORKSHOP]TABLES

[THEATRE AND WORKSHOP LEVEL, WAASMUNSTER TANKER, 1:200]

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[ 99 ]

[LIGHT STRATEGY] Travelling Theatre Mossmorran Petrochemical Plant, Fife, Scotland

Ephra Charlton Hutchinson MA (Hons) Architecture 1

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Travelling theatre

Tectonics

[ 2022 ]

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Inhabiting

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Light conditions were a particular concern and therefore openings were made to both allow the movement and suspension of scenery and the opportunity for dramatic light. Additional artificial lighting is attached to the rigs.

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Perspectives from interior renders Theatre, Walkway, Workshop, Stage

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[ 100 ]

[DETAILS - CONNECTION STRATEGY] Travelling Theatre Mossmorran Petrochemical Plant, Fife, Scotland

Ephra Charlton Hutchinson MA (Hons) Architecture

INNER HULL PLATE1.

TOP BRIDGE PAD: 2.

FLAT PANEL R-PU FOAM (REINFORCED POLYURETHANE) INSULATION 100mm, 3030 x 990 mm STUD BOLT, 10 x 3.

50 mm GLASS WOOL

4.

FLAT JOINT

5.

LOWER PLYWOOD WITH 6. BALSA FACING, 12.5 mm PLUGS

7.

MASTIC RESIN

8.

9.

R-PU FOAM (REINFORCED POLYURETHANE) INSULATION 300mm, 3030 x 990 mm 10. BALSA FACLOWER PLYWOOD WITH ING, 12.5 mm SECONDARY BARRIER: 11. TRIPLEX (0.9 mm) ADHESIVE

12.

CORNER PLATES

13.

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PRIMARY BARRIER 14.

- 304L STAINLESS STEEL (1.2 mm), 3060 x 990 mm CORRUGATED MEMBRANE

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REMOVED

10.

Mapping

Tectonics

[ 2022 ]

As a part of the need to clean the tanks before their use by people, the outer steel membrane is removed to reveal balsa faced plywood in which the bamboo structure rests. Steel can be used for the creation of sets when it is sufficiently cleaned.

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[ EXISTING WALL DETAIL ] ARRANGEMENT OF MARK III TANKER MEMBRANE 1:10

Technical section, 1:50 Bamboo connections to inner hull plate. To secure the design bamboo could be attached to foot plates which are stabilised to the steel ship structure. This allows ease of design change.

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1.

INNER HULL PLATE

2.

TOP BRIDGE PAD: FLAT PANEL R-PU FOAM (REINFORCED POLYURETHANE) INSULATION 100mm, 3030 x 990 mm

3.

STUD BOLT, 10 x 50 mm

4.

GLASS WOOL

5.

FLAT JOINT

6.

LOWER PLYWOOD WITH BALSA FACING, 12.5 mm

7.

PLUGS

8.

MASTIC RESIN

9.

R-PU FOAM (REINFORCED POLYURETHANE) INSULATION 300mm, 3030 x 990 mm

[ 101 ]

10. LOWER PLYWOOD WITH BALSA FACING, 12.5 mm

2.

10.

[ Graduate Attributes ]

11. SECONDARY BARRIER: TRIPLEX (0.9 mm) 12. ADHESIVE 13. CORNER PLATES 14. BAMBOO BEAM (dia. 90 mm)

17. INNER PIPE (dia. 53 mm) 18. OUTER PIPE (dia. 60 mm) 19. STEEL PIN

5.

1.

16.

(dia. 40 mm)

20. ROUNDED PLATE WELDED TO ROUND PLATE AND LAGGED TO BAMBOO BEAM (dia. 90 mm)

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18 19.

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ADDED

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Ephra Charlton Hutchinson MA (Hons) Architecture

15. STEEL PLATE (dia. 90mm) 16. STEEL PIPE WELDED TO PLATE (dia. 90 mm)

12.

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Ship Wall to Beam / Column Connection Detail [1:4] :

Mapping

Tectonics

[ 2022 ]

Removal of primary barrier of ‘Corrugated Steel Membrane’, exposing balsa faced plywood which is lined with flame retardant coating. The connection is facillitated by a new steel base plate with welded 90mm steel pipe, steel 40 mm dia. inner tube, 63mm outer tube, 40mm steel pin. 90mm dia. steel pipe welded to round plate and lagged to bamboo column.

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[ 102 ]

Logistics [Group Report + Individual Drawing]

This project seeks to understand specific factors which determine the architects’ design response in a specified building. This involved a strong dialogue with the architect, Andrew McBride to produce a report on the listed building and fire safety considerations referrencing the Scottish Planning Policy Framework, Edinburgh Local Development Plan and Scottish Technical Handbook. The design response aspect looked at these legislative constraints and recommendations and compared these to the design response of 7N Architects through an analysis of drawings.

Learning Outcomes: L.O. 1 Demonstrate knowledge and understanding of a specialist theme in relation to the design and procurement of buildings.

L.O. 2 Demonstrate ability in applying knowledge of a specialist theme to enhance a design proposition L.O. 3 Display aptitude in communication through the production of incisive text and graphical outputs.

This was a good introduction to legislation through an indepth study of a contemporary case with the insight of an architect who had worked on the project. This brought into focus the legal side of the architects job and the design implications as a result of adhering to these. It also felt like a timely continuation of the legislative aspects of my dissertation.

Ephra Charlton Hutchinson MA (Hons) Architecture

Architectural Design

The second part, the individual drawing was a more difficult as the legalislative constraints did not easily translate to the context of my design in tectonics. This resulted in further research both into the safety of use of bamboo as a structural material and the fire safety guidelines on LNG tanker ships.

Although it was interesting to research and knowledge of both influenced the final designs, little time was let for refining the visual communication of these ideas which is something I would have mitigated if I had to do it again.

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Reflective Statement

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Logistics

Architectural Design

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Helena Marrero-Morales Priyanka Pereira

[DESIGN REPORT]

I. GENERAL

3000 words

HOLYROOD DISTILLERY, EDINBURGH: Design Response to Fire Safety Requirements in a Repurposed Category-B Listed Building

[ 103 ]

II. LISTED BUILDING CONSENT

Masonry Gate Piers Lorem ipsum

Masonry gate piers housed services at ground level which made the erection of a steel beam over the entrance impossible.

Gatehouse

Engine Shed

Derelict single storey with gable roof which is adjacent to a local power station.

Three-storey block used as former train engine shed (as evident on South Elevation and warehouse for goods storage at St. Leonards Station sidings.

ENV 4: Listed Building – Alterations and Extensions.

EMP 9: Development of employment purposes of business and industrial premises in urban areas.

HU0 7: Control of inappropriate uses in residential areas.

Ephra Charlton Hutchinson MA (Hons) Architecture

Holyrood Distillery, located at 19 St Leonard’s Lane, sits within the historic neigh- Category B Listed Buildings: bourhood of Newington in Edinburgh the site is in a unique central location, easily accessible by public transport, including the bicycle path. As well, the building “special regard must be given to the importance of preserving and benefits from views towards Arthur’s Seat and the Salisbury Crags. enhancing the building, its setting, and any features of special architectural or historic interest. The layout, design, materials, scale, siting, and use of any development which will affect a listed building, or its setting should be The immediate surroundings consist of residential tenements, built with the appropriate to the character and appearance of the building and setting. same Edinburgh Sandstone as the Shed Engine building. Despite being chiefListed buildings should be protected from demolition or other work that ly residential, St. Leonards Lane forms a mixed-use vein home to several small would adversely affect it or its setting.” businesses in the area including the adjacent Nomads Tent” and Police Station.

It is also streets away from the boundary of designated UNESCO World Heritage The Edinburgh Local Development Plan: sites of Old and New Town.

Fig.3. Site from carpark in 2014.

Fig. 17. View towards Sailsbury Crags showing set back second storey of extension.

Fig. 18. View towards North Elevation maintained through set back of extension.

Holyrood Distillery / Listed Building + Fire Safety

Logistics / Design Report

[ 2022 ]

EXTENSION:

The Holyrood Distillery, located in the city centre of Edinburgh, is a modern distillery built within the walls of a historic building. This report aims to analyse indepth the requirements and constraints that needed to be addressed through the design process of the distillery. Simultaneously, it will investigate the specific needs of the building to follow the necessary fire safety regulations and the tension between these requirements and the design constraints for listed buildings.

PART II LISTED BUILDING CONSENT

PART III. FIRE SAFETY

PART IV TENSION BETWEEN LISTED STATUS AND FIRE SAFETY

PROJECT PROFILE

LEGISLATIVE CONSTRAINTS

ESCAPE

NON-MATERIAL VARIATIONS

PROJECT TIMELINE

WINDOWS

LOCATION

EXTENSION

II. ESCAPE ROUTES WIDTH

HISTORIC BUILDING

INTERNAL ALTERATIONS

III. TRAVEL DISTANCE

PART I GENERAL

MATERIALITY

I. OCCUPANCY CAPACITY

IV. NUMBER OF EXITS V. PROTECTED ZONES COMPARTMENTATION

I. ROOF II. FAÇADES SPREAD TO NEIGHBOURING BUILDINGS STRUCTURAL PROTECTION

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Planning Constraints - The Edinburgh Local Development Plan stipulates that “where the principle of extending a listed building is acceptable, the extension should be subservient to the main building and will rarely be permitted on principal elevations.” Extensions to listed buildings additionally, “should always be set back from the original building line of the main house to avoid interfering with oblique views of the listed building and disrupting formal approaches.”

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The Local Plan also suggests that “it is usually acceptable for an addition to be different and distinguishable from the existing building” with “visual separation of extensions is encouraged.”

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Design Response The design therefore remained at two- rather than three-storey with views maintained to the Engine Shed’s North Elevation (Fig. 17&18) The extension is therefore set back from the neighbouring residential block to allow for views to the listing building to be maintained on all principal elevations (Fig.18).

The extension at Holyrood Distillery visually contrasts the rubble-built Sandstone masonry existing walls with the new, angular zinc-clad block which takes its materiality and form from the industrial heritage of the site.

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[ 104 ] existing bricked up window reinstated

floor and partitions removed

floor and partitions removed partitions removed

partitions removed

floor and partitions removed

floor removed

roof and gables removed

III. FIRE SAFETY

Vents

Lightning Arrestors

Service Penetrations

PROTECTED ZONES: Fig. 61 & 62.Fire rated door with the self closing mechanism and hold open device

Fire Safety Regulations A protected zone can be a vital component of a fire escape solution. This zone may or may not have an escape staircase and is designed to keep occupants safe while evacuating to a safe place. This protected area needs to form a firerated enclosure with a minimum of a medium fire resistance duration. Typically, the enclosures include fire-rated walls, partitions, and doors.

General Notes 1. Dimensions are in millimetres unless stated otherwise.

2.

Levels are in metres AOD unless stated otherwise.

3.

Dimensions govern.

Do not scale off drawing.

4.

All dimensions to be verified on site before proceeding.

5.

All discrepancies to be notified in writing to 7N Architects LLP.

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Design Response In this design of the distillery, the protected zones include corridors, temporary waiting spaces (700mm by 1200mm within stair enclosures), a platform lift and two escape staircases, enclosed with 60 minutes fire-rated walls and doors. The fire doors perform as a fire-resisting entity including the frame and its ironmongery.

These doors contain hold-open devices and a self-closing mechanism, which immediately shut once the fire is detected on the fire alarm system. In addition to that, the gaps between the fire doors contain intumescent strips that expand in a fire, sealing the gaps between doors creating a fully enclosed fire barrier. This inhibits the spread of fire into the two protected escape stairwells allowing the occupants to evacuate vertically and horizontally.

partitions removed

partitions removed floor removed

10m

5m

4m

3m

2m

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Levels are in metres AOD unless stated otherwise.

3.

Dimensions govern.

Do not scale off drawing.

4.

All dimensions to be verified on site before proceeding.

5.

All discrepancies to be notified in writing to 7N Architects LLP.

Fig. 71. Roof plan

© 7N Architects LLP 2009

floor and partitions removed

floor and partitions removed

General Notes 1. Dimensions are in millimetres unless stated otherwise.

floor and partitions removed

floor and partitions removed

roof and gables removed

floor and partitions removed

Cowls Cowls weatherproof ventillation shafts neccesary for dispersal of gases created in distillation processes.

partitions removed

Lightning Arrestors Earth electrical currents from potential lightning strikes which could ignite flammable gases released from vents.

Date

floor and partitions removed

floor and partitions removed

floor and partitions removed

floor removed

roof and gables removed

existing bricked up window reinstated

partitions removed

Fig. 63. Protected areas on the first floor plan

Rev

Fig. 72. West façade

Vents in raised roof section Vents allow for dispersal of heat gases generated in distillation processes.

Reason For Issue

Raised Roof Section

Chk

Fig. 74. Raised roof section

7 Randolph Place, Edinburgh, EH3 7TE

tel +44 (0) 131 220 5541 info@7Narchitects.com www.7Narchitects.com

Client Newmake Ltd

Status Planning Scale

Fig. 57. Fire-rated door with intumescent strip

Fig. 58. Escape stairwell

Title / Subtitle Holyrood Distillery / Listed Building + Fire Safety

Studio / Module Logistics / Design Report

[ YEAR 2022 ]

Existing Second Floor Plan 1 : 100

@A1

Date

31/08/17

Project No.

Draw No.

087

7N-XX-02-DR-A-10003EX

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Rev No.

Fig. 73. West façade

Client Newmake Ltd

Drawing Title Existing Second Floor Plan Status Planning

1:100

Paper Size @A1

Date

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Project No.

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7N-XX-02-DR-A-10003EX

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Project Holyrood Distillery

Scale

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Service Penetrations

Paper Size

Reason For Issue

tel +44 (0) 131 220 5541 info@7Narchitects.com www.7Narchitects.com

Rev No.

Fig. 64. Protected areas on the second floor plan

CONCLUSION

1100mm stair

Course/Semester of Study

1m

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Fire-rated 1:100 door with intumescent coating to enclose the protected escape stairwell

5m

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Date

7 Randolph Place, Edinburgh, EH3 7TE

Drawing Title Existing Second Floor Plan Existing Second Floor Plan 1 : 100

Part of the roof was intended to be removed to allow for the installation of the distillery equiptment but this was refused as neighbours did not want a crane installed in their garden. Instead these were installed through service doors and roof alterations were limited to necessary vents above Still Room.

Rev

Project Holyrood Distillery

1

Ephra Charlton Hutchinson MA (Hons) Architecture

existing bricked up window reinstated

1m

0

© 7N Architects LLP 2009

1000mm stair

IV. TENSION NON-MATERIAL VARIATIONS / ROOF Listed Building Constraints Alterations to the distillery contract requirements meant drawings needed revision for resubmission to Historic Environment Scotland. Planning was granted as non-material alteration, “preserved the character of the area and building”.

Fig. 59.Protected areas on the ground floor plan

Fig. 60. Fire escape door within the protected zone

Fire Safety Regulations The distillation process (fig. 70) involves environmental conditions in the building are altered by the production of heat and water vapour, carbon dioxide and nitrogen gases. A distillery must allow for the necessary removal and regulation of these through additional ventilation to avoid high risks of fire. Due to the position of the stills within the centre of the plan, it was not possible to align these with the existing chimneys and as such the necessity for raised-roof vents.

This report has investigated the Listed Building and Fire Safety constraints in the design of Holyrood Distillery. Comparing the two facilitated a discussion of the tensions present when designing within the context of listed building, for new industrial use safely, through containment and reduction of fire risk in conjunction with fire standards outlined in the Scottish Tecnical Standards. This comparison felt salient in the context of both: as a way of further understanding the implications of interventions proposed to the historic fabric of Edinburgh in design studios over the course of the MA (Hons) Architecture programme and in the knowledge of an increased awareness of a need for safe and suitable adaptive reuse. In this vein, it is worth noting too that The Technical Handbook recognises that strict compliance with the recommendations cannot always be achieved in an existing building and the guidance may need to be adapted in listed buildings and should “take into account a range of fire safety features” deemed appropriate. As such, sensible mitigation of risks through additional vents and flues, spraying of intumescent paint on structural elements, strict compartmentation, and adding of fire-resistant film to high-risk windows highlight a careful treatment of the Category-B Listed building for its safe use as a distillery.

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Influence of Fire Safety Legislation on my design:

[DRAWING] Travelling Theatre: Fire Safety, Escape Strategy nt

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SITE PLAN

The travel distance is defined as the distance from any point within a storey along the actual route of escape to reach a protected door to a place of safety, compartment or protected zone before significant accumulation of smoke. For an assmbly building with more than one direction of travel this is 32m (slow), however guidance suggests that in a room with the provision of fixed seating or obstructions, the more demanding travel distance should be used (15m in this case) and is measured by “the shortest route along open seatways, gangways or circulation areas.”

Here, this was first measured at 15.013m in the theatre space and as such the compartment wall was moved to reduce it to 15m.

OCCUPANCY CAPACITY The occupancy capacity is the maximum number of people a space can safely accommodate.

The value is obtained by dividing the floor area (m2) by the occupancy load factor (m2/person).

This is determined by use in Table 2.10 of the Technical Handbook, in this case, the theatre is an assembly building which has a load factor of 0.5 for the area of 338m2 for the main seating and stage areas (yielding a capacity of 676 people).

Where walkways (88m2 x 4, 0.7 = 502 people) and below stage areas (338m2 - staff room: 1.0=338 people) are included this amounts to 1516 people.

In a seperate compartment, the workshop space has a occupancy load of 5 and an area of 382m2 thus a capacity of 76 people. Where walkway spaces are included (105 m2 /0.7, x 4 = 600) the compartment of the space at all storeys rises to 676 people. However, only staff may access the 76 capacity workshop.

The protected zones including stairs equal (162 + 92 + 142 = 395m2) x 8 storeys = 1185m2 = 3,160m2.

These areas are not subject to occupancy capacity and should instead serve the total occupancy capacity of the entire building which in this case is 2192 people. This far exceeds the intended use of a maximum 600.

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ENTRY/ FIRE EXITS ON MAIN DECK MUSTER POINTS at 1:400

Main Deck Muster point

Site plan (1:2000) showing disembarkment route in event of a fire to muster and subsequently congregation points outside of “the safety zone” defined by the World Maritime University as “the threedimensional envelope of distances inside which the majority of leak events occur and where a recognised potential for a leak of natural gas or LNG to harm life or damage equipment/infrastructure is.”

TRAVEL DISTANCE

-19.8m Plan with Compartments highlighted in red. Green denotes Assembly Compartment, Purple Workshop , Yellow are protected escape routes and pink are protected zones.

9m

This project is unique in that it takes as its ground the WAASMUNSTER, an LNG Tanker flying under the flag of Belgium. This is a ship that measures 174m x 30m and can carry 38000 cubic meters of Liquified Natural Gas.

Fire Safety Drawing

Logistics / Design Report

[ 2022 ]

As a tanker ship, the ground is also moveable and whilst it begins its final voyage from Braefoot Bay Marine Terminal in Fife (associated with Mossmorran Petrochemical Plant in Fife, Scotland) in its capacity as “travelling theatre” it visits other terminals associated with gas and oil industry. Choosing a tanker as the ground requires unique considerations of the operation, functions and services of the ship and their interactions with the interventions.

It also means that the ground is reliant on the condition of the sea in which it rests. In terms of the programme too, the limits of the ships boundaries present a focused and primarily self-contained site in which to intervene. The treatment of the ground therefore will have to consider the need to maintain the non permeable, waterproof skin of the tanker and the variable inhabitation of its crew and users.

Tectonically, the travelling theatre has a language of “lining” and pays close attention the need to maintain the non permeable, waterproof skin of the tanker whilst also bringing in light and allowing the movement of objects used as props or sets. As a result the theatre structure is mostly self-supporting and relies minimally on the tensile lateral support given by the tank walls of which bamboo is weaker (stronger in compression). The use of bamboo in a simple demountable frame is used for the theatre space meaning that it can easily be altered to fit the needs of the users. The structure occupies two tanks within the hull of the ship, one dedicated to civic forums and theatrical performances. The other, to the archiving of objects exchanged at marine terminals and the building of sets and props. The remaining two tanks carry low levels of LNG which is also traded for objects of relevance to the petrochemical industry. It is salient therefore that there are strict proceedures for the containment of fire between compartments through use of existing demarcation (tanks seperated by the membrane and steel plates of the two adjoining tanks and cofferdam void space used for maintenence).

Ephra Charlton Hutchinson MA (Hons) Architecture

The design benefitted from a keener observation of the importance of fire safety and a reconsideration of the design to adhere to the regulations set by the Scottish Technical Standards Handbook (2019: Non-Domestic) whilst moored at Braefoot Bay. After careful attention paid to the technical standards 2.1-2.15 pertaining to fire safety, it was necessary to rethink fully designing the space in bamboo and consider instead allowing for protected zones (particularly escape routes) to be compartmented and more permanent which would maintain their structural integrity for at least the time necessary to escape by use of more fire retardant materials. The use of bamboo is not mentioned in the Scottish Technical Standards nor are its structural products usually rated by the European Classification this is likely because it is not readily used in European construction due to the poor growth of Bamboo in the colder Western European climate, therefore most referrences used relate to its structural use in India, China and Indonesia where its application is commonplace.

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-3.6m Plan, Walkways and Protected Zones Only, 9m distance to nearest place of safety in this case zone protected by fire wall to 90 minutes (required for long escape inassembly buildings orizontal route).

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-13.2m Plan, Extended Walkways, Protected Zones and connection to theatre seating).

15m distance to nearest place of safety in this case zone protected by fire wall to 90 minutes (required for long escape inassembly buildings

NUMBER OF EXITS According to the occupancy capacity and Tables 2.12 (Minimum Room Exits) and 2.13 (Minimum Storey Exits) from the Technical Handbook, a minimum of three exits per room and storey is required. Each storey has four exits to compartmented protected zones. These house the enclosed escape stairs leading to the lower main deck where full evacuation via disembarkment from the vessel can be facillitated when sailing by lifeboats or liferafts or shipto-ship transfer for crew only and, when docked and acting as a public theatre, via connecting gangways. Additionally, complying with UK Govermnets’ SOLAS Chapter II-2 Part D guidance, Regulation 13 – Means of Escape, it is necessary for two means of escape to be provide from a main workshop machinery space with at least one providing a continuous fire shelter to a safe position outside the machinery space. As such it also stipulates the need for stairway enclosures and stiles, treads and risers to be constructed in steel and are required to be insulated.

Additionally, the technical handbook stipulates that “in the case of an auditorium that has more than 1 exit, at least 1 exit should be provided at least two-thirds of the distance from any stage, screen or performing area towards the back of the room. This was provided in 4 potential exits routes.

-19.8m Plan, Walkways and Protected Zonesand Theatre and workshop spaces. Seperated by 90m rated walls and doors compartmenting safe escape zones. Fire curtain at both sides prevents spread from one room to another for 60mins.

ESCAPE ROUTE WIDTHS Escape routes are required to have an “aggregate unobstructed width of at least 5.3 x occupancy capacity.” (according to standard 2.9.8). With four potential exit routes to safe compartments these were required to have a width of at least 895.7mm from (676/4) x 5.3.

Escape routes via circulation walkways are 1.03m. As seating is formed by the articulation of the “ground” rather than the provision of fixed seating the seatways remained 503mm but the gangway and seatway combined was increased to 1350mm and the escape route via stairs was increased to 1350mm.

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Ephra Charlton Hutchinson MA (Hons) Architecture