Exhibit 2010 Design Yearbook

exhibit! 2010

Architecture & Built Environment: Reflecting Multidisciplinarity

Architecture & Built Environment: Reflecting Multidisciplinarity The cover image is from Simon Crockford’s 2009 thesis project, Digested Landscape, which won the Commonwealth Association of Architects’ 8th International Student Competition: A Monument to a Memorable Event.

For more information about this project and the theme that underscores the 2010 Yearbook and Summer Exhibition, Architecture: Reflecting Multidisciplinarity see page 6.

inner cover

exhibit! 2010

Architecture & Built Environment: Reflecting Multidisciplinarity 1

exhibit! 2010

Welcome

4

Architecture: Reflecting Multidisciplinarity

6

The Nottingham HOUSE

9

Undergraduate Courses

17

Dissertations Summaries

23

Undergraduate Studio

27

Year One Design Studio

29

Year Two Design Studio

31

Year Three Design Studio

33

Year 3_UNIT 1 (Sengupta)

35

Year 3_UNIT 2 (Watson)

63

Year 3_UNIT 3 (Gerber)

73

Year 3_UNIT 4 (Short)

99

Year 3_UNIT 5 (Deane)

119

Year 3_UNIT 6 (Richards)

139

Diploma Studio

155

Diploma in Architecture

157

Urban Design Studio - Hackney Central

159

Urban Design Study

161

UK-China International Joint studio

163

Urban Manufacturing

165

Exhibiting with the Past

167

Chilwell School

169

iArch - Interactive Architecture

171

Tall Buildings 1 - Climate, Culture

173

EXHIBIT! 2010 DESIGN YEARBOOK ISBN-13 9780853582724 Design, Layout and Edition by Guillermo Guzman Dumont Editorial team: Prof. Michael Stacey Philip Oldfield Steve Townsend Richard Woods 2

Tall Buildings 2 - Vertical Communities

177

Environmental Design in Architecture

179

Zcars


181

Year 6 Diploma

183

Studio 1 - Architectural Urbanism

189

Studio 2 - Making architecture Research Studio

207

Studio 3 - iArch - Interactive Architecture

215

Studio 4 - Towards a Social Architecture

229

Studio 5 - The only constant is change

239

Studio 6 - Flux Territories

247

Studio 7 - Architecture and the Spiritual

255

Studio 8 - Concerning the Contemporary Urban Condition

261

Architecture And Built Environment

262

Research at the DABE

264

Master Degrees + PGR opportunities

266

PDEC Project

270

Essay By Laura Almond (Philosophy of Design)

276

Field Trips

280

Prizes and Nominations

282

Isover competition

284

Bursary scheme

286

Department Staff

288

Exhibit 09 prizes summary

290

Tongue & Groove

292

Sponsors & Acknowledgements

Published by Department of Architecture and Built Environment University of Nottingham Printed in England by Eight days a week printing solutions Ltd. Copyright 2010 Š School of the Built Environment, University of Nottingham. All rights reserved.

No part of this publication may be reproduced or transmitted in any form or by any means, electronic

or mechanical, including photocopy, recording or any information storage and retrieval system without permission in writing from the publisher.

The views expressed in the included articles are those of their authors and may not reflect the views of the publisher, as well as the responsibility for copyrighted content supplied for those articles.

CONTENTS

175

Department of Architecture and Built Environment University of Nottingham University Park Nottingham NG72RD UK Tel: 44 (0)1159514184 Fax: 44 (0)115 9513159 www.nottingham.ac.uk/sbe www.exhibotnottingham.com

3

The annual yearbook is a celebration of the work of our students. It reflects their diverse responses to the challenges of designing the built environment in today’s rapidly changing world. With an emerging global consensus on climate change, it is clear that future development of our towns and cities must be ‘sustainable’ and that architects and engineers have a huge role to play in achieving this in practice. In the Department of Architecture & Built Environment we are fully aware of the importance of our role in ensuring that these challenges are addressed and this is evidenced through most of the projects that we undertake.

While primarily showcasing the achievements of our students, the yearbook also provides an opportunity to review some of the high points of the year, including: - 2009 RIBA Presidents’ Medals success with a commendations at BArch (Part 1) and two at DipArch (Part 2) with one of these being short listed for the Siver Medal.

- success again in the international 2010 Isover Competition.

- two of last years Diploma students have won a 2010 Nationwide Sustainable Housing Award for a project completed during their course.

- two Commendations and a Special Mention in the first ever EM RIBA Low Carbon Student Awards, 2009 - The first cohort of students on the joint BEng programme with University of Nottingham Ningbo China arrived into the second year of our programme at Nottingham last September and the second cohort are due this year.

- The ‘foundation year’ of new full four year programmes in architecture and architectural environment engineering will also commence this Autumn at the UNNC campus.

- The Creative Energy Homes project in the Department continues to win prestigious awards and attracts international attention.

4

WELCOME

One of the most exciting, challenging and innovative projects undertaken this year has been the Nottingham House live project, which will represent the University and the UK in the prestigious international Solar Decathlon competition in Madrid in June 2010. The Nottingham House has been a massive undertaking on the part of our students, technical, administrative and academic staff and many other sponsors and partners to deliver a truly sustainable home. Working with our major sponsor and partner SaintGobain, the Nottingham H.O.U.S.E. will deliver a zero carbon sustainable design solution that will also be applicable to the UK context — a Code for Sustainable Homes Level 6 Zero Carbon Home that works as a terrace, courtyard or semi-detached form. Through doing this we hope to demonstrate how a home could provide its own energy in a real life scenario, and show that market viability is key to making sustainable housing a reality.

I have the upmost admiration for all of those involved in this high profile project and wish them every success in their attempt to win a major prize at the competition.

The last year has also seen us merge with the Faculty of Engineering and change our name to the Department of Architecture & Built Environment from the School of the Built Environment to more accurately reflect the teaching and research activities taking place. The Department has continued to grow this year and this growth is matched by an ambition to not just maintain, but to improve standards. The current situation in terms of the global economy places new challenges upon us but I am hopeful that employers continue to recognise the unique qualities of Nottingham graduates. An exciting internship programme that we’ve established in China also offers many opportunities for our graduates. The projects with which our students engage help them to develop unique skill sets that have always been highly sought after and we will keep striving to ensure that this keeps Nottingham and our graduates at the forefront of architecture and built environment education. As such, the School is in an excellent position to consolidate its international reputation for the quality of its graduates and for its research.

Professor Tim Heath Head of the Department of Architecture & Built Environment

5

Architecture: Reflecting Multidisciplinarity

Professor Michael Stacey

Architecture can be viewed as a discipline or as a professional practice, but it is always more than a single subject. Architecture is inherently polyvalent, spanning as it does, the social sciences through to design and to the detailed analysis and understanding of materials and technologies. It is informed by tradition and history and encompassesing theories and philosophies that directly or indirectly inform the creation of architecture, or which contribute to the discussion as to why, what and where we build, as well as how it might be built.

Architecture can also be considered a pragmatic art, forged in a workshop where knowledge is predominantly tacit and not readily communicated, except through the processes of ‘reflection-in-action’ that typify the design studio.

Thus making particularly at full size is of vital importance, be this experimental prototypes or live projects. Architecture is always more than aesthetics, form or style, yet composition remains important.

Tand the discipline of plan and section remain the sheet music

6

of architecture that cannot easily be skipped however tempting the latest rendering technique may be. The ability to communicate by drawing is still key to the practice of design and sketches and diagrams remain the rapid prototypes of communication, even in this digital age. The skill of being able to design well depends upon the ability to elegantly synthesise often competing demands and it is a talent than can, and must be practiced. The focus of the teaching of architecture remains a model of ‘learning through doing’ an iterative pedagogical model of design projects that engage students with competing demands and also facilitates encounters and communication with the varied professions that contribute to the built environment.

Making architecture is a cultural act, a contribution to human well being and civilisation. Architecture cannot be measured in terms of efficiency. A home is more than a ‘machine for living’ it may be created from technology. Technologies that we need to command it also needs to be made of technol-

ogy that is appropriatible by home owners. We need to practice using reflexive technology that is informed by design and human needs, technology that is made by and for the people. Construction needs to be informed by experimentation and debate. Environmental design can only be practiced as part of holistic architecture. As a profession we need to design the space within and surrounding our architecture with skill encompassing inhabitation and urbanism. The mathematics of architecture is non linear add two space to another two spaces and the answer is not four spaces it is millions of possibilities.

Architecture can be a progressive subject within an industry that is often slow to change; thus we are confronted with both opportunityies and riskies this glacial pace may prove dangerous to all humanity as we face the immediate challenges of global warming and sustainability. However, the making of architecture is always a social act, a contribution to human well-being and civilisation that cannot be measured in terms

of efficiency alone. Our teaching and our profession must have an unwavering commitment to quality and excellence. The primary contribution of architecture to sustainability resides in design and being able to inform a design by marshalling all of the issues and value judgements required in a design.

Thus a contemporary design team is a multi-disciplinary collation in which each profession contributes his or her skills to a given project, confident of one owns expertise and thus able to effectively collaborate.

Simon Crockford’s 2009 thesis project, Digested Landscape, which won the Commonwealth Association of Architects’ 8th International Student Competition: A Monument to a Memorable Event is a revealing example of design research undertaken in sixth year of the Diploma in Architecture at University of Nottingham. Where he was primarily tutored by Darren Deane. Simon’s project addresses the mutlidisciplinarity of architecture. Set in the Welsh village of Twyn yr Odyn, Simon started by collecting an oral

social history of the village. From this grew the idea of restoring the quarry for the village by turning the landfill rubbish into energy by digesting the landscape. The infrastructure of this process was both a memorial to the quarry men and created new social spaces for the village. The intelligentce design of his project simultaneously addresses, culture memory, place and technology synthesized to form a meaningful architecture.

Addressing the stupidity of landfill and loss of character in this village. As our technology develops we need to be able to inform the choices made – landfill and wanton consumption already look like poor choices from our recent past.

The Commonwealth Association of Architects competition jurors citation observed – ‘This highly sophisticated and sensitive scheme commemorates the long history of quarrying in the village of Twyn yr Odyn in rural Wales. Its unorthodox choice of subject matter is the cauterisation of an industrial past and how this can be reclaimed and reconnected to the present through physical

and experiential means. The jury admired the scheme’s powerful yet poetic response to its site, an infilled former quarry that would gradually be re-excavated over time. Jurors were also impressed by the forensic level of detail, indicating the great thought that had clearly gone into the project. An especially elegant and lucid presentation brought complex ideas vividly to life. A unanimous and outstanding overall winner.’

Far from being conceived and constrained within in the abstract world of the design laboratory –Simon’s project demonstrates the essential generosity of good design. His ability to seamlessly integrate conflicting demands and crucially to anticipate and seek to reconcile the diversity of voices represented by chosen context points to both the social mission of architecture and its multi-faceted nature.

Thus the act of designing and constructing building architecture can be seen to be is essentially political and it raises questions about it is about resource alloca-

7

tion. We need to study how to sustain good design and responsible practice as well as how to practice a sustainable architecture, to build in a resource efficient and humane manner. A key part of our multidisciplinary research should directly inform practice and industry, forming part of an engagement and dialogue with our societal context on a local, regional and global basis. We As well as contributing our expertise we need to be reflective practitioners, who learn froorm each project and from each other, , to be in essence co-workers with our students who are the true integrators of contemporary architectural education.

Simon Crockford’s 2009 thesis project, Digested Landscape, which won Commonwealth Association of Architects’ 8th International Student Competition: A Monument to a Memorable Event is a revealing example of design research undertaken in sixth year. He was primarily tutored by Darren Deane. Simon’s project addresses the mutlidisciplinarity of architecture. Set in the Welsh village of Twyn yr Odyn, Simon started by collecting an oral social history of the village. From this grew the idea of restoring the quarry for the village by turning the landfill rubbish into energy by digesting the landscape. The infrastructure of this process was both a memorial to the quarry men and created new social spaces for the village.

The intelligent design of his project address culture memory, place and technology. Addressing the stupidity of landfill. As our technology develops we need to be able to inform the choices made – landfill and wanton consumption already look like poor choices from our recent past.

The scale of the Department of Architecture and Built Environment enables it to encompass almost

8

all of architecture in an operative diversity. A college of ideas articulated in the lecture theatre, design studio and research laboratory.

The communicative culture of the department is thus vital. It has no single voice or vision. It embraces and informs contemporary life, humbly seeking to further human ecology.

A team of DBE students are representing Britain in the first ever Solar Decathlon Europe – an international house building competition featuring the very latest in sustainable solar architecture - which takes place in Madrid between June 18 and 27, 2010.

The Nottingham H.O.U.S.E - Home Optimising the Use of Solar Energy - is competing against 19 other universities from across the world to design, build and test drive Europe’s most energy efficient home. Academics, researchers and students from the various disciplines in the Department of the Built Environment have partnered with a select group of industrial sponsors and specialist consultants to make the project possible.

This fully functioning home is designed to the world’s most stringent design codes, including German Passivhaus Institute Design, UK Code for Sustainable Homes Level 6 and Lifetime Homes - the first time all these codes have been have been complied within a house of this type.

The house has attracted major sponsorship from Saint-Gobain - a world leader in the design, production and distribution of construction materials - plus a number of other important and forward-thinking players in the industry.

The Solar Decathlon Europe 2010 is judged on 10 separate areas of expertise: • The architectural merit of their home • Industrialisation and market viability • Engineering and construction • Solar systems • Electrical energy balance • Comfort conditions • Communication and social awareness • Household functionality • Innovation • Sustainability The competition aims to educate the general public on renewable energy, energy efficiency and the technologies available to help them reduce their energy consumption; to encourage the use of solar technologies; and to demonstrate that solar houses can be built without sacrificing energy efficiency or comfort, and that they can be both attractive and affordable.

9

First Floor

Ground Floor

+01 ARCHITECTURE

The Nottingham H.O.U.S.E. has been designed for a small “starter� family, providing interesting and useful spaces to encourage and support family life.

Furthermore, it offers comfortable interior spaces, regardless of the season or the time of year, by employing environmental strategies that minimize energy consumption.

Sustainability as a concept has been explored through the idea of treating the H.O.U.S.E as a module and using its repetition to form a continuous urban fabric. In doing so, this creates an extensive urban landscape.

A prefabricated modular construction scheme was employed to enable an efficient and controlled construction process, as well as to facilitate its transport to the site using lorries.

10

+02 ENGINEERING & CONSTRUCTION

Materials were chosen with regards to minimizing total energy consumptions and maintaining an inexpensive structural scheme. This also allowed the student team to build the majority of the house, as well as providing alternative teaching

ACOUSTIC CEILING & WALL PANEL SYSTEMS GULL WING TRIPLE GLAZED SKYLIGHT

PHOTOVOLTAIC PANELS

PTFE SHEERFILL V FABRIC ROOF MEMBRANE ALUMINIUM DOWN PIPES

ALUMINIUM CLADDING CHANNELS AND COPINGS

LOW ENERGY LIGHTING ECOS ORGANIC PAINTS EXPOSED PLYWOOD

ENGINEERED TIMBER CASSETTE STRUCTURES

SANITARYWARE & FITTINGS, SOLAR PANELS (AVANCIS)

THERMOWOOD CLADDING

MVHR UNIT

THERMAL & ACOUSTIC INSULATION + AIRTIGHTNESS MEMBRANE

SOIL AND DRAIN, AND RAINWATER SYSTEMS

RIGIDUR H LINING

GREY WATER RECYCLING UNIT

WORK SURFACES AND BAMBOO FLOOR

KITCHEN, GENERAL BUILDING MATERIALS, TOOL HIRE & PPE TM

MICROWATT CONTROL SYSTEMS

WINDOWS

BESPOKE TIMBER DOORS

+03 SOLAR SYSTEMS Two types of solar energy systems have been developed in order to meet the house’s full energy demands:

GLASS BALUSTRADES

HOUSE TRANSPORTATION

CRANE OPERATIONS FUNDATIONS ON FINAL LOCATION

Solar Electric Technology PV Array 24m2 • Lighting • Electrical appliances • Heating & Cooling

• Solar Electric Energy Demand • Solar Thermal Energy Demand Using a water budget that is specific to two people living in a house, it has been calculated that each person will require 50 litres of water at 60oC per day (which will be mixed with cold water afterwards).

To obtain this, 9.45KWh/day will be required.

This requirement will be met using solar thermal energy technology. In this case, a 5m2 horizontal solar collector has been integrated into the roof.

11

+04 ELECTRICAL ENERGY BALANCE

The energy balance analysis, illustrated in the graph below, shows a surplus of electrical energy generated by the PV array when compared to the electrical energy demands of the house.

This surplus will be exported to the grid, allowing energy demands to be offset when they are not met by the PV array. As a result, the house achieves full energy self-sufficiency.

Space conditioning 33% Lighting & appliances 42%

Top up water heating 4.5%

Surplus 16% Pumps 4.5%

+05 COMFORT CONDITIONS Passive environmental design strategies have been incorporated into the design to provide a comfortable environment. The building envelope is heavily insulated and the use of glazing is controlled to offer good daylight, to reduce summer gains and to maximize winter gains.

VENTILATION STRATEGY The PV array system on the roof prevents excess solar gains, and provides electricity to run the mechanical ventilation and heat recovery system. These systems are used for ventilation, heating, and cooling when passive methods are inappropriate.

In addition, a Passive Evaporative Cooling System has been developed in the double height space. These cooling strategy challenges will take their full effect in the Madrid summer.

12

Winter Solstice

Summer Solstice

SHADOW ANALYSIS

+06 APPLIANCES

Computer

Tumble dryer TV & DVD Dishwasher Dining

Washing machine Fridge & Freezer

Cooker & oven

Lighting and appliances have the highest energy demands within the house. As a result, a 24m2 PV array is incorporated on the roof to meet these electrical demands of a contemporary house.

One of the tasks consists of inviting fellow competitors to dinner to demonstrate the effectiveness and energy efficiency of the house, but also to share something special. We teamed up with Sat Bains, a Nottingham-based Michelin Star chef, and Ian Dexter, a Chelsea Flower Show award-winning landscape designer, to help us conceive a menu that blends traditional British ingredients, sourced from the house’s own garden, with a Spanish twist.

13

14

10

H 5

6 2:00

2:00

9

I

J 8

7

3:00

3:00

PANELS AND DISPLAY CONTENTS (FIRST FLOOR): Room 02 L. Relevant images of all research projects presented M. Summary of projects, location map, main objectives of the research division (confirm data / source)

Ground floor tour plan

PANELS Room 03 AND DISPLAY CONTENTS (GROUND FLOOR): N. PHDC - Brian Ford & Mirentxu Ulloa MAINLY IMAGES OF STUDENTS BUILDING THE HOUSE O. H Coolphase - David Etheridge SPONSORS PANEL ALL SPONSORS ARE NAMED AND DESCRIBED AROUND THE HOUSE AXO VIEW P. I Pulse Leakage Testing - Ed/Cooper J PLASMA 3 / SPONSORS INFORMATION IN SUPPORT OF PANEL I

The Family House

Our participation at Ecobuild 2010 was key due to the massive attraction it represented, but also because the H.O.U.S.E. was fully assembled for the first time and officially presented to the public.

P L O

room 03

N room 02

M

Q R room 04

T

S

First floor tour plan

www.nottinghamhouse.co.uk

For the last two years, The team has developed an intense communications strategy using a variety of marketing techniques and organising public activities to raise awareness and involve the project in the public eye. This has included workshops with Special Professors, participation at an event in Madrid, press events with the sponsors, etc.

A key element for disseminating the project has been our presence on Facebook, Twitter, and other social networking sites.

ENTRANCE HALL / THE PROCESS / 2:00 CORNER / THE SYSTEMS, KITCHEN, ETC / 3:00 LIVING / THE EXPERIENCE / 3:00 COURTYARD / FINAL WORDS AND FURTHER CONSULTATION (SAINT GOBAIN PERSON) / 3:00 SUB GROUP WAITING AREA TO GO UPSTAIRS (ACADEMIC AND INDUSTRIAL INTEREST) STAIRS TO GET TO 1ST FLOOR STAND EXIT

Projection or 4 A1 portrait posters containing finished interiors renders

+07 COMMUNICATIONS & SOCIAL AWARENESS

5 6 7 8 9 10 11

11

Room 04 Q. CCS in building materials - Mercedes Maroto-Valer (confirm location) R. Microwave exfoliation of vermiculite – Chris Dodds (confirm location) S. ETC – Keith Baker (confirm location) T. Relevant MSc programmes/Faculty/UoN info – Jill Minter

POSSIBLE BOYS MADRID CASUAL/CONSTRUCTION ATTIRE

+08 INDUSTRIALIZATION & MARKET VIABILITY Our approach is orientated towards starter families, which happens to be a major requirement into the UK today. The design is a twostorey solution, which acts as part of a housing system that could potentially generate extensive urban landscapes. More specifically, each module could either form half of a semi-detached house or be part of a terrace, as well as continuing to provide each family with a private outdoor space.

+09 INNOVATION +10 SUSTAINABILITY

These two aspects of the contest represent the strategic components of the proposal compared to the preceding 8 aspects, and therefore are evaluated together.

The house is designed as a system that can be used in many different climatic contexts, therefore enhancing its market viability. Its systems can be adapted so that the house can perform efficiently in the southern conditions of Europe (Madrid), where the double height space is used for passive cooling through the evaporative system, as well as in the North of Europe (Nottingham), where the same space is used for passive ventilation through the stack effect.

An integral part of the Nottingham H.O.U.S.E. design was the decision to create a two-story building that is “L” shaped on plan in order to provide a courtyard garden. This external space provides shading in summer and a focus for the public areas of the house. Furthermore, it allows the family to grow some of its own food, which often forms a large part of the family’s energy footprint.

15

I think it is fair to say that working on the Nottingham H.O.U.S.E. has been trying, at times. We have put our bodies on the line - not in any breaches of Health & Safety, mind, but through the hours we have worked and the effort we have poured into all aspects of this project.

But what keeps us working till the wee hours with blisters, sore knees and square eyes are simply the little chances we get to catch our breath and just appreciate being part of this madness.

the project, but the king of all these rushes was seeing the house, the planters, the posters and all standing vibrant and proud on the first morning of the Ecobuild exhibition.

There have been many such moments throughout the entirety of

We had many key visitors from the entire sphere of the built environment, including the then Housing

Minister John Healey, but it was just as encouraging to meet members of the public who were keen to see our house become not just the standard by which domestic construction sets itself, but the norm - and soon. Everyone who visited was eager to see us go all the way to Madrid, take the trophy there, and run on into the future!

Tom Corbett

16

exhibit! 2010

Undergraduate Courses 17

BARCH (K100) BACHELOR OF ARCHITECTURE Course Director: David Short

The undergraduate BArch Course is the first building block in the lifelong process of engaging with and learning about the practise of architecture. The course at Nottingham is built around a holistic approach to architectural education based on the two fundamentals of creativity and technique. At every stage the design process is informed and tested against the critical rigour of technique. The studio work, which is so fundamental to the student’s training, is informed at each year by the humanities modules of history and theory and the technical modules of construction, structure and environmental design, in particular sustainable design. Urban design and practice and management modules are also introduced into the process. Each student moves through the course on a trajectory. Students are increasingly able to map out their own pathway through unit-led programmes set against ARB/ RIBA criteria.

Year 1 studio consists predominantly of a series of skill building and knowledge gathering short programmes. These are brought together in a final short design project at the end of each semester. All students are working to common programmes ensuring basic skills are taught and learnt. A practising or academic architect leads one of five units in the year.

18

Year 2 studio continues the skill development programmes in semester one. Working within one of six units, students follow common programmes. In the second semester programmes are unit based and led again by practising or academic architects. Students elect to work in a unit of their choice at this stage.

Year 3 studio builds on the student’s goals by allowing each to select to work in one of 6 units led by a practising architect. These units develop particular ethoses and interests and create an opportunity to work with individual students through the year. Students are, however, free to move units between Semesters. The final project in Semester 2 is seen as a rounding up of the undergraduate course by way of a major design project.

Inserted within the more formal programme of each year are short sketch exercises, which allow students to free up their approach and be more experimental. Within years 2 and 3 the studio programmes are in addition infused with a series of workshop days where guest lecturers are brought in to enrich the course further. Artists, product designers, materials specialists, structural engineers, landscape architects and practising architects make contributions here. These days usually begin with a lecture followed by a studio-based workshop when appropriate.

BA (K902) ARCHITECTURAL STUDIES Course Director: Swinal Samant

This course offers an attractive option for students who are interested in Architecture and the building industry, but do not want to follow the vocational-professional route to becoming an architect (offered by the BArch course). This undergraduate-level course thus offers a wellrounded degree which engages with a wide range of interests.

The three-year course introduces at a theoretical level the humanities, sciences and technologies that influence the built environment and allows students to acquire an awareness and understanding of the issues involved with the creation, sustenance and maintenance of the built environment. This course uniquely allows students to chart a particular specialization according to their interests in light of the wide-ranging supporting services and businesses in the Architectural and Building Industry.

In the first part of the course, students pursue core studies in the wider context of human settlements and environmental concerns and choose elective modules within the University leading to their specialization in the second part of the course. In the second part, students are able to programme their course ‘specialization’ in the selection of further elective modules, which eventually leads to a topic for a supervised dissertation.

The Architectural Studies course prepares students for a wide-range of employment positions in the Architectural / Building Industry and related supporting services. Graduates of this degree go on to work in industries such as planning, property and project management, estate and building development, building technology, the architectural and building press, interior design, product design, graphics and multi media etc. Some graduates also pursue post graduate studies in a specialisation developed within the Architectural Studies course, such as urban studies, history and theory, conservation or environmental studies. Graduates may also continue on to do Law conversion courses or an MBA and with their background in Architectural Studies are able to offer a unique combination of legal, management & architectural studies skills to potential employers.

19

MENG (K230) ARCHITECTURE AND ENVIRONMENTAL DESIGN Course Director: Robin Wilson

Today we have at our disposal a staggering array of systems that allow precise control to be exercised over the environment within buildings. Mechanical ventilation, refrigeration, and electric lighting are but a few of the inventions that have liberated designers from the constraints imposed by climate.

No longer do building form and materials have to be painstakingly manipulated to moderate external conditions. In principle it is possible for architects to design anything they want, safe in the knowledge that mechanical systems can be relied upon to impose comfortable conditions within.

Divorcing building design from climate comes at a cost however.

The energy required to operate building environmental systems is responsible for the consumption of finite fuel resources and represents one of the main contributors to greenhouse gas emissions and climate change. A major challenge faced by our industry is how to design buildings that rely less on mechanical systems, yet still keep occupants healthy, comfortable and productive.

It is unlikely that in the short term we will revert to purely traditional forms of architecture with their inherent passive environmental strategies. Occupant expectation demands high levels of comfort.

In addition, the range of materi-

20

als from which buildings may be constructed and the development of energy efficient technologies, provide a far richer pallet for crafting solutions than was hitherto the case. Holistic design, where the building, its environmental services and its occupants are considered as a system, requires new ways of thinking and it is clear that neither architects nor engineers can continue to practice in the manner that most do today.

The MEng in Architecture and Environmental Design seeks to develop some of the new interdisciplinary skills that might make a difference.

The 4-year course is built upon the School’s Architecture degree, making use of the additional year of study to develop expertise in environmental design. The course is recognised by both ARB/RIBA and CIBSE. Joint accreditation provides graduates with wider career prospects. They may pursue the route to becoming professional architects by gaining industrial experience and completing the Part II and III examinations. Additionally, graduates have the opportunity to obtain chartered engineer status by successfully completing a period of appropriate experience and professional review. The course is supported by key players in the building design industry and its graduates are sought after by both architecture and engineering practices alike.

Internal Tutors: Rabah Boukhanouf, Ed Cooper, David Etheridge, Guohui Gan, Mark Gillott, Matthew Hall, Andrew Howarth, Hao Liu, Yuhong Su, Robin Wilson, Shenyi Wu, Yuying Yan, Xudong Zhao, Jie Zhu.

BENG (K240) ARCHITECTURAL ENVIRONMENT ENGINEERING Course Director: Yu Ying Yang

Architectural Environment Engineering is recognised as an important engineering discipline of the Building Service Industry and for many years the demand for graduates in this area has outstripped supply. Architectural Environment Engineers are involved with the design of energy efficient buildings, renewable energy, green architecture, ventilation, heating & cooling, thermal insulation, lighting, acoustics, electricity and control, many or all of which are necessary in modern buildings. Architectural Environment Engineering has also diversified to meet demands for building energy management systems, fire/smoke control, indoor air quality standards and environmental pollution control. The course aims to provide a programme that is academically stimulating and relevant to current industrial needs, to train the candidates aiming for Chartered Engineer status in the above areas as well as the associate areas including management, communication, health & safety as well as legal and environmental issues.

This unique course of study provides an environment in which Building Service Engineering, Environmental and Architecture students can work alongside each other with the aim of achieving better building design, construction, and thermal comfort. The innovative and internationally leading researches carried out at the Department of Architecture and the Built Environment and the Faculty of Engineering are channelled into lectures and student projects, particularly in the area of Building

Services Engineering, and sustainable and renewable energy technologies.

The three-year full time Bachelor course of Engineering (BEng) in Architectural Environment Engineering involves the use of modern and environment friendly technologies to create comfortable and efficient indoor environments. Engineers in this field apply their skills to design energy efficient buildings incorporating renewable energy, green architecture, ventilation, heating & cooling, thermal insulation, lighting, acoustics and electrical/control systems.

Environmental design for buildings is multifaceted and each project is likely to present new and often unforeseen challenges. The role of the design team is to ensure that on each occasion the client receives a building which is on time, within budget and meets the requirements of those who use it.

This role has always been challenging, but never more so than now.

This is largely due to much greater awareness of the impact of buildings in the global context in addition to their effect on the local environment they serve. As buildings currently account for up to 50% of all energy consumption, today architectural environment engineers will play a major role in bringing down future CO2 emissions.

The course has a modular structure: Year 1 deals with fundamental subjects such as the interaction between people and the environment, computer aided design, maths, thermofluids and profes-

sional issues. Year 2 focuses on more specialised and advanced subjects including the designs of building space heating system, airconditioning & ventilation, acoustics and lighting, introduction to renewable energy, engineering applications of IT and management studies. Year 3 is characterised by student-centred research and on design projects and optional modules which students select according to their needs and interests.

The Year is concerned with the application of fundamental knowledge and skills acquired previously, to major design projects, and with development of the students’ design capabilities.

The BEng course has been awarded the CIBSE President Award in 2005-2006 and student best achievement award in 2006-2007.

The course has also received bursary supports from CIBSE Patrons, East Midlands CIBSE and leading building serve companies such as Hurley-palmer-flatt, etc. The Times Good University Guide which was published in October 2006 has ranked the BEng Architecture Environment Engineering course at the University of Nottingham as the 1st in the league table for courses in the Building category in the UK. The course has also recruited students from the University’s China Ningbo campus since 2007. With its high standard and unique features, the course has drawn much attention from international candidates and has become one of the most popular engineering courses at the campus.

21

BA (KF28) SUSTAINABLE BUILT ENVIRONMENT Course Director: Shenyi Wu

The BA Sustainable Built Environment is a course to train the professionals with the knowledge and skills to deal with sustainability issues related to the built environment.

The development of our built environment without considering the environmental and social contexts is not sustainable. The concept of the course is to interconnect the built environment with the community and the health of the people in order to create buildings with minimal environmental impact.

Creating a sustainable environment is a complex task which requires a wider range of knowledge and experience than the conventional practices, a multidisciplinary approach combining effective technologies with strong new directives on policy, market and user uptake.

Therefore, the sustainable built environment is a multidisciplinary, practical subject aimed to deal with the issues of sustainability through the aspects of technology, humanities and management involved in the building development. This goal can only be achieved from the cooperation of architects, engineers, building owners and developers, for which an effective coordinator is very much needed. It is a new and high quality course which will contribute to improved sustainability by bringing together fundamentals of architectural humanities and environmental technologies. It explores renewable energy application in

22

buildings, and highlights the social, economic and policy issues that underpin the successful implementation of sustainable designs and technologies.

This 3 year modular structured course offers modules covering: - Architectural Theory and History, - Building Service Technology, - Renewable Energy, - Economics, Policy and User Behaviour The final year also features student-centred research projects, concerning the application of fundamental knowledge and skills acquired previously for assessing, planning and managing sustainable built environments.

The course is accredited by the Association of Building Engineers (ABE).

DISSERTATIONS SUMMARIES

The Search for Architectural Expressionism: 20th Century German Expressionism to Modern Day expressionism

or Einfühlung as it is described in German, is the ability for people to related to objects or space, through an emotional response, making it the perfect theoretical basis on which to study an architecture derived from emotion and the subjective.

Alexander Bufton ‘Expressionist’ is a term overused in modern architecture to describe any architecture that makes use of dynamic form, expressive materials, or differs from the utilitarian norm. Although ‘expression’ can be used to describe any process that is both individual and subjective, Expressionism actually refers to an architectural movement that brought together the architectural community of Germany at the start of the 20th century – characterised by a general will to form, derived from the spiritual and subjective.

The brief period produced a variety of architectural form and theories based on religiosity, dynamism and organicism (to name a few), eventually culminating in a variety of fantastical depictions of utopian cities and manifesting in a number of influential structures.

This dissertation attempts to assess the initial aims and ideals of Expressionist architecture, taking account of the array of opinions and formal variations – it then goes on to explore modern day ‘expressionist’ architecture, to see if it is indeed a reflection of the original ideals, and if not, how the definitions have changed/adapted over time.

In order to assess the validity of the various expressionist principals, whilst also tying together the varying and disparate formal definitions, the aesthetic discourse of empathy will be used. Empathy,

Investigating the Effect of Energy Efficient Retrofit on the Air Tightness of the E.ON House Laurie Campbell This paper reviews and predicts the results of two different air infiltration tests carried out on the E.ON house. The two tests used where those of the steady pressurization test and the unsteady pulse test. The purpose of these experiments and predictions was to gauge the impact of the new energy efficient upgrades implemented in the dwelling and how they affected the air infiltration rate in relation to the results recorded after the initial construction of the E.ON house. While the energy efficient upgrades improved the air infiltration rate, they failed to achieve the industries requirement of 10m3/h.m2 @ 50 Pa. The paper goes on to discuss reasons for the marginal improvement of air infiltration rate of 10 – 30% as a result of the upgrades. It concludes that the effects of the upgrades were hindered by the poor construction quality of the E.ON house, however that it is possible for the existing UK housing stock to improve its air infiltration rate by implementing these energy efficient upgrades given a reasonable level of attention to design and construction.

Solar Protection Strategies for the Solar Decathlon House William Darler The purpose of this report was to investigate solar protection strategies for the University of Nottingham house design for the Solar Decathlon competition in Madrid.

Materials from three categories (protective films, found materials and blinds) were tested through a physical experiment with an integration sphere to determine their transmittances. From these results, the solar heat gain coefficients (SHGCs) were calculated and input to Ecotect for energy and lighting analysis. Recommendations of optimum glazing strategies were made based on the possible energy savings of different combinations of materials and the comfort requirements of the building occupants.

23

Amy Young

Yu Hyun Lee The relationship between form and function has high value of discussion in architectural studies. The famous dictum ‘form follows function’ by Louis Sullivan was once important and is an obsolete theory nowadays. However, the mutations of the theory by other architects and artists suggest diversity of aspects on form, function and its relationship. This dissertation shows that the idea of Frank Lloyd Wright ‘form and function are one’ is an essential scheme that reinforced from the original theme, and how it has adapted to the practice. The discussion on Louis Vuitton, Prada, Apple stores in terms of architectural form and function will prove that the two elements are not meant to be separated, the form even become a part of the function and they produce successful contemporary architecture when combined to work together. In addition, it is also demonstrated from other uses of buildings such as museum, libraries and office etc.

24

The United Kingdom benefits from an ideal environment for the harvesting of wind energy, yet only 2% of our electricity generation comes from wind-based sources. 2010 has been highlighted as a momentous year for the production of wind energy technology throughout the UK with the announcement of more than £175 million of investments into the sector by leading producers Siemens, Mitsubishi and Clipper. In addition to this, policy has changed dramatically this year also, with the success of the Renewables Obligation Certificate bandings in the industrial sector and the introduction of feed-in tariffs, suggesting the move to a more domestic focus, too. The issue of poor generation still remains; however, with government targets suggesting 20% electricity generation by renewables by 2020, there continues to remain a significant amount of progression that is required.

Previous research performed by Gipe (1993), Wolsink (2000), Bell, Gray and Haggett (2005) and many others, evidences that wind power developments frequently face relentless opposition during their development and planning process.

On identification and analysis of the major barriers to the uptake of wind energy as: policy, technology, the current state of the UK wind energy industry and social attitudes, this study aims to develop an improved understanding of their significant impact on the lack of

wind energy uptake. The study also examines the measures that might be required for instigation of the much needed progression of the wind energy industry within the UK. The subject of social attitudes that the study focuses on is addressed through an in-depth synopsis of two successfully implemented, UKbased, case studies to compliment a wider-ranging questionnaire of the UK population.

Both studies show evidence of a rise in acceptance upon education and knowledge of implemented developments. In comparison with previous studies: Bell, Gray and Haggett (2005) and studies performed by MORI (2003) and the Department of Trade and Industry (2006, 2007, 2008), initial acceptance of the technology was found to be significantly higher, with 95% of questionnaire participants in favour, and ultimately 90% from the case study interviews. This vital change in opinion throughout the population could spell a dramatic modification of the landscape of the UK. Offshore production is where the future lies, but onshore wind energy generation will remain the focus until offshore technology can match it. With the potential that the UK holds in terms of wind energy generation, it is not surprising that government targets are so high; yet they are definitely achievable if these barriers are addressed.

Seulki Yu The aim of my dissertation is to identify the common language of the theatre architecture. The approach to the common language of the theatre was based on the history of architecture and it was explored with case studies through the survey of the National theatre in London and the Sage Gateshead in Newcastle.

Forty visitors were surveyed for the each theatre and it has been designed for three different age groups and was composed of similar proportion of male and females.

A questionnaire survey was used to explore the different opinions towards the form of the theatre building, finding the common language of the theatre architecture. Different people’s opinions helped to study the relationship between interior and exterior space of theatre.

Throughout the study, I have identified the common language of the theatre architecture of the National theatre and the Sage Gateshead.

Within the survey result, there were no more restricted thoughts in the common language of form in the 20th and 21st century theatre architecture. Whereas the National theatre attracted language such as “power station and Lego” and generally man made rigid objects, the Sage Gateshead attracted language such as “Slug and waves”, which were mostly natural comparisons. I was able to identify that common language towards contemporary theatre buildings has more diversity than the form of a typical theatre building in history.

BA dissertation list for 09/10 academic year Investigation into the Benefits of BREEAM Dwain Jones Through a literature review and case study of a university building this study identifies and evaluates some of the perceived benefits of using BREEAM as a guide in the design process. It is shown that using BREEAM does not result in a fully sustainable building and only certain aspects may be improved in practice, energy efficiency is not a guaranteed benefit. Occupant opinion, gauged through a questionnaire and in-use energy consumption are used as indicators for establishing the impacts of BREEAM in the case study.

Waste Incineration in the UK A Study into Public Opinion

future, and present waste disposal strategies. The Eastcroft Energy from Waste Facility is covered in depth and compared to a similarly sized facility due to be built in Essex. A review of emission figures is also compared against arguments from local opposition groups. The latter half of this report involves review and analysis of a novel survey undertaken in the Eastcroft, and Essex areas in order to determine popular opinion on the technology as a whole, as well as other common waste disposal themes.

Conclusions are drawn which aim to determine the change in public opinion between: A) A densely populated area with an incinerator and a sparsely populated area, and B) An area with an established operating waste incinerator and an area due for its first such facility.

The paper concludes favourably for waste incineration as a viable and desirable waste treatment method in the UK and suggests further research with guidance on how to go about it.

Andrew Makinson This paper summarises the current crop of commercial EfW (or waste incineration) technologies, currently in operation in the UK. An extensive literature review then focuses on the existing legislation across Europe and the status of the technology, with particular focus put on the UK. Two areas are highlighted, Nottingham, and Essex, for detailed analysis of past,

25

A study into the future of neighbourhood renewable energy schemes, with particular regard to piezoelectricity Joe Sack The United Kingdom is moving forward with its plan to fight climate change at a local level. By backing the energy savings trust with more than ÂŁ10 million, the government is attempting to transform 100 neighbourhoods into sustainable neighbourhoods by reducing their carbon footprints by 60%. This paper aims to assess existing renewable energy schemes in Britain and give an appraisal of the economic, social and environmental impacts of potential future technologies, including piezoelectricity in neighbourhood schemes.

Household waste recycling in the UK: Public attitudes, participation, and behaviour change mechanisms Thomas Shilton Waste management has emerged as a key issue in the sustainability revolution of the 21st century.

With increasing emphasis on the responsibility of every person to reduce the environmental impact of society, public attitudes and behaviour regarding the amount of waste generated, and the way in which it is disposed of, is an important area for examination.

For this study, a survey conducted in the local government district of Wychavon, Worcestershire, aimed to ascertain barriers to domestic recycling, the suitability of local, national and European waste management policy at addressing these barriers, and ways in which attitudes could be changed in or-

26

der to increase recycling participation.

Three main instruments for behaviour change have been identified and discussed: financial incentives and penalties; improved information and publicity about the services available; and an increase in the range of materials collected.

Recycling Sunshine: Examining an innovative procedure towards carbon neutrality Robert Hanaghan Of the various methodologies for moving building design towards carbon zero, heat pumps are emerging as very strong contenders, particularly those drawing heat from the ground. However, with all heat pumps there is the ever present question about their coefficient of performance, and the availability of the heat source. This dissertation investigates the ‘charging the earth’ research project in Nottingham, which aims to discover how heat pump performance can be improved by augmenting the ground source with solar energy.

The main theme assesses the possibilities of incorporating this idea across the UK through looking at the real-time, diurnal and interseasonal effects of such hybridisation. Further assessment towards its national basis is also discussed through a comparison with ICAX, some discussion on the problems and benefits of its incorporation into an urban society, the appliance of photovoltaics and the aid of feed-in tariffs.

exhibit! 2010

Undergraduate Studio 27

28

YEAR ONE DESIGN STUDIO

The first year is a foundation and qualifying year at the University of Nottingham for both Architecture (BArch) students and Architecture and Environmental Design (MEng) students. It is a studio based module within which the fundamental principles of architectural design are taught, tested and developed through a series of design projects.

The studio module is a year-long module. It runs for 25 weeks, with two full days of tutoring per week.

The year is divided into six units, each unit having a full-time Unit Leader, assisted by visiting practitioners, PhD students and 6th Year Diploma students (listed below).

The students entering year one, each have very different sets of skills and levels of understanding related to the study of Architecture.

The foundation year is designed to be a gradual process of learning and development with each project building on the project before, and designed to test the students’ skills in each of the key areas of architectural education.

The academic year starts with the ‘Tour de Pasenville’ project run by visiting professor Ted Cullinan of Edward Cullinan Architects. The ‘Pasenville’ is a fast paced, action packed design project in which students from years 1, 5 and 6 work together to produce the design for a building in two days. It’s an exciting project and a great introduction to the world of Architecture for year 1 students.

The Studio programme comprises five stages. Stage 1 - ‘Foundation One’ is an initial 7 weeks of observation, drawing, sketching and skills development, based on short practical exercises, culminat-

ing in a six day field study trip to Amsterdam. Stage 2 – ‘Design Integration One’ applies and tests the skills acquired in ‘Foundation One’ in a 4 week exercise to design a ‘life-pod’, an optimal living space for a given client. Stage 3 - ‘Foundation Two’ is a further 7 weeks of skills building through 4 projects: the Construction Project, the Cad Project (learning to use computers to create 3D Cad models), creative workshops and the Typologies project. Stage 4 - ‘Design Integration Two’ is the final project of the year. It is a 7-week design project which integrates all the knowledge and experience all of the previous stages, in the design of a building on the University Park Campus for Students and Staff of the University. Stage 5 - ‘The Portfolio Review’ assesses how well the students have progressed throughout the year and whether they have acquired the skills needed to pass to the second year of their course.

Studio Leader: Liz Bromley-Smith (with Valeria Carnevale assisting)

In addition to learning the fundamental architectural principles of creating a building that responds to the needs of a specific client and a given site the studio module entitled ‘Design and Communication’ also places great emphasis on teaching students to communicate their ideas and design intentions clearly and effectively through drawings, models and verbal presentations.

Unit 6: Patrizia Riganti, Laura Lockwood, Annie Duquemin, Ehab Kamel, Thomas Froggatt, Ben Stuart and Tom Stroud.

Unit 1: Valeria Carnevale, Francesco Proto, Paul Gray, Jonathan Fisher, Lucia Milone and John Lynch.

Unit 2: Rachel Grigor, Derek Trowell, Michael Ellis, Lizzy Webster, Heba Elsharkawy, Rachel Lee and Weikai Gong, Unit 3: Genine Ziegler (Liz Bromley-Smith), Dhiran Vagdia, James Allison, Mick Kingsbury, Bahar Durmaz, Georgina Revel and Andrew Coles.

Unit 4: Didem Ecki Ricardo Martinez, Paul Thomas, Rob Scott, Ali Cheshmehzangi, Rachel Campbell and Ben Hopkins.

Unit 5: Jeffrey Keays, Mark Alston, Elina Passari, Isin Can, Abdul Hadi, Mathew Wingrove and Debbie Dix.

The integration of taught modules within Studio plays an important role in Year one with Environmental Design, Contemporary Debates, Construction, Structures, and Integrated Design in Architecture contributing to and being tested within the studio projects at various points throughout the year.

Images from Year 1 workshops & Amsterdam Field trip.

Work from best portfolio from year 2009: Gareth Marriott 29

30

YEAR TWO DESIGN STUDIO

Following last year’s success in designing and building a nursery school in South Africa, Year 2 students embraced their second ‘live’ project and built a sustainable prefabricated house for the Solar Decathlon international competition.

The ‘live’ project is now established in the Year 2 teaching programme and unites the practice and theory of architecture and enforces the building sciences tradition of the school first established when the University, then the Nottingham Government School of Design, opened in 1843. Then its earliest pupils included “architects’ clerks”, and the school taught the art and practice of building with attention to draughtsmanship and studies in architectural ornament. What better foundation for the 180 students entering Year 2.

Our theme for this year was based on the archetypal ‘house’ and it’s derivatives, from bathhouse to lighthouse, art-house to knowledge-house. Our goals were to immerse in the complexity of the subject and discover new architectural sciences and angles of investigation.

The year’s projects were sequentially programmed to allow us to always return to this core theme and to enable each student to develop a personal approach to housing. Project 1 ‘City Slice’, the first and shortest, was to create a fantastical section through the City of Nottingham. Project 2 ‘House’, explored the spatial expression created by the architect-client dialogue and linked with the tectonics studies to encourage detail investigation of construction typologies.

The final Project 3 allowed each Unit to step up in scale and explore larger more urban interventions. Building on the detail of the House projects six Unit specific briefs introduced notions of archiving, nomads, street markets, social enterprise, habitual behaviour, landscape and concepts of time to determine an individual architectural programme.

Adrian Friend Studio Leader

Unit 1 Solar Decathlon ‘live’ project Guillermo Guzman assisted by Lizzie Webster and Francesca Bailey Unit 2 Matthew Butcher / Alisdair Russell assisted by Robin Wilson and Glen Tomlin Unit 3 Sarah Moore assisted by Anna von der Schulenberg, Gesa Schenk Unit 4 Adrian Friend assisted by Rashid Ali, Andrew Cross and John Newbery Unit 5 Melissa Appleton assisted by Rosy Head, Nicola Read and Cherie Yeo Unit 6 Bradley Starkey / Guvenc Topcuoglu assisted by Tony Davies and Nathanaelle Baes

Royal Academy Summer Exhibition Success Year 2 Unit 4 student David Ward has been chosen to exhibit his model ‘Cast n Carve House Study No.5’ at this year’s Royal Academy Summer Exhibition.

Curated by architect David Chipperfield, this year’s Summer Exhibition theme was ‘Raw’.

The Royal Academy’s annual Summer Exhibition is the world’s largest open submission contemporary art exhibition. Now in its 242nd year, the exhibition continues the tradition of showcasing work by both emerging and established artists in all media including painting, sculpture, photography, printmaking, architecture and film and typically only 1000 of 11000 submitted pieces are selected for exhibition in the Main Galleries from the 14 June—22 August 2010.

“What I’m keen to avoid is showing work whose main concern is promotional. This isn’t a trade fair for architects; this is meant to be an opportunity for architects to show their skill and intelligence,” says Chipperfield.

31

32

YEAR 3 BArch DESIGN STUDIO

The Year 3 Design Studio is characterized by a strong unit based organisation.

A distinctive profile of each of the six units reflects on the diversity of unit leaders and creates a wide and diverse spectrum of individual themes and methods, distinguishing the units from each other and allowing the student to choose a unit according to his/her personal interest.

Year 3 is seen as the threshold from the academic environment into practice, therefore we try to work with practitioners as unit heads and allocate students for the whole year to simulate an office like atmosphere to encourage open exchanges and discussions with a strong thematic focus.

While the content of the studio work is determined by the practicing architect or member of staff leading each unit, an overall organisational and review structure applies to all units.

The year’s structure is made of two individual projects, firstly the short introductory narrative project relating to literature, painting, sculpture, music or film.

The second project forms the main studio focus. Each unit’s theme, structure and approach are developed by the unit leader. The two projects thematically relate to each other and are supported through short-term specific design exercises set out by the unit head to assure a continuous design practice for the students, while researching and developing their individual interest and approach to their main design project.

Each unit challenges the students to define their own brief within the unit’s framework; this task of individual brief writing clearly develops the student’s contextual responsibilities and furthers individual and personal work.

Project deadlines and review dates are generally identical across units to achieve an even rhythm within the school.

The students are encouraged and challenged to look beyond the classroom by introducing FIELD TRIPS as a means to experience built architecture in its local, social, cultural and physical context and form as well as by encouraging independent research; some units have introduced workshops with students abroad.

An intense studio environment supports our effort to engage the students with their work.

The studio space is the focus of the student’s life and communication.

The principle of the INTEGRATED STUDIO is implemented through the unit based invitation of experts in their respective fields, guest lecturers, structural engineers etc. These seminar sessions alert the student to think laterally, introduce the concept of interdisciplinary exchange and define those subjects as essential elements of the creative design process.

Nicola Gerber Studio leader

33

locals to the A tourists; this w the attention Students of the run tour guid hours, providin opportunities f with jobs to ear

Jessica Beagelman The project is nestled into the ruins by the ancient Agora at the foot of Mount Pagos, in Izmir, Turkey. This area was once a bustling centre for commerce and political thought, but has since been left open to the elements.

The proposal aims to reconnect the Agora with the rest of the city and reintroduce the arts, trade and philosophy on the site.

I wanted to utilise the existing topography allowing my proposal to embrace the historical ruins surrounding it.

Ege

Alsancak

My proposal creates a new entrance to the Agora, along the busy road, to attract the tourist from the Kemaralti Market opposite. The entrance provides a visitors’ centre for the Agora, with the city’s first modern art museum attached at the back.

This combination hopes to show that two historical extremes can be fused together to create a new cultural harmony, which will embrace the old but look ahead An entertainment to the future.

Claire Humphrey

Ege

Alsancak

hub for Izmir providing the Kadifekale area Within my proposal I wantedwith a number of activities which to explore the use of repeated are unique within the city:

vertical structures, as used in the ancient Agora, to create an ambiguous space within. By •Open air cinema - providing year changing the size, shape and round entertainment, drawing materiality of these elements, I visitors to Kadifekale, particularly was able to create markers that guide the circulation around when my used as a screening venue site. This led to there being three for the annual international film distinct aspects to the building; the front sculptural plaza, thefestival. covered outdoor Agora museum and the modern art museum •Outdoor activity centre -includcombined with research facilities.

Ege

Alsancak

ing equipment hire and shop. primarily aimed at the children that walk through the site on their way from school. the park will increase the profile of outdoor Agora Museum pursuits such as skating and rock of Modern Art climbing in turkey

(AMOMA)

Tim Clare

34

My project Expanding Residence is a market place and residential building, situated in Izmir, Turkey.

It sits on the western coast of Turkey in the Mediterranean. The climate is typical of that of the Mediterranean with hot summers and short cool winters. The city is situated in a secluded bay and boasts the second largest port in Turkey after Istanbul. The city rises up into the surrounding hills which have been inhabited by a multitude of different nationalities.

I am designing expandable residential blocks for families. The design is based on the traditional Kurdish family, where the sons stay within the family dwelling and start their own family. It is

•Book exchange/ Idea store - the setting of many social encounters also incorporating a cafe and individual screening rooms to provide supporting facilities for the cinema.

The design aims to create a community space for the residents of Izmir, transforming a disused gap in the city’s fabric into a place which draws people to its many uses, creating a place to visit rather than to pass through.

All surfaces are intended to be multi-functional. The folded planes weaving across the site work to unite the space, which was previously seen to be seperated by a series of walkways.

These routes have been manipulated to interact with the built forms, resulting in an increased number of interactions between visitors.

Futhermore, m also provide facility/laborator and archaeolo more about fenced off cons to the Agora is n excavated in historical Agora gist can uneart and have the fin ery information displayed in a tourist and loca ate and take an new discoveri these material d displayed in an for visitors to ga and thought p ence of the Ago

Joshu Gavz

My project the urban communal in is sited on th Ege and A Izmir, Turke relatively afflt Admiring of 7 storey a Ege is a slu boundary is line. The r visual, circu barrier betw

My project a boundary, a above the space” or m

A series originate a side of the b points abov form separa for the inhab communities to enter the across to the

The buildin of spaces d music. With space, an space and spaces. Th public area routes linkin site.

Mutual

UNIT 1 -

NEGOTIATING THE CITY INCLUSION IDENTITY & THE OTHER DISSOLVING SPACES OF EXCLUSION WHY Cities are increasingly at the centre of global flows of people, capital, culture and information.......as they expand even further, into urbanised regions of over 50 million inhabitants, their footprint will have a direct impact on climate change and the ecological balance of the planet, as well as on the lives of existing and new city dwellers. (ref: Cities Architecture &Society) WHAT City forms, their actual function, and the ideas and values that people attach to them make up a single phenomenon. (ref: Kevin Lynch) The city is an aggregation of legal, social, and environmental complexities that necessarily condition all works of Architecture, eventually even those outside of the city. (ref: The Urban Process, Dr. Richard Ingersoll, Rice University) RIGHT TO THE CITY - LEFEBVRE Renewal in cities based on current cultural and economic policy is encouraging trajectories that lead increasingly towards environments of exclusion HOW The unit is aimed at interrogating urban phenomenon through an understanding of spatiality as a manifestation of socio-political issues. We aim to propose architectures that reinforce identity and ‘the right to the city’. We aim to develop strategies for a future urbanity as a place of inclusion through the recognition of particularities and ‘the other’.

IDENTITY & THE OTHER We aim to propose architectures that reinforce identity.

The development of strategies for a future urbanity as a place of inclusion through the recognition of particularities and ‘the other’.

As architects we are in a position to investigate the city and attempt to identify generalities and particularities that result from the urban environment and (in)form the city in response.

Recognition of particularities and ‘the other’ allow us to formulate possibilities that encourage more inclusive urban futures.

LOCATION Unit 1 undertook a site visit to the city of Izmir, Turkey. The site was chosen as it is a city with various identifiable urban, social and political issues resulting from its location as one of the primary jump points between Asia and Europe for illegal migrants and asylum seekers. These overlapping, contrasting and contradictory groups tend to build informal and unsafe housing settlements across the city wherever land is available and they are not moved on by the authorities.

The resulting urban situation exists in the context of Izmir’s claims to be the most secular city in Turkey, and its history of conflict as a result of political tensions with Greece. The city has been and is the site of major urban change and renewal.

INVESTIGATION Explore historic urban form through archives.

Develop abstract mapping techniques for subjective sampling.

Carry out recording on site.

Collate and visualise data.

Present conclusions as basis for project.

PROPOSAL Student project sites are arrived at through their investigations within a larger defined territory.

Student proposals are based on ideas supported by their contextual, social , cultural and historic data.

Student programs are developed with the guidance of their tutors based on their own observations.

This is a process based emergent design method - where the flash of inspiration or wait for the ideal concept is voided through the use of a design methodology.

Advanced cad models are started early as design tools.

A continuous process of development and re-iteration leads to a resolution.

Development of both theoretical and technical aspects of the design are addressed in a parallel process.

CONTEMPORARY TOOLS Highly digital unit that uses contemporary tools.

Use of movie/film in both investigation & presentation.

Introduction to animation in the context of architecture.

Computer visualization.

Physical models.

Mixed media presentation.

TUTORS Ulysses Sengupta – Unit Leader Luke Olsen – Unit Tutor CRITICS & LECTURERS Thilo Aschmutat - AA/University Of Hanover/Braunschweig TU, Hanover Laszlo Fecske - Erick Van Egeraat/BAND/JUMP, Zurich Pim Van Wijlick Herzog de Meuron/Form Foundation, Amsterdam Shajay Bhooshan - Zaha Hadid Architects/ Architecture Association, London Jethro Hon Foster & Partners, London Bahar Durmaz - University of Nottingham Phd Urban Design Isin Can - University of Nottingham Phd Urban Design Ali Cheshmehzangi - University of Nottingham Phd Urban Design Dr Erdem Erten Vice Chair, Izmir Institute of Technology, Izmir Tiago Costa Jorge BAND Architects, Madrid Deljana Iossifova Architect/Social Engineering phd, UNU IAS Yokohama Marc Sawan Eyekon Visualisation, London Charles Coull European Urban, London Charles Blanc Sans Facon, Glasgow Sotiris Tsoulos Tsoulos Associates, Athens Last but not least thanks to all Ex Students who dropped by to help out.

35

36

Unit 1

Na Zhao Design Driver:

Marina & Yacht Club – Re envisioning the Urban Edge My proposal program is Marina with a private yacht club. Izmir has a long coastline and majority of them are functionalized as leisure path and divided into green belt, walking path and jogging sponge path. There are some out-door gym equipments, occupied in most of time. Locals enjoy being out with fresh air and the sea.The waterfront has lack of facility for locals to interact with water and also from the research, there is a need for private yacht to stop and store as terminal in the centre of city.

The site is closely connected with infrastructural industry of the city and the Marina can switch its urban structure; responsive urban district. The proposal can be a transformation land using of the area and to establishing a man-made infrastructure for sea transportation.

Marina & Yacht Club

37

Unit 1

Adoption, Continuity and Tradition

Unit 1

Jessica Beagelman

Jessic Beage

The project is nestled into the ruins by the ancient Agora at the foot of Mount Pagos, in Izmir, Turkey. This area was once a bustling centre for commerce and political thought, but has since been left open to the elements.

The project is ruins by the an foot of Mount Turkey. This a bustling centre political thoug been left open

The proposal aims to reconnect the Agora with the rest of the city and reintroduce the arts, trade and philosophy on the site.

I wanted to utilise the existing topography allowing my proposal to embrace the historical ruins surrounding it.

The proposal the Agora with city and reintro trade and phil I wanted to uti topography al to embrace th surrounding it

My proposal creates a new entrance to the Agora, along the busy road, to attract the tourist from the Kemaralti Market opposite. The entrance provides a visitors’ centre for the Agora, with the city’s first modern art museum attached at the back.

This combination hopes to show that two historical extremes can be fused together to create a new cultural harmony, which will embrace the old but look ahead to the future.

My proposal c entrance to th the busy road tourist from th opposite. The a visitors’ cent with the city’s museum attac This combinat that two histor be fused toge new cultural h embrace the o to the future.

Within my proposal I wanted to explore the use of repeated vertical structures, as used in the ancient Agora, to create an ambiguous space within. By changing the size, shape and materiality of these elements, I was able to create markers that guide the circulation around my site. This led to there being three distinct aspects to the building; the front sculptural plaza, the covered outdoor Agora museum and the modern art museum combined with research facilities.

Within my pro to explore the vertical structu the ancient Ag ambiguous sp changing the s materiality of t was able to cr guide the circu site. This led t distinct aspec the front sculp covered outdo and the mode combined with

Agora Museum of Modern Art (AMOMA)

38

Agora of Mo (AM

Joshua Joshua Gavzey Gavzey

Ege

Ege

Ege

Alsancak Alsancak

Ege Alsancak Alsancak

Ege

My project project investigates investigates how how My the urban urban layout layout influences influences the communalinteraction. interaction.My Myproject project communal sitedononthe theboundary boundarybetween between isissited Ege and and Alsancak, Alsancak, districts districtsinin Ege Izmir, Turkey.

Turkey. Alsancak Alsancak isis a a Izmir, relativelyaffluent affluentarea areacomposed composed relatively storeyapartment apartmentblocks blocksand and ofof7 7storey Egeisisa aslum slumhousing housingarea. area.The The Ege boundaryisisananexisting existingrailway railway boundary line. The Therailway railwayline lineacts actsasasa a line. visual,circulatory circulatoryand andeconomic economic visual, barrierbetween betweenthe thetwo twosides. sides. barrier Myproject projectattempts attemptstotobreak breakthis this My boundary,and andusing usingthe thespace space boundary, above the the railway railway forfora a“third “third above space”orormutual mutualterritory. territory. space” series ofof walkways walkways which which AA series originate atat key key points points either either originate sideofofthe theboundary boundaryand andmeet meetatat side pointsabove abovethe therailway, railway,these these points form separate separatecirculation circulationpaths paths form forthe theinhabitants inhabitantsofofthe theseparate separate for communitieswith withthe theopportunity opportunity communities enterthe themutual mutualterritory, territory,pass pass totoenter acrosstotothe theother otherside sideororreturn. return. across The building buildingprovides providesa aseries series The spacesdedicated dedicatedforforRomani Romani ofofspaces music.With Witha aformal formalperformance performance music. space,ananoutdoor outdoorperformance performance space, space and and some some rehearsal rehearsal space spaces. This Thisisiscoupled coupledwith withthe the spaces. public areas, areas,green greenroofs, roofs,and and public routeslinking linkingdifferent differentparts partsofofthe the routes site. site.

MutualTerritory Territory Mutual

39

Unit 1

Ege Alsancak Alsancak

Unit 1

Claire Humphrey

Claire Hump

An entertainment hub for Izmir providing the Kadifekale area with a number of activities which are unique within the city:

An entertainm providing the K with a number are unique wit

•Open air cinema - providing year round entertainment, drawing visitors to Kadifekale, particularly when used as a screening venue for the annual international film festival.

•Open air cine round entertai visitors to Kad when used as for the annual festival.

•Outdoor activity centre -including equipment hire and shop. primarily aimed at the children that walk through the site on their way from school. the park will increase the profile of outdoor pursuits such as skating and rock climbing in turkey

•Outdoor activ ing equipment primarily aime that walk throu way from scho increase the p pursuits such climbing in tur

•Book exchange/ Idea store - the setting of many social encounters also incorporating a cafe and individual screening rooms to provide supporting facilities for the cinema.

•Book exchan setting of man also incorpora individual scre provide suppo the cinema.

The design aims to create a community space for the residents of Izmir, transforming a disused gap in the city’s fabric into a place which draws people to its many uses, creating a place to visit rather than to pass through.

The design aim munity space Izmir, transfor in the city’s fab which draws p uses, creating rather than to

All surfaces are intended to be multi-functional. The folded planes weaving across the site work to unite the space, which was previously seen to be seperated by a series of walkways.

These routes have been manipulated to interact with the built forms, resulting in an increased number of interactions between visitors.

All surfaces ar multi-functiona planes weavin work to unite t was previousl ated by a serie These routes nipulated to in forms, resultin number of inte visitors.

Izmir Media Exchange

40

Izmir Med Exchang

Project1: 1:A Ajourney journeyexploring exploring Project thecityscape cityscapethrough throughnarrative narrative the discourse.The Theexercise exerciseallowed allowed discourse. theinvestigation investigationof ofspatial spatial forforthe qualitiesand andphenomena, phenomena,and and qualities theexisting existingjuxtapositions juxtapositionsand and the oppositions within urban dualities oppositions within urban dualities whichreflected reflectedthe themultiplicity multiplicityof of which overlapping systems systems operating operating overlapping simultaneously within within the the simultaneously cityscape. These Thesethen thenbecame became cityscape. paradigmsforforformulating formulatingthe the paradigms spatial strategies the project. spatial strategies of of the project.

Project2: 2:Based Basedonona aseries seriesof of Project mappingexercises exercisesthrough throughthe the mapping cityof ofIzmir, Izmir,the theproject projectis issetset city hillysite sitein inthe thegecekondu gecekondu onona ahilly neighborhood of of Kadifekele, Kadifekele, neighborhood which has been informally settled which has been informally settled a migrant community from the bybya migrant community from the ruralsouth-west. south-west. With Withtime timethe the rural governmentregulated regulatedparts partsof of government theseneighborhoods, neighborhoods,however however these theyare arestill stillunder underthe therisk riskof of they beingdisplaced displaceddue dueto tourban urban being regeneration projects taking place regeneration projects taking place the area.

The project proposes in in the area.

The project proposes sportsand andrecreation recreationcentre centre a asports extensionof ofananexisting existing asasananextension school,providing providinga asocial socialoutlet outlet school, childrenand andyoung youngadults adults forforchildren during and after school hours. during and after school hours.

The design evolved from a series The design evolved from a series wayfinding findingjourneys journeysto tothe the of ofway final site location.This This ultimately final site location. ultimately became transcribed a series became transcribed asas a series of of layeredand andabrupt abruptexperiences experiences layered whichlead leadthe theuser userto todifferent different which activity nodes.The The proposal aims activity nodes. proposal aims providing experience beyond at at providing anan experience beyond the limits materiality, one which the limits of of materiality, one which enhancesthe thevisual visualexperience experience enhances andsense senseof ofbelonging belongingto tothe the and city. city.

Transcending Transcending Landscapes Landscapes

41

Unit 1

Dhuha Dhuha Hamadeh Hamadeh

Unit 1

Jaspreet Kaur Gill

Jaspre Gill

The city dweller of urban Konak emerges into the Yesildere valley.

On the bank of the ephemeral Izmirian river, he or she beholds a space to hurl away unwanted possessions. This process of dumping personal trash continues across the bridge and beyond the river. With time, the discarded troubles of thousands of Konak’s inhabitants rot in the soft brown ground, immobile and staling.

The disused valley becomes a canvas for the perishing hues and textures of junk that once belonged in the intimacy of their owner’s life. From the hills whence it came, the waste visually mirrors the built environment above, fragmented and reduced.

Unfrequented and disused, the route that takes travellers beyond the Yesildere motorway exists as a fetid dumping ground for the thrown out worries of the city dweller’s life.

The city dwel emerges into On the bank Izmirian river, a space to h possessions. dumping perso across the brid river. With ti troubles of tho inhabitants ro ground, imm The disused canvas for t and textures belonged in their owner’s whence it cam mirrors the above, fragme Unfrequented route that take the Yesildere as a fetid du the thrown ou dweller’s life.

An architectural intervention lying past the bridge will invite the nearby residents to continue with their previous utilisation of the area and advance these actions into reusing and recreating.

The residents, continuing their practice, will think consciously about the space they come to for liberation. The architecture is a plaza that provides designated places for depositing metals, paper, plastics and glass. They choose to deposit the articles in a collection intervention in the landscape, or walk further into the site and attend a workshop that intends to inspire new life and personal expression into the old junk.

An architectur past the brid nearby reside their previous area and adv into reusing The resident practice, will about the sp for liberation. a plaza that p places for d paper, plastic choose to d in a collection landscape, or site and atten intends to in personal expr junk.

Material Recreation Realm

42

Material R Realm

My Myprogram programwishes wishestotofocus focusonon the rich history ofof Izmir and inform the rich history Izmir and inform the thepeople peopleabout aboutthe theimportance importance ofofthe theAgora, Agora,a ahistorical historicalmeeting meeting place placeininthe thedistrict districtofofNamazgah.

Namazgah.

The Theprogram programwould wouldprovide providethem them with witha arich richexperiential experientialeducation education ofof the theAgora Agora having having a a more more hands-on, hands-on,materialistic materialisticapproach approach totostudying studyingthe thearea’s area’shistory. history.The The Agora Agoraisisa atouristic touristicattraction attractionofof Izmir, Izmir,and andatatthe themoment momentit itisis being AA beinginadequately inadequatelylooked lookedafter. after. tourism tourismcentre centrecould coulddraw drawmany many locals localstotothe theAgora Agoraasaswell wellasas tourists; tourists;this thiswill willgive givethe theAgora Agora the the attention attention it it deserves. deserves.

Students Studentsofofthe thelocal localschools schoolscan can run run tour tour guides guides after after school school hours, hours, providing providing self-sustaining self-sustaining opportunities opportunitiesforforyoung youngpeople people with withjobs jobstotoearn earnsome somemoney. money.

Futhermore, Futhermore,my myprogram programwould would also also provide provide a a research research facility/laboratory facility/laboratory forfor historians historians and andarchaeologists archaeologiststotodiscover discover more more about about the the Agora.

Agora. The The fenced fencedoffoffconstruction constructionsite sitenext next toto the Agora isis new grounds being the Agora new grounds being excavated excavated inin search search ofof more more historical historicalAgora Agoraruins. ruins.ArchaeoloArchaeologist gistcan canunearth unearththese thesenew newruins ruins and andhave havethe thefindings findingsand anddiscovdiscovery information can bebe posted and ery information can posted and displayed displayedinina aforum forumspace, space,forfor tourist touristand andlocals localsalike aliketotoappreciappreciate and take anan interest into these ate and take interest into these new new discoveries. discoveries. InIn addition, addition, these thesematerial materialdiscoveries discoveriescan canbebe displayed displayedininananexhibition exhibitionspace space forforvisitors visitorstotogain gaina amore morerealistic realistic and and thought thought provoking provoking experiexperience Agora. enceofofthe the Agora.

Admiring Admiringthe theAncient Ancient

43

Unit 1

Niall NiallMatthew Matthew Cox Cox

Sofia Goransson

Sofia Gora

Unit 1

Project 1 - Tiling the City Abstract Coherence Travelling into a city, landscapes condense, areas become more populated and structural combinations become more complex. Experiences are subjective to each person, informed by status and driven by identity.

The key describes these spatial complexities, experienced through a predetermined character, on their route through the city.

Project 1 Abstract C

Project 1 Exploration through Mapping

Project 2 - Izmir’s Butchers’ Quarter Street slaughter is common practice in many parts of Turkey.

With the majority of the countries abbattoirs having been closed down, the slums of the Izmir hillsides have been left stained with blood and risk of disease.

The slaughterhouse I am proposing is located in the heart of these hillside slums. The main road running through the site proves itself to be a central marker for both socialising and the intersection of primary circulation points on the hillside. The context is a total surrounding of residential housing.

A large portion of the road will be used for the development; stitched together with meat carrying conveyor systems.

Public interaction as well as different levels of program discretion help to inform the design, structure and materiality of the project.

Project 1 & 2

44

Travelling condense populated combinati complex. subjective informed b identity.

The key d complexit through a character, the city.

Project 2 Quarter

Stitching the Site

Street s practice in With the m abbattoirs down, th hillsides h with blood The slaug ing is loca hillside s running th itself to b both socia tion of pr on the hi total surr housing.

A large po used fo stitched carrying Public in different l tion help structure project.

Projec

project Expanding Residence MyMy project Expanding Residence marketplace placeand andresidential residential is isa amarket building, situated Izmir, Turkey. building, situated in in Izmir, Turkey. sitsononthe thewestern westerncoast coastof of It Itsits Turkey the Mediterranean.

The Turkey in in the Mediterranean.

The climateis istypical typicalof ofthat thatof ofthe the climate Mediterraneanwith withhot hotsummers summers Mediterranean andshort shortcool coolwinters. winters.The Thecity city and is situated in a secluded bay and is situated in a secluded bay and boaststhe thesecond secondlargest largestport port boasts Turkeyafter afterIstanbul.

Istanbul.The Thecity city in inTurkey rises into the surrounding hills rises upup into the surrounding hills whichhave havebeen beeninhabited inhabitedbybya a which multitude different nationalities. multitude of of different nationalities. am designing designing expandable expandable I I am residential blocks for families.

The residential blocks for families. The design based the traditional design is is based onon the traditional Kurdishfamily, family,where wherethe thesons sons Kurdish staywithin withinthe thefamily familydwelling dwelling stay andstart starttheir theirown ownfamily. family.It Itis is and alsoimportant importantto toconsider considerthe the also rightto tolight lightin inthe thebuilding buildingsoso right areaswill willbebedesigned designedto tocontrol control areas and confine expansion to certain and confine expansion to certain areasto toallow allowlight lightthrough throughthe the areas building.I Ibelieve believethe thebybyonly only building. providinga acore coreto tothe thebuilding, building, providing that the owner can imprint own that the owner can imprint hishis own personalityononthe theextension extensionand and personality doing feels a much stronger in in soso doing feels a much stronger identity with the building. identity with the building.

The building will provide space The building will provide space forfor marketbeneath beneaththe theresidential residential a amarket area.This Thiswill willprovide provideflexible flexible area. areas to set up stalls and flee areas to set up stalls and flee market trade. market trade.

The building creates diverse multi The building creates diverse multi use spaces that incorporate use spaces that incorporate a a variety spatial experiences from variety of of spatial experiences from a public and private perspective. a public and private perspective.

Expanding Expanding Residences Residences

45

Unit 1

Tim Tim Clare Clare

Unit 1

Ava Lynam

Ava Ly

The proposal is focused on a small historical residential area engulfed by a vast and degrading industrial site. This area is generally occupied by people of the Roma ethnic background, living segregated from the rest of the city both socially and spatially. Forced evictions are widespread to make room for new developments. This leaves a large amount of the dwellings derelict, relating to the issue of the Roma’s right to exist in the city.

The inhabitants work mainly in car garages, a fundamental source of income of the inhabitants. The program emphasizes the Roma’s crucial role in the auto repair industry and the wider community, as presently it remains unrecognized. The process is broken down and dispersed throughout the site; inserted into derelict ‘voids’ of the existing grain. This allows the industrial activities to filter sensitively into the vulnerable site rather than impose on it. A larger building is located in the large neighboring and derelict industrial plot where costumers are consulted and minor repairs are carried out.

For specific repairs, vehicles are disassembled and parts distributed to specialized repair workshops with an overheard conveyor as a transport system. A series of roof gardens introduce a new layer of green public space into the dense neighborhood that correspond with the existing urban grain and allow residents to separate themselves from the industrial activities that surround them.

The proposal small historic engulfed by a industrial site generally occu the Roma e living segrega of the city spatially. For widespread t new developm a large amou derelict, relatin Roma’s right The inhabitant garages, a fun income of th program emph crucial role i industry and th as present unrecognized. broken down throughout the derelict ‘voids grain. This al activities to fi the vulnerable impose on it. located in the and derelict in costumers ar minor repairs For specific are disassem distributed to workshops w conveyor as a series of roof g new layer of into the den that correspon urban grain a to separate th industrial activ them.

Breathing Industry

46

Breathing

Catriona Catriona Hunter Hunter

but areas would still be shrouded in secrecy.

Secret Spaces, Floating Places

Secret Spaces, Floating Places

47

Unit 1

My proposal is a set of Turkish

baths, with is a a male, female and My proposal set of Turkish shared route the building. baths, with a through male, female and It sits route on a through disusedthe railway, with shared building. railwayrailway, lines being It the sits twisting on a disused with a the twisting railway being a driver for the formlines of my design. driver for the of my design.

Despite its’form industrial setting, Despite its’ industrial setting, it is overgrown with greenery. it Itisis overgrown with greenery. a very private area, with It access is a very with beingprivate almostarea, completely access almost hidden,being it was only completely by chance hidden, it was only by chance that I happened to follow a that I happened to follow a personwalking walkingover overthe thetracks tracks person andthrough througha asmall smallgate; gate;the the and entrancetotomy mysite. site.It Itappeared appeared entrance metotobebelike likea a‘secret ‘secretgarden’ garden’ totome within the the urban urban environment. environment. within The The surrounding surrounding communities communities have havea alack lackofofgreen greenspace spaceforfor people peopletotobenefit benefitfrom, from,and andsoso my myproposal proposalenhances enhancesand anduses uses the thegreenery greeneryononsite, site,including including small gardens for people to use small gardens for people to use in combination with the bathing in combination with the bathing areas. This idea of layers of areas. became This idea of layers privacy a central themeof became a central theme inprivacy my design.

Male and female in myare design.

Male from and female routes kept hidden each routesbut are users kept hidden each other, have from access but area users havebaths access toother, a shared of the in which to interact they to a shared areaif of thechoose. baths in Each route has ‘floating’ which to interact if they spaces choose. which high enough thatspaces they Eachare route has ‘floating’ are not visible from ground level, which are high enough that they My is partly hidden within aredesign not visible from ground level, the ground, and appears to grow My design is partly hidden within out of the greenery, with its metal the ground, appears clad facade and blending intoto grow the out of the greenery, with setting. its metal surrounding industrial clad facadematerials blendingsuch into as the Translucent surrounding industrial ‘see through’ concrete and setting. tinted Translucent materials such ofas glass enhance the theme layers privacy, so one would be ‘see of through’ concrete and tinted able to seeenhance glimpsesthe and theme shadowof glass forms of of people using the building layers privacy, so one would be but areas would still beand shrouded able to see glimpses shadow informs secrecy. of people using the building

Unit 1

Jonathan Hallett Along side the Units theme of ‘The Right to the City’ Project 1 had us explore the public realm, private vs public spaces, interstitial space, exploratory diagramming and mapping. This is designed to help identify cultural, social and political aspects of a city and how these aspects can influence a cities urban/contextual environment.

This years design project was set in Izmir a city in turkey.

The city is known for its secular culture, political activity and its diverse typological urban context.

Using exploratory mapping techniques within the city I was able to identify the urban drivers used to aid in my buildings design and programming.

My project aims to create an urban stitch form the port area to the shopping district of the city. By incorporating a wild meadow into the urban fabric of the city will not only act as an easily identifiable route, but also as an area the whole city can come to relax and escape the busy city life without having to leave the city. The appearance of my building aims to reinforce my underlying metaphor of vegetation reclaiming the city for the people.

My buildings internal program incorporates the historical nature of a traditional Turkish bath with modern relaxation techniques and sensory stimulation though considered natural lighting. The program also contains a physical rehabilitation centre to aid the recovery of all types of people from sports men and women to the general public. .

Subterranean Relaxation_ Green Reactivation

48

Jonath Hallett

Along side the Right to the Ci explore the p vs public s space, explor and mapping to help iden and political a how these as a cities environment.

This y was set in Izm The city is kn culture, politic diverse typolo Using expl techniques w able to identif used to aid in and programm My create an urb port area to th of the city. By meadow into of the city will easily identifia as an area t come to rela busy city life leave the city. my building a underlying me reclaiming the My buildings incorporates t of a traditiona modern rela and sensory considered na program also rehabilitation recovery of a from sports m the general pu .

Subterran ation_ Green Re

Situated Situatedininananover overcrowded, crowded, dilapidated dilapidatedcommunity communityininIzmir, Izmir, Turkey Turkeywhich whichis isundergoing undergoinga a poorly cation poorly planned planned gentriďŹ gentriďŹ cation scheme schemeintended intendedtotoridridthe thearea area ofofthe thecurrent currentsmall smalland andunsafe unsafe residences. residences.MMy ysite siteis isa asteep steep hillside hillside below below the the castle castle with with spectacular spectacular views views across across the the city cityand andthe thebay. bay. My Myproposal proposal is is a a layered layered combination combination ofof light lightindustry industryand andhigh-density high-density residential residential which which addresses addresses the the high high unemployment unemployment rates rates and andenforced enforceddisplacement. displacement.My My proposal proposalclimbs climbsthe theextremely extremely steep steepsite siteand andinvites invitesthe theuser usertoto dodothe thesame. same.Ascending Ascendingthrough through a a series series ofof planned planned dramatic dramatic green spaces amongst the dense green spaces amongst the dense urban urbanenvironment environmentmy myproposal proposal encourages encourages the the community community toto gather gather inin these these intermediate intermediate spaces spacesbefore beforereaching reachingthe thetwo two large industrial units which occupy large industrial units which occupy the highest points inin the site. the highest points the site.The The green, green,open, open,communal communalareas areas dissect dissectthe thesteep steepsite, site,where wherethe the majority majorityofofmy mydesign designis islayered layered into intothe thecontours contoursofofthe thecompact compact site siteand andprovide providevibrancy vibrancyininanan area areathat thatis isdistinctly distinctlydry, dry,dusty dusty and anddull. dull.The Thelarge largeindustry industryunits units mark markthe themain maindestination destinationpoint point and andcontrast contrasttotothe therest restofofthe the site siteinintheir theirmuch muchlarger largervolumes. volumes.

The Thewhole wholescheme schemeprovides providesa a lively live-work scenario forfor aa very lively live-work scenario very traditional traditional community community and and will will bring bringa anew newdynamic dynamicand anda amuch much higher higher standard standard ofof living living and and working toto them forfor the future. working them the future.

Ascending AscendingIndustry: Industry: Layered LayeredLiving Living

49

Unit 1

Kate Kate Lynham Lynham

Unit 1

Liza Varnavides

Liza Varnav

Growing up in a country where more than one third of it is occupied, conflict has been a major concern throughout the course of my life. What is conflict, where the boundaries are and what can co-exist when… This project is located in Izmir, a city in Turkey, a multicultural city which has gone through unsmiling conflict and has been in constant change ever since.

What attracted me most about my site was the fact that the area itself on a micro scale is dealing with a great amount of conflict, having to bridge, both literally and metaphorically the two distinct areas of developed and notso-developed neighborhoods. I have titled my project ‘Resolving Conflict’ as I am tackling this by introducing a program of two different functions in an attempt to bridge the gap between these two programs that do not necessarily seem to fit, while at a greater context, resolve all issues that concern both residents of the adjacent area and visitors which shall be attracted to that area after its redevelopment. Having to resolve and overcome a personal conflict in order to achieve a bias free and critical architectural result, ‘Resolving Conflict’ is a tag that summarizes everything about this project too well. The two programs being resolved in conjunction are public baths, and theatre, two programs considered as public meeting points, in an attempt to encourage public movement and interaction within a rather numb area.

Growing up i more than o occupied, co major conce course of my l where the bo what can coproject is lo city in Turke city which h unsmiling con in constant c What attracte my site was th itself on a mic with a great having to bridg metaphorically areas of de so-developed have titled my Conflict’ as I introducing a different functi bridge the gap programs that seem to fit, context, reso concern both adjacent area shall be attra after its redeve resolve and o conflict in orde free and cr result, ‘Resol tag that sum about this pro two programs conjunction ar theatre, two pr as public me attempt to movement an a rather numb

Resolving Conflict

50

Resolving

The most popular spaces in Izmir’s dense residential hillsides The most are thepopular bars and spaces shop fronts. in Izmir’s Away from dense these, residential social interaction hillsides are takes the place bars and between shop the fronts. balconies Awayand from porches these,ofsocial the tight-knit interaction communities takes place living between in the area. the balconies and porches of the This tight-knit community communities is slowly living fading in the away area. as gentrification takes place.

This community Houses are is slowly being fading torn down away and as are gentrification currently lefttakes as rubble place.with Houses little evidence are being of new torn construction. down and are Children currently canleftbeas found rubble playing with little amongst evidence the rubble of new on construction. the streets. Children can be My found project playing aimsamongst to providethe a focus rubble ofon activity and to act as a means to the streets. help regenerate area without My project aims the to provide a focus losing the community that alreadyto of activity and to act as a means exists.

It provides the sports help regenerate areapitches, without alosing swimming pool and the community thatTurkish already baths disregarded, exists.onIt aprovides sportsunused pitches, site the city.

TheTurkish large a overlooking swimming pool and range is inclusive baths of on activities a disregarded, unused (for majority the of city. users sitethe overlooking Thefrom large the sitesofurban context) a range activities is within inclusive safe provision (for environment. the majority The of users from ofthe several pitches within sitting a sites outdoor urban context) insafe the landscape, andThe overlooked environment. provision byofnot only the existing residential several outdoor pitches sitting but also a seriesand of overlooked terraced in the landscape, balconies and new cafe area, by not only theaexisting residential means watching the sports is as but also a series of terraced much a partand of the project as area, the balconies a new cafe games and helpsis toas meansthemselves watching the sports include much aolder part ofmembers the projectofasthe the community. games themselves and helps to The folded steel ofties include olderCorten members the the project into the hillside and community. sculpts the landscape control The folded Corten to steel ties the previously common thelandslides project into the hillside and tosculpts the site. aesthetic helps the The landscape to control the belong to an area and theproject landslides previously common community a change to the site.resisting The aesthetic helps imposed upon them.to an area and the project belong community resisting a change imposed upon them.

Building Sport for All Building Sport for All

51

Unit 1

Michael Michael Clarke Clarke

Unit 1

Michael Shupac

Michae Shupa

Urban destination is a project about the creation of a mixed-use hotel and theatre complex situated in a highly urban area.

Izmir is a city that has undergone rapid urbanization over the past century; this has led to a fragmented urban fabric in a city torn between eastern and western influences. Characterised by the informal use of quasipublic space and migrational city use, the urban environment is far from consistent.

The site of this project lies at the northern tip of Alsancak, a built up area originally settled by wealthy European merchants and located in the centre of metropolitan Izmir, slightly to the West of the main shipping port. Alsancak exemplifies this inconsistency and has become an area lacking clear identity.

Situated directly opposite Izmir’s cruise ship terminal through which 300,000 tourists enter every year the site is currently occupied by a car park. There is no middle ground between local areas and tourist attractions, this site ideal for creating such a middle ground, a public space where the local and tourist population can interact.

The project’s iconic architecture creates a new public space by punctuating the city’s coastal façade via a cultural insert to mark the end of the coastal strip. The aim of the design is to give all users a feeling of having arrived at a destination on a site previously overlooked and passed by.

Urb a project abo a mixed-use complex situa area.

Izm undergone r over the pas led to a fragm in a city torn b western influe by the inform public space use, the urban from consisten The lies at the nort a built up are by wealthy E and located metropolitan the West of port. Alsanca inconsistency an area lackin Situ opposite Izm terminal throu tourists enter is currently o park. There is between loca attractions, t creating such public space w tourist populat The architecture c space by pun coastal façade to mark the strip. The aim give all users arrived at a site previous passed by.

Urban Destination

52

Urban Destinat

MyMy project is is based in in the current project based the current CBD ofof İzmir, which is is located onon CBD İzmir, which located the thewest westcoast coastofofTurkey.

Turkey.Parts Parts ofofthe theCBD CBDare aresuffering sufferingfrom from businesses businessesmoving movingtotothe theeast eastofof İzmir, where new investments are İzmir, where new investments are fuelling the birth ofof a new CBD. fuelling the birth a new CBD. MyMy proposal proposal explores explores the the possibility possibilityofofencouraging encouragingactivity activity back backinto intothe thearea areathrough througha a building building that that sparks sparks contrast, contrast, but butyetyetties tiesinto intothe theurban urbangrain. grain.

The Thebuilding buildingbrings bringstwo twodifferent different groups groupsofofpeople peoplecomprising comprisingofof the the‘sole ‘soletraders’ traders’– –who whoare arethe the people peoplewho whoalready alreadyinhabit inhabitthe the site and tourists. site and tourists.

MyMybuilding buildingprovides providesforforboth both groups. groups. The The ‘architectural ‘architectural supermodel’ supermodel’ is is the the corporate corporate owned ownedshopping shoppingcentre centrethat thatis is one oneofofthe thefirst firstthings thingstourists tourists witnesses witnesseswhen whenstepping steppingoffoffthe the ferry ferryororbybydriving drivingin infrom fromthe the east. east.This Thisbuilding buildingadvertises advertisesforfor the thecorporate corporatebrands brandsthat thatrent rent it, it,much muchlike likea amodel modeldoes doesonona a catwalk. catwalk.

OnOnthe theopposite oppositeend endthere thereis isa a new residential block that houses new residential block that houses the thelocal localpeople peopleoror‘sole ‘soletraders,’ traders,’ who live and work in in this complex. who live and work this complex.

The Thehousing housingblock blockencourages encourages a a working working community community where where residents residents can can produce produce goods goods together, together,which whichcan canbebesold soldin in the thelayered layeredbazaar bazaarunder underthe the corporate shopping centre. corporate shopping centre.

This transition ofof interaction does This transition interaction does not notonly onlydissolve dissolvethe theboundaries boundaries ofofexclusion, exclusion,but butis isa acatalyst catalystforfor bringing back the lost activity into bringing back the lost activity into this urban area ofof İzmir. this urban area İzmir.

Architectural ArchitecturalSuper Super Model Model&&The TheSole Sole Trader Trader

53

Unit 1

Nick Nick Chantarasak Chantarasak

Unit 1

Thomas Ross In the developing region of Alsancak lies a forgotten, disused area of Izmir’s history that remains isolated from the rest of the city. Since the abandonment of the Alsancak maintenance grounds, the site has become overgrown and unused, but the stone railway sheds and historic railway turntable give the site a character that is reminiscent of its former function.

Rusted railway tracks that run through the grounds and the arrangement of the existing buildings give the site a linear charge that influences the project throughout. The landscape is sculpted in response to the sites linearity, encompassing a series of galleries and performance spaces. Sunken into the building form are strips of garden spaces that break up the arrangement of the building and provide intimate areas of greenery.

The building’s walls ascend from the ground providing access to the roof as a large public space.

Sequential Showcase offers the opportunity to enjoy the quality of this haven secluded from the expanse of the busy city.

Sequential Showcase

54

Thoma Ross

In the deve Alsancak lies area of Izm remains isolat the city. Since of the Alsan grounds, the overgrown an stone railway railway turnta character that former functio

Rusted railwa through the arrangement buildings give charge that in throughout. T sculpted in re linearity, enco of galleries spaces. Sunk form are strip that break up the building a areas of green

The building’s the ground p the roof as a Sequential Sh opportunity to this haven s expanse of the

Sequenti Showcas

My project aimsaims to explore a new My project to explore a new experimental typetype of of housing. experimental housing.

IzmirIzmirhas hasexperienced experiencedan an erratic urban growth due due to self erratic urban growth to self construction and and a lack of urban construction a lack of urban control fromfrom the Izmir Municipality. control the Izmir Municipality.

Certain areas lacklack leisure and and Certain areas leisure cultural activities due due to to the the cultural activities building density building density TheThe concept of high density urban concept of high density urban areas is normally associated withwith areas is normally associated either highhigh rise rise residential areas either residential areas populated by aby high income sector populated a high income sector of society (New York, Tokyo, of society (New York, Tokyo, Dubai...etc.) or or withwith gentrified Dubai...etc.) gentrified or suburb areas where the the lacklack or suburb areas where of structural, environmental and and of structural, environmental eveneven hygienic conditions become hygienic conditions become present overover a period of time (Rio(Rio present a period of time de Janeiro, Rabat, NewNew Mexico... de Janeiro, Rabat, Mexico... etc).etc).

BothBoth arrangements deliver arrangements deliver a great density per per areaarea ratio, a great density ratio, however, theythey bothboth fall fall short in in however, short providing other facilities but but just just providing other facilities dwellings as well as, as, in the latter dwellings as well in the latter case, adequate living conditions. case, adequate living conditions.

TheThe IzmirIzmir Municipality is trying Municipality is trying to improve living conditions by by to improve living conditions tearing down the informal housing tearing down the informal housing and and replacing it with middle replacing it with middle class neighborhoods, the the locals class neighborhoods, locals are are removed and and displaced to to removed displaced the the city city edge into into more former, edge more former, larger dwellings that that improve larger dwellings improve the the previous conditions.

I aim to to previous conditions.

I aim use use a key areaarea under economic a key under economic pressure fromfrom the the government pressure government to prove that that a rehousing on city to prove a rehousing on city node location that that provides an an node location provides increase in demographic density increase in demographic density but but improves quality of living and and improves quality of living provides withwith these cultural and and provides these cultural leisure facilities theythey nownow lacklack is is leisure facilities the the newnew housing experience that that housing experience can can satisfy bothboth the locals and and the the satisfy the locals government. government.

Redefining Urban Redefining Urban Density Density

55

Unit 1

Luis Luis Mejias Mejias

Unit 1

Natalie Panayidou

Natalie Panay

Our project this year is set in Izmir,Turkey. When being there I had to record situations where people where intevening into the building’s design in their own unique way. After analysing the data I came to a conclusion where immigrants where the people who were actually intervening into the building’s design.It was an amazing view to watch all those small houses built on the mountains,have an interesing combination of materials used in a unique way that was revealing the identity of those people.

When an immigrant first comes into a foreign country they are dealing with accomodation problems, problems but also with the culture and language of that country.

My project is about an Immigrants Information Camp where I am actually providing a number of residential units but also a place for them to learn more about the culture of Turkey; a library. I have started by having a linear process where the first step is actually where an immigrant is arrives,the second step of that process is the part where he has a place to live for a temporary basis and the place where he educates and the final step is the part where that person is departing from that ‘‘camp’’ as an ‘Izmirian’ where he gets the citizenship papers.

Its going to be a place that is set in propably one of the busiest areas of Izmir,the business area.

Aim is to combine the sheltering feeling that those people seek but also create the educational part that will connect the area people with the residents.

Our project Izmir,Turkey.

I had to reco people where building’s de unique way. data I came to immigrants w who were a into the build an amazing those small h mountains,ha combination o a unique way the identity of When an imm into a foreign dealing wi problems, pro the culture an country.

My project is a Information C actually prov residential un for them to le culture of Turk started by hav where the fir where an imm second step the part whe to live for a te the place whe the final step that person is ‘‘camp’’ as an gets the citize Its going to be in propably o areas of Izmi Aim is to com feeling that th also create th that will conn with the reside

In Transition

56

In Transi

TheThe sitesite location chosen for for thisthis location chosen project waswas located justjust by by the the project located Kadifekale in Izmir.

ThisThis location Kadifekale in Izmir. location is surrounded by aby‘squatter area’, is surrounded a ‘squatter area’, withwith a strong sense of community a strong sense of community but butan anunresolved unresolvedhousing housing situation.

TheThe design evolved situation. design evolved through a study of he site.

TheThe through a study of he site. sitesite is located on a hill,hill, so so is located onsteep a steep specific contour layers divide up up specific contour layers divide the the sitesite in which the the design fallsfalls in which design into.into.

ThisThis manipulaition enabled manipulaition enabled me me to reveal spaces, providing to reveal spaces, providing points of of exposure, unity, andand points exposure, unity, inclsuion.

TheThe aimaim of the project inclsuion. of the project waswas to create a solution to the to create a solution to the housing crisis of ‘squatter areas’ housing crisis of ‘squatter areas’ andand provide the the community withwith provide community a local centre in which theythey maymay a local centre in which learn howhow to build a home, andand learn to build a home, where thisthis centre maymay provide a a where centre provide solution of aofflat packed home. solution a flat packed home.

Reviving anan Unsettled Reviving Unsettled Community Community

57

Unit 1

Benji BenjiTabone Tabone Grech Grech

Yiwei Ding A.C.E.C Unit 1

Agora Culture & Exhibition Centre

58

Agora, the character of Izmir city which was constructed rule of Alexander the Great, it was the commercial centre of ancient Izmir city.

Nowadays Agora is mostly in ruins and hiding in the residential areas, no longer busy and aliveness. It is a great story teller of the history of the Izmir city.

In this project I chose the existing car park – the biggest building in the area as my site, I am demolishing the car park to a tourist information centre and a museum about history of the city that provide a viewing forum that people could look upon the Agora in a distance with respect.

From the point of view of urban perspective, I am creating a landmark next to the Agora that people could see from far away and be aware of things happening around, and with an extension of the local market cross the street attract the people flow from visually and functionally.

Throughout Throughoutitsitshistory, history,Izmir Izmirhas has boasted boasteda arich richeconomy economydue duetoto itsitsstrategic strategiclocation locationasasa aport port ononthe theAegean AegeanSea. Sea.Nowadays, Nowadays,a a popular populardestination destinationfor fortourists touristsisis the thehistorical historicalmarket marketKemeralti, Kemeralti, where wherehundreds hundredsofoflow lowheight height traditional traditional shops shops are are densely densely packed packedinto intoananarea. area.Mapping Mappingthe the site siteand andanalyzing analyzingititraised raisedthe the issues issuesabout aboutthe theneed needfor forpublic public shelter shelterand andthe thelack lackofofeducaeducation. tion.The Thesolution solutionisistotopropose proposea a hi-tech hi-techpublic publiclibrary librarylocated locatedonon the themain mainstreet, street,with withitsitsobjecobjective tivetotobebea acultural culturalhub huband anda a central centralnode nodeininthe thebusy busyogranic ogranic market. market.Other Otherthan thanthe thepublic public library, library,the thebuilding buildingcontains containsanan interactive interactivedigital digitaladult adultand andchilchildrens drenslibrary, library,shops, shops,cafes, cafes,anan exhibition exhibitionspace spaceand anda abar/resbar/restaurant, taurant,thus thusoffering offeringeducation, education, culture cultureand andleisure leisurethroughout throughout the theday, day,even evenafter afterthe thearea areahas has closed closeddown downfor forthe thenight. night.Due Duetoto the themarket marketplace placebeing beingpredomipredominantly nantlymade madeofofconcrete, concrete, my my project projectaims aimstotobring bringback backthe the local localtraditional traditionaloak oakthat thathas hasnono longer longerbeen beenininexistence existencesince since the thegreat greatfire fireofof1922, 1922,making making ititsympathetic sympathetictotothe thehistorical historical site. site.The Thetheme themeofofthe theproject project isisrelated relatedtotothe theimportance importanceofof shelter shelterand andshade shadetotothe thepeople people ofofIzmir, Izmir,asasititstrives strivestotocreatively creatively work workwith withthe thedaylight daylightgeneratgenerating inginteresting interestingspaces spacesand andmoods moods for forthe thepeople peopletotosocialise socialisein. in.

Pillars Pillarsofof EnLightenment EnLightenment

59

Unit 1

Mohammed Mohammed Al Al--Asfoor Asfoor

Unit 1

Qian Zhi Agora Museum

60

This project located in Izmir, Turkey. My site is near to the Agora and next to the main road which is a historical site. This project proposal in Agora aims to create a connection between the Agora and the main road. Make a visible gate next to the main road to attract more people.

People can get enough information, views of Agora by experiencing through the building and finally get into Agora. On the site, there are some old existing buildings and historical walls.

Generally, my strategy is to protect the historical walls, keep it function.

And reuse the existing old building as the indoor exhibition area. The existing building and historical walls will also be part of my design.

The basic idea is to have a glazed spine running down the middle of historical walls then connect to the new buildings. The community sits by the other side which is near to the residential area, and the visitors and the community can mix in the courtyard between them.

Streetlife is buzzing in Kadifekale, Streetlife is buzzing in Kadifekale, Izmir, andand this this is is something Izmir, something thatthat Urban Vistas embraces by by Urban Vistas embraces utilizing streets, pathways andand utilizing streets, pathways courtyards to provide increasing courtyards to provide increasing layers of privacy towards peoples’ layers of privacy towards peoples’ homes.

To address the problem of of homes.

To address the problem a lack of housing Urban Vistas is a is a a lack of housing Urban Vistas highhigh density mixed-use residential density mixed-use residential scheme.

TheThe site site is atisthe scheme. at top the of topaof a steep hill, hill, commanding fantastic steep commanding fantastic views of Izmir.

By By focusing on on views of Izmir. focusing existing desire lineslines through the the existing desire through site site the the buildings are are derived buildings derived out out of the negative space.

ThisThis of the negative space. ensures deserted areas are are ensures deserted areas avoided avoided creating creating maximum maximum possible density of useful space. possible density of useful space.

There is relatively littlelittle open space There is relatively open space in the residential districts of Izmir, in the residential districts of Izmir, yet yet the the few few designated parks designated parks are are mostly deserted andand instead mostly deserted instead people gather in in the the streets. people gather streets.

Urban Vistas revolves around Urban Vistas revolves around creating outdoor public space thatthat creating outdoor public space is used by the locallocal community. is used by the community.

Smaller intricate courtyard spaces Smaller intricate courtyard spaces provide a feeling of ownership to to provide a feeling of ownership the houses thatthat surround them. the houses surround them.

TheThe locals havehave a fantastic locals a fantastic social network thatthat Urban Vistas social network Urban Vistas intends to to reinforce, allowing intends reinforce, allowing for for more interaction between more interaction between members of the community on an members of the community on an informal scale.

Lines of sight are are informal scale.

Lines of sight a constant driver of the design. a constant driver of the design.

Every house has has views of Izmir Every house views of Izmir andand a view of aof shared courtyard, a view a shared courtyard, allowing for parental supervision allowing for parental supervision of children fromfrom inside the the home. of children inside home.

Equally eacheach house has has access Equally house access bothboth fromfrom the the roadroad andand to the to the courtyard, plusplus a private terrace. courtyard, a private terrace.

Urban Vistas: Urban Vistas: Beginning at Home Beginning at Home

61

Unit 1

Hayley Hayley Dufton Dufton

62

LOK CHAN

This project began with the exploration of time and location in the deformation of tree cells. Dealing with scars and knots growth through a time continuum, the deformation of cells structures resembles the nature of timeline, each cell pinpoints a specific moment in time, of a specific The project discusses Derrida's location. Through the four 'Differance'; a word introduced in seasons, the shifting boundaries the course of an argument and geometry between the cells against the phenomenology of leaves trace of the past, hence system Asought printing Husserla who a vigorous annual are simply amemory result of analysisrings of the role of exhibition of entropy a aand reoccurring growth. perceptionsystematic in our understandwithin the ing of sequential times. Derridamotion a Symphony joins the sense of differance which asof landscape, was Time is differance a series as of space reflexive time and to architecture which phenomenological e make the point thatresponses an idea ofto the surrounding and translates "being" and/or "presence" is not of enclosure and the notion of event in time into so authoritive. musical notes, exploring the shift through Duchamp’ in geometry between The project starts withboundaries a converStripped Bare by her of the natural mechanical. sation acrossand a breakfast table as on ana analogy between myEven’ observation journey across a site by the configuration for an a Conwy River, and the navigation of a blind man across his living that deals with motion room.

Our communication density.

The system happens through my recordings of the site, and the altered propermotion from the land ties of elements within the blind theatrically man's living room in the way that translate he 'sees' them. a performance of

UNIT 2 Adam Casey

Bachelors.

The architecture proposed is anUsing th imitation of the navigation of an of the human-mach eye through a painting while Duchamp explores, I designing tactics for the blind man (as a narrative) that allow himdeconstruc to series of register the space and navigate made mechanical stru using his memory.

manipulate the confi my architectural press a phenomenological of shifting boundaries.

An architectural spa created through the ch The Blind Man’s Box Symphany of Time enlightenment of a co his performance piece to her bachelors. Th acting as marionette directly influenced by the composing structu Tha narrative spaces that diff upon and inspired by an the landscape. ap tim 63 inh the Clo

M T

Studio Leaders Phil Watson & Jonathan Morris

Unit 2

Adam Casey A printing system for the exhibition of entropy and change within the motion across the landscape, which was inspired by phenomenological expressions of enclosure and described through Duchamp’s ‘Bride Stripped Bare by her Bachelors, Even’ as an analogy and spatial configuration for an architecture that deals with motion, light and density. The system extracts motion from the landscape and theatrically translates it into a performance of Duchamp’s Bachelors. Using the analogy of the human-machine, which Duchamp explores, I present a series of deconstructed readymade mechanical structures that manipulate the configuration of my architectural press, provoking a phenomenological experience of shifting boundaries.

An architectural space that is created through the characteristic enlightenment of a composer to his performance pieces, the bride to her bachelors. These pieces acting as marionettes that are directly influenced by the shifts of the composing structure, creating narrative spaces that are founded upon and inspired by the shifts in the landscape.

Adam Casey

A printing sys exhibition of entro within the motio landscape, which phenomenologica of enclosure a through Ducha Stripped Bare by Even’ as an anal configuration for that deals with m density. The sy motion from the theatrically trans a performance Bachelors. Using of the human-m Duchamp explore series of decons made mechanical manipulate the c my architectural p a phenomenolog of shifting bounda

An architectural created through th enlightenment of his performance p to her bachelors acting as marion directly influenced the composing str narrative spaces t upon and inspired the landscape.

The Bachelo Landscape

The Bachelors’ Landscape

64

ThisThisproject projectbegan began withwith the the exploration of time andand exploration of time location in the deformation of tree location in the deformation of tree cells.

Dealing withwith scars andand knots cells.

Dealing scars knots growth through a time continuum, growth through a time continuum, the deformation of cells structures the deformation of cells structures resembles the the nature of timeline, resembles nature of timeline, each cell cell pinpoints a specific each pinpoints a specific moment in time, of aof specific moment in time, a specific location. location.Through Throughthe thefourfour seasons, the the shifting boundaries seasons, shifting boundaries andand geometry between the the cellscells geometry between leaves a trace of the past, hence leaves a trace of the past, hence annual rings are are simply a result of of annual rings simply a result a reoccurring systematic growth. a reoccurring systematic growth.

Symphony of of Symphony Time is ais series of of reflexive Time a series reflexive architecture which responses to to architecture which responses the the surrounding andand translates surrounding translates the the notion of event in time into into notion of event in time musical notes, exploring the the shiftshift musical notes, exploring in geometry between boundaries in geometry between boundaries of the natural andand mechanical. of the natural mechanical.

Symphany of Time Symphany of Time

65

Unit 2

DENNY KAI DENNY KAI LOK LOKCHAN CHAN

Reem

Unit 2

Reem Al Furjani

The project discusses Derrida's 'Differance'; a word introduced in the course of an argument against the phenomenology of Husserl who sought a vigorous analysis of the role of memory and perception in our understanding of sequential times. Derrida joins the sense of differance as time and differance as space to make the point that an idea of "being" and/or "presence" is not so authoritive.

The project starts with a conversation across a breakfast table between my observation on a journey across a site by the Conwy River, and the navigation of a blind man across his living room.

Our communication happens through my recordings of the site, and the altered properties of elements within the blind man's living room in the way that he 'sees' them.

The architecture proposed is an imitation of the navigation of an eye through a painting while designing tactics for the blind man (as a narrative) that allow him to register the space and navigate using his memory.

The project 'Differance'; the course against the Husserl wh analysis of and percept ing of sequ joins the se time and di make the p "being" and so authoritiv

The project sation acro between m journey acr Conwy Rive of a blind m room.

O happens th of the site, a ties of elem man's living he 'sees' the

The archite imitation of eye throug designing ta (as a narrat register the using his me

The Bli The Blind Man’s Box 66

Unit 2

Chandni J Modha

A Temple for Cosmetics and Decoration

67

68

Unit 2

Alchemy, Alchemy, oft oft misunderstood misunderstood deals withwith transformations within deals transformations within systems systems using using esotericism esotericism andand alllogary to to mislead those alllogary mislead those whowho would corrupt theirtheir great would corrupt great works. projects uses the the works.ThisThis projects uses alchemists garden as aasdevice to to alchemists garden a device examine the the notions of entropy, examine notions of entropy, cybernetics, evolution, tension, cybernetics, evolution, tension, compression compressionandandambigious ambigious spaces.

OurOur weather hashas been spaces. weather been changing in recent years andand as aas a changing in recent years result we we areare seeing the the creation result seeing creation of of ambigious spaces between ambigious spaces between the the seasons. project aims seasons.ThisThis project aims to record these seasonal shifts to record these seasonal shifts andand feedfeed the the information back information back through throughthe thestructure structurevia viaa a series of of vibrating cables andand series vibrating cables useuse the the information to determin information to determin rates of shift andand decay within rates of shift decay within the the building. will will rot rot andand building.Wood Wood warp andand platforms will will driftdrift apart warp platforms apart from each other, thisthis decay is all from each other, decay is all measured andand the the information will will measured information allow the the alchemist to machine allow alchemist to machine parts thatthat will will helphelp repair andand parts repair bridge the the ambigious spaces thatthat bridge ambigious spaces areare begining to form within the the begining to form within structure.

As As weather patterns structure. weather patterns shiftshift andand change so the structure change so the structure will will evolve andand grow thusthus the the evolve grow programme programmeof ofthe thebuilding building becomes the the building itself andand becomes building itself its growth will will act act as a its growth aswhimsical a whimsical juxtoposistion to to a well tended juxtoposistion a well tended garden. garden.

Alchemist’s Garden Alchemist’s Garden

69

Unit 2

Owen Owen Rees-Jones Rees-Jones

Unit 2

Mervyn Tasker The project looks at buildings over different times in the landscape and reviews an architecture that appropriates the idea of several times in one place. How we inhabit change, future and past, the idea of time and archaeology Clockwork mechanisms form light, air and water as gardens/ the landscape, which is inhabited by tension and compression structures, stretching and compressing space/ time (longbow) The system stores different types of spaces - corridors, rooms, ventilation shafts etc, which become appropriated by the inhabitants. Watchmaker and gatekeeper, the geometrician and observer - All become part of the narrative of the form constantly recalibrating the form and its relation to the ground.

The clarification of space, the ontological construction of space, over several times, shift in geometry of ideas, in an existential form. .

Time and Duration in the landscape

70

Mervy Tasker

The project loo different times and reviews a appropriates times in one inhabit chang the idea of tim Clockwork m light, air and the landscape by tension structures, compressing (longbow) The system st of spaces ventilation s become app inhabitants. gatekeeper, th observer - All narrative of t recalibrating relation to the The clarificat ontological space, over s in geometry existential form .

Time and the lands

71 Unit 2

72

UNIT 3 - TRANSIENT TECTONICS

“…recent work in the ecological sciences seeks to envision landscapes composed of shifting nodes of interaction, driven by dynamic temporal relationships rather than deterministic trends…a non-equilibrium view of natural processes has literally changed the way scientists think about the nature of nature; they now frequently see the change as probabilistic and multidirectional, rather than a progressive march towards clear endpoints…”

Kristina Hill, Shifting Sites in: Site Matters The nature of our environment is changing, as is our perception and experience of it through complete accessibility, fast data collection and comparison, modern media, instant information technology, mobility and international exchange.

The complex and powerful processes within nature and its formation make landscapes real and authentic, therefore only an architecture that explores a changing nature, its history, processes, its myths and imagination, its model function and its continuous instigation to question, and which relies on nature as an inspiration and a laboratory, can be real and authentic and will therefore be contemporary.

This unit explores aspects and possibilities of a changing environment and develop appropriate and imaginative architectural interventions – transient tectonics.

The studio focuses on 4 transient aspects: 1. The dynamics of the environment The students are encouraged to observe, understand, integrate and respond to weather conditions and cycles, seasons, tides, winds as well as extreme weather events and the implications of climate change.

In addition to the physical environment, we also investigate the changes in global relationships, fast developing technologies and their cultural consequences for the way we live together.

2. Temporal relationships A non-linear reading of past events connects these directly to the inherent nature of a place, its local customs and characteristics, and help create a specific architecture.

3. Programming as a creative architectural tool The unit observes, questions and re-evaluates the way we live together today.

Our interpretation of programming is open and flexible. The unit develops adaptable functions, integrates poetic qualities and encourages crossprogramming to create unexpected encounters.

4. Form in transition The unit pursues a methodical and conceptual process to develop a unique and appropriate formal response, instead of following standard images of formal expression and by-gone style.

Unit leader Nicola Gerber Tutors Stuart Buckingham Tiran Driver Farida Makki Mike Reade Guests Alison Gwynne, London Matthew Byron, London Mike Wood, ARUP Nottingham

David Baggaley, Nottingham Marcus Todd, London Jonathan Kaminsky, London Workshop with University of Braunschweig, Institut fuer Entwerfen 1 Prof. Penkhues, Braunschweig Nico Klostermann, Braunschweig Alessa Brill, Braunschweig

P1 PROJECTION + INTERVENTION | observation and imagination An inspired observation of the Thames/ Estuary translated into a short visual narrative presented as an animated collage.

Paul Virilio’s “Art as Far as the Eye Can See” is the step into your visual voyage along the Estuary - collecting visual material to construct your digital layered collage - on location, in archives…an imaginative scenario.

P2 COASTAL PLUG-IN | programmatic plug-in The coastal plug-in is an investigative and complex project adapting and transforming the programme of the fluvial prototype to plug into the delicate environment of the marshlands at the Island of Sheppey.

This project will draw on contextual conditions – geology, time, culture, imagination and myth – rhythms, cycles, weather, the fluvial environment … inventing an architecture, which conceptualizes ‘change’.

Compact Design Exercise 1 | GROUNDSCAPES X GROUND PAVILION I How does architecture formulate its relationship with the ground?

Design a pavilion to observe the sky, the ground and the horizon (XYZ axis), expressing one of the seven themes mentioned in the text handed to you. This exercise focuses on the formal expression of architecture and its sculptural quality within a topography.

Based on “Groundscapes” by Ilka & Andreas Ruby, Barcelona 2006

Compact Design Exercise 2 | MOBILE EXTENSION X GROUND PAVILION II How does a fixed element of architecture relate to a mobile element?

Based on your first design, develop a mobile element, which can insert/attach itself to your XGP (X Ground Pavilion) and pull away at times.

The XGPI shall not be redesigned completely, but adapted to receive/attach the mobile element to expand its experience and rhythm.

Compact Design Exercise 3 | WORKSHOP PLASTIC SECTION Against the photographic background of a scene on Sheppey develop a plastic section of your individual project, expressing and investigating the conceptual core of your project on the format 120 x 28 cm.

For the guests from Braunschweig this study could be thought of as a “distant double” testing the conceptual ideas in a different environment. For the students from Nottingham, this study will focus on the spatial expression of the conceptual aspect of the project and its temporal variations.

73

Unit 3

Devan Mistry

Devan Mistry

Experimentation of the transient aspects of architecture and the environment change the way we live as a society; both globally and locally. The rapid change of the world’s climate with its extreme conditions and sudden events challenge the conventional images approaches to architecture. Residing on the Isle of Sheppey, at the end of the Thames Estuary, allows an insight into the industrial, environmental and climatic processes that shape the landscapes and spatial entities present. Personally, I set my brief out to reinstate Sheppey as a revitalised ‘stepping stone’ to London; it would form a new link between the industries of Europe and the UK, and bridge the disparity in the vast’ nothingness’ currently infesting the island. A strong connotation was formed between the island as a ‘dumping ground’ along the gateway, and the current operations upon Sheppey.

The prescence of rubber paved a way to create a sustainable method of forming steel by recycling tyres to form coke (base product. Socially, benefits were presented to the local community with rubber being used to create new leisure/sport surfaces and fund the diving recreation along the coastal landscape. The low lying, energy-orientated architecture created pockets of heat and CO2 induction which is funnelled out to marshlands, spawing agricultural land with the growth of crops/fruits. By creating a new economy through a post industrial landscape, an industrial organism now breathes and lives upon Sheppey.

Experimentati aspects of the environm way we live globally and change of th with its extre sudden even conventional i to architecture Isle of Sheppe Thames Estua into the indus and climatic shape the land entities prese my brief out to as a revitalise London; it wo between the i and the UK disparity in the currently infe strong conno between the is ground’ along current operat The prescenc a way to cre method of recycling tyres product. Soci presented to t with rubber be new leisure/s fund the divin the coastal low lying, architecture c heat and CO is funnelled o spawing agric growth of crop a new econo industrial land organism now upon Sheppey

an industrial organism

74

an indust

[Public Entrance]

[Mashing]

[Vehicle Entrance] [Hops]

[Lautering]

[Public Entrance]

[Mashing]

[Bottling and storage]

[Vehicle Entrance]

[Boiling] [Hops]

[Lautering]

[Fermenting]

[Bottling and storage]

[Boiling]

[Fermenting]

[Filtering]

[Beer Tasting] [Filtering]

[Beer Tasting]

[Restaurant/Bar] [Hatchery]

[Restaurant/Bar] [Hatchery]

[Algea]

High Tide

[Algea]

High Tide

A term borrowed from the French expression for sense of place, the A term borrowed from the French environment in which something expression for sense of place, the grows. The complete natural environment in which something environment in which a particular grows. The complete natural product is produced, including environment in which a particular factors such as the SOIL, product is produced, including TOPOGRAPHY, factors such as AND the CLIMATE. SOIL, The flavour ofAND theCLIMATE. agricultural TOPOGRAPHY, product will reflect the unique The flavour of the agricultural climatewill and reflect soils of the its TERROIR. product unique climate and soils of its TERROIR. A lost trade is revived, through the small-scale production of Oyster A lost trade is revived, through the Stout, a production traditional of beer made small-scale Oyster with a amount oysters Stout, a small traditional beerof made placed into amount the barrel with a small of during oystersthe fermentation stage. during Hop the fields placed into the barrel stretch over stage. the flat Hop landscape fermentation fields of Sheppey, withofthe stretch over in theconjunction flat landscape oyster lanes extendingwith endlessly Sheppey, in conjunction the between and endlessly sky. A new oyster laneswater extending landscape distinct new between waterwith anda sky.

A new flavour forwith Sheppey is created. landscape a distinct new flavour for Sheppey is created.

The intervention slots into the fragile coastlineslots of into the the river The intervention fragile river Swale coastline between ofthethe marshland Swale marshland and between estuarine,the reinvigorating and the estuarine, connection reinvigorating between the thelandconnection the and sea. Inbetween this landscape land sea. In thischange landscapethe of and continuous of programme continuousseeks change the to embrace programme seeks to context embraceand the extremely local theenvironment,to extremely local experience context and it environment,to experience through the tactile sensesit of through the tactile senses of touch, smell and utmost through touch, and utmost through taste.smell In response to the delicate taste.

In response delicate environment of to thethemarshlands environment of the marshlandsthe on the isle of Sheppey onarchitecture the isle of Sheppeya sense the expresses architecture expresses a sense of nature and provides a stage of innature provides stagethe which and the theatre of a tasting in Oyster which the theatre of tasting the Stout is illuminated.

Oyster Stout is illuminated.

Terroir Terroir

75

Unit 3

Heather Heather BrandBrandWilliamson Williamson

76

Unit 3

Sheerness Sheerness

Amy Conneely

Queenborough Queenborough

Leysdown on on Sea Sea Leysdown Harty Road Road Halt Halt Harty Sheppey Light Light Railway Railway Sheppey

Queenborough to to London London Railway Railway Track Track Queenborough

My final year projects have been characterised by an interest in the scale and speed of movement.

The intervention of the ‘Itinerant Archive’ has been the outcome of extensive investigation into transitions on the Isle of Sheppey, aided by Venturi’s ‘Learning from Las Vegas’.

The discovery of what was the ‘Sheppey Light Railway’, an 8 mile track which once ran across the length of the island for before being dug up and subsequently forgotten, catalysed the introduction of the designed programme. A film and photography production and exhibition line, focusing on activities and changes occurring on the island. The desired outcome is to produce an archive of work, preventing any additional loss of heritage, which the island has already experienced in abundance.

Designed to become an active layer of public and private space the site forms a linear shape 800m in length and 20m in width. The proposed spaces are transitional; moving along rails and changing position on seasonal and daily scales. Adapting in relation with the neighbouring holiday village of Leysdown.

Itinerant Archive

77

Unit 3

Eastchurch Eastchurch

Unit 3

Billie Moult Translucent: causing sufficient diffusion to prevent perception of distinct images.

Transient: not lasting, enduring, or permanent; transitory Visits to the Isle of Sheppey left me feeling as though I had only been allowed to view snippets of the landscape, and that the integral cyclical movements of the island are hidden secrets, therefore informing the translucent aspect of the project.

The natural crystal fool’s gold grows over thousands of years inside the clay on the cliffs of the island. Embracing this process, the nature of the intervention is to constantly grow, change and weather in response to climate conditions, manifesting the transient aspect. Mimicking this cycle, the intervention cultivates aluminium potassium sulphate crystals, exposing this process for everyone to see. Dramatic pools of collected sea water are used and the aluminium for the crystals is extracted from the clay that erodes on the cliffs, therefore producing crystals that are unique to Sheppey. The crystal solution is then pumped around the building and crystals grow on the walls. The natural and cultivated crystals are then used to create handmade, semi-precious jewellery distinct to the island. Professionals, students and children use the workshops and galleries whilst collecting the cultivated crystals and producing their own, creating a harmony between the industrial and the delicate rhythms of the site and the project.

Trans[luc]ient

78

Billie Moult

Translucent: diffusion to pr distinct image Transient: no or permanent;

Visits to the Isl feeling as thou allowed to vie landscape, an cyclical move are hidden informing the of the project.

The natural grows over t inside the clay island. Embra the nature of to constantly weather in re conditions, transient asp cycle, the int aluminium p crystals, expo for everyone pools of colle used and the crystals is extr that erodes on producing crys to Sheppey. Th then pumped and crystals gr natural and cu then used to semi-precious the island. Pro and children and galleries cultivated crys their own, cr between the delicate rhyth the project.

Trans[luc

My project encompasses a program, Mysocially project orientated encompasses a which caters for program, the many socially orientated teenage pregnancies young which caters for theandmany mothers on the Isleand of Sheppey. teenage pregnancies young It is first and Isle foremost a place mothers on the of Sheppey. pregnant who are having It for is first and girls foremost a place making the are decision fortrouble pregnant girls who having of what to do next, well as trouble making the as decision of a place theyascan escape what to where do next, well as a to for awhere while,they to get space, place can some escape to parents partners forpossibly a while,from to get someor space, who are putting pressure on them possibly from parents or partners to are make a decision. is them also a who putting pressureIton young mothers to ago to place make for a decision.

It is also with for theiryoung children in ordertoto go gain place mothers support from other mothers, to get with their children in order to gain help and on getting back support fromadvice other mothers, to get intoand education or getting getting back a job, help advice on as education well as providing with into or gettingthem a job, to increase their asopportunities well as providing them with skills with various classes and opportunities to increase their activities. skills with various classes and activities.

An important aspect to this project that there is to a this very strong Anisimportant aspect project of community, and is sense that there is a very trust strong socialof sustainability.

Mumsand can sense community, trust leavesustainability. their children Mums in the creche social can withtheir otherchildren mums in whilst they are leave the creche then freemums to go whilst off to other parts with other they are of the for a then freebuilding, to go offfor to example other parts classfororexample for something of cooking the building, for a more recreational likesomething an art class. cooking class or for more recreational like an art class.

The building has an outer skin, which is designed be likeskin, a veil The building has antoouter which a semi-transparent, which is creates designed to be like a veil protective From outside this which createslayer. a semi-transparent, veil masks theFrom inneroutside activities protective layer. this of building, a sense veilthemasks the creating inner activities of of and from the inside ofthe theprivacy, building, creating a sense veil creates a variety of different privacy, and from the inside the create veilspaces, createswhich a variety of transitional different zones which between internal spaces, create the transitional spacesbetween and outside zones thelandscape. internal spaces and outside landscape.

|Transient| Sanctuary |Transient| Sanctuary

79

Unit 3

Georgina Georgina Lee Lee

Unit 3

Hephzibah Bayliss “Salt marshes, tidal flats, water meadows, a remote agitation of fat white sheep..” – Iain Sinclair.

This seems the perfect description of the Isle of Sheppey.

Sheep…and lots of them.

However, this needn’t be a negative. Sheep are a huge untapped resource and ‘A [FASHIONABLE] PRODUCTION’ aims to use their wool to produce beautiful hand knit garments for all market groups.

These garments will then be dyed using local plant extracts, making each garment truly original and specific to a time and place in island histor history.

‘A [FASHIONABLE] PRODUCTION’ aims to construct a new reputation for the island through a reinvention of the old.

Furthermore, it seeks to put Sheppey back on the map, and re-establish Kent’s historical reputation as quality woollen cloth producers. It also aims to bring back sought after tailoring skills and bring a new skill base to the island.

FASHION – It’s a dirty business! ‘A [FASHIONABLE] PRODUCTION’ explores the juxtaposition of fashion garments and their origins. From muddy fields to gleaming catwalks and intends to celebrate provenance by using these fields as the backdrop to high end fashion shows. The intervention also seeks to make a statement about seasonality, from both a farming and fashion definition and to illustrate the dynamic potential of textiles as building materials.

‘A [FASHIONABLE] PRODUCTION’ – - FASHIONING A LANDSCAPE

80

Hephz Bayliss

“Salt marshes meadows, a r fat white shee This seems th tion of the Sheep…and However, thi negative. Sh untapped re [FASHIONABL aims to use th beautiful hand all market garments will local plant ext garment truly o to a time an histor history.

‘A PRODUCTION a new reputa through a rein Furthermore, Sheppey back re-establish reputation as q producers. It back sought a and bring a ne island.

FASHION – It’ ‘A [FASHION TION’ explore of fashion ga origins. From gleaming catw celebrate pro these fields a high end fas intervention al statement abo both a farm definition and dynamic pote building mater

‘A [FASH PRODUC - FASHIO LANDSC

B

AA

B

27

AA

27

N

B

N

B

Exploring Virilio’s theory of the Exploring of Virilio’s of the digitalisation culturetheory and taking digitalisation of Sea culture andpast taking into account the Fort’s into account the Sea Fort’s past history of the occupation of pirate history of pirate radio has of ledthe to occupation the development has led the development of radio a digital art to museum on the of aofdigital coast the Isleartof museum Sheppey. on Thethe coast location of the Isle of Sheppey.

The remote stranded off the remote strandedofoff cliff reflectslocation the dislocation thethe cliffFort. reflects theartdislocation Sea Digital originates of outthe Fort.Fort, Digital art is originates at Sea the Sea which occupiedout theinnovative Sea Fort, which occupied byatthe artists isinspired thealternative innovative environment. artists inspired bybythe by art the is alternative environment.

The broadcast to the The artwhere is itbroadcast to the mainland manifests itself it manifests itself in mainland the digital where museum.

Artists have the digital Artists have fullincontrol overmuseum. what is displayed overaswhat displayed in full thecontrol museum wellisas how and it is displayed. in when the museum as well as how and when it is displayed.

The architecture is a simple, flexible and translucent The architecture is a simple, surrounding, allowing for the flexible and translucent complexity of the digitalforart.the surrounding, allowing There is a semi-exterior spaceart. complexity of the digital at There the top the museum space to is aof semi-exterior display at thethetopbiggest of theinstallations museum to and to create environments display the total biggest installations which audience immerse and the to create totalcan environments themselves which thein. audience can immerse themselves in.

The interactive virtual façade is The madeinteractive up of a 3D virtual grid of LED façade lights framed in aacrylic is made up of 3D gridtubing. of LED This facade caninbeacrylic controlled lights framed tubing. byThis the audience, the artist or the facade can be controlled cameras within it. the Therefore by the audience, artist or itthe can reflect within the surroundings to it cameras it. Therefore imply as well as create to can invisibility reflect the surroundings a imply transparency by well projecting invisibility as as create solely the installation A a transparency by inside. projecting performance space floating in solely the installation inside. A the water below the structure, performance space floating in controlled by the tide, allows the water below the structure, for digital art performance to be controlled by the tide, allows experienced within the spaces for digital art performance to be created under the museum itself. experienced within the spaces created under the museum itself.

An Isolated Response An Isolated Response

81

Unit 3

Harriet Harriet Pillman Pillman

Unit 3

James Hogarth

James Hogar

Within the modern world and the era of progress that proceeded, change has occurred in both the nature of conflict and the global political map. The layering of passive strategies to conflict, coupled with technological advancement have formed the Isle of Sheppey’s obsolescence as a defensive outpost, and have rendered it without this identity that it has possessed for the previous two millennia.

The intent of this architectural intervention is to reassign the island with a contemporary reinterpretation of this historical but now vacant identity. Arguably the most prominent and inevitable threat to be faced is the transient and temporal environment that we dwell within. Despite the urgency for resolution to global environmental issues, rigid political structure inhibits any solution being reached. This project aims to breakdown this rigidity by utilising unprecedented levels of architectural and institutional permeability, allowing for free exchange of knowledge and opinion within a public domain. This aforementioned permeability is inclusive of the environment as a permitted influence within the form. The subsequent interactions cause change within the physical and programmatic properties that clearly manifest the capabilities of the environment. The creation of this unprecedented environmental interaction will educate and inform society of the severity of this inescapable problem, aiding the search for resolve.

Within the mo era of progre change has o nature of con political map passive strat coupled w advancement Isle of Shepp as a defensive rendered it w that it has p previous two m The intent o intervention i island with reinterpretatio but now vaca the most prom threat to be fa and tempora we dwell w urgency for r environmenta political struc solution bein project aims rigidity by utili levels of institutional pe for free excha and opinion domain. Thi permeability environment influence with subsequent change within programmatic clearly manife the environme this unprecede interaction w inform society this inescapab the search for

__Temporal Reas[sign]ment__

82

__Tempo Reas[sig

Climate change is one of the biggest issues to ever face Climate change is one of the the world globally, and in an biggest issues to ever face area like the Isle of Sheppey the world globally, and in an where most of the land is low area like the Isle of Sheppey lying and surrounded by water where most of the land is low climate change could have a lying and surrounded by water big impact. Using the islands climate change could have a natural resources the aim of big impact. Using the islands my architecture is to produce natural resources the aim of an alternative fuel, which could my architecture is atomajor produce be produced even after an alternative fuel, which flood. The alternative fuel beingcould be produced after a major produced would beeven ethanol, which alternative fuel being has flood. been The proved a successful produced ethanol, which alternative inwould otherbe countries. has proved successful Given thatbeen the site I havea located alternative my building is a in port,other whichcountries. also Giventothat the site I have located happens be one of the largest my building is a port, which car import ports in the UK, I also also happens to be one of the largest wanted to introduce an interactive car import ports in the rather UK, I also element to the architecture to introduce interactive thanwanted just designing an an ethanol element to the architecture rather factory.

My architecture engages just designing an ethanol car than consumers and enthusiasts architecture engages to factory. come Myand experience car consumers enthusiasts vehicles, which areandpowered to alternative come fuel andand experience by an try to vehicles, powered persuade themwhich of theare benefits by an alternative fuel and and maybe even to purchase one.try to of the benefits The persuade building willthem be linked to a test maybe eventotoexperience purchase one. trackand allowing users The building will be linked numerous conditions when on to thea test track allowing users to experience track.

Educations is also a key numerous when on the element to theconditions design, showing track. Educations is alsofuel a key consumers that an alternative to can the release design,up showing suchelement as ethanol to that an 70%consumers less emissions, andalternative is higher fuel suchand as ethanol canpowerful. release up to octane so more lessshould emissions, is higher This 70% design alsoand benefit and soofmore powerful. the octane entire island Sheppey, This design should benefit increasing visitors, it also should the work entire of Sheppey, provide for island locals, providing visitors, it should new increasing skills and aiding Sheppey’s provide work for locals, employment issues, and asproviding the new aiding Sheppey’s farms areskills localand keep transport employment issues, and as the emissions to a minimum. farms are local keep transport emissions to a minimum.

On the road to sustainability.

On the road to sustainability.

83

Unit 3

Karamvir Karamvir Panesar Panesar

Unit 3

Rupert Rathbone “Art has the power to make one see things in a new light. It allows us to develop a love for places and things that we would otherwise not have noticed, or thought of as ugly or boring. It helps us discover the beauty of the ocean floor, the dirt that is bog, the bark of a tree.” – Anne Stahl The project plugs into the Isle of Sheppey’s dynamic and remote marshland, a responsive and delicate architecture to house 5 artists from London, obsessed by nature’s beauties and cruelty, and its destruction at the hands of humans.

Taking advantage of Sheppey’s ‘void’ like characteristics; the humble retreat provides an empty canvas, freeing the artists from London’s stresses and strains, allowing them to uncover Sheppey’s potential for inspiration.

By harnessing the growth of Woad, Madder and Weld, in combination with the extraction of oil from algae, the architecture uncovers the site’s physical potential, creating natural oil paints from the land, while also exploring the plant’s spatial potential.

Colouring the Void

84

Ruper Rathb

“Art has the see things in us to develo and things otherwise no thought of a helps us dis the ocean fl bog, the bar Stahl

The project p Sheppey’s d marshland, delicate arch artists from L nature’s beau its destructio humans.

Taking adva ‘void’ like humble retrea canvas, free London’s str allowing th Sheppey’s p tion.

By harnessi Woad, Mad combination oil from alga uncovers th potential, cr paints from exploring th potential.

Colourin

A  healing  journey  takes  you  from  urban  chaos  to  the  tranquillity  of  the  Elmley  marshes,  where  you  are  able  to  peal  away  the  stresses  of  life  to  achieve  inner  peace  and  calm.

The  centre  is  a  sanctuary  which  facilitates  connection,  both  within  yourself  and  to  its  surroundings.  It  provides  a  comprehensive  program  of  activities  for  its  variety  of  users.  This  centre  has  been  strategically  placed  along  the  new  addition  to  the  Saxon  shore  way  route,  encouraging  its  walkers  and  others  to  the  island  to  experience  its  forgotten  beauty  and  provide  brief  resbite  or  a  longer  term  experience. Â

Reed beds

Reed beds

Reed beds

Reed beds

Reed beds

Raspberry Hill

1

2 2

3 1

3 4 5

1

2

A  number  of  other  themed  walks  originate  from  the  centre  will  appeal  to  all,  including  historians,  bird  watchers  and  avid  walkers.   There  is  the  opportunity  to  partake Â

landshare  scheme.   Which  allows  you  to  interact  with  the  centres  staff,  other  visitors  and  the  local  community,  whilst  learning  how  to  grow  and  cook  ones  own  produce.  Rejuvenating  and  relaxing  therapies  and  classes  are  available,  including  Â

and  relaxation  sessions  and  massage.

The  centre  brings  these  elements  together  to  provide  its  users  with  the  opportunity  of  a  journey  of  healing  and  discovery. Â

Faversham

KEY: Elmley History walk (approx. 6.75 miles) (A) Birdwatching walk (approx. 12 miles) (B) Elmley & Harty discovery walk (approx. 27 miles) (C) Additional Saxon Shore Way circular route (D) Existing Saxon Shore Way Old Counter wall Existing road 1 2 3

Old sheep wash Remains of Elmley school house & Church Remains of Elmley buildings

1 2 3 4 5

Wellmarsh bird hide Counterwall bird hide South Fleet bird hide Swale bird hide Spitend bird hide

1 2

Harty Church The Ferry Inn

A  healing  journey

Rest stops - Bench/toilets Nature Reserves

85

Unit 3

Rachel Farrer-­Bristow

Unit 3

Yuk Lan Wong In Britain, 95% of food is oildependent and 81% of food is come from the countries outside UK. Could the Isle of Sheppey’s residents grow for their own food?

Is it enough areas for farming?

The total area of Sheppey is 9400 hectares, 3% of the land is needed for farming cereals where 7% is needed for farming vegetables/fruits. Thus, Sheppey has enough areas to grow crops for the whole population.

Kent is a garden of England; Isle of Sheppey is a garden of Kent. Farming comes naturally to Sheppey. GARDENS WITHIN GARDENS creates a selfsufficient Sheppey, the building acts an initiator to deliver farming ideas and techniques, and the allotment garden further supports the farming activities. Its residents learn how to grow and produce their food in the allotment gardens.

By practicing their farming skills, the idea of growing food spreads from the garden continuously to whole sheppey. In addition, the productive landscape enables aesthetic development of the island and appreciation from the growers.

Gardens within Gardens

86

Yuk La Wong

In Britain, 95% dependent and come from the UK. Could the residents grow Is it enough a The total area 9400 hectares is needed for where 7% is n vegetables/fruit has enough are for the whole po

Kent is a ga Isle of Sheppe Kent. Farming to Sheppey. G GARDENS c sufficient Shep acts an initiator ideas and tec allotment garde the farming acti learn how to g their food in the By practicing th the idea of grow from the garde whole sheppey productive lan aesthetic deve island and app growers.

Gardens w Gardens

The boundary between the land and the water presents an ever changing cycle. The tide washes our shorelines with new life and foreign objects. My project originated from the idea of foraging and scavenging items from along the coastline; creating a program around the idea of collecting and cataloguing these rogue and foreign objects. The program works on a hierarchy of networking; the first being the operation of a hand held PDA device that the creator uses to catalogue and collect artifacts. I wanted to explore the notion of archiving, and create a space that knocks down the boundaries of a museum and allows the creator to exhibit the objects they find as and how they please. The objects brought into the building create the very fabric of the architecture.

The Cabinet of Curiosities A ‘theatre of thoughts’ or a memory theatre is a place in which the public become the creators. It allows them to categorically control their imaginations and memories through a series of filtering devices, which are then separated into appropriate chambers. The objects are stored, before eventually given back to the tidal cycle.

Cabinet Of Curiosity

87

Unit 3

Matthew Powell

Unit 3

Thomas Fardon

Thoma Fardon

The Isle of Sheppey is an isolated site. Studying the isolation of the site and isolation in general led to the study of social or nonphysical isolation. The way in which sufferers of Alzheimer’s and dementia endure isolation as they loose the ability to interact with their surroundings and communicate with society became the crux of the project.

In designing for people with dementia many conventional systems must be thought about in a different way. The programme is one of two halfs a respite centre for people with Alzheimer’s and dementia and an art therapy centre. Art therapy is a useful tool in caring for people with dementia it allows the communication of thoughts, feelings and emotions through physically creating when conversation is no longer possible.

The Isle of Sh site. Studying the site and led to the stud physical isola which suffere and dementia as they loo interact with and commun became the c In designing dementia m systems must a different way one of two ha for people wi dementia an centre. Art the in caring for pe it allows the thoughts, feel through ph when convers possible.

re[orientation]

88

re[orienta

The The Isle Isle of of Sheppey Sheppey has has a a richness richness of London of London clayclay and and a a history history of high of high susceptibility susceptibility to to coastal coastal erosion erosion that that exposes exposes deposited deposited material material and and allows allows for for the the recycling recycling of the of the landscape, landscape, informing informing a phased a phased programme programme sensitively connected to itstocontext sensitively connected its context through timetime - a -dimension that that through a dimension affects history, material, culture affects history, material, culture and and the the growth of the scheme. growth of the scheme.

The The facility is located on on the the facility is located south-east coast of of Sheppey, south-east coast Sheppey, at ata adisconnected disconnectedplateau, plateau, fortified by an existing seawall fortified by an existing seawall that that dominates the the easteast coast. dominates coast.

The The setting is enhanced by the setting is enhanced by the isolation and and inaccessibility that that isolation inaccessibility the the site,site, and and the the Isle Isle of Sheppey of Sheppey as as a whole, owes itselfitself to. to. a whole, owes Using the dynamic change of the Using the dynamic change of the landscape as aascatalyst for the landscape a catalyst for the unique seasonal cycles within unique seasonal cycles within the the scheme, the the intention of the scheme, intention of the project is toisaid of three project to the aid revival the revival of three old old island trades [brick-making, island trades [brick-making, pottery and and sculpting] and and re- repottery sculpting] training for the locallocal workwork forces. training for the forces.

The The site site develops in ainphased develops a phased theme as the raw raw clayclay material theme as the material erodes fromfrom the the island’s coast erodes island’s coast and and is deposited at the before is deposited at site the site before being collected by the sculptors, being collected by the sculptors, the the masons and and the the building masons building users.

The The architecture becomes users. architecture becomes a temporary interference and and a temporary interference the the programme of the building programme of the building grows as as a reaction to this. grows a reaction to this.

Eventually, Eventually,the thematerial materialis is essentially recycled, dissolving essentially recycled, dissolving backback into into the the landscape and and landscape introducing a poetic nature that that introducing a poetic nature the the island is currently missing. island is currently missing.

re[cycle]d re[cycle]d landscape. landscape. a facility a facility for old forisland old island trades. trades.

89

Unit 3

Luke Luke Robinson Robinson

Unit 3

Benjamin Scholey Situated off the Northern Coast of Kent, the Isle of Sheppey rests an isolated landmass separated from the mainland by the winding Swale and fully exposed to the harsh elements of the North Sea. Nature has left an island striking a temporal form, with examples of its power left scattered across the island, where carcasses of buildings and boats, and the remnants of past industry and architecture have been left neglected to be consumed by nature.

Acting as the North Sea Corrosion Test Centre, and sited on an exposed sand-spit to the west of the island, the facility seeks to exploit the conditions present to allow the development and testing of new materials suitable for construction in the experienced, moderate marine climate.

Designed as an autonomous architecture, the reliance on human workers is reduced through the use of mechanical systems, carrying the materials on their journey through the stages of testing, from the start to the end of the material lifecycle.

The flat topography and surrounding swale, combined with the close proximity to the industrial processes taking place along the Thames, provides maximum exposure to the joint influences of strong winds, acid rain, sunlight, marine air and industrial pollution, providing a reliable representation of the consequences of such conditions on material durability.

Composite Atrophy /

[North Sea Corrosion Test Centre]

90

Benjam Schole A

B

A

B

C

D

C

D

Situated off t of Kent, the Is an isolated la from the main Swale and fu harsh element

Nature has le a temporal fo of its power le the island, w buildings and remnants of architecture neglected to nature.

Acting as the N Test Centre, exposed sand the island, th exploit the co allow the deve of new mat construction i moderate mar

Designed as architecture, human work through the u systems, carr on their jou stages of testi the end of the

The flat surrounding with the clos industrial proc along the maximum exp influences of rain, sunlight industrial pol reliable repre consequences on material du

Composi

[North Sea Centre]

The Isle Sheppey has ahas long The ofIsle of Sheppey a long tradition of sheep farming, owingowing tradition of sheep farming, its name to the Saxons its name to the Saxons ‘Sceapige’, meaning Isle Isle of ‘Sceapige’, meaning of Sheep.

In this marshy Sheep.

In isolated this isolated marshy landscape, rich inrich myths and folk landscape, in myths and folk law the is quiet and and lawatmosphere the atmosphere is quiet haunting.

AwayAway from from the distrachaunting. the distractions tions of our dominated of visually our visually dominated western culture, the mind is western culture, the mind is allowed to wonder and and the the allowed to wonder imagination takestakes hold. hold.

Our other imagination Our other senses that that are are constantly senses constantly suppressed beginbegin to awaken, suppressed to awaken, creating an increased intensity creating an increased intensity of ofemotional emotionalawareness. awareness.

Augmented Reverberation seeksseeks Augmented Reverberation to revive a gut astring industry that that to revive gut string industry was was once once a thriving BritishBritish a thriving venture.

Bespoke natural strings venture.

Bespoke natural strings are are produced from from sheepsheep produced intestines for various instruments intestines for various instruments including the the violin.violin.

Building, including Building, landscape and and instrument are are landscape instrument unitedunited to create pavilions on the to create pavilions on the marshmarsh that that form form aeolian harp harp aeolian ‘sound art’ installations, played by by ‘sound art’ installations, played the wind.

It involves the growth the wind.

It involves the growth and intensification of a ofnatural and intensification a natural resource, with the of resource, withpersistence the persistence of the resulting soundsound living living on long the resulting on long after the source has been afteroriginal the original source has been removed.

The complex arrangeremoved.

The complex arrangement ment of abattoir, workshops and and of abattoir, workshops studios createcreate an interesting and and studios an interesting challenging juxtaposition between challenging juxtaposition between the roughness of industry and the the roughness of industry and the delicacy of theofart. delicacy theThe art. building The building instrument instrumenttranslates translatesnew new meaning from from the changes in meaning the changes in seasons and cyclic shifts shifts in thein the seasons and cyclic environment.

It possesses a environment.

It possesses a dynamism and and flexibility that that dynamism flexibility through its changing amorphous through its changing amorphous state state creates a level of excitecreates a level of excitement,ment, intrigue and curiosity. intrigue and curiosity.

Augmented Augmented Reverberation Reverberation

91

Unit 3

William William Gowland Gowland

Unit 3

Gavin Fung

Gavin Fung

The project is based in the Isle of Sheppey, an island stereotyped for being traditional and old fashioned. Being an island, the water surrounding it is highly influential on the identity of the island itself. This lead to the start of my approach to look at activities at the periphery of the island, between the land and water. Most of these activities concerned the use of boats, and there was a prominent stagnant atmosphere in one area, which is where I have decided to locate my programme.

This stagnation has focused my attention on the dormant aspect of boats, after their primary use, how and where they are stored.

Moreover, linking with the static idea, was the situation with boats at the end of their useful life, and how they can be treated. From this, the scheme works to create a hub that houses boats in the area, as well as a recycling scheme for boats. Currently, the recycling of boats is not popular and not at a mature stage, because the recycling of fiberglass is difficult and expensive. The programme approaches this growing concern, aiming to decrease the number of boats being abandoned in the sea, and creating useful purposes out of the material recycled. The programme, ‘Re:Float’, attempts to regenerate an industrial location on the island, by creating a scheme that merges and integrates the fixed community of the Isle of Sheppey with the transient community of the water.

The project is Sheppey, an for being tr fashioned. Be water surrou influential on island itself. T of my approac at the periph between the la of these activ use of boats prominent sta in one area, w decided to loc This stagnatio attention on t of boats, afte how and whe Moreover, link idea, was the at the end of how they can this, the schem hub that house as well as a re boats. Curre of boats is n at a mature s recycling of fi and expensiv approaches th aiming to de of boats being sea, and crea out of the ma programme, ‘ to regenera location on the a scheme integrates the of the Isle of transient com

Re:Float

92

Re:Float

TheThe land[marsh]scape creates land[marsh]scape creates flat flat endless vistas withwith seemingly endless vistas seemingly endless horizons.

At first glance endless horizons.

At first glance the the landscape is plain withwith no reflandscape is plain no reference point andand a lack of orientaerence point a lack of orientation.tion.

TheThe marshlands stretch the the marshlands stretch length of the coastline, shifting length of the coastline, shifting andand merging as the swale reveals merging as the swale reveals andand conceals them through time. conceals them through time.

TheThe symbiotic relationship be- besymbiotic relationship tween the the apisapis melifera andand veg-vegtween melifera etation of the marshes is emphaetation of the marshes is emphasised andand celebrated through the the sised celebrated through expansive plug-in thatthat expands expansive plug-in expands out out intointo the the landscape.

TheThe sea-sealandscape. sonal variation of the programme sonal variation of the programme mimics the the cyclic life and activities mimics cyclic life and activities of the honeybees.

TheThe architecof the honeybees. architectureture actsacts as the newnew permanent as the permanent home for for the the british beekeeping home british beekeeping association leading the the wayway in in association leading innovative research intointo current innovative research current worldwide worldwideproblems problemsincluding including colony collapse disorder. colony collapse disorder.

TheThe transient intervention plugs transient intervention plugs intointo the the fluvial landscape andand re- refluvial landscape sponds to the cyclic seasonal ele-elesponds to the cyclic seasonal ments.

TheThe forms expand out out intointo ments. forms expand the the landscape withwith three movable landscape three movable honey processing units travelling honey processing units travelling to three locations, anchored in the to three locations, anchored in the landscape.

Arable land, fresh wa-walandscape.

Arable land, fresh ter ter marsh andand salt-water marsh marsh salt-water marsh are are all all integral aspects of the integral aspects of the overall ecosystem creating ideal overall ecosystem creating ideal habitats for for the the bees.

Varying habitats bees.

Varying floraflora types create different types types create different types of nectar collected by the bees, of nectar collected by the bees, enabling three different types of of enabling three different types honey to be produced thatthat cre-crehoney to be produced ate ate enhanced experiences of the enhanced experiences of the marshes. marshes.

CYCLIC SYMBIOSIS CYCLIC SYMBIOSIS - [transient apiculture] - [transient apiculture]

93

Unit 3

Benjamin Benjamin Stanforth Stanforth

Unit 3

Michael Perkins

Michae Perkin

In the current time scales of everyday life, inhabitants have lost empathy with the larger cycles of reality that surround them. Instead they reside in a world whereby the transfer of light sets the scales for time and information cognition, they no longer inhabit their locality, or reality.

The expression of ‘reality’ through light mediums outpaces the objective evaluation, and understanding of temporal locality. Information regarding the environment cannot be attained at the same velocity as light information.

The project aims to reintroduce, and make visible, the real world that touches us, to seize the reality that surrounds us by exposing the user to the velocity flow of the environment we inhabit.

By exploiting the imperceivable energy and products of the environment, and making them tangible, it allows the user to root themselves into the environmental time and place.

In this project, the glasswort plant is used as a conduit to collect, transfer and express, environmental climatic cycles.

Through collection of the materials on site, and their refining, glass is made in temporal batches.

These batches express, through the quality of the glass, the environmental conditions in which they were created in, condensing and transferring the changes in the environment in a tangible format that users can interact with and connect to the place.

In the curre everyday life lost empathy cycles of rea them. Instead world whereb light sets the information c longer inhabi reality.

The expres through light the objective understanding locality. Inform environment at the same information.

The project a and make vis that touches u that surrounds user to the v environment w By exploiting energy and environment, tangible, it to root the environmenta In this proje plant is used collect, trans environmenta Through collec on site, and is made in These batche the quality o environmenta they were cre and transferri the environm format that us and connect to

[transient collection] tangible temporality

94

[transient tangible t

In In this individualistic delirium, a a this individualistic delirium, fatal fataldemiurgic demiurgicconclusion conclusionhas has been made, where thethe confusion been made, where confusion of ofhumanity humanitycannot cannotdistinguish distinguish thethe expanse of of thethe geo-physical expanse geo-physical environment from itsits own physiolenvironment from own physiology. megalomaniac man ogy.Modern Modern megalomaniac man has hasdevised devisedananintrinsic intrinsictechnotechnological logicalnetwork networkharvesting harvestingthethe landscape, landscape, both both directly directly and and indirectly indirectlyattenuating attenuatingthethefew few remaining pockets of of salt marsh remaining pockets salt marsh leftleftwithin withinourourmarine marineenvironenvironment. ment.

Recent Recent research research into into ‘Blue ‘Blue Carbon’ has proven thethe validity of of Carbon’ has proven validity such such ecosystems. ecosystems. They They areare estimated estimatedto tostore store1,650 1,650million million Tonnes Tonnes of of Carbon Carbon annually annually aquatinting to to half of of thethe World’s aquatinting half World’s Transport carbon budget, double Transport carbon budget, double thethecapability capabilityof ofthetheNatural Natural Rainforest..

Rainforest..

Through Throughsustainable sustainableliving livingand and new newtechnology technologya acommunity communityof of ecology ecologyresearchers researchersdwell dwellin inanan autonomous autonomous monitory monitory system system situated situatedaround aroundthetheOld OldElmley Elmley cement works.

With thethe strategic cement works.

With strategic intensive and extensive monitorintensive and extensive monitoringingof ofthetheSwale, Swale,their theirjobjobis isto to carry carryoutoutsensitive sensitiveengineering engineering works worksto tomaximize maximizethethecarbon carbon sinking sinking ability ability of of surrounding surrounding Haloseres.

Haloseres.

The Theautonomous autonomousBatteries Batteriesin in which they occupy exchange tidal which they occupy exchange tidal waters into inland areas, cultivatwaters into inland areas, cultivatinging unproductive unproductive fresh fresh water water marshes marshesand andgrazing grazingland landinto into natural natural ecosystems ecosystems that that areare needed to to sequester carbon from needed sequester carbon from thethe U.K’s continually rising energy U.K’s continually rising energy budget. budget.

Paradigm ParadigmShift Shift

95

Unit 3

Alexander Alexander Eagles Eagles

Chatham

Rochester

Gravesend

Billingsgate

Cuckold’s Point Blackwall Reach

Queenborough

Sheerness

Grain, Isle of Grain

Transient : sta in tim : n.

Peregrination

Minster

Gravesend

Danie Camp Erskin

Gravesend

Billingsgate

S.E

Sheerness

E S

S.E

Queenborough

Stoke Stoke

Upnor

Rochester

Hoo Church

Stephen_Turner

Walk_2

Walk_1

Walk_3

“End of the world” inscribed on the sea defence steps at Sheerness

Walk_4

Ros_Barber

Abbe_Leigh_Fletcher

Shellness

Leysdown_on_Sea

Nature_Reserve

Harty_Ferry_Inn

Minster_Beach

Minster

Queenborough

DAY_1

Bedford Arms Tavern, Covent Garden

Harty

S.W S

yacht_sailing_club

Shellness

Abbe_Leigh_Fletcher

Hamlet_of_Shellness

Sheerness

Ros_Barber

S.E E

Bluetown

_3

Warden_Point Queenborough Warden Warden_Bay

Rochester

Stephen_Turner

Minster

DAY_2

Unit 3

Harty

Minster_Beach

Leysdown_on_sea

DAY_3

Hamlet_of_Shellness

Transient : staying or working in a place for a short time : n. a transient person Peregrination : To journey or travel from place to place esp. on foot : A voyage esp. An extensive one Peregrinator : One who travels about.

The Transient Peregrinator is based on the peregrinations of different artists to the Isle of Sheppey. The main artists that journeyed to the Island were William Hogarth(1732), Insula Ovinium Project(2004) and the Four Shores Project(2005). The programme explores different aspects of a journey ranging from the Grand Tour, the Gap Year(modern peregrination/ Grand Tour), Atlantic College and The Duke of Edinburgh Award Scheme. The design of the intervention is based on a place where young people can take part in the Duke of Edinburgh scheme.

This scheme has a strong affinity with the theme of peregrination.

Here the travellers can meet new people, take part in expeditions, different physical activities (sailing,canoeing,walking, climbing wall and zip wire), learn new skills, help run the centre and develop skills to run the lifeguard station. A sailing dock connects the sea to beneath the building and links access and use to the rhythms of the fluctuating tides. Here historic and present day explorations meet in a place that reflects the open land and seascape of the Isle of Sheppey.

DAY_4

Warden_Point Queenborough Warden Warden_Bay

DAY_5

Minster

Simon_Barker

Sheerness Barton_Point

Somerset Gate_House

Minster_Beach

Leysdown_on_sea

Walk_2

Walk_1

Bedford Arms Tavern, Covent Garden

Simon_Barker

Sheerness Barton_Point

| PEREGRINATION_S | of Sheppey

London_Train_Stations

_2

Daniel Campbell Erskine

Peregrinator

The Transie based on of different a Sheppey. Th journeyed to William Hog Ovinium Pro Four Shores programme aspects of from the Gra Year(modern Grand Tour), The Duke o Scheme. Th intervention is where young in the Duke of This scheme with the them Here the trav people, take different p (sailing,ca climbing wall new skills, h and develop lifeguard stat connects the building and l to the rhythm tides. Here h day exploratio that reflects seascape of t

| TRANSIENT |

| TRAN

PEREGRINATOR

PEREGR

96

The building form is to blend with the environment and the history of the place. The paces between the metal frames appear to be pact at one end (reflecting the close urban setup) and loosen out at the other (symbolising the openness of the river). An element of randomness and distortion is suggested representing the accidental nature of things.

Matthew Cheng Fisherman’s pier

97

Unit 3

Queenborough is rich in maritime history. The Fisherman’s Pier is to revive a fishing tradition, regenerating the old town at the same time.

Another mission is to promote a new seafood eating habit. The design programme includes: a fish market, a school offering training on fishing techniques, a cooking school along with a restaurant to promote eating local fish, large aquarium and fish tanks.

Square, the Maid Marian Cider Walk will highlight the Castle ‘doorstep’ with a blossoming orchard through which unravels the journey of a ‘pint of Cider’.

Public harvesting and crushing days will begin in October and once pressed and fermented, a This maturing process occurs until project is intended to July, the orchard raiseduringthewhichunderachieving serves as an extension of Market consciousness in everyday life.

Square; with the ability to coThe consciousness of a person to markets their surroundings heightens host and fairs along with dramatically when there the offering an extended publicisspace of an audience.

Set in forexistence performances and events the Lace Market in Nottingham, whist enjoying a pint of cider!

Serena Tse

The Player’s Angels Corset Factory

the study envisages tunnels of peeps that perform multiple functions:

1.The invisible theatre is a continuation from the Nottingham Contemporary, acting as an important promenade that embraces the passers-by into the experience of performance through the language of thresholds as the catalyst for contemporary performance.

Framed openings in the building come into play when people walk up to them and “perform”.

2.The invisible theatre inhabits a dance school with two studios, a laboratory of movement and the secret theatre. The transformation begins as dance studios undergo the shift in function; the theatre unfolds itself into the landscape and expands its boundaries from hidden places to the streets.

Performances question the ideas of what and where is the stage by concealing and its opposite and all the in-betweens.

3.The open access penetrating the theatre also serves as a circuit in a city with a strong acoustic experience of leaving the outside world behind and entering a building. The involvement pushes the act of observation and questioning in everyday gestures having the inside and outside directly spoken to.

tion between collect, gleani and the materi epicentre; his which is inspir in the theatre ents’ required mould.

Residing alon oldest thorou Stories found p the Archivist used enhan Court,to exhibit reiterate thea the form of community.

The threshold realms con glimpses of th

The omniscie mediates betw society but The Bellm clandestine m Bilboroug solace throug The Judge su jury to the Ar culture and secrets of his

Maid Marian Cider Walk

Rachel Patel Presque Vue: “the almost seen”.

A mentally blocked word on the verge of being recovered.

Every city experiences the barriers of Presque Vue, which causes the dialogue of that place to stutter or stagnate.

Radford, Nottingham originates from a similarly rich industrial background as the Nottingham Lace market, yet still struggles to move past its barriers and to redefine itself with the same organic gentrification process.

Its barriers being a lack of benefaction, no industrial routine structure, and diminishing female self-dependency as once demonstrated by the Player’s Angels; local 1950’s factory girls Today the position of females has fallen significantly within the area.

Now targeted as the vulnerable, the feminine strength which once drove the area has been lost.

This project 98 now looks at how these elements may be regained starting with the emotional and spiritual wellbeing of the women.

The Invisible Theatre

Using the principals behind the corset this scheme aims to restore their confident poise.

The corset bestows a sense of pride and posture; restructuring the slumped and framing a regal sculpture; using boning as a method to “bonify” the vulnerable.

The process of corsetry reveals individual tasks, which prescribe different stages of counseling and therapy, creating a therapeutic environment, which can provide the delicate structure, needed to provide support.

The first space uses the rituals of tea as a vehicle for comforting psychotherapy, establishing personal confidential relationships used to aid the fitting room and bone spinning environment.

Judicial A

Collection

Discernin

UNIT 4 - POETIC NARRATIVE IN ARCHITECTURE This year the Unit located its work in the city of Nottingham. Studies focussed on contemporary problems, historic qualities and urban memories.

Predominantly interested in the idea of the ‘Poetic Narrative in Architecture’ the Unit’s approach encompassed texts, video, dance, art and architecture.

The day to day studio work was infused by a series of in house workshops, visits to a performance piece, a conference on the modern city, a product design exhibition and an invited visit to the new Nottingham Contemporary Art Gallery.

Pedagogically the work through the year has focussed on the processes of design informing the outcome.

Out of the initial work, unique briefs particular to each student emerged.

This is a key component of the year. Through these individual discussions, a detailed understanding of the building project was created. Each brief must in part be based in the real and the pragmatic but also must embrace and enjoy a poetic/surreal side.

Through the year designs were developed through a series of workshops specifically tailored to aid the transfer of the narratives into the reality of a building project.

Students worked within the framework offered but are encouraged to develop their own skills and techniques of study and representation. The Unit is keen to produce work which through its diversity has a great vibrancy about it. The student is allowed to maintain an identity whilst at the same time learn from and contribute to the learning of others.

Tutors David Short Amanda Harmer (+ Herbie Fitz) (Associated Architects) Hugh Avison (CPMG Architects) Matthew Strong (Groundworks Architects) Naila Yousuf (Diploma student) Visiting Critics Mike Russum (Birds Portchmouth Russum Architects) Tughela Gino (Tughela Gino Designs) Steve Smith (Urban Narrative) Structural Consultants - Kevin Williams & Sarah Fawcus (Price & Myers) Environmental Consultants - Robin Wilson & Peter Rutherford (DBE) Workshop 1 - Prototype Beginnings - The Armoire Workshop Workshop 2 - Video Workshop - Huw Morgan (Leicester De Montfort University) Workshop 3 - Making the Brief Workshop 4 - Picture Postcards Workshop 5 - ‘Cut and Paste’: expressing the essence Workshop 6 - The Sectional Study Workshop 7 - The Architectural Diagram

99

Unit 4

Kevin P’ng

Kevin P’ng

Combining Nottingham City Councils’ plans to grow accessible public fruit and to regenerate public spaces; my proposal reengages one of ‘the worst streets in Britain’. Although having undergone a recent redesign, Maid Marian Way still does not recover from its scarring presence in breaking many historic paths in the city. By establishing an extended public realm above this scar, the intention is to soften this wound through a raised orchardpromenade and semi-public cider press. Drawing on the public momentum from the new Market Square, the Maid Marian Cider Walk will highlight the Castle ‘doorstep’ with a blossoming orchard through which unravels the journey of a ‘pint of Cider’.

Public harvesting and crushing days will begin in October and once pressed and fermented, a maturing process occurs until July, during which the orchard serves as an extension of Market Square; with the ability to cohost markets and fairs along with offering an extended public space for performances and events whist enjoying a pint of cider!

Combining Councils’ plan public fruit a public spaces engages one in Britain’. undergone a Maid Marian recover from it in breaking m in the city. B extended pub scar, the inten wound throug promenade an press. Drawi momentum fro Square, the Walk will hi ‘doorstep’ w orchard throu the journey o Public harves days will beg once presse a maturing p July, during serves as an Square; with host markets offering an ext for performan whist enjoying

Maid Marian Cider Walk

100

Maid Ma Walk

“Speakers’ Corner”, a a place “Speakers’ Corner”, place where residents of of Sneinton where residents Sneinton can can stand up to express stand updebate, to debate, express theirtheir opinions and and entertain, opinions entertain, encouraging communication and and encouraging communication integration within locallocal community. integration within community.

TheThe building is used to house building is used to house the the asymmetric society, a group asymmetric society, a group comprised of the writers, poetry comprised of the writers, poetry and and comedy societies of the city.city. comedy societies of the TheThe society undertake a process society undertake a process of collecting stories by observing of collecting stories by observing the the activities occurring in and activities occurring in and around the building, and and adapting around the building, adapting them into into spoken works to be them spoken works to be performed within a permanent performed within a permanent venue. venue.

A market place is the public A market place is the public function of the function of building, the building, traditionally being a place of of traditionally being a place verbal exchange as as wellwell as as verbal exchange goods.

TheThe building maymay thenthen be be goods. building adapted to provide an an eclosed adapted to provide eclosed venue for evening performances venue for evening performances and and society meetings. society meetings.

Asymmetric Society Asymmetric Society

101

Unit 4

Katie Katie Bearder Bearder

102

Unit 4

This scheme was inspired by the peculiar was definition of by erosion This scheme inspired the – a procession and – death – peculiar definition of of life erosion a based on procession of material life and studies death of – water Thisstudies new definition basederosion. on material of water was taken into thedefinition city of Nottingham erosion.

This new was against its context. takenand intotested the city of Nottingham and tested against its context.

The original Wilford village in The Nottingham original Wilford village in in a is fast eroding Nottingham is fast in avillage procession of eroding death. The procession of death. The once celebrated forvillage its annual once cherry celebrated for party its annual eating and much cherryassociated eating party and much with Henry Kirk White, associated with Henry White, a talented youngKirk poet, is today a talented youngquiet poet, and is today strangely perhaps strangely and perhaps even quiet neglected.

“The Wilford even Awakening” neglected. aims “The toWilford arouse the Awakening” aims toforgotten arouse the once dead and spirit and once tradition dead andofforgotten spirit Wilford in an and optimistic tradition of Wilford in an optimistic procession of life. procession of life. project is structured on The The project is structured on narratives of writing narratives of writing poetrypoetry and and planting Inspired by planting cherrycherry trees. trees.

Inspired by thegrowth six growth phases of a cherry the six phases of a cherry treesix and sixphases key phases of White’s tree and key of White’s creative process; creative writingwriting process; the the proposal is organised six proposal is organised aroundaround six chambers.

By experiencing chambers.

By experiencing the the chambers offered the scheme, chambers offered by theby scheme, the poet and visitors the visitors the poet and the inject inject life back into Wilford.

The village life back into Wilford.

The village thus thus breathes once once again again after after breathes moremore than 200 since its lastits last thanyears 200 years since breath. breath.

The Wilford The Wilford Awakening: Awakening: A Procession of Procession Life A and Death of Life and Death

103

Unit 4

Hazwan Hazwan Hakimi Hakimi

Unit 4

Jennifer Grewcock

Jennife Grewco

Beneath the perceived outer casing of the ‘Court of Appeal’ lies a world where Nottingham’s heritage collides with the harsh realities of the judicial modern world. Each court case embodies the ever changing nature and flux of city life.

Beneath the casing of the lies a world wh heritage collide realities of the world. Each cou the ever changi of city life.

Explorations of Nottingham’s complex interplay of spatial orderings begin with the Archivist embodying the rambling nature of a flâneur. The city’s constantly shifting framework sparks his ingrained desire to classify and collect, gleaning artefacts from its epicentre; his living room is a box in the theatre of the world.

Explorations complex inter orderings begin embodying the of a flâneur. Th shifting frame ingrained desir collect, gleaning epicentre; his li in the theatre o

Residing alongside Nottingham’s oldest thoroughfare, the canal, the Archivist partially inhabits the Court, exhibiting his findings in the form of a Temporal Archive.

The threshold between the dual realms conveys fragmented glimpses of the urban fabric.

Residing along oldest thoroug the Archivist pa Court, exhibitin the form of a The threshold realms conv glimpses of the

The omniscient Judge outwardly mediates between the court and society but privately conducts clandestine meetings and finds solace through imbibing alcohol.

The Judge subjects the malleable jury to the Archivists condensed culture and the miscellaneous secrets of his existence.

The omniscien mediates betwe society but p clandestine me solace through The Judge subj jury to the Arc culture and th secrets of his e

Judicial Antiquities -

Judicial An

Collections of a

Collection

Discerning Archivist

Discerning

104

In the century, Guilio Camilo In 16th the 16th century, Guilio Camilo devised his notion of the devised his notion of Theatre the Theatre of Memory; an elaborate scheme of Memory; an elaborate scheme through which the solitary viewer through which the solitary viewer of ofthe the‘performance’ would ‘performance’ would become enlightened with with the the become enlightened esoteric knowledge of the age.age. esoteric knowledge of the AfterAfter an inan depth study on memory in depth study on memory and and brainbrain function, my my proposal function, proposal builds on this and and takes on on builds on notion, this notion, takes a hybrid existence within the city. a hybrid existence within the city.

On On the the one one handhand it privately, it privately, almost secretly, accommodates almost secretly, accommodates for an suffering fromfrom a a for individual an individual suffering memory illness suchsuch as amnesia memory illness as amnesia or dementia.

Taking precedent or dementia.

Taking precedent fromfrom the the Theatre of Memory, Theatre of Memory, seven key key aspects of of theirtheir seven aspects memory are are tackled; language, memory tackled; language, facialfacial recognition, smell, form,form, recognition, smell, context, motion and and audio. context, motion audio.

EachEach aspect has has its personal aspect its personal technician, whowho works with with the the technician, works patient, and and creates a body of of patient, creates a body workwork for the finalfinal culmination of of for the culmination the the treatment, the the moment of of treatment, moment clarity; the performance. clarity; the performance.

Publicly, my proposal is a peculiar Publicly, my proposal is a peculiar theatre.

The The ‘performances’ derive theatre. ‘performances’ derive fromfrom the work developed with with the the the work developed patient, and through the notion of of patient, and through the notion collective consciousness, theythey act act collective consciousness, to trigger the the public’s memories to trigger public’s memories and and thusthus improve the the neuron improve neuron connections before they’re connections before they’re lost.lost.

ThisThis is aimed at tackling is aimed at tackling degenerative memory diseases degenerative memory diseases fromfrom developing amongst healthy developing amongst healthy individuals, and promoting the the individuals, and promoting importance of memory health importance of memory health amongst a fundamentally aging amongst a fundamentally aging population. population.

TheThe Theatre of of Theatre Memory Memory

105

Unit 4

Jess Jess Thurlbourn Thurlbourn

106

Unit 4

Unit 4

Manreshpal Rai

The 1960’s saw the regeneration of large parts of St Ann’s, including the demolition of The Express Cinema on St Ann’s Well Road. Once situated in the space between the Gala Bingo hall and Noorani Mosque, hints of its cinematic past still remain, however before its glamour, it was the roaming ground for ‘The Lady with the Pram’.

Once a patient at the local Mental Hospital, ‘The Lady with the Pram’, collected firewood from the timber merchants that preceded the cinema. The ritual of burning the wood was a way of releasing her sadness of losing her baby and dealing with her depression.

Connected through gender, but separated by culture, the female users of the mosque and bingo hall are also no strangers to mental instability.

By bringing back the cinema, the catharsis of sad films allows the ‘Lady with the Pram’ to release her emotions in the shadows of the community in ‘Crying Chambers’ which line the back of the cinema. Subtle links with the Mosque and Bingo Hall also provide an opportunity for these women to seek help and receive rest through ‘day rooms’ and ‘airing courts’.

The discrete solace that these women receive is done in the shadow of the public interface of an outdoor cinema and market place that aims to revive the ‘good times’, which were once experienced in St Ann’s.

The Lady and the Pram Madness and the City

107

108

Unit 4

My project highlights the importance encouraging My project of highlights the people to continue the importance of developing encouraging ways communicate with people they to continue developing the each otherthey through the mediumwith of ways communicate sound. each other through the medium of After exploring city soundscapes sound. the narrative Mrsoundscapes Tinn, the After exploringofcity ex-bellman of Notingham the narrative of Mr Tinn,was the developed architectural ex-bellmanintoof an Notingham was response. developed into an architectural response.

An accident from casting bells improperly, left Tinn scarsbells at An accident from with casting a improperly, young age, left but Tinn undeterred fromat with scars his love of age, bells,but heundeterred swore that from he a young would not of make thehe same mistake his love bells, swore that he nor let anyone else.

Immediately would not make the same mistake after Tinn drawselse. away to the nor let anyone Immediately the St. Martin’s church tower afterofTinn draws away to in the the Bilborough studyin of the St. estate Martin’stochurch tower and this skill.estate to study therefine Bilborough and refine this skill.

The on-site foundry that is primarilyThe for on-site the melting of that bronze and foundry is primarbrass uses dynamics involved ily for thethe melting of bronze and inbrass its furnace to utilise waste heat uses the dynamics involved forin hot water intothe building its furnace utilise wasteand heat also the building communal for for hotcooking water ininthe and cafe. apprentices from alsoFour for cooking in thelearn communal Tinn, the furnace is cafe.and Fourwhilst apprentices learn from being the cafe open tois Tinn,operated and whilst the isfurnace the public. being operated the cafe is open to the public.

The perculiarity of the project lies behind the idea ofofchange ringing The perculiarity the project lies asbehind the only comunicathe means idea of of change ringing tion andofthe public as between the only him means comunicaand materiality the the building, tionthe between himofand public which is inspired byofthe and the materiality the‘ingredibuilding, ents’ required to produce a bell which is inspired by the ‘ingredimould. ents’ required to produce a bell mould.

Stories found about the site were used to enhance the project Stories found about the site and were reiterate the history of the used to enhance the project and community. reiterate the history of the community.

The Bellman of The Bellman of Bilborough Bilborough

109

Unit 4

Tumi Tumi Jegede Jegede

110

Unit 4

Places that speak of of time, speak Places that speak time, speak to to people.

Locked within such people.

Locked within such places are layers that build to to places are layers that build form qualities that people can form qualities that people can feel.

This project takes the feel.

This project takes the vocabularies and atmospheres vocabularies and atmospheres of of the site’s past inhabitation and the site’s past inhabitation and it’sit’s current state, reconfiguring/ current state, reconfiguring/ reapplying them and allowing the reapplying them and allowing the thread of of history to to bebe followed. thread history followed.

Once known asas Sneinton Once known Sneinton Hermitage, this site in in Hermitage, this site Nottingham was home to to aa Nottingham was home peculiar setset of of insular dwellings; peculiar insular dwellings; a community byby proximity yetyet a community proximity one with emotional isolation. one with emotional isolation.

The last remaining resident The last remaining resident of of the hermitage was coerced the hermitage was coerced out byby General National Rail, out General National Rail, who offered him a job asas the who offered him a job the signalman and plateaued the signalman and plateaued the hermitage in in order to to build a new hermitage order build a new low level station.

This industrial low level station.

This industrial mechanical age was later mechanical age was later displaced and the site became displaced and the site became derelict, leaving buildings of of derelict, leaving buildings permanence in in a fragile state permanence a fragile state within their baron landscape, within their baron landscape, open to to informal dwelling again. open informal dwelling again.

The pockets of of the hermitage are The pockets the hermitage are reinstated asas private dwellings oror reinstated private dwellings contemporary ‘rail cottages’ that contemporary ‘rail cottages’ that work in in locational tension across work locational tension across the site and serve a new public the site and serve a new public landscape of of harder metallic landscape harder metallic elements juxtaposed against aa elements juxtaposed against softer undercurrent. softer undercurrent.

“Instead of of anan overpowering “Instead overpowering intellectual concept, the whole is is intellectual concept, the whole held together byby the constancy of of held together the constancy anan emotional atmosphere.” emotional atmosphere.”

—— Juhani Pallasmaa, Juhani Pallasmaa, Hapticity and Time Hapticity and Time

The TheSignalman’s Signalman’s Hermitage Hermitage

111

Unit 4

Samuel Samuel Critchlow Critchlow

Unit 4

The Player’s Angels Corset Factory

Rachel Patel Presque Vue: “the almost seen”.

A mentally blocked word on the verge of being recovered.

Every city experiences the barriers of Presque Vue, which causes the dialogue of that place to stutter or stagnate.

Radford, Nottingham originates from a similarly rich industrial background as the Nottingham Lace market, yet still struggles to move past its barriers and to redefine itself with the same organic gentrification process.

Its barriers being a lack of benefaction, no industrial routine structure, and diminishing female self-dependency as once demonstrated by the Player’s Angels; local 1950’s factory girls Today the position of females has fallen significantly within the area.

Now targeted as the vulnerable, the feminine strength which once drove the area has been lost.

This project now looks at how these elements may be regained starting with the emotional and spiritual wellbeing of the women.

112

Using the principals behind the corset this scheme aims to restore their confident poise.

The corset bestows a sense of pride and posture; restructuring the slumped and framing a regal sculpture; using boning as a method to “bonify” the vulnerable.

The process of corsetry reveals individual tasks, which prescribe different stages of counseling and therapy, creating a therapeutic environment, which can provide the delicate structure, needed to provide support.

The first space uses the rituals of tea as a vehicle for comforting psychotherapy, establishing personal confidential relationships used to aid the fitting room and bone spinning environment.

This project project isis intended intended toto This raise the underachieving raise the underachieving consciousnessinineveryday everydaylife. life. consciousness Theconsciousness consciousnessofofa aperson person The theirsurroundings surroundingsheightens heightens tototheir dramaticallywhen whenthere thereisisthe the dramatically existenceofofananaudience. audience.Set Setinin existence theLace LaceMarket MarketininNottingham, Nottingham, the the study study envisages envisages tunnels tunnels the peepsthat thatperform performmultiple multiple ofofpeeps functions: functions: 1.The invisible invisible theatre theatre isis a a 1.The continuationfrom fromthe theNottingham Nottingham continuation Contemporary, acting acting asas anan Contemporary, important promenade promenade that that important embraces the the passers-by passers-by into into embraces theexperience experienceofofperformance performance the through the the language language ofof through thresholds asas the the catalyst catalyst forfor thresholds contemporary performance. contemporary performance.

Framedopenings openingsininthe thebuilding building Framed comeinto intoplay playwhen whenpeople peoplewalk walk come themand and“perform”. “perform”. upuptotothem 2.Theinvisible invisibletheatre theatreinhabits inhabitsa a 2.The danceschool schoolwith withtwo twostudios, studios,a a dance laboratoryofofmovement movementand andthe the laboratory secret theatre.

The transformation secret theatre.

The transformation beginsasasdance dancestudios studiosundergo undergo begins theshift shiftininfunction; function;the thetheatre theatre the unfoldsitself itselfinto intothe thelandscape landscape unfolds andexpands expandsitsitsboundaries boundariesfrom from and hidden places places toto the the streets. streets. hidden Performancesquestion questionthe theideas ideas Performances whatand andwhere whereisisthe thestage stagebyby ofofwhat concealingand anditsitsopposite oppositeand and concealing thein-betweens. in-betweens. allallthe 3.Theopen openaccess accesspenetrating penetrating 3.The the theatre theatre also also serves serves asas a a the circuitinina acity citywith witha astrong strong circuit acoustic experience leaving the acoustic experience ofof leaving the outsideworld worldbehind behindand andentering entering outside building. The The involvement involvement a a building. pushesthe theact actofofobservation observationand and pushes questioninginineveryday everydaygestures gestures questioning havingthe theinside insideand andoutside outside having directlyspoken spokento.to. directly

TheInvisible InvisibleTheatre Theatre The

113

Unit 4

Serena Serena Tse Tse

114

Unit 4

Non-places are often transitional Non-places are often transitional or services spaces, not places or services spaces, not places in their own right, existing by in their own right, existing by accident or as a by-product of accident or as a by-product of the modern city. They lie on the the modern city. They lie on the periphery of social consciousness, periphery of social consciousness, forgotten and neglected, raw forgotten and neglected, raw in aesthetic, a counter-image in aesthetic, a counter-image of the over manicured city, the of the over manicured city, the found not the given, a home and found not the given, a home and refuge to marginal populations. refuge to marginal populations.

They will not conform to any They will not conform to any masterplan, hence in eyes of the masterplan, hence in eyes of the Corporation they are insignificant, Corporation they are insignificant, and thus consistently in danger of and thus consistently in danger of obliteration by homogenous new obliteration by homogenous new developments. developments.

Sectional Perspective Sectional Perspective

In an obsolete space underneath In an obsolete space underneath an existing tram viaduct, my an existing tram viaduct, my design attempts to preserve the design attempts to preserve the non-place (service domain) by non-place (service domain) by dealing with its interaction with dealing with its interaction with the modern city (public domain). the modern city (public domain).

These realms currently exist side These realms currently exist side by side, like two opposing worlds, by side, like two opposing worlds, almost completely ignorant of each almost completely ignorant of each other’s existence, yet inherently other’s existence, yet inherently reliant on each other. The design reliant on each other. The design of a waste sorting facility that of a waste sorting facility that deals with waste produced by deals with waste produced by the city preserves the non-place the city preserves the non-place by giving it a reason to exist. by giving it a reason to exist.

This facility hires the homeless This facility hires the homeless who in exchange for their labor who in exchange for their labor receive free accommodation in receive free accommodation in specifically designed residential specifically designed residential units. Furthermore, the whole units. Furthermore, the whole process of recycling is on display process of recycling is on display to the public as they move through to the public as they move through the transport interchange (that the transport interchange (that links the existing tramline to the links the existing tramline to the proposed bus station) allowing proposed bus station) allowing them to observe what transpires, them to observe what transpires, and providing a more transparent, and providing a more transparent, and dynamic interaction between and dynamic interaction between the service and public domains. the service and public domains.

Preservation Preservationofofthe the non-place non-place

115

Unit 4

Oliver OliverCaleb Caleb Murray Murray

Unit 4

Harry Kay

Harry Kay

“I was astonished to see that its window was bathed in a greenish, almost submarine light, the source of which remained invisible… The canes floated gently like seaweed. I had still not recovered from my enchantment when I noticed that a human form was swimming among the various levels of the window display.

Her hair floated behind her, her fingers occasionally clutched at one of the canes. At first I thought I must be face to face with a siren, in the most conventional sense of the term, for I certainly had the impression that the lower half of this charming spectre, who was naked down to a very low waistline, consisted of a sheath of steel of scales or possibly rose petals.”

“I was aston its window greenish, alm the source o invisible… T gently like sea recovered fro when I noticed was swimming levels of the Her hair float fingers occas one of the can I must be fa siren, in the sense of the had the impre half of this cha was naked d waistline, con of steel of sca petals.”

Louis Aragon, Paris Peasant The passageways of the city are ephemeral, temporal and changing places, they are not a place to linger, or to journey to specifically. They are simply dimensionless trajectories within our journeys of day-to-day life.

They are places that are defined by the impacts of the spaces and uses surrounding them.

Within Peck Lane the spaces of the Passageway are given dimension and the spaces either side a use once more. They will become a place of communication, to chance on information, to sell as it once was in the days of the Lace Market and when Nottingham had an identity created by the people who scoured the passageways for these human aquariums.

The passage are ephemer changing pla a place to lin to specifically dimensionless our journeys They are plac by the impacts uses surround Within Peck La Passageway a and the space once more. a place of chance on info once was in th Market and wh an identity cre who scoured for these hum

(ap)perception: Peck

(ap)perce

Lane

Lane

116

117 Unit 4

A

Gizem Michael Guzen Ramwell Chris Ansell Old Sod

The Isle of Portland is chosen for the 2012 Olympics Sailing events.

However, the island has only one public space, Easton. The design creates a second public area and getsare the 13,000 expensive sailingliving activity There residents accessible for public with its onmore Portland, living alongside prototypes andin models.

The 1.400 prisoners two large activity miniaturized pool prisons.

Separated into by the an also goes backwall, to thethese sea with insurmountable vastthe prototypes researched into realms of incarceration nestlethe laboratory and re-constructed into between housing and a desolate, 1:1 in the workshop.

This activity deserted coastline – forgotten by isrest conceptualized to the the of the island.as; The institution is back dedicated sea,further back tothe the public.

Despite being anknowledge omnipresent to and sear upon the horizon with naturally a scale education into the As my design articulates changalien to the rest of the island, occurring land process of Portland ing levels and scales as miniaturGrove Young Offenders’ Institute Top Floor Plan – an architectural contribution 1:100 @ A1 ization ofvoid sailings into prototypes, acts as a through the heartto to its environment dedicated it refers to the reduction of of its thepreservation. community - Such repelling andthe a lateral horizon. In ata one common sense, incarcerating and the institution seeks to gather horizon meansare an abstract same time.stimulate There moments, Stinterest, Andrews Church, Portland: education and alignment perceived from the of joint however, when ribbon A field 13th study, century ruinthis surrounded encourage visitation, of the skysurrounds and earth and inprison a more wall that the byreflect indigenous flora and fauna, uniqueness of its precise the concept can beinside. thought ruptures, offering itviews with that go beyond whatof my Jurassic heritage yet origin symbolize asuses a space where the I have exploited one of these and direct its happens. future. can merely been seen, design In terms blisters toidea introduce a they centre to of have that can the embodied latter idea,qualities my design which families can come andbe The institute operates in a through investigation and deeper thought as a re-alignment of see offenders, while giving thethe world understanding can be explored, horizon ofin afragmented smaller scale and offenders opportunities formatter the a by receiving and monitoring utilised and celebrated. transformation it into a more future; beyond theof wall. fragments ofinstitution place - thethe matter concrete where wider The lateralsetting that I that is can gradually becoming concept still tobeconserve, perceived.

The project sets out have created incorporates an coastline.

The geologists releaseof The aim to bring the security horizon architecture that offers protect andisprocess local discoveries into atorealm of debate thethe open area aprison closed place from heart of the while plants through cataloging and and challenge towelcoming create sense change to wider cultural, being to of families archiving within aaseedbank. of the different levels which economic, andcommunity. historical issues. and wider Thisare Accommodation is also provided byfor thespecialist of horizon symbiotic nature isidea embodied byas at revealed the centre a net determinant object of levels. the repair yard, a realm that ‘…the turn from to-It botanists as well asarchitecture labourers can be perceived as offenders a transforgives back to both ward landscape enables one to of mation the land.

Their stewardship the common and local offishing industry while reconceive thehorizon role thatinbuildings and husbandry does not only sense the cosmic charging redundant chunk of play in this adetermining wider cultural context. lielevel withinhence the immediate realmof it to a downsizing coastline.

Landscape and architecture are of the theinstitution site, their nurture strata aacts concrete This as and a place. neutral ways… ofinconstructing culture, conservation reaches out to environment between of giving the patterns of our two lives serve the wider context of extremes.

It is neitherand thisexpresside, durable dimension Portland asthe a whole. nor that,D. of wall - it becomes a sion.’

Leatherbarrow part of the wall, a part of the fabric The not onlyangrows and of of thecentre community, armature the prisonrare reaching out over the cultivates and important wall manifest itself beyond. localtoplants, it also manufactures much of its produce into medicinal products for sale and Re-alignment of consumption on site. Public and Horizon from private spaces sit alongSea side to Publicand are bridged one another by transparent dual purpose elements as theYoung drying Grovesuch Prison room, which serves both the Offenders’ Restitution private laboratory as well as the & Family Centre public tea room.

Here the public First Floor Plan 1:100 @ A1 herbal tea are able to consume whilst looking through hung, dried plants on to the gardens in which the tea was grown.

Thomas McKelvey

A

1m Scale

A

A

118

1m Scale

Tho McK

UNIT 5 - POETIC REASONING OF PHENOMENOLOGY

St Andre A 13th c by indig with use can mer have em through underst utilised

The pro protect plants th archivin Accomm at the ce botanist of the la and hus lie within of the si conserv serve th Portland

Lateral can refer to many things including peripheral field, overlooked surfaces and ‘edge-programme’. It can also point to qualities which fall below the radar of a prevailing ‘scopic regime’. Our pursuit of non-retinal architecture goes beyond visual spectacle in order to develop a subtle yet powerful material language. The preoccupations of Unit 5 are inspired by the poetic reasoning of phenomenology. Meaning, ideas and creative thought are carried by and communicated through things. So first and foremost this is a return to the thing as the seat of architectural ideas. But it is not a return to some base materialism or nostalgia for the arts and crafts. Thought is reoriented, rematerialised and re-embodied; thickened to the point where the world grips and takes hold of ideas which as a result slowly gain traction. Thought becomes chimeric and is no less noble as a result; in architecture the most elevated mind can soon become impoverished and solipsistic. We are intriqued by a mixed inter-reality of matter-mind, a realm in which the immaterial is recast as a half-human, half-inhuman inter-material condition. An impure discipline, architecture occupies a zone of lateral interplay.

The cen cultivate local pla much of medicin consum private s one ano by trans element room, w private l public te are able whilst lo plants o the tea

Dr Darren R. Deane Studio leader

Bota Cen

Laura Gaskel

119

The programm briefing centre, w by each sailing in order to prep and study th institution will pr the professiona also recording of the 2012 Oly process will form inspiration for fu whilst forming profile and enc in the Jurassic c centre will hav of isolation’, wit link between p spaces; serve spaces.

A Water desalin centre will ser needs and be by the surroun The filtration pr with the exis affiliating a ‘disu water storage

Unit 5

Alexandra Logan

Alexan Logan

Lying between the edge of Chesil beach and Chiswell village on the peninsula of Portland, the site is where many boundaries meet.

The project manipulates these to create a new public ground and interface between the two.

Lying between beach and Ch peninsula of where many The project m create a new interface betw

The scheme consists of a fishing institute, fishermen’s facilities and café. The institute monitors fishing stock and works with fishermen to become more sustainable.

Fishermen should then be able to create stronger links with one another and officials thus enabling the once solitary profession to have more lateral connections.

The scheme c institute, fishe café. The insti stock and wo to become Fishermen sh to create stro another and o the once so have more lat

The design of the building allows the rooms to not just sit along side one another, but become more integrated and connected so public and private realms overlap. Apertures and doors can be opened up inviting the café to extend onto the sea wall and lower public ground. This allows thresholds between public and private and interior and exteriors to fluctuate.

Fishing Institute and new public ground

120

The majority on site, allow engage more and place the Some of the fi in the café, stay and enj while allowing food. The b ground allow figures in the scientists and directly and i other both t and more purp

Developed surface drawing

Developed surface drawing

The majority of fish will be sold on site, allowing customers to engage more with the people and place there food comes from.

Some of the fish will also be used in the café, enabling people to stay and enjoy the area more while allowing people to try local food. The building and public ground allows the three key figures in the scheme: fishermen, scientists and public to interact directly and indirectly with each other both through ‘accidental’ and more purpose encounters.

The design of the rooms to side one an more integra so public a overlap. Apert be opened u to extend ont lower public g thresholds be private and in to fluctuate.

Fishing In new pub

Heidegger believes that in order to ‘be’ we mustthat consciously Heidegger believes in order or unconsciously realize what to ‘be’ we must consciously or he calls the ‘fourfold’; the interplay unconsciously realize what he sky, earth, mortals and callsbetween the ‘fourfold’; the interplay divinities. mortals areand human between sky, The earth, mortals beings, responsible forhuman their own divinities.

The mortals are destiny, ‘authentic’ beings. beings, responsible for their ownHow these‘authentic’ four elements are gathered destiny, beings.

How and the interplayare between these four elements gatheredthem the boundaries of our world and form the interplay between them a lateral context, forminthe boundaries of the our‘between’. world believes thatthe buildings gather in a He lateral context, ‘between’. the fourfold, revealing He believes that thus buildings gatherwhat calls the and what bringing the he fourfold, thus‘truth’, revealing our world into being. he calls the ‘truth’, and bringing our world into being.

The retreat’s therapeutic core activities such ascore private Theinhabits retreat’s therapeutic contemplation bathing, bathing inhabits activities such as private in natural oils and salts, relaxing contemplation bathing, bathing in a steam room, in natural oils and salts,medical relaxingmud more.

The visitors in abathing steam and room, medical mud are encouraged interact bathing and more.toThe visitorswith are the buildings toactivities encouraged interact and with choose the the ingredients for their baths buildings activities and choose the depending ingredients on for their their needs. baths In betweenon these wandering depending theirpools, needs.

In spaces social between these encourage pools, wandering interaction, chance observations, spaces encourage social nodes chance to probe confident interaction, observations, decision material nodes to making probe and confident participation. architecture decision making The and material should onlyThe nudge the visitors participation. architecture into only an eagerness learn, into should nudge theto visitors together, helpingintoeach into working an eagerness to learn, other,together, making choices and into working helping each newmaking ways ofchoices looking and at ourinto world. other, their choices atthe newBy ways of looking ourvisitors world. will showchoices their the individuality, By their visitors willtheir destiny prove to betheir one of show their and individuality, Heidegger’s authentic destiny and prove to be beings. one of Heidegger’s authentic beings.

Specialised Medical Specialised Medical Hydrotherapy Retreat Hydrotherapy Retreat

“Herein lies the opening for an architecture that bears the weight of the human condition, finding of connection thethe places or our world.”

Randal Teal.

“Herein lies resonances the openingand for points an architecture that into bears weight of the human condition, finding resonances and points of connection into the places or our world.” Randal Teal.

121

Unit 5

Alice Alice McClure McClure

Unit 5

Chris Ansell There are 13,000 residents living on Portland, living alongside 1.400 prisoners in two large prisons.

Separated by an insurmountable wall, these vast realms of incarceration nestle between housing and a desolate, deserted coastline – forgotten by the rest of the island.

Despite being an omnipresent sear upon the horizon with a scale alien to the rest of the island, Grove Young Offenders’ Institute acts as a void through the heart of the community - repelling and incarcerating at one and the same time. There are moments, however, when this ribbon of wall that surrounds the prison ruptures, offering views inside.

I have exploited one of these blisters to introduce a centre to which families can come and see offenders, while giving the offenders opportunities for the future; beyond the wall.

The lateral institution that I have created incorporates an architecture that offers security from the heart of the prison while being welcoming to families and the wider community. This symbiotic nature is embodied by the net repair yard, a realm that gives back to both offenders and local fishing industry while charging this redundant chunk of coastline.

This institution acts as a neutral environment between two extremes. It is neither this side, nor that, of the wall - it becomes a part of the wall, a part of the fabric of the community, an armature of the prison reaching out over the wall to manifest itself beyond.

Grove Prison Young Offenders’ Restitution & Family Centre

122

Chris Ansell

There are 13,00 on Portland, 1.400 prisoner prisons.

Sepa insurmountable realms of inca between housin deserted coastli the rest of the is Despite being sear upon the ho alien to the re Grove Young O acts as a void t of the communi incarcerating a same time. The however, when wall that surro ruptures, offerin I have exploite blisters to introd which families see offenders, offenders oppo future; beyond th The lateral in have created architecture tha from the heart o being welcomi and the wider symbiotic nature the net repair y gives back to and local fishin charging this red coastline.

This institution a environment extremes. It is nor that, of the w part of the wall, a of the communit the prison reach wall to manifest

Grove Pris Offenders’ & Family C

The The Jurassic coast is is onlyonly Jurassic coast beautiful beautiful and and resourceful resourceful because it presents us us withwith because it presents an an everever changing storystory fromfrom changing millions of years ago.ago.

The The IronyIrony millions of years of preserving the the Jurassic coast of preserving Jurassic coast is toislet away revealing to itleterode it erode away revealing whatwhat it leaves behind.

Between it leaves behind.

Between the sea and and the coast is anisedge the sea the coast an edge condition constantly in tension.

I condition constantly in tension.

I havehave studied this this edgeedge condition studied condition and and responded by by choosing responded choosing a site at the junction of two a site at the junction of two routes, a dialogue between the the routes, a dialogue between amateur and and professional.

The The amateur professional.

Geology institute of the Jurassic Geology institute of the Jurassic coast exists to protect, examine, coast exists to protect, examine, educate and and gather datadata and and educate gather fossils fromfrom the the continuingly fossils continuingly revealing coast.

ThisThis building revealing coast. building actsacts as the jointjoint and and interacting as the interacting space between the the public and and space between public the the private.

There is a issense of of private.

There a sense interruption and and coexistence in in interruption coexistence the courtyard of the The The the courtyard of building. the building. building setssets out out to provide two two building to provide setssets of movement meeting in the of movement meeting in the middle, one one being the the visitors middle, being visitors and and one one being the professionals. being the professionals.

The The visitor setssets out out on aonjourney visitor a journey through a number of transitional through a number of transitional spaces, gradually uncovering spaces, gradually uncovering histori¬cal layers withwith a thirst for for histori¬cal layers a thirst knowledge.

The The mainmain archive knowledge. archive space is the of the space isanchor the anchor ofbuilding, the building, a fossilised roomroom underneath the the a fossilised underneath church ruin ruin which exhibits the the church which exhibits geology and and fossils of the coast. geology fossils of the coast.

The The tower fromfrom afar afar is seen as aas a tower is seen single mass respond¬ing to the single mass respond¬ing to the wider context (the (the whole of the wider context whole of the Jurassic coast), whilst within the the Jurassic coast), whilst within structure is a is hierarchy of refining structure a hierarchy of refining spaces interwoven by light, air, air, spaces interwoven by light, and and materiality. materiality.

RevealingRevealingTheThe Jurassic Coast Jurassic Coast

123

Unit 5

Samuel Samuel Clarke Clarke

Unit 5

Thomas McKelvey

Thoma McKel

St Andrews Church, Portland: A 13th century ruin surrounded by indigenous flora and fauna, with uses that go beyond what can merely been seen, they have embodied qualities that through investigation and deeper understanding can be explored, utilised and celebrated.

St Andrews C A 13th century by indigenous with uses that can merely be have embodie through invest understanding utilised and ce

The project sets out to conserve, protect and process local plants through cataloging and archiving within a seedbank.

Accommodation is also provided at the centre for specialist botanists as well as labourers of the land. Their stewardship and husbandry does not only lie within the immediate realm of the site, their nurture and conservation reaches out to serve the wider context of Portland as a whole.

The project se protect and pr plants through archiving with Accommodati at the centre f botanists as w of the land. Th and husbandr lie within the im of the site, the conservation r serve the wide Portland as a

The centre not only grows and cultivates rare and important local plants, it also manufactures much of its produce into medicinal products for sale and consumption on site. Public and private spaces sit along side one another and are bridged by transparent dual purpose elements such as the drying room, which serves both the private laboratory as well as the public tea room. Here the public are able to consume herbal tea whilst looking through hung, dried plants on to the gardens in which the tea was grown.

The centre no cultivates rare local plants, it much of its pro medicinal prod consumption o private spaces one another a by transparen elements such room, which s private labora public tea room are able to co whilst looking plants on to th the tea was gr

Botanical Medicinal Centre

124

Botanica Centre

The Stone Restoration Institute, Portland, has emerged from an The Stone ofRestoration Institute, appreciation both the art and Portland, has emerged fromofan thinking behind the working appreciation of both theproject art and stone.

The core of the thinkingbetween behind the theintroverted working of mediates stone. Theprocess core of and the project laboratory the mediates between process, the introverted practical production the laboratory process andeachthe two programmes alongside practical production process, other, allowing a stone carverthe programmes alongside each to two work on replacement stones other, a stone with the allowing conservator and carver the to worklanguages on replacement stones different of scientist with the conservator and skillsman to enter intoand a richthe different through languages of scientist discourse, the programme andforges skillsman to enter into a rich that a lateral connection discourse, through the programme between them. that forges a lateral connection between them. the redundant Once remade, stone pieces are reactivated by Once remade, thetheredundant their inclusion within public stone pieces are reactivated museum, displayed alongsideby their inclusion the public fragments of within the remaking museum,anddisplayed alongside process appreciated for of the remaking thefragments craftsmanship involved in process andTheappreciated their creation. juxtapositionfor craftsmanship involved of the highly elevated objects and in their creation.

The creates juxtaposition half-worked stone a of highly elevated and connection between objects spectator half-worked stone creates a and process of creation. connection between spectator and process of creation.

The project deals largely with the same materials in different states project deals of The refinement - thelargely large,with rawthe sameofmaterials in differentalong states lumps stone scattered refinement - thelandscape, large, raw theof deserted quarry lumps of stone along gradually given scattered articulation the deserted quarry tolandscape, from sawn blocks finely gradually given articulation detailed stonemasonry.

As the from progresses sawn blocks journey from to yardfinely to detailed increasing stonemasonry.

As the exhibition, articulation progresses from yard to is journey expressed within the tectonic exhibition,of increasing articulation language each space, this is expressed within the tectonic gradual development punctured of of eachprevious space, or this bylanguage fragments gradual development punctured forthcoming elements. by fragments of previous or forthcoming elements.

Repairation Repairation

125

Unit 5

Victoria Lee Victoria Lee Fabron Fabron

Michael Ramwell

A

A

Michae Ramwe Old Sod

Unit 5

Old Sod

The institution is dedicated to further the knowledge and education into the naturally occurring land process of Portland Top Floor Plan – an architectural contribution 1:100 @ A1 to its environment dedicated to its preservation. Such a lateral institution seeks to gather interest, stimulate education and field study, encourage visitation, reflect the uniqueness of its Jurassic heritage yet symbolize and direct its future.

The institutio to further the education int occurring land p Top Floor – an architec 1:100 @ A to its environm its preservatio institution se interest, stimul field study, enc reflect the u Jurassic herita and direct its fu

A

1m Scale

1m Scale

The institute world of fra by receiving fragments of that is grad coastline. The discoveries into to challenge economic, and

The institute operates in a world of fragmented matter by receiving and monitoring fragments of place - the matter that is gradually becoming coastline. The geologists release discoveries into a realm of debate to challenge wider cultural, economic, and historical issues.

A

‘…the turn from architecture toward landscape enables one to reconceive the role that buildings play in a wider cultural context.

Landscape and architecture are ways… of constructing culture, of giving the patterns of our lives durable dimension and expression.’ D. Leatherbarrow

A

A

126

First Floor Plan 1:100 @ A1

‘…the turn fro ward landscap reconceive the play in a wide Landscape an ways… of con of giving the pa durable dimen sion.’ D. Leathe

Firs 1:1 1m Scale

1m Scale

The The programme programme will will activate activate aa briefing briefingcentre, centre,which whichcan canbe beused used by by each each sailing sailing team team individually individually ininorder ordertotoprepare preparefor forthe thegames games and and study study the the waters. waters. The The institution institutionwill willprovide provideaaretreat retreatfor for the the professional professional athletes, athletes, whilst whilst also alsorecording recordingan an‘artificial ‘artificialfossil’ fossil’ ofofthe the2012 2012Olympic OlympicSailing.

Sailing.This This process processwill willform formaa‘social ‘socialline’ line’ofof inspiration inspirationfor forfuture futuregenerations, generations, whilst whilst forming forming an an international international profile profile and and encouraging encouraging interest interest ininthe theJurassic Jurassiccoast. coast.The Thebriefing briefing centre centre will will have have various various ‘levels ‘levels ofofisolation’, isolation’,with withaastrong strongpoetic poetic link link between between public public and and private private spaces; spaces; served served and and serviced serviced spaces. spaces.

AAWater Waterdesalination/ desalination/purification purification centre centre will will serve serve the the buildings buildings needs needs and and be be available available for for use use by by the the surrounding surrounding beech beech huts. huts.

The Thefiltration filtrationprocess processwill willengage engage with with the the existing existing topography, topography, affiliating affiliatingaa‘disused ‘disusedreservoir’ reservoir’for for water water storage storage –– metaphorically metaphorically ‘flooding ‘flooding the the landscape’. landscape’. This This reservoir reservoir forms forms aa ‘background’ ‘background’ totothe theinstitute institute- -dependant dependantupon upon its itswider widercontext, context,questioning questioningthe the site’s site’s remoteness remoteness and and unstable unstable surfaces. surfaces.

The The exposure exposure ofof the the filtration filtration processes processes within within the the briefing briefing centre, centre, will will add add aa dimension dimension ofof time time scale scale and and define define territory territory within withinthe thespaces. spaces.The Theexplosion explosion and and compression compression ofof these these conditions conditions will will articulate articulate the the relationship relationship between between social social and and physical physical activities, activities, forming forming aa lateral lateral programme programme between between the the landscape, landscape,user userand andArchitecture.

Architecture.

AABriefing BriefingInstitute Institutefor for Olympian Sailors Olympian Sailors

127

Unit 5

Laura Laura Gaskell Gaskell

Unit 5

Laura Mitchell The raw materiality of Portland has been overly exploited and within 30 to 40 years its natural reserves of stone will become scarce. The connectivity to the landscape needs to be re-established, infused by a identit traditional, cultural identity.

Through the restoration of a post-industrial quarry and disused pub, the fertility of the earth will be re-established to harvest a barley field, whilst also providing shelter for a bee colony.

The programmatic elements within my design range from the malting of barley, the honey extraction from bee colonies, the fermentation of the honey beer and finally the consumption of the beer. The infusion of processess exist as series of orders that equate to the accumulation of a lateral system.This order contributes to the transition of nature to culture.

The tectonic intentions illustrate the fusion of social, cultural and industrial processes, expressed through the materiality of the spaces.

The production of craft beer will facilitate relationships, connecting people across local and regional boundaries: thus creating a socially equitable space that has the ability to laterally enrich the identity of Portland “Ambient landscape is not what surrounds and supplements the building, but what enters into, continues through, emanates from, and enlivens it.� David Leatherbarrow.

Beekeeping Microbrewery: From lithic to atmosphere

128

Laura Mitch

The raw m has been o within 30 to reserves of scarce. Th landscape re-establishe traditional, c

Through th post-industri pub, the fer be re-estab barley field, shelter for a The progr within my d malting of extraction fr fermentation and finally th beer. The in exist as se equate to th lateral syste utes to the t culture.

The tectonic the fusion o industrial p through the spaces.

The product facilitate rela people acro boundaries: socially equ the ability to identity of Po

“Ambient la surrounds a building, bu continues from, and Leatherbarro

Beekee brewery to atmo

The Island of Portland in Dorset is world renowned for its pure Portland Stone.

However unlike isthe The Island of Portland in Dorset stone it owes its to Portland world renowned forname its pure Portis aStone. broken However and scattered commuland unlike the nity.itMy proposal is totounite the vilstone owes its name Portland lages withand a new coastal walk set is a broken scattered commuin the of is the railway line. nity.

My cutting proposal toold unite the villages with a new coastal walk set in the cutting of the old railway line.

The Local Government Act of 1972 meant that the islands town hallsGovernment and recordsActoffices The Local of weremeant removed 1972 thatand the outsourced islands to the mainland, leavingoffices a vactown halls and records uumremoved and no and community focus. were outsourced to the mainland, leaving a vacuum and no community focus.

There is currently no facilities to cater for civic weddings on the island.

I proposenotofacilities tie into tothe There is currently existing ruinsweddings of St. on Andrews cater for civic the Church and create lateral island.

I propose to tiea into theinstitue ruins wich not onlyAndrews provides existing of St. facilities registering Church and for create a lateral Births inand wich Deathsnotbutonly provides funcstitue provides tion space island weddings. facilities for for registering Births and Deaths but provides function space for island weddings.

My project will restore island pride by providing a public records ofand will a community hall.

The Myfice project restore island pride withrecords the exiting byproposal providingalong a public ofPortland will hall. form aThe civic fice and a Museum community square at the heart of the island. proposal along with the exiting Portland Museum will form a civic square at the heart of the island.

Portland Public Records Office Portland Public Records Office

129

Unit 5

James Munro James Boon Munro Boon

Unit 5

Rebecca Smith

Rebec Smith

The Isle of Portland once held a strong sense of identity, revolving around the mining occupation and emphasized by its isolation from the mainland. With the demise of mining on the island and the further integration between Portland and Weymouth, the sense of identity in Portland has been lost. Portland now has no local new letter and events such as births and deaths must be registered on Weymouth. I propose a living archive, which will collect information from the past and the present for generations of the future. Events will be carried out and recorded here, and provisions will also be made for the study of these events. The building itself will be retained as an events space for defining occasions, for example weddings, christenings and funerals. It will also hold events such as festivals and art exhibits.

The program will provide for the recording of events, with a registry office. Additionally there will be provisions for the recording of events in other forms such as art, story telling and personal account writing and the recording of informal talk. These more perceptional ways to record events, although perhaps less accurate, give a fuller picture of the event when it is being studied in the future and add a personal element, which could be referred to as the introduction of doubt, in the scheme. The recordings will be kept in an archive, available

The Isle of Po strong sense around the min emphasized b the mainland of mining o the further in Portland and sense of iden been lost. P no local new such as birth be registered propose a liv will collect the past and generations o will be carried here, and p be made for events. The b retained as a defining occa weddings, funerals. It w such as festiv The program the recording a registry o there will be recording of e such as art, personal acco recording of i more percepti events, altho accurate, giv the event whe in the future a element, whic to as the intro the scheme. be kept in an

for study.

for study.

The Production of Certainty The Living Archive

130

The Prod Certainty The Livin

The Isle of Portland is chosen for the The 2012Isle Olympics Sailing of Portland is events. chosen for However, theOlympics island has only events. one the 2012 Sailing public space, Easton.

The However, the island hasdesign only one creates a second public area public space, Easton.

The and design getscreates the expensive sailing a second publicactivity area and more accessible for public withactivity its gets the expensive sailing prototypes and models. more accessible for public The with its activity miniaturized the poolThe prototypes and into models. alsoactivity goes back to the seainto withthe thepool miniaturized prototypes into with the the also goesresearched back to the sea laboratory and re-constructed into the prototypes researched into 1:1 laboratory in the workshop.

This activityinto and re-constructed is conceptualized as; back to activity the 1:1 in the workshop.

This sea,isback to the public. conceptualized as; back to the sea, back to the public.

As my design articulates changing As levels scales as miniaturmyand design articulates changization of sailings prototypes, ing levels and into scales as miniaturit refers to the reduction of the ization of sailings into prototypes, horizon.

In to a the common sense, it refers reduction of the horizon means an abstract horizon.

In a common sense, alignment joint horizonperceived means from anthe abstract of the sky andperceived earth and from in a more alignment the joint precise can be thought of theconcept sky anditearth and in a more as aprecise space concept where the origin my it can beofthought design happens.

In terms of my as aidea space where the origin of the design latter idea, design In can be of idea my happens. terms thought as a idea, re-alignment of can the be the latter my design horizon in aassmaller scale andofa the thought a re-alignment transformation it into scale a more horizon in aofsmaller and a concrete setting where transformation of it the intowider a more concept cansetting still be perceived. concrete where the wider Theconcept aim is tocan bringstill thebe horizon of perceived. the The openaim area a closed place of is totobring the horizon andthe to create a sense change open area to a of closed place of and different levels which are to create a sense of change revealed by the idea of horizon of different levels whichas are a determinant of of levels.

It as revealed byobject the idea horizon canabe perceived object as a transfordeterminant of levels. It mation horizon in can of bethe perceived ascommon a transforsense determining the incosmic mation of the horizon common level hencedetermining a downsizingthe of itcosmic to sense the level stratahence in a concrete place. a downsizing of it to the strata in a concrete place.

Re-alignment of Re-alignment Horizon from Seaofto Horizon from Sea to Public Public

131

Unit 5

Gizem Gizem Guzen Guzen

Unit 5

Dan Dan Ladyman Ladyman The term lateral institution reflects an architecture which The termthe lateral institution embodies extended culture reflects architecture which than froman which it is situated. embodies the extended Whilst responding to aculture local than fromit which it is situated. situation, does not necessarily Whilst responding a more local become vernacular; toit is situation,on it does not necessarily focused the holistic approach become vernacular; it is more to understanding and responding focused place on theand holistic through spaceapproach at local, to understanding and responding national and international levels. through place and space at local, national and international Portland, ‘the peninsula levels. carved by time out of a single stone’ is Portland,with ‘thedying peninsula carved swollen culture, both by timeand out oral, of a single stone’ is written these essential swollen with dying both characteristics of culture, the islands written are andcurrently oral, these essential identity not portrayed characteristics of the through islands or symbolically referenced identity are currently the architecture or not its portrayed facilities. or symbolically referenced A small museum, made through popular the to architecture or itsin facilities. due its appearance the work A small museum, popular of Thomas Hardy,made displays a due to its appearance the work diminutive selection ofinPortland’s of Thomas Hardy, displays a heritage. diminutive selection of Portland’s heritage.

The islands legacy can often be overlooked as its attributes The infrequently islands legacy can often are celebrated and be overlooked as itsonattributes only become visible deeper are infrequently Through celebrated and examination. the only become visible on deeper deconstruction and remaking of examination.

Through the Rufus castle, a 15th century ruin deconstruction remaking of the architectureand does not frame Rufus castle,fortification; a 15th century ruin a historical instead architectureand does not frame itthereconfigures generates a a historical fortification; instead new typology.

By reversing the it reconfigures and generates a initial dissemination of active new typology.

By reversing the spoken knowledge, experiential initial dissemination of enable active eyewitness accounts will spoken knowledge,of experiential the development a deeper eyewitness accounts will regions enable understanding of the the development of a deeper identity. .understanding of the regions identity. .

Portland: Institute Portland:for Oral History Institute for Oral History

132

Dan Ladym

The term reflects an embodies th than from w Whilst resp situation, it d become ver focused on t to understan through place national and

Portland, ‘th by time out swollen with written and characteristic identity are cu or symbolical the architect A small mus due to its app of Thomas diminutive se heritage.

The islands be overlook are infreque only become examination. deconstructio Rufus castle the architect a historical it reconfigure new typolog initial disse spoken kno eyewitness a the develop understandin identity. .

Portland Institute Oral His

The Portland Rehabilitation Clinic The Rehabilitation is aPortland centre which aims toClinic help is a centre which aimsaddictions to help people with substance people with their substance addictionsIt overcome compulsion. overcome theirthecompulsion.

It is based on eastern edge is on the eastern of based Portland Island uponedge the of Island chapel. upon The the ruinsPortland of an ancient ruins of an ancient building clings to thechapel. rear ofThe the building clings thethe rear of the remaining wallstoas entrance remaining walls astothereveal entrance pierces through the pierces through the to reveal interior courtyard, heart of the the interior courtyard, the heart of the building. building.

Overlooking the bay and out into Overlooking bay and into the English the Chanel, theout centre the English the Chanel, the to centre encourages patients look encourages the patients to to look outside of themselves help outside of their themselves to help overcome dependence.

The overcome their dependence.

The courtyard hosts a kitchen garden courtyard hostsare a kitchen garden where patients encouraged to where patients are encouraged to grow plants and vegetables.

This grow plants and vegetables.

This process of nurture releases them process of nurture releases them from their introverted activities from their start introverted activities and help their journey to and help start their journey to recovery. recovery.

The centre boasts a small The centre both boastsgroup a small Laboratory, and Laboratory, both group individual meeting rooms,anda individual rooms, a gymnasium,meeting accommodation, gymnasium, refectory, kitchenaccommodation, and library. The refectory, kitchen andsufficient, library. The centre would be self as centre would be as an example to self the sufficient, patients that an patients that it isexample possibletotothe survive without itaddiction. is possible to survive without addiction.

Portland Portland Rehabilitation Clinic Rehabilitation Clinic

133

Unit 5

Andrew Andrew Burgin Burgin

Unit 5

Thomas Wells The project for Chiswell on the Isle of Portland, Dorset will endeavour to reconnect the community with a valuable resource – the Sea. Latour describes how Pasteur uses a “hook” – and so should an institution to remind the public how important, valuable and enjoyable a resource can be; demonstrating both its importance and the threats it faces simultaneously. Latour’s description of the hook used the example of Pasteur and the Dairy Farmers and in Chiswell the Ecologist must persuade the fishermen of the value of better management of their resource and help them reinvigorate their industry for the future.

The building will see the installation of a local marine ecologist (from the Marine Conservation Society) to help the fishermen better manage their stocks and to educate and inform the public about their surrounding coastal waters and marine wildlife.

There will be a dialog of information exchange as the fishermen add their extensive local knowledge to help the ecologist.

Thus the scheme becomes the background for a series of crossing paths and shared territories – helping to share the responsibilities & rewards brought by better management of the Island’s surrounding waters - The lateral dissemination of ideas and local knowledge forming a constant flow between Public, Ecologist and Fishermen.

Chiswell Community Marine Management Centre

134

Thoma Wells

The project fo Isle of Portl endeavour to community w resource – describes how Pasteur us so should an in the public valuable and enjoyable a r demonstrating importance an faces simulta description of t hook used Pasteur and t and in Chisw must persuade the value of bette their resource reinvigorate th future.

The building w tion of a loca (from the Ma Society) to help better manage educate and about their su waters and ma There will be a tion exchange add their exte edge to help th Thus the sche background f crossing paths ries – helping to sibilities & rew better mana Island’s surrou lateral dissemin local knowle constant flow Ecologist and F

Chiswell C Marine M Centre

Victoria Lim Clark Unit 5

Sitting within the ruins of the church of St Andrews above a small cove on the eastern coast of Portland, the cartographer’s tenuous claim to influence over the island’s small and disunified population is exerted from this unlikely base. Speculation over the historical traditions of the site are numerous and diverse- from pagan leylines that constellate about its center, to Vestal temples and stone circles that may have once stood in its place. It has been re-imagined as a place of great spiritual importance by the silent workings of Masonic geometries and each visitor that happens upon the site, unknowingly treading the landing place of ancient peoples to the Isle of Slingers.

From a tradition of domestic territorial and large-scale nautical dispute, the island’s once antagonistic and now abandoned relationship with the sea, its scarred and quarried landscape and its shameful political impotency comes a claim to the land, through the oral culture of its people and its geographies to COLLECT back an identity of place that has existed there for millennia removed from the standardised vernaculars of time and space, history and boundary that characterise the official system of the outside world.

Mapping is the building’s programmatic ribbon, tying old Portland traditions to its geographies of culture and gently subverting the civic claim of the remote but officially ruling Weymouth Coucil on the mainland. The building accommodates a re-imagined moot hall, which incorporates the court and festival aspect of this tradition with a ‘council’ chamber, hearth and festival space, a museum and archival repository as well as the cartogapher’s private realm, consisting of the laboratory and reading room.

The Portland Cartographic Council

135

Unit 5

Thomas Partridge My lateral institution intends to deal with Portland’s degradation; it’s use as a dumping ground. The island, which has a proud industrial heritage, is now infamous for its council estates and prisons (the primary employer). Furthermore, the island has been subject to a common policy that as man has emptied the quarries, it is our duty to fill them back in.

I propose that the historic and cultural value of Portland’s pitted landscape must be acknowledged, and so propose a facility which both diverts waste from landfill and slowly reclaims an in-filled quarry as part of an Environmental Agency facility. This small research and testing facility monitors ongoing processes of extraction, local waste management and gasification, a new method of converting waste to power for the local community.

A series of intermediary public spaces bridge the industrial, specialist and public realms in simultaneous strands of dematerialisation and rematerialisation; a lateral architectural programme which instigates a sustainable dialogue between the community and their resources. The proposal creates a new civic space for the celebration of what we do with our detritus.

Detritus

136

Thom Partrid

My lateral deal with Po it’s use as a island, which heritage, is council esta primary emp the island h common po emptied the to fill them b

I propose t cultural valu landscape m and so prop both diverts and slowly quarry as pa Agency facili and testing ongoing pro local waste gasification, converting w local commu

A series of spaces bri specialist a in simu of dema rematerialisa architectural instigates a between the resources. T new civic spa of what we d

Detritus

137 Unit 5

vegetable c creating an will be ach of light and vertical far farmsstructu and a The inspired by Propogatio of a boat through a boat buildi restaurant materiality system site once ne fa barges whi furniture ind goods to restaurants

9

21

20 10

Architectural space is about layering for all of the senses.

Like a musical composition, spatial features come together into a symphony for occupants to experience. Bringing a space to life means that architectural function and form is not just primarily for the visual sense. By engaging all of the senses, form and function may be more fully expressed so occupants can have deeper, more meaningful moments – feeling the bouquet of their surroundings in all of its dimensions.

13

12

14

23

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

MOORING FACILITY ENTRANCE WHARF RD ENTRANCE RECEPTION OFFICE/ADMINISTRATION ACCESS STAIRS WORKSHOP ACCESS WORKSHOP - 01 WORKSHOP - 02 WORKSHOP - 03 WORKSHOP - 04 DRY DOCK COUNTER STORAGE ROOM CAFETERIA CANAL SIDE ENTRANCE ACESS STAIRS

17 18 19 20 21 22 23

FFEMALE WC MALE WC SHOWER CUBICLES LAUNDRY ROOM EXHIBITION SPACE BOAT MOORINGS FLOATING DECK

GROUND FLOOR PLAN

Focusing on acoustics, my project combines the analysis of light, materialty and the technique of fluidity to manifest this sensorial experience of the architecture and its landscape.

N

15 16

0

1

3

6m

The symbi the buildin water inpu result in ou restaurants waste is fe via the bio holistic s between ci

Photok Boatya

Urban

The Fluid Soundscape

138

UNIT 6 - MANIFESTOS FOR A FUTURE ARCHITECTURE PROJECT 1 : THE MANIFESTO TASK: To devise an architectural manifesto. (… through writing, drawing and film).

Ever since Marinetti declared publicly the futurist agenda in 1909, the manifesto has become a ubiquitous form of consolidating and disseminating intentions and beliefs in the arts. What Marinetti began, the unit has continued in the 21st century by formulating and proclaiming their own speculative manifestos for a new spatial, tectonic and aesthetic reality.

This process began by studying a source manifesto from such diverse arenas as film, art, literature and music, thereby understanding its intent, structure, style and techniques. This served as a catalyst to define their own manifesto, explored initially through a combination of text and image then culminating in a rerepresentation in film.

PROJECT 2.1 : THE PROTOTYPES TASK: To explore the architectural manifesto. (… through serial drawing, modelling and film).

The Prototypes enabled an exploration of the manifestos’ 3D implications through a series of analytical drawings, diagrams and models. It was important that they form a coherent and consistent body of work through successive progression and differentiation.

This began by translating the manifesto film overlay into a series of drawings and diagrams which carefully analysed and described its structure in relationship to its physical and visual nature, thereby

establishing particular techniques relevant to the structure of layers, sequence, series, framing and motion. These were translated into a number of layered 2.5D thickened drawings, a hybrid between drawing and model.

A further analysis of the form of ‘editing’ characteristic of their manifesto and style expressed via a matrix informed their specific architectural technique and process; it’s formal language being capable of describing and capturing 3D spatial relations, movements or changes over time. The matrix hybrids were subsequently further explored through a series of small-scale 3D physical models. Special attention being given to the technique and process, the degree of abstraction, the parameters of differentiation or seriality, texture and materiality, organisation and structure.

These 2D drawings/diagrams, 2.5D thickened drawings and 3D models demonstrating their techniques and processes were again concluded in a short film and became their analytical and design tools to help identify a site, determine the brief and develop a design for The Manifestation.

PROJECT 2.2 : THE MANIFESTATION TASK: To demonstrate the architectural manifesto. ( … within a site along East London’s canal network).

Whereas Project 1 initiated the manifesto, and Project 2.1 defined its technique and process by exploring its spatial implications through prototypes, Project 2.2 consolidated the preliminary ideas, analytical tools and formal language coherent to the manifestos to be deployed within the constraints and conditions of

a physical site. What until now had remained generic, became spatially and performatively specific.

Each chosen site therefore had to be relevant to the initial manifesto and provide a suitable context and test bed for its materialisation.

Once a site had been chosen, the project brief was clarified within this new context and was formulated as a secondary manifesto with a clear hierarchy of design parameters.

Following this new design manifesto, the building design was explored by developing the prototypes further and testing them against the site constraints and refined performative requirements.

During this process of design development and testing of ideas, emphasis was given to issues of placement, adaptation, differentiation, proliferation and user cycles. The building design is not only to be understood as a final proposal but is the manifestation of the ideas of the manifesto and prototype.

UNIT 6 : THE TUTORS INTERNAL : JULIE RICHARDS, DAVID MAX PHILLIPS AND AARON CHETWYND EXTERNAL : SAM JACOBY, CHRIS HILL, ROB WARE, PERPARIM RAMA, OLIVER DOMEISEN, FEONA CHENG, ANNA JAMES, IAN GROOM AND RICHARD MERRITT. IMAGE: Recto, Man Ray, 1927

139

Beverle Harriso

Unit 6

Beverley Harrison

Architectural space is about layering for all of the senses.

Like a musical composition, spatial features come together into a symphony for occupants to experience. Bringing a space to life means that architectural function and form is not just primarily for the visual sense. By engaging all of the senses, form and function may be more fully expressed so occupants can have deeper, more meaningful moments – feeling the bouquet of their surroundings in all of its dimensions.

Architectural s layering for al Like a musi spatial features into a sympho to experience. to life means function and primarily for the engaging all of and function m expressed so have deeper, moments – fee of their surroun dimensions.

Focusing on acoustics, my project combines the analysis of light, materialty and the technique of fluidity to manifest this sensorial experience of the architecture and its landscape.

Focusing on aco combines the materialty and fluidity to manif experience of and its landscap

The Fluid Soundscape

140

The Fluid Soundsca

The The aesthetics aesthetics ofof architecture architecture have have become become tools tools that that architects architectsnow nowtake takeforforgranted. granted.

ByBy constricting constricting the the number number ofof aesthetics aesthetics within within a a space, space, a a new new architecture architecture isis created. created.AA place placewhere wheresensorial sensorialemotion, emotion, reflection reflection and and rehabilitation rehabilitation may mayoccur. occur.The Thejuxtaposition juxtapositionofof constricted constrictedaesthetics aestheticsintensifies intensifies the thepower powerthat thatindividual individualspaces spaces may may have. have. ByBy using using a a series series ofof techniques techniques and and prototypes, prototypes, the theindividual individualspaces spacesininwhich which constricted constrictedaesthetics aestheticsare areutilized utilized are arerealised. realised.Chiaroscuro, Chiaroscuro,asasone one technique, technique, forces forces anan intensely intensely bright bright space, space, along along side side anan intensely intenselyblack blackone. one.The Theemotions emotions the theoccupant occupantfeels feelswithin withinthese these spaces spaceswill willbebealtered. altered.

The TheManifestation: Manifestation: The TheDark DarkSpa Spaforces forcescontinuation continuation between betweenaffected affectedareas, areas,where where guests guestsofofthe thespa spamust mustexperience experience the theseparate separateaesthetics. aesthetics.It Itacts actsasas a amodern modernconfessional confessionalforforthe the residents residentsofofthe thesurrounding surroundingsite site ofof Hackney, Hackney, London.

London. Sensory Sensory exploration exploration spaces, spaces, meditation meditation rooms roomsand andtreatment treatmenttowers towersoffer offer the theguests guestsescape escapeand andremedy remedy from from the the mundane mundane existence. existence.

The The dissection dissection ofof aesthetics, aesthetics, combined combinedwith withthe theuse useofofraw raw and and stark stark materials, materials, develops develops ananarchitecture architecturethat thatisisnot notmeant meant forfor merriment. merriment. It It becomes becomes anan architecture architecturethat thatcan canreconstruct reconstruct and and cure cure the the mental mental influence influence that thatthe theconventional conventionallifestyle lifestylehas has upon upon individuals. individuals. Guests Guests must must communicate communicate byby whispers. whispers. ByBy appointment appointmentonly. only.

Constricting Constricting Aesthetics Aesthetics

141

Unit 6

Madeleine Madeleine Ike Ike

Unit 6

Minesh Patel

Minesh Patel

“Try to allow your mind to think in terms of constant motion or flux instead of paralysis. Replace stillness with movement. I am breaching the static barrier, penetrating rigidity. I am destroying the confinement of the inert wall to achieve fluidity, motion and warmth in expressing feelingness, the pulsation of nature as it throbs.” Man Ray

“Try to allow in terms of c flux instead of stillness with breaching th penetrating destroying th the inert wall motion and w feelingness, nature as it th

Based around my manifesto of Kinetic Architecture, the aim of the project was to create a moving and transforming arcitecture; an architecture which expresses animation, an architecture capable of fulfilling its dynamic aspirations.

Based around Kinetic Archit the project wa and transform architecture animation, capable of fu aspirations.

1 2

22

3

5

4

4

11

6

Situated along in Islington, th a parametric is in constant throughout the the changing creating an ev of light and sh

7

Situated alongside a canal basin in Islington, the Boatyard features a parametric roof system which is in constant motion, “fluttering” throughout the day in reaction to the changing direction of the sun, creating an everchanging pattern of light and shadow within.

17

8

18

19

9

21

20

The structure of the buiding is inspired by the double curvature of a boat hull and traditional boat building techniques. The materiality also references a site once famous for its wooden furniture industry.

The structure inspired by th of a boat h boat building materiality a site once fam furniture indus

10

13 12

14

15 16

23

N 0

1

3

MOORING FACILITY ENTRANCE WHARF RD ENTRANCE RECEPTION OFFICE/ADMINISTRATION ACCESS STAIRS WORKSHOP ACCESS WORKSHOP - 01 WORKSHOP - 02 WORKSHOP - 03 WORKSHOP - 04 DRY DOCK COUNTER STORAGE ROOM CAFETERIA CANAL SIDE ENTRANCE ACESS STAIRS

17 18 19 20 21 22 23

FFEMALE WC MALE WC SHOWER CUBICLES LAUNDRY ROOM EXHIBITION SPACE BOAT MOORINGS FLOATING DECK

N

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

GROUND FLOOR PLAN

0

1

3

6m

6m

Photokinetic Boatyard

142

Photokin Boatyard

Architecture Architecture will will captivate captivate the the virtual virtualworld, world,that thatis isimposing imposingonon our ourphysical physicalreality, reality,bybycreating creatinga a place placeforfora adynamically dynamicallyengaging engaging community. community. The The online online virtual virtual experience experience strips strips away away depth depth and andunderstanding understandingin inface facetoto face face communities. communities. Humanity Humanity needs needsa askin skin& &bones bonesreturn return totothe thephysical, physical,from froma adistant distant appreciation appreciation ofof each each other. other.

Architecture Architecturewill willinvoke invokethis thisnew new sense of community through sense of community througha a choreographed interplay between choreographed interplay between temporal temporal and and established established activities. activities. This This will will re-engage re-engage public publicconsciousness consciousnessand andinspire inspire new newconversation conversationbybyexpanding expanding the thethreshold thresholdbetween betweenthe thepublic public and private realm.

People become and private realm.

People become the focus in a society slowed the focus in a society slowed byby architectural architectural intervention intervention in inopposition oppositiontotothe thefunctional functional movement movement ofof current current urban urban environments. architecture will bebe environments. architecture will tactile and dynamically intertwined tactile and dynamically intertwined with witha acoherent coherentprogramme programmeofof activities. activities.It Itwill willestablish establishitself itself against againstthe thegrain grainofofthe theoldoldasasa a new vision ofof a connected society new vision a connected society and and community community going going beyond beyond empathy. empathy. Architecture Architecture will will bebe about people coming together. about people coming together.

Skin Skinand andBones Bones

143

Unit 6

Philip Philip Hurrell Hurrell

Unit 6

Sai Hung Man

Sai Hu Man

The future will be dictated by the arrival of new technologies and biological advances. Changing environmental conditions will create changes in the urban landscape.

The future wil arrival of new biological ad environmenta create chang landscape.

The Urban Symbiosis manifesto seeks to breed a new relationship with the city and its dwellers to create a mutually beneficial dependency between the city and the architecture.

The Urban S seeks to breed with the city to create a dependency b the architectur

The site is Limehouse Basin in East London, at a nodal point of transport networks and sitting at the end of Regent’s Canal and Limehouse Cut.

The site is L East London, transport netw the end of R Limehouse Cu

The proposal is to create an urban farm at this location, one that will supply the district with organic vegetable crops and energy. This will be achieved by the use of vertical farming structures, algae farms and a biogas power plant.

The proposal i farm at this lo supply the d vegetable cro will be achie vertical farmin farms and a b

Propogation of the food will be through a farmers market and restaurant onsite. The canal system network supports farm barges which are able to transport goods to local markets and restaurants.

Propogation o through a fa restaurant o system netw barges which goods to lo restaurants.

The symbiotic processes within the building filter in energy and water inputs to the farms, and result in outputs to the markets, restaurants and farm barges. Any waste is fed back into the system via the biogas plant creating a holistic symbiotic relationship between city and the farm.

The symbiotic the building fi water inputs result in outp restaurants an waste is fed b via the bioga holistic sym between city a

Urban Symbiosis

144

Urban Sy

145 Unit 6

Unit 6

Richard Stokes

Richar Stokes

En mille neuf cent cinquante quatre, François Truffaut avait attiré beaucoup d’attention chez les médias français quand il n’avait que vingt deux ans, en ecrivant un article intitulé....

En mille ne quatre, Fran attiré beauco les médias n’avait que v ecrivant un ar

Confused? The difficulties we have with languages can be used as a parallel with how people perceive our built environment. It isn’t always as the architect intended as many different professions dilute the process resulting in a confusing space.

Confused? T have with lang as a paralle perceive our isn’t always intended as professions resulting in a

In 1954 François Truffaut instigated “The New Wave” of French cinema by insisting the director, le metteur en scène (scene-setter) was the primary auteur (author) of the film. This focused the director’s attention on how the film is interpreted and led to the development of several new filmic techniques.

In 1954 instigated “T French cinem director, le (scene-setter) auteur (autho focused the d how the film is to the devel new filmic tec

The SOS Manifesto aims to appoint the architect* the primary auteur of the space and concentrate on what is “put on set” in front of the client, building up a positive cognitive spatial impression upon exploration of the space that plays to their senses of perception.

The SOS M appoint the ar auteur of the trate on wha front of the c positive cogn sion upon e space that pla perception.

A new architectural language.

A new archite

Coming Soon....

Coming Soon

* from the greek arkhitekton, meaning chief builder.

* from the gre meaning chie

The SOS Manifesto: Sense of Space

146

The SOS

Sense

Unit 6

Stage 01: The rejection of coherence

Stage 02: Exploring the spatial non linearity

Stage 03: Multiple Narratives The linear design approach and interpretation has often resulted in unplanned settlement in urban pattern and created disconnected points between spaces.

Movement of people is therefore restricted.

Due to the straight forward nature and linear spatial layout planning in early years, it has often caused the area to lose their identity. The aim of manifestation would not restrict to solve the identit existing problems but also to generate new possibilities between local and global positions.

Elaine Yik Ling Tsui

Cross Trajectory

147

Rosie Conn

Rosie Connors manifesto image

Unit 6

festo image

Architecture has become so obvious we are blinded by its familiarity.

With “The Awakening” Manifesto I want to create the unfamiliar by stripping back the layers of the urban environment.

Looking at each layer critically, I want to enhance and make subtle alterations to the built environment to “wake people up” and alter the expectations of the cityscape.

The site is in Hackney, East London and is a re-design of the current Crown and Manor Boys Club that is situated on the Regents Canal. The site is rich in creativity and I wanted to bring the boys club into this hub and draw on it to enhance the program of the new boys club which is in this case specifically drama related.

“Not all boys like everything, but all boys like something.”

The techniques of levelling, linearity, movement, rhythm and revelation were used to create the new boys club.

Below the club is a public void/ urban playground which plays on the ideas of restricting movement.

Throughout the whole project there is an underlying idea of ‘observe and be observed’.

The Awakening

148

movement analysis The manifestation: Crown & Manor Boys Club, Hackney

Architecture obvious we familiarity.

With “The A I want to cre stripping ba urban enviro Looking at I want to subtle alter environment and alter the cityscape.

The site is London and the current Boys Club th Regents Can creativity and boys club in on it to enh the new boy case specifi

“Not all bo but all boy

The techni linearity, m and revelat create the Below the c urban playgr the ideas of r Throughout there is an ‘observe a

The Aw

149 Unit 6

Unit 6

Yinny Chow

Yinny Chow

Architecture needs to be now. It needs to be the future. We need to stop holding onto the notion of architecture as a permanent fact, we must accept that it must change as quickly as the clothes that express our personality, contain our comfort and go out of fashion. Architecture will be just another product within our consumer society; it must be bought, used, disposed and replaced.

Architecture needs to be to stop hold of architectu fact, we mus change as q that expres contain our of fashion. just another consumer s bought, us replaced.

A Consumable Architecture will eliminate the permanent nature of architecture that limits our growth. It will be transient so that it can move at the same pace as our lifestyles, using current technologies and attracting current users. It must become a dynamic response to the accelerated needs of contemporary society.

A Consuma eliminate th of architect growth. It w it can move as our lifes technologies users. It mus response t needs of con

The Consumer’s Media Market Museum is a constantly changing scene used to exhibit the new and the current. It will celebrate the social impact of new ideas and their potential for change. The space will explore the new. It will excite, inspire, educate, inform and entertain, changing as ideas and products change, adapting to the current social situation by allowing a transient form and programme.

The Consum Museum is a scene used t the current. social impac their potent space will ex excite, insp and entertain and product to the curren allowing a programme.

The permanence of Architecture must be diminished.

The perman must be dim

The Consumer’s Media Market Museum

150

The Con Media M Museum

151 Unit 6

Unit 6

Yanna Zhang

Yanna Zhang

Manifesto: Reformation create Order

Manifesto: Reformation c

In architecture, order is a latent principle, which controls the forms of combination between people and buildings.

With time running, the needs from people are changing continuously and the building is losing its activity.

In the process which old order is destroyed and abandoned, we can re-cognize the chaos of architectural space. Only in the way of reformation, can we discover and create the new order from the chaos.

Therefore, reformation is catalyser for the relationship between people and the building; reformation is destruction for out-of-date order; and reformation is creation for new order.

In architectur principle, whic of combinatio and buildings.

With time runn people are ch and the bui activity.

In the proces destroyed an can re-cogn architectural way of refo discover and c from the chao Therefore, re ser for the re people and th tion is destru order; and ref for new order.

Order in chaos

152

Order in

Alvin(Shijie) Alvin(Shijie) Chu Chu The Theterm termRejuvenate: Rejuvenate:to tomake make ananorganisation organisationor orsystem systemmore more effective, productive and modern effective, productive and modern byby introducing introducing new new methods methods and andideas. ideas.Programs Programsdrive driveourour experience experience through through controlling controlling people’s people’smovement movementwithin withinthethe area. area.For Forinstance, instance,a achurch church restricts restrictspeople’s people’smoving movingpath, path, whereas whereasa aclub clubhas hasrandom random movement pattern allows people movement pattern allows people to to interact with each other.

When interact with each other.

When thetheprogram programcould couldnonolonger longer control controlpeople’s people’smovement, movement,thethe area begins to to decay.

Therefore, area begins decay.

Therefore, thetheexisting existingprogram programmust mustbebe broken. broken.New Newprogram programmust mustbebe introduced and interfere with thethe introduced and interfere with broken oldold program. thethe broken program.Hence, Hence, fresh moving pattern is is generated fresh moving pattern generated and and giving giving people people different different impressions of of thethe area. impressions area.

The TheChosen Chosensite siteis isthetheisland island where where thethe Regents’ Regents’ Canal Canal intersects intersectswith withRiver RiverLee. Lee.The The leftleft of of thethe site is is large residential site large residential area; opposite of of thethe site is is a a area;thethe opposite site Business Park.

The current status Business Park.

The current status of of thethe chosen site is is a a decayed chosen site decayed industrial market due to to thethe lack industrial market due lack of of movement. movement.

The intention is is to to create a a new The intention create new typology, typology,which whichhybrid hybridbetween between outdoor market and leisure centre. outdoor market and leisure centre.

The Themarket marketis isthethemain maindriving driving force onon thethe site, which controls force site, which controls people’s people’smovement. movement.Meanwhile Meanwhile it provides thethe daily needs forfor thethe it provides daily needs people who living in in thethe area.

The people who living area.

The leisure leisurecentre centreinteracts interactswith withthethe market, market,offering offeringnew newactivities activities forfor people and giving them new people and giving them new experience of of thethe site. experience site.

Manifesto Manifestoofof Rejuvenation Rejuvenation

153

Unit 6

Manifesto of of Rejuvenation Manifesto Rejuvenation

154

exhibit! 2010

Diploma Studio 155

156

DIPLOMA IN ARCHITECTURE

The two-year Diploma in Architecture programme continues to thrive and evolve. This year has seen another healthy growth in student numbers and the course continues to attract good graduates from the Nottingham BArch and from other universities. This year has seen the introduction of a new structure to both years of the Diploma with the successful introduction of a new structure into the final year (Year 6) where the programme is delivered by a system of Design Research Studios. The first year of the Diploma (Year 5) offers a range of educational opportunities for students. Despite the obvious current difficulties faced by architectural practice, a significant number of students elected to take the unique and innovative practice-based modules that enable students to extend their year-out in practice whilst taking university modules. Other options have given students the opportunity to students to undertake a U21 or Erasmus exchange programme whilst those students who returned to the school for the first semester were able to select from a choice of design studios covering themes in Urban Design, Environmental design and History and Theory. The Diploma continues to share design studios with Masters courses and this year also saw the introduction of a new Masters in Sustainable Tall Buildings, which provides new opportunities for Diploma students. These studios continue to reflect staff research interests and the Diploma continues to provide teaching that is informed directly by the variety of research carried out within the school.

During the second semester students have benefitted from an expanded range of studio options and this year we have run four new studios including one exploring interactive architecture and a joint design studio with Tianjin and Tsinghua Universities in China. A small group of students also participated in an experimental yearlong vertical studio run by Phil Watson which brought together third and fifth years. The Chilwell School project has continued to provide students with the opportunity to work on ‘live’ projects. The students have worked with the local community on proposals for re-shaping a

CLASP constructed secondary school with staff, children and local community acting as client. During this year the Zero Carbon Architecture Research Studio (ZCars) have worked on sites in Nottingham whilst the Solar Decathlon House, designed in the ZCars studio last year has been prefabricated in Nottingham and will be exhibited in Madrid. Special mention needs to be made of Ben Hopkins, Rachel Lee and Chris Dalton; the designers of the zero carbon Nottingham House, who have managed to balance the demands of completing their final year thesis whilst committing significant time to ensure that a well-designed and innovative house will represent the UK in Madrid. This project, along with the other studios, demonstrates the ambition for the Diploma course and its students to be outward looking, responsible, relevant and to make a difference where possible.

The opportunity for students to tailor their educational experience to suit their interests and career aspirations continues in the second year of the course. This year we have introduced eight Design Research Studios, which provide a thematic context through which each student undertakes an individual design thesis. Within this structure, the students produce their own design brief, select their own site and conduct in-depth research into their chosen thesis theme. The broad range of subject matter and design approach suggested by the work contained within the following pages serves to demonstrate the unique character of the Diploma at Nottingham and is evidence of the school’s support for a pluralist approach to design that aims to develop an open, critical and reflective attitude towards the resolution of design problems. Overall, the key objective of the Diploma is to develop well-rounded graduates who can make a positive and relevant contribution to architectural practice on completion of the course. This goal relies on the commitment and dedication of fulltime staff and on the invaluable inputs of external tutors, critics and consultants who provide the students with a valuable connection with the world of practice.

Graham Farmer Studio leader

157

158

URBAN DESIGN STUDIO - HACKNEY CENTRAL Hackney Central is a diverse and complex part of East London, mid-way between the consolidated city centre and the rapidly changing zone running from Stratford City to the Olympics site. The area is identified in the London plan as a site for intensification and an opportunity area. The dynamics of change will be very strong in this part of East London over the next ten years, raising key issues about appropriate and possible urban strategies and proposals. The studio focuses on developing arguments and proposals related to urban intensification and regeneration, and developing the potential of an innovation environment.

Katharina Borsi Studio leader

images: (above) Jemma Brown, Matthew Alvey, Maggie Liang, Ruzanna Saji

(left) Oscar Bond, Grant Giblet, Ramesh Pari, Sarah Touzeau 159

160

URBAN DESIGN STUDY

Sneinton Market towards the Eastern part of Nottingham city centre is a transitional area which connects the city centre with the eastern residential and industrial areas. This design-based module aims to enable students to pull together the various strands of urban design thoughts – visual, social, functional, environmental and economic – which together constitute the full extent of urban design action. Students should understand the importance of design process, as part and parcel of achieving a quality public realm. With Integrated Design Approach involved in the design process, the students are expected to deliver a comprehensive urban design proposal which reflects on social, cultural, environmental and economic demands of urban sustainability. In addition, this project enables the students to relate their proposals to the wider planning framework already established for the Nottingham City.

They are also expected to demonstrate an ability to move from design at a spatial scale to design at a detailed scale.

Dr. Yan Zhu & Ali Cheshmehzangi Studio leaders

161

162

UK-CHINA INTERNATIONAL JOINT STUDIO The 5th Year China-UK Joint studio is jointly organised by Department of Architecture and Built Environment, University of Nottingham, School of Architecture, Tsinghua University and School of Architecture, Tianjin University.

There are 14 students enrolled in this joint studio. The project sites are determined by Chinese partners. For Nottingham-Tsinghua project, there are 6 diploma 5th year students involved, working with 12 Chinese students. For Nottingham-Tianjin project, there are 8 diploma 5th year students involved, working with 14 students from Tianjin University. The project aims to provide diploma students with an opportunity to practice their professional skills and apply their knowledge in a large-scale architectural and urban design live project in China. It aims to help students to gain international practice experience and to understand the largest architectural market in the world.

It believes that these experiences will be valuable and helpful for their future professional career both in Europe and in China.

The Tsinghua Project site located in Beijing is at San Hai Zi natural reserve, which will be developed into Eco-Park according to local government strategic agenda. This site will act as catalyst which could boom surrounding urban area. At the moment, the project site is a large landfill site which is full filled with construction waste. The design project is a Sustainable Research Centre. The centre is supposed to accommodate research offices on water recycling, construction waste recycling, air quality control and eco-system reconstruction. In addition, the research centre should provide public education facility and any relevant service facilities. The Nottingham students went to Beijing for 10 days at the beginning of the semester. They were grouped with Chinese students and conducted the site analysis in Beijing, which took 7days. After the group work in China, British students carried on the design work based in Nottingham throughout the semester. At the end of the semester, the Chinese students would visit Nottingham and by then, the students would exchange and share the design outcome.

The Tianjin Project focuses on transforming historical buildings with innovative design in Tianjin British Concession Conservation Area in Wudaodao District. Tianjin British Concession Area is located in central Tianjin downtown and near the Hai River. There are more than 100 historical buildings within 1km², which are more than 150 years old in average. The designs of these buildings have combined the essence of traditional Chinese architectural design and 18-19th Century European housing styles. It is the largest area of historical European concession area in China. This project is a renovation project of transforming historical site and buildings to modern world by innovative urban design strategy and architectural design. The students are requested to design a 2,000m² Cultural Centre/Museum on the site.

The project aims to develop the potentials of historical building with careful consideration of protecting the external appearance and structure, and try to find the suitable programmes for reuse these buildings in order to meet contemporary needs.

Studio Leader: Prof. Tim Heath, Dr Yan Zhu, Amy Tang Joint Studio Leader in Tsinghua University: Ms Rong Rao, Mr Xiang Dong, Prof. Maoyan Xu Joint Studio Leader in Tianjin University: Prof. Qing Xia, Ms Xiwei Xu, Prof. Kun Song Studio Tutors: Mathew Byron, Peter Wraight

163

164

URBAN MANUFACTURING

The unit takes the complex process of manufacturing as its theme for a new masterplan and building set in the urban context of Nottingham, bringing the process into the city and adding to its life and regeneration.

Louis Sullivan’s phrase, ‘Form follows function’ became the first principle associated with modern architecture, stating that a building should be predicated or based upon its intended function or purpose. The other principal adopted by the modern movement was Adolf Loo’s notion that ‘ornament is crime’. Both phrases are often invoked on the same occasions and for the same reasons, but perhaps wrongly so.

Urban Manufacturing investigates Louis Sullivan’s notion, as the very expression of the building’s functionality gives it its ornament. Therefore each project is structured according to its function and equally its structure is celebrated through its very form.

Furthermore, as in Darwin’s theory of evolution, where anatomical structure evolves according to the functions associated with its use, its adapting needs and environments, the module expands the theory that architecture too should evolve to meet the needs of its time and reflect this too through its very form.

The module looks to develop projects that rely less on rhetoric but rather speak for themselves and for their time. They unravel their identity through their own invention and manifest the process they house through the very fabric they are made of. They respect their context and history but also demand attention and interest from their surroundings.

Above all, they incite the future.

The module starts by adopting a design process that breaks down the project into its separate elements seeking, through analysis and creative interpretation, to allow the parts to inform the whole. The aim is to establish a DNA or kit of parts from the chosen manufacturing process, allowing each element of the process to be designed in isolation before contributing to the whole. Each part is given its own identity in direct response to its individual needs, and then brought together in harmony to produce a building which is greater than the sum of its parts.

Projects work together in a wider masterplan which incites sustainability on a wider contextual level as each project and their respective inputs and outputs feed each other. Nothing is wasted.

The success of the projects depends first and foremost on a deep understanding of the building type, its brief and the workings of all the elements of the manufacturing process in order to establish the vision and spirit of the project. These projects look beyond the obvious for inspiration and look outside the project’s process for references to stimulate a new gene pool and kit of parts with which to design.

The module acknowledges the great importance of critically engaging with the past and present to be able to guide the behaviour of tomorrow, but will also question preconceptions and offer invention rather than convention. ‘The best way to predict the future is to invent it.’ Alan C Kay. Thus each process makes reference to precedence but also challenges student’s own preconceptions; by questioning the past can we only answer the future, responding to the cultural changes, desires and needs of future generations.

The issues of structure and environmental design are not be treated as side issues but rather as design drivers, seeking to further inform the expression of the architecture. Sustainable technologies are integrated into the manufacturing process as well as sculptured within the fabric itself.

Students are also encouraged to be experimental in their interpretation of the manufacturing process itself and in the use of materials and tectonic expression taking inspiration from the manufacturing process itself.

This year projects have included an Urban Sheep Farm, Abattoir, Textile Factory, Perfumery, Distillery and a Tannery.

These wide ranging projects’ outputs feed each others inputs in a sustainable network which brings usually world wide production chains to a site less than a mile apart.

The module regards presentation extremely highly, and students are encouraged to express their entire project through one single comprehensive design drawing, which embodies the very essence of their project both technically and emotionally. This allows students to consider how to sell a project in one hit and how their project can be encompassed in one single drawing.

The module continues to grow from last year’s inaugural group and will continue in the coming years to push boundaries and develop a creative analytical methodology to design and interpretation.

Matthew Hayhurst Studio leader 165

166

EXHIBITING WITH THE PAST

Exhibitions have long captured the imagination and created new realms: from the cabinet of curiosities of Renaissance princes, to the powerful technologically-driven displays of today. This project, which in Phase One is in collaboration with staff and students in the Department of Art History and the School of Computer Science and Information Technology, explores many aspects of exhibition design in relation to the wider architectural design of museums. It challenges students to explore the art and practice of display, before creating your own exhibition design within the rich context of an existing building. In this module students are asked to be both building and exhibition designer. The design challenge - like a good exhibition, according to Stephen Greenberg - takes the form of a three-part drama. Beginning with the exploration of an existing display space, it then broadens to consider urban and architectural design, before narrowing again to focus on the creation of an individual exhibition.

Laura Hanks & Lizzie Webster Studio leaders

167

168

CHILWELL SCHOOL

Our project is to design a school for the future. The Government’s ambitious schools building programme aims to rebuild or renew every secondary school in the country by 2018. Chilwell School is a local comprehensive school, and is currently awaiting redevelopment.

This project is special - it is grounded in a real site, a real situation with a real live client. We have the opportunity to develop and present ideas to real stakeholders (pupils, staff and the local community). We will give the pupils the role of clients and they will work in teams to create a brief for our module.

We will explore how we can use our skills, as a team of designers, to help create a new vision for the school and inspire future generations of children.

A key aim of the module is to develop a wider approach to sustainable school design. Alongside the zero-carbon agenda, students will be asked to consider the social and economic sustainability of the school. Individual responses and investigations will be encouraged, giving the opportunity to develop radical new building types, programmes and aesthetics.

A live build project is envisioned as a means by which students might test their theses in microcosm. This architectural intervention presents the challenge of working with a retained existing structure – students will explore how it might be upgraded or re-designed to provide a flexible learning infrastructure; a community centred space capable of supporting individualised teaching programmes.

Finally, the results of the exercise will be captured in an RIBA/DCSF publication and travelling exhibition - a vision for new learning environments, intended to raise the quality of school design and innovation at a national level.

We hope that the module helps to realise and give form to the pupil’s ambitions - developing an awareness of what Chilwell School is today, and what it could become tomorrow.

National Schools Ideas Project This module forms part of the wider National Schools Ideas Project, coordinated by the London Metropolitan University in partnership with the Department of Children Schools and Families (DCSF) and the Royal Institute of British Architects (RIBA). Its aim is to deliver a Schools Design Capacity Building programme to improve the quality of school design and innovation for the DCSF’s school investment programmes (including Primary Capital Projects and Building Schools for the Future) over a three- year period.

The DCSF is engaging universities to work on research-led projects that address the department’s current and emerging policies. Schools of Architecture will work with partners including schools, educationalists, and built environment professionals on exemplar projects, case studies, live building projects, participatory practice and research. This programme will include a number of public events during the course of the coming academic year and culminate in a DCSF publication and accompanying RIBA travelling exhibition, to which our Chilwell School module will contribute.

Lizzie Webster Studio leader

169

170

iArch - INTERACTIVE ARCHTIECTURE

The unit considers the various ways in which buildings are designed and theorised as interactive environments. The studio unit and associated seminar course (‘Rethinking Architecture’) introduces current and historical themes in the philosophy of technology and examines ways in which buildings may be more responsive, adaptable, dynamic and engaging - through the use of both ‘traditional’ and contemporary digital technologies.

With input from the School of Computer Sciences ‘Mixed Reality Lab’, projects were developed through a reversal of the archetypal ‘scale up’ approach to the creation of architecture. Instead projects began through the 1:1 fabrication of interactive spatial devices as a method for recording, interpreting and reacting to the unique spatial conditions of a numbers of discarded sites in the centre of Nottingham, as well as the wider city as a whole.

From an initial line of questioning, students defined their own briefs within the broader subject of interactive technology, developing spatial propositions and conceptual frameworks for the sites. Themes such as the juxtaposition/ symbiosis of high and low technology, the continuity/rapid redundancy of technology, as well as the sociological, psychological and physiological implications of interactive technology upon the modern city gave each project a distinct identity. Notions of which were finally explored and presented through the intermediary vehicle of an architectural declaration.

Coordinator – Dr Jonathan Hale Tutor – James Alexander (Studio BAAD) Visiting tutors – Dr Holger Schnädelbach (Mixed Reality Lab) Harjinder Singh (Grimshaw Architects)

171

172

TALL BUILDINGS 1 CLIMATE, CULTURE Philip Oldfield and David Nicholson-Cole with Sabina Fazlic, Andrew Watts, David Leonard, Ivan Jovanovic, Lukazs Platkowski, Dirk Krolikowski, Antony Wood, Matthew Wells and Harjinder Singh

“There is much more to our current place in architectural history

than symbol and iconography. Rather than symbol, the specifics of each environmental condition, culture, lifestyle and the tools and methods we use to build should be the basis for a new kind of tall building that would inherently ‘add value’ but also transform cities.”

Jeanne Gang Recent years have seen an unprecedented growth in the construction of tall buildings, with more, and taller, skyscrapers being constructed than at any other time in history. Certainly on an international scale, the past several years have been the most active and dynamic in tall building history, with cities from Moscow to Mumbai, from Panama City to Paris developing highrise aspirations.

However, too many tall buildings continue to be designed in one of two inadequate ways; either as vertical extrusions of an efficient floor plan, or as iconic pieces of high-rise urban ‘sculpture’. In both cases the only relationship with the urban setting is a visual one, with the tall building usually dominating. This has led to the syndrome of tall buildings as ‘isolationist’ architecture – standalone, non-site specific models that are readily transportable around the cities of the world. In particular, cities in developing countries seem to ignore the local climate, culture and context and instead simply ‘import’ the western model of the air-conditioned, rectilinear glass box. This pattern of gleaming glass skyscrapers springing up in tropical, desert and other extreme climates has led many to denounce the tall building as inherently anti-environmental.

In short, these tall buildings are contributing to the degradation of both the local (cultural) and the global (climate change).

The first of two tall building modules run at Nottingham – which together form part of the Masters in Sustainable Tall Buildings Course – this studio challenges students to design tall buildings that embrace their location and are inspired by the climatic, cultural and contextual aspects of place. Working in small groups, students chose a site in one of five global cities – Abu Dhabi, Chicago, Mumbai, Rotterdam or Singapore – and took inspiration not only from environmental issues, but also from the cultural and vernacular traditions of each unique location. Each group was free to determine the size, function, accommodation and responsibilities of their building, according to site studies and research.

The final designs demonstrate a wide variety of opportunities for tall buildings to better respond to their location; an ‘Inward-looking’ tower arranged around central atria in Abu Dhabi, inspired by the Arabian Courtyard House and issues of privacy and shade, stacked ‘streets in the sky’ in Mumbai influenced by local living patterns, street activity, cottage industries and the Asian Shophouse, a prefabricated tower in Rotterdam inspired by the need for future adaptability and the vibrancy of the Dutch De Stijl movement, and vertical rainforest towers in Singapore, with lush hanging greenery, skyparks and skygardens, large overhangs for shading and sheltered spaces at ground for markets and food halls.

173

174

TALL BUILDINGS 2 VERTICAL COMMUNITIES David Nicholson-Cole and Philip Oldfield with Ken Shuttleworth, Chris Gaylord, Sabina Fazlic, Simon Palmer, David Leonard, Ivan Jovanovic, Lukazs Platkowski and Timo Kujala The second semester tall buildings unit tackles some of the most challenging aspects of high-rise design, socially, technically and organisationally. The design research explores concepts of the high density three-dimensional city.

Our mixed-use towers aim to provide sustainable living and working space and through connectivity at the ground plane, underground, and at height in skybridges, they aim to avoid the isolationism of single-use towers as we have known them in the past. The skybridges spanning between towers provide added security against fire, but more importantly offer social and economic connectivity, multiplying the catchment population for high altitude shopping and shared facilities such as sports and education. The ‘groundscraper’ element, connecting the towers at their base, is just as important, enabling green landscaping, improved service access, and further social linkages, as well as swift pedestrian access to public transportation.

For the 2010 project, we chose Leamouth – a development area in London just east of Canary Wharf and south of the Olympic site – as our site.

Leamouth is the site of a real project for a new residential community of 8,000 people, designed by Skidmore Owings and Merrill, who have also acted as quasi clients for this studio module. Following a field course and a period of intense site and precedent study, the students undertook an intensive ‘masterplanning competition’ of which the winning scheme was taken forward as the ‘urban framework’ for the remainder of the project. The framework created eight different sites for tall buildings, and in addition, one student group focused specifically on developing the masterplan, designing the complex skybridges, groundscraper, landscaping and other connectivity between the towers. In this plan, the River Lea is transformed into a water leisure park by fixing an all-tide barrage with navigable locks at the entry to the River Thames.

In the 21st Century, around the world, almost all very-tall or super-tall towers are ‘mixed-use’, and our project follows this trend, although the primary function of Leamouth is residential. As part of the design process students were asked to discover, evolve or offer an agenda for their tower – a set of responsibilities that their design will adhere to. Agendas could be social, functional or environmental and allowed students to develop a unique character and profile for their design. So, on the north peninsular of Leamouth we have an Education Tower which includes three vertical schools serving the highly populated catchment of Canning Town, a Sports Tower providing facilities such as rock-climbing in deep atria spaces and a stepped running track spiralling around the building linking the ground plane to the skybridges above, a ‘Green Lung’ Tower majoring on natural ventilation and daylight penetration through carved green atria spaces and a Vertical Farm that provides residents with highly productive allotments cantilevered from the south side of the building to gain maximum sunlight. On the east site we have a Botanical Tower providing continuous ramped ribbons of greenery cultivated by the residents, reaching up from wetland style parkland at the base to a green crown at the top and the Bridgehub Tower specialising in waste recycling for its own residents and for the adjoining towers connected by skybridges, and serving as the main entry point to the proposed Crossrail station, with subways to Canning Town and the Leamouth shopping and parking zone. On the south site, facing the Thames, alongside the artists’ colony of Container City we have a Vertical College of Fine Arts and Performing Arts, crowned with a colourful residential tower, and a Marina Tower designed to hover almost weightlessly over the water and accommodating a hotel, marina and nautical exhibition spaces.

175

176

ENVIRONMENTAL DESIGN IN ARCHITECTURE The Creative Construction Centre and ETRI Building, Jubilee Campus, University of Nottingham

1. Module Objective The main objective of the design project is to investigate a problem which requires the integration and resolution of particular environmental control issues, as part of the architectural programme. The purpose is to explore the implications of integrating environmental control strategies at the formative stages of a design proposal, to test strategic options (using physical and computer based modelling), and to refine the proposal in the light of critical analysis. The parallel lecture based module (Advanced Environmental Design) provides the theoretical background and underpinning in the principles of environmental design.

2.

Outline Brief

A ‘Creative Construction Centre’ & Energy Technology Research Institute, Jubilee Campus, University of Nottingham.

“The ETRI Centre that will act as a beacon for excellence in energy research” The Energy Technology Research Institute spans seven main research themes: 1. clean fossil energy, 2. renewable energy generation and storage, 3. flexible electrical systems, 4. hydrogen storage and energy conversion, 5. bio-fuel extraction and energy conversion from non-food stock, 6. demand side energy reduction in the built environment, and 7. environmental management. The current portfolio of research in these areas has a value of £13m. Most of the 100 + researchers involved will continue to be based in their existing departments, while having representation within ETRI. The basic schedule of accommodation would include: 1) Office and Laboratory Space (1500 M²) 2) Prototyping Hall 400 M²) 3) External Testing Space (200M²).

It is proposed that the new ETRI Centre and Prototyping Hall be designed to be an exemplar low carbon building, both in its construction and use. This is in line with the design objectives of the recently completed CSET Building in Ningbo, which was designed to minimize its demand for heating, cooling, lighting and ventilation, and to meet any residual demand for electrical and thermal energy from renewable and ambient sources. This approach will bring it close to being a ‘zero carbon’ building. The new ETRI Centre will therefore help to lead the way forward, not only through research, but also through demonstration in practice.

Module Convenor: Brian Ford Tutors: Benson Lau Lucelia Rodrigues

177

SOLAR GAIN

21393

METABOLIC

SOLAR THERMAL

GROUND SOURCE

54483

PV

40600

WIND

178

21393 10696

43246

34614 4944 8632 7271 49122

8682

COOKING

GSHP

Annual values across entrie development, All values in kWh

WATER HEAT 34711

12061

GSHP

17707

46675

143353

2784

SPACE HEAT

7391

43246

40366

LIGHTING

APPLIANCE

269229

60194

5361

TO GRID

HEAT LOSS

143353

APPLIANCE

1291

19828

4487

24015

49621

LOSSES

ZCARS Zero Carbon Architecture Research Studio, which focuses on the design of prefabricated zero carbon homes used two key starting points in this year’s brief, flexible standardisation and that humankinds’ destiny is still within our collective control. Alvar Aalto, during a lecture in Stockholm in 1944, vividly explained flexible standardisation’ via an analogy, recorded by Jørn Utzon.

He described a group of houses ‘as being like a branch of flowering cherry …. All the flowers are essentially the same, yet each is unique, looking this way or that, expanding or retreating, according to its relationship to its neighbours, to the sun and to the wind.’

‘We are still in charge of our own destiny. We have the technology to end our dangerous dependence on carbon fuels. We can take our pick of alternative energy sources: wind and solar; geothermal ….. And we have the technology to use dramatically less energy, too.’

Wrote Fred Pearce in advance of the Copenhagen UN Climate Change Summit, December 2009.

Working alone or in groups of up to three, students undertake the design of homes on brown field sites in the Meadows, Nottingham. The sites are relatively modest in scale showing how we can increase the capacity of cities like Nottingham to sustainably support urban life.

The brief is demanding tackling all of the cultural and performative issues that inform the designs of homes, including spaces within the homes and within the urban context that facilitate inhabitation because they are purposeful and beautiful. All project should achieve zero carbon, however all other qualities such as density, space standards, level of prefabrication, material palette are open to the value judgements of the future architects.

The projects are thoroughly detailed and backed up by thermal and SAP analysis, and evaluated by comparison to the Code for Sustainable Home [CSH]. Although the Code will be mandatory for all new houses in 2016 and publically funded housing from 2013, the students are encouraged to question the guidance within the Code and work through the design process using their own knowledge, skills and critical reasoning.

David Brook and Samantha Barclay working on the Felton Road site, where a factory has recently been demolished, took as their theme diversity, designing a diverse community with a range of social groupings for people of all ages. This was articulated via two house and two apartments types dependant on orientation. Their design recognised that good passive solar design does not mean that all the homes need to be arranged around an East West axis. Instead their design respects the perimeter block of terrace housing, creating active street frontages and communal gardens including allotments to the rear. Thus biodiversity of the site is transformed in the design. The design is also based on temporal diversity, yet the materials are selected in response to the context and for their longevity.

The project carefully integrates renewable energy technology however they reject biomass on the basis of the generation of too much heat and a possible lack of

fuel on a national basis. Perusing a leaky boat analogue they first address the design of a thermally effective building envelope that maximises solar gains, seeking comfort primarily on a passive basis. Their Sankey diagrams of energy flows clearly demonstrate how this aspect of the architecture is envisioned in the work.

In their report, David noted that ‘SAP is in essence an energy tax on our dwellings’ as the calculation penalised them for providing a more generous and flexible space standard – one cannot use the actual energy loads.

Sam observed, ‘When completing the calculations and attempting to reach a zero carbon design, the accuracy of the [SAP] calculator decreased towards zero carbon due to the number of assumptions made by the statistical data.’

They achieved flexible standardisation by using a frame and infill system of prefabrication and by a well informed spatial design.

National and Regional Competition Winners from ZCARS: • Jonathan Davey and Matthew Kidner ZCARS 2007-8 won a Nationwide Sustainable Housing Awards 2010.

• Design excellence in ZCARS 2008-9 student work was recognised in the first ever RIBA EM ‘The Student Award for Low Carbon Environmental Design’ awards.

1.

Jun Aso and Jin Dong Wu were highly commended for their Green Street, Zero Carbon Housing, Meadows, Nottingham, were highly commended.

2.

Benjamin Hopkins, Rachel Lee, and Chris Dalton for the HEART, which tested the Nottingham House in the Meadows, Nottingham, were highly commended.

3.

Alex Lewis, Seema Mistry, and Daniel Dunn, for their EON House Refurbishment, received a Special Mention.

• ZCARS 2009-10 entried for this years RIBA EM ‘The Student Award for Low Carbon Environmental Design’ are: 1.

David Brook and Samantha Barclay 2.

Oliver Peach, Alexander Loren-Gosling and Peter Phillips 3.

Josefina Guiloff and Maria De Los Angeles Vergara Salvat This year’s one to one construction project was the opportunity for ZCARS students to help build the Nottingham House, which is Britain’s entry to Solar Decathlon 2010 in Madrid. There are only a very few students who see the house they designed in fifth year built during sixth year. The Nottingham House is the world’s first fully prefabricated CSH Level Six home. It will return to University Park to become a permanent home that is also Pasivhaus accredited. ZCARS seeks to link teaching, research and industry to inform the quality of architecture in the near future.

Tutors: Swinal Samant, Lucelia Rodrigues and Professor Michael Stacey 179

180

YEAR 6 DIPLOMA

In the final year of the professional programme students elect to join one of eight Design Research Studios and the year culminates in the production of a design thesis. Each studio explores a particular theme or agenda related to the research or practice interests of its studio leader. This year themes have included, the city, making, spirituality, communication, interactivity and futurity. The choice of studio provides students with the freedom and opportunity to explore and research those aspects of architecture that are of particular interest to them.

Students commence the year by undertaking an exploratory design studio that helps to develop the intellectual parameters and foundations of the subsequent design thesis. The project is not necessarily a building based project and studios have undertaken tasks including the measuring and recording of existing buildings or the making or drawn or crafted pieces. In whatever guise, the project is a vehicle that helps to develop the argument and foundation of the thesis. During the first semester students also undertake a seminar course that supports or complements the design primer and this year several studios have used this as an opportunity to visit, record and interpret interesting buildings in the UK and Europe. The first semester concludes with the production of thesis proposal.

There is no universal or standard model for the design thesis and one of the key features of the final year is a support for a pluralist approach to design. It is also encouraging to note that much of the work this year continues to be underpinned by a desire on behalf of the students to address and explore a range of relevant and challenging design, environmental and social concerns.

Whatever the source of inspiration and underpinning logic for each design thesis the work included in this yearbook certainly demonstrates a healthy diversity of design methods and approaches and provides a small glimpse into the energy, vitality and creativity of the students. However, the finished drawings and models in the exhibition and described within this yearbook can never fully chronicle the experience of a year that often provides a significant personal challenge to the students. The final design declaration is underpinned by a process of questioning and testing themselves that helps to prepare the students for their subsequent careers in professional practice.

Graham Farmer Studio leader

181

of nuns will inhabit a slice of the warehouse, continuing their life of seclusion, privacy and prayer.

A public chapel, a semi-private external department and the sisters’ internal department sit within this segment, playing with oscillating scales from the full height void of the public gallery to the nuns individual austere and compact cell rooms.

The warehouse ruin will provide a sanctuary for the Carmelites whilst allowing the people of Liverpool to witness the great might of this prominent dockside building and stimulate their own imaginations.

Inhabiting Emptiness: The Carmelite Monastery, Liverpool

the ordinar

history and scale.urban The crac gra the groun the fabric of the existing s voids, allo and provoke speculation, extruded to ruin of the monumental With the Warehouse to urban operate are powerful metaphor for ab available is a rejection. Thus, there the build in adaptin as an incentive for reflec their geniu restoration. one site n

E P

in Southwa

a sculp This thesis takesasthe idea space warehouse is sublime,itse pr not erase i self-forgetfulness where working in fear is replacedonebypossib a well-being andterrain secur vag A provides a haven for the spC Monastery. This enclos of nuns will inhabit a ur sli off warehouse, continuing the of seclusion, privacy an A public chapel, Inhabi a sem cit The T external department sita a reco sisters’ internal Space depart toF Likepla within this segment, it func by oscillating scales from recepti va height void of the publi capaci to the nuns individual aus ha made compact cell rooms. na strata pop onwill one The warehouse ruin sp reach sanctuary for the Carmeli state o bu allowing the people of The to witness the great mig fut functio prominent dockside buil As stimulate their owndisplay imag by genera river.the A the ToT materia in acquire of Memor co Inhabiting Emptin cleane an accord Thisthe The Carmelite the as a Monastery, Liverp museu cu piece the much The core flint ur ax stemmed architectur The the a architectur numer voa used as massiv one’s iden ex Uncon age wher W to procee be rend homogeno urw these different av the infi face to fac memor the light The site indi known a throug

Pi-L Qu

Gabr Wan

182

the Brick Lane

Studio 1: ARCHITECTURAL URBANISM

Aldo Rossi argued that the city’s processes of formation and differentiation are carried by the work of architecture. Architecture not only constitutes the city in three dimensions, but is also key in the urban dynamic of change and transformation. The studio explores the role of architecture in urban strategy.

The starting point of analysis was an investigation into a segment of the urban fabric. Strategies of crossbreeding, transparent form organisation, juxtaposition and stratification of material and virtual processes were explored through conceptual models and drawings. The focus of individual work ranged from straight forward master planning, the insertion of an urban building, incremental design, the layering of memory, to participatory design.

Studio one focussed on a continuous process of spatial and formal exploration throughout the year. The site provided the starting point of investigation, not so much as a text or context to be read, but as a material condition to be explored and responded to. Students drew upon conditions of the site or programme to inform their design research, but central to the investigation was the experimentation with the material of architecture itself, that is the capacity of form and spatial relationship to responds and rework both architecture’s own material as well as to integrate and explore questions of content.

Katharina Borsi Studio leader

183

Studio 1

Lisa Sykes

Lisa Sykes

The fractured appearance of the post-industrial British city has often resulted in neglected voids within the urban fabric, which anticipate occupation. These sites reveal distinct and uncanny qualities to intrigue and excite the user.

The fractured post-industrial often resulted within the ur anticipate oc sites reveal di qualities to intr user.

Stanley Dock is one such site, an area to the north of Liverpool city centre which is rich in materiality, history and scale. The cracks within the fabric of the existing structures provoke speculation, allowing the ruin of the monumental Tobacco Warehouse to operate as a powerful metaphor for absence or rejection. Thus, the building acts as an incentive for reflection and restoration.

Stanley Dock i area to the no centre which is history and sca the fabric of the provoke specu ruin of the mo Warehouse t powerful metap rejection. Thus as an incentive restoration.

This thesis takes the idea that the warehouse is sublime, providing a self-forgetfulness where personal fear is replaced by a sense of well-being and security, and provides a haven for the Carmelite Monastery. This enclosed order of nuns will inhabit a slice of the warehouse, continuing their life of seclusion, privacy and prayer.

A public chapel, a semi-private external department and the sisters’ internal department sit within this segment, playing with oscillating scales from the full height void of the public gallery to the nuns individual austere and compact cell rooms.

The warehouse ruin will provide a sanctuary for the Carmelites whilst allowing the people of Liverpool to witness the great might of this prominent dockside building and stimulate their own imaginations.

Inhabiting Emptiness: The Carmelite Monastery, Liverpool

184

This thesis tak warehouse is s self-forgetfulne fear is replac well-being an provides a hav Monastery. Th of nuns will in warehouse, co of seclusion, p A public chap external depa sisters’ intern within this seg oscillating sca height void of to the nuns ind compact cell ro

The warehous sanctuary for th allowing the p to witness the prominent doc stimulate their

Inhabiting

The Carm Monaster

A Adesire desiretotoinhabit inhabitthe theforgotten forgotten spaces spaces ofof densely densely developed developed urban urbanareas areasformed formedthe thestepping stepping offoffpoint pointforforananinvestigation investigationinto into the the‘terrains ‘terrainsvagues’ vagues’found foundininour our cities. cities.Albeit Albeitmyriad myriadininform formand and situation, situation,from fromsmall smallrooftop rooftopplots plots totovast vastswathes swathesofofland landshaped shaped bybyhighways highwaysand anda aplethora plethoraofof variations besides, terrains vagues variations besides, terrains vagues have haveinincommon commona apalimpsestic palimpsestic nature, nature,that thatis,is,they theyseem seemtoto possess possessthe thecollective collectivememory memoryoror spirit spiritofoftheir theirunique uniquepasts pastswhilst whilst bursting burstingwith withpossibilities possibilitiesforfortheir their futures. futures.

AsAsmost mostforgotten forgottenspaces spacesare are byby their their nature nature unintentional, unintentional, they theyare areoften oftenformally formallycomplex. complex.

ToTobetter betterunderstand understandthe thevoids voids ininquestion, question,I Ibegan begana aprocess process ofofmodelmaking, modelmaking,reversing reversingthe the conventional conventionallanguage languageofofpositive positive and andnegative negativespace spacebybycasting casting the thevoids voidsofofthe theforgotten forgottenspaces spaces asassolid solidform. form.This Thisexploration exploration culminated culminatedininananartefact artefactwhere where the ordinarily positive forms ofof the the ordinarily positive forms the urban urbangrain grainwere werepushed pushedbelow below the the ground ground plane plane toto become become voids, voids,and andthe theterrains terrainsvagues vagues extruded toto become forms. extruded become forms.

With Withthe theincreasing increasingdensity densityofof urban urban areas, areas, such such sites sites are are available available and and invaluable invaluable but but there thereis isananinherent inherentchallenge challenge ininadapting adaptingthem themwithout withoutlosing losing their theirgenius geniusloci. loci.Focussing Focussingonon one onesite sitenestled nestledunder underviaducts viaducts inin Southwark, my proposal began Southwark, my proposal began asasa asculptural sculpturalexploration explorationofofthe the space spaceitself, itself,trying tryingtotoemphasise emphasise not erase itsits existing qualities and not erase existing qualities and working workinginto intothis thisform formtotoreveal reveal one onepossible possibleway waytotoinhabit inhabitthis this terrain vague. terrain vague.

Inhabiting InhabitingForgotten Forgotten Spaces Spaces

185

Studio 1

Emma EmmaJane Jane Pegg Pegg

Studio 1

Gabriel Wang

Gabrie Wang

The core of this thesis research stemmed from the exploration of architecture and identity : how architecture could, and often is used as a means of expressing one’s identity, particularly in an age where universalism seems to be rendering our world a very homogenous place, and where different cultures readily meet face to face.

The core of t stemmed from architecture a architecture c used as a m one’s identity age where u to be renderin homogenous different cultu face to face.

The site is located in the area known as Banglatown, along Brick Lane. This area has had a long standing association with immigration into London, and its current large community of Bangladeshi immigrants have made this their home. What is most significant architecturally about the area, is that whilst it retains its very Victorian and Georgian brick terraced house façades, that which is most signifying of “banglatown” is the superficial layering of the shopfronts, neon shop signs, posters, and in a way, even the people dressed in their traditional costume parading the streets as a superficial, transient layering.

The site is lo known as B Brick Lane. T long standing immigration its current la Bangladeshi made this th most signific about the are retains its v Georgian bric façades, tha signifying of the superficia shopfronts, n posters, and people dresse costume parad superficial, tra

Hence the idea of the veil, transparency, and exploring the language of journeying through thresholds into the site became key. At the same time, the design challenge would be in forming a new kind of architecture that represents the identity of the Bangladeshi immigrants that the centre primarily serves, whilst keeping in mind their new found identity of being concurrently British, and formed within the rich urban context of London.

Hence the transparency, language of thresholds int key. At the sam challenge wo a new kind o represents th Bangladeshi i centre prima keeping in mi identity of b British, and fo urban context

[ Architecture ] & Identity A Bangladeshi Immigration Centre

186

[ Archite & Iden A Bangla Immigrat

The The Thames Thames Unconscious Unconscious is is a arecording recordingdevice deviceforforhistory. history.

Like LikeFreud’s Freud’sMystic MysticWriting WritingPad, Pad, it itfunctions functionsasasananever everready ready receptive receptivesurface surfacewith withunlimited unlimited capacity. capacity.Impressions Impressionshave havebeen been made madeononit itforformillennia millenniacreating creating strata stratalayered layeredand andsuperimposed superimposed onon one another. memories that one another.AllAll memories that reach it have been preserved in in aa reach it have been preserved state of of permanence. state permanence.

The The Thames Thames Memory Memory Plant Plant functions functionsasasa adevice deviceto tocollect, collect, display display and and subsequently subsequently generate generatenew newmemories memoriesof ofthe the river. river.A AGatherer Gatherercruises cruisesalong along the the Thames Thames sifting sifting riverbed riverbed material material along along the the way. way. The The acquired material is is brought to to the acquired material brought the Memory Plant where it is filtered, Memory Plant where it is filtered, cleaned, cleaned,sorted sortedand anddisplayed displayed according according to to object object typology. typology.

This This system system demonstrates demonstrates the the absurdity absurdity of of conventional conventional museum museumclassification. classification.Here, Here,a a piece pieceof ofdriftwood driftwoodholds holdsjust justasas much muchimportance importanceasasa aNeolithic Neolithic flint axe. flint axe.

The The artefacts artefacts are are placed placed in in numerous numerousgabions gabionswhich whichform form massive massive Collective Collective Thames Thames Unconscious Unconscious towers. towers. Visitors Visitors proceeding along walkways within proceeding along walkways within these would bebe able to to experience these would able experience the infinite variation in in the timeless the infinite variation the timeless memories memoriesof ofthe theThames Thamesasasdim dim light diffuses, reflects and refracts light diffuses, reflects and refracts through throughwalls wallsof ofplastic plasticbottles, bottles, junk metal and broken glass. junk metal and broken glass.

The TheMemory MemoryPlant Planttransforms transforms with the fluctuating tides asas rooms with the fluctuating tides rooms are arealternately alternatelysubmerged submergedand and revealed revealedwhile whilefloating floatingpontoons pontoons and andglass glasswalkways walkwaysadd addthe the element element of of transience transience to to the the experience. experience.

The TheThames Thames Memory MemoryPlant Plant

187

Studio 1

Pi-Lin Pi-Lin Quek Quek

Li Recently, there has been a significant increase in the use of silk fabric by manufacturer for products such as men and women accessories, fashion, gowns, ties, bed sheet products, or even pyjamas etc. The massive supply and demand of the production of silk has made the prices much more affordable to everyone nowadays.

Overexposure I am therefore proposing a manufactory building that works as machinery. The aim of Aerial this perspective project is to unveil the hidden process of silk fabrics. This is particularly essential as people nowadays are more concerned and want to explore more about the product they consumed.

The function of the manufactory is self-sufficient from growing to the end product. It comprising of multi-functional elements that Vivid contrast.

Darkness envelops efficiently utilises its space for the you, butplantation there’s light at the end, (i.e. green house), beckoning, pulling you onwards. (weaving) , handling, processing A tunnel, a shaft and an opening presentation andeyes selling( final to the sea and sky. Your View of courtyard from walkway graduallyproduct). adjust to the blue tones

Oliver Mueller

5

6

6

7

7

8

9

10

12

11

13

14

15

16

17

burning into your vision, red hues around you. The spring upThe Location Oftunnel Site: is inclined - you are Derby is awalking city of uphill. strong contrasts: An opening appears on theand right. cultural. Its social, political You turn and enter. Suddenly industrial heritage now you’re flooded with light, coloured is something of a room, mythic memory. light. In this conical vaulted The Silk Mill, Derby's tones change and merge.

Colours Museum of wash from the ceiling aperture is - on the site Industry and History, you’re seeing atmosphere's of onethe Britain's first Silk factories colour. Re-emerging back into theto be on the claimed and it is also tunnel, eyes once again struggle site Ahead of the world's oldest factories. to adjust. the tunnel is part stairs of the Derwent Valley becomesIt lighter, leading Worlda Heritage down. AtMills the bottom window sitsSite. you back among the Marram once more. Above your head a Walkway steps above reed bed fine shaft of light cuts across the darkness, leading your eye to Tadao Ando’s ‘Koshino House’ where it hitsinitial the opposite wall. An was the inspiration for arc; a series of large arcs, divergmy concrete samples. The ing across the timber, burnt into manipulation of light and shadow the wood, cutting the path of the on the smooth fabric-like texture sun, from sunrise to sunset. It is was initially the main driver for nearly sunset now and the tunnel my experimentation with different is starting to radiate an orange textured moulds. Using a series glow. You climb up another of techniques such as latex Urban stairway into the Silk mainManufactoring tunnel. moulding and concrete printing Closer now, the view becomes I progressed to experimenting more vivid, more brilliant. Then an with the combination of printing opening on your left. Stepping and lighting techniques which out, you’re above the ground, led me to using fibre optics then traversing the side of the building. subsequently glass strips in the Your heart climbs. You scan the concrete which, consequently, horizon. You are approaching a has been designed into my final dome-shaped apparatus - it looks Cutaway view of structure project. like a large Victorian celestial Inspired by concrete and light, globe: mechanical, clock like, my final project was sited in a precise... quarry in the Peak District. The model image at the top shows Middle Peak Quarry’s dramatic scale. Located near Wirksworth, a small town where every year in September, an art festival takes place, it is an ideal place for an art gallery to display the local work.

The Gallery isto designed to be A Art Doorway incorporated on the National Peak Perception Trail which passes by the quarry and from which many passer by’s wander down into the beautiful man-made landscape. The site creates an ideal spot for Artists and Walkers alike and so the building incorporates 3 individual 18

19

9

22

24

Lucia Milone

25

Over Exposure

188

Stephen Matthe Leung

Wingro

To preserve, reinvigorate, the culture, tradition a The contempo behind to the UK approach hidden elementtoo tofluctuation the basic isof u transferring little scopetheforr ceramic, clay froO experience. the change of ‘CU

digital technolo

and connec Focusing on the po this problem.of characteristics torelevant exhibit thetoma ceramic throughaa place-based then be ‘VISIB of can learning a and allow the pu in experience contempo and th Education is sh this, general ‘wron teacher-centric pottery barely as confronted, the ess with cellular - control, ‘mediumtofor so a lea can then be re-e The spatial imp reinforced.

plan workshop

‘learning The designlands pr not used onl andbeExtended preservation and as pedagogica public’s understan pottery, it should a Chilwell Scho the local culture o sc asecondary site with rich pot isrefurbishment. essential. At it strategies is important areto the barriers radical butbetw grad in order to prom school. A new and communicatio the school be potters whichto aim hub with standard of public pottery

Jamie King

areas are reor

Using the charact a linked curr ‘Clumber fo create the Craft’ architec around a new that promotes th exhibit the unique between court through architectu education of timb reconfigure th public, ceramic is within the Nationa stru itoftransfer could also be Clumber Park. architectural mate learning space this can honor the The and project the widd design proposal. importance of aim h.

Walkways between expressthe craf ac chosen material.a connectivity, main commerc shading for the tree species at Pods are then investigated to tes extra study characteristics. compact court continually explo allowing thema e structural and Revitalizatio the completed sch become open p The Touchin

The proposal upon arrival by rammed earth w industrial presen enclosed space around internal spatially breathe seasons and rel taking place. Ha exist through the contracting timbe times, dominate t

Outside th

Parklife Clumber Cr

Studio 2: MARS: Making Architecture Research Studio An intertwining set of themes have underpinned this studio and the aim has been to explore a critical and creative dialogue between abstraction and situation, technique and tactility and between the analogue and the digital. Students have been expected to evolve a design position through a combination of direct experience and inquisitive intuition; through a critical imagination and tactile experimentation.

The studio commenced with a visit Jorn Utzon’s Bagsvaerd Church in Copenhagen and Sigurd Lewerentz’s St Peter’s church at Klippan, Sweden where the students undertook a process of recording, particularly drawing and measurement that culminated in an exhibition of made pieces; 1.1 fragments, scale models, construction models and material samples – verbally articulated and critically appraised through related seminar presentations. Drawing by hand was explored a key skill. Frances Stacey observes ‘Drawing is used as a direct, spontaneous yet considered means to pitch construction against deconstruction, macro against micro, polished against raw, fragile against concrete’.1 The fundamental foundation of the MARS pedagogy resides in making and in how the decisions related to architecture as a physical realisation is approached. Making within the studio extended to the parallel design, research and construction of the Nottingham House for the Madrid Solar Decathlon. Hugh Casson described the 1951 Festival of Britain as an ‘everyone’s pent up fifth-year scheme’2. For Rachel, Chris and Ben the actual delivery this zero carbon house (which commenced as a fifth year project) will form the springboard to their future careers in architectural practice.

During the first semester 1 the students also undertook a making project entitled Situated Making where the aim was to explore and analyse design through making. An emphasis was placed on meaningful construction through and an understanding of, materiality, tactility, jointing and fabrication and to relate these processes to an understanding of place and context. Varied explorations of situated building fragments have included, a natural history of a Welsh peninsula, the making of Japanese joinery junctions, quarried concrete and the creation of metal cutlery from flat metal sheet by hand and with only basic tools. The studio engaged with the non-linear development of technology and skills in making exhibited by humankind through time. In engendering respect for work that connects hand and brain, the studio seeks to develop what Pallasmaa has termed thinking hands.3 Making and critical thinking formed the foundation of the subsequent design thesis – where students have pursued a diversity of projects that creatively explore the boundaries between nature and artifice; the creation of situated architectures that respond to human ecology, not just functionally, but poetically. Exploring a diversity of themes, contexts and typologies, however each project aims to be a rigorous exposition of a chosen architecture.

Michael Stacey & Graham Farmer Studio Leaders

Visiting Tutors / critics: Frances Stacey (Artist) Sheldon Brown

1 2 3

Frances Stacey, 2009, Jerwood Drawing Prize 2009, eds. Anita Taylor and Siobhán Kneale p.130 Kenneth Powell, 2009, Powell & Moya, RIBA Publishing, p.31 Juhani Pallasmaa, 2009, The Thinking Hand, Wiley 189

Studio 2

Andrew Coles

Andrew Coles

My thesis is an exploration into the junction between new and old, aimed at developing an architectural attitude to the restoration and conservation of historic buildings. The vehicle for this project was Turvey Abbey in Bedfordshire, a building that I am familiar with, having worked on it during the summer months as a stone masons assistant.

My thesis i into the junc and old, aim an architectu restoration an historic buildin this project w Bedfordshire, familiar with, h during the su stone masons

The project resulted in a proposed extension and renovation of the upper floor to serve as a rehabilitation and psychotherapy unit, a programme that is already present at the Abbey.

The project re extension an the upper flo rehabilitation unit, a program present at the

My scheme represents an applied set of principles; paying homage to the existing Abbey in terms of form, colour, scale, texture and social interaction.

My scheme re set of principl to the existing form, colour, social interact

Designing in detail, and working at a 1:1 scale has led to a proposal that is respectful of the building, but offers a new dynamic, one that revitalises the construction and gives new value, use and symbolism.

Designing in d a 1:1 scale ha that is respec but offers a that revitalise and gives ne symbolism.

The Rehabilitation of Turvey Abbey

190

The Reh Turvey A

Jamie Jamie King King

The The project project draws draws onon the the importance ofof a haptic connection importance a haptic connection between betweenthe thecraftsman craftsmanand andtheir their chosen chosenmaterial. material.Three Threeofofthe the main main commercially commercially available available tree treespecies speciesatatthe thepark parkwere were investigated toto test their individual investigated test their individual characteristics. characteristics. These These were were continually continuallyexplored exploredwithin withinthe the structural and material makeup ofof structural and material makeup the completed scheme. the completed scheme.

The The proposal proposal is is dominated dominated upon upon arrival arrival byby a a monolithic monolithic rammed rammedearth earthwall wall, echoing , echoinganan industrial industrialpresence presencewithin. within.The The enclosed enclosed spaces spaces are are focused focused around aroundinternal internalcourtyards courtyardsthat that spatially breathe according toto the spatially breathe according the seasons seasonsand andrelative relativeprocesses processes taking takingplace. place.Haptic Hapticconnections connections exist existthrough throughthe theexpanding expandingand and contracting contractingtimber timberstores storesthat, that,atat times, dominate the public space. times, dominate the public space.

Parklife Parklife- Clumber ClumberCraft Craft

191

Studio 2

‘Clumber forms ‘ClumberCraft’ Craft’ formsananinstitute institute that thatpromotes promotesthe thepractice practiceand and education educationofoftimber-based timber-basedcrafts crafts within the National Trust Property within the National Trust Property ofof Clumber Park.

Clumber Park.

Studio 2

3

Stefan Clifford

Stefan Cliffor

In an age where seemingly everything has a finite lifespan ‘The Book’ as a product resists this trend. The materiality and beauty of the book can explain this [explored in semester one] but its content of either ‘knowledge’ or ‘performance’ that adds value.

Knowledge is seen as our most valuable resource and our society provides us with an abundance of it. But with the commercialisation of our city our ability to interact and gain personal perspective is reduced.

In an age everything h ‘The Book’ this trend. beauty of th this [explore its content or ‘performa Knowledge valuable res provides us it. But with t of our city and gain pe reduced.

The building [a library] aims to be a new shared space that allows co-creation and selfexpression. It will not just rely simply on books to facilitate a connection with society but will become a hub of knowledge in all its forms; this approach aims to give a new a life of the printed book whilst embracing new technologies, creating a digital and physical symbiosis. Thus the library has a new role; not simply the ‘container’ of books, but the producer of collective knowledge.

The building be a new allows coexpression. simply on b connection become a h all its forms to give a ne book whils technologies and physica library has a the ‘contain producer of

The building is situated in the heart of Leicester city centre within the market place. City has a dense urban fabric that gives little space to the public realm. The Site itself has had been used as a market since 1291 and now is covered by a canopy to house it.

The proposal removes an unused and outdated indoor market which allows a new public space to be created that the library sits within.

The design takes inspiration from the market that it has replaced in order to meet its.

The buildin heart of L within the ma dense urban space to th Site itself ha a market sin covered by The proposa and outdated allows a ne created that The design the market t order to mee

Food For Thought

192

1

2 meeting main entity

1.family

3

Food Fo

The image of of thethe city of of London is is The image city London one of of activity, culture, and colour, one activity, culture, and colour, butbutthethecity cityworkers, workers,supporting supporting and andrunning runningthethecity, city,are areoften often consumed byby stress.

Although our consumed stress.

Although our environment cannot dissolve this environment cannot dissolve this stress stressororsolve solvetheir theirproblems, problems,it it can provide a positive supporting can provide a positive supporting role. role.

The site, StSt Dunstan in in thethe East, The site, Dunstan East, a abomb bombdamaged damagedchurch churchwithin within thethecity, city,is ishistorically historicallya aplace placeof of spiritually spirituallyand andtranquillity. tranquillity.This This space, space,rich richin inhistoric historicidentity, identity, is ishidden hiddenwithin withinthethedense densecity city streets. streets.The Thesite, site,currently currentlya a public publicgarden, garden,now nowprovides providesanan additional oasis hidden beneath. additional oasis hidden beneath.

AA new newholistic holisticcentre centresits sitsquietly quietly below belowthethechurch churchruins, ruins,a acrypt crypt space space providing providing therapeutic therapeutic support. support.Glimpses Glimpsesof ofthethehidden hidden oasis oasisare arerevealed revealedwithin withinthethe existing garden, butbut only through existing garden, only through exploring thethe church ruins willwill thethe exploring church ruins entrance become clear. entrance become clear.

The Thearchitectural architecturallanguage languageand and details detailsof ofthis thisproject projecthas hasbeen been strongly stronglyinfluenced influencedbybyresearch research and experimentation into how our and experimentation into how our environment and elements within environment and elements within it can affect our mind set. it can affect our mind set.

discovering discoveringananoasis oasis

193

Studio 2

Ria Ria Chaney Chaney

Studio 2

Ben Hopkins

Ben Hopkin

The year began with a visit to two churches; BagsvÌrd church by Jørn Utzon and St Peters church

by Sigurd Lewerentz .

From these visits I became interested in how visually massive architecture evoked atmosphere through perceived permanence. Initially this study was done through a 1:1 conceptual cast of a wall at Klippan My next study started to consider how a lightweight component could add function to a site rich with memory by constructing a temporary pavillion on the site of my first year studio.

The year bega churches; Ba Jørn Utzon an

by Sigurd Le these visits I b how visually m evoked atm perceived per this study wa 1:1 conceptua Klippan My to consider component c to a site rich constructing a on the site of m

From these initial investigations I became interested in an architecture of ruin, and how architecture locked in time could hold atmosphere without retaining its original function; this eventually led me to the Farne Islands where I developed a new research and visitor facility, producing a dialogue with the ancient site and the temporary functions now inhabiting it, using ruined buildings as the mediator between the two architectures.

From these i I became architecture architecture lo hold atmosphe its original func led me to the F I developed and visitor fa dialogue with and the tempo inhabiting it, us as the mediat architectures.

Whilst developing this thesis project I have also continued to hold a lead design role in the Nottingham HOUSE (a fifth year project I produced with Chris Dalton and Rachael Lee). This has involved producing a full construction package, and taking part in the building, as well as exhibiting and presenting the house as one of the main exhibits of Ecobuild 2010.

Whilst devel project I hav to hold a lead Nottingham H project I pro Dalton and R has involved construction p part in the b exhibiting an house as one of Ecobuild 20

Space, Time and Mass

Space, T Mass

Nottingham HOUSE

Nottingha

194

.in

ke

ep

ers

bo

at

rail

lin

e

.3

.1 . filte

r drying

/sedim

.2[A]

ent depo

sit

.2[B] .1

.1 . retention pool

.1 .

n atio

irrig

tem

sys

ip

l str

enta

erim

.1

p . ex

The thesis started with an investigation into how the haptic senses communicate with the memory.

Following the fabrication of a tool that created a virtual memory space for the onlooker, a journey was taken. A collection of items which possessed a story of contextual process was then exhibited as 3-dimensional sections cut through the routes. The journey ended at a coastal ‘alcove’ on the Lleyn Peninsula in North Wales.

Extensive analysis was gathered at various scales and parameters which highlighted social and physical problems of the site and wider context. These problems were to be resolved in the form of a programme.

.STRATEGIC DIAGRAM

.SKIN DISSECTION rock protrusions subsidence tears vegetation root shaft

.A STORY OF A TIMBER CUBE

Two innkeepers live in house and look over the new infrastructure.

An instrument regulates the saturation levels within an experimental agricultural strip of land in the hope of growing crops.

The skin of the earth is dissected further to provide footprints of a shelter for the major influx of the site – walkers.

During the summer months, an accumulation of aerial photographs are projected to display the changing patterns within the landscape.

Conversations between the site and the programme resulted in a new infrastructure.

The ‘landscape’ generated describes an on going argument between the existing context and the inserted artifice.

SKIN IDENTIFICATION

MECHANICS OF THE [LANDSCAPE]

.landshift PROJECTIONS

PREDICTION OF GEOLOGY SHAFTS

195

Studio 2

.1

David Baggaley

Studio 2

Stephen Leung

Stephe Leung

To preserve, promote and reinvigorate, the origin of pottery culture, tradition and the essence behind to the UK. Showcase the hidden element of ceramic; back to the basic of the process of transferring the raw material of ceramic, clay from ‘NATURE’ to the change of ‘CULTURE’

To preserve reinvigorate, t culture, traditio behind to the hidden eleme to the basic transferring th ceramic, clay the change of

Focusing on the positive essences/ characteristics of pottery making, to exhibit the making process of ceramic through architecture; this then can be ‘VISIBLE’ to the public and allow the public to interact and experience the process. From this, general ‘wrong perception’ of pottery barely as an art could be confronted, the esswence of pottery - ‘medium for social interaction’ can then be re-emphasised and reinforced.

Focusing on th characteristics to exhibit the ceramic throu then can be ‘V and allow the and experienc this, general ‘w pottery barely confronted, the - ‘medium fo can then be reinforced.

The design proposal should not be used only as a tool for preservation and to correct the public’s understand of ceramic and pottery, it should also reinvigorate the local culture of pottery; hence, a site with rich pottery background is essential. At the same time, it is important to help eliminate the barriers between the potters, in order to promote interaction and communication between the potters which aim to revive the standard of pottery industry in UK. Using the character of ceramic to create the architecture component, exhibit the uniqueness of ceramic through architecture; expose to the public, ceramic is not only pottery, it could also be a innovation architectural material. As a result, this can honor the program of the design proposal. .

Revitalization: The Touching Sense

196

5

6 6

7

7 8

9 10 12

11 13

14

15 16

17 18 19

9

22

24

25

The design not be used preservation public’s unders pottery, it shou the local cultu a site with rich is essential. it is importan the barriers b in order to and communi potters which standard of po

Using the cha create the arch exhibit the uni through archite public, cerami it could also architectural m this can honor design propos

Revitaliza The Touc

Plants and seeds form the basis Plants seeds form thewhich basisall of theand ecosystem from of life theon ecosystem fromproviding which allus Earth grows, lifewith on Earth providing food, grows, medicine, fuel us and with food, medicine, fuel andthe more. They are essential to more.

They are essential toHuman the wellbeing of humanity. wellbeing humanity. irreversible Human action isof causing action is causing irreversible damage to the Earth’s ecosystem, damage theaEarth’s leadingtoto loss ofecosystem, biodiversity leading to a plant loss ofspecies. biodiversity and vital It is and vital plant species.

It is to important something is done important something is done prevent this while we haveto a prevent while we enable have athe chance.this Seed banks chance. banks storageSeed of seeds in enable case ofthe their storage of seeds case of theirthe extinction in the in wild, allowing extinction in the wild, allowing the possibility of using the stored possibility using the seeds to of reintroduce the stored species seeds reintroduce the species backto into the ecosystem. back into the ecosystem.

The Nottingham SeedBank The Nottingham SeedBank combines seed storage and combines andthe research seed facilitiesstorage built into research facilities built into the existing caves beneath the site existing cavespublic beneath site in with a new greenthe space with a new public green space in Nottingham City centre, encourNottingham City centre, encouraging people using the green aging people using the green space to take an interest in local space to take an local biodiversity.

Theinterest privateinfacilities biodiversity.

The private facilities would be used by Nottingham would used by Nottingham Trent be University in addition to their Trent University in addition to their current seed storage and current seed storage and research areas. research areas.

The site is in the Broadmarsh The siteof isNottingham, in the Broadmarsh area historically area of Nottingham, historically the largest green space in the city. theDue largest green space thecity city. to to the need for inthe Due to the city to expand theneed area for wasthe increasingly expand the area was increasingly built upon causing a number of built upon causing a number of plant species unique to the area plant species unique to the area to become extinct worldwide. I am to proposing become extinct worldwide. to reclaim theI am lost proposing to of reclaim lost to green space the city,the helping green space of the city, helping to alter society’s anthropocentric alter society’s attitude towardsanthropocentric the natural world attitude towards the natural world ensuring no more local species ensuring no more become extinct. local species become extinct.

Nottingham Nottingham SeedBank SeedBank

197

Studio 2

Joseph Joseph McGowan McGowan

walkway

eed bed

Studio 2

spective

Matthe Wingro

Matthew Wingrove The contemporary steady state approach to comfort, where fluctuation is undesirable, leaves little scope for dynamic sensory experience. Our reliance on digital technology for experience and connection compounds this problem. This is particularly relevant to education, where place-based and virtual methods of learning are both proposed in contemporary pedagogy.

Education is shifting away from a teacher-centric model associated with cellular classrooms and control, to a learner-centric model.

The spatial implication is an open plan workshop environment- the ‘learning landscape’. Montessori and Extended schools were used as pedagogical precedents.

Chilwell School is a CLASP secondary school in need of refurbishment. A series of phased strategies are proposed to allow radical but gradual evolution of the school. A new masterplan allows the school to become a community hub with public functions. Subject areas are reorganised based on a linked curriculum, anchored around a new theatre mediating between courtyard and lake. To reconfigure the existing fabric, transfer structures connect learning spaces to the courtyard and the wider meadow site.

Walkways improve circulation, express accessibility and connectivity, and act as solar shading for the lightweight fabric.

Pods are then attached to provide extra study space within the compact courtyard arrangement, allowing the existing structure to become open plan.

Aerial perspective

View of courtyard from walkway

Walkway steps above reed bed

Cutaway view of structure 198

Chilwell Sch secondary sc refurbishment strategies are radical but gra school. A new the school to b hub with publi areas are reo a linked cur around a new between cour reconfigure t transfer str learning spac and the wid Walkways im express a connectivity, shading for th Pods are then extra study compact cour allowing the e become open

Outside t

Outside the Box

structure

The contemp approach to fluctuation is little scope fo experience. digital techno and connec this problem. relevant to place-based a of learning a in contemp Education is s teacher-centri with cellular control, to a le The spatial im plan worksho ‘learning land and Extended as pedagogica

Vivid contrast. Darkness envelops Vivid contrast. envelops you, but there’s Darkness light at the end, you, but there’s the end, beckoning, pulling light you at onwards. beckoning, pulling you onwards.

A tunnel, a shaft and an opening tunnel, shaftsky. andYour an opening toAthe sea aand eyes to the sea and sky.blue Your eyes gradually adjust to the tones gradually to the red bluehues tones burning intoadjust your vision, burning youryou. vision, hues spring up into around Thered tunnel up- you around Theuphill. tunnel is spring inclined are you. walking inclined -appears you are on walking uphill.

Anis opening the right.

An opening the right.

You turn andappears enter. on Suddenly You flooded turn and Suddenly you’re withenter. light, coloured you’re flooded withvaulted light, coloured light.

In this conical room, light.change In this conical vaulted room, tones and merge.

Colours tonesfrom change merge.

Colours wash the and ceiling aperture wash seeing from the aperture you’re theceiling atmosphere's you’reRe-emerging seeing the back atmosphere's colour. into the colour.eyes Re-emerging back into the tunnel, once again struggle eyes once again totunnel, adjust.

Ahead the struggle tunnel to adjust.

Ahead tunnel becomes lighter, stairstheleading becomes leading down.

At the lighter, bottom astairs window sits down.

At the bottomthe a window sits back among Marram you back Above amongyour the head Marram you more. once a once more.

Above head fine shaft of light cuts your across the a fine shaft leading of light cuts the darkness, youracross eye to darkness, leading yourwall. eyeAnto where it hits the opposite where it hitsofthe opposite wall. An arc; a series large arcs, divergarc; a series large arcs, ing across theoftimber, burntdiverginto ingwood, across the timber, burnt into the cutting the path of the the from wood, cuttingtothe path of the sun, sunrise sunset.

It is sun, sunset from sunrise to sunset.

It is nearly now and the tunnel sunset now and tunnel is nearly starting to radiate anthe orange is starting radiate orange glow.

You to climb up an another glow. You up tunnel. another stairway into climb the main stairway tunnel.

Closer now,into thethe viewmain becomes Closer now, view Then becomes more vivid, morethe brilliant. an more vivid, Then an opening on more your brilliant. left. Stepping opening your the left. ground, Stepping out, you’reonabove out, you’re above thebuilding. ground, traversing the side of the traversing the sideYou of the building.

Your heart climbs. scan the Your heart You scan the horizon.

You climbs. are approaching a horizon. Youapparatus are approaching dome-shaped - it looks a dome-shaped apparatuscelestial - it looks like a large Victorian like a mechanical, large Victorian globe: clockcelestial like, globe: mechanical, clock like, precise... precise...

A Doorway to A Doorway to Perception Perception

199

Studio 2

Oliver Oliver Mueller Mueller

Studio 2

Rachael Lee

Racha Lee

Industrial decline across the UK during the 1980’s had serious economic and social effects on cities such as Sheffield, whose stability was reliant on production within the metal trades. As a result the economy has now turned its focus to creative industries and high technology manufacture, continuing the historical trend of creativity and innovation within the city. The shift encouraged a rebranding and in recent years large scale public realm improvements have occurred within the city centre with positive results. However, industrial clusters once integral to the urban fabric have been left to deteriorate as production has stopped or moved overseas.

While regeneration is underway, it saddens me to see the appearance of placeless architecture in areas that contain so much of the city’s heritage.

Industrial dec during the 1 economic and cities such a stability was r within the m result the e turned its industries an manufacture, historical tren innovation w shift encoura and in recen public realm occurred with with positive industrial clus to the urban left to deterio has stopped o While regener saddens me to of placeless a that contain s heritage.

The project concentrates on the area of Kelham, analysing and documenting its transformation from a highly active area of industry to current status as a new city neighbourhood; focusing on massing and connections to city centre areas along the River Don to explore how the area can truly reflect the past and embrace the future.

The project c area of Kelh documenting from a high industry to c new city neigh on massing a city centre are Don to explor truly reflect th the future.

In parallel to the thesis I have been working on the Nottingham H.O.U.S.E project with Ben Hopkins and Chris Dalton. The house has been constructed as the UK’s entry into the Solar Decathlon Europe competition in Madrid, June 2010.

In parallel to been working H.O.U.S.E p Hopkins and house has as the UK’s e Decathlon Eu Madrid, June

Made In Sheffield/ Nottingham HOUSE

200

Made In Nottingha

Tadao Ando’s ‘Koshino House’ was the initial inspiration for my concrete samples. The manipulation of light and shadow Ando’sfabric-like ‘Koshinotexture House’ onTadao the smooth wasinitially the the initialmain inspiration was driver forfor concrete with samples.

The mymy experimentation different manipulation of Using light and shadow textured moulds. a series the smoothsuch fabric-like texture of ontechniques as latex was initially main printing driver for moulding and the concrete experimentation with different I my progressed to experimenting textured moulds. Using a series with the combination of printing of lighting techniques such aswhich latex and techniques and fibre concrete ledmoulding me to using optics printing then I progressed to strips experimenting subsequently glass in the with the which, combination of printing concrete consequently, and lighting techniques which has been designed into my final led me to using fibre optics then project. subsequently glass strips in the Inspired by concrete and light, which, myconcrete final project was consequently, sited in a has been into my final quarry in thedesigned Peak District.

The project. model image at the top shows Inspired

by Quarry’s concrete dramatic and light, Middle Peak my final project sited in a scale.

Located nearwas Wirksworth, quarrytown in the Peak District.

The a small where every year in model image at festival the top takes shows September, an art Middle Peak place, it is an idealQuarry’s place fordramatic an art scale.toLocated Wirksworth, gallery display near the local work. a small town where every to year The Art Gallery is designed be in September,onan festivalPeak takes incorporated theart National place, it ispasses an idealby place an art Trail which the for quarry gallery to display local by’s work. and from which manythe passer The Artdown Gallery designed to be wander intois the beautiful incorporated on the National Peak man-made landscape.

The site Trail which passes quarry creates an ideal spotbyforthe Artists andWalkers from which many by’s and alike andpasser so the wanderincorporates down into 3the beautiful building individual The site Artman-made Galleries landscape. along a journey creates anaideal spot forseries Artists emphasising spectacular Walkers so the of and viewpoints.

Thealike main and materials, buildingand incorporates individual concrete corten, pay3homage Galleries along a relics journey to Art the abandoned industrial emphasising a spectacular series and each Gallery has a different of viewpoints.

The to mainsuit materials, lighting condition the concrete and the corten, pay of homage artwork where layout the to the abandoned industrial relics galleries along a main circulation and allows each Gallery has a different route the building to be lighting condition visited all year round. to suit the artwork where the layout of the galleries along a main circulation route allows the building to be visited all year round.

The Art of Concrete The Art of Concrete

201

Studio 2

Lucia Milone Lucia Milone

Studio 2

Jun Aso

Jun Aso

A sewage treatment plant is a Not In My Backyard infrastructure. It is a dirty, smelly and disgusting process that needs to be kept as far away as possible from its source. Or is it?

A sewage trea In My Backya is a dirty, sm process that as far away a source. Or is i

For this thesis I am proposing a new type of sewage plant. A plant where sewage is treated as a resource for the local community rather than a waste.

For this thesis new type of se where sewag resource for t rather than a w

We produce around 120 litres of waste water per person per day.

This water contains organic matter which needs to be decomposed before it is released into a river.

This decomposition releases Methane which is natural gas and this is collected to be used as fuel. Also, the process of water treatment can be enhanced by using vegetation. By making this process visible and open to the public, the visitors will realise that being sustainable does not decrese the quality of life, in fact it can enhance life.

We produce a waste water p This water con which needs before it is re This decom Methane whi and this is co as fuel. Also, t treatment can using vegetat process visibl public, the v that being su decrese the q it can enhance

This sewage plant is designed to accomodate the 300,000 litres of waste water produced every day by the 2500 local residents of Meadows, Nottingham. The plant not only process the sewage but it produces energy, it is educational and a destination within a park.

The treated water is realsed into the site creating wetlands and ponds increasing the bio diversity on site.

This sewage to accomodat of waste wate day by the 250 Meadows, No not only proce produces ene and a destina The treated w the site crea ponds increas on site.

In My Back Yard

202

In My Ba

Recently, there has been aa signifiRecently, there has been significant cantincrease increaseininthe theuse useofofsilk silk fabric fabric byby manufacturer manufacturer forfor products products such such asas men men and and women women accessories, accessories, fashion, fashion, gowns, gowns,ties, ties,bed bedsheet sheetproducts, products, oror even even pyjamas pyjamas etc. etc. The The massive massivesupply supplyand anddemand demandofof the theproduction productionofofsilk silkhas hasmade made the theprices pricesmuch muchmore moreaffordable affordable totoeveryone everyonenowadays. nowadays.

Overexposure Overexposure I I am am therefore therefore proposing proposing a a manufactory manufactorybuilding buildingthat thatworks works asasmachinery. machinery.The Theaim aimofofthis this project projectisistotounveil unveilthe thehidden hidden process processofofsilk silkfabrics. fabrics.This Thisisis particularly particularlyessential essentialasaspeople people nowadays nowadaysare aremore moreconcerned concerned and andwant wanttotoexplore exploremore moreabout about the theproduct productthey theyconsumed. consumed.

The function ofof the manufactory isis The function the manufactory self-sufficient self-sufficientfrom fromgrowing growingtotothe the end end product. product. It It comprising comprising ofof multi-functional multi-functional elements elements that that efficiently efficientlyutilises utilisesitsitsspace spaceforforthe the plantation plantation (i.e. (i.e. green green house), house), handling, handling,processing processing(weaving) (weaving), , presentation presentation and and selling( selling( final final product). product).

The TheLocation LocationOfOfSite: Site: Derby isis aa city ofof strong contrasts: Derby city strong contrasts: social, social,political politicaland andcultural. cultural.ItsIts industrial industrial heritage heritage isis now now something somethingofofa amythic mythicmemory. memory.

The TheSilk SilkMill, Mill,Derby's Derby'sMuseum Museumofof Industry Industryand andHistory, History,isisononthe thesite site ofofone oneBritain's Britain'sfirst firstSilk Silkfactories factories and andit itisisalso alsoclaimed claimedtotobebeononthe the site siteofofthe theworld's world'soldest oldestfactories. factories.

It Itisispart partofofthe theDerwent DerwentValley Valley Mills MillsWorld WorldHeritage HeritageSite.

Site.

Over OverExposure Exposure

Urban UrbanSilk SilkManufactoring Manufactoring

203

Studio 2

Darren DarrenSaiwa Saiwa LiLi

204

Studio 2

205 Studio 2

Selina Shah This scheme creates a public space and new entrance to South Kensington Station, which acts as a hub for networks of infrastructure and community. It was one of the first train stations in London and the community are keen to respect its history.

The most notable attribute of the area continues to be its atmosphere of progress and achievement, fostered by, and culminating in the 3 museums: the Victoria and Albert, Natural History and Science Museum.

Each of them acts as a tribute to their respective fields of knowledge and culture, displaying the best of the variety within their discipline. The spirit of learning and distribution of knowledge is epitomised here.

The current bullnose arrangement was once very successful, but has been left behind in scale and function while the rest of South Kensington has progressed. It is difficult for visitors to find the museums if arriving to site on street level.

This proposal will aim to provide a solution that fulfils the site’s potential within a wider context, looking carefully at the people and events that currently take place and giving room to events that may take place in the future.

It hopes to strengthen the station’s 4 main functions of gateway, signifier, welcome and prelude and will try to connect the 3 divergent sets of site users: local residents, workers and tourists.

South Kensington Station

206

Laura Sears

Derby’s Te part of the W mill sites us consisting boards, passersby t their cities date, there don’t engag interpretatio people rea significance aim of thi possibilities of exploring touring and introducing between a and intellige environmen

Studio 3: i-arch: INTERACTIVE ARCHITECTURE This studio considers the various ways in which buildings have been designed and theorised as interactive environments. The work addresses current themes and questions such as: What makes an interactive environment?

What methods have designers traditionally adopted in making their buildings more responsive, adaptable, dynamic and engaging?

Is digital technology making new kinds of interaction possible?

What are the relationships between spaces that are adaptive, interactive or otherwise responsive to their users needs, desires and movements?

By looking at the recent history of critical and philosophical speculation on the nature of architecture, technology and the body – alongside casestudies of the work of artists, architects and designers - the studio aims to develop a series of propositions on the future relationships between architecture and interaction.

Jonathan Hale Studio leader

207

Studio 3

Lauran Searston

Lauran Searsto

Derby’s Textile Industry forms part of the World Heritage. Many mill sites use archetypal methods consisting of small information boards, hoping to entice passersby to discover more about their cities forgotten past. To date, there is a belief that people don’t engage with these static text interpretations, with very few people realising the industries significance.

The overriding aim of this thesis is to seek possibilities of non-didactic ways of exploring architecture through touring and collaborative learning, introducing cultural interaction between architectural systems and intelligent textiles in the built environment.

In addition the thesis aims to reconnect Derby with its textile roots, not treating architecture as an object or icon, but as an urban catalyst, promoting public uses for the city where experiences can be seen and heard in an unrestricted environment.

Derby’s Textile part of the World mill sites use arc consisting of s boards, hopin passersby to dis their cities forg date, there is a don’t engage wit interpretations, people realising significance. aim of this th possibilities of n of exploring arc touring and colla introducing cul between archit and intelligent te environment. thesis aims to with its textile r architecture as icon, but as an promoting publ city where exp seen and heard environment.

Derby City M.I.L.L.S concentrates on the textile industry along part of the River Derwent. The main driver for this was to regenerate the existing mills and landscape with an audio tour and through a series of events that take place along the way, revealing a story through explorations, sensory experiences and making the invisible, visible, allowing participants to consciously connect with the ‘active’ city and bring life back to the forgotten areas of Derby’s industrial past.

Derby City M.I.L on the textile in of the River De driver for this w the existing mill with an audio to series of events along the way, through explor experiences an invisible, vis participants t connect with the bring life back areas of Derby’s

Derby City M.I.L.L.S

208

Derby City

Sillitoe City is a multi-media project that explores the themes of cinema, the city, and world making in order to re-imagine Nottingham asSillitoe Sillitoe City City. Starting with the is a multi-media concept extended projectof that exploresarchitectural the themes of cognition, thecity, project looks at cinema, the and world making the employed by film in techniques order to re-imagine Nottingham makers to manipulate time and as Sillitoe City. Starting with the space, andofcreate narrative. concept extended architectural cognition, the project looks at The explores the byfilm the project techniques employed film making used time in the makerstechniques to manipulate and Nottingham Saturday space, andbased create film narrative.

Night Sunday Morning (1960).

ByThe re-visiting locationsthefrom project the explores film the film, and documenting making techniques used inthe the changes that based have taken place Nottingham film Saturday over the last 50 years, Nottingham Night Sunday Morning (1960). is By re-imagined Sillitoe City. from re-visitingasthe locations the film, and documenting the Accessed web taken interface, changes via that ahave place visitors Sillitoe over thecan last experience 50 years, Nottingham City via on-line films, virtualCity. tours, is re-imagined as Sillitoe or visit the city in person using downloadable guides.

The Accessed viatour a web interface, project is intended to changeSillitoe the visitors can experience way thevirtual city, and Citywe viaexperience on-line films, tours, opens up the thecity concept of world or visit in person using making, where virtual, and real downloadable tour guides.

The worlds collide. project is intended to change the way we experience the city, and The project opens up the concludes concept of with world a making, proposalwhere for avirtual, new and Sillitoe real City film collide. school on the site of a worlds derelict cinema, where future generations can concludes learn the art The project with ofa proposal filmmaking.for Drawing on a new Sillitoe Nottingham’s cinematic City film school on theheritage, site of a Sillitoe Citycinema, imagines where Nottingham derelict future asgenerations a centre of film canmaking, learn where the art new are created of narratives filmmaking.

Drawingthaton merge the real, with the imagined, Nottingham’s cinematic heritage, toSillitoe facilitate rich postNottingham human City imagines experience. as a centre of film making, where new narratives are created that merge the real, with the imagined, to facilitate rich post human experience.

Sillitoe City Sillitoe City

209

Studio 3

Alex Walker Alex Walker

210

Studio 3

This This scheme scheme creates creates aa public public space space and and new new entrance entrance toto South SouthKensington KensingtonStation, Station,which which acts acts as as aa hub hub for for networks networks ofof infrastructure infrastructure and and community. community. ItIt was wasone oneofofthe thefirst firsttrain trainstations stations ininLondon Londonand andthe thecommunity communityare are keen keentotorespect respectits itshistory. history.

The The most most notable notable attribute attribute ofof the the area area continues continues toto be be its its atmosphere atmosphere ofof progress progress and and achievement, achievement, fostered fostered by, by, and and culminating culminating inin the the 33 museums: museums: the the Victoria Victoria and and Albert, Albert, Natural Natural History History and and Science Science Museum.

Museum.

Each Each ofof them them acts acts as as aa tribute tribute toto their their respective respective fields fields ofof knowledge knowledgeand andculture, culture,displaying displaying the thebest bestofofthe thevariety varietywithin withintheir their discipline. discipline. The The spirit spirit ofof learning learning and and distribution distribution ofof knowledge knowledge isis epitomised epitomisedhere. here.

The Thecurrent currentbullnose bullnosearrangement arrangement was was once once very very successful, successful, but but has hasbeen beenleft leftbehind behindininscale scaleand and function function while while the the rest rest ofof South South Kensington Kensington has has progressed. progressed. ItIt isisdifficult difficultfor forvisitors visitorstotofind findthe the museums museums ifif arriving arriving toto site site on on street streetlevel. level.

This Thisproposal proposalwill willaim aimtotoprovide provide aa solution solution that that fulfils fulfils the the site’s site’s potential potential within within aa wider wider context, context, looking looking carefully carefully atat the the people people and and events events that that currently currently take take place placeand andgiving givingroom roomtotoevents events that thatmay maytake takeplace placeininthe thefuture. future.

ItIthopes hopestotostrengthen strengthenthe thestation’s station’s 44 main main functions functions ofof gateway, gateway, signifier, signifier, welcome welcome and and prelude prelude and and will will try try toto connect connect the the 33 divergent divergentsets setsofofsite siteusers: users:local local residents, residents,workers workersand andtourists. tourists.

South SouthKensington Kensington Station Station

211

Studio 3

Selina Selina Shah Shah

212

Studio 3

213 Studio 3

Ben Stua Debo Dix

SPORE:- A an organis rise to a directly or i

[Spore] is The designt platform Nottingham the way by mai citytwodepe background requiremen thorough s focused on As you ente used the site a handhe people enjo This inclu and whowh th detect pavilion resp are and a existing shuttersmat ac features wh value the The to tow was continu environme thesis projec connectivit

Holly Rees

and chang The thesis of the city.

British seas relevance w The viewin popular cul user with isand located i aims Before the located ce sense of cu that larger emer two Century, and Bexhilt and gard epitomises for thrivin patie once environme with an im for more t empty, forgo The therap involves brid cantwo betow in the individual coastal even environme the historic Hastings to inHealing Bexhill.is process th developed a oneself, b and promen affected and function environme that invites l to tochooses use the sp healing qu aims to exp building alla year des linking the the essence in the some that lido creating a two.

Errwood H Victorian [ SPOR lies in dila rural Peak two sides b amongst site provid Pavilion for retreat Rechar ruins beco the healinS British undertaken journey he 214

Studio 4: TOWARDS A SOCIAL ARCHITECTURE Our unit explored through the design of two projects, some key architectural concerns. We know that space is not just an external object or internal experience. We wanted to explore what else it might be.

Our aim was to create a site specific social architecture, and investigate how its construction can be used to generate ideas about space. The deliberate simplicity of our proposed architectural programmes meant that focus was often on examining material, technical and construction issues. We examined how cultural, political and social ideas are bound up in these challenges.

In semester 1 we explored the design of 14 small interventions in the centre of Nottingham. In Semester 2, we developed ideas on a larger scale in different locations and with more varied programmes.

All of our projects (28 in total), were based on real sites, in real places. All were situated in public situations. Activities that were proposed grew out of a careful analysis of each individual site. The individual interventions responded to these activities.

The buildings therefore accepted and grew out of the given conditions of each site. They were developed out of a real need, or supported an existing public activity. Through their design and making, each building invited use, and wanted to be used.

You could say that every object became immersed in its situation and attempted to create a dialogue out of it. These projects were not just about introverted inspection, but exploring extrinsic relationships- setting up a dialogue with an existing situation, with which each individual intervention participated. Similarly, weekly group tutorials were social experiences, sustained with cake. Students recorded through sketches, models, drawings, film and photos, their choices of subject, and their extensive searches for a site. We all kept a shared diary on a Facebook site, that was set up specifically for the project.

So we explored how architecture can support latent or (invisible) social situations.

We also wanted to produce an architecture that attempted to densify these existing relationships - to develop an architecture of relations, not representation. We proposed that meaning is generated through association with, and dissociation from what we know. We drew on things that already exist- other buildings, furniture, and architects. We looked at the world of artists, and how they create space, sensation and intensity.

Like art, we know that buildings communicate through their physical presence. We explored how materials and construction can be used to create buildings of distinct atmosphere. We tried to think about how material choices made us feel emotionally, and about the story each building could tell in its making.

The work asked technical questions about the relationship between inside and outside skin of the building, sobrietory, attentiveness, purpose, precision, material properties, exactitude, cause and effect, structural integrity, and economy.

Often, fine judgements were called for, (based on craft experience or technical know-how). Were materials crude or refined, slightly weak or strong, remote or desiring of attention?

Through examining the social and physical nature of architecture, and its capacity to generate social relationships, we perhaps moved a little closer towards an architecture of engagement.

Mark Hines & Michael Dahlke Studio leaders

215

Georgina Revell

Studio 4

This project addresses issues of sentiment and mortality in the built environment.

It is set in the village of Happisburgh, Norfolk, Europe’s fastest retreating coastline. Here, the everyday undoing of the landscape is made apparent by the one off events of buildings falling into the sea. The landscape is a spectacle – a powerful reminder of our own mortality.

The proposal is a simple house for the coast guard. He surveys this landscape; that which is neither land nor sea. Whilst the house responds to the local vernacular in scale, it anticipates its fate as it is torn apart to be occupied by the weather and ultimately the sea.

Georg Revell

This project of sentiment a built environm

It is set in Happisburgh, fastest retreat the everyday landscape is m one off events into the sea. spectacle – a of our own mo

The proposal i the coast gua landscape; th land nor sea. responds to t in scale, it ant is torn apart to weather and u

Tourists climb on, into and through the building gaining views back into the village and out to sea experiencing the ever widening horizons.

Tourists climb the building g into the villag experiencing horizons.

As it falls, the timber and stone building is unordered by the erosion and reordered by the waves. It will form a spit – ambiguously natural/man-made.

As it falls, the building is u erosion and waves. It w ambiguously n

The ground seaward of the house is marked with lines in years and meters. When it falls, what will we have learned about our planet?

The ground se is marked with meters. When have learned

The Last Post

216

The Last

Thomas Thomas Stroud Stroud 01.

Cities are built on juxtapositions, contrasting areason 01.

Cities are built sitting next to onecontrasting another. With juxtapositions, areas the steady the UK’s sitting nextdecline to one of another.

With manufacturing industry the steady decline of theonce UK’s prosperous areas ofindustry British cities manufacturing once are having to morph and change. prosperous areas of British cities The has been chosen react aresite having to morph andtochange. toThe this transformation.

Situated on site has been chosen to react Greenwich peninsula sandwich to this transformation.

Situated on between new proposed Greenwicha peninsula sandwich residential heavy between master a plan new andproposed industry, the master site is plan where residential andthese heavy too contrasting industry, the areas site ismeet. where these too contrasting areas meet.

The Construction Forum will beThethe Construction melting pot Forum for this will juxtaposition, blurringpottheforlines be the melting this between the areas wherethe people juxtaposition, blurring lines live and work.

With the people loss between the areas where oflive theand industrial work. heritage With the the loss scheme reintroduce the idea of thewillindustrial heritage the ofscheme manufacturing on a personal will reintroduce the idea scale, forming over time of manufacturing on aa bubble personal ofscale, industry in a sea of time residential. forming over a bubble of industry in a sea of residential.

02.

02.

02.

Spore is the first step the wider cultural 02. towards Spore is the first potential of Nottingham, step towards the widerlooking cultural forward the inevitable potential to of Nottingham, looking expansion the city’s forward of to the economic inevitable and social growth.

Spore is a expansion of the city’s economic new potential identity andbeacon social for growth.

Spore is a development Nottingham. new beaconforfor potential identity development for Nottingham.

Spore intrigues and excites, heightening people’sand perception Spore intrigues excites, ofheightening the environment which they people’s perception inhabit. design will of the The environment whichwork they oninhabit. differentThe levels, sculpturally, design will work architecturally and artistically. on different levels, sculpturally, Spore will aim to create as architecturally and users artistically. cultural spreading Spore seeds will aim to createthrough users as the city. seeds spreading through cultural the city.

01. Construction Forum 01. Construction Forum 02. SPORE 02. SPORE

217

Studio 4

01.

01.

Studio 4

Holly Rees

Holly Rees

Before the medical advancements that emerged in the early 20th Century, the belief that plants and gardens were beneficial for patients in healthcare environments was a key issue for more than a thousand years.

The therapeutic effects of nature can be instantaneous when the individual retreats to such an environment.

Before the me that emerged Century, the and gardens for patients environments for more than The therapeu can be instan individual ret environment.

Healing is a natural regeneration process that takes place within oneself, but can be significantly affected by the external environment in which one chooses to reside. Therefore the healing quality of a space within a building can be enhanced by linking the internal environments in some way to nature and creating a harmony between the two.

Healing is a n process that oneself, but c affected by environment chooses to re healing qualit a building ca linking the int in some wa creating a ha two.

Errwood Hall, a once flourishing Victorian country Manor, now lies in dilapidated ruin amidst the rural Peak district. Bordered on two sides by streams and nestled amongst a wooded valley, the site provides the ideal opportunity for retreat. The healing of the ruins becomes simultaneous to the healing process that will be undertaken by the visitors who journey here.

Errwood Hall, Victorian cou lies in dilapida rural Peak di two sides by s amongst a w site provides t for retreat. T ruins become the healing p undertaken b journey here.

Healing the Soul

218

Healing t

The The formform and and function of public function of public space has has played a fundamental space played a fundamental role role throughout history.

From the the throughout history.

From timetime that that humans first first defined humans defined private spaces, public spaces private spaces, public spaces havehave served as as places where served places where people havehave come together to to people come together exchange ideas.

Therefore as we exchange ideas.

Therefore as we continue to hand the control of our continue to hand the control of our cities overover to private organisations, cities to private organisations, so too the very spaces so do toowe do sell we sell the very spaces that that havehave shaped our society. shaped our society.

ThisThis veryvery realisation leadlead to ato a realisation surge of public institutions withwith surge of public institutions an endeavor for social inclusion, an endeavor for social inclusion, yet yet in most instances theythey fail fail in most instances to to captivate an an all all inclusive captivate inclusive audience. audience.

The The bus bus station provides a thriving station provides a thriving neutral or ‘level playing field’field’ for for neutral or ‘level playing social interaction, intermingling, social interaction, intermingling, and and communication.

Its location communication.

Its location between the the domestic and and workwork between domestic realms and and its existing primary realms its existing primary function putsputs it atit the forefront function at the forefront of public space in the centre of of of public space in the centre public discourse yet yet currently it it public discourse currently failsfails to recognise this.’this.’ to recognise ThisThis thesis aimsaims to to re- rethesis conceptualise public transport, conceptualise public transport, in particular the the bus bus station by by in particular station providing a network of bus ‘roots’ providing a network of bus ‘roots’ which transport locally grown which transport locally grown fruit fruit and and vegetables from suburb vegetables from suburb allotment sitessites into into a central bus bus allotment a central station. station.

The The bus bus station will will act act as as a a station thriving sustainable distribution thriving sustainable distribution centre and and farmers market, centre farmers market, which will both sell sell and and distribute which will both distribute locally grown produce throughout locally grown produce throughout Nottingham providing a platform Nottingham providing a platform for aforfully inclusive, re envisaged a fully inclusive, re envisaged public realm. public realm.

Establishing a a Establishing Connection Connection

219

Studio 4

Niki Niki Marshall Marshall

Studio 4

Rachel Campbell

Rache Camp

This thesis has an over riding interest in the social aspects of the brief allied to a keen awareness of materials.

It places emphasis on the process of architecture and creating situations for engagement rather than a building as a product itself.

Architecture has a limited potential to directly improve quality of life, but a long-term vision and framework can influence and reshape relationships between people, their surroundings and each other.

This thesis h interest in t of the brief awareness o places empha of architectu situations for than a building Architecture h to directly i life, but a lo framework c reshape rela people, their each other.

This building is tentatively both house and city, it provides a home for 20 disenfranchised people of all ages and backgrounds.

Substance abuses, imprisonment, break down of family and casualties of social pressures are the most frequent causes for an individuals stay. This is therefore a house for the isolated adult and has a long and short term function; as a home for those temporarily unprotected– often only for a few weeks– as well as for those who would otherwise be permanently unprotected, requiring social rehabilitation.

This building house and city for 20 disen of all ages Substance ab break down casualties of s the most freq individuals sta a house for th has a long and as a home fo unprotected– weeks– as we would otherw unprotected, rehabilitation.

This scheme is conceived as encounter points along a network of pathways. Progression through these spaces reveal, defined inbetween places which induce simultaneous awareness of what is significant on either side providing the common ground where conflicting polarities are reconciled. This collection of places combined makes a house, ‘the same applies no less to a city.’

This scheme encounter poi of pathways. P these spaces between pla simultaneous what is signifi providing the where conflic reconciled. T places combin ‘the same ap city.’

House and City re-imagining social rehabilitation

House an re-imagin rehabilita ‘Protected yet invloved - at home in the city after all.’

Aldo Van Eyck

220

221 Studio 4

Studio 4

Alex Lewis A hospice is a centre for palliative care - a health centre where the aim is not to cure, but to soothe and care for the dying. As such it is the only building typology which recognises and caters for death, rather than its prevention. The future hospice is an attempt to create a building that accepts the dying process and presents it as part of life, rather than a hidden and shameful event.

Situated on disused green land in suburban southeast London, the hospice takes the form of a network of indoor and outdoor gardens, with the individual rooms acting as private homes with their own garden sanctuaries.

Internally, the layout separates into two interconnected corridors - one that services the more public elements including the daycare centre, cafe and therapy rooms, and another which caters for the private functions such as the inpatient ward and offices.

Constructed from prefabricated and preclad timber panels, the building presents a facade of curtained wood and glass to the wider world, one that can be as open or as private as the users desire. By opening this most intimate element (where death occurs) to public view, the building allows a glimpse into the final moments of the people within and the reality of the end of life.

future hospice

222

Alex Lewis

A hospice is a care - a healt aim is not to and care for t is the only buil recognises an rather than i future hospice create a build dying process part of life, ra and shameful

Situated on d in suburban the hospice t network of in gardens, with acting as pr their own g Internally, the into two interc - one that s public eleme daycare centr rooms, and an for the private the inpatient Constructed and preclad building pres curtained wo the wider wo be as open o users desire. most intimate death occurs) building allow final moments and the reality

future ho

SPORE:- A reproductive body or an SPORE:organism, of giving Acapable reproductive body or SPORE:A reproductive body or or SPORE:A reproductive body riseorganism, a new individual either anto organism, organism, capable of giving an capable of giving an capable of giving directly indirectly rise tonew a new new individual either rise to aor individual eithereither rise to a individual directly or indirectly indirectly directly or indirectly directly or [Spore] is a dynamic viewing platform aims toviewing change [Spore] isdynamic a dynamic dynamic viewing [Spore] is that a is [Spore] a viewing the platform way people view the that aims to change platform that aims to change platform that aims to change citythe depending on view the view users way people the the way people the the the way people view requirements city depending on the the users city depending on the usersusers city depending on requirements requirements requirements As you enter the tower you collect a you handheld PDA. Asenter you enter enter the tower tower you collect As theinformation tower you collect As you the you collect a sensor that can a includes handheld information PDA. aThis handheld information PDA. a handheld information PDA. detect where the tower youcan This includes a sensor sensor that This includes ainsensor that that can This includes a can are detect and alter where inindependent the tower tower you detect where inthe the tower you you detect where in the shutters accordingly. are and and alter the independent independent are and alter the independent are alter the shutters accordingly. shutters accordingly. shutters accordingly.

The tower creates an environment of creates visual The tower an The tower creates an The tower creates an connectivity with environment of visual visual environment of Nottingham environment of visual andconnectivity changes with peoples perception with Nottingham connectivity Nottingham connectivity with Nottingham of the andcity. changes peoples perception and changes peoples perception and changes peoples perception ofcity. the city. city. of the of the The viewing platform unites the userviewing with their city as a unites whole, The viewing platform the The platform unites the the The viewing platform unites anduser aimswith to their create aa as stronger city a whole, whole, user with their city city as whole, user with their as a sense ofaims cultural and to unity. create a stronger stronger and aims to create a stronger and aims to create a sense of cultural cultural unity. sense of cultural unity.unity. sense of

[ SPORE ] SPORE [ SPORE ] ]] [[ SPORE

223

Studio 4

Ben Ben Ben Stuart Stuart Stuart

Studio 4

Deborah Dix

Debor Dix

The design for the pavilion by the Nottingham canal was informed by two main things; the historical background of the site and a thorough site investigation that focused on how people already used the site, what simple features people enjoyed about the area and who these people were. The pavilion responds directly to them, existing materials, geometries and features which I noticed to be of value to the area. This approach was continued in developing the thesis project.

The design fo Nottingham c by two main t background o thorough site focused on h used the site, w people enjoye and who thes pavilion respon existing mater features which value to the a was continued thesis project.

The thesis aims to reinvent the British seaside destination and its relevance within our society and popular culture. The chosen site is located in West St. Leonards, located centrally between the two larger towns of Hastings and Bexhill. In my opinion, it epitomises the rise and fall of a once thriving holiday destination with an impressive lido into an empty, forgotten place. The thesis involves bridging the gap between the two towns creating continuous coastal events and activities from the historic fishing quarter of Hastings to the De la Warr pavilion in Bexhill. The architecture has developed as a sculpted sea wall and promenade, with its spaces and functions materialising from it, that invites locals and visitors alike to use the space more. The project aims to explore how to create an all year destination that captures the essence and sense of place that the lido once had.

The thesis ai British seaside relevance with popular cultur is located in located cent two larger t and Bexhill. epitomises the once thriving with an impr empty, forgott involves bridgi the two towns coastal events the historic Hastings to the in Bexhill. Th developed as and promenad and functions that invites loc to use the spac aims to explor all year destin the essence a that the lido on

Pavilion by the Canal/ Recharging the British Seaside

224

Pavilion b Rechargi British Se

225 Studio 4

Studio 4

Stefanie Hughes

Stefa Hugh

The precious way that books were saved up for, collected and kept on private shelves, though appealing, is quite simply no longer economically or environmentally viable for popular literature and the mass population. The idea of a book exchange where people can bring books to donate or simply swap one book for another is one that is gathering pace. They are springing up in disused village telephone boxes, pubs, building societies, etc. The benefits are clear; books become affordable and environmentally sound in an age where eco-credentials and Sony Kindles are beginning to challenge the printed word. The most prolific success has been on the web where book swapping worldwide is in the millions, but postage and shipping mean that no swap is free and each is associated with the carbon emissions of transporting the books.

The preci were save kept on p appealing, longer eco mentally literature a tion. The id where peo donate or for another pace. The disused vi pubs, build benefits ar affordable sound in eco-creden are beginn printed wo success h where boo is in the m shipping m free and e the carb transportin

I wanted to apply the same principles to an urban centre, in this case the periphery of Nottingham’s Market Square, where the population size could really take advantage of a facility with a wide selection of books and a much faster turnaround. The design minimizes the architecture to that of a bookcase that offers protection from the sun, rain and crucially can be made secure at night. Essentially it becomes just another part of the street furniture, combining large information board touch screens with the beloved novel. Both are contained within the comfortable form of the book itself.

I wanted principles this case Nottingham where the really take with a wide a much f design min to that of protection crucially c night. Esse another furniture, information with the be contained form of the

Nottingham Book Exchange

226

Notting Excha

227 Studio 4

other, our traits and c Through my likely to amalgamate examining in global culture.

Our help mainta us to retain spans will decrease I have been constant streams of in of reminisce and increased effic sensory stim streamline ourto help day trigg to of memorie and reduce our need t public realm. There streets will need to visually stimulating to presence of people. In Stage, I explored broug buildings can be The Bra the street, Mainten using elements as a Centre design this way, the building activity can contribu people presence on the

Mark Hall

Explorations in Soho, ful district of London, design of the Berwic London pr 4 million t which is a manufactur waste every where peoplecomes can mak fro small busi fabrics on site.

The waste Weave bringswhen textile m incinerated directly to theboth public, on res on the The env London market. a mist econ Weave unifies Berwick the capital. highlighting and enha mine for us to pre existing textileneed market, waste gene building's marriage to to harvest th scape with street furni to stimulate fabric market.the Bydevelop creat defined use fortechnologies the stre can generat vulnerable to provide futurea de lar potential w and standardisation.

and drama impact of ru carbon outp London’s is comple organisation systems ca Londoners aim is to c coordinated managemen be clearer Reducing an Social inte proportion the effect away is cru will have o must be dec particular w both practic Our public to reuse - w from the thr become pl we liveplace in, than minimisation with the I rates recy easy of destin energy withoutgene hav of our ow shows tha connected interest thr in order to

Elizab Wilks Berwick Weave

the Urban Stag

228

Studio 5 - THE ONLY CONSTANT IS CHANGE The question is how can we design beautiful innovative buildings that respect the past, represent the present but ultimately take us into the exciting unknown, that is the future. The studio examines the notion that contemporary architecture must say something about the times we live in as well as suggest the way we could be living. Students are encouraged to interweave historical precedence with the new needs, desires, and possibilities of a changing world, evaluating and recapturing where appropriate the important and perhaps lost qualities of history whilst not being afraid to shake off the familiar and conventional in the search for new ways of seeing things. The studio encourages students to research changing habits in the way we go about our lives, seeking inspiration sometimes beyond the obvious to find innovative design drivers and new solutions to the way we live, work and play, finally presenting their own ideas on how these habits may manifest themselves, in the future, in the built environment.

Luis Matania Studio leader

229

Studio 5

Alina Toosy The rate of change in our society over the past 50 years has been exponential, so it is important to make accurate predictions for the future that can help to inform the way in which we design. For instance, due to our increased access to information about each other, our traits and cultures are likely to amalgamate into a more global culture. Our attention spans will decrease, due to constant streams of information, and increased efficiency will streamline our day to day lives and reduce our need to enter the public realm. Therefore our streets will need to be more visually stimulating to maintain a presence of people. In the Urban Stage, I explored how our buildings can be brought out into the street, using theatrical elements as a design device. In this way, the building user and activity can contribute to the people presence on the street.

Explorations in Soho, a successful district of London, led to the design of the Berwick Weave, which is a manufacturing project where people can make bespoke fabrics on site. The Berwick Weave brings textile manufacture directly to the public, and to it's London market. The Berwick Weave unifies Berwick Street, by highlighting and enhancing the existing textile market, and by the building's marriage to the street scape with street furniture and a fabric market. By creating a more defined use for the street, it is less vulnerable to future development and standardisation.

Berwick Weave and the Urban Stage

230

Alina Toosy

The rate of c over the pas exponential, make accura future that ca way in whic instance, du access to info other, our tra likely to ama global cultu spans will constant stre and increas streamline o and reduce o public realm streets will visually stimu presence of p Stage, I e buildings can the street, elements as this way, the activity can people prese

Explorations ful district of design of th which is a m where people fabrics on Weave brings directly to th London ma Weave unifie highlighting existing textil building's ma scape with s fabric market defined use fo vulnerable to and standard

Berwick the Urba

The The origins of this project lie lie origins of this project in the study of current urban in the study of current urban transportation modes and and theirtheir transportation modes associated infrastructure. associated infrastructure.

In the 4/5 of the distance In U.K the U.K 4/5 of total the total distance travelled by people eacheach yearyear is is travelled by people by car.

The The result of this is the by car. result of this is the blockage of 1/4 for atfor at blockage of of 1/4allofroads all roads leastleast an hour per day, leading to to an hour per day, leading an estimated costcost of ÂŁ20 Billion an estimated of ÂŁ20 Billion per year due due to loss of business. per year to loss of business.

At aAttime when we rely heavily a time when we rely heavily on on the the car, car, despite increasing despite increasing acceptance of of the the problems acceptance problems caused by doing so, this project caused by doing so, this project is the vision of aoffuture where is the vision a future where private transportation is noislonger private transportation no longer an overriding factor in the an overriding factor in design the design of our of city our centres. city centres.

The The urban interchange of the urban interchange of the future is ais response to the future a response to the concept of continuous flow.flow.

At key concept of continuous At key junctions streams of movement junctions streams of movement are are segregated vertically and and segregated vertically horizontally and and hence become horizontally hence become independent fromfrom one one another, independent another, breaking awayaway fromfrom the traditional breaking the traditional reliance of urban transport on the reliance of urban transport on the single shared ground plane. single shared ground plane.

AfterAfter consideration of of transit consideration transit networks on aon citya wide scale, this this networks city wide scale, project focuses in oninthe project focuses on primary the primary gateway to Leeds, presenting gateway to Leeds, presenting a future where public and and a future where public communal means of travel havehave communal means of travel evolved to become dominant in in evolved to become dominant the city.

It addresses the manner the city.

It addresses the manner in which facilities and and services in which facilities services will continue to betointegrated with with will continue be integrated the the interchange typology, and and interchange typology, considers howhow the now redundant considers the now redundant landland created by the of of created by exclusion the exclusion motor vehicles can be motor vehicles cantransformed be transformed to make our urban environments to make our urban environments beautiful, pedestrian orientated beautiful, pedestrian orientated spaces. spaces.

Urban Interchange Urban Interchange 2050 2050

231

Studio 5

Daniel Daniel Dunn Dunn

Studio 5

Elizabeth Wilks

Elizabe Wilks

Social interchange focuses on the effect rapid urban increase will have on our relationships in particular within the public realm.

Our public spaces have started to become places of transit rather than places of social exchange with the Internet becoming an easy destination hub to converse without having to leave the comfort of our own homes. Research shows that while we can feel connected to our communities of interest through virtual networks, in order to achieve a sense of belonging we need to feel secure in our communities of place.

Social intercha the effect rapi will have on ou particular within Our public spac become places than places of with the Intern easy destinatio without having t of our own ho shows that wh connected to o interest through in order to ach belonging we n in our communi

There is the potential for a future of deserted public space with human interactions being reserved solely for virtual networks for individual homes. The future generation would be disenchanted, socially difficult and the victims of an epidemic of loneliness.

There is the pote deserted public interactions bei for virtual netw homes. The would be disen difficult and th epidemic of lon

Social interchange proposes the utilisation of 3D holographic technology and virtual communication to promote more tangible interactions within public space.

Tangible social connections are to be woven with the virtual communications to create a richer social community.

The proposal is to be achieved through the design of a modern prototype of a telephone box.

Social interchange is designed to be an exchange of electrical impulses between the human body and the module stimulating a response in both bodies enabling them to act as one organism.

Social interch the utilisation o technology communication more tangible public space. connections are the virtual co create a richer s The proposal i through the de prototype of a Social intercha to be an exch impulses betw body and the mo response in bot them to act as o

Social Interchange

232

Social Inte

entire comes to dwell “An “An entire pastpast comes to dwell in in a new home…Thus home a new home…Thus the the home is is not experienced to day not experienced fromfrom day day to day on thread the thread a narrative only,only, on the of a of narrative in telling the telling of their story. or inorthe of their ownown story.

Through dreams, various Through dreams, the the various dwelling-places in our dwelling-places in our liveslives co- copenetrate retain the treasure penetrate and and retain the treasure of former days.” of former days.”

Gaston Bachelard ‘The Poetics of Space’ Gaston Bachelard ‘The Poetics of Space’ 1964 1964

homes thought Our Our homes are are thought to to contain all elements of our contain all elements of our liveslives lifestyle.

Researching and and lifestyle.

Researching howhow establish home we we establish whatwhat home is, is, discovering a consensus of taste discovering a consensus of taste style, achieve a solution and and style, maymay achieve a solution house of the future, for for the the house of the future, designers create but but howhow can can designers create environments environments that that fulfil fulfil eacheach individual’s for aesthetic an aesthetic individual’s needneed for an solution? solution? exponential growth WithWith the the exponential growth of of modern technology, British modern technology, the the British lifestyle attitude changed lifestyle and and attitude has has changed significantly. affects significantly.

ThisThis affects the the requirements of the home. requirements of the home.

DueDue increasing population to to an an increasing population is also a greater therethere is also a greater needneed larger homes, which for for larger homes, which are are modifiable for future generations. modifiable for future generations.

Homes to be adaptable Homes needneed to be adaptable flexible to cope and and flexible to cope with with ever-everchanging lifestyles. house changing lifestyles.

The The house of of future in the hands of the the the future is inisthe hands of the generation of architects nextnext generation of architects and and action needs be taken to make action needs to betotaken to make the population of Britain suresure the population of Britain live live in homes which are proud in homes which theythey are proud of, of, sustainable not only are are sustainable and and are are not only current population builtbuilt for for the the current population survive for many years but but will will survive for many years come. challenge to to come.

The The challenge for for architects to find replicable architects is toisfind newnew replicable solutions the modern equivalent solutions – the– modern equivalent of Victorian or Georgian housing. of Victorian or Georgian housing.

21st Century Terrace 21st Century Terrace - The Future of Brit- The Future of BritHousing ishish Housing

233

Studio 5

Helen Helen Jones Jones

Studio 5

Rosie Earp

Rosie Earp

The focus of my project is population aging and how architecture must adapt to cope with the increasing prevalence of neurological decline. Dementia presents a huge challenge to society, both now and increasingly in the future.

The focus population architecture m with the increa neurological presents a h society, both n in the future.

The human brain is a vast electrical system. The wiring of the system is driven by genetics and by experiences.

The process of memory begins with sensory perception, after which information is encoded and then stored within the neural network.

Billions of brain cells continuously form links with billions of other brain cells. These connections are charged with electrical pulses rippling through like lightning storms, which pulse along the dentritic trees and through the complex neural network. Unless the neural connections between brain cells are constantly challenged with new information, they gradually weaken with age.

The human electrical syst the system is and by ex process of m sensory perc information is stored within Billions of brai form links wi brain cells. T are charged w rippling throu storms, which dentritic trees complex neur the neural co brain cells challenged wi they gradually

In order to improve the quality of the extended life of the older generation, I believe it is imperative we tackle mental illness and work to delay the onset of diminished mental function.

In order to i of the exte older generat imperative w illness and wo of diminished

Through my project I have been examining how architecture can help maintain our brains and allow us to retain treasured memories.

I have been exploring the notion of reminiscence therapy and how sensory stimulation can be used to help trigger the reconstruction of memories.

Through my p examining ho help maintain us to retain tr I have been e of reminiscenc sensory stimu to help trigge of memories.

The Brain Maintenance Centre

234

The Brain Maintena Centre

The The continued continued and and profound profound expansion expansion ofof the the global global population population is ishaving havinga asignificant significantimpact impactonon our ournatural naturalenvironment environmentand andthe the way waywewelive. live. AsAsthe theurban urbanfabric fabric ofofour ourcity citycentres centresbecomes becomesever ever more more tightly tightly woven, woven, new new solutions solutions must must bebe found found toto accommodate accommodate the the growing growing population. population.

A Afloating floatingextension extensiontotothe thefuture future coastal coastalcity cityacts actsasasa aconceptual conceptual reimagining reimaginingofofthe thepier piertypology, typology, offering offeringananalternative alternativetotoinland inland suburban suburbansprawl. sprawl. This Thisinhabited inhabited pier pierexplores exploreshow howour ourrelationship relationship with the coast and the oceans may with the coast and the oceans may develop developasasincreasing increasingpressures pressures onon land’s availability and resources land’s availability and resources dominate the 21st century. dominate the 21st century.

It Italso alsoforms formsthe thebasis basisforformymy contemporary contemporary response response which which explores exploresthe therelationship relationshipbetween between Liverpool’s Liverpool’ssister sistercity, city,Birkenhead, Birkenhead, and the River Mersey. and the River Mersey.Birkenhead’s Birkenhead’s owes owesitsitsexistence existencetotothe theriver river estuary estuaryand anditsitsown ownshipbuilding shipbuilding heritage.

However heritage.

However asas the the industry industryhas hasdeserted desertedthe thetown, town, a a disconnection disconnection has has appeared appeared between Birkenhead and the coast. between Birkenhead and the coast.

Whilst WhilstLiverpool Liverpoolhas hasenjoyed enjoyeda a recent recent renaissance, renaissance, Birkenhead Birkenhead remains remains derelict derelict and and forgotten. forgotten.

MyMyproject projectexplores exploresthe thefuture future redevelopment ofof the city, and how redevelopment the city, and how it itcan canreconnect reconnectwith withitsitsindustrial industrial heritage heritageand anditsitswaterfront, waterfront,and and how it can exploit the assets that areare how it can exploit the assets that currently currently forgotten forgotten oror ignored. ignored.

Woodside WoodsideTerminal Terminal

235

Studio 5

Tom Tom Smith Smith

Studio 5

Mark James Hall

Mark J Hall

London produces a massive 4 million tonnes of municipal waste every year, most of which comes from household and small businesses.

Currently when waste reaches landfill it is incinerated creating heavy taxes both on residents of London and on the environment resulting in a mist economic opportunity for the capital. This provides a gold mine for us to use, but first me need to prevent as much of this waste generated as possible and to harvest the material that is left to stimulate an income. Through the development of world leading technologies, recycled materials can generate cleaner energy and provide a large number of jobs this potential will attract investment and dramatically reduce the impact of rubbish disposal on our carbon output.

London’s waste management is complex, involving many organisations.

The current systems can be confusing for Londoners in all boroughs. My aim is to create and develop a coordinated approach to waste management in London that will be clearer and more effective.

Reducing and reusing a significant proportion we currently throw away is crucial. Waste volumes must be decreased by supporting both practical and creative ways to reuse - we must move away from the throw away culture that we live in, to a culture of waste minimisation and reuse, high rates of recycling and low carbon energy generation.

London prod 4 million to waste every y comes from small busine when waste r incinerated cr both on resid on the enviro a mist econo the capital. T mine for us t need to preve waste genera to harvest the to stimulate a the developm technologies, can generate provide a large potential will and dramati impact of rubb carbon output London’s w is complex, organisations systems can Londoners in aim is to cre coordinated a management be clearer a Reducing and proportion w away is cruci must be decre both practical to reuse - we from the thro we live in, to minimisation rates of recyc energy genera

2050: Future Waste

236

2050: Fu

To deal with the massive increase To deal with the massive increase of population and influx of people of population and influx of people cities,creating creatingthethe need to tocities, need for for high-density and self-sustainable high-density and self-sustainable intelligent housing, new concepts intelligent housing, new concepts areneeded neededforformore more compact, are compact, smallerscale scaleunits units smaller thatthat do do notnot hinder occupant choice.Things Things hinder occupant choice. need brought back to humanneed to to bebe brought back to humanscale.People People have realised they scale. have realised they needmasses masses space dodonotnotneed of of space andmany manycars. cars.They They want and want to to withinwalking walkingdistance distanceof of bebewithin recreation, culture, entertainment recreation, culture, entertainment and work.Residents, Residents, especially and work. especially city residents want closely city residents want to to be be closely connected to to community community connected amenities.Neighbourhoods Neighbourhoods amenities. areare almosta a fundamental habitat almost fundamental habitat of of man and cities made of living man and cities areare made of living and breathing with human beings and breathing with human beings that need to to bebe facilitated in the that need facilitated in the way they interact.

It will be be a living way they interact.

It will a living environment which willwill encourage environment which encourage social socialinteractions interactionsandandfoster foster existing ties. existingcommunity community ties.Unlike Unlike previous in in thethe future previousdecades, decades, future residents willwill bebe looking beyond residents looking beyond just a roof over their heads.

With just a roof over their heads.

With limited limitedland landresources resourcesandanda a projected projectedpopulation populationincrease, increase, housing willwill have housingdevelopments developments have to tobebebuilt builtat athigher higherdensities densities and greater building heights. and greater building heights.

The The attendant attendant social social andand environmental issues relating to to environmental issues relating high-density living willwill also have high-density living also have to be addressed. Premium will to be addressed. Premium will be placed on convenience and be placed on convenience and ease of access to facilities and a ease of access to facilities and a high standard of housing within high standard of housing within an attractive environment as an attractive environment as part of an integrated total living part of an integrated total living environment, where greenery, environment, where infrastructure, amenities greenery, and infrastructure, amenities facilities flow seamlessly into oneand facilities flow seamlessly into one another. another.

Ergonomic Podules Ergonomic Podules

237

Studio 5

Michelle Michelle Yeung Yeung

Len Won

Eric Cheung Jingdezhen is a city in the JiangXi province in China. It is famous for its porcelain industry and it is known as the “Porcelain Capital”. Since the industry declined, the city has introduced other industries to the city while large small office library square trying transform themarket porcelain retail to shop production industry into a creative typical showing a Lvisible L S M XL side XL of street industry width the industry. plot size p

L

S

M

M

L

school

community center

small park

res/ retail

res/ office

midrise

low rise

M

M

S

M

M

S

S

M

M

S

L

L

M

S

x

xx

xxx

xx

xx

x

xx

xx

xxx

xx

xx

x

xxx

xxx

xx

xxx

xx

x

xx

xxx

xx

xxx

xx

x

x

xx

x

x

x

xx

x

x

xx

x

x

x

xx

x

x

xx

x

xx

L

Most of the city is going to be formalized based on the idea of xxx x xx xxx xxx xxx a “typical modern city” creating a homogenous urban realm. This xxx xx x results inx the loss ofxxstreetxx life and reduced in the possible types of social interactions. xx xx xxx xx xxx Furthermore, the government’s xx xx xxx x approach to preservation is to keep some pieces and dress xx xx x them upxx using pastiche facade treatment, which could lead to disneyfication. x xx xx x This study proposes an alternative x to regenerate the city core region.

Using six urban blocks as a test piece inx proximity to the city center within the historical core x area. Providing a framework using existing situations as the starting point to show a process x possibility of integration between the formal and the informal.

xxx

xx

xx

xx

xx

x

x

Arrival Hall [1, 10] Departure Hall [2, 15] Baggage [1, 10] Platform [1, 15]

Square [-2, 15]

Bus Stop [1, 5]

preserve as of the area year, a co developed a site spec ‘Thirdspace adaptive de of This reacting proj scenarios a pattern m variation of small ci share the massive rules, onl recogniz parameter v historic p new pa present patchwo a great v for the in THIRD create, urban p allow fo the city’s pattern spaces a Whilst rapidly, more p strengthe both tim this leve addresse The pro computa This digit characte patterns. up patt accordin condition to top d a given emergen The m street n well str informal computa model a in gene different this infor down sc for inform

Car Park [1, 5]

Ticket office [2, 20] Heterogeneous Production [3, 10] Interface Production [2, 10] Factory [1, 10] Craft [2, 15] Coach Station [1, 5]

15] [1, 5]

238

Jingd Eme Patte

Studio 6: FLUX TERRITORIES

This studio has been conceived as a laboratory for the development of techniques to explore complex urban territories. We have attempted to use a series of open ended digital techniques and processes to create our own dynamic time based tools to understand, explore, map and propose tangencies to multi layered urban scale ‘flux territories’. An urban territory undergoing unprecedented rate of change in topology within a city will be our study site. Our focus will be to carry out a series of site specific studies of the social, political & economic forces of influence and their current and projected spatial manifestations and cultural effects. Students proposed individual projects at a variety of scales that are based on the possibilities of influencing the direction or rate of change. Projected scenarios and possible tangencies have been tested through the integration digital models and real world film, allowing for the re-association of socio-political and cultural aspects.

Ulysses Sengupta Studio leader

239

Studio 6

Eric Cheung

Eric Cheung

Jingdezhen is a city in the JiangXi province in China. It is famous for its porcelain industry and it is known as the “Porcelain Capital”. Since the industry declined, the city has introduced other industries to the city while trying to transform the porcelain production industry into a creative industry showing a visible side of the industry.

Jingdezhen is a province in Ch for its porcela it is known a Capital”. Sinc declined, the ci other industries trying to transfo production indus industry showin the industry.

Most of the city is going to be formalized based on the idea of a “typical modern city” creating a homogenous urban realm. This results in the loss of street life and reduced in the possible types of social interactions.

Most of the cit formalized base a “typical mode homogenous u results in the los reduced in the social interaction

Furthermore, the government’s approach to preservation is to keep some pieces and dress them up using pastiche facade treatment, which could lead to disneyfication.

Furthermore, t approach to p keep some pi them up using treatment, whic disneyfication.

This study proposes an alternative to regenerate the city core region.

Using six urban blocks as a test piece in proximity to the city center within the historical core area. Providing a framework using existing situations as the starting point to show a process possibility of integration between the formal and the informal.

This study propo to regenerate th Using six urban piece in proxi center within th area. Providin using existing starting point to possibility of int the formal and t

Heterogeneous Interface

240

Heterogen Interface

comcomsmall res/ res/ large small small res/ res/ large small midrise low rise office library market square school munity midrise low rise office library market square school munity park retail office retail shop park retail office retail shop center center typical typical L street street width width

L

L plot size p plot size p

L

xxx

xxx

xx

xx

xx

x

xxx

xxx

xx

xx

xx

x

S

S

x

x

xx

xx

xx

xx

x

x

x

x

S

S

x

x

xx

xx

xx

xx

x

M

M

xx

xx

xxx

xxx

xx

xx

L

M

M

M

xx

xxx

xx

xxx

xxx

xx

xx

xx

xx

x

x

x

L

M

XL

L

xxx xxx

xx

xx

x

x

x

xx

xxx

XL

L

XL

L

xxx xxx

xx

xxx

x

M

XL

M

L

xxx

x

x

xx

xxx

xx

x

x

M

M

x

xx

M

M

xx

xx

xxx xxx

xx

x

x

xxx

xx

xx

S

M

S

M

L

S

xxx

xx

xxx

xx

xx

xxx

xx

xxx

xx

xx

x

x

xxx

x

x

xxx

x

x

M

M

L

L

xxx

xxx

xx

xx

x

x

xx

xx

xxx

xxx

x

x

M

L

xx

xx

xxx

xxx

x

x

S

M

xx

xx

xx

xx

xx

xx

x

x

x

x

M

S

xx

xx

S

M

xx

xx

xx

xx

xx

xx

x

x

S

S

x

x

x

x

x

x

xx

xx

xx

xx

x

xx

xx

x

x

S

S

x

x

x

x

x

x

xx

xx

xx

xx

x

x

ThisThis projects addresses the the spatial projects addresses spatial pattern memory of Jingdezhen, a a pattern memory of Jingdezhen, small citycity in China undergoing small in China undergoing massive massiveurban urbanchange. change.WeWe recognize the the shortcomings of of recognize shortcomings historic patterns andand the the need for for historic patterns need newnew patterns to to accommodate patterns accommodate present dayday needs.

However, the the present needs.

However, patchwork of historic patterns hashas patchwork of historic patterns a great value in the opportunities a great value in the opportunities for for the the informal possibilities theythey informal possibilities create, create, which which contemporary contemporary urban planning systems do do not not urban planning systems allow for. for.

What will will happen to to allow What happen the the city’s identity as as it’s it’s historic city’s identity historic pattern patternandandintrinsic intrinsicinformal informal spaces are are replaced? spaces replaced?

Whilst Whilst buildings buildings change change rapidly, rapidly,urban urbanmorphology morphologyis is more morepermanent. permanent.AndAndso soif if strengthening strengtheningidentity identityrequires requires bothboth timetime andand continuity, its its at at continuity, thisthis level thatthat it can be be bestbest level it can addressed. addressed.

TheThe project is the design of a project is the design of a computational computationalparametric parametrictool.tool.

ThisThis digital tooltool deals withwith informal digital deals informal characteristics in street network characteristics in street network patterns.

It allows for for bottom patterns.

It allows bottom up up patterns to to be be generated patterns generated according according to to sitesite specific specific conditions.

As As it isit responsive conditions. is responsive to top down criteria imposed in in to top down criteria imposed a given situation it allows for for a given situation it allows emergent outcomes. emergent outcomes.

TheThemodel modelgenerates generatesviable viable street network patterns withwith a a street network patterns wellwell structured hierarchy andand structured hierarchy informal informalcharacteristics. characteristics.TheThe computational computationalnature natureof ofthe the model allows for for a dual rolerole model allows a dual in in generating patterns against generating patterns against different scenarios.

In doing so, so, different scenarios.

In doing thisthis informs the the limits of the top top informs limits of the down scenario whilst still still allowing down scenario whilst allowing for informal patterns to occur. for informal patterns to occur.

Jingdezhen Jingdezhen Emergent Urban Emergent Urban Pattern Model Pattern Model

241

Studio 6

Lenard Lenard Wong Wong

Studio 6

Noriko Matsuda

Noriko Matsu

The city of study, Jingdezhen is known as the ‘Porcelain Capital’ of China and is considered to be one of the most rapidly growing cities in China. Its rich history is now taking its place as a ‘city brand’, enhancing its identity globally. The current fabric of the city resembles urban sprawl with commercialised shopping complexes and new mid-rise residential blocks emerging with signs showing further progression of gentrification.

The city of st known as the of China and one of the m cities in Chin is now taking brand’, enha globally. The the city resem with comme complexes a residential blo signs showing of gentrificatio

The concept of ‘Thirdspace’ the project refers to is perhaps closer to how Ray Oldenburg, an urban sociologist described his theory on ‘third-place’. An anchor of community life and facilitate and foster broader and creative interaction, establishing a sense of place.

The concep the project re closer to how urban sociolo theory on ‘thir of community and foster br interaction, es of place.

The project is set in the context of gentrification, where ‘formal’ developments are taking over the ‘informal’ areas. The proposed ‘Thirdspace’ aims to intervene in this scenario.

The project is of gentrificati developments ‘informal’ are ‘Thirdspace’ a this scenario.

Six sites were identified to form the ‘Thirdspace’. In order to preserve as much spatial memory of the area as possible, over the year, a computational tool was developed in order to generate a site specific volumetric of the ‘Thirdspace’. This method offered adaptive design process capable of reacting to multiple context and scenarios and produces endless variation of results, all of which share the same construction rules, only differing in the parameter value of the rules.

Six sites were the ‘Thirdspa preserve as m of the area as year, a comp developed in a site specific ‘Thirdspace’. T adaptive desig of reacting to m scenarios and variation of re share the s rules, only parameter val

THIRDSPACE

242

THIRDSP

The site is is in in the City Jingdezhen, The site the City Jingdezhen, the theceramic ceramiccapital capitalof ofChina.

China.AsAs the city is is trying to to connect the new the city trying connect the new high speed railway link to to Beijing, high speed railway link Beijing, the thelocal localgovernment governmentis isplanning planning forfora anew newstation. station.The Thecurrent current station stationstudy studyshows showsthat thatthere there is isnonosense senseof ofarrival arrivalreflecting reflecting the theidentity identityof ofJingdezhen Jingdezhenasasa a porcelain city.

It lacks of of linking to to porcelain city.

It lacks linking the surrounding porcelain market the surrounding porcelain market where people can exploring local where people can exploring local culture and local life. culture and local life.

Hence, Hence,there thereis isnecessarily necessarilyto to address addressthe thesense senseof ofIdentity Identityto to the station and to to integrate better the station and integrate better with the urban context.

From what with the urban context.

From what I find I findin inthe thecity, city,such suchasaslocal local market, glimpses of of the porcelain market, glimpses the porcelain transportation transportationin ineveryday everydaylife, life, etc. etc.MyMyproposal proposalis isto tointroduce introduce aa new station bring together with new station bring together with the thePorcelain PorcelainWorkspace Workspaceand and Market.

Market.

Arrival HallHall [1, 10] Arrival [1, 10] Departure HallHall [2, 15] Departure [2, 15] Platform [1, 15] Platform [1, 15]

Baggage [1, 10] Baggage [1, 10] Square [-2, [-2, 15] 15] Square

BusBus Stop [1, 5] Stop [1, 5]

CarCar Park [1, 5] Park [1, 5]

Ticket office [2, 20] Ticket office [2, 20] Production [3, 10] Production [3, 10] Production [2, 10] Production [2, 10] Factory [1, 10] Factory [1, 10] Craft [2, 15] Craft [2, 15] Coach Station [1, 5] Coach Station [1, 5]

I start with the functional program I start with the functional program and the circulation diagram linking and the circulation diagram linking with withthe thecontext. context.Then ThenI use I usethe the Maya Maya dynamics dynamics to to generate generate the thedigital digitalmodel modelto tomanipulate manipulate form formbased basedononcirculation circulationand and waiting time.

Speed of of movement waiting time.

Speed movement and andmagnitude magnitudeof offorce forcereflects reflects number numberof ofpeople peopleand andlength lengthof of time in in the space.

The final design time the space.

The final design is is progressed afterward. progressed afterward.

Image: Image: 1. 1.

Station interior Station interior 2. 2.

Programme diagram Programme diagram 3. 3.

Circulation Simulation Circulation Simulation 4. 4.

Digital Manipulation Model Digital Manipulation Model Rules 2: 2: Rules Circulation Speed: Circulation Speed: Time frame control Time frame control Transport: 1-100 frames Transport: 1-100 frames Station: 1-150, 1-200 frames Station: 1-150, 1-200 frames Workspace: 1-200 Workspace: 1-200 Market: 1-250 frames Market: 1-250 frames Departure Departure Arrival Arrival Local andand Workers Local Workers

Reviving Revivingthe theceramic ceramic capital capital Jingdezhen Railway StaJingdezhen Railway Station Design Proposal tion Design Proposal

243 Rules 2: 2: Rules Circulation Speed: Circulation Speed:

Studio 6

Qiao QiaoYang Yang

Studio 6

Weikai Gong

Weikai Gong

The urban playground gives a vital piece of public realm back to the city. It is a space for the youth of Nottingham to achieve their potential through the breaking down of three key barriers:

The urban play vital piece of pu the city. It is a sp of Nottingham potential throug down of three ke

• Social: giving young people a chance to meet and interact with each other not only within their groups, but across their community so that they may learn from each other and broaden mutual understanding.

• Social: giving a chance to m with each othe their groups, b community so th from each oth mutual understa

• Physical: the topography is designed to be jumped, vaulted, skated and climbed. It is a testing ground on which young people can prove themselves: to find their limits… and break them.

• Physical: the designed to be skated and climb ground on whic can prove them their limits… and

• Mental: social and physical barriers cannot be overcome until the inner self is at peace. A central support facility gives vital help and advice to young people on the issues that affect them, so that they can have the confidence to face up to the world and succeed.

• Mental: soci barriers cannot b the inner self is a support facility and advice to y the issues that a they can have t face up to the wo

Adjacent to the commercial centre of the city and along an important transportation node, the scheme becomes a gateway into Nottingham. Placed in the centre of the public eye it is a landscape that encourages spectacle, integration and acceptance.

Adjacent to centre of the c important transp scheme become Nottingham. Pla of the public eye that encoura integration and a

Spaces for young people are not to be marginalised. This is a place where they can find the confidence to be engaged, to achieve their full potential or… simply have fun!

Spaces for yo not to be marg a place where confidence to achieve their fu simply have fun!

Urban Playground

244

Urban Play

245 Studio 6

injustice and Meditation buried ben accept w be addresse 9toon King’s particularly The lands Amnesty Int aLocated variety “the most efo works as th London,towa forward to biorem warehouse stability an cleaning land subs to confront contaminan into and a ma pu past result the projectof exp justice.

One of the sitf between and stable th 18th and the tidal, un of half lies a This biorem scheme in includes floodable p Sited in the nursery an becomes p the previous that follow towards hig and Wolff, the site be uncontrolla with the leg restaurant. while enco to establish access and that have ta The Victor at low tide. retained an the transfo becomes a unrest to pea The builta acreating social o attempts to sky. constantly and the ri establishing spaces an offorms events. a p into the riv meditative below. S changing e while acting rain. The w Boudica corrodes a atPlace different roof contin the seasons toSlowing a viewin King’s C the building

Thame

School o

Social O

246

Studio 7: ARCHITECTURE AND THE SPIRITUAL The idea that architects are practitioners of intellectual labour has been accepted since the Italian Renaissance. The idea that architects might also design, theorize and research through processes that involve and value manual labour is also recognized but less so. However, the idea that architects might also value and practice spiritual labour is more unfamiliar territory. In this studio student were encouraged to investigate the spiritual through speculative design. The studio is for students who are interested in developing a design-led approach to research; consequently, students had a high level of design ability, and applied this in speculative ways, ‘conceiving of things that there are not yet words for, and providing concrete referents for words that there are not yet things for.

Bradley Starkey Studio leader

247

248

Studio 7

Over the last few years Northern Ireland has moved away from the shadows of the troubles, however, the traces of fear still exist in the core of the Northern Irish people, the legacies of injustice and inequalities needs to be addressed.

Amnesty International states that “the most effective way of moving forward towards long term peace, stability and reconciliation is to confront and interrogate the past and maximise the scope for justice. One does not build a solid and stable future on a foundation of half lies and concealments.�

Sited in the heart of Belfast on the previous shipyards of Harland and Wolff, my proposal deals with the legacy of the troubles to establish the truth of events that have taken place. Showing the transformation from public unrest to peace, the site becomes a social observatory for the constantly changing society, establishing a collective memory of events.

Social Observatory

249

Studio 7

Brian McCarron

Studio 7

Adam Kelly Boudica’s Resting Place aims both to provide a space to slow down in King’s Cross and to stand in opposition of the fast-paced development and sanitisation of the King’s Cross Railwaylands. The area is defined by speed and movement, making the provision of a calm, still environment more than apt.

This urban parkscape further aims to encourage contemplation and offer a mystical and intangible resting place for the mythical Iron Age Briton warrior queen Boudica (or Boadicea) who according to local legend is buried beneath platforms 8 & 9 on King’s Cross Station.

The landscape consists of a variety of planting which works as a natural system to bioremediate the site, cleaning the soil various contaminants which are the result of the industrial usages of the site throughout the 18th and 19th centuries.

This bioremediation program includes a greenhouse nursery and an incinerator that following cleansing of the site becomes part of a restaurant.

The Victorian Gasholder is retained and the existing pit becomes a focus of the park, creating a space to view the sky.

Boudica’s Resting Place Slowing Down (in) King’s Cross

250

Adam Kelly

Boudica’s Re both to prov slow down i and to stand the fast-pace and sanitisati Cross Railw area is defi and movem the provision environment m

This urba further aims contemplation a mystical resting place Iron Age Brito Boudica (or according to buried benea 9 on King’s C

The landsca a variety of works as a to bioremed cleaning the contaminants result of the i of the site 18th and 1 This bioreme includes a nursery and that followin the site beco restaurant.

The Victorian retained and becomes a fo creating a sp sky.

Boudica’s Place

Slowing D King’s Cro

The project explores thethe Eastern The project explores Eastern philosophy philosophy of of dissolving dissolving thethe ego, and how acceptance of of thethe ego, and how acceptance changing nature of of lifelife can lead to to changing nature can lead better mental well-being.

With one better mental well-being.

With one in infour fouradults adultsin inBritain Britainsuffering suffering from minor mental illnesses, there from minor mental illnesses, there are aresuggestions suggestionsthat thatmeditation meditation should bebe prescribed onon thethe NHS. should prescribed NHS. Meditation is is one way of of learning Meditation one way learning to to accept what wewe cannot control, accept what cannot control, particularly thethe passage of of time. particularly passage time.

Located Located onon thethe Thames Thames in in London, London,thethesite siteis isa aformer former warehouse warehouseand andjetty jettywith withthethe land land subsequently subsequently converted converted into into a a public public garden. garden. This This project projectexplores exploresthetherelationship relationship between betweenthethestructured structuredcity cityand and thethe tidal, uncontrollable river. tidal, uncontrollable river.The The scheme schemeintroduces introducesa aterraced, terraced, floodable floodablepublic publiclandscape landscapethat that becomes becomesprogressively progressivelyunusable unusable towards high tide, expressing this towards high tide, expressing this uncontrollable uncontrollableforce forceof ofnature, nature, while whileencouraging encouragingthethepublic publicto to access and explore thethe foreshore access and explore foreshore at at low tide. low tide.

The Thebuilt builtform formof ofthetheSchool School attempts attemptsto toallow allowthetheelements elements and andthetheriver riverto toinfluence influencethethe spaces spacesand andthethebuilt builtfabric. fabric. It It forms formsa apier pierthat thatextends extendsoutout into intothetheriver, river,making makinguse useof ofthethe meditative meditativesounds soundsof ofthethewater water below. below. Skylights Skylightsbring bringin inthethe changing external light conditions changing external light conditions while acting asas a drum skin forfor thethe while acting a drum skin rain.

The weathering steel exterior rain.

The weathering steel exterior corrodes and changes over time corrodes and changes over time at at different rates, while thethe green different rates, while green roof roofcontinuously continuouslychanges changeswith with thethe seasons.

A public pier leading seasons.

A public pier leading to to a viewing deck runs alongside a viewing deck runs alongside thethe building. building.

Thames ThamesMantra Mantra

School ofof Meditation School Meditation

251

Studio 7

Mohieldin Mohieldin Gamal Gamal

252

Studio 7

The spiritual can be a relatively work with.

Thecontentious spiritual cantopic be atorelatively The word spiritual refers contentious topic to work with.to a difficultrefers a grasp Thereality, word so spiritual to and a to experience, almost reality, so difficultand a grasp andimposto sible to define in rational terms. experience, and almost impossibleAstosuch, definethe in subject rational matter terms. has an ineffable qualitymatter and takes As such, the subject has on very personal interpretations, an ineffable quality and takes on is deemed spiritual to one verywhat personal interpretations, may not be toto another. whatperson is deemed spiritual one The may personal person not be tointerpretations another. of the interpretations spiritual in the Themade personal Architectural Design made of the spiritual in thework revolved around idea of Architectural Designthe work stories around and place revolved the creating idea of and storing stories andspirit. place creating and Thespirit. site for the project is the storing TheNottingham site for theRegional project isSeat the of Government, a 1950's ColdofWar Nottingham Regional Seat Bunker built to withstand nuclear Government, a 1950's Cold War fallout. withinnuclear a governBunker builtSituated to withstand ment estate within used abygovernthe Land fallout.

Situated Registry ment estate the usedscheme by the envisages Land the transformation the site into Registry the scheme of envisages National Archive the a transformation of the for site Governinto ment Secrets.

Theforprojects draws a National Archive Governfrom research on religious relics ment Secrets.

The projects draws reliquary the associated fromand research on and religious relics of and ritualthe andassociated display. and themes reliquary themes of ritual and display.

Reliquary of Secrets Reliquary of Secrets

253

Studio 7

Daniel Daniel Janes Janes

//Volumetric butchered movements

Jonathan Deeming

Tira

museum”

th p a

The extensive site explorat its’Mary’s own para St Cliff cost, time formed both an th Nantwich the connector bP physicality.

Narrowmarsh dominant ph Market area atop charact being utilised a themselves trading route an perceived topti the City. Over any,been interroga has lost,

//Butchered moment: Milking Parlour

C “the City continues to beu robustly adapting to hund q hidden from years of politics and and ewith caves have bee Concerned levels urbanpreviously conditio change and alsobeen resistin infilled. this questions w through explo turned into a The large o Lace Mark to withinlost the City these space to memory back for the as pu museum” in the context ainfully accessib

the cliff, off whi borrowed from a Nottingham’s branches A nestled off. bene starting at Narro escarpment its way up throu the historic Ci cliff face, conne the the thesis pro Hill, existin offers an knuc alter the ‘public drivenStone/ large St sc Hollow Pavement, exercises,open the offrom the cliff,reinter recla open space of of th N character creating a hier of the pedestria Through created and a articp of experientia clearances un a richlyramps enl crossing into the rock, clues that fra ar City. themselves w

Adam Carus N n The extensiveness of arch e site exploration typical th its’ own parameters in th t cost, time and the topog o physicality. Prerequisites d dominant physical feate area characteristics, frc City has emer On an Urban s material, a so themselves within c a vital connecti toughness.

Road to Ston perceived topography wit introduces pede the area and r any, interrogation.tofunctions of Plum T o Concerned with theUrban conte a Int urban condition, the yeac questions this idea of th c L through explorations ofThemC within the City, with specifi m to memory as a form of inh to in the context of place ma

T

254

Nottingham’s former ma nestled beneath the sa escarpment on the boun St Mary’s C the historic City, is the formedtes both the connecto the thesis project. Narrowmarsh The Market atop offers an alternativebeing to utilise de trading route driven large scale master the City. Ove has been lo exercises, the resistivity and hidden f caves have b from reinterpreting th levels previo been infilled. character of this area of th

The Lace M

Concerning Contemporary Studio 8: TITLE OFtheUNITS PAGE Urban Condition

//1898 Bovine existence in

I wish to form a studio which nurtures well informed students who can ‘think through drawings’ & make beautiful and descriptive models. The studio the urban contextphenomenological, but with a broad ranging & open agenda is essentially ended pedagogical approach, it will however, suggest that architecture is not an ocular art, that precision of the poetic is an essential sensibility in observation, distillation & intervention. That environmental design be understood as physical & material experience, essential cultural & historical context, not as add on technical gadgetry; it is fundamental to the inhalation of architecture. It will suggest that economy of means has an intrinsic beauty & that construction embodies meaning. The studio’s work will be centred on the relationship between the individual project & urbanism: a desire to re-endow the architectural act with intrinsic meaning a ‘construction’ which cannot be reduced to technical & visual necessity alone, where materiality can penetrate the invisible. An act of poetic density, and archaic presence.

Tony Swannell Studio leader

//Reinstating historic connections

The ‘con with of c Nott and resp

Nan as t relat agric is agric reari no re in th Show actin resp intel town peop

It ac show prov land daily the h via i vets

This cattl form them cont This ‘cuts the relat chor even //Volumetric butchered movements 255

Studio 8

Jonathan Deeming “the City continues to be relevant, robustly adapting to hundreds of years of politics and economic change and also resisting being turned into a large open air museum” Adam Caruso, 2008 The extensiveness of architectural site exploration typically sets its’ own parameters in terms of cost, time and the topographical physicality. Prerequisites, often dominant physical features or area characteristics, concrete themselves within a site’s perceived topography with little, if any, interrogation.

Concerned with the contemporary urban condition, the year’s work questions this idea of character through explorations of movement within the City, with specific regard to memory as a form of inheritance in the context of place making.

Nottingham’s former marshland, nestled beneath the sandstone escarpment on the boundary of the historic City, is the test bed for the thesis project. The scheme offers an alternative to developerdriven large scale master planning exercises, the resistivity revealed from reinterpreting the true character of this area of the City.

Through a process of layering of experiential instances in time, a richly enlightened series of clues that are able to concern themselves with the contemporary City has emerged, with an inherent material, social and cultural toughness.

Urban Interruptions

256

Jonath Deemi

“the City conti robustly adap years of poli change and a turned into museum”

The extensiven site explorat its’ own para cost, time and physicality. P dominant ph area charac themselves perceived topo any, interrogat

Concerned wit urban conditio questions this through explor within the City, to memory as in the context

Nottingham’s nestled bene escarpment o the historic Cit the thesis pro offers an alter driven large sc exercises, the from reinter character of th

Through a p of experiential a richly enli clues that ar themselves wi City has emerg material, soc toughness.

Urban Int

Tirthankar Datta Tirthankar Datta Studio 8

St Mary’s Cliff has historically formed both the separator and the connector between the lower Narrowmarsh and the Lace St Mary’s Cliff has historically Market atop the Escarpment, formed both the separator and being utilised as an important the connector between the lower trading route and connection to Narrowmarsh and the Lace the City. Over time, the cliff face Market atop the Escarpment, has been lost, no longer in use being utilised as an important and hidden from the public - the trading route and connection to caves have been blocked up and the City. Over time, the cliff face levels previously accessible have has been lost, no longer in use been infilled. and hidden from the public - the caves have been blocked up and The Lace Market Lobby reveals levels previously accessible have these lost spaces and claims them been infilled. back for the public by providing a fully accessible route through The Lace Market Lobby reveals the cliff, off which a programme these lost spaces and claims them borrowed from a Hotel hangs and back for the public by providing branches off. A system of ramps a fully accessible route through starting at Narrowmarsh spirals the cliff, off which a programme its way up through the excavated borrowed from a Hotel hangs and cliff face, connecting with Malin branches off. A system of ramps Hill, the existing car park and starting at Narrowmarsh spirals the ‘public knuckle’ of Short Hill/ its way up through the excavated Hollow Stone/ Stoney Street/ High cliff face, connecting with Malin Pavement, opening up the beauty Hill, the existing car park and of the cliff, reclaiming the derelict the ‘public knuckle’ of Short Hill/ open space of Narrowmarsh and Hollow Stone/ Stoney Street/ High creating a hierarchy in favour Pavement, opening up the beauty of the pedestrian. Moments are of the cliff, reclaiming the derelict created and articulated by minimal open space of Narrowmarsh and clearances underneath crisscreating a hierarchy in favour crossing ramps and cuts carved of the pedestrian. Moments are into the rock, framing views of the created and articulated by minimal City. clearances underneath crisscrossing ramps and cuts carved On an Urban scale, it re-forms into the rock, framing views of the a vital connection from London City.

Road to Stoney Street, reintroduces pedestrian movement On an Urban scale, it re-forms to the area and re-establishes the a vital connection from London functions of Plumptre Square.

Road to Stoney Street, reintroduces pedestrian movement to the area and re-establishes the functions of Plumptre Square.

The Lace Market Lobby The Lace Market Lobby 257

Naila Yousu

Studio 8

Naila Yousuf The years work explores the ‘contemporary urban condition’ , with the agenda of the reinstating of choreographic routes across Nottingham (Urban Furniture) and Nantwich (Thesis project) respectively.

Nantwich needs a cultural revival as the town has forgotten its relationship to its historical and agricultural roots. The town is completely dependant on agriculture, with a dominance in rearing Friesian Cows, yet there is no reference to this practice once in the town itself. The Nantwich Show[case], is a gymnasium, acting as a cultural forum and responsible for the physical and intellectual refinement of the town’s two groups of citizens – people and cattle.

The years ‘contempora with the age of choreogr Nottingham and Nantwi respectively. //1898 Bovine existence in the urban context

//Reinstating historic connections

Nantwich ne as the tow relationship agricultural is complet agriculture, rearing Fries no reference in the town Show[case], acting as a responsible intellectual town’s two people and c

It acts as a b show in provision of landscaped daily basis c the human a via its deba vets.

It acts as a base for the Nantwich show in July including the provision of a ‘main ring’ with a landscaped campo, whilst on a daily basis concerning itself with the human and bovine fine tuning via its debating room, gym, and vets.

This rearran cattle to th formulating a them, peop context is a This approa ‘cuts and fol the architec relationship choreograph events in the

This rearrangement of bringing cattle to the town centre and formulating a relationship between them, people and the urban context is a method of butchery.

This approach is used to create ‘cuts and folds’ or in other words the architecture, which use the relationship between the two choreographers to create key events in the building. //Volumetric butchered movements

Nantwic

Nantwich Show[case]

//Butchered moment: Milking Parlour

258

Architecture is is a process of of Architecture a process interpretation andand designation, interpretation designation, as much as aasfashioning of form as much a fashioning of form andand void.

Beyond the the Minaret void.

Beyond Minaret offers a shift of perspective on on offers a shift of perspective the the dualdual determining factors of of determining factors serving a particular wayway of living, serving a particular of living, or program, andand adapting thisthis wayway or program, adapting of living to ‘particular architectural of living to ‘particular architectural circumstances. circumstances. ‘where ‘where as as Gadamer observes, ‘a building is is Gadamer observes, ‘a building never only a work of art.’ never only a work of art.’

The way of living in question is The way of living in question is that of the Muslim community, that of the Muslim community, manifesting within the built urban manifesting within the built urban environment as part of the wider environment as part of the wider realm of a secular society. realm of a secular society.

The main intention therefore must The main intention therefore must be to look beyond the minaret, be to look beyond the minaret, beyond frozen, mimetic and beyond frozen, mimetic and imported typologies, to the lived imported typologies, to the lived reality of Muslim practice, where reality of Muslim practice, where “Things exist rooted in the flesh, mosque is the core space for “Things exist rooted in the flesh, the the mosque is the core space for - Stone, treetree andand flower...

Space spirit, surrounded by various - Stone, flower...

Space the the spirit, surrounded by various & time Are not the mathematics social, financial, educational and & time - Are not the mathematics social, financial, educational and thatthat youryour will will - Imposes, but charitable elements which create - Imposes, but charitable elements which create a green calender - Your heart for the city dweller, both a green calender - Your heart a place a place for the city dweller, observes - how elseelse could youyou Muslim and non Muslim alike. Thisboth observes - how could Muslim and non Muslim alike. This - Find your way home or know complex, by authentically - Find your way home or know urban urban complex, by authentically when to die...” connecting to its origins, can also when to die...” connecting to its origins, can also become part of the dialogue of the become part of the dialogue of the R.S.R.S. Thomas, Green Categories Architecture of true meaning Thomas, Green Categories city.city.

Architecture of true meaning speaks to its surroundings, and speaks to its surroundings, and is understood in a wealth of ways is understood in a wealth of ways which contribute to the broader which contribute to the broader lived experience. This study is lived experience. This study is therefore a process of unfolding therefore a process of unfolding and interpretation, where the and interpretation, where the actions of the prayer become actions of the prayer become the phenomenological generator the phenomenological generator of poetic space, or where the of poetic space, or where the practice of ethical business practice of ethical business transactions or the simple tending transactions or the simple tending of a landscaped garden create a of a landscaped garden create a transformative place in the city. transformative place in the city.

Dissertation...

Dissertation...

Beyond thethe Minaret: Beyond Minaret: A Space for thethe Spirit A Space for Spirit - A-Place for the City A Place for the City Dweller Dweller

259

Studio 8

Yusuf Yusuf Adams Adams

260

exhibit! 2010

Architecture & Built Environment 261

Research at the Department of Architecture & Built Environment Professor Brian Ford

Architecture & Urbanism Research Division Research in architecture and urbanism at the University of Nottingham has an International reputation across a wide field of enquiry, falling within the broad groupings of Architectural History & Theory, Urban Design, Environmental Design, and Architecture & Tectonics. Individual scholarship is complimented by collaborative research, both within the Department and externally. Research within the Division impacts on Government policy, professional practice,the construction industry and the quality of our built environment.

Architectural Humanities The Architectural Humanities Group supports research in architectural history, theory, culture and design. Combining individual scholarly work with collaborative and often practice-led research, group members are active in pursuing a range of research topics including: the history of architectural theory and criticism; the philosophy of technology, materiality and sustainability; museums and architectural exhibitions; the history and theory of modern and contemporary architecture. The group has important international links and also works with other schools and departments around the university including: Modern Languages and Cultures; Computer Sciences; Geography; History and Art History.

Environmental Design in Architecture The Environmental Design Group aims to inform the practice of architecture and enhance the quality of the built environment through research and consultancy in environmental design. The focus of research is on the way building form, material, and use impact on the relationship between the external and internal thermal, visual and aural environment. Much of the work is related to mitigating the impacts of climate change and reducing carbon emissions through innovative building design. Members of the group are involved in leading edge research, informing practice and industry, and collaborating with academic and commercial partners around the world.

262

Urban Design Research into Urban Design has been a strength of the University of Nottingham for the past two decades. The Urban Design Research Group focuses on the study of urban regeneration, conservation, public realm, waterfront regeneration, public consultation, cultural tourism and disaster recovery. The group aims to strength the link between Urban Design Research and Teaching, links between research and practice and to build on existing international links.

Architecture & Tectonics The research undertaken by Architecture and Tectonics Group addresses the core of architecture including design as research and research that supports and stimulates design. The making of architecture is researched by reflective practitioners, from: zero carbon architecture, materials, new tectonic opportunities, digital fabrication, 1:1 prototyping, high-rise architecture and the social science of sustainability. Research is undertaken collaboratively, on a multi-national basis with industry, engineers and other A+U research groups. It is a founder member of the Digital Fabricators Research + Practice Association and member of Council for Tall Buildings and Urban Habitat.

The Architecture and Tectonics Group encompasses A+BE’s Project Office, which undertakes live projects as a mode of research.

Research Opportunities PhD in Architectural History & Theory PhD in Urban Design PhD in Environmental Design PhD in Architecture & Tectonics PhD by Design

263

MASTER COURSES The School runs a number of innovative taught postgraduate courses based on its research expertise and most of the design modules undertaken on these Masters courses are shared with the Diploma in Architecture [RIBA 2] course.

MArch in Design Concentrates on architectural design, humanities and technology to an advanced level through a broad range of studio-based exploration and innovation, while also encouraging the development of sophisticated communication skills.

Course director: Jonathan Hale.

MArch in Urban Design Understands the complex relationship between spatial and design issues and social and economic urban processes. Addresses urban design as research and practice that shapes urban environments and responds to urban problems.

Course director: Katharina Borsi

MArch in Theory and Design Explores the potential contribution to the design process of an advanced theoretical input, drawing upon knowledge from other disciplines and introducing a range of critical techniques from outside the traditional domain of architecture.

Course director: Dr Laura Hanks.

MA in Architecture and Critical Theory Interdisciplinary programme that focuses on the interface between architectural theory and contemporary philosophy / cultural studies.

Course director: Jonathan Hale.

MArch in Sustainable Tall Buildings A unique and comprehensive course that explores complex design concepts for the 21st century mixed-use, sustainable, super-tall, bioclimatic skyscraper Course director: David Nicholson-Cole.

264

MArch in Technology Focuses on the role of technology in contemporary architecture; it explores integrated environmental strategies and the latest advances in materials including digital fabrication, contributing to the design of zero carbon architecture.

Course director: Prof Michael Stacey

MArch in Environmental Design Provides training in integrated environmental design in architecture and builds on a project based approach where technical and theoretical knowledge is well integrated. Aimed to practitioners in architecture and building industry in general.

Course director: Benson Lau.

Msc in Renewable Energy and Architecture Examines the integration of passive and active renewable energy systems into the fabric of buildings. Students are introduced to the use of simulation techniques and laboratory/engineering methods for analysing environmental performance.

Course director: Dr Mohamed Gadi

MSc in Sustainable Building Technology Tailored towards graduates of building services, architectural environmental engineering and other related disciplines. Focuses on the successful integration of renewable and sustainable energy technologies into buildings.

Course director: Dr Xudong Zhao

MSc in Sustainable Energy and Entrepreneurship Provides students with advanced skills in Renewable Energy Technology and Business.

Graduates from the course will be well placed to pursue careers in renewable energy technology industries.

Course director: Dr Yuehong Su

MSc in Energy Conversion and Management Strong emphasis within the context of renewable & sustainable energy technologies in the built environment. Provides effective management skills and an understanding of the current policies and regulations widely applicable.

Course director: Dr Matthew Hall 265

P H D C I N T E R N A T I O N A L S Y M P O S I A P A R T N E R S

U n iv e r s it y o f N o t t in g h a m , U n it e d K in g d o m U N O T T S

M a r io C u c in e l l a A r c h it e c t s , I t a lly M C A

A r c h it e c t u r e P r o je c t , M a lt a A P

D a v is L a n g d o n C o n s u l t a n c y , U n it e d K in g d o m D L C

F e d e r a t io n o f E u ro p e a n H e a t in g & A ir C o n d it io n in g A s s o c ia t io n s – R E H V A

A s s o c ia t io n o f R e s e a r c h a n d I n d u s t r ia l C o o p e r a t io n o f A n d a l u c ia , S p a in – A I C I A

A b h ik r a m A r c h it e c t s , I n d ia

S h a n g h a iR e s e a r c h I n s t it u t e o f B u il d in g S c ie n c e s , C h in a S R I B S

266

H D C I N E N A I O N A L M O I A A N E

C O O L I N G W I T H O U T A I R C O N D I T I O N I N G

S P A I N C H I N A M A L T A G R E E C E I T A L Y U N I T E D K I N G D O M I N D I A S u p p o rte d b y

C o o r d in a t o r s :

267

WHAT IS

PHDC?

Downdraught cooling is an energy efficient alternative to conventional air-conditioning in buildings, and relies on the effect of gravity to create a downdraught, and thus circulate air from the source of cooling to the occupied zone within the building. The source of cooling may be either ‘passive’ or ‘active’, or a combination of the two, and hence the term ‘Passive & Hybrid Downdraught Cooling’ (PHDC).

PHDC has the potential, demonstrated through the successful operation of a number of buildings around the world over the last 15 years, to achieve very significant savings in electrical energy. Fans, which may account for 25-35% of the electrical energy required in a conventional airconditioned building, are avoided.

In hot dry regions, energy savings can be further increased (by 5-10%) by evaporating water within the air-stream to create the downdraught, known as ‘Passive Downdraught Evaporative Cooling’ (PDEC).

A hybrid downdraught cooling system combines both ‘passive’ and ‘active’ downdraught cooling techniques. Such a system can then function in both hot and dry conditions (using PDEC) and warm and humid conditions (using chilled water cooling coils or de-humidifier), and is therefore applicable in many locations around the world, including the UK.

268

THE PHDC PROJECT The PHDC Project is funded by the European Commission under the 6th Framework Programme. Eight partners, coordinated by the University of Nottingham Department of the Built Environment, have undertaken a global review of research and practice in this field. The results of this review have been compiled into a ‘Design Sourcebook’ which provides a ‘state of the art’ summary, and guidance for architects and engineers. The sourcebook also includes two software tools which will enable architects and engineers to predict energy and environmental performance and to assess the affects of design changes on performance. The draft Sourcebook and software will be available free of charge to all delegates to the symposium.

By attending the International Symposium one will be able to gain significant insight into recent developments and applications of PHDC around the world.

The Symposium will introduce different approaches to downdraught cooling and illustrate this by reference to case study buildings around the world. The market for PHDC in Europe, India and China, and lifecycle costs will also be addressed. Climatic applicability and design strategies and rules of thumb will be discussed prior to the introduction to the software tools in the workshop. In London, and special session will review the design and performance of the School of Slavonic and Eastern European Studies, UCL, to which a visit is planned for the Friday afternoon.

269

Essay “The villa, more than anybody, is knowledgeable, gracious, trustworthy, veracious. If you take care of it with diligence & love, it will never think that it has satisfied you [enough]; it will give you rewards upon rewards.”

Leon Battista Alberti John Ruskin in `The Poetry of Architecture’ wrote that no one can be an architect who is not a metaphysician, which points to the stark contradiction that lies at the heart of architecture itself, torn as it is between those who would claim it to be `Mother of the Arts [to the Greeks the mother of the arts was memory] and those who insist that it has nothing to do with art, but is simply a question of architecture = function X economics [Hannes Meyer, founding member of Congrès International d’Architecture Moderne (CIAM), communist and architect]. No other discipline claiming to be an art has been so deeply divided within itself. But architecture is a public and practical art based on a pact with its society.

Can architects today take on problems that no one is putting before them? The private dwelling is a microcosm of architectural meaning and practicability. Therefore discuss and illustrate this dilemma historically and within our contemporary context, the idea and construction of the villa being your vehicle.

By Laura Almond As part of the Philosophy of Design module, run by Philip Oldfield and Tony Swannell

Despite the risk of being ironically pragmatic, one can only begin to cogitate the status of architecture, whether an art or application of logic and mathematics, by seeking to define art itself. Alas, it is definition too elusive, for it has mutated through the evolving of the ages and has been fervently debated between divisions of each age. Other branches of the arts are unwavering. It is possible that acknowledgement of art, like ‘beauty’ in the time-old cliché, is ‘in the eye of the beholder’.

A building can pendulate between the world of the arts and purely a constructed environment depending upon one’s situation. No one can be omniscient to the spectrum of feeling that a building can evoke.

To a tourist perhaps, a building can have the impact of occasion, of first encounter, but we cannot confine the built environment like fine art can be confined to a gallery or drama to a theatre. Is architecture tainted by dilution due to over-exposure; constant imbibing of our environment endangering its esteem as art, as it yields to the mundane? (Ruskin, 2004, pp.112 - 113).

It is possible, nay easy, to become enraptured by the romanticism of the artistic and rendered blind to the utmost value of architecture as a discipline outside of the arts.

It is not necessarily a shortcoming. If architecture is not an art it is not diminished in value. In fact, it could be an elevating shift; the arts can be seen as fanciful. One of the most prominent believers that the house is far removed from the world of art is Adolf Loos who said: “The work of art is responsible to none; the house is responsible to everyone.

The work of art wants to draw people out of their state of comfort.

270

The house has to serve comfort.

The work of art is revolutionary, the house is conservative.

Everything else that fulfils a function is to be excluded from the domain of art.” (Heynen, 1999).

The repetition of parallel syntax is indicative of his perception that the house and the artwork occupy distinct realms. He is somewhat deprecating of his profession which is discernible in his work. An avid writer, he justifies himself: “..the screams of pain for an aborted son...she is lying on a wooden floor. One of her hands still holds the smoking revolver. On the table a letter, the farewell letter. Is the room in which this is happening of good taste? Who will ask that? It is just a room!” (Loos, 1903, p.9) Stylistically akin to a scriptwriter’s setting of a scene, Loos describes a melodrama in the context of domesticity, then proceeds seamlessly to pose a question he knows will strike the reader as distastefully petty juxtaposed against such mortal tragedy. Loos’ purpose is to humble the house. He urges us to attribute it with emphasis relative to its role as a mere stage. This analogy enables the understanding of Loo’s clear distinction between the house and art. A work of art is conceived with the intent to demand the spotlight (Colomina and Cornelissen, 2005, p.75).

Illustration 1: The Villa Muller. (Van Duzer, 1997) A typical work of Loos, this photograph is perhaps a rather crude embodiment of his perspective. The interior is prosaic and lacklustre in the vacant condition in which it has been captured and the characteristic built-in raised levels aptly reflects a stage.

In opposition, manifest in the title of his thesis, De Re Aedificatoria, which translates as ‘On the Art of Building’, Alberti has an assured stance regarding whether architecture qualifies as an art form. In fact, he not only advocates the motion but proclaims it, with immense gusto, to be the most valuable of all the arts. Indeed, this was the broad consensus of the ancient world.

So much so, that the importance of architecture has imbibed into the etymology of language. There is a constant prefix through a web of linguistics: Aedificare translates as ‘to make a hearth’. The hearth is inherently symbolic of a domestic altar, which introduces a theme that culminates in the polysemous nature of the word ‘edify’. Henceforth, the masters of antiquity have rendered spiritual enlightenment, informed human improvement and, critically, building, inextricably plaited. (Whitakker and Galvin, 2000).

Alberti declares in his prologue, “When you erect a wall or portico of great elegance and adorn it with a door, columns, or roof, good citizens approve and express joy for their own sake, as well as yours, because they realise that you have used your wealth to increase greatly not only your own honour and glory, but also that of your family, your descendants, and the whole city.”(Alberti, 1966) His language is momentous. Om-

nipresent is a confidence that the enrichment of building will permeate multiple subsequent generations. Alberti epitomised the ideas that formed the crux of humanism. The power of thought was a limitless resource granted by God to apply to the creation of beauty.

By definition, the Renaissance was the rekindling of ancient formulaic proportions documented by Vitruvius. Derived from nature and the revered human form (God’s flawless creations), implementing this mathematics elevated the architect to a position above the medieval conception that had deemed them manual labourers toward the provision of commodities. Mimicking celestial creation was, in Alberti’s eyes, powerful enough to stimulate affetti. If the definition of art is based on culture of enduring resonance and the power to emotionally move, with Alberti’s theory that the villa qualifies as art, one can utterly concur (Wittkower, 1973; Alberti, 1966).

That established, 20th Century industrialisation throws a mass-produced spanner into the works. The homogenising factory line spore a vulgar ‘perfection’ in objects and there were repercussions of the impersonal in the architectural world.

Coinciding with the intermission between world wars the west embarked on a rebuild that was more frugal, and qualitative compromise inevitably accompanied this utmost concern for economics.

The Bauhaus was founded with the aim of uniting arts, however this initial vision was somewhat blurred by the onset of mechanisation. Products designed at the Bauhaus - the standardised metal lamps, writing tables and kitchen equipment were thrust into manufacturing and churned out into the homes of the masses and soon the homes that they adorned themselves became

a formulaic assembly. Leader of the Bauhaus, Meyer, striped the design process down to sterility.

He declared that ‘the “architect” is dead’, and embarked upon training people as components of the overall process - a materials specialist, a colourist (Droste, 2002, p.92).

The approach seems reminiscent of a production line; each person responsible for their own monotonous task, dark to the ‘bigger picture’. It was a demoralising debacle of the artistic process and gave weight to the ‘scientific analysis of needs’ (ibid., p.195). It seems only fitting that the feature of utmost prominence on one of the department buildings of The Bauhaus was a trio of domineering chimneys which overbear the entrance. They have pertinent connotations for this ‘factory of education’ (as termed by a pupil at the time) (ibid., p.192).

Illustration 2: (Droste, 2002, p.192), Dessau Bauhaus building department: General German Trades Union school, Bernau 1928-1930.

“But is not artistic work actually the opposite of the whole elementarist idea?” (Pallasma, 1986) In order to design his housing for mass production, Le Corbusier became a lodger in the mind pertaining to the every-man. The housing is profoundly formulaic, for the pitfall of mass production lies in error - not like the anomalous flaw of a

271

craftsman, charming, a quirk of individuality - but an error which is subjected to replication. A reliance on the architect’s fallible creativity would impact upon the daily lives of the masses, causing awkwardness or jarring by forcing routine acts of inhabitation to be punctuated by intermittent disruption of comfortable habit.

The idle time surrounding the shiftpattern of a factory worker was the time when the home should have triumphed, yet Corbusier was compelled by its utter failure and saw nothing that should impede the application of the machine model. He saw a rectifiable injustice in the absence within homes of the slick, high-performance, machine-driven style that saturated the factory environment and roused the ever-zealous media (Le Corbusier, 2008).

Illustration 3: (Le Corbusier, 2008), Interior view of Citrohan, built in 1921.

Illustration 4: (EVOlution Graphics, 2000) Citroen Type A Sport Torpedo 1921 blueprint. Corbusier compares the design of houses to the design of the automobile as a model of ultimate functionality.

Objects of admiration in their own right; Not art. Can Corbusier’s mass produced houses be when they were designed on the same principles?

272

The houses he sought to replace were ‘old rotten things that are our snail shells, our dwellings, which hold us in their putrid and useless grip every day and offer nothing in return.’(Corbusier, op.cit, p. 297) The crisp and healthy proposed alternative, the Citrohan House, for example, draws parallels with the automobile. Corbusier was dubious of a cubic room of rounded integer dimension, for this was synonymous with wasted space. Every decision was based upon calculation, making redundant the intuitive aspect of design but ensuring that the solution was both universally practical and of economical value (ibid., p.298).

Overemphasis on these two priorities could be seen to strip the house of its spirit. What is it to ‘dwell’? There is a subtle yet poignant discrepancy between this and merely living.

Adherent to the pattern of enmeshing architecture - if only linguistically with metaphor - with other less disputed sectors of the arts is the concept of the ‘poetry of architecture’. The title theme of Ruskin’s writings brought again to the fore in the writings of Heidegger (1951, p.266), in which he states that “Poetry is what really lets us dwell.

But through what do we attain to a dwelling place? Through building. Poetic creation, which lets us dwell, is a kind of building.”

To build a house is to satisfy need and technicalities in the spirit of functionalism. But to build a dwelling is to write poetry; fabricate a poetic territory in which man can reside. This is when architecture is truly art. However, is creating a dwelling an unattainable feat of modernism, since art appends to culture and in the Twentieth Century there was a prevalent demise of Western tradition and culture. Modernist thinkers, Anto-

nio Sant’Elia and Filippo Tommaso Marinetti gauged the abandoned ‘sense of the monumental, of the heavy, of the static’ (Conrads, 1975, p.35) and pre-empted and embraced what others regarded as the futile era of the banal, spurred from ‘a taste of the light, the practical, the ephemeral and the swift.

Houses will ‘last’ less long than we. Each generation will have to build its own city.’ (ibid,. p.36). The Futurist house abhorred the reproductive houses that clung to the remnants of ancient culture and ancestry. Why, it asked, when the new possibilities of industrialism, concrete for one, have the potential to revolutionise, does building have to stagnate in the past for the sake of nostalgia? Opposers of the movement watched as profuse rebuilding mutilated the cities. They credited the elements of nostalgia and memory to be the forbearers of the poetic and thus to be the quintessence of ‘dwelling’. Heidegger’s phenomenon of ‘homelessness’ was born (Heynen, 1999, p.18).

The alien built environment was tantamount an anti-utopia and far from art in the ancient sense.

It is easier to think of art superficially in terms of the ornament, perhaps for its awe-inspiring craftsmanship and aesthetic beauty.

However, the loss of the ornament in architecture is telling on a deeper level. The ornamentation of antiquity had credibility. It represented a positive statement about humanity; a permanent encapsulation of a celebrated culture - the aspiration of prior generations and the inspiration of the future. The Loosian premise for the redundancy of ornament lies in the inherent flaw of lending permanence to a depiction of a transient, flagging culture. To adorn a building with embellishment which can no longer claim a basis in the cosmos and illustrious humanity is only to encumber it

with imminent obsolescence (Loos & Opel, 1998).

Loos and functionists alike advocate the Roman exemplar. They channelled their endeavours into honing the villa’s floor plan rather than being distracted, like the Greeks, by the desire to invent fresh Orders (Banham, 1980, p.9496). In light of this, the disparity between the Roman villa and the houses of today as microcosms of architecture, is of interest. In the design of the floor plans of the Roman Villa there is a striking abundance of doors linking the rooms in a matrix of almost exhaustive access. The Romans felt this united the home with its scope for eliciting interaction of family and inhabitants. The new approach discarded the room as a ‘thoroughfare’, believing it to be intrusive and disruptive, and favoured rooms which echoed the concept of the culde-sac (Evans, 1997, p.p.62-65).

Superficially the metamorphosis of design in synchrony with changing building usage, it is perhaps also revealing about the demise of the home as the cultural hub it once was. It is extraordinary that the antithesis of the function that dictated ancient Roman and subsequently Palladio’s renaissance villas can be a functional specification of Koolhaas’ Villa dall’Ava 565 years later, where the quarters of parents and daughter are distinct even down to the circulatory pathways (Wislocki, 1992).

Illustration 5: (Rubin, 1997) Matrix style floor plan of Palladio’s Romanesque Palazzo Antonini, 1556.

Amidst those with bleak outlooks were those who saw the era of modernism as compliant with a linear evolution of architecture since primitive man first sought shelter.

The modernist style could embrace the technological advances of the industrial revolution but did not necessarily have to reject the arts in the sense of becoming sterile and without the integrity of acknowledging heritage.

Giedion conveyed this optimism by christening the 20th century with the oxymoronic title, the ‘new tradition’ (Heynen, 1999, p. 30).

If again titles can be scrutinised as encapsulations of fundamental outlook, it is interesting how Meyer’s teaching of ‘Bauen’ (Building) was rechristened ‘Baukunst’ (the art of building) by his successor within the Bauhaus, Mies van der Rohe. (Droste, op.cit) In the same way, in antiquity, Vitruvius’ De Architectura (Of Architecture) was overhauled and elaborated with humanist ideals to become ‘ De Re Aedificatoria’ (The Art of Building).

The resurgence of the artistic is apparent in many modernist houses.

A lustrous anomaly on the conveyor belt of the modernist city is La Maison de Verre. Obscured from the well-trodden paves of landmarks, its emanating façade brings delight of discovery to an intrepid explorer of the uncharted Parisian backstreets. The house is exemplary of how the fad materials of the new century could be assembled with sensitivity. Feats of craftsmanship are revered not discarded

within the building, for the bespoke elements of the interior, enable the unusual alliance of public and private to be realised. For instance, the revolving curvature of metal that restricts access to the upstairs does so in an inconspicuous manner so as to deflect attention from the prohibited access and gently usher patients to follow its convexity. Characterising the domestic quarters are the partition walls and staggered floor plans which are positioned methodically but with the intent of injecting a lively dynamic.

They develop the theatrical metaphor (often used to convey the house’s ambience) through their fragmentation, which causes the inhabitants to catch glimpses of and be glimpsed by one another intermittently as they perambulate the interiors; they oscillate between audience and performer respectively. Voices resound through the rooms like the vocal projections of a player. Partitions, translucent with stippling, connote the shadow screen backdrop of a stage in the way they facilitate the vicissitude of occupants to insubstantial, dancing silhouettes; Dramatic whilst providing the practical necessity of partial privacy. These individually tailored features of merit have not been usurped by the manufactured, but complimented by it (Ouroussoff, 2007).

Illustration 6: (Ouroussoff, 2006) The glass block façade of the Maison de Verre.

273

As the machine challenged architecture in the 20th century, again the direct connection between man and his creation is in danger of becoming increasingly remote in the 21st. Philosophically the arts are the embodiment of the potential of humanity. Does the fact that the human mind invented the computer legitimise its splicing into the creative process? The verb from which it is derived - to compute, suggests mindless application of algorithm and thus a contravening violation of an art.

A graphical simulation dislocates design from the body and has the defective ramifications of an anaesthetic. A drawing cannot feel, but it is one degree of separation from the feeling hand that drew it. Certainly the screen makes unavoidable the overemphasis of the ocular. A phenomenological approach could be seen as the saviour of the art of contemporary architecture.

(Pallasmaa, 2005) In the work of phenomenological architects like Frank Gehry and Steven Holl, the approach to design is intuitive and somewhat intangible as it deals with ways to harness the power of our subconscious receptivity to stimuli. There is emphasis on the previously raised concept of ‘dwelling’. Stimulations of the senses play an intrinsic role in reinstating something of the beliefs of Alberti regarding the value that can be endowed, through architecture, upon mankind. Function is relegated from priority but still highly considered, more with reference to how it overlaps with sensuality.

Triggers of the spectrum of senses have the potential to envelop the inhabitants in a sense of being; an awakening to the archaic perpetuality and universalism of the human condition.

Whether the house is art or not is subjective and frankly irrelevant

274

but for the valuable provocation of academic debate. As has been discussed, metaphors of the dramatic, poetic and lyrical pepper academics’ attempts to articulate the feelings a building can evoke, thus placing architecture akin to unarguably artistic sectors. Sometimes, in the case of Loos, this angle is distorted, for the stage is the setting for spectacle not spectacle in itself. Therefore, it becomes difficult to conclude on this basis.

The question of the creator’s intent is possibly the most solid grounds for deduction. The ornamentation of buildings can be seen to lend an artistic dimension by inherently embedding architecture within culture. However it is not the solitary means. It can, perhaps, only be an ‘art’ that can denote the gravitas of the Architect’s responsibility to furnish a world fit for unadulterated ‘dwelling’.

Bibliography ALBERTI, L.B., RYKWERT, J., LEACH, N. & TAVERNOR, R. (1991). On the Art of Building in Ten Books. MIT Press.

BANHAM, R. (1980). Theory and Design in the First Machine Age. MIT Press.

COLOMINA, B. & CORNELISSEN, H. (2005), Dwelling as a Figure of Thought. Uitgeverij Boom, Amsterdam.

CONRADS, U. (1975). Programs and Manifestoes on 20th-Century Architecture. MIT Press.

DROSTE, M. & Bauhaus-Archiv.

(2002). Bauhaus, 1919-1933.

Taschen, London.

ECK, C.V. (1998). The Structure of “De re aedificatoria” Reconsidered, The Journal of the Society of Architectural Historians, Vol. 57, No. 3, Sept.

EVOlution Graphics. & BRAAM, O. (2000), Citroen Type A Sport Torpedo 1921 blueprint. Internet WWW page at: <http://www.the-blueprints.com/blueprints/cars/citroen/ page/4/> (accessed 5.1.10. created 2000. modified 12.01.10) HEIDEGGER, M. & STASSEN, M. (2003). Martin Heidegger: Philosophical and Political Writings. The Continuum International Publishing Group Inc, New York.

HEYNEN, H. (1999). Architecture and Modernity: A Critique. MIT Press.

LE CORBUSIER. Translated by John Goodman (2008). Toward an Architecture. Frances Lincoln ltd, London.

LOOS, A. (1903). Das Andere, no 1, p.9.

LOOS, A. & OPEL, A. (1998). Ornament and Crime: Selected Essays, Ariadne Press.

NESBITT, K. (1996). Theorizing a New Agenda for Architecture: An Anthology of Architectural Theory 1965-1995. Princeton Architectural Press.

WILSON, C. S. (2000). Architectural Reflections: Studies in the Philosophy and Practice of Architecture. Edition 2. Manchester University Press.

WISLOCKI, P. (1992). Kool Sophistication, The Architects’ Journal, No 10, 11 March, p.p. 24–31.

WITTKOWER, R. (1973). Architectural Principles in the Age of Humanism Academy Editions.

OUROUSSOFF, N. (2007). The Best House in Paris. The New York Times, August 26.

PALLASMAA, J. (2005). The Eyes of the Skin- Architecture and the Senses. Wiley-Academy, Chichester.

PALLASMAA, J. (1986). The Geometry of Feeling: A Look at the Phenomenology of Architecture.

Skala: Nordic Journal of Architecture and Art, 4, p.p.22 – 25.

RUBIN. E, (1997). Translations from Drawings to Building and Other Essays. AA, London.

RUSKIN, J. (2004). The Poetry of Architecture: Poems. Giotto and his works in Padua (Volume 4 of Complete works), Adamant Media Corporation, Boston.

VAN DUZER, L. & KLEINMAN, K. (1997). Villa Müller: A Work of Adolf Loos, Princeton Architectural Press, New York.

WHITTAKER, R. & GALVIN, T. Works and Conversations. The Meaning of Proportion. Internet WWW page at: <http://www.conversations.org/story.php?sid=53> (Accessed 5.1.10.

Created 18.09.00).

275

Field Trips

276

Chicago A group of 13 students, led by Lecturer Philip Oldfield, travelled to Chicago in April 2010, staying in a hostel downtown next to Louis Sullivan’s Chicago Auditorium Building.

The birth place of the tall building, Chicago allowed the students to experience a city from the sky, with trips to the top of some of the world’s tallest buildings – Marina City, the John Hancock Tower and the vertigo-defying skydeck at the Willis Tower, with its cantilevered glass boxes perched some 400 metres above the ground. However, we also took in the small and intimate too, with fascinating tours of Frank Lloyd Wright’s Home and Studio and Frederick C. Robie House, one of the masterpieces of the Prairie Style. Other highlights included visits to Millennium Park, with its Gehry-designed Jay Pritzker Pavilion and Anish Kapoor’s ‘Bean’, a tour and presentation at the offices of Adrian Smith + Gordon Gill Architecture, and a visit to the Illinois Institute of Technology, where students participated in design reviews located in Mies van der Rohe’s iconic Crown Hall.

The fateful Icelandic ash cloud extended our trip for an additional seven days, allowing students to explore further afield, with trips to the Chicago Botanic Gardens and Calatrava’s dynamic Milwaukee Art Museum.

277

Oslo Past, Place, Presence Observations of the Oslo Field Trip, April 2010, by Lucia Milone ‘If you run after history you will never reach it – only through manifesting the present can you make history talk.’

This often cited Sverre Fehn quotation summarises the depth and poetry of his built (and unbuilt) projects, which have earned him numerous awards including The Pritzker Architectural Prize. Fehn’s work is inspirational, his poetic words, minimalist sketches, and unconventionally beautiful built projects are widely published. However, it is only through visiting his built projects that you begin to fully grasp his understanding of materials, technology, light and place. According to Glen Murcutt, Fehn was ‘one of the very greats’ because of his ability to produce ‘an architec-

278

ture that belongs where it is.’

In experiencing the Norwegian landscape directly, it is becomes clear that Fehn has a deep understanding and sensitivity to it that underpins the conceptual framework of his work. Stepping off a bus, at dawn, after a long 8 hour journey, the surrounding mountainous landscape of Fjaerland provides a dramatic backdrop for the Glacier Museum. Like all of Fehn’s work, the museum tells a story, this time of a rock, rolled down from the top of the mountain and embedding itself into the earth below.

The sharp geometries of the rock reflect the memory of a glacier, which formed the area some 3 million years ago. On this crisp spring morning, the museum responds animatedly to the dazzling white of the snowy landscape; even within the confines of the café, you are in the midst of a glacier. Fehn is the storyteller of an art form that is in many ways beyond drawings, he creates a deeper narrative through his interaction with the place. His use of materials and technique show his understanding of place, and in the glacier museum particularly, he has used a unique method of exposing concrete in a highly erosive environment. Similarly, in the Hedmark museum, the existing fabric has been neither used nor protected but treated as a naturally deteriorating existing fabric.

Fehn is a craftsman, meticulous in

his detailing and in the Hedmark museum, Hamar the landscape is enhanced by the existing fabric of the architecture of the past. Once a medieval fortress, later a barn, Fehn uses a modern intervention to navigate a story through the site’s history. A courtyard presents the observer with various ruins and a ramp, which seamlessly glides into a renovated barn structure through a frameless glass opening. Ramps lead the observer through a series of exhibitions where lighting and partitions create an intense atmosphere and where memories almost seem to utter in the silence of the spaces. The effect of the wood shuttering in the concrete paraphrases the medieval stone structure, which welcomes the intervention as if a new life. Throughout his planning, Fehn is careful not to intrude on the past and allows the ruins to breathe under the elevated ramps whilst inhabiting every exhibition piece as if they too are telling a story.

Skadalen School in Oslo whose construction in 1971 followed immediately that of the Hedmark Museum is in contrast set in the semiurban context of north-west Oslo and the village-like organisation of the school on the site informs and generates the design. The site in itself raises several issues of privacy where visual connections are particularly important for hearing impaired children for whom the school is designed. Such concerns

are handled seamlessly through a careful response to landscape and topography that creates interesting spaces in which Fehn has successfully integrated public and private areas. The children’s dormitories and classrooms remain private and strategically connect with outdoor play areas via small windows designed specifically around children.

Set in the urban context of central Oslo, The Gyldendal publishing house uses Fehn’s greatest ideal of manifesting the present within a restoration project. The grand hall of the publishing house creates an open atmosphere for public events and acts as a light well for the surplus 4 floors which circulate the large central gallery, roof-lit by eighteen pyramidal lanterns. The materials again reflect the modern intervention of the project where concrete and timber are juxtaposed, accentuating the tactile qualities of each material.

Comparably, the Museum of Architecture uses the same expression of materials and planning to create an introspective situation with the existing building.

Sverre Fehn’s deep understanding of context and construction seems to furnish him with the ability to nurture and develop the genius-loci of place in all of his built projects.

He demonstrates, that even in this industrial world we live in, the architect can undoubtedly still be, a craftsman.

279

Prizes Congratulations

Congratulations

Seema Mistry, Dan Dunn and Alex Lewis

Marcus Todd

Special Mention in the inaugural East Midlands RIBA Low Carbon Environmental Design Awards

on receiving a Commendation RIBA Bronze Medal 2009 for his project Wide Open/Land(s) in Lands

for EON 2016, Stage 1 Upgrade

Tutors: Lucelia Rodrigues, Swinal Samant and Professor Michael Stacey, with additional input from Dr Mark Gillott.

Tutor: Nicola Gerber

Congratulations

Congratulations

Jun Aso and Jin Dong

Dominic Wilson

Highly Commended in the inaugural East Midlands RIBA Low Carbon Environmental Design Awards

for Green Street, Zero Carbon Housing, Meadows, Nottingham

Tutors: Lucelia Rodrigues, Swinal Samant and Professor Michael Stacey, with additional input from Dr Mark Gillott.

on being shortlisted for RIBA Silver Medal 2009 for his project The Greenwich Archive Tutors: Laura Hanks and Graham Farmer

Congratulations

Congratulations

Con

Nottingham House Team

Rachel Lee, Chris Dalton and Ben Hopkins

Steph

on winning Best Use of Timber at Ecobuild 2010

Highly Commended in the inaugural East Midlands RIBA Low Carbon Environmental Design Awards

for the Nottingham House

for HEART Housing, The Meadows, Nottingham Tutors: Lucelia Rodrigues, Swinal Samant and Professor Michael Stacey, with additional input from Dr Mark Gillott.

Team: see www.nottinghamhouse.co.uk

“I think the Nottingham House is priceless. It is a demonstration of new ideas and how they can be put into practice … in the long term we need to build to this standard, across the board.”

John Healey MP Housing Minister at Ecobuild 2010

280

on rece Comme

for his p Digital

Tutors: Bradley

Jonathan Davey and Matthew Kidner 2007-8 ZCARS Project.

1st Prize Nationwide Sustainable Housing Awards 2010

David Ward, Second Year, Exhibiting ‘ a plaster model’ in 2010 Royal Academy Summer Exhibition

Congratulations

Congratulations

Stephen Townsend

Simon Crockford

on receiving a Commendation RIBA Silver Medal 2009

on winning

for his project Digital Intimacy

8th International Student Competition: A Monument to a Memorable Event Commonwealth Association of Architects

Tutors: Bradley Starkey and Graham Farmer

for his project Digested Landscape Tutors: Darren Deane, Graham Farmer and Michael Stacey

Judges Citation: This highly sophisticated and sensitive scheme commemorates the long history of quarrying in the village of Twyn yr Odyn in rural Wales. Its unorthodox choice of subject matter is the cauterisation of an industrial past and how this can be reclaimed and reconnected to the present through physical and experiential means. The jury admired the schemeʼs powerful yet poetic response to its site, an infilled former quarry that would gradually be re-excavated over time. Jurors were also impressed by the forensic level of detail, indicating the great thought that had clearly gone into the project. An especially elegant and lucid presentation brought complex ideas vividly to life. A unanimous and outstanding overall

281

ISOVER Multi-Comfort House Student’s Contest 2010

Year 2, Unit 1 were engaged during Semester 2 in this international design competition, organised by Saint-Gobain ISOVER in two stages: the UK stage, where the unit participated against each other, and the international stage, where the 3 UK winning entries would compete against more than 15 European countries in Innsbruck, Austria.

THE BRIEF The building sector consumes over 30% of total energy and pollutes the atmosphere with related CO2 emissions. The exact percentage may vary from country to country, but the trend is clear.

There are a huge number of build-

ings constructed before 1970 in most countries. These buildings have to be renovated to improve the comfort, which is in line with modern needs and habits of the user. Sometimes even the function of the building may need to be changed due to the alterations within local urban surroundings.

The coming generations of architects and engineers have to be prepared for the complexity of the renovation and revitalisation proj-

ects. Therefore this topic was chosen for the ISOVER Multi-Comfort House Student’s Contest 2010.

The subject of the competition was the creative approach to the concept of energy efficient constructions at the passive-house level on existing buildings. Namely, this project focussed on a warehouse for renovation, based in a north west region of Paris called Pantin, an industrial area nearby Parc de la Villette. The building is situated between the Canal d’Ourq to the North and Avenue Jean Lolive to the South, and the canal is still used to transport both goods and passengers.

Students had no restrcitions on the future usage of the structure, but the renovated building had to have the physics performance of an ISOVER Multi-Comfort House as well providing new impulse in the existing urban area.

Teams 1 and 9, tutor Guillermo Guzman, and ISOVER representative Tom Foster at the International Stage of the competition in Innsbruck.

282

Team 9 - Stephen Lloyd, Jonathan Baron, William Slacks

Team 1 - Christian Brailey, Bhavik Morar, Jospeh Yates

Team 14 - Mang Yuan Wang, Long Fei Xiang

l’Incubateur d’Expression Modernes

[CON]TEMPORARY

Green Memory

With [CON]TEMPORARY, Team 1 designed an interactive art facility providing an expressive outlet for the community of Pantin.

A memory is wiped away once it’s carrier, the space, is demolished, as with passing time the image of the past space in people’s heads is deconstructed. Team 14 attempted to preserve this image for the people living nearby.

l’Incubateur d’Expression Modernes Introduce an infusion of creativity and live entertainment injecting life back into Pantin.

Establish an electrifying vibrant building that serves as a platform for modern expression.

Create a spectacle of pulsating energy and radiating light that captivates the passer-by’s senses.

‘Box within a Box’

A New Geometric Language Removing much of the internal volume allows large uninterrupted social spaces on the ground floor whilst the more private self contained boxes float seamlessly above.

Section A - Day

Controlled Use of Colour and Light

The insertion of interspered coloured panels and controlled light emittance gives a lively dynamic atmoshpere to the building and surrounding area.

Multi-Boxes

Section B - Night Adaptable multi functional spaces create a platform suitable to the users activity.

Circulation Channels

Circulation Channels

Arena Venue

‘Elevated Streets’

Cleverly disquised on the exterior of the thermal skin are circulation streets that give access to all levels and open up the internal spaces.

Experience

The vast full height space provides exhillirating views while the intricate maze of boxes invites the visitor to go in explore .

A Pulsating Beacon of Energy

The night brings a new dynamic to the building and area. A metaphorical spectacle of pulsating energy, radiating light and throbbing music will draw people towards the building.

Roof Membrane bedded on 14mm Plywood Metal capping detail

Roof U-value: 0.11W/m2K 180mm Mineral Wool Roof Insulation Board

PassivHaus Thermal Insulation Steel Framework

Thermal & Acoustic Envelope

Damp Proof Membrane

Enables construction of the new thermal envelope & support of boxes.

Creates a seamless insulative layer encapsulating the new structure.

300mm Existing Concrete Roof Slab

Reduces the volume of the building minimising the heating requirements.

New Concrete return

Wooden Studwork

800 x 1200mm Existing Concrete Column

Remain structure external to the envelope provides solar shading.

The multi-function boxes maybe internal walls, but require the acoustic insulation so not to be disrupted by the larger venues to which the overhang.

18mm Plasterboard

5 x 50mm IS OVER Insulation

100mm Framework supports cladding

250mm Isover Glass Wool Insulation 100mm Cladding Framework 14mm Plywood ISOVER Vario KM Duplex

13mm Concrete Cladding

13mm Concrete Cladding Multi Function Construction U-value: 0.10W/m2K Thermal Envelope U-value: 0.04W/m2K

Independant ventilation systems.

The smaller venues are independently ventilated from the main arenas to minimise acoustic interference.

ƥ system.

280mm ISOVER Glass wool facade insulation board

Natural Ventilation Rotating Wind Cowls

ƪ Ǥ

Incoming air for the multi-function boxes recovers heat from the exhaust air for both larger venues.

Each venue can be independently controlled.

PassivHaus preheating of incoming air.

Fresh air is be brought into the IEM through underground duct that exchange heat with the soil.

This preheats fresh air to a temperature above 5°C , even on cold winter days.

ơ

ĘĔěĊė ĚđęĎǦ ĔĒċĔėę ĊēĔěĆęĎĔē ĔĒĕĊęĎęĎĔē

Wlliam Slack | Jonathan Barron | Stephen Lloyd

Team 9 aimed to introduce an infusion of creativity and live entertainment, to establish an electrifying and vibrant building that serve as a platform for modern expression, and to create a spectacle of pulsating energy and radiating light that captivates the passer-by’s senses.

National ranking: 1st place

National ranking: 2nd place

National ranking: 3rd place

283

DIPLOMA STUDENT BURSARY SCHEME Scheme coordinated by Professor Michael Stacey.

Since the academic year 2006-07 the School of the Built Environment at the University of Nottingham established a student bursary scheme. The aim of this scheme is to forge closer links between the school and practice whilst supporting selected students through the final stages of their education to become architects. The practices range is scale and approach, some are local and many practice architecture internationally, but all are committed to architectural education.

Student Bursary The basic bursary offered by all practices in the scheme is £1000 per year for students undertaking fifth year and sixth year at the School of Built Environment, Nottingham. Each practice also offers

An 80+ strong London-based practice with a national and international portfolio. The practice is well known for its skilful integration of new buildings within historic environments, and for its expertise in high-end residential, commercial and mixed-use projects. The firm’s long experience of designing award winning buildings and creating master plans for many of London’s historically important central areas has proved invaluable for developers seeking to create appropriate and sustainable new developments in historic cities around the world. Paul Davis + Partners is currently working on substantial projects in London, Japan, Hong Kong, St Petersburg and Italy.

284

employment during the summer vacation between these two years.

If the bursary recipient is successful in their studies and within the practice it is the intention of the practice to offer the bursary recipient a salaried position and support them through Part 3. For many practices the preferred starting point is to engage a Year Out student from Nottingham and then nominate them for a bursary at the end of their successful year out on their return to Nottingham. The scheme is also open to students joining the School of Built Environment to undertake their Diploma [Part2].

The specific offer of each practice may vary and will be made explicit during the application and interview process. Application forms available at www.nottingham.ac.uk/sbe.

Hopkins Architects has been at the forefront of British architecture since we started in practice in 1976.

Our design approach combines creative imagination and rational logic with empathy for our clients’ needs. We have pioneered and developed a series of strategies in relation to: membrane architecture and lightweight structures; energyefficient design; the inventive use of traditional materials; the re-use of existing structures in conjunction with new buildings and the regeneration of derelict urban areas.

Our practice, of 100 people, works from a studio campus in London.

In addition to our large portfolio of work in the UK, our international work is increasing rapidly.

We are a well-established award winning international architectural practice with 130 staff in London plus 60 split between our New York and Melbourne offices. We care passionately about the craft of building. We also try to advocate the green agenda with our increasingly aware clients.

Our growing New York and Melbourne offices are an integral part of our organisation, not separate worlds. By discussion placement in either location could form part of the year out experience should bursary students so wish.

Building Design Partnership (BDP) is a firm of professionals in building design, embracing all the skills needed to provide an integrated, comprehensive service.

Our key disciplines are architecture, civil, structural and building services engineering; other professions include town planning and urbanism, transport planning, landscape architecture, interior, product and graphic design, lighting design, acoustics and sustainability.

BDP has over 1000 people in the UK and Ireland, making the practice the largest architect-led firm in the UK.

We have recently been short listed to design the new Media Centre at the heart of the 2012 Olympic games, which reflects our progressive approach to what we do and how we do it.

After more than 170 years in business we have established a solid commercial portfolio with Clients who return to us again and again.

By continuing to attract commissions for some of Britainâ&#x20AC;&#x2122;s most ambitious and high profile projects we are able to develop more diverse and challenging areas of expertise that makes us stand out from the crowd.

Benoy is an international architectural practice specializing in regeneration and mixed use development. Our work takes us across the UK, Europe and further a field. With offices in Nottinghamshire, London, Hong Kong and India, Benoy has established a worldwide reputation for creative solutions, borne out of a real understanding of clients needs and responding with a fast moving, collaborative working style. We constantly seek input from all our designers, encouraging them to explore new ideas, use initiative and grasp responsibility.

Benoy is a great environment for self-expression, fast learning and career building.

Scott Brownrigg is an award winning architectural practice, that is consistently rated in the UKâ&#x20AC;&#x2122;s top 20. We provid architecture, specialist town planning, urban design, masterplanning and interior design services across a variety of sectors including business space, residential, transport and hospitality and leisure. We also have extensive public sector exposure with a number of schools within the BSF programme and the two largest PFI contracts in the UK for the MoD. We offer the opportunity to work on some exceptional projects within a supportive, creative and design focused environment.

Architectural Practice of the Year (Building Awards 2007) and winner of the Low Energy Building the Year (Sustainability Awards 2006), PRP is the UKâ&#x20AC;&#x2122;s most renowned practice specialising in residential design.

Our 360 employees work in four offices in London, Surrey, Milton Keynes and Manchester to deliver projects across the UK as well as in Russia, Spain, France, Montenegro, Ukraine, China and India. We also design care homes, schools, health facilities, leisure complexes, mixed use and commercial buildings. We are accredited as an Investor in People and offer a unique learning and development programme to help staff develop their careers and skills at PRP.

285

Department Staff ACADEMIC STAFF Heath, Tim Prof

Head of Department

Riffat, Saffa Prof Stacey, Michael Prof

Director of IBT & ISET, Chair in SET Director of the Institute of Architecture, Chair in Architecture

Etheridge, David Dr Ford, Brian Prof Farmer, Graham Mr Gadi, Mohamed Dr Gan, Guohui Dr Gillott, Mark Dr Hale, Jonathan Dr Hanks, Laura Dr Liu, Hao Dr Platt, Stephen Dr Rutherford, Peter Dr Wilson, Robin Dr Yan, Yuying Dr

Agyenim, Francis Dr Altomonte, Sergio Dr Borsi, Katharina Ms Boukhanouf, Rabah Dr Cooper, Ed Dr Deane, Darren Dr Edmonds, John Mr Ekici, Didem Dr Guzman, Guillermo Mr Hall, Matthew Dr Howarth, Andrew Prof Lau, Benson Mr Lu, Sean C Mr Nicholson-Cole, David Mr Oldfield, Philip Mr Omer, Siddig Dr Ramsay, John Mr Riganti, Patrizia Dr Rodrigues, Lucelia Dr Samant, Swinal Ms Short, David Mr Su, Yuehong Dr Tang, Amy Miss Wang, Qi Dr Wu, Shenyi Dr Zhu, Jie Dr Zhu, Yan Dr

Bromley-Smith, Liz Ms Friend, Adrian Mr Gerber, Nicola Ms

286

Associate Professor (IBT/ISET) Professor of Bioclimatic Architecture (IA) Associate Professor (IA) Associate Professor (IBT/ISET) Associate Professor (IBT/ISET) Associate Professor (IBT/ISET) Associate Professor (IA) Associate Professor (IA) Associate Professor (IBT/ISET) Associate Professor (IA) Associate Professor (IA) Associate Professor (IBT/ISET) Associate Professor (IBT/ISET) Lecturer (IBT/ISET) Lecturer (IA) Lecturer (IA) Lecturer (IBT/ISET) Lecturer (IBT/ISET) Lecturer (IA) Lecturer (IA) Lecturer (IA) Lecturer (IA) Lecturer (IBT/ISET) Lecturer (IBT/ISET) Lecturer (IA) Lecturer (IA) Lecturer (IA) Lecturer (IA) Lecturer (IBT/ISET) Lecturer (IA) Lecturer (IA) Lecturer (IA) Lecturer (IA) Lecturer (IA) Lecturer (IBT/ISET) Lecturer (IA) Lecturer (IA) Lecturer (IBT/ISET) Lecturer (IBT/ISET) Lecturer (IA) Studio Leader (Year One) Studio Leader (Year Two) Studio Leader (Year Three)

RESEARCH STAFF Chen, Hongbing Dr Elzaidabi, Abdalla Dr Khan, Naghman Mr Ma, Xiaoli Dr Qiu, Guoquan Dr Spataru, Catalina Dr Tetlow, David Dr Wang, Jing Miss Wood, Chris Dr Worrall, Mark Dr Wu, Yupeng Dr Zhan, Changhong Dr Zhang, Wenbin Dr Zhen, Li Dr

Research Fellow Research Associate KTP Research Associate Research Fellow Research Fellow Research Associate KTP Research Associate Research Associate KTP Research Associate Research Fellow Research Fellow Research Fellow Research Fellow Marie Curie Research Fellow

ADMINISTRATIVE STAFF Amante-Roberts, Zeny Mrs Aston, Angela Ms Bosco, Amanda Miss Boultby, Lucy Miss Clews, Emma Miss Gudelajtis, Nicola Mrs O’Reilly, Kim Mrs Shaw, Lyn Ms

PA to Professor Riffat PA to Professor Heath International Support Administrator Administrative Assistant Office Manager, Exams Administrator PG Secretary (IESSG and MSc) Courses Administrator Secretary, Institute of Architecture, Part 3

TECHNICAL STAFF Blunt, Andrew Mr Clarke, Bob Mr Hodgkinson, Patrick Mr Mcmath, Luke Mr Moss, Jonathan Mr Oliver, Dave Mr Smith, Mark Mr Taylor, Dave Mr Watson, Jon Mr Wheaver, Scott Mr

IT Support Technician Electronic Hardware, AV Co-ordinator Senior Model Workshop Technician Model Making Technician Mechanical Workshop/Laboratory Technician Mechanical Workshop/Laboratory Technician IT Support Assistant Mechanical Workshop/Laboratory Technician Technical Resources Manager Mechanical Workshop/Laboratory Technician

287

EXHIBIT! 09 PRIZES SUMMARY In recognition of the excellence of their work in 2007-8 the following students have won prizes

Winners

1

Gareth Marriot

1

Hayman Graphics First Year Drawing Prize

2

Sam Clark

2

Michael Stacey Architects Prize 2nd Year Best Design Portfolio

3

William Gowland

open

4

Nichola Kaskow

3

Scott Brownrigg Prize for the Creative Integration of Innovative Environmental Design [3rd Year]

5

Daniel Ladyman, Madeleine Ike, James Hogarth, Yi Yin Chow

2

Institute of Architecture UG Construction Prize

6

Marcus Todd

CAB: Tectonics Prize [Undergraduate]

7

Kevin Chen

open

Hadfield Cawkwell Davidson Prize for Management & Practice

8

Sam Clark

1&2

Academia Digital Design Prize

9

Danika Coxs

10

Owen Devine, Beatrice Omisakin, Asri Asra, Tom Wells, Matthew Wingrove, Jenny Yu Mei, Alice McClure, Saba Raeisi, Denny Chan, Jeannine Noujaim and Richard Stokes

11

Tom Bennett

12

Noah’s Ark Nursery

13

Rebecca Lee

3

Small Practice Alliance Prize for 3rd year Best Portfolio

14

James Alder

Poetic Expression [UG]: Concrete Centre

15

Alex Lewis, Seema Mistry and Dan Dunn

Marsh Grochowski Architects’ E.ON House Prize

16

Simon Crockford

open

Stephen George Prize for the Integration of Renewal Energy Technologies in Architecture

17

Joshua Gavzey

open

Michael Stacey Architects Scandinavia Field Trip Prize

18

Manreshpal Rai Manny,

John E Wright Field Trip Prize

19

Tom Stroud, Ben Stuart, Win Ngai and Mark Hall

5

Canary Wharf Tall Building Design Prize

288

Year

3

open

4 open

official name of the Prize

Arnold Laver Architecture Prize

Institute of Architecture Prize for BA Architectural Studies

Estates’ Office Environment Team One Planet Prize

School of the Built Environment Best MEng Environmental Design North East Timber Trade Association Prize for the best use of timber

PiLin Quek, Qiao Yang and Wei Gu, Xin Wang, Ruijian Xie and Huiya Qian, Jeevan Mohan and Krishna Dommu

Highly Commended in the 2009 National Corus Competition

23

Naila Yousuf and Geogina Revell

5

Halsal Lloyd Prize for 5th Year Best Design Portfolio

24

David Baggely

25

Ulloa, Pia Mirentxu

5

Price & Myers Best MArch in Environmental Design Student

26

Naila Yousuf

5

CAR Prize for Excellence in Architectural Research

27

Chris Dalton, Rachel Lee and Ben Hopkins

28

Andrew Coles and John Lynch

5

Academia Digital Design Prize

29

Laura Lockwood

Poetic Expression [PG]: Concrete Centre

30

Stephen Townsend

open

Grimshaw Prize for Excellence in Component Based Architecture

31

Stephen Towsend

6

NDSA Prize for 6th Year Best Design Portfolio

32

Simon Crockford

6

Scott Brownrigg Prize for the Creative Integration of Innovative Environmental Design [6th Year]

33

Anthony Brand

Reid 3D Architecture Prize

34

Dominic Wilson

6

Hegarty Family Prize for 6th Year Design Excellence

RIBA

Rebecca Lee, Marcus Todd

Nominations for RIBA Bronze Medals

RIBA

Stephen Towsend and Dominic Wilson

Nominations for RIBA Silver Medals

5&6

5&6

Foster & Partners Diploma Architecture Prize [books]

CAB: Tectonics Prize [Post Gradaute]

289

290

291

SPONSORS & AKNOWLEDGEMENTS We would like to specially thank the following people: Professor Michael Stacey and Philip Oldfield Steve Townsend for updating and implementing the on-line system to collect the student’s work and for the composition of their pages.

Richard Woods for assuving a vital role in the compilation of the students pages.

Eight days a week printing solutions Ltd. for their outstanding support in making possible the printing of this book with such short deadlines.

The School’s Academic and administrative staff that have contributed with information and extraordinary logistic support.

The sponsors for this year’s prizes, whom all our staff and students would like to thank, include: Cambridge Architectural Research Canary Wharf PLC Council For Aluminium in Building Foster & Partners Stephen George and Partners Hadfield Cawkwell Davidson Hayman Graphics John E. Wright NDSA North East Timber Trade Association Price & Myers Scott Brownrigg Saint-Gobain Isover Michael Stacey Architects The Family of Simon Hegarty

292

DESIGN YEAR BOOK 2010 Department of Architecture and Built Environment Faculty of Engineering University Park Campus Nottingham NG7 2RD UK Tel: 44 (0)1159514184 Fax: 44 (0)115 9513159 architecture@nottingham.ac.uk www.nottingham.ac.uk/sbe www.exhibitnottingham.com