Harry Groom Architecture Undergraduate Portfolio 2018/2019 Newcastle University

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Design Portfolio ARC3001 Harry Groom 160391459 Future Cities 2018-2019 Stage 3 Illustrated Reflective Report

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Content Apologia

-/- 4-7

Studio

-/- 8-9

Primer

-/- 10-33

Field Trip

-/- 34-37

New Manchester Vernacular

-/- 38-61

Staging

-/- 62-79

Thinking Through Making

-/- 80-83

Project Manifesto

-/- 84-85

Realisation & Refinement

-/- 86-135

References/List of Figures

-/- 136-139

Contents

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Apologia

Reflection -/- Biographical Reflection I wish I could have designed or imagined a utopian programme that proposed an alternative future for Manchester, but I enjoy designing developments too much. Prior to studying architecture, I was educated in construction & the built environment, learning about budget, client briefs and value engineering. I was even educated in BIM as a constituent unit of the diploma.

Reflecting on this background, I have become self-aware and critically reflective on how this prior knowledge has informed my designs in previous projects. Reflecting upon them, I cannot help but see how generic and commercial they were; my dwelling plus design, was in fact a prime example of the privatised neoliberal developments that I analysed in my guide to the New Manchester Vernacular, complete with large sandstone cladding, steel gymnastics and COR-TEN for its weathering properties.

However, looking back, I can now see how far I have developed as a designer: I wish to work in and gain experience in a large commercial firm, and I believe I will be going into practice with an open mind and a clarity of vision when concerning my reactions and approaches to commercial architecture.

My Stage 2 Residential Project

ETHICS AND INTEGRITY OF THE COMMERCIAL ARCHITECT ARTISTIC EXPRESSION/CRITIQUE OF URBANITY

CONSUMABILITY

FUNCTION

COMMERCIAL ARCHITECT

ICONOGRAPHY CONSUMABLE FOR MASSES

EARNEST DESIGN/ PRODUCT

ARCHITECTURE AS SERVICE

Informed by Details

THE

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MANCHESTER

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My taxonomy of Neoliberal Regeneration Harry Groom

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Apologia

Reflection -/- Construction Background Because of this constructional education and experience with realistic design scenarios, I am not afraid of the standardised components/ materials of commercial design and i enjoy interrogating these standardised processes.

‘Future Cities’ has allowed me to develop a critical approach to contemporary design – thus augmenting my unique background – as its themes relate to my background as a designer.

Over the course of the degree, I have been criticised for the subconscious constraints that I have imposed upon myself. These have included a potential overemphasis of features such as the economic feasibility of design projects, as well as a hypersensitivity to what is politically, socially, and commercially acceptable within differing environments. My increased awareness of these self-constraints, and my decision to ensure that my final design is commercially viable, has helped with the progression of my project as it has dictated that the theories and technology which I have employed have been subjected to extreme scrutiny. Subsequently, I have been able to better apply my knowledge to areas such as organising and solving problems such as disability access, details and core/structure organisation.

Reflecting on my process of design and my continual work in Autodesk Revit has helped me to understand not only how this design programme can be abused, but also, how powerful of a representational and organisational tool it is.

I don’t believe it is the architects duty to reimagine programmes or create incredible spaces, rather, I believe that the architectural understanding and design of commercial processes and developments, is as important, and can help to create architecture as rich and beautiful as any experimental or conceptual design/programme. It is just as much of a feat of skill, to create a large mixed use development, the programme is as complex as any other design, and it takes just as much organisational and spatial awareness to resolve a core than it takes to organise an artist’s workshop, and just as much technical skill to design a prefabricated façade system, than it does to detail the wrapping of timber around an atmospheric window reveal.

R7 Duggan Morris

Illustrated Reflective Report

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Apologia Design Reflection During my primer, a group project on the Millennium Dome, I worked with Hassan Sharif and Jingyi Zhou, Hassan’s approach to architectural representation, and his contrasting form of process and thinking, allowed me to develop my representational skills. The material experiments and large-scale hand collages of my primer exhibition were the most conceptual work and thinking I had produced throughout the year, it proved to be very successful to change my thinking and representation in this manner. Even though my celebratory pieces were more digital and rigid, I still feel that they were directly informed by this free form of collage, and successfully so. This early change in thinking in the year, allowed me to think more abstractly about how I express my criticality, and express my resistance to generic commercial regeneration and practices.

The professional practice report, helped me to refine my ‘simulative commercial scenario’ by helping to understand my building in the context of Manchester’s core strategy development plan, and the planning policies it outlines, which I have integrated into my portfolio narrative.

I believe that having to integrate my research and theories early on, has helped to inform my design and narrative, my research has been refined and succinctly integrated into my process. Discovering Peggy Deamer has helped me to reflect upon my analysis of the New Manchester Vernacular, and react in a critical and informed way, while also helping to develop a line of enquiry. Reading Deamer’s essays, helped me to reflect upon and consider the wider socio-political context of the commercial design landscape, and set myself a brief that is politically and socially relevant to our studio themes and contemporary architecture; interrogating the role of the architect in the social hierarchy, and our role and ethics concerning neoliberal regeneration.

Throughout the year, I have refined my theories, into an informative narrative that explains my research and conclusions from my analysis of neoliberal regeneration. It is for this reason; I have opted for a book format, my theories, and narrative are not simply explained by largescale images, but required smaller diagrams and more dense narratives that reflect on my heavily analytical process.

Harry Groom

Primer Handmade Collage

Celebratory Drawing RESULTING LACK OF IDENTITY AND RANDOM URBANITY DAMAGES ARCHITECT’S INTEGRITY

THE NEW MANCHESTER VERNACULAR

Consolidating Theories

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Reflecting on my technology integration, working with such commercial design constraints, has helped me to understand the scale and impact of such large developments, and the shell/hollow nature of their fabrication.

How simplistic and refined these standardised processes are and how the architect can intervene by for example, suggesting the usage of organising spaces to utilise passive solar and ventilation strategies. Interrogating commercial schemes and commercial architecture/ documentation at an early stage in the process, has helped me to understand as a designer how to provide comfortable, safe and accessible spaces and sufficient facilities that do not discriminate.

Interrogating commercial structures and mass production/prefabrication, such as my façade system has allowed me to integrate methods of reduction in material use and efficiently apply structural principles such as integrating post-tensioned slabs. Integrating concepts of reduction and the need for passive strategies from the outset, has helped me to create a comfortable building that meets all the sustainability criteria, and efficiently uses materials.

Having such a strong technical design precedent from the beginning and studying it, has heavily informed and reinforced my design and technology, building upon its design moves and applying them to my scheme, as well as heavily influencing myself as a designer and my beliefs. The tectonics of my project, for example, the prefabricated façade system and its refinement, supports the conclusions from my theory into practice and my tectonic design intent, being the replication of detail, across a whole exterior as a concept to bring the control of a buildings external wrapping and exterior detail, into the hands/control of the architect.

Designing this facade system also helped me gain an understanding of such difficult details/systems and their connections. My project is important to the wider architectural landscape, as it seeks to reconcile the motives of commercial architects, and re-establish their role in response to contemporary neoliberal regeneration. My project also responds to the schism of art and service in architecture and the in-consequences of the polemic work of ‘SuperDutch’ Starchitects, which all too often produces poor architectural products, and I believe I have succeeded in designing a building that embodies this thesis.

ARCHITECT CREATES ARTISTIC CRITIQUE OF URBANITY

Generic commercial architects successively copy artistic critique, reducing it to a consumable architecture for the masses in the form of singuar heroic gestures.

Contrived Contrived Random Facade Facade Facade Contrived Random Random Form-Making Patternmaking Form-Making Patternmaking Irregularity Form-Making Patternmaking Irregularity Irregularity RESULTING LACK OF IDENTITY AND RANDOM URBANITY DAMAGES ARCHITECT’S INTEGRITY

THE NEW MANCHESTER VERNACULAR

THE CYCLE REPEATS...

OMA, FACTORY

Koolhaas as Deamer establishes, does not work, he plays. ”The play orientated side of work can wreak havoc on the existing system”. Koolhaas’s architecture is elevated to a postmodern form of art or architectural critique in both detail and form; challenging contemporary architectural thinking it has a profound influence upon urban identity. The forms and details are not arbitrary but purposefully expressive of his critical standpoint.

Koolhaas’s service as a practitioner is these products of critique and his reputation allows this form of ‘play’. (Deamer, 2016)

The Foyer of my building

Illustrated Reflective Report

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Future Cities: Studio Brief Design Studio

As a design studio, we seek to rigorously analysis and take a critical stance towards neoliberal contemporary design and regeneration, all too often it leaves the architectural landscape placeless, filled with generic non-place architecture, as a studio we seek to propose not a science fiction alternative to this socioeconomic and political reality we exist in, but we seek to question the near future, the one that is looming, the one that directly affects the choices we make as practitioners and individuals.

The studio seeks to question and analyse the socio-economic agendas of neoliberal commercial regeneration. Through this analysis, we can carefully develop an architectural response that is rigorously tested against precedents, materials, technology and theoretical research, we question civic space, and who it is constructed for...

Our goal, is to each design a building that facilitates ‘social exchange’, a building that presents strong and rigorously developed civic and social qualities, we do not seek to design or imagine utopia’s but question realistic socioeconomic scenarios which affect current practitioners in the contemporary design landscape. Architecture is as much as political and social pursuit as it is artistic and technical.

Our exploration involves ‘exchange’ facilities, these spaces range from the Roman Colosseum, to the Millennium Dome, this concept spans multiple typologies from nightclubs, to shopping centres to museums, we will closely analyse a form of exchange that links closely to our site, and develop a strong research led agenda which feeds into our spatial and material declarations, defined by our brief that we will develop throughout the year, this building should be designed for our programme, in a way that is generous, open to reinvention, re-use or even misuse, and should organise itself around a central ‘node’ of exchange.

Harry Groom

Fig 1. Quotes from Notopia

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Future Cities: 2018-2019 A Space for Exchange

Future Cities Studio 2018-2019

Studio Introduction

10 gesponsorte Pavillons wurden As part of the programme for the millennium Architekten gestaltet. Die celebrations, a contaminated gasworks site, im KreisPrimer aneinander gereiht which had been unused for 20 years, was The Millennium Dome gen Ausstellungen, die den rehabilitated to accommodate this huge domed er verschiedenen Gesichts­ tent – the largest membrane structure in the chten. Im Zentrum des Zelts world, with a diameter of 365 m and a height Type in : Exhibition space aufgebaut, der mehrmals of 50 m. After the New Year’s party held there erformance aus Tanz und at the beginning of 2000, the dome was conArchitectural style : ‘Dome’ findet. verted into a theme park with a number of Location : Greenwich Peninsula Completed : 1999 1 wird ein privater Investor den pavilions designed by British architects. The Opening : 31 December 1999 hmen. Der gigantische Bau mit pavilions are laid out in a circle and contain Cost : £789 men Maßen von million einem Kilome­ various exhibitions. At the centre of the tent 65 m Durchmesser und 50 m is an arena for dance and acrobatic performStructural system : Steel & tensioned fabric h dann einen riesigen Freizeit­ ances. In January 2001, the dome will be taken Architect : Richard Rogers gen, der Attraktionen für jeder­ over by a new concern that will present other Structural engineer : Buro Happold EngineeringThe estimated life of the structure Die Lebensdauer des Zelts ist attractions. s 25 Jahre ausgelegt. at least 25 years.

Services engineer: Buro Happold is Engineering 1040 ff.) (cf. pp. 1040 ff.)

Harry Groom

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Primer

Group Members Hassan Shariff Jilly Zhou Harry Groom

Dachaufsicht MaĂ&#x;stab 1:5000 Top view of roof scale 1:5000 Fig.1

Primer

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Exchange Exemplar Analogous Drawings

Cut and stick collage techniques, as well as experimentations with fabric, provided the ideal medium to use to express our critical theories and views regarding the domes socio-economic, political and architectural context. Our initial points of research were to look at the dome through its progression of initial concepts by Richard Rogers, it’s political context and then programme.

Harry Groom

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Utopian Potential Quantum Leap

Cut-and Stick Collage

Primer

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Albert Speer, Frei Otto I can’t help but compare the Millennium dome with the Eiffel Tower, two marvels of architecture and engineering disguised by their iconography, or in the domes case, its political and economic background, what is disguised here is in a matter of fact the culmination and creation of a form of enclosed space known as meso-architecture, meso-zones have a lineage stretching from Speer, to Fuller, to Otto and to Bird, Rogers and Davies have constructed the only true proof of a working meso-environment. “As an enclosed space, it is a quantum leap” wide-span structures “It may be a long time before we are able to properly comprehend the dome.” (Dickson/ Barnes, 2000) The political climate and its privatisation seems to have halted all potential of this structure and meso-zones, of the hyper future, of the blurring of interior and exterior, of freeing architecture from all its requirements but the purpose of social exchange.

Frei Otto Arctic City

Fig.2

The concept of the dome and its potential is baffling,, the anticipation of freedom, an architecture of pure social production. A meso-environment is simply as a forest, you are protected from the wind and rain, and the extremes of temperature. “One is outside, but somehow more ‘inside’ a mid-way between truly outside and truly inside”. (Dickson/Barnes, 2000) What a thought, it is the most energyefficient way to create civic space, and the cry of shame when considering the Domes misuse, its mere purpose as a music arena or shopping village, and the world unable to realise what its success a structure means for civic space. “Controlling the environment through domes offers the enormous advantages of the extroversion of privacy and the introversion of the community”.

A harrowing statement when considering the corrupting fingers of privatisation and offshore investments in present London, but also an exciting thought, perhaps where Otto and Fuller wished to created an arctic city or a domed Manhattan, the answer is not so utopian as to cover and contain cities or communities, but to use meso-architecture to create a truly flexible civic and public typography, an energy efficient space of pure social exchange.

Richard Rogers, A Modern View

Buckminster Fuller, Manhattan Dome Harry Groom

Fig.3

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Buckminster Fuller, Walter Bird “The dome is not an upside down saucer that sits on the ground, its actually pulling out of the ground, in other words, structurally it’s not a dome at all.”

“Yet it’s elemental form recalls much earlier forms of building, from primitive shelters to basic structures in the natural world.”

“Architects and engineers, unhindered by the normal constraints of wind, rain and extremes of temperature, and just as important, the eyes of local planners.”

Innovative structural design, the forest of masts representing meso-environments, and their forest affect of sheltering and creating a blurring of the exterior and interior.

“The design development of the dome took it rapidly from the initial concept to the present synthesis of architecture and engineering, not simply a structural colossus but also.

A festive, delicate spiders web that has captured the imagination”.

A festive, delicate spiders web that has captured the imagination”.

present synthesis of architecture and engineering, not simply a structural colossus but also.

A festive, delicate spiders web that has captured the imagination”.

present synthesis of architecture and engineering, not simply a structural colossus but also.

“The design development of the dome took it rapidly from the initial concept to the

A festive, delicate spiders web that has captured the imagination”.

“The design “The design development of development of the the dome took it rapidly from the dome took it rapidly initial concept to the present synthesis “The design architecture and development of from theofengineering, initial concept not the dome took it simply a structural rapidly from the to the present synthesis colossus but also. initial concept to the “The design A festive, delicate present synthesis of architecture development of spiders web that and of architecture and the dome took it has captured the engineering, not rapidlyengineering, from the imagination”.not simply simply a structural initial concept to the colossus but also. presenta synthesis “The design A festive, delicate structural colossus of architecture and development of spiders web that engineering, not the dome took it has captured the but also.

A festive, simply a structural rapidly from the imagination”. colossus but also. initial concept to the delicate spiders web A festive, delicate present synthesis “The design spiders web that of architecture and development of has captured thehas engineering, not the dome took it that captured the imagination”. simply a structural rapidly from the colossus but also. initial concept to the imagination”.

– Michael “The design A festive, delicate present synthesis development of spiders web that of architecture and Barnes & Michael the dome took it has captured the engineering, not rapidly from the imagination”. simply a structural Dickson. initial concept to the colossus but also.

Printed Quote.

All Quotes on Spread (Dickson/Barnes, 2000) Primer

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Architectural Lineage

Doming as a Means of Spatial Enclosure

Disguised by its sudden iconography, and political propaganda, was a lineage stretching from Speer, to Fuller, to Otto and Bird, Rogers and Davies have succeeded in producing the only successful example of a meso-zone. The dome is representative of a quantum leap into the hyper-future, the blurring of interior and exterior, of the future city, freeing architecture from all requirements, a space of pure social exchange.

“The line where the outside world stops and internal space begins will become increasingly and maybe beneficially blurred” “informal, sinuous, energy effective and comfortable, wrapped amongst the urban fabric” Where is the dome now? The Greenwich designer outlet village is a perpetual twilight non-place, which is indistinguishable from an airport city.

These collages represent the utopian potential of meso-architecture, and predominantly the millennium dome, its hidden potential as the only constructed proof of the potential of mesoenvironments and wide-span enclosures, their ability to change the way we see social exchange and the interior and exterior threshold.

Harry Groom

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Meso-Space Meso-Exchange

“Cities of the future will no longer be zoned as today in isolated oneactivity ghettos, rather, they will resemble the more richly layered cities of the past. Living, work, shopping, learning and leisure will overlap and be housed in continuous, varied and changing structures.”

“It does not need a roof, it does not need windows, doors, insulation, it does not have to withstand the same loading of wind and snow, it can really become your imagination.”

“Controlling the environment through domes offers the enormous advantages of the extroversion of the private and the introversion of the community.”

All Quotes on Spread (Dickson/Barnes, 2000) Primer

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The Dome: A Troubled Past Timeline & Research

1994 : John Major’s Tory government first considered building an enormous dome to mark the new millennium. The idea met with initial resistance but was later revived.

May 1997 : Labour won the general election.

The New Millennium Experience Company was formed to run the dome. The company was alerted to the need for greater operational expertise. According to the National Audit Office: “The marketing strategy relied on the dome selling itself ... NMEC did not appear to have any contingency plans for what to do if the dome failed.”

June 1997 : The millennium commission said it was concerned about the business plan submitted by NMEC. We were warned that there “could not be any certainty about the cost” of the project.

August 1999 : The government was advised that additional cash cow funding was probably necessary to “get the company through the period November 1999 to February 2000”.

November 1999 : NMEC had used up all but £7m of the commission’s £449m grant. Ticket income was expected to exceed the budget, but only by £14.5m. NMEC assumed it would receive 43% of its year 2000 ticket sales in the first three months of the year, despite disappointing advance sales.

January 2000 : It was clear there would be no surplus from ticket sales, so surplus sponsorship income and the revenue contingency were exhausted.

February 2000 : An extra £60m of lottery money was allocated to the dome.

March 30 2000 : Former NMEC chairman Bob Ayling wrote to Mr Smith: “The target of delivering 10m visitors and a break-even budget cannot be guaranteed.”

September 6 2000 : Millennium commissioner the Earl of Dalkeith told Lord Falconer that the commission had repeatedly raised questions with NMEC on a range of issues. He wrote: “We have been frustrated by the company’s responses, many of which we have perceived as unchecked resistance by the executive.”

Harry Groom

COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA

Baby Spice’s Union Jack Dress

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Cool Britannia

Creative Uniformity The millennium experience was devised by John Major’s Conservative government in 1994 to celebrate the millennium and British achievements. The millennium exhibition will provide a national experience, it will create mass appeal, it will embrace the new nation.

In 1998, the New Labour Prime Minister added to this manifesto through the reiteration of the Dome’s importance for the ‘domestic audience’, for bringing the diverse nation together.

Despite these ambitious aims, the millennium dome was derided as a cultural disaster.

Uninspiring and nuanced by large amounts of public money the millennium dome signifies new labours subordination to large corporations and private sponsorships.

The domes downfall was its treatment of the British public as a consumer rather than a visitor all under the tight grasp of big business.

Combined with labour governments idea of a ‘Cool Britannia’ the dome failed to reach the national audience. The inclusive nature and belief that the arts and Brit pop are representative of British society were unable to capture the nation’s identity but rather an attempt to impress our neighbouring countries.

The domes privatization through the newly appointed labour government and Blair’s control of the project from

This facade of creative uniformity and the corporate fingerprints forced the dome into its decline despite its enormous potential. The hostility and of the British media ensured that the idea of the new millennium died before gaining any momentum through the undercurrent of political propaganda and deceit. With the government’s fixation on branding its identity, the irony lies in the domes confusion, as its purpose is yet to be established.

The collages are representative of the change over from the conservative to labour government. The dome was highly funded by public and lottery money all under the control of tony Blair. Blair was painted as a villain through his false promises about the dome and lack of regeneration to the area.

the millennium celebration.

Collage representative of the domes COOL BRITANNIAthrough COOL BRITANNIA privatization the newly appointed labour government and Blair’s control COOL BRITANNIA COOL BRITANNIA of the project from the millennium COOL BRITANNIA COOL BRITANNIA celebration.

COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA COOL BRITANNIA

Primer

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The Dome: Downfall Corporate Branding

The Millennium Dome was linked to the previous occasions on which British life and national achievements had been on display, the Great Exhibition of 1851 and the Festival of Britain of 1951.

The Millennium Experience, in the same tradition as its predecessors was designed to provide a focus for the nation’s celebrations at an important moment in our history, bringing together people from communities throughout the United Kingdom and from many other countries.

Fig. 4 Tony Blair welcomes Noel Gallagher Tony Blair welcomesto NoelNo.10 Gallagher toshortly No10 shortly after after being elected in 1997.

Tonyelected Blair welcomes NoelofGallagher shortly after being in 1997, part his effort to to No10 turn the UK into a being elected in 1997, part of his effort¶FXOWXUDO SRZHUKRXVH· to turn the UK into a ¶FXOWXUDO SRZHUKRXVH·

Cool Britannia was the first attempt at representing and re-branding Britain as modern, young and diverse by the incoming Labour government. Dubbed ‘Cool Britannia’ by the media. The intention was to represent Britain as new, young and creative, just as the Labour Party had been remodelled as New Labour.

Overall the campaign was seen as overly problematic and short lived. The hostility of the media, the emphasis on a trendy, modern and cutting-edge image of Britain was too facilitated and extreme for it to resonate with the internal or domestic audience of the campaign, the British general public.

Tony‘cultural Blair greeting the public on a labour campaign.

Part of his effort to turn the UK into a Tony Blair greeting thepowerhouse’. public on a labour campaign.

This Spider web collage is representative of the domes structure and Blair’s ‘web of lies’ in regards to the dome.

Collage representative of the domes privatization through the newly appointed ODERXU JRYHUQPHQW DQG %ODLU·V FRQWURO of the project from the millennium celebration.

Harry Groom

The Spider web collage is representative of the domes structure and Blair’s ‘web of lies’ in regards to the dome.

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The Dome: Big Business Material Experiments

With materiality as such a key feature within the dome we wanted to explore this within our collages. Image transfer was the main technique we used throughout the experimentation process. Using acrylic gel mediums, we were able to transfer images on materials such as white fabric, yellow plastic and acetate.

The materials felt much more reflective of the domes materiality and chaotic nature and history. From our experiments and many failures, we were able to establish drying times, quantities, and mediums needed to create larger A0 & A1 transfers for the primer exhibition which became our celebratory pieces.

Transfer Experiment

Fabric Transfer Experiment

Image trasnfer - Acrylic gel medium and white fabric.

materiality as such a key feature within the dome we wanted to explore this

Primer

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Programme/Circulation Spatial Relationships

Acetate print of an image from the opening of the millennium dome.

When people visited the dome, their routes were not clear and moved around the pavilions in random routes. After the internal section of the dome was rebuilt, the circulations of the visitors become so regular and seems to be similar with many other shopping centre.

The dome was supported by 12 identical masts.

The arrangement internal supports allows the layout of the spaces to be easily modified and results in its durability and multiple re-uses/ misuses. (2000) The Dome was organized in a series of concentric rings. There was a central arena big enough to accommodate St Paul’s Cathedral. Outside the central space was the ‘High Way’ an elevated promenade. Preceding a ring of smaller zones.

Acetate prints and layered quotes from the opening of the millennium dome.

The Millennium Dome was one of the UK’s largest construction projects in the late 20th century in the UK. Since it was decided to be built in Greenwich in 1996, the construction period needed to be as short as possible to provide enough time to finish the inner exhibition zones by the deadline. Richard Rogers designed a vast ‘dome’ structure, completed in 1998, the internal pavilions were built in the following two years.

It was a characteristically flexible design and the most appropriate solution to the strict time constraints.

GARDEN CITY

Fig. 4 CGI of the Futurelab Pavilion by Playzone 2000

MILLENNIUM DOME PLA

Fig. 5 Millennium Show at the centre of the dome.

The Millennium Dome Exhibition 2000

Fig. 6 The Millennium Dome included 13 pavilions of different themes. These exhibitions looked so crazy and many with many absurd sculptures. These pavilions made the central arena feel vast, empty and confusing.

Harry Groom

PLAN, 2018

G M M -

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Spatial Sequencing Flexibility

Encircling was the low level ‘Mast Way’ passing under the legs of the 12 masts. There were six core buildings holding some functional areas and nine bigger zones for exhibitions in the outer ring.

The main exhibition zones fell under three categories — who we are, what we do and where we live. There were 13 pavilions that surrounded the central arena, located at irregularly spaced intervals around the perimeter. Due to the exhibitions curation, the tent-like structure of the roof, and the central stage created a circus or carnival atmosphere. While the show was going on, the audiences’ eyes constantly wandered without focus. However, this central arena was perceived as a vast space when empty, especially compared to the frantic activities and exhibitions around the perimeter.

When people visited the dome, the routes were not clear, and visitors moved around the pavilions aimlessly.

Collage representing the chaotic nature of the original exhibition curation

Primer

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Re-Use -/- Misuse

Where is the Dome Now? The central performance area for the Millennium Show could include seating for 5000 and space for 7000 standing spectators. (2007) When the Millennium Dome was re-branded the O2 in 2005 and reopened to the public in 2007 containing the O2 Arena. The outer space was rebuilt into a shopping village/designer outlet.

The visitors enter the dome from the main entrance and then travel around the circular routes entering the shopping area with shops on either side. The visiting routes are repetitive and tedious. The conversion to a designer outlet creates a similar internal space to other shopping villages. The only elements which can be recognised as unique within after the domes conversion will be the fabric ceiling and the 12 yellow masts.

After the internal section of the dome was rebuilt, the circulation and programme became so similar to other shopping centres or nonplaces, that it had lost all semblance to the original exhibition programme.

The space will spend its remaining days as a perpetual ‘non-place’ after finally being turned into the O2 ICON shopping outlet in 2018. Is such a vast singular space ideal for exchange? When people visited the dome, the circulation or programme was not clear, with no clear route or spatial hierarchy, people wandered throughout the pavilions aimlessly.

O2 ICON Outlet

Harry Groom

Fig. 7

GARDEN CITY GARDEN CITY GARDEN CITY GARDEN CITY

MILLENNIUM DOME PLAN, 2000 MILLENNIUM DOME PLAN, 2000 MILLENNIUM DOME PLAN, 2000 MILLENNIUM DOME PLAN, 2000

PLAN, 2018 PLAN,2018 2018 PLAN, PLAN, 2018

GENERAL BUILINGS MILLENNIUM SHOW MAIN ZONES CATEGORIERS: GENERAL BUILINGS GENERAL BUILINGS - MILLENNIUM WHO WE ARE SHOW MILLENNIUM SHOW GENERAL BUILINGS -MAIN WHAT WE DO MAIN ZONES CATEGORIERS: ZONES CATEGORIERS: SHOW WEARE LIVE -WHER WHOWE WE ARE -- MILLENNIUM WHO MAIN ZONES CATEGORIERS: - WHATWE WEDO DO - WHAT -- WHO WE ARE WHER WE LIVE - WHER WE LIVE - WHAT WE DO - WHER WE LIVE

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O2 ICON Outlet

Perpetual Non-Place

The dome will remain a perpetual twilight non-place

Primer

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Alternative Proposal to Stack Newcastle East Pilgrim Street

NEW BRIDGE/EAST PILGRIM

The second stage of priming involved a speculative design on the site located at the corner site of New Bridge & Pilgrim Street in Newcastle. This design was a reaction to the ‘Stack’ development already located on the site which was acting as a ‘place holder’ while the site was empty after demolition. The experimental proposal was also a reaction to the East Pilgrim street masterplan, a large scale development that would completely reshape a quadrant of Newcastle into a privatised retail and leisure complex.

The Site, orientated North

MediaTIC Incubator

Fig. 8

Harry Groom

Helmut Jahn Sony Centre

Fig. 9

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Spatial Vocabulary

Lessons From Exchange Exemplars Through a close critical reading of the Millennium dome, through an analysis of its socio-economic and political context regarding the concept of social exchange, we formed a critical and theoretical stance, in the form of analogous collages which expressed our critical readings of the ‘exchange exemplar’.

Through this line of enquiry, as a reaction to our critical readings of the exemplar, we developed a spatial vocabulary, these key terms were carried through into our speculative and experimental design proposal.

These two renders show the new revitalisation and reten-

As well as reacting to the sites context, such as the looming master plan, we also integrated the main aspects of our exchange exemplar into our speculative design. Both technical and spatial.

tion of the existing urban fabric.

Meso-Space- The blurring of interior and exterior.

Day & Night - A proposal with a day and night function.

Image - Identity: irony, iconography, colour.

Context- A proposal that responds and reacts to the surrounding urban footprint.

Zoning - Free circulation, a continuous space, with no intentional exploitation through abuse of programme. Unlike the Millennium Dome, the design of multiple floors, providing vertical circulation.

The blurring ot interior and exterior within one mesoenvironment

Node - A programme centred around a central civic space.

Blurring Segments - Connecting existing typologies, forming a creative and collective urban ensemble (Residential, educational, leisure, work.)

Non-Profit Public-Space - Stepping back from the street front, to invite and provide free civic space for the public, in the form of a non-profit public area.

Sectional Model exploring ETFE facade

Structural Expression - As Rogers, the purposeful expression and highlighting of the structure to the public.

Existing Fabric - Opposing demolition of a creative and collective area with cultural value, and adjoining with the isolated solids to create a new whole, carving out a new ensemble from the existing urban fabric.

Sectional Model exploring ETFE facade Primer

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Concept Proposal ETFE -/- Spiderweb

A meso-zone is a vast enclosed space, it is simply as a forest, you are protected from the elements, and extremes of temperature, it is the most energy efficient form of enclosing civic space. Unlike Fuller and Otto, we are not so utopian as to dome and introvert communities, but we believe in using meso-architecture to create a truly flexible civic typography. Our proposal expresses a critical reaction towards privatised space, political influence and profiting through civic developments, where stack acts as a street front fort we have stepped back, providing social relief, through a non-profit public space.

The pilgrim street masterplan expresses a desire of totalitarian demolition, but we have used meso-architecture to connect the existing art centres and offices, refurbishing blank facades with curtain walling, here leisure, shopping, living work and culture can blur into a complex narrative. Organised around a central node of exchange, retaining and livening the existing urban fabric, we retained and refurbished the framework of the parking block, its flexible frame will be used as vertical circulation, and provide new programmatic potential for the space.

Harry Groom

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‘Worms-eye’ View & Axonometric

Primer

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Studio Manifesto

Exhibition -/- Declaration of Brief The aim of Future Cities, is to take a critical stance towards contemporary neoliberal urban regeneration, which all too often produces generic architecture for the benefit of private investors.

The word ‘exchange’ is key throughout our studio, we will be investigating how spaces for exchange can be constructed architecturally in regards to form, scale, materiality, use and experience and also explore how architecture can be used as a political and social endeavour as much as it is an artistic, aesthetic and technical pursuit.

Working in small groups, we have undertaken close readings of exemplar ‘Exchange’ buildings selected on their architectural merit, historical significance, and critical context. During the primer, we have also understood and represented the urban, spatial, material and theoretical themes that embodied the essence of our ‘exchange exemplar’.

To further what we had learnt from our exemplar buildings we proposed a speculative and experimental proposition that critically assumes and modifies the main aspects of our case studies. We imagined an experimental alternative future for the site on the corner of Pilgrim Street and New Bridge Street currently occupied by Stack. Our proposals are provocative and declare a collective critical stance toward contemporary urban regeneration.

The five ‘exchange exemplars’, IIT Campus, Canal City, Millennium Dome, Star Apartments, De Rotterdam

The studio exhibition of our Primer work

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Primer Exhibition Exchange Exemplars

The studio exhibition of our Primer work

Primer

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Exhibition/Reflection Studio Declaration

From the Primer we developed critical approaches to an ‘exchange exemplar, as well as creating speculative and experimental designs that express our responses to notions of exchange, regarding a sites socio-economic and political context. From our presentation and feedback from the other studio’s, we have developed skills and theoretical concepts to carry through into staging.

How far into the future are we responding to in terms of our graduation projects? Considering the looming political context of Trump and Brexit, we must situate our project scenario within the foreseeable future, so that we can react in an informed way. We will situate our projects within the context of the new private developments encroaching upon our site in Manchester. I shall approach these developments in a critical manner, positioning myself within a realistic commercial scenario. The architect must develop a stance towards these developments if he/she is to design alongside them, am I attempting to provide a more utopian model of urban development? Or am I proposing an ironic and critical/model of postmodern Manchester.

We also must approach ideas of the ethics and the realities of architectural practice, in a context such as regenerated Manchester, the architect is thrown into the socio-political and economic forefront as a practicing individual, questions of the architect’s position, in response to such a complex scenario are necessary to interrogate, what is the role of the architect?

What part do we play in post-capitalist Manchester? In staging it will be important to interrogate this alongside ideas of art and labor, as well as concepts of the architect’s ambition and idealism versus realities of the clientrelationship and construction industry.

Finally, we must consider our response to notions of exchange. We must consider ideas of public and social space as well as civic. What does an ideal space of exchange consist of in terms of the spatial, technical and material and how can the architect innovate and interrogate this?

Especially in the context of Manchester’s vast array of private commercial developments.

Harry Groom

Students and Tutors enjoyed touching/moving between

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Our group exhibition of our Millennium Dome analysis

12 Hanging A1 & A0 Collages Primer

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Manchester, UK

Canal Street, Site Visit The Canal street area is one of the only remaining ‘unique’ urban areas in the inner city. Largely undeveloped and empty in some parts, and in other parts a tightly knitted and diverse urban framework, full of cultural history and identity, it has past been the thriving hub of the LGBTQ+ community. But this largely un-regenerated area with its unique environment is on the cusp of change, with several developments looming, putting economic pressure on the area. The wondrous diversity of Canal Street, filled with complex social exchanges will be inevitably swept away, replaced with the uniform mean of the New Manchester Vernacular. This reality is inevitable, outlined in the Portland Street regenerative framework. Manchester city council has several regeneration priorities.

Canal Street

Richmond Canal.

Exploring the nearby urban context

Piccadilly and the trams.

The LGBTQ pride that decorated the area

Harry Groom

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Manchester, UK

Inner City, HOME - Mecanoo We explored the surrounding developments adjacent to Canal Street, visiting HOME, designed by Mecanoo, and visiting the Manchester School of Architecture. Home provided a glimpse into the architecture of the new Manchester developments, and an example of how an architecture firm can show integrity by producing a building of a high standard for a relatively low budget, such as the staircase which provided a high quality spatial experience by detailing standard materials with a level of bespoke skill and attention, however, glimpses of the rest of the city, revealed the nature of neoliberal regeneration in Manchester and the rate these developments at the outer quarters of the city were being designed and constructed.

Restaurant in Home by Mecanoo

Staircase in the heart of HOME by Mecanoo

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Turin, Italy

Fiat Factory -/- Pier Luigi Nervi The first experience of the Field Trip, was exploring the famous Fiat Ford Factory and also the designs of Pier Luigi Nervi, such as the Torino Esposizioni and the Palazzo Del Lavoro. These buildings provided glimpses into how architects can construct large spanning structures and play with open space, how they can explore the structural logic and materials required to create these spaces and how this can be expressed.

Visiting these buildings helped me to understand the expression of structure and how it can help to foster and create spaces for exchange, and later informed the expression of my structural cross bracing within my atrium, and my circulatory channel/’Thinking Through Making model’.

Torino Esposizioni

Fiat Factory Renovation, Renzo Piano

Car Ramp of the Fiat Factory

Car Ramp of the Fiat Factory

Pallazo Del Lavoro Harry Groom

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Milan, Italy

Prada, Rem Koolhaas The second notable moment of the field trip was visiting the Prada Fondazione, designed by Rem Koolhaas, the ‘SuperDutch’ architect I mention in my Theory into Practice, this was my first experience with such polemic and refined architecture, I was challenged by the building at first.

Reflecting upon this experience, and the materials, details and relationships between surfaces; the way Koolhaas treats colour and standard materials, the relationships between textures and his skill and attention to these areas. I feel that visiting this building has directly informed my theory into practice and my details in the refinement stage of the project.

Backlit handrail detail

Exploring the centre of Milan

Field Trip

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The New Manchester Vernacular

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Introduction

The New Manchester Vernacular What does this analysis reveal? A city in a crisis of identity. Singular architectural gestures, abstract pattern making and contrived irregularity, a sloppy collage of cracked terracotta and shiny concrete cylinders, towers of composite panels and spandrels. An overwhelming number of protrusions and cantilevers. The worst being ‘barcode facades’, coined by Eamonn Canniffe, abstract facade decoration that bears no relation to the structure, interior function or surrounding context. Isolated solids and autonomous voids, a city prioritising efficiency in construction and materials filled with sloppy trims and disjunctions, the guide provides information concerning the most important details. (Canniffe, 2015) A taxonomy/regenerative pattern book that recalls Koolhaas’s Mutations or Elements inspired

by Owen Hatherley’s and Eamonn Canniffe’s odes to the regenerated metropolis, a result of immaterial capitalism, a post-industrial city that reveals itself through close analysis of its new builds, value-oriented blocks. The product of BIGNESS and Super City Dynamism, what is worse, is that the architects seem to have abandoned these developments, strapping together these low-budget structures with little integrity or regard for the service they provide.

(Canniffe, 2015)

Fig. 1 The New Manchester Vernacular

Work Integrated from ARC3015

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The New Manchester Vernacular

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Staging

Regenerative Inner Manchester “How do you react to something which already tries incredibly hard not to offend the eye, or respond critically to an alienated landscape, which bends over backwards not to alienate, with its jolly rhetoric, its ‘fun’ colour, its ‘organic’ materials? How do you find an atmosphere in something which tries everything to avoid creating a perceptible mood other than idiot optimism?” (Hatherley, 2010) The ‘New Manchester Vernacular’ is a product of a post-industrial city; production has given way to property-led markets, cultural profit and ubiquitous retail. The northern metropolis is the forefront of urban regeneration, it is the product of immaterial capitalism, and the architect is helpless in the face of this ‘pervasive genericism’.

A city dedicated to service, speculative property and squeezing the maximum profit out of culture and creativity. As Hatherley states, after the financial recession, Manchester has essentially evolved into its final form, an unfinished amalgamation of Leeds London and Liverpool, the New Manchester Vernacular.

An ‘ultra-gentrificated landscape’. Cottonopolis in its Laissez-faire spirit once was the vision of a dystopia, arising from capitalist production, it was an image for the future of industrial Britain, and once again, it has become a representative image of post-capitalism, autonomously arising from the service industry.

One sees at the outer edges of its centre a Dubai-esque future landscape, isolated solids, scale-less towers of glass and cladding stand solitary in an industrial waste, one should only look at Unite students at parkway gate, autonomous solids and patterned facades which are scaleless when approached.

The New Manchester Vernacular is a regeneration pattern book, one may only pick from the material combinations to create a ripe new structure. Where once the city was rife with a traditional vernacular of red brick warehouses and mills, we have now a city of composites, a variety of randomly assorted cladding systems and sheets of blue glass now plague its landscape.

However, there is hope for the city, questioning the role of the architect is key to re-establishing and reconciling our motives in this hostile postcapitalist market. As architects, we must show integrity when faced with such socio-economic and political realities.

Work Integrated from ARC3015 The New Manchester Vernacular

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The Quarters of Manchester with the Canal Street area outlined

The New Manchester Vernacular

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Facades

Cladding -/- Small Composites Terracotta rain screen systems are common around Piccadilly and the centre. ‘Innside’ is the most iconic example of this, presenting a smooth and monolithic structure, Manchester’s ‘newest’ developments are commonly clad in terracotta, most likely due to its low cost versus aesthetic sleekness. The colours vary from blue, red, yellow and black.

Brick cladding slips/GRP, is equally common to terracotta, and most popular in Castlefields and the Northern Quarter, although it has a wider variety of colours and applications, predominantly it is either adhered or fixed as large panels. Usually it recalls the red of the mills and warehouses, and sometimes ode’s to the colours of the ‘London Vernacular’. Manchester New Square, sited at the edge of Canal Street presents a facade of glued bricks which blends in an uncanny fashion with the surroundings historic context. Brick and terracotta both present themselves as high quality from afar, but their rail fixtures are unforgiving when detailed incorrectly.

INNSIDE Manchester

Yellow Terracotta

Traditional brick, brick cladding, and plant-pot terracotta, side by side, creating a strange amalgamation of new and old.

Spinningfields Residential Complex

Northern Quarter Flats, Plant Pot and Grey Terracotta Rainscreen

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The New Manchester Vernacular

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Terracotta Rainscreen

Brickslip and BIM Wallpaper

HARRY GROOM The New Manchester Vernacular

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Facades

Large Panel Systems Most common in Piccadilly. Stone and GFRC panel systems are commonly dotted across the city, they do not belong to a specific quarter, these recall London, or the new builds of Edinburgh or Newcastle. What interests me is Manchester’s scarce use of this form of building envelope, possibly due to its cost-versus quality.

However, it is most likely due to the nature of brick and terracotta skins as they recall the traditional Victorian vernacular.

Metal composite systems are extremely popular around Spinningfields and Piccadilly, and at the edges of the Northern Quarter, there are also a few successful examples of flat sheeting dotted across the landscape, some incredibly pleasant.

Skyline Central is an oddly unique structure at the edge of the Northern Quarter, employing a new exterior composite cladding, after its original exterior skin was removed subsequently following the Grenfell disaster. Otherwise it is predominantly used in muted darker colours, such as grey and black.

55 Manchester. Residential, Large Stone Cladding Panels

Picaddily Station, ACP Cladding

Skyline Central, Weathered/Painted Composite Cladding

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GFRC Cladding and Flush Windows The New Manchester Vernacular

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Stone/GFRC

Flat Sheeting/Metal Composite Panels

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Glazing

Spandrel Panels Curtain walling systems are popular in certain quarters of Manchester, and they are all of a similar style and type, following suit from Ian Simpson in some sort of pervasive contagious desire for “machine sleekness”, although, his towers and designs have been omitted due to their iconography, and undeniable superiority to the ‘run of the mill’ regenerations.

These developments attempt to shake off the terracotta, but leave the urban environment cold and scaleless. (Hatherley, 2010) One recalls London’s financial districts, curtain walling systems, are most common around the Central Library and Spinningfields, otherwise they are dotted amongst the terracotta and brick. Or sat in an empty landscape, such as the new builds seen in Castlefield or Parkway Gate. Usually the glass is of a high reflectivity, combined with plastic spandrels, its blue tint gives Spinningfields it’s ‘Fosters B-Team’ effect, and its financial atmosphere, otherwise regularly, louvres are used. (Hatherley, 2010)

Spinningfields, vast curtain walls

The main difference between London and Manchester’s postmodern vernacular, is the lack of structural glass systems, being too expensive a method for the Northern city, one only sees them used in for the landmarks of the Northern Powerhouse, such as the Civil Justice Centre, or in coffeehouses who have retrofitted the systems themselves; otherwise the city follows suit from Simpson’s obsession with the incredibly popular use of spandrels and sleek scaleless curtain walling.

Number One Manchester. The common blue spandrels

Unite Students, Parkway Gate, Manchester, uses a mixture of large glazing panels and spandrels to create an abstractly patterned facade, that reveals nothing of its sheer scale.and is only reflected by its

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The New Manchester Vernacular

The Civil Justice Centre, Stuctural Spiderglass

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Curtain Wall Systems [Unitised/Stick/Spandrels]

Structural Glass

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Eamonn’s Barcode Facades Fenestration Typologies

Eamonn Canniffe in The Morphology of the PostIndustrial City: The Manchester Mill as a ‘Symbolic Form’ describes the Manchesters regeneration as a “heedless variety of facade treatments” they are almost too difficult to classify in their arbitrary diversity. A “random form of pattern making using facade systems which often bear no relation to internal use and everything to abstract external appearance.” (Canniffe, 2015) The regeneration forms a complex and diverse collection of arbitrary judgement and taste. The facades of Manchester can be classified into three forms of fenestration, some a mix of two or more. First, clad facades that recall the typology of cast-iron mills and warehouses with their regular openings. Such as Manchester New Square. Second, ‘Barcode’TM facades, which are a form of abstract external appearance, arbitrary pattern making that does not communicate anything about the internal structure or programme, an attempt at unique architectural expression which has left Manchester’s urban environment lacking of identity. Lastly, the ubiquitous balconies and glazed units of the residential property market, recalling Leeds and London. These express the hollow nature of ‘luxury’ city centre living in Manchester. Isolated balconies and patterned glazing units, sometimes with a flare of colour or slatted wood. (Canniffe, 2015)

The Facade -Permeable -Expresses Internal Function -Profiled and articulated, rather than flat and patterned -Perceivable Scale -Proportion of glazing to solid

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The New Manchester Vernacular

Randomly distributed and sized fenestration, Piccadilly

Regular Openings and Mullions/Transoms recalling the Victiorian mills

Random Patternmaking and regular openings recalling the developments of Leeds

A ‘Barcode’ facade system, that will seal up this towers interior, its fenestration revealing nothing of interior structure or function.

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Fenestration

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Details: Soffits

Underside -/- Cloaking The detail is integral to the perception of quality, and often is not a question of economics but architectural integrity, and ethics, the relationship of the soffit to the wall is vital to the perception of a developments quality.

In Manchester, cantilevers and overhanging protrusions are incredibly common, but the details and junctions that result, and these material relationships are often overlooked, in these examples, it is obvious where there has been an oversight, or simply a lack of care.

The dependence on BIM to produce these regenerative frameworks leaves architects seeking an identity through abstract patterns and irregular forms, while ignoring the perception of quality associated with the detail.

Cloaking and trims are either a last minute decision or sometimes an architects purposeful declaration, they can be beautiful. Smooth and continuous soffit to wall surfaces are satisfying, but sometimes the facade as a whole can become too homogeneous, cladding seems to be wrapped around the form like wallpaper, this is mainly a result of the architects disconnection from the detail, due to BIM’s prevalence in commercial design.

Disjunctions and material changes can be enjoyable, and are often the most pleasurable form of detail, but in Manchester, the buildings often become an agglomeration of surfaces and discontinuity forming sloppy details.

A pleasant and defining trim walking out of Picadilly Station

A continuous/seamless and homogenous soffit wrapped in brick cladding

Profiled detailing over transmissions, rather than patterns, wrapping cladding over forms makes the public perceive even the most expensive cladding as thin and cheap, like wallpaper.

A material junction creating a defining surface and visual lines The soffit to wall interface should be profiled and detailed, it is vital to the experience of the pedestrian walking beneath

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The New Manchester Vernacular

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Trimmed/Cloaking

Smooth/Continuous

Disjunction/Discontinuous

HARRY GROOM The New Manchester Vernacular

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Details: Junctions Cladding Collage

The detail is integral to the perception of quality.

Capitalist privatisation and property led markets create economic pressure, as architects we must consider our work as a service in such a socioeconomic environment such as Manchester.

We produce a service, an object, if we consider detailing and composing our buildings in this manner, as assembly production, detailing becomes part of a whole.

Regenerative Manchester seeks an identity, and the schism of architecture as art and construction as work has created an architectural environment lacking identity, a genius loci of arbitrary taste and judgement.

This seemingly random choice of materials and combinations informs their details and relationships, the material collages and irregular protrusions in Manchester naturally produce bad details and sloppy junctions, you would not send out a car from a production line with such glaring errors, so why buildings.

A material junction trimmed with metal, blending nicely with the slatted wood.

A sloppy overlap, the architects oversight at the messy nature of this detail.

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This example provides clean details, but, in my opinion, it is almost a collage of different cladding.

The New Manchester Vernacular

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Cloaking/Trims

Overlaps/Flush/Continuous

Cladding/Sloppy Junctions

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Details: Transmission Wall -/-Floor

The relationship of the wall to the floor is one of the most important external details in regards to the human scale and the perceived quality of a structure for this is one of the first details that the general public is exposed to when entering a development, the choice of wall and floor cladding, and the transmission between them must be considered.

What must also be incorporated to the designing of this transmission, is the dimensions of the standardised components and how they are treated, in this interface, moot details such as cut cladding panels, is sloppy and perceived as a last minute decision, allowing cladding to meet the ground must be carefully considered based on the type of cladding and its fixing system.

Allowing the terracotta to meet the ground is a lazy oversight, its delicate nature means it can be broken by kids or accidental bumps.

More expensive or durable materials should be used at the ground level where possible, cheaper materials such as terracotta should be positioned higher up.

INNSIDE has generated an unsatisfying moot junction here, that doesnt reflect well as the rest of the building is cleanly detailed.

An example of a details that disregard the size and dimensions of standard components and simply wallpapers the sill with cladding panels, ruining their perceived quality, rather than stone, they are perceived as stickable material.

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The New Manchester Vernacular

Here the piers and sill meet the ground seamlessly and the result is of a high quality.

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Facade Meets Ground

Skirtings & Trims

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Structures

A Concrete Jungle -/- Steel Gymnastics What shocked me most about Manchester’s New Vernacular, is the dominance of cantilevers, protrusions and shiny concrete cylinders, these pervade every street-front and thoroughfare, there is a severe lack of timber structures, or even steel in comparison to the overwhelming amount of concrete framework seen to be under erection. The wealth of balconies is incredibly diverse, some garish in colour and others incredibly brutalist in form and construction. Cylindrical formwork requires higher spending than square section, and what shocks me is where these architects and developers choose to allocate spending.

The standard steel frame with bracing, and a wrapping of terracotta and glazing.

Other than the Civil Justice Centre or Simpsons work, there is little to be remarked about the daringness of Manchester’s new developments, the occasional sky bridge or irregular protrusion, provide a fleeting flare of late modernist ‘high tech’ architecture. (Hatherley, 2010) Cost allocation is an obvious issue in Manchester, the new developments prioritise brick cladding, and the steel gymnastics they go through to make the building perceivable as a brick box, leave no budget for any other design aspects.

The common cylindrical concrete columns that pervade every streetfront.

Cylindrical formwork requires a higher cost allocation, and the sheer number of cylindrical columns in Manchester leaves a firm imprint upon the mind.

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The New Manchester Vernacular

Piccadilly, with its numerous overhangs

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Balconies

Structure

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Sloppy Details vs. Koolhaas ‘Shlopp’ BIM Wrapping & Wallpapered Forms

“A concern for materiality has been replaced by a preference for the pure abstraction provided by computer software.” “This fundamental shift has been reduced to solving the problem of how to wrap surfaces over forms”.

(Carpenter, 2002) Koolhaas creates ‘Shlopp’ the generic architect in their commercial processes of contrived forms and BIM wrapping, create sloppy details. As McVicar describes, Koolhaas elevates ‘rough’ surfaces and ‘slop’ joints to a high standard of artisanship and quality.

‘Slop’ however, is the result of a lack of integrity concerning the architect’s role regarding commercial developments, with more focus over the buildings overall form and iconography rather than its quality as a product, a bi-product of pervasive artistic pursuit and BIM designs, a focus on form or patterns rather than the components and surfaces which wrap and clad it.

Because of the mandating of BIM, generally architect’s view external facades and cladding component systems as valuable as wallpaper. ‘Slopp’, is when the wrapping overlaps and is cut poorly, The material loses its perceived quality, and is seen as thin as wallpaper.

SHLOPP, A-MOOT

STANDARD DETAILING

INTRIGUING DETAILING/PRECISION INTERFACE

‘SLOPP’ vs. ‘SHLOPP’ KOOLHAAS ‘Controlled Roughness/SHLOPP ARTISTICALLY JUSTIFIED

MOOT/SLOPPY OVERLAPS

Wrapping paper cladding

FIGURE 3 (LEFT) SLOPPY DETAILS (RIGHT) KOOLHAAS SHLOPP

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Generic Neoliberal Regenerative Development, created in BIM, postmodern form.

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These Neoliberal Developments are wallpapered/wrapped in cladding materials. The building exterior is devoid of architectural detail or originality.

Important elements such as the soffit are simply wrapped with cladding in a homogenous fashion.

These images and the text above are extracts from my Essay for ARC1015 The New Manchester Vernacular

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Staging

Manchester Inner City

The Canal Street Area outlined with my site highlighted red

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Staging

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Typology -/- Infrastructure Study Core Policies -/- City-Wide Strategic Vision A series of global economic motives are putting economic pressure upon the immediate context. This tightly knitted web will be unravelled and replaced by generic buildings with little connection to each other, the site or the climate. These developments do not make a complex framework but invite Canal Street to join the rest of the gentrified city. If the development of Canal Street is inevitable, how can we as architects intervene into such privately led commercial developments, what is the role of the architect in such an economic context?

The Canal Street Area, is located near to Piccadilly Station, The area outlined in red has no listed structures to consider and is the last un-regenerated city centre region. Currently the inner area is occupied largely by single use typologies, either offices in converted warehouses or mills, or low-rise leisure such as food, bars and nightclubs. Central portions of the area are left as large car-parking spaces.

Typology and infrastructure study of the Canal Street Area

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Staging

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Development Principles

Regenerative Context

The following principles require consideration in any redevelopment proposals:

Developments Around Site •

Create a commercially led mixed use area with a focus on employment generation.

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A comprehensive approach to development is required to maximise the SRF’s development potential and ensure that it contributes fully to the City’s Growth Strategy;

Manchester New Square is a luxury development, on the corner of Whitworth & Princess St. Meetings with the salesman revealed the small ‘tranquil landscaped square’ surrounded by residential blocks, The development is three structures, clad in red brick slips with regular openings that recall the surrounding historic vernacular. Looking over this development midway through construction, I could not criticise the way it blends in with the surrounding mills of Canal Street, but it is uncanny in this fashion, a ‘strange camouflage’.

A programme of Ubiquitous Retail and Leisure at ground level, with luxury one/two bed flats above and a number of three bedroom apartments, to meet local demands.

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Create high quality developments reinforcing the SRF’s key frontages;

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Create enhanced public pedestrian connections and active frontages, thereby improving the permeability and access into/through the area;

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This new development will be configured to fit a range of uses, enabling a mix of activities to co-exist and animate the public realm;

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Provide high quality and useable public spaces;

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Replacement high quality, public car parking should be provided within the SRF area.

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In terms of buildings and public spaces, the surrounding heritage assets demand that new developments must be of an exceptional quality and design to ensure these assets are preserved and enhanced;

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Development must integrate effectively within existing surroundings and future development proposals, by creating an urban form that achieves connectivity within the evolving physical environment.

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Residential Development must comply with the Manchester’s Residential Quality Guidance document.

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Creation of Place

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Focus and Identity

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Complements wider activity

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Commercial led approach to development

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Priority for commercial with ground floor amenity and residential above.

KAMPUS is an ‘urban jungle’ a development opposite Canal St. that borders Piccadilly, by Henry Boot developers and Capital & Centric.

With the similar mix of modernity and heritage, another response to the surrounding warehouses and mills, converting the Victorian structures and introducing large glass panes. A 450,000 square foot overhaul, employing a central garden, with renders that show it teeming with plant-life. Opposite the clubs and bars of Canal Street will now be a ‘modern’ urban waterfront destination providing retail and property development, moving the site on from its history, the scaffolding currently has a large sign pasted over it’s construction reading, ‘WE DON’T TRIM OUR BUSHES’, in a rigorous branding strategy of a city centre jungle. The development framework states it has more integrity than the run of the mill regenerative development, and the diagrams display a packed scheme full of programmes such as ‘The Lockhouse’ and ‘Sparring Yard’.

My site is situated in the south-west quadrant of the Portland Street Regenerative Framework.

A large polarising framework, set to revamp a major portion of Canal Street, set within the bounds of Portland, Bloom, Addington and Chorlton street, it is the commercial ‘regeneration of a neighbourhood at the heart of the city centre’, offering new offices alongside a Hotel branded as a New York style attraction, to refer to the nearby public house that it dwarfs over. It is the largest and most privately led commercial development, proposing retail, luxury residential accommodation and leisure/ night-life functions. The renders show an area dominated by a large ACP tower In a London vernacular style.

Harry Groom

Portland Street Framework

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KAMPUS ‘Urban Jungle’

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Manchester New Square

Fig. 4

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Surrounding Developments Neoliberal Encroachment

SITE

The Portland Street Development currently has little regard for the surrounding intimate urban context, the large mass currently occupying my site envelops the intimate and low rise adjacent Bloom St. Fig. 4

Fig. 6 Staging

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The Heart of the Canal Street Area Understanding the Urban Context The site is bounded by Major, Abingdon, Bloom and Sackville St. It is currently occupied by the NCP surface car park, the car park acts as the mediator between the low rise ‘LGBTQ’ village and the large scale Portland Street Regeneration, there is a clear stepping in mass which must be observed towards the intimate local context, as well as a direct access route to the A56 and A34 from Princess St. The Industrial mills and warehouses, are a mixture of Victorian and Edwardian. Traffic is heavy along Sackville St. and Princess St. due to bus routes and motorway access. Portland St. is a large main city road however it is blocked from view and noise, by the large residential towers. The site sits between the leisure and retail complexes of the new developments, and the local night-life area of Richmond Street and Bloom St.

Major Street

Little protects the South-Western side of the site from the sun’s rays, overheating, and solar gain control must be considered in facade design through glazing to solid proportions, Sackville St. presents traffic and noise which should be considered in the orientation of main entries and outdoor areas.

My massing should provide a mediation between the low rise local identity and highrise landmark neoliberal developments, its urban footprint should respond to the tightly knit surrounding context, with thoroughfares and public areas. Small glimpses from Portland St. of the building from the junction between Sackville St. and Major St. create an opportunity for a landmark corner, and the intimate Bloom St. adjacency creates another opportunity for an entryway.

Bloom Street

The surrounding area, Manchester New Square site visible.

Solar Model

Harry Groom

Looking from Major street at Bloom St.

69

The site is located in the very heart of the Canal Street Area

NCP surface car park occupying the site

Analysis integrated from ARC3013

Staging

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R7 Duggan Morris

An Earnest Civic Minded Building Budget should be allocated towards - Facade System: Earnest stripped back interiors free up budget allocation to the facade and the allocation of public space.

-Planning Negotiations: Ingenuity in the case of design on a planning and cost basis, such as step backs to provide outdoor terraces, or roof gardens in return for increased building height.

-Turning Outward: Rather than enclosing a more privatised neoliberal courtyard, turning outward to the surrounding urban context and introducing internal streets and public thoroughfares to maximise public integration, increasing profits.

The building is clad in a millennial pink aluminium facade system, as an ‘act of resistance’ against doing a standard office block

-Concrete Shell: Unapologetic expression of the shell-like nature of the structure, and the continuous curtain nature of modern facade systems, removing the need for expensive thermal breaks or structural gymnastics required to hide it with cladding systems.

-Rational Structure: a rational and modular structure, rather than excessive cantilevers or structural displays, frees up budget to be allocated towards more bespoke details and the facade system.

1. Precast ground bearing slabs, dry powder pigment, polished to provide refined aesthetic.

Peri Fairface Finish 2. Stripped internal finishes reduce

environmental impact, refined aesthetic, budget allocated to exterior facade, exposed concrete, thermal mass, stores/irradiates heat

The massing is sculpturally recessed in a series of step backs on the southern facade, to create outdoor terraces for every office, and create a lightwell/ cone of light down to Handyside St.

3

2 4

3. Exposed services above, easy access, maintenance and repair 4. Peri Fairface Finish to concrete columns.

Harry Groom

1

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Credible Precedent

Structure, Massing & Facade System The facade is a modular continuous curtain system, based on a flexible 1.5m London Planning grid. It is fabricated from Powder Coated Aluminium Spandrel Panels and Extruded Aluminium Fins/profiles. The facade system controls solar heat gain for office environments, through the use of projecting fins and the optimal proportion of glazing to solid panelling. The refined prefabricated nature of the construction allows an airtight construction and a high level of precision detail.

Critically, the clash between the 1.5m Facade Grid and 6m Column Grid, causes some glazing to be blocked by columns, however, Duggan Morris choose to express this shell-like aspect of the design.

1.(Tertiary) Universal

Continuous Facade System, Powder Coated Aluminium Spandrel Panels and Extruded Aluminium Fins/profiles.

Fixed to slab using extruded Aluminium Mullions to provide continuous curtain connection.

1 6

2.(Primary) Four Large

Central Columns, Provide column-free open plan space throughout centre of building for offices.

3.

(Primary) Core for Lateral Restraint

4.

(Primary) 6m Column Grid, Precast Concrete Columns, Doubled up at structural step backs.

Transfer beams included at recesses from structural grid.

2 3

5

4

5.

(Primary) Concrete Floor Plates, Precast, post tensioned, with structural soft spots of plywood and aluminium.

6.

(Primary) Larger Central Main Core

Staging

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Designing A Development

Let the Programme be the Programme Total Gross Internal Area -/- 13,000m2 Floors -/- 13 Floorplates A central 8x8m Tower Core will provide services distribution and fire egress for the office tower, and a secondary core will provide egress and services distribution for the secondary form. Plant rooms located on the roof terraces and within the sub-level house the large scale commercial heat recovery systems. The sub-level will house storage, changing/shower facilities for private users and private parking. The coffee houses and restaurant groups will be zoned and housed around a central atrium which will act as the ‘node’ for social exchange.

Adjacency Matrix of my programme Also Part of ARC3013

Harry Groom

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Programme

Large-Scale Mixed Use Scheme I believe in letting the programme be the programme. Rather than inventing an alternative antithesis to the standard speculative development. For my project, I am concerned with the role of the architect in a realistic commercial design scenario. Therefore, as per the Manchester City Council Core Development Strategy. The logical and unavoidable programme of this development, with or without an architect’s input would be a mixed use scheme, housing, ubiquitous retail and leisure to provide ground floor frontage, topped by speculative office floorspace.

WeWork is a serviced office company, and a rapidly expanding international firm that provides shared workspaces. WeWork Manchester is currently snapping up large scale volume opportunities in Manchester Inner City, such as the Hanover Building.

WeWork Manchester will occupy two large office floor plates, a private roof terrace, basement parking, and bicycle storage/ changing facilities.

Coffeehouse Chains -/- Commercial Resteraunt Groups

PRIVATE 1400m2

2500m2

SemiPublic

Fig. 7

PUBLIC 56m 11 Storeys 40m 8 Storeys

Programme analysis of R7, Duggan Morris Also part of ARC3013

Staging

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Gentrification -/- Advertisement Budget Allocation

New Developments allocate budget and mindset towards -/- Structural gymnastics and thermal break technology: required to making building perceived as an ‘industrial’ brickwork structure.

- Internalising their public spaces, creating neoliberal islands which must be landscaped rather than turning outward.

-Graffiti, Decoration and Internal fittings such as excessive timber flooring and wall finishes.

-Unitised Highly Glazed Curtain Wall Facades with high reflectivity increasing cost required to keep building cool.

-Cylindrical Formwork and Polished concrete columns/surfaces.

-Cantilevers and Overhangs.

(Below) A cut and paste copy of Duggan Morris’s R7 building in the centre of Manchester has been approved, however this design displays a desire not to learn or build upon such a credible project, but produce an uncanny replica.

Advertisment for KAMPUS

Advertisment for Manchester New Square

Uncanny replica of R7, Place North West Harry Groom

Fig. 8

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BIM -/- Neoliberal Regeneration Commercial Renders 1. No contextual surroundings

or identifiable landmarks, such as the surrounding Victorian/ Edwardian heritage, or LGTBQ+ neighbours shown. Isolated courtyard/neoliberal island.

1 2

2. Lack of colour, concrete/

brick predominantly chosen for planning expectancy.

3. Lack of diversity in demographics and target market, predominantly able bodied, young.

3 Render for the Manchester New Square Development

Fig. 9

4. Neoliberal Identity

and Iconography, graffiti/ decoration, any colour is superficial rather than architectural declarations.

5. No activity or natural spillout at ground floor frontage, public amenities contained behind glass. No interaction between inhabitants.

4 5

6

6. No loitering, every inhabitant moving

Render for the KAMPUS development

7. Window frame is slotted in, little regard for the detail of the reveal. No articulation to cladding.

Fig. 10

7

8. Brick-slips are used as a

wallpaper to meet planning expectations and hide structure.

8 Manchester New Square under construction Staging

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Development Framework

Manchester City Council’s Core Development Strategy The Core Strategy development Plan by Manchester City Council outlines the strategic vision from 2012-2027. The document describes the need for an attractive high quality, mixed use development with ground floor public amenities such as retail, coffee houses or restaurants, topped by residential or speculative office floor space, to contribute to the city’s economic growth. The post-war area acts as a gateway node between already regenerated city centre regions. Due to its proximity to important transport infrastructure such as Piccadilly Station, and popularity with night-life and leisure seekers, a high standard of build and vernacular is required to meet current needs to regenerate the area and integrate it with the rest of the regenerated city.

The development will interface with already regenerated neighbourhoods or commercial development locations, which will connect other surrounding and already regenerated schemes/neighbourhoods, bringing more interest to the area and contributing towards a more active location that will stimulate and attract employment and business. A large scale massing is required to fill the site efficiently and maximise Gross Internal Floor Area/ Letting Space to be considered credible as an alternative proposal.

Harry Groom

Fig. 11

“Policy EN2 Tall Buildings states proposals for tall buildings will be supported where it can be demonstrated that they: • Are of excellent design quality • Are appropriately located • Contribute positively to sustainability • Contribute positively to place making, for example as a landmark, by terminating a view or by signposting a facility of significance • Will bring significant regeneration benefits.”

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Dimensional Coordination

Understanding the Urban Context, Building Heights & Footprint Rather than use massing to carve space and programme from form, I have used the massing process to respond to the urban context and dimensionally coordinate my design based on a 7.2 x 7.2m Dutch planning grid. Working within the impending regenerative framework, around typical plans and cores, my massing response provides an alternative to the Portland Street regenerations proposal, based on my analysis of the surrounding building heights of the new neoliberal development and the intimate LGBTQ+ community.

The form is derived from the concept of two merged shapes, I believe that while it is most feasible to maximise the footprint on site and spread out as much as possible, the Canal Street Area requires a sculptural mass such as seen in R7, to allow light to the street, and reduce the perceived scale of the development at pedestrian level. This will allow an increased building height.

Massing Iteration 1:500

Massing on site model 1:500

Massing on site model 1:500 Staging

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Staging: Research Critical Reflection

What is the role of the architect in a post-capitalist market? Architects are in a crisis of art versus service, the neoliberal regeneration of Canal Street is inevitable. If I am not proposing an alternative theoretical/economic model to the privately financed schemes that are looming over the area, then I must accept their realities.

Rigorously analysing the ‘New Vernacular’ has changed my views of regenerative developments; this is the way we build in contemporary Manchester. It is the socio-economic and political reality. The architect must accept such commercial realities, only then can we establish an ethical standpoint, we must reconcile the motives of how we react to such neoliberal developments and in this, we can display integrity.

Art and work are not separate, infact they are inseparable as Peggy Deamer established and there must be a fundamental reconciliation of the role of architects in this time of crisis, but as an individual, I can only reconcile my own. Manchester is a product of viewing architectural heroism as artistic singular gestures, resulting from the reaction to what Koolhaas termed as Bigness, and as Deamer states, only in considering the production of these developments as a service and the buildings as a product, do you eliminate chance, arbitrariness of taste and individual judgement.

(Deamer, 2016)

Harry Groom

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Staging: Research Reflecting on Readings

If we do not reconcile our motives, the commercial architect, in his strive for art will continue to seek contrived irregularity and random pattern making, and will become indiscernible from the run of the mill developer.

This is the cause of the lack of identity pervading the inner city, a seemingly random choice of materials and material relationships are leading to the poor and sloppy workmanship as the same types of cladding are collaged and arranged in different ways.

From analysing the New Vernacular, we can de-programme the construction and design techniques employed and suggest alternative uses for the techniques, tools and spaces that are usually produced in contemporary Manchester. In this fashion, we can coordinate the standardised processes and materials into a unique and satisfying product. Creativity does not rest in the overall form or artistic/iconographic image of these developments, but in the production of the ‘object’. If I was tasked to design a development, what control or role do I have? (Deamer, 2016)

Staging

80

Constructing Exchange Tensile Bridge -/- Process

Thinking Through Making week was an opportunity to design a ‘tell the tale detail’ for my design, early in the process. I wished to design a ‘circulatory node’ which would help to construct social exchange within my building.

The idea was inspired by 800 New Jersey Avenue’s ‘tree’ structure by Richard Rogers.

Exploring Concepts

Sketching Thoughts

Fig. 12

Harry Groom

Richard Rogers 300 New Jersey Avenue

Each Cable was looped and Crimped in sequence to balance the model and keep it in equilibrium

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Constructing Exchange Reflecting on Success/Failure

The model as developed from a concept sketch and maquette, became a 1:20 detail model of my ‘circulatory channel’ a tensile bridge that could span between an atrium within my building. The design required 2mm dia. steel cables to be looped and crimped to keep the floors supported, as well as two large steel rods to be welded together.

Reflecting on the making process, due to the complexity of the model, I was unable to complete the project in time for the ‘Thinking Through Making’ year wide exhibition, leaving an empty space on the table to my disappointment, this was due to the tension of the cables pulling the model apart, the steel rods and large steel cylinder were not adequately fixed to the base of the model, which in turn, required a stronger method of fixture. I had also crimped the cables too tightly in some areas, leaving others too loose to keep the floors in equilibrium/level, however, the nature of this process helped me develop the concept further in terms of its requirements structurally within my atrium, and how I could laterally restrain, express and hang the bridge.

The model had to be weighted down with stone while wires were threaded and crimped

First attempts to construct the model were unsuccessful,

Thinking Through Making

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Thinking Through Making Circulatory Channel

Our key studio theme is social exchange, the architect can facilitate and foster exchange through organisational/ spatial tools and design decisions, through this experiment in model making, I have developed a celebratory spatial element, a bridge that animates the space, both through its dynamic structure that organises the space, and the circulation/ programmatic links it fosters.

Harry Groom

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Constructing Exchange Final Model

Final Model: Wood, Aluminium, Steel Cables and Rods Thinking Through Making

84

The Credible Developer Project Project Manifesto

I am not seeking to preserve or represent the identity of Canal Street and the local identity of the area but simply respect this context and be at peace with the realities of neoliberal regeneration... However, I would like to intervene and mitigate upon the encroaching neoliberal developments, that are felt to not be fully respecting and understanding of the urban context.

In this project, I am looking at a realistic commercial design scenario, and attempting to reinterpret the role that I believe architects should take within the social fabric and contemporary design landscape. I am intervening into the current large scale development that is underway in the Canal Street Area.

I am setting myself a brief of realistic commercial constraints, such as a budget-orientated client and using the Manchester City Council Planning Policies to frame some of my design criteria, such as sustainability/ reduction. Through this, and other criteria I will establish throughout the realisation phase, I wish to undertake an earnest and architecturally ‘credible’ response to these constraints, based on the criteria I have developed through research and reading, as well as my Theory into Practice unit.

Harry Groom

85

Realisation -/- Refinement CDP1 Through this process, I can interrogate the ethical questions of the commercial architect, and how even in such realistic socio-economic scenarios, the architect can display integrity through much more subtle moves such as the treatment of materials and surfaces or the guiding of the design based on negotiations with planning frameworks. The design is directly informed by standard processes of commercial architecture, and standard components.

Rather than reacting to my research in the form of a polemic critique, I believe that I can better express my critical standpoint in the form of a more subtle narrative, a simulative scenario that explores the realities of commercial design. This will test firstly my ability to design a large scale mixed use scheme, and secondly to react to the standard materials, method statements and design processes of commercial architecture. So I will be proposing to rectify the perceived mistakes of the Portland Street Proposal and other nearby developments, such as massing and vernacular, and intervene in a more integral way.

Project Manifesto

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Proposing Alternative Massing/Footprint Area Ratio Stepped Tower vs. Large Low Mass

A

B S

CE

RK PA

ES FIC NG OF ARKI +P

FI OF

G IN

A. Portland Street Framework; Large mass covering site, little regard for adjacent low massing and intimate context.

B. Split large mass, creating a public thoroughfare, reacting to urban context, and streets.

1

1. WeWork snaps up volume opportunity and brings scheme up to RIBA Stage 3, in this scenario they are acquiring and developing one of the two masses on this site.

D

I believe that two towers that step down towards the adjacent low buildings, better mediates between the larger neoliberal development and better respects the local community, as it condenses the urban footprint allowing public space to flourish.

-Two Towers -Stepped Massing -Mediates Building Heights -Condensed Footprint

C

C: Punched out public space, creating a consumable massing and responding to the intimate context and surrounding thoroughfares of the new developments and Victorian streets, providing public frontage and increased planning negotiability.

2 GENERIC NON-CREDIBLE TO ARCHITECTS

D: Both massings are raised to towers at the same height as the surrounding large developments, the tower highlighting the landmark corner. This recovers, and maximises lettable floor space to match the Portland Street Frameworks proposal. The larger mass is left low, as a token gesture to the adjacent site, mediating between the larger development and important local identity.

Harry Groom

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The ‘Architect of Record’ Simulative Commercial Scenario

3

2. The design is brought up to concept level through commercial moves based on GIA and NIA, drawings show a lack of design credibility.

3. WeWork brings in the ‘Architect of Record’ to collaborate with the in-house team up to and into the construction phase. The architect’s role and control is severely diminished.

We need an architect to take this forward.

4. In such a scenario this project questions the perceived ‘lack of control’ that architects have due to the set form and programme and constraining design contract.

4

ARCHITECT OF RECORD

A Lack of Control?

Or... A Design Opportunity?

Portland Proposal FAR (5.9)

25,000m2, Low rise, Large footprint

My Proposal FAR (10.6)

25,000m2, High Rise, Low Footprint

The Portland Street Regenerative scheme, proposes a large flat mass to replace the surface car park, this dominates the tightly knitted urbanity of the Canal Street Area, while retaining the same gross area.

I propose a condensed footprint that provides the public spaces and relief that the development requires to properly integrate with the area.

Realisation & Refinement

88

The Architect’s Diminishing Commercial Role

Theory Into Commercial Practice -/- Architecture as Artistic Pursuit ARCHITECT CREATES ARTISTIC CRITIQUE OF URBANITY

Generic commercial architects successively copy artistic critique, reducing it to a consumable architecture for the masses in the form of singular heroic gestures.

Contrived Contrived Random Facade Facade Facade Contrived Random Random Form-Making Patternmaking Form-Making Patternmaking Irregularity Form-Making Patternmaking Irregularity Irregularity RESULTING LACK OF IDENTITY AND RANDOM URBANITY DAMAGES ARCHITECT’S INTEGRITY

THE NEW MANCHESTER VERNACULAR

THE CYCLE REPEATS...

OMA, FACTORY Harry Groom

Koolhaas as Deamer establishes, does not work, he plays. “The play orientated side of work can wreak havoc on the existing system”. Koolhaas’s architecture is elevated to a postmodern form of art or architectural critique in both detail and form; challenging contemporary architectural thinking it has a profound influence upon urban identity. The forms and details are not arbitrary but purposefully expressive of his critical standpoint.

Koolhaas’s service as a practitioner is these products of critique and his reputation allows this form of ‘play’. (Deamer, 2016) Text also a constituent aspect of ARC3015

89

Social Agenda

The Architect’s Position in the Socio-Political Landscape

ETHICS AND INTEGRITY OF THE COMMERCIAL ARCHITECT ARTISTIC EXPRESSION/CRITIQUE OF URBANITY

CONSUMABILITY

COMMERCIAL ARCHITECT

ICONOGRAPHY CONSUMABLE FOR MASSES

FUNCTION

EARNEST DESIGN/ PRODUCT

ARCHITECTURE AS SERVICE

This crisis of urban identity is a result of the schism between architecture as art, vs. architecture as a service, tackled in Work by Peggy Deamer.

It is an in-consequence of the polemic designs of OMA and BIG, their famous diagrams reduce the complexities the architects labour to its most consumable form, and it has its positive and negative influences.

Not every painter is Cezanne. The common practitioner attempts to control the mass of Bigness. He/ she in a pursuit of art or iconography, resorts to “singular architectural gestures” such as abstract pattern making, and contrived irregular forms. This results in the generic and random urbanism of Manchester’s city centre, giving Koolhaas more fuel for his brand. The cycle has damaged the integrity and reputation of the architect’s position in the social fabric. I believe the motives of the architects role, must be reconciled as a service to produce a product as Deamer iterated, not an art form, for this is necessary to re-establish this market from the ground up. (Deamer, 2016)

Architecture as a Service, is Spatial, Material and Organisational

Text also a constituent aspect of ARC3015 Realisation & Refinement

90

Credible Architectural Products

An Earnest Proposal based upon ‘Credible Precedents’ If as a result of the socio-economic realities of capitalist regeneration, architecture is to become a consumable product to the market, architects must reconcile their role. As Rem Koolhaas says, we must surrender to ‘BIGNESS’, be at peace with the realities of the contemporary design landscape.

However, as written by Peggy Deamer, if this is our new role in immaterial capitalist developments, then the architects ethical obligation, is as a service to produce earnest products, with credibility and integrity. (Deamer, 2016)

R7 Duggan Morris

Fig. 1

White Collar Factory AHMM

Fig. 2

A Credible Development, is a commercial architectural project or product, that exceeds its generic social and economic purpose or function, and provides a higher standard of build and programme, by re-interpreting and re-programming the constituent elements of the generic contextual surroundings, such as vernacular, materials and typology, into an earnest product with architectural integrity.

What is my new role, as a service to produce a better product? How can I intervene at a more subtle level?

Through my intervention, through innovation and planning negotiation, how can we turn this generic massing, into a more credible building, firstly through

organisational innovation.

Harry Groom

Work Integrated from ARC3015

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Alternative Frameworks, Organisational Innovation

Planning Negotiations, The Architect’s Subtle Role in Guiding Design

: Introduce a colonnade to create an identifiable and permeable entryway, the sculptural recess reinforces ground floor frontage, provides both credibility for planning in terms of prioritising amenities and improves the buildings relationship to the street level and human scale.

A

B: Push mass across to reduce isolation

C: Introduce thin atrium slice, to make

D: Recess/step office tower, creating

use of natural stack ventilation. Creating a point of central circulation/exchange, this introduces light and establishes a public thoroughfare, enhancing public pedestrian connections as well as commercial frontage increasing pedestrian intake to amenities.

between two forms, integrate plant room and sky lobby here to free up middle floor plates, as well as integrating valuable outdoor space in the form of a private roof terrace for the WeWork collective.

valuable outdoor terraces, increasing light intake into offices, and creating a sculptural mass. Allowing more light to street and lessening the impact of massing on intimate context.

E: Provide a public cafe and outdoor space on the roof, the introduction and cost of this public amenity can be offset credibly, through planning negotiations by increasing the building height/lettable floor area.

Mixing public and private programmes.

CREDIBLE Realisation & Refinement

92

Evolution of Facade System

Refining and Testing Facade SystemS The original concepts for the facade, included an insulative sandwich panel, acting as a loadbearing facade system, I desired to explore prefabrication and budget. Refining my brief, it became unfeasible for such a large scale development, due to economies of scale.

Early Concept

Realisation

The early version of the scheme was a Claus en Kaan inspired load-bearing shell.

Early Refinement

Later refinement, prefabricated continuous curtain system.

Harry Groom

93

Evolution of Scheme

Process -/- The Scheme at the end of the Realisation Phase The tower became too small on the upper floors due to decision to incorporate step backs, this has been rectified by adding another 7.2m structural bay on the north-west facade.

There were no plant rooms on the cores, they were represented as polycarbonate, nowhere was allocated to house the plant on the roofs, and without a programmatic purpose these spaces seemed empty. I decided to introduce a sub-level to provide the spaces needed to house MES and staff facilities.

The early facade system designs did not cover the entire structure, it was not ‘universal’ and as refined as I desired, originally a load bearing shell, it was ‘clunky’ and heavy.

The restaurant facilities were too large, I had to carry out research to understand the square meter requirements and access needs of commercial units.

Early digital model

My cores and public toilets, were too large on the upper floors and organised poorly, organising the cores proved to be a difficult process with numerous iterations.

The atrium was too big, it was not commercially viable, if I was going to propose a ‘credible’ response to the Portland Street development, my building has to be viable commercially.

Early ground floor plan

Realisation & Refinement

94

The Credible Developer Schematic

Fig. 3

Universal Facade System: A modular facade system, removes the arbitrariness of taste associated with the random assortment of cladding and material collages of neoliberal developments, the sloppy overlaps and how they interface. Bringing the control of the exterior detail back into the realm of the architect, by subtlety variating a single module.

Fig. 4

DUGGAN MORRIS/AHMM: R7 and the White Collar Factory both employ intelligent modular facade systems, that control solar heat gain through ideal glazing to solid proportions, and profiling/protrusions or perforations. Subtly variating these modular systems creates the perception of a bespoke attention to detail, and an attention to scale, materiality and historic context.

A rigorous analysis of examples civic architecture that I define as ‘credible’ reveals a set of criteria that can be defined as credible -Proper allocation of budget -Civic minded design -Negotiable planning and client qualities

The Atrium acts as an open public gathering space for social exchange, colour and expression of structure create an experience ideal to house the public amenities such as coffee houses and restaurant groups. Importantly, it can foster social exchange and create light airy spaces for public recreation.

A Postmodern Colonnade. For a rational and ordered foyer or entry/recess, and to create an expressive sculptural threshold and highlight public frontage, use square sections rather than the cylindrical columns seen in Manchester. Here, the architect can tell the tale of the structure through the detailing of the entry.

Harry Groom

Fig. 5

88 WOOD STREET, RICHARD ROGERS: The back catalogue of Richard Rogers shows how the atrium can become a central public space for facilitating social exchange, his focus on this central node as a mode of circulation, orientation and social gathering is important. The restaurant groups and coffeehouses can spill into this space.

Fig. 6

Fig. 7

R7 DUGGAN MORRIS/AT&T JOHNSON Both Phillip Johnson and Duggan Morris use the colonnade to a great affect to signify entry to the main foyer and elevating the experience of the building, Johnson uses articulated postmodern detail, to create a grand entrance, whereas, Duggan Morris steps back their structural grid and doubles up their columns to create a sleek and ordered entry to the foyer.

-Innovative spatial and organisational design moves such as the mixing of public and private -Understanding and engaging with the urban and social context

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A Recipe for a Credible Development

Fig. 8

Fig. 9

A Roof Garden, Planning negotiations allow increased building height, in return for a public roof garden, a credible development must provide public amenities and be civic-minded, roof gardens create a programme with vertical hierarchy and social density, as well as blending public and private.

AHMM and DUGGAN MORRIS employ public roof space as a way of giving back to the public, this gives the planning framework negotiable credibility, and the integration of and blurring of public and private sectors both improves the density of programme, and in return allows the increase of building height to incorporate more letting space.

The inclusion a push/pulled form to provide a valuable outdoor terrace to each office, increasing light intake into the office plans and to the street, this also gives the framework planning and design credibility as it provides a sculptural mass, as well as reduced facade material.

DUGGAN MORRIS employs this recessed massing beautifully to provide a less imposing and modernist sculptural form on the surrounding historic context of King’s Cross and allowing light to the street, as well as providing valuable outdoor terraces both covered and open to each office floor.

A sub-level, to hold parking, plant rooms, loading bays and staff facilities, to maximise the letting space on the ground floor for coffee houses and restaurant groups and allow the ground floor to open up to facilitate exchange, a credible development organises its programme to avoid the loss of important space to the client.

Contemporary developments large and small such as R7 or DE ROTTERDAM utilise sub-level space and excavation to maximise letting area on the ground floor and hide plant rooms, rather than simply for parking, R7 shows this space can be utilised for housing staff facilities for the public amenities above.

These are the organisational and spatial design moves I have adopted within my building and where I have pulled them from.

Fig. 10

Realisation & Refinement

96

Design Moves & Precedents

Fig. 11

Fig. 12

Internal Street: A thoroughfare that creates an internal street and connects existing streets, knitting urban frameworks together. The covered walkway naturally draws the public into the ground floor amenities, blurring public and private and engaging with the surrounding public realm by creating a pedestrian link.

DUGGAN MORRIS/AHMM: R7/The White Collar Factory use thoroughfares, to engage seamlessly with the surrounding urban footprint and realm. The White Collar Factory mimics the existing streets and tightly knitted urban realm, while R7 as a new development, uses the thoroughfare to allow the development to act as a centrepiece for a new mixed use quarter in King’s Cross.

Superimposed Forms: Two merged/adjoining forms, creates a flexible and large collection of floor plates as well as an efficient form factor. it also creates an ideal internal environment through controlling solar gain/ daylight and air.

R7, DUGGAN MORRIS: The building expresses two shifted masses through different heights and complementary colours, two create a sculptural and beautiful form that compliments its scale, while allowing for environmental benefits.

A Sky Lobby, to free up the ground floor to be used for public frontage and amenities to foster a mixed use scheme and facilitate economic growth; the lobby for WeWork and the private office floor plates is positioned on an upper floor, complete with a private roof garden and cafe.

AT&T JOHNSON/DE ROTTERDAM: Both De Rotterdam and the AT&T tower utilise a sky lobby. This creates and frees spaces at ground floor frontage to be utilised for leisure or public use by both the private and public users, allowing the building to engage with the surrounding public/urban realm.

Harry Groom

Fig. 13

Fig. 14

97

Spatial Innovation

Fig. 15

A Circulatory Channel: an architectural bridge system, such as this tensile bridge I have designed through a modelling process. By implementing this spatial element in my atrium, I can facilitate and foster social exchange by animating the space through circulation systems/programmatic links and structure.

RICHARD ROGERS, 800 NEW JERSEY AVENUE: A dramatic tree-like structure of steel supports the glass roof while facilitating and declaring the spatial relationships within the atrium by supporting platforms and architectural bridges that span the atria and connect three buildings, animating the space by providing a mode of vertical circulation and informal meeting areas for users.

Fig. 16

Colour is the architects resistant practice/method of control, it is a medium of expressing an important critical stance, and an important design gesture. My colour choice is a resistant gesture against the schemes of the New Manchester Vernacular.

Fig. 17

RADIO TOWER/88 WOOD STREET: Famous architects such as Richard Rogers, Renzo Piano and MVRDV use colour as a design gesture, to delineate programme such as seen in MVRDV’s Radio Tower, or services, most recently Duggan Morris clad their iconic R7 development, in Millennial Pink, as an act of resistance against standard corporate office developments.

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CDP1

The Credible Developer Project The Schematic is a design recipe, for a building that can facilitate and foster exchange through spatial and organisational innovation and application. Each step helps the design to further its civic qualities and to further engage with the context.

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CDP1

The Credible Developer Project -Proper allocation of budget -Civic-minded design -Negotiable planning and client qualities -Innovative spatial and organisational design moves such as the mixing of public and private -Understanding and engaging with the urban and social context

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Urban Context

Ground Floor Plan Orientated True North 1:500

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Working Drawings

Ground Floor Plan: Retail and Leisure Frontage 1:250

Retail Unit

Restaurant Group Foyer

Atrium

Coffeehouse Unit

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Working Drawings

Sub-Level: Parking Plant & Staff Facilities 1:250

Plant

Plant

Car Ramp

Plant Bike Storage

Car Parking

Staff Facilities

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Working Drawings

Mezzanine Floor Plan: Retail and Leisure Frontage 1:250

Retail Unit

Restaurant Group

Coffeehouse Unit

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Working Drawings

Section along North East Axis Through Core 1:200

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Working Drawings

Second Floor -/- Third Floor WeWork Office Floorplates 1:250

WeWork Space

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Working Drawings

Fourth Floor WeWork Sky Lobby and Private Roof Terrace 1:250

Sky Lobby

WeWork Private Roof Terrace

Plant Room

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Working Drawings

Fifth Floor - Sixth Floor Speculative Office Floorplate 1:250

Outdoor Terrace

Outdoor Terrace

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Working Drawings

Upper Office Floorplates at Each Recess -/- Sky Garden 1:250 Outdoor Terrace

Outdoor Terrace

Cafe Public Sky Garden

Kiosk

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Reconciliation of our Role as Material Practitioners NBS Specs. The Standardised Components of BIM/Revit

The architect still has control in the likes of such a limited commercial role, they can intervene in the real architecture, the surfaces, colour, materiality and interfaces, the doors and windows, the railings, rather than artistic pursuits of form, programme or patterns.

ARCHITECT OF RECORD

2

3

Window, AHMM

4

Fig. 20

5

Railing, Duggan Morris

Toilets, OMA

Fig. 21

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Fig. 22

7

Lights, Duggan Morris/AHMM

Fig. 23

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8

1 Structural Core, AHMM

Harry Groom

Fig. 24

Door, AHMM

Fig. 25

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Do Not Leave These All Too Often Ignored Areas To the Catalogue Components of BIM.

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2

Surfaces, Duggan Morris

Fig. 18

Soffit, Rem Koolhaas

Through the specification, the architect can display and showcase their ethical approach and integrity regarding these neoliberal developments.

Fig. 19

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4 6

5

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Harry Groom

1:20 Perspective Constructional Section -/- Detail Specification 11

10

11: Roof Terrace Build-up: -200mm post-tensioned concrete slab

-drainage layer, bituminous sealing layer lapped up over parapet and under zinc cap lapping over wall waterproofing layer which runs over steel RHS. 200mm polyurethene thermal insulation vapour retarder 200mm planted layer, bed of gravel.

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10: Parapet Detail,

8

Precast Concrete element fixed to slab edge, halfen channel fixed to 120x120mm slotted steel angle, waterproofing layer infront of insulation, vapour retarder behind 80mm stone wool insulation, Precast Concrete coping element fixed to 120x150 RHS Steel element (packed with stone wool insulation) and facade element.

Zinc capping to coping element, with drips. to prevent snow build up or water ingress. Railing fixes through gravel bed to slab, taping at penetrations of waterproofing layers.

9: Window frame

double glazing: 10 mm float glass + 15 mm cavity + 15 mm laminated safety glass, aluminium window insert to manufacturers details fixed to Metsec studwork. Mastic seal.

15mm medium density fibreboard to window base, lacquered blue Aluminium insert Window Head fixed to slab soffit through 20mm rigid insulation, mastic seal and steel drip to allow run-off, waterproofing layer vapour barrier to inside behind insulation.

15mm medium density fibreboard to blind head box. Lacquered Blue

7

8: Intermediate Floor Slab:

200mm Post tensioned Concrete slab, Raised Floor Pedestals to provide 150mm cable void.

Warmafloor thermal raised access floor heating system UFH pipes to provide water heating/cooling, 100mm grooved insulation fixed to steel RAF bracket Raised floor panels 25mm thickness.

Exposed Soffit to provide thermal irradiation and ease of maintenance of sevices, Exposed Plenum, Extraction ducts for displacement ventilation & pipework/cable systems/ trays, Ductwork and piping painted Sage/Blue, hanging artificial lighting with motion sensors

6 5

7: Precast Modular Facade System,

15mm Ceramic Glazed brickslips grouted to Prefabricated/Precast concrete element fixed back to slab edge with bespoke fixing system providing lateral and vertical movement tolerance. Precast facade element has a 5 degree incline on sill to prevent water pooling at window edge. waterproofing layer infront of insulation running up to meet window insert.

80mm stone wool thermal insulation 120x120mm slotted steel angle fixed to halfen channel cast into precast element, fixed to slab, bolts to engineers tolerance specs, METSEC C-section studwork to form metal box, 150mm stone wool insulation packed into metsec box.

12.5mm plasterboard, vapour retarder, 12.5mm plasterboard.

6 - Wall to Soffit Transmission 40mm Precast concrete panels fixed back to METSEC stud frame infront of insulation Waterproofing layer, Two Layers 100mm Insulation rigid to fronting of soffit, vapour retarder behind panel of 1 mm canted graphite black anodized aluminium sheet, waterproofing layer 20mm closed cell insulation boards to underside of precast facade element to provide continuity of insulation. Vapour barrier behind insulation to run up and meet retarder behind facade element.

4

5: Curtain Wall to Soffit:

-Two layers thermal insulation fixed to curtain wall head.

Plasterboard 12.5mm Vapour Barrier plasterboard 12.5mm Lacquered fibreboard 15mm - METSEC Steel Stud Framing, gyp. Board sheathing to outside with vapour & air barrier to form surface for fixings, -Terracotta cladding system as per design, Extruded aluminium ‘T’ tracks fixed back to METSEC stud frame through rigid insulation, 200x600 tiles, fixed to underside of soffit, hung by aluminium brackets, trim bars at outer edges.

4: Floor and sill Construction:

-30mm Non-Compressive Insulative Closed Cell Board Between Slab and Retaining wall to provide continuity of insulation -100mm glass wool insulation around perimeter of slab, DPM/vapour layer meeting tanking running under insulation towards entrance wall.

-270X590 Paving slabs layed at 32 degrees to sill on dry mix mortar bedding on RCA concrete slab layed on dpm, Rigid foam insulation beneath.

Slot Drain to allow drain away at perimeter of building.

Porous paving to manufacturers spec.

100mm Precast Floor slabs, dry powder pigment, azure.

50mm sand-cement screed to provide smooth layer to lay floorslabs 150mm Insulation meeting 100mm glass wool perimeter insulation DPM/Visqueen membrane Precast Post-Tensioned Slab.

Sill: -METSEC Channel Track and Vertical C-Studs to form base, anchor bolt to slab, filled with rockwool 150mm - osb and y-wall sheathing with air & vapour membrane -ANCON SSB bracket restraining stonework cladding 25x270x450 -80mm concrete precast panel fixed to inside of sill.

-Shuco Curtain walls to spec as per design.

2: Retaining Wall

1: Foundation

3: Ground Floor to Retaining Wall

-Studded/Geo-textured membrane to prevent blockage -Strong waterproof tanking seal to meet pile waterproofing and Ground Floor DPM in accordance with a manufacturers specification -Gravel Backfill/Shingle to allow drain away -Filter Membrane to gravel/shingle to prevent blockage -Angled Mortar/sand Cement Fillet to prevent water pooling -180mm Perforated Drain -RC retaining Wall 500mm -100mm Insulation -vapour retarder -aerated concrete blockwork

-Specialist Pile Head waterproofing to manufacturers spec.

-Perforated Drain surrounded by gravel backfill -150mm Coarse Sand on 200mm Crushed Hardcore Behind Pile Ring Beam foundation -Waterproofing Membrane Under 200mm RC slab meeting pile waterproofing layer vapour barrier under insulation -100mm rigid foam insulation. concrete screed finish.

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Modular Facade Systems

Postmodern Facade Treatments -/- Detailed Window Reveal Regarding the New Manchester/London Vernacular treatment, from an architectural credibility standpoint, it is a question of the window reveal detail. Facades have become a question of how to detail brick-slips and cladding, how to replicate a bespoke sense of detail across the whole exterior.

I have designed a series of prefabricated reinforced concrete units, with a high level of execution.

To meet planning and vernacular requirements, the material will be brick, however, glazed brick-slips allow me to delineate and reveal my programme. By the coordination of a 7.2x7.2 Dutch planning grid, no columns intersect with the windows of the 3.6x3.6m modules. Blue delineates the office space, green highlights the WeWork Business Collective space, grey marks public frontage, the building subtly expresses its internal organisation.

Elevation 1:250 North-West facade

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Cast-in Fixing System

Prefabricated Manufacturing

Cast-in channels and bolts designed for tolerances

Specialist bracket Sill element restrained to slab, side elements stack, and bolt together

Ceramic brickslips grouted to concrete elements 15mm thickness Concrete is hidden, so a high level of RCA can be specified

Slotted angle to provide and allow for movement Bespoke bolt with movement tolerance by manufacturer, to restrain bottom component to slab, fixes through rigid insulation to rebar in slab edge The facade system is stacked, transferring the load downward to the foundations, and after a certain height, it is taken on by the structure. Only three formworks are required, utilising mass production for a sustainable solution Concrete and steel lattice infill panels to sides, for acoustic and insulative quality

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Profiled Facade

Replicating a Bespoke Sense of Detail The universal facade system is a concept that brings the buildings exterior detailing into the control of the architect. Preventing poor decision making or fixing of a random combination of cladding systems such as large stone cladding, which can all too often fail. The use of pre-cast/ prefab concrete facades allows a high level of precision, and by cladding the panels in brickslips, it avoids the structural gymnastics such as advanced thermal breaking required to make a contemporary development appear as a brick structure.

By dimensioning the concrete profiles around the standard measurements of a brick, you are allowing the proportions of the architectural element to be defined by the constituent component that clads it, creating a detailed brick window reveal, this bespoke sense of detail can then be replicated across the entire exterior, by profiling the window reveal rather than having a flat facade, the brick-slips are given a ‘perceived higher quality’.

Fig. 26

Profile the facade, don’t pattern, Monmouth House. Duggan Morris reveals their scale and expresses detail through their facade system designs.

Select Operable windows located 2m above Floor on east/west facades provides cross ventilation for offices.

Close up view of brick reveal and parapet/railing

Double Height by missing out base profile and replacing with Spandrel

Entryway

Rotate base to create window head detail

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Interrogating Standard Components Intervening into the ‘Real Architecture’ ARCHITECT OF RECORD

“It could be argued that architectural design now consists in interfacing pre-existing standardised components [both the elements of a development and their standardised systems]” (Mhairi, 2012) If regenerative neoliberal architecture is a case of cladding boxes, then it is a case of knowing how to detail cladding with a contemporary flourish.

250 X 590mm Stone Paving Slabs, Laid at 32o to Ground Sill to allow paving joints to run continuous with sill perpends, 5mm Spacing.

Harry Groom

250 X 470mm Stone cladding fixed to Metsec metal base, 5mm gaps, stack coursing.

Movement Joint 20mm Red Rubber Gasket located at joint.

Runs up sill to meet curtain wall.

The offcuts from where the paving stone is cut, clad the sill, to provide continous lines of joints from ground to sill.

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The Architect’s Control: Surfaces Transmissions -/- Interfaces

“Knowing how to skillfully detail material connections and ornaments [and now cladding] with a flourish for aesthetic effect”. (Deamer, 2019) 600x600mm Resilient Architectural Finish to Raised Access Floor, laid at 45 degrees to planning grid.

At interface with both interior and exterior walls. Tile offcuts are laid against surface to act as decorative skirting, slotted into Shadow Gap. Plastic Angle trimmer bars to fit around exposed edges.

Recycled Plastic Cladding Corner Trim

Pre-Cast Concrete Floorslabs 2.5x3.6m, Peri Fairface Finish with Dry Powder Pigment, Azure and Mayfair Grey

Filled Compression Joint, Red Elastic Seal at Surface between all Slabs, highlighting the nature of commercial concrete construction, and how the public perceives concrete as a continuous surface.

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The Architect’s Control

Plenum -/- Suspended Ceiling Acoustic Ceiling Island 1200x1200mm

Acoustic Ceiling Islands

Harry Groom

Acoustic Horizontal Ceiling Baffle 1200x600mm

Accent Ceiling Tiles Blue/Green 600x600mm adhered at 45o to Acoustic Islands, Offcuts laid to Acoustic Baffles

Recycled Plastic Angle Trim Bars 45 x 45mm to edges

Fig. 27

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Components/Elements

Lighting -/- Fire Door/Soft Passage Three Painted Rolled Steel Housing Cylinders, Anodised Aluminium Rings to Ends

Medium Density Fireboard, Lacquered blue and green

Two Rolled Steel Half Housing Cylinders, Anodised Aluminium Rings to Ends

Energy Efficient LED filament Lights, Warm White Hue

Half Leaf Portal Window, Architraves around glass frames steps out to reflect facade system Medium Density Fireboard, Lacquered blue and green

Half Leaf Portal Window, Architraves around glass frames steps out to reflect facade system

Standard Revit Door Component

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Components/Elements Railing -/- Knuckle Bespoke Red Knuckle Joint fixed to black CHS steel railing

100x25mm Steel slat, painted blue

RHS 25x25 hollow section steel painted green

25x100 Dark grey header and base plates

Railing, Duggan Morris

Balustrade, AHMM Harry Groom

Fig. 28

Balustrade, Duggan Morris

Fig. 27

Fig. 29

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The Architects Control Staircase -/- Nosing Anti-Slip Safety Grip Tape, Blue and Grey, Cut specifically to method statement by sub-contractor

Base Plate of balustrade molded to tread/risers

Pre-cast Concrete Staircase Fairface Finish

Anti-Slip Nosing Tape

Core Staircase AHMM

Fig. 30

Core staircase, AHMM

Fig. 31

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Components/Elements Toilet -/- Public

High Density Fibreboard Lacquered Blue, Grey and Green

Toilets, Prada Foundation

Harry Groom

Red, Aluminium Handle Inlet & Hinges

Recycled Plastic Angle Edge Trim Dark Grey

Toilets, Casa de Musica

Fig. 31

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The Architect’s Control The Ancillary & Circulatory

The architect’s integrity, concerning neoliberal and commercial forms of fabrication specifically regarding standard components, such as cladding or material finishes, is a question of the architect’s ethics. Treating these materials as a wrapping paper or as nonimportant aspects of commercial design, makes the public perceive them as cheap and paper thin.

Surfaces

-/- Joints

Transmissions

-/- Perpends

Interfaces

-/- Cuts

Trim

-/- Edges

Plenum

-/- Baffles/Tiles

Lighting

-/- Bolts/Rings

Integrity must be displayed when detailing these materials no matter their value or the buildings worth as Rem Koolhaas did with his soffit in the Chicago IIT Campus building, materials can be elevated through the architects subtle intervention into method statements, it is a question of the architect’s ethics and integrity, how they treat these standard components, no matter the project. I believe the architect has design control in commercial scenarios even when it does not seem so, through his/her detailing and the control of the specification.

Door

-/- Architrave

Railing

-/- Knuckles

Stair

-/- Nosing

Toilets

-/- Icon

Window

-/- Reveal

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Foyer

Expressing Control Over Ancillary/Circulatory Space The architect’s attention to joints and details begins to add up. The circulatory and ancillary spaces have become expressive of the ‘architect of record’ and his resistance against such standard practices. Each element has become fundamental to the space, both the public and private user notices the joints, the knuckles, the railing, the bolts, the lights, the subtle interventions into the material generates a bespoke sense of originality. The restaurant chains are still allocated to their large units in the atrium, but the first spaces experienced by pedestrians who enter, the circulatory, the ancillary, is in complete control of the designer.

Perspective of Foyer Harry Groom

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North-East Elevation 1:250

Mediating Between the Local and New Development The two merged forms and differentiation in their heights, mediates between the low-rise local identity of Canal Street and the New Portland Street Regeneration. The stepped and sculptural massing of the tower, creates the landmark and iconography outlined in the Core Strategy Development Plan document, and steps down in verges towards Bloom Street. The roof gardens provide views across the city for the private users and also on the tower roof for the public.

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Mixed Use Commercial Scheme At The Heart Of Canal Street

The buildings colours arose from the rigorous analysis of the New Manchester Vernacular, and a resistance against generic commercial buildings and BIM wallpaper styles, the profiles of the facade system, create a bespoke sense of detail that is replicated across the whole exterior.

WeWork Manchester Business Innovation Collective

The massing sits within the environment, the structural glass wall of the lower mass, provides a mediation and permeability for the Initimate adjacent bloom street, providing a mediated passage from the local identity of Canal Street into the neoliberal atrium space.

Coffeehouse Chains

Restaurant Groups

Retail Units

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Sustainability -/- Passive Strategies

Creating a Comfortable Space to Facilitate Exchange Due to the nature of my programme, I must make a cost versus effectiveness decision on the use of active strategies, in a commercial mixed use scheme building such as mine, regarding the architects control, I can only apply sustainable strategies in terms of what is reasonable regarding client budget and profit margins, furthermore the nature of the letting process, requires the zoning of different programmes and spaces, some, such as the leisure units which will be occupied by restaurant groups and coffee houses, will utilise their own fit-outs including environmental ventilation systems.

Therefore, the natural ventilation design is a simple yet effective method of maximising passive strategies, for example in the summer through a central public atrium that rises the full height of the lower block creating a thin column/chimney for stack effect. , As well as using post-tensioned slabs to create thin floor plates which make cross flow ventilation more effective and utilising modular skylights to make best use of stack effect and greenhouse effect, and orientating my building correctly to best make use of these passive strategies.

Diagrams improved upon ARC3013 Harry Groom

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Design Credibility

Reduction, Rational Structure The concept of a shell that encloses a rational and expressed concrete frame, creates a sustainable solution to the structure of such a large development. Reduction and efficiency has been achieved through the use of posttensioned slabs and modular systems such as the facade. Rather than seeking cantilevers or overhangs or using structural gymnastics to hide the concrete frame, my structure and sculptural form are derived from sustainable, rational and efficient decision making which creates a nonarbitrary design. This allows the budget to be allocated to more important areas, such as the purposeful expression of the cross bracing and structure in the atrium to create an exciting space to foster exchange. The facade system can be specified with a high level of recycled concrete aggregate as the concrete is hidden by brick-slips.

(Secondary) Steel Roof Trusses

(PRIMARY) Tower Core to provide Lateral Stability 8m x 9m (PRIMARY) Floor Plates, Post-Tensioned Concrete Slabs 200-250mm, Transfer Beams located at set backs in grid. 50% RCA Fair face Finish (PRIMARY) Pre-cast Concrete Columns, 7.2m structural grid, Columns are doubled up under sculptural recesses to provide support at step backs from grid

(Tertiary) Glass Skylight, Modular Skylight system

(SECONDARY) Expressed Structural Cross Bracing to restrain floor plates around Atrium to structural engineers design, Pin-Jointed, load distributed to foundations through reinforced Concrete bases (PRIMARY) Shear Wall located here for adequate lateral restraint due to shift in footprint

(PRIMARY) Core for Lateral Restraint/ Stability (TERTIARY) 3.6X3.6m Prefabricated Modular Facade, Continuous skin, restrained at floor slabs, load beared by foundations and above a certain height by the structure. Concrete Lattice Infill Panels and Extruded Window Reveals. The 7.2m Dutch planning grid, prevents any columns blocking glazing and provides a flexible internal grid of 1.8m

(Tertiary) Structural Glass Wall, Structural Fins at Southern Entrance that act as louvres

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Facilitating Exchange

Atrium -/- Ground Floor Frontage

WeWork Manchester fills the large second and third level office floor plates of the lower shape and make themselves at home on the private roof terrace.

My subtle intervention into the circulatory areas is shown here; the concrete details, floor tiles, railings and colour animates the atrium.

The circulatory channel also animates and facilitates exchange within the atrium/internal street, allowing people to move from cafe to restaurant, or between office spaces and zoned areas. It is supported by a large steel beam that spans between slabs and creates spontaneous interactions.

A double height space at ground floor provides the ideal space for restaurant groups and coffee houses to occupy, a mezzanine level allows people to look over into the atrium.

The thoroughfare acts as a path through the neoliberal development, restaurants can spill out here at night or during the day.

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Bibliography

Readings Consulted and Referred To: Alex Madina, E. b. R. M., 1999. Millennium Experience: The Guide. 1st ed. s.l.:New Millennium Experience Company Ltd..

Canniffe, E., 2015. The morphology of the post-industrial city: the Manchester mill as ‘symbolic form. journal of Architecture and Urbanism.

Carpenter, J., 2002. Valuing Material Comprehension. In: B. P. D. a. P. Bernstein, ed. Building in the Future. New York: Princeton Architectural Press.

Deamer, P., 2016. Work. In: P. Deamer, ed. Immaterial Labor, the Creative Class and the Politics of Design. London: Bloomsbury Publishing PLC,.

Deamer, P., 2019. Architectural Craft and Contemporary Labor . In: A. B. a. N. Burish, ed. Craft On Demand: The New Politics of the Handmade. London: I. B. Tauris.

Dickson, M. B. &. M., 2000. Widespan Roof Structures. Bath: University of Bath.

Hatherley, O., 2010. A Guide to the New Ruins of Great Britain. London: Verso.

Mhairi, M., 2012. 'God is in the Details'/'The Detail is Moot. In: A. Sharr, ed. Reading Architecture and Culture . New York: Routledge.

Wilhide, E., 1999. The Millennium Dome. London: HarperCollinsIllustrated.

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List of Illustrations Images used: Introduction Fig 1. CHRISTINE MURRAY, (2016), Notopia is less a warning than a prophecy of doom [ONLINE]. Available at: https://www.architectural-review.com/essays/campaigns/notopia/editorial-notopia-is-less-a-warning-than-a-prophecy-of-doom/10006751.article [Accessed 21 May 2019].

Primer Fig. 1 Büro Happold, (2006), Millennium Dome in London [ONLINE]. Available at: https://inspiration.detail.de/millennium-dome-in-london-106871.html [Accessed 21 May 2019] Fig. 2 Mariabruna Fabrizi, (2015), The Artic City. A project by Frei Otto and Kenzo Tange [ONLINE]. Available at: http://socks-studio.com/2015/10/03/the-artic-city-a-project-by-frei-otto-and-kenzo-tange/ [Accessed 21 May 2019].

Fig. 3 Christopher Reznich, (2015), Dome Over Manhattan [ONLINE]. Available at: https://medium.com/designscience/1960-750843cd705a [Accessed 21 May 2019].

Fig. 4 Andrew Perry, (2017), How Tony Blair’s ‘Cool Britannia’ party kickstarted our descent into cultural vacuousness [ONLINE]. Available at: https://www. telegraph.co.uk/music/news/tony-blairs-cool-britannia-party-kickstarted-descent-cultural/ [Accessed 21 May 2019].

Fig. 5 Futurelab, (2019), PLAYZONE – MILLENNIUM DOME 2000 [ONLINE]. Available at: https://ars.electronica.art/futurelab/en/project/architec-tours/ [Accessed 21 May 2019].

Fig. 6 Alex Madina, E. b. R. M., 1999. Millennium Experience: The Guide. 1st ed. s.l.:New Millennium Experience Company Ltd. Fig. 7 Max Krieger, (2018), The Millennium Dome - a design thread. [ONLINE]. Available at: https://twitter.com/maxkriegervg/status/1025064930909794304 [Accessed 21 May 2019].

Fig. 8 Ajuntament de Barcelona, (2018), MediaTIC Incubator [ONLINE]. Available at: https://ajuntament.barcelona.cat/digital/en/digital-innovation/digital-economy/mediatic-incubator [Accessed 21 May 2019].

Fig. 9 Sony Center am Potsdamer Platz, (2019), SONY CENTER ROOF [ONLINE]. Available at: https://www.sonycenter.de/en/architecture [Accessed 21 May 2019].

Staging Fig. 1 Journal of Architecture and Urbanism, (2016), Urban morphology and the post-industrial city: commercial space in Manchester [ONLINE]. Available at: https://www.researchgate.net/publication/309223407_Urban_morphology_and_the_post-industrial_city_commercial_space_in_Manchester [Accessed 21 May 2019].

Fig. 2 Stephenson Studio, (2018), Portland Street Strategic Regeneration Framework [ONLINE]. Available at: https://secure.manchester.gov.uk/downloads/ download/6995/portland_street_strategic_regeneration_framework_2018 [Accessed 21 May 2019].

Fig. 3 Chapman Taylor, (2019), KAMPUS LOCATION CITY: MANCHESTER, UK [ONLINE]. Available at: https://www.chapmantaylor.com/projects/kampus [Accessed 21 May 2019] Fig. 4 MANCHESTER NEW SQUARE, (2019), WELCOME TO MANCHESTER NEW SQUARE - New luxury apartments in the heart of the city [ONLINE]. Available at: http://www.manchesternewsquare.com/ [Accessed 21 May 2019].

Fig. 5 Stephenson Studio, (2018), Portland Street Strategic Regeneration Framework [ONLINE]. Available at: https://secure.manchester.gov.uk/downloads/ download/6995/portland_street_strategic_regeneration_framework_2018 [Accessed 21 May 2019].

Fig. 6 Jennifer Williams, (2018), The huge plan for Portland Street - and why some in the Gay Village aren’t happy about it [ONLINE]. Available at: https:// www.manchestereveningnews.co.uk/news/greater-manchester-news/huge-plan-portland-street-gay-14181742 [Accessed 21 May 2019].

Fig. 7 Wework, (2019), One St Peter’s Square [ONLINE]. Available at: https://www.wework.com/buildings/one-st-peter-s-square--manchester [Accessed 21 May 2019].

Fig. 8 Charlie Schouten, (2019), Plans in for Manchester’s first Maldron hotel [ONLINE]. Available at: https://www.placenorthwest.co.uk/news/plans-in-formanchesters-first-maldron-hotel/ [Accessed 21 May 2019].

Fig. 9 JLL - Manchester, (2019), Manchester New Square [ONLINE]. Available at: https://www.onthemarket.com/details/4047187/ [Accessed 21 May 2019].

Fig. 10 Jessica Middleton-Pugh, (2016), Funder secured for £150m Kampus neighbourhood [ONLINE]. Available at: https://www.placenorthwest.co.uk/ news/funder-secured-for-150m-kampus-neighbourhood/ [Accessed 21 May 2019].

Fig. 11 Manchester City Council, (2011), Manchester’s Local Development Framework Core Strategy Development Plan Document [ONLINE]. Available at: https://secure.manchester.gov.uk/downloads/download/4280/core_strategy_development_plan [Accessed 21 May 2019].

Fig. 12 /ibpglassblock, (2019), 300 NEW JERSEY AVENUE [ONLINE]. Available at: https://ibpglassblock.com/content/300-new-jersey-avenue-nw [Accessed 21 May 2019].

References/List of Figures

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List of Illustrations Images used:

Realisation & Refinement Fig. 1 AKT II, (2019), King’s Cross R7 [ONLINE]. Available at: https://akt-uk.com/projects/king%27s%20cross%20r7 [Accessed 21 May 2019].

Fig. 2 Timothy Soar, (2019), ALLFORD HALL MONAGHAN MORRIS, WHITE COLLAR FACTORY [ONLINE]. Available at: http://timothysoararchive.co.uk/project/36487 [Accessed 21 May 2019].

Fig. 3 India Block, (2017), <em>Duggan Morris builds office with millennial-pink exterior in London’s King’s Cross</em> [ONLINE]. Available at: <u>https:// www.dezeen.com/2017/10/19/r7-office-duggan-morris-architects-london-kings-cross/</u> [Accessed 21 May 2019].

Fig. 4 Timothy Soar, (2019), ALLFORD HALL MONAGHAN MORRIS, WHITE COLLAR FACTORY [ONLINE]. Available at: http://timothysoararchive.co.uk/project/36487 [Accessed 21 May 2019].

Fig. 5 JLL, (2019), 88 Wood Street [ONLINE]. Available at: https://property.jll.co.uk/rent-office/office-rent-london-ec2v-7qq-12599 [Accessed 21 May 2019].

Fig. 6 Jack Hobhouse, (2017), <em>R7, Kings Cross by Morris + Company and Weedon Architects</em> [ONLINE]. Available at: <u>https://www.architecture.com/awards-and-competitions-landing-page/awards/riba-regional-awards/riba-london-award-winners/2018/r7-kings-cross</u> [Accessed 21 May 2019].

Fig. 7 REYNER BANHAM, (2017), Philip Johnson’s AT&T: The Post Post-Deco skyscraper [ONLINE]. Available at: https://www.architectural-review.com/essays/ philip-johnsons-att-the-post-post-deco-skyscraper/10016946.article [Accessed 21 May 2019].

Fig. 8 Sam Shead, (2017), Tech companies have developed a new obsession with running tracks [ONLINE]. Available at: https://www.businessinsider.com/ google-rooftop-running-track-now-white-collar-factory-2017-9?r=US&IR=T [Accessed 21 May 2019].

Fig. 9 Stephen Emms, (2019), R7 King’s Cross: ‘There’s no context – we just like pink,’ says architect Joe Morris [ONLINE]. Available at: https://www.gasholder.london/2019/01/31/r7-building-kings-cross/T [Accessed 21 May 2019].

Fig. 10 India Block, (2017), <em>Duggan Morris builds office with millennial-pink exterior in London’s King’s Cross</em> [ONLINE]. Available at: <u>https:// www.dezeen.com/2017/10/19/r7-office-duggan-morris-architects-london-kings-cross/</u> [Accessed 21 May 2019].

Fig. 11 India Block, (2017), <em>Duggan Morris builds office with millennial-pink exterior in London’s King’s Cross</em> [ONLINE]. Available at: <u>https:// www.dezeen.com/2017/10/19/r7-office-duggan-morris-architects-london-kings-cross/</u> [Accessed 21 May 2019].

Fig. 12 Whitecollarfactory, (2019), Restaurants [ONLINE]. Available at: http://whitecollarfactory.com/space/restaurants [Accessed 21 May 2019].

Fig. 13 Eleanor Gibson, (2018), Snøhetta plans nixed as Philip Johnson’s AT&T Building gains landmark status [ONLINE]. Available at: https://www.dezeen. com/2018/08/01/att-building-philip-johnson-landmark-status-snohetta-plans-scrapped/ [Accessed 21 May 2019].

Fig. 14 Lucy Wang, (2013), OMA’s New De Rotterdam ‘Vertical City’ Tower is the Largest Building in the Netherlands [ONLINE]. Available at: https://inhabitat.com/oma-completes-de-rotterdam-vertical-city-tower-largest-building-in-the-netherlands/ [Accessed 21 May 2019].

Fig. 15 /ibpglassblock, (2019), 300 NEW JERSEY AVENUE [ONLINE]. Available at: https://ibpglassblock.com/content/300-new-jersey-avenue-nw [Accessed 21 May 2019].

Fig. 16 Chris Carter, (2017), 88 Wood Street office building at London Wall designed by Richard Rogers [ONLINE]. Available at: https://chriscarterart.com/ london-september-30th-2017/ [Accessed 21 May 2019].

Fig. 17 MVRDV, (2018), Radio Tower & Hotel [ONLINE]. Available at: https://www.mvrdv.nl/projects/353/radio-tower-and-hotel [Accessed 21 May 2019].

Fig. 18 India Block, (2017), <em>Duggan Morris builds office with millennial-pink exterior in London’s King’s Cross</em> [ONLINE]. Available at: <u>https:// www.dezeen.com/2017/10/19/r7-office-duggan-morris-architects-london-kings-cross/</u> [Accessed 21 May 2019].

Fig. 19 OMA, (2019), IIT Mccormick Tribune Campus Center [ONLINE]. Available at: https://oma.eu/projects/iit-mccormick-tribune-campus-center [Accessed 21 May 2019].

Fig. 20 AHMM, (2017), White Collar Factory, Old Street [ONLINE]. Available at: https://www.ahmm.co.uk/projectDetails/90/White-Collar-Factory-Old-Street [Accessed 21 May 2019].

Fig. 21 Paolo Ferrarini, (2017), FONDAZIONE PRADA, MILAN [ONLINE]. Available at: https://coolhunting.com/culture/the-new-fondazione-prada-milan/ [Accessed 21 May 2019].

Fig. 22 ROB WILSON, (2017), Pinky and Perky: Duggan Morris’s R7 in King’s Cross [ONLINE]. Available at: https://www.architectsjournal.co.uk/buildings/ pinky-and-perky-duggan-morriss-r7-in-kings-cross/10024003.article [Accessed 21 May 2019].

Fig. 23 AHMM, (2017), White Collar Factory, Old Street [ONLINE]. Available at: https://www.ahmm.co.uk/projectDetails/90/White-Collar-Factory-Old-Street [Accessed 21 May 2019].

Fig. 24 Timothy Soar, (2019), ALLFORD HALL MONAGHAN MORRIS, WHITE COLLAR FACTORY [ONLINE]. Available at: http://timothysoararchive.co.uk/project/36487 [Accessed 21 May 2019].

Fig. 25 AHMM, (2017), White Collar Factory, Old Street [ONLINE]. Available at: https://www.ahmm.co.uk/projectDetails/90/White-Collar-Factory-Old-Street [Accessed 21 May 2019].

Fig. 26 Picture Plane, (2019), Monmouth House, Duggan Morris Architects [ONLINE]. Available at: http://www.pictureplane.co.uk/projects/monmouth-house [Accessed 21 May 2019].

Fig. 27 Iwan Baan, (2015), Architect Rem Koolhaas Reveals His Collaborative Side [ONLINE]. Available at: https://www.architecturaldigest.com/story/ rem-koolhaas-milan-moscow-article [Accessed 21 May 2019].

Fig 28 ROB WILSON, (2017), Pinky and Perky: Duggan Morris’s R7 in King’s Cross [ONLINE]. Available at: https://www.architectsjournal.co.uk/buildings/pinkyand-perky-duggan-morriss-r7-in-kings-cross/10024003.article [Accessed 21 May 2019].

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List of Illustrations Images used:

Realisation & Refinement Fig. 29 Timothy Soar, (2019), ALLFORD HALL MONAGHAN MORRIS, WHITE COLLAR FACTORY [ONLINE]. Available at: http://timothysoararchive.co.uk/project/36487 [Accessed 21 May 2019].

Fig. 30 ROB WILSON, (2017), Pinky and Perky: Duggan Morris’s R7 in King’s Cross [ONLINE]. Available at: https://www.architectsjournal.co.uk/buildings/ pinky-and-perky-duggan-morriss-r7-in-kings-cross/10024003.article [Accessed 21 May 2019].

Fig. 31 Fiveprime, (2015), koolhaas,wc [ONLINE]. Available at: hiveminer.com/Tags/koolhaas%2Cwc [Accessed 21 May 2019].

References/List of Figures

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