Harry Kendall MArch Portfolio for UCL Bartlett School of Architecture

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Harry Kendall Portfolio for Architecture Masters Programme at The Bartlett School of Architecture

Personal Statement

I want to make people’s everyday lives better; full of beauty, utility, community, meaning, and a connection to nature. I believe that art, technology, and philosophy individually and collectively have an incredible power to provide both the milieu and the foreground experience to powerfully transform people’s lives. Architecture, for me, sits at this exciting intersection and culminates to being most profound and potent of all – I think cities, and the buildings within, are the most important and beautiful invention in our lives today.

Within the learning and practice of architecture itself, I have a very broad range of deep interests which converge to influence my approach to architecture; film, literature, language, theatre, music, art (especially ceramics), philosophy, politics, business, history, economics, nature, and good design all continue to guide my thinking on what architecture and the architect should be, their roles in society and place, and the architectural designs themselves. These have historically been the necessary knowledge make-up of the architect, and I have acquired the technical skill in handling ideas and knowledge, the ability to innovate and build on existing ideas and conditions, and the artistic desire to create material and immaterial things, all which could take me anywhere in the wider architectural field.

I do not know exactly where I would want to be in the peak of my career, however I do know that I want to push the profession onwards and create things which tangibly make people’s lives better. Whether this will take place

entirely academically or as a researcher, as a full-time practitioner designing and making buildings, a mixture of these, or something different, I want to work in a creative setting with the right people to do these things. I enjoy working with people who inspire me and whom I can learn from and also teach, and I like being challenged, by people within and without the wider field of architecture; I am currently starting a professional explorative project with a ceramicist to explore ideas including fractals, and regularly work through ideas of architecture with an economist and a zoologist.

I want to attend Architecture Masters at UCL Bartlett to work with the highest class of tutors, academics, practitioners, and students alike – to elevate and be elevated with my peers, to experiment and push the boundaries, and have fun and take risks in an exceptionally creative, educational, and forward-thinking context.

The school is of the highest repute and has strong connections and networking opportunities in the beautiful city of London and at a national and international level.

I want to develop those relationships and opportunities with UCL to create the most interesting, meaningful, and impactful career for myself, obtaining the RIBA part 2 accreditation, so that I can best influence and create good things for the lives of other people.

Memory in the park 4 Farm in a new wilderness

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Fractals, repetition, and facades: Self-Study

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Homeless rehabilitation centre 12

The spirit of making 22 Work experience 24 Pitch pop-up bar and cafe

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MEMORY IN THE LANDSCAPE Babyn Yar | Kyev | Ukraine Babyn Yar memorial park is a landscape that remembers the German massacres of 33,771 Soviet Jews. The site bears the marks of the historical events, but is imperfectly laid out.

In geological excavations, sites are dug up in a grid-like fashion, and in the same way a grid is to be applied to this site one that connects and highlights different elements; monument, topography, hydrology, and memory. The grid also allows for new forms of commemoration so that the site can evolve over time.

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Unifying the monuments

Babyn Yar Site Proposal

Evoking the erased topography

Fragments of memory

6 Elements of the site remain visible whilst others remain under the ground and have been overlooked, the story held in the landscape has since been forgotten. The topography lost is to be reopened and exposed again, planted with forests that suggest this topography.

The old hydrology was similarly lost and the redefinition of the landscape shall create a new system. Artificial connections shall guide the water into place, intersecting with monuments and memory sites.

Topological Memory

Hydrological Memory

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Topological Memories

A Fragment of Site

Fragments of Memories

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FARM IN A NEW WILDERNESS The UK has experienced a steady decline in countryside biodiversity since the height of WWII when the country scaled its intensive farming techniques for the production of food and crops for machine oils. Many initiatives have been implemented throughout the country to restore a holistic and self-dependant ecosystem - the most successful uses ‘ReWilding’ - a technique that has little human involvement except for the introduction of a limited number of macro-species. The rest is done over time by chance or natural selection.

Advances in hydroponic indoor farming methods are beginning to shake the manner in which we produce our food.

They are typically built in high density urban environments, however this proposal introduces them into the rural landscape to enable farmers to give back the land to nature.

Indoor farms produce greater profits and are more reliable due to the extinguishing of undependable external weather conditions. The land that is given back, when nature begins to thrive again can become a nature reserve and tourist spot which begins to revive the UK’s also falling natural tourism industry.

8% 3% 300% 0

OF WATER CONSUMPTION OF LAND USE CROP YIELD HERBICIDES & PESTICIDES

Hydroponic Farming relative to tradtional intensive farming methods

BEFORE Intense industrialised farming and monocultures

TRANSITION Internal farm amonst intense Arable Farmland

STEP BACK: WILDING Internal Farm amongst a naturally ordered ecosystem

9 The farm building is designed for multiple farmers, conglomerated into a single building. It is modular and can be extended. The modules consist of 6 farming nodes, which together equal the growing area of the average traditional farm of 16 hectares.

Indoor farms use blue and red LEDs to provide the plants with optimum magenta light, and water is regularly pumped.

Each 16 hectare farm module is divided into 2 wings divided by a glass corridor to achieve a working fire strategy, and to bring in natural light to the farm to reduce energy consumption. Solar panels and a water collection system provide the building with sufficient resources to cut all electricity costs. The remaining running costs consist only of heating, which can again be mitigated with heat pumps. The water is gathered using the contoured roof which captures water and carries it to water storage tanks within the building.

The building skin is a 3D printed textured concrete panel which encourages the growth of bacteria, algae, and lichen, to transform the building into a living rock emerging from the ground which provides the base for further ecosystems to flourish in the new wilded sanctuary.

Babyn Yar Site Proposal

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F R AC TA L S , REPETITION, AND FACADES: SELF-STUDY The underlying philosophy of this ongoing study is that good Architecture should be available to everyone. This seeming exploration of form is an allegorical critique on the everydayness of architecture and its material. The fundamentals of good architecture concern space and light, but are made real through its materials.

A building is not beautiful because it uses exquisite marble, or raw concrete and scandinavian timber - indeed if this were true, it would make architecture accessible only to those who can afford a narrow style of commodity.

At the other end of the spectrum, recycled distressed planks from old tables or forktruck pallettes are a cosmetic fad that is fitting to a narrow sub-culture of skaters and coffee drinkers.

An affordable architecture is to be found in the celebration of a humble component - an existing object or one yet to be made, tesselated and arranged to create a space of scale and beauty.

A study of the cable tie first crafted an understanding of how this item could be bonded, whether this bonding would create the form and texture of the whole, and if different scales of component could be produced in a fractal manner.

The second study of plastic spoons began to create an architectural geometry. Here, a supplementary item was required - an armitage. A single item in repetition could create components, which in repetition, create the whole - something that can be understood at different scales.

11 1 - Living opposite a tower block in Bristol, the plain and obstrusive post-war facade devoid of articulation or human-scale sticks out amongst the ornament of the buildings of the centuries before them - there is no hierarchy, only a void that draws the eye but provides no relief or pleasure. As one approaches the building, there is no extra detail that becomes apparent, and walking past it, in the fifteen seconds it takes to do so, there is no change - only stark concrete. It is totally alienating and uninviting.

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2 - A facade exploded into layers creates a series of thresholds, a series of inbetween spaces which gradually draw you in. Further away, the layers line up as one approaches - appearing as a single volume, with the broader definitions only showing. As the building gets closer, its elevation breaks up as the layers become apparently discreet, and parts of the building that were once invisible become visible and vice-versa - the building shifts as it is moved through. Finally, as the entrance of the building is in step, the detail of the elements become evident the smaller scale of the building becomes appropriate to a person and further draws a person in with welcome.

3 - A porcelain sculpture represented at different scales changes its meaning.

A building in the distance is observed differently than when up close - it becomes part of a continuous piece. A building’s texture allows it to be enjoyed from many distances. The advances in 3D printing and other like manufacturing processes allow the construction of an affordable architecture that has texture and scale appropriate to a person.

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H O M E L E S S REHABILITATION C E N T R E Lawrence Hill | Bristol | UK The state of homelessness is a national, local, and individual struggle which affects not only the particularly unfortunate anyones but everyone. The term is larger than those just found on the street, and the majority afflicted are primarily unseen, though the effects leave a scar on the city, and on the persons.

A new politic on homelessness embodied in a built form balances transparency and refuge to transform those in care and the attitudes of non-homeless people to ensure deep and authentic rehabilitation of person and place.

13 Shelters provide no relief, breeding an inhospitable environment of squalor that only spreads the habits of a vagabond architype with those who enter the confines as mostly fine but financially ruined...

They tend to leave in total ruin.

Concept Model

Jan Gehl - ‘Life Between Buildings’

Rehabilitation Schemes do not provide the framework for genuine recovery, and those who are fortunate enough to briefly inhabit a house find it to be only brief and are quickly evicted. They are, in their stay, unable to make a house a home.

This Rehabilitation Centre teaches painting & decorating skills, meeting the higher levels of personal needs - more than just physiological ones. The spaces they move through are of their own creation, spaces which can be enjoyed by those without homes and those with. The conversation between these two groups is the driving social concept behind the full recovery to all persons and place.

This concept is physically manifested in two buildings, one public and one private.

The project utilises thresholds and courtyards to create unique spaces of different rehabilitation purposes.

Fractal Design and Thresholds

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Masterplanning Lawrence HIll estate is a delapidated area at the entrance to the city centre and on the edge of the industrial quarter of Bristol. It is at the abrupt end of the highstreet, and connects to many rundown communities.

LIC PUB LDING BUI

LIC PUB LDING BUI

RC ON CHU VATI SAL ARMY S R TO DOC

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The site layout visually connects the industrial quarter with the public space, using the key industrial building edges to create key lines in the masterplan layout. Natural LIC and UB LDING I softer barriers prevent the Pindustrial BU presence from becoming overbearing, but frame it and celebrate it.

GATEWAY BUILDING

The buildings are laid out to continue the highstreet which better connects the annexed communities to the city centre, whilst creating a sheltered park space with an optimised environmental strategy for use of larger or smaller spaces throughout the year.

social gathering

environmental

circulation

15 LIST OF ACCOMMODATION

A420

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ROOF PLAN

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GROUND FLOOR Forum (Political Gathering) Meeting Room Painting & Decorating Workspace Machine Workshop Paint & Plaster Workshop Shop (Materials & Art) Cafe & Gallery Kitchen

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Communal Lounge & Soup Kitchen Food Bank & Charity Shop Communal Lounge/Games Room Homeless Shelter Rooms x 13 Laundry Room Temporary Accommodation x 6 T. Accommodation Courtyard Group Therapy Reception Individual Therapy Spaces Probation Spaces Group Therapy Space

20 - Central Public-to-Private Courtyard

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SECOND FLOOR PLAN

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FIRST FLOOR Painting & Decorating Workspace Staff Room/Workspace Library & Workspace Communal Lounge Spaces Plant Room Homeless Shelter Rooms x 12 Temporary Accommodation x 6 Therapy Lounge Therapy and Probation Spaces Small Lecture Room (35 people) Group Therapy Space

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SECOND FLOOR Plant Room Small Classroom (12 people) Medium Classroom (24 people) Computer Space (30 people) Outdoor Roof Terrace Plant Room Temporary Accommodation x 7

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FIRST FLOOR PLAN

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North Elevation

South Elevation

Section AA

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East Elevation

West Elevation

Section BB

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2 - homeless kitchen, dining, and lounge atria

3 - homeless housing and courtyard

1 - central courtyard

4 - homeless shelters and lounge atrium

19 All building ‘zones’ are wrapped around an atrium or courtyard - they are uniquely different from the next with different social capitals and phenomenologies.

Some are spaces to walk, stand, perch, sit, or even to lie down. Some spaces are to converse, work together, or be still and contemplate. Some spaces are to be seen and others are to seek a hidden refuge.

5 - therapy water courtyard

The courtyards and atria are the key environmental solution to ensure natural ventilation, comfortable temperatures, and daylight. The environmental quality is controlled to further social benefit; the light enters these spaces uniquely to capture different sky qualities (colour or warmth, intensity, and time-of-day) to encourage restorative emotions and behaviours.

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7 - painting and decorating atrium

6 - homeless political forum

8 - cafe and gallery atrium

20 ATRIA AND COURTYARDS Each portion of the building is organised around a central atrium or courtyard - a mechanism which brings natural light and natural ventilation to every space.

VEGETATION The vegetation throughout the project absorbs rainwater to prevent flooding, and provides nature-filled, therapeutic spaces which offer biodiversity.

THERMAL MASS A moderate mass was specified as the spaces could potentially be occupied for large periods of time. Concrete flooring is often paired with timbers, air voids, or plaster walls, to find the balance.

Section AA : Environmental Strategy

ACOUSTICS The non-parallel walls of critical spaces reduce reverberations while rougher textures and acoustic panels are required to absorb noise. However, where spaces must socially connect, the acoustics create a social mesh.

MECHANICAL VENTILATION This is provided to the workshops, auditorium, all toilets and all kitchens (private or public).

The air handling units are located in the upper floor plant rooms which have access to fresh air. The private bathrooms instead require only fan extract systems which do not connect to any AHU. RAINWATER RECYCLING Water Drainage is often directed towards a water storage tank. This will be filtered and used for all sinks and showers. It can be recycled again for greywater and used in the watering of plants on site.

EARTH TUBES These are located outside the shelter commons space to provide it with fresh air - first to be heated to room temperature before entering and mixing with the existing air.

Section BB : Environmental Engineering

HEATING STRATEGY

HEATING SCHEMATIC

VENTILATION STRATEGY

VENTILATION SCHEMATIC

LIGHTING STRATEGY

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Inspired by the work of bio-integrated designers, this re-imagining of the building envelope creates an aesthetically controlled surface for fungi species to grow. The molded panels capture rainwater and atmospheric humidity for the building’s benefit, and enables the growth of a source for new ecosystems and biodiversities to thrive.

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THE SPIRIT OF M A K I N G Weston Super Mare

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UK

‘‘Summer Sundays, Coney Island becomes the most densely populated place in the world. This invasion invalidates whatever remains of the orginal formula for the performance of the resort - the provision of nature to the citizens of the artificial.

To survive as a resort, Coney Island is forced to mutate and turn itself into the antithesis of nature.

The city, magic and fantastic from afar, appears an obsurd jungle of straight lines of wood, a cheap and hastily constructed toyhouse for the amusement of children, obsessed with speed and loud noise and bright lights.

The city should take the land and turn it into Public Park - uprooting the ‘pleasure’ towers and districts like ‘poisonous weeds’ and restore the surface of the earth to its ‘normal’ state.’’

An extract from ‘Delirious New York’

by Rem Koolhaas The reimagining of an old library took its response from the beach, just a fifteen minute walk away. The beach was no longer enjoyed for its own sake, but for the amusements that stood upon it.

Kids were not enjoying the sand with a bucket and spade, but were inside gawping at coin-pushers and claw-grabs - a cacophony of flashing lights and loud, vein, and endlessly repeating noise.

The design of a new space to encourage children to craft things, inspired by the sand castles they used to play with - a ceramics teaching studio to celebrate raw materials and making things.

A collage ‘kit-bashing’ exercise was used to find the appropriate approach to the retrofit design, playing with solid and void openings, postive and negative additions were introduced in this excercie to think about how to get light and air into a dark and damp existing brick building.

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Ground Floor

Section AA

First Floor

Second Floor

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W O R K EXPERIENCE Salisbury Railway and Pavilion |

Station ATKINS

An RIBA Stage 1 project, the brief was to propose a new forecourt design to fit within a new transport vision for Salisbury. A key driver for the new forecourt was to account for the 100,000 annual passengers from Salisbury Station to Stone Henge on the Salisbury Plains.

Many of these visitors only see the city’s station and do not explore the city.

The Pavilion is to act as a visitor centre - it is the first point of city outside of the city that people explore from beyond the station. The very top portion of the Cathedral spire can be seen from the exit, and the Pavilion maximises this experience. Those who arrive to the city will now see the Cathedral whilst waiting for the bus, and in this a boost to local tourism and business.

The Pavilion design itself is to contrast the victorian station, and its geometry and location actualise it as a diamond in the rough. The double helical ramps provide a journey, a gradual ascent into the exploration of the city views in all directions, with a climax - the pavilion points towards the Cathedral and the city centre, before the gradual descent that leads to an exploration.

I led the pavilion design form-finding, modeling, and visualisations under guidance of the lead architect.

The project is currently transitioning into RIBA Stage 2 after the council awarded and accepted the proposal.

25 Salisbury Fisherton Street Masterplan | ATKINS An RIBA Stage 0 framework - the central area of Salisbury including the main high street is struggling with progressive degredation and business closure.

The framework is to revitalise this centre by producing a series of public areas in accordance with the city council masterplan and vision.

The visuals were put together for the project, not as final designs or proposals, but to show an essence of how the spaces could feel, and how the locals would interact with the spaces - to enjoy the city.

Castle Park Energy Centre Bristol | ATKINS An RIBA Stage 3 project, the Energy Centre is the first phase of a larger Castle Park regeneration project. The building would have to be designed to accommodate a residential project above, with some small additions and subtractions taking place in the medium future.

The site has many difficulties including size and shape, access and maintenance, security issues, heritage aspects, water bank and geological instabilities, and future proofing.

I was involved in discussions with the council and engineers to form a structural solution to the bank, I worked through the plans and worked with manufacturers to precisely design key features of the building including the copper screen.

26 Bournemouth University Medical Building | ATKINS An RIBA stage 5 project, I worked on many details to solve problems that arose throughout the construction process including; -

Floor to Glazing Floor to Internal Wall Floor finishing Wall to Ceiling Ceiling build-up and finishing Ductwork redesign and ceiling heights Handrail Design Roof Drainage

The Haven Gibraltar |

Building RAMBOLL

An RIBA Stage 4 building, work experience in a Mechanical and Electrical Engineering position furthered my understanding of power supply, lighting, heating, ventilation, and cooling.

Modeling and testing various lighting designs ensured that spaces were lit to meet standards, to avoid harshness, and also to be beautiful.

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PITCH POP-UP BAR AND CAFE Stratford London Hot Soup

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UK House

The project is a 2-year pop-up café in Stratford, London, on which I joined half way into the two month build time.

I learnt many skills of the trades including carpentry, masonry, scaffolding, roofing, flooring, painting & decorating, and site management. It was beneficial to see how architectural drawings translate into physical structures, and I led small parts of the project build to completion, primarily the colour scheme and painting.

thank you