Layering - Design Exploration Module (Year 3)

LAYERING

LAYERING Humaira Ramzan

Birmingham City University BA (Hons) Architecture | Year 3

LAYERING ...the idea or action of positioning something in layers...

INTRODUCTION

CONTENTS

Manifesto The Brief Quick Note Alcester Road BRUM BLDG BLKS

1 -2 3-4 5-6 7 -8 9 - 16

GEOGRAPHICAL CONSTRUCT Chosen Junkspace Orthographics Site Collage DECONSTRUCT Urban Element My Urban Element Graffiti Styles RECONSTRUCT Colour Precedents Studying Colour Paint on Paint

INFORMACTION

21 - 22 23 - 24 25 - 26 29 - 30 31 - 32 33 - 34 37 - 38 39 - 40 41 - 42

Palimpsest Theory Precedent MAPPING Time to Paint Dry Break Down Paint The Concept Word FIELD DIAGRAM Jewish Museum Precedent Field Diagram Maps Graffiti Precedent Graffiti on Site Breaking it Down Field Diagram Maps Zoomed in Diagrams Chosen Diagram

45 - 46 49 - 50 51 - 52 53 - 54 57 - 58 59 - 64 65 - 66 67 - 68 69 - 70 71 - 72 73 - 76 78

MORPHOLOGIC FORM FINDING Folding Architecture Frank Gehry Precedent Quick Note Form Finding Attempt 1 Sketches of Form 1 Conceptual Elevations

83 - 84 85 - 86 88 89 - 92 93 - 94 95 - 96

Location Plan Site Plan Conceptual Floor Plan Visual Quick Note Birds Nest Precedent City of Dreams Precedent Different Media Precedents 3XN Architects Form Finding Attempt 2 Precedent Reflection Conceptual Elevations Location Plan Site Plan Conceptual Floor Plan Visual

97 98 99 - 100 101 - 102 103 - 104 105 - 106 107 - 108 109 - 110 111 - 112 113 - 116 117 - 118 119 - 120 121 122 123 - 124 125 - 128

MASTER PLAN Master Plan

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References

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MANIFESTO

We architect and designers use lines and grids as mechanisms when being around places, by keeping into consideration the rules which have been put into place. This is a process which architects and designers act upon, by understanding the different systems, so then we can create spaces for habitats, by following the natural order, that already exists. Architecture is like an act of palimpsest, as it’s always going to continue this unintentional process of creating history in places because as years go by, that process of layering that occurs over time, in places, leaves behind history.

Therefore, the buildings we may design today and cities we use, is a way of us gathering knowledge and information over a period of time, that could be acted upon for the future. Hence why it’s as important, that when we architect and designers create a building, we also remember to take into consideration its surrounding context. This is as important because a well design building is one that is able to evolve around its context and transform into something richer over a period of time.

scalar forms by making sure our individual projects thought about ways, we could integrate our habitats. We used factors like, geometry, structure, logic and geography to help us develop our design at many different scales.

Within this unit we took a look at how the world is seen as an ecosystem, which is broken into many 2

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THE BRIEF

This year’s design module, is one continues project, broken down into, two; design exploration (semester one) and design resolution (semester two). As part of the first semesters, design exploration the focus was on spending this time to really get a good understanding of our context, which we did by firstly breaking its elements down, by finding the different types of junkspaces through a form of mapping (more is mentioned on the context and junkspaces later on).

Once we have a good understanding of one specific site, that we wanted to investigate into, we then moved forward

by experimenting through the use of different media, collages, resources, precedents and books throughout this project, to help us come out with a conceptual form which would be then taken into design resolution module for the next semester.

to help us come up with an urban element that we wanted to map. Using precedents, we mapped in a conceptual and abstract way, which then helped us move forward into filed diagrams and form finding.

However, for us to achieve this we had a couple of anchors put into place to achieve this in our project, such as geographical, informaction and morphological.

These different anchors, had subcategories, that helped us dig deeper into every aspect of this investigation, we started of by constructing, deconstructing and reconstructing the site, 4

Quick Note...

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As shown in the next couple of pages, before diving into our individual parts of the project, we started of by taking part in group work, which was spread out evenly with the rest of the students within the XY Zoom Design Exploration module group, which I then used later on when moving forward with my individual work.

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ALCESTER ROAD 7

Before jumping into the group work, it only makes sense to start of with the given site; Alcester Road, as the group work revolves around that site. Alcester Road is located in between Balsall Heath and Moseley Road in Birmingham, UK and is a diverse area, rich in culture. It was developed in the late nineteenth century, but as the population started to develop extremely fast, so did the need for agriculture.

But as more people became aware of the town, it started to develop leading to developers getting interested and that’s when there was a growth in terrace houses being built, along side a swimming

pool, library and an arts college.

However, just as the town grew and people started to settle down, sadly the second world war occurred, which left the place damaged, people without food, clothes, water and nowhere to shelter.

The main priority was given to the other bigger places, such as the city center, which then meant that Balsall Heath was left with its destroyed houses for a very long period. Therefore, having nobody to take care of Balsall Heath, the area attracted prostitution, high rates of crime and was known for its incredibly high rates of unemployed

individuals.

Despite this, since then there has been a huge redevelopment, as local people decided to take this matter into their own hands and make the change which they needed.

Which then lead to so many people from various backgrounds wanting to live there and now it’s a diverse vibrant community.

Not only is it home to those people, but also many faith organisations and independent local players, for example a community development trust such as the St Paul’s and an old print works, which is a creative hub (WordPress, n.d.).

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Birmingham started off as a farmland; this is a picture of Balsall Heath in 1830.

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Population grew from 15,000 to 70,000 within two centuries, meaning people needed places to stay, so developers started creating new networks

As the Calthorpe Park opened, more spiritual buildings started to get built on Moseley Road, like this St. Paul’s Church

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Public transport started its way through Moseley, that’s when horse busses came in.

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As Balsall Heath became a part of Birmingham, it was then promised a library and swimming pool, the library opened in 1896.

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Trains and stream trams started taking place also on the Moseley Road.

1907

This was the time when the architecture in Moseley started to get built, like the swimming pools.

1907

The old stream trams that were built, would get parked in this tram depot building.

1907

The old stream trams then later developed into these new electrical trams on Moseley Road.

This was a turning point for Balsall Heath due to the things that occurred, like the WW2, crimes and vandalisations, so a Muslim Organisation purchased the Moseley School of Art.

1939

Due to the Second World War occurring many buildings and spaces got destroyed, including this Mary St School. After this he reconstruction of these spaces was sort of on a hold as the main focus was on the city center.

Figure 1: Timeline throughout Balsall Heath and Moseley Road (WordPress, n.d.).

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BRUM BLDG BLKS 9

The Birmingham Building Blocks task was broken down into three categories; urban context, structure and network.

The urban context focused on the surrounding spaces, where a possible project could take place. The factors that were looked at were the community, connections, places and naturals resources.

Whereas the urban structure was more on how the streets, landscape, open spaces and buildings, organised its patterns.

The focus here was on movement, energy and resources, landscape, density, facilities and form,

blocks, parcels and plots, landmarks, vistas and focal points and uses.

The final category; urban networks, looked at the systems in place through movement, which included walking, cycling, utilities infrastructure, public transport, parking and servicing, street and traffic.

As part of this assignment we were allocated a category, in small groups, we were given the urban context category, but only focusing on environment, people and landscape. In my group of six we broke the subcategories into pairs. As shown on the next page me and my partner

investigated landscape, which focused on open spaces, public access and topography.

UNMANAGED UNMANAGED HARDSCAPE HARDSCAPE

RECREATIONAL RECREATIONAL AND AND PLAYGROUNDS PLAYGROUNDS

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PUBLIC PUBLIC ACCESS ACCESS

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PAVEMENT PAVEMENT

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PARKS, PUBLIC PARKS, PUBLIC GARDENS, GREEN GARDEN GREEN SPACES SPACES

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PUBLIC ACCES

RECREATIONAL AND PLAYGROUND

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OPEN SPACE BRUM BLDG PARKS, PUBLIC GAB BRUM BLDG BLKS [ LANDSCAPE GREEN SPACES

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PAVEMENT PUBLIC ACCESS PUBLIC ACCESS

PAVEMENT PAVEMENT

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ACCESS POINTS

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TOPOGRAPHY TOPOGRAPHY TOPOGRAPHY

SCALE SCALE = = 1:5000 1:5000

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Figure 2: BRUM BLDG = BLKS SCALE 1:5000 Landscape Map (Group Work, 2020).

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TOAD 11

Junkspaces, are spaces which are wasted urban areas, that are not in use for the right reasons and this may be because of it not being taken care of, which could lead to vandalisation and crimes.

Those spaces which we consider as junkspaces, are those that aren’t being used any more, or for its correct purpose, but this does not mean they no longer have potential because they may just also be spaces that are lying dormant and could and should be reused for the correct reasons.

Which then leads me onto my next point, where we were given a group assignment, where we had to map all the junkspaces

within Alcester Road, by using the acronym TOAD; temporary, obsolete, abandoned and derelict.

Using this acronym, we split up into four big groups within our XY Zoom unit and using a map, we all created a key and colour coded temporary, obsolete, abandoned and derelict junkspaces on the site.

As shown on the next couple of pages, all the spaces we considered as junkspaces, weren’t just buildings, but could be any spaces we considered to be junkspaces such as, shopping centres, warehouses, car parks, closed industrial sites and vacant sites.

This assignment was put into place, to get an understanding of all the different types of junkspaces which surround Alcester Road, which we then later had to select one of the maps; temporary, obsolete, abandoned or derelict, to then help us specify one specific junkspace for our individual projects, for later on in the semester. The space we selected didn’t have to be justified, but this would be the site we continue with throughout the year.

The next couple of pages show, TOAD junkspaces we highlighted, but I was in a group which focused on the abandoned junkspaces.

The next couple of pages show the four maps we did as a unit, representing TOAD junkspaces in our small groups, but as shown on this page, I just took out the abandoned map, as this is the one that I felt like seemed more interesting, with many different sites, in comparison to the others.

(More will be explained on the actual abandoned map on page 15).

Key: Abandoned Buildings Abandoned Spaces Figure 3: Abandoned Map (Group Work, 2020).

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TEMPORARY

Temporary junkspaces are those spaces or buildings which do get used but not all the time. People tend to have these spaces for a short period of time, as they are semi-permanent.

Key: Green Space Car Parks Playgrounds Open Spaces 13

Figure 4: Temporary Map (Group Work, 2020).

OBSOLETE

Obsolete junkspaces are buildings or spaces which are similar to derelict spaces, which are historical or old ruins, but in this case are in some use.

Key: Obsolete Spaces Figure 5: Obsolete Map (Group Work, 2020).

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ABANDONED

Abandoned junkspaces are those buildings or spaces which are not being used by others and therefore are left alone. Due to this reason of being abandoned it could lead to crimes and vandalisation such as graffiti. This was the map me and my group worked on, we decided to split up the abandoned buildings and spaces, but realised there weren’t many.

Key: Abandoned Buildings Abandoned Spaces 15

Figure 6: Abandoned Map (Group Work, 2020).

DERELICT

Derelict junkspaces are buildings or spaces which are known to be historical or old ruins, which are left alone and in no longer of use by others.

Key: Derelict Spaces Figure 7: Derelict Map (Group Work, 2020).

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[GEO]GRAPHICAL Conditional Context | Mapping

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CONSTRUCT 20

CHOSEN JUNKSPACE 21

For my individual project, I am focusing on the abandoned 583 Malcolm House building, situated on Moseley/Cromer Road, Birmingham B12 9BL. Research on the architect is not available, but the 53,162sq building was constructed in the 1960s and it was used as a office building, but then years later was taken over by The Birmingham Optical Group, which then left in 2018 and since then it has been left abandoned and taken over by graffiti (Robinson, 2019).

Figure 8: Pictures of Malcolm House (By Author, 2020).

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OTHOGRAPHICS

These are all the existing orthographics of the Malcolm House building.

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Underground Floor Plan

Site Plan

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East (Front) Elevation

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Ground Floor Plan

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Second Floor Plan

First Floor Plan

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Roof Plan

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SITE COLLAGE 25

As shown on the next page is a site collage, which I did both digitally and by hand, using pencil for the sketches of the Malcolm House and the building opposite it and the rest using photoshop. This collage was designed to represent how the front area is dark and dangerous, due to the crime and vandalisation in the area, whereas the top of Alcester Road where the shops are, it’s lively.

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DECONSTRUCT 28

URBAN ELEMENT 29

After having picked my Malcom House site, the next task was to select one urban element I wanted to investigate through the mapping task. As shown on the next page, I started of by creating this collage of the urban elements I found on site, this helped me to see what I elements I could pick from.

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MY URBAN ELEMENT 31

Graffiti has been chosen as my urban element. Graffiti is a type of a visual art done on walls on public surfaces, using spray paint and it is known to be illegal.

Most countries in the world even have laws put into place, as they see graffiti as an act of vandalisation.

The graffiti is normally done by either a group of members or an individual, but could be both artists and gang members, but majority of the time its gang members.

Graffiti comes in many forms, if a gang member does graffiti, its normally to mark their territory and warn other gang members and they also do it to

warn law force that they are breaking boundaries and taking ownership of that space now. Whereas artists tend to do it, to bring beauty and colour back into a community, to help it heal and become one again.

Looking further into gang graffiti, it’s a form of visual coded language, those graffiti marks which have symbols and loads of colours aren’t by gangs.

But the ones with angular letters and are painted in one colour are done by gang members.

Having gathered this research, I then gathered all the graffiti found on Malcolm House and

made a hand collage and discovered the graffiti on that site was done by gangs.

This is extremely dangerous because not only does it bring violence to that place, it also scares neighbours, brings fear and more danger into that area, making inhabitants a target and a threat (Bertheaud, 2011).

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GRAFFITI STYLES 33

Diving further into graffiti, after having made my collage by hand, on the previous page, I noticed there was different types of graffiti styles. So, as shown on the next page I researched into them and it was interesting to see how each one has its own meaning and purpose.

Tagging

This is considered the easiest and simplest style of graffiti; it includes one colour and the artists name or identifier.

Heaven

Done in places which are extremely difficult to get to. An artist who manages to put one up gains a lot of respect.

Throw Up

More complicated form of tag it usually has two or more colours, and bubble style lettering.

Stencil

A stencil is an easy graffiti.

Done normally by spraying over stencil.

Blockbuster

Wild Style

It’s a massive throw up, usually in block letters. Blockbusters are used to cover a large area in a small amount of time.

More of a difficult version of a throw up and is particularly hard to read, consists of arrows , curves and spikes.

Piece

Sticker

A picture that has been painted Stickers are normally done at home in private and then can be free hand. Contains at least easily put on walls. three colours.

Figure 9: Graffiti Styles (n.a, n.d.).

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RECONSTRUCT 36

COLOUR PRECEDENTS 37

As my urban element is graffiti, the next task was to move into the mapping stage and find something within graffiti that I wanted to investigate through this process of mapping. In order to find a notation, which is when you map something that isn’t normally obvious and goes before architectural drawings, I began to research and came across Anderson and Ronald (2014) book of colour studies. Before

mapping a notation, it was important to get some background knowledge on colour as this is the approach I wanted to move forward with because that’s the one thing that stood out to me, after picking graffiti.

From reading the book I gathered that colour is an element which helps us make sense of what we see. Colour defines our world and our emotions, it is usually seen before imagery because our eyes are attracted to colour to such an extent that the colour of an object is perceived before the details. For example, when we see graffiti, we don’t see all the detailing and shapes but instead we see all the different colours first.

Colour can be described objectively or by its physical factors, but things such as perception, what surrounds it also affects how we see it. Alongside our own experiences

which affect the way we see or read colour as it varies from individual to individual. This doesn’t mean the colour will be different, it means that the perception would be different.

Figure 10: (Anderson and Ronald, 2014).

As colour has different meanings and messages behind it, the Leastrice (2006)

the next couple of pages.

book of colour: meaning and meaning really

dives into about how each colour we see and use, we associate it with our experiences from the past, but not everyone’s experiences are the same. For example, one might associate black with death another might use it to describe bravery and boldness.

Figure 11: (Leastrice, 2006).

Having learnt this, was very fascinating because moving forward I then started linking gang related graffiti on the Malcolm House building, to this colour theory research I studied, more will be mentioned on 38

STUDYING COLOUR 39

Moving forward, I decided to use the knowledge I gained from the previous two books on colour theory and apply the meaning and messages from individuals colours onto the graffiti I found on the Malcolm House building. On the right is a colour chart, which shows majority of the colours we see daily. On the next page I took out the main colours from this chart and wrote down the name of the colours, with how most of us read them and then linked it back to the graffiti collage I made previously.

From doing this mapping task, it wasn’t successful because it was very

subjective and against what these gang members were trying to portray, so moving forward I will continue taking this idea of colour forward, but maybe from a different approach.

Peach – Nurturing, Warm, Soft Coral – Energising, Desire Tangerine – Vital, Juicy, Tangy Vibrant Orange – Fun, Hot, Loud Ginger – Spicy, Flavorful, Tangy Terra Cotta – Earthy, Warm Light Yellow – Cheering, Happy Bright Yellow – Hot, Joyful Golden Yellow – Buttery, Tasty Amber – Multi Cultural, Mellow Tan – Rugged, Outdoor, Woody Chocolate Coffee Brown – Rich Earth Blue – Earthy, Grounded Light Blue – Calm, Quiet, Water Sky Blue – Calming, Cool, Open Bright Blue – Electic, Impressive Periwinkle – Lively, Sprightly Deep Blue – Strong, Distant Light Green – Calm, Soothing Bright Green – Fresh, Grass Emerald – Luxurious, Upscale Foliage Green – Natural, Life Dark Green – Nature, Forest Chartreuse – Artsy, Trendy, Mold Lime – Fresh, Youthful, Tarte Olive Green – Camouflage, Drab Aqua – Water, Young, Dreamy Teal – Cool, Tasteful, Confident Red Purple – Sensual, Thrilling Deep Purple – Royal, Rich, Aloof Deep Black – Deep, Bold, Death

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PAINT ON PAINT 41

Having picked graffiti as my urban element, I wanted to move forward by investigating into paint, as my previous research on colour was subjective and difficult to take further. So I started off by doing my own primary research, by experimenting what will happen to the old paint, when new paint is added to it. To make this a fair test, what I did was every five minutes I added a new coat of paint on top of the old paint. (See next page for the results on this experiment)

When doing this experiment what I discovered was that as I was waiting for the five minutes to be up, I started to see the paint drying and taking its original colour of the tin. However, as soon as I started adding in the new colour, on top of the old paint it started to blend and create new shades of the original paint I had laid down on the paper.

However, besides being able to see these new shades appear, I couldn’t get much out of this experiment, as it didn’t give me a conceptual word that I could take further or even create abstract piece from it. So, I continued experimenting further.

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INFORM[ACTION] Operative Context | Field Diagram

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PALIMPSEST THEORY 45

Before continuing further with the mapping, I continued doing research, to find inspiration from books and architectural precedents and that’s when I came across the term ‘Palimpsest’. The term was found back in the 1500s, when people couldn’t afford to purchase canvases because paint equipment, back then was expensive. So, this concept of palimpsest is when one re uses an old canvas, that already has work on it, but uses it to do new work layered on top, but they could still see the old work coming through.

moving forward, I used the palimpsest theory to help me develop my mapping because I started to think of ways, I could still use this idea of paint, but from a palimpsest perspective.

It was very thought provoking as it got me thinking about how this idea of palimpsest, from an architectural point of view, is like this continues time lapse because as we continue to rebuild, especially when we are using existing buildings or landscape. We unintentionally are leaving traces of history behind, which sometimes comes Having found this term, was through and are visible, just like the palimpsest theory. very interesting because

The next page shows some examples of where palimpsest has been either shown, discovered or used.

(Lee, 2016).

This example shows someone has been using the same paper to continue writing their script and parts of the old script has been erased, with some still visble.

The second example is more of a conceptual approach to palimpsest, as this individual who did this work originally had text underneath it and has now covered it with conceptual art.

The final one shows traces of work which must have been done over, from words, sketches of people and buildings. All three of these show a process of time and history.

Figure 12: (Castalian Waters, 2018).

Figure 13: (N.A, 2011).

Figure 14: (Basel, 2016).

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MAPPING 48

TIMING PAINT DRY 49

When doing the first experiment it didn’t really give me, or lead me to a conceptual word, so after having read through the palimpsest theory and discovering that, it helped me move forward and investigate another approach of mapping.

From doing that further research, it was interesting how back in the 1500s they would work on top of old work.

So, taking this research forward I thought I could take that same approach with the spray paint, but this time I waited for the first coat of paint to dry before adding on the

second coat.

What I discovered from doing this was that each time It dried as I added a new paint of coat, it took longer to dry and then linking this back to the theory it was interesting to see this development as it reminded me of our society and how when new things are added to a system, they don’t react well as the process of it sticking takes longer.

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BREAK DOWN TIME 51

From doing this experiment of watching paint dry, I then went ahead and took each time from each paint coat and split the minutes and seconds, which helped me divide up the time, which I was then left with these lines, as shown on the next page.

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THE CONCEPT WORD 53

I took the lines and removed them from the circles, which I then filled in with colour and from doing this mapping it took me back to the idea of the palimpsest theory because when I started to overlap these paint coats, by taking into consideration the process of the paint drying, I was still able to see the old layers through the new ones. So, from doing this mapping I was able to take forward this conceptual word ‘Layering’, this idea of adding on new information, which is a process which occurs over time.

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FIELD DIAGRAM 56

JEWISH MUSEUM

Moving forward, as I found my concept word ‘Layering’, the next assignment was to use that word alongside my urban element and start to map it through field diagramming. However, before moving into this stage, I selected template two; the light and building porosity template, out of the three options we had.

The template was put into place to help me move forward and think of other words that I can associate alongside layering.

The Jewish Museum, located in Berlin and designed by Studio Libeskind Architect in 1999, was the precedent I researched into because

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the interior of the building helped me think about layering, which I can take further later. The next page shows what I got out of this precedent (ArchDaily, 2008).

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FIELD DIAGRAM MAP 1 59

From taking my concept word; ‘Layering’, I re visited my site; Alcester Road and used my urban element, to zoom out, to map all the graffiti which I found on the site using google maps and also the information I collected whilst visiting the site. When connecting the lines for all these maps, I did it clockwise as I took that inspiration from when I was doing mapping and how this idea of graffiti is done on top of each other, throughout time. Also moving forward I didn’t want the Malcolm House to limit my design, so the red line represents the entire boundary I am using.

FIELD DIAGRAM MAP 2

Then what I did was, I kept the same map as the previous one I showed and removed all the graffiti on the map, which wasn’t directly sitting on my site.

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FIELD DIAGRAM MAP 3 61

After finding all the graffiti on the wider context, I noticed that I discovered that the site had different styles of graffiti, so using the information I mentioned in my previous page on graffiti styles, I then went ahead and split up the graffiti styles onto separate maps, starting off with tagging.

FIELD DIAGRAM MAP 4

This field diagram map is showing the throw up graffiti style on its own.

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FIELD DIAGRAM MAP 5 63

This field diagram map is showing the blockbuster up graffiti style on its own.

1FIELD DIAGRAM MAP 6

Then after separating all the different styles of graffiti, which I found on site, I then went ahead and combined them all, from doing this I was able to see the different layers of graffiti layered on top of each other. However, I noticed there was way too many lines and I wanted to narrow it down more before moving into my form finding.

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GRAFFITI PRECEDENT 65

From doing research into precedents for inspiration to help me move forward with the filed diagram, I came across this precedent, located in Nijmegen in the Netherlands. Where PaulDeGraaf, peeled away a chunk of graffiti from a wall that has been graffitied for the past 30 years. It was really interesting to see as it linked back to palimpsest, as this idea of, layering things, but in this case when you read the timeline on the next page, it shows how this graffiti reveled events that happened at that time, where it all began, something I was intrigued by (Andrius, n.d.).

Present day (2017) 2012 Rover successfully lands on Mars 2009 The Death of Michael Jackson / imgur 2006 Birth of Dick Butt 2005 Youtube is launched 2004 When Facebook was launched 2003 Space Shuttle Columbia disaster 2002 The dwarf planet Quaoar is discovered

Sep 11, 2001 -9/11 2000 Mapping the Human Genome 1999 The Euro the New European Currency 1998 Viagra on the Market

1995 OJ Simpson found innocent 1994 Nelson Mandela Elected President of South Africa 1992 Official End of the Cold War 1990 Gulf War starts / The World Wide Web launches 1989 The Simpsons Episode: The Simpsons first episode 1988 Shroud of turin 1987 Black Monday 1985 The Macintosh 128k, launched as Apple Macintosh 1984

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GRAFFITI ON SITE

Using the previous precedent, by using google maps and looking at the Malcolm House building, I traced back all the graffiti on the site, to investigate when did it began and what events were occurring at that time. But as shown on the timeline, Malcolm House never really had graffiti on the building, but only when it got shut down.

The next page shows a ruff elevation with all the current graffiti on site.

1960 Date it got constructed Jun 2008 Jul 2008 May 2011 Aug 2011 Apr 2012 Sep 2012 Found graffiti on wall Jun 2014 May 2015 Apr 2016 Jul 2016 Oct 2016 Mar 2017 Apr 2017 Aug 2018 Birmingham Optical Group left Mar 2019

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Oct 2020 Present Day

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BREAKING IT DOWN 69

Using the timeline, I made on the previous page of all the graffiti on the Malcolm House building, I noticed there was a pattern both in this investigation and from my previous research on graffiti. That it always begins with the simplest style which is tagging. So, from using the palimpsest theory, I made this model on the next page, showing how a chunk of graffiti looked at from a porosity perspective (template two).

In other words, if you look at it from the top you can see all the different layers of graffiti over time and at the same time, if you take a look at it from the side it show the order of the graffiti.

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FIELD DIAGRAM MAP 7 71

After doing the further research I took the original map with tagging, as this was the first type of graffiti style which is normally done on site by gang members. I was only interested in this type because this is where it all began, which links back to the palimpsest theory of this idea of tracing back time.

FIELD DIAGRAM MAP 8

Then to narrow it down I decided to only keep the lines which represented the black simple tagging style and then took this forward and zoomed into my site; Malcolm House.

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ZOOMED IN DIAGRAM 1 73

Field diagram only showing black tagging style

Stretching the short lines, so they all go over my site boundary

Colour coding the lines, into the direction they are going

Direction one blue

Direction two purple

Direction three red

Started to mix up the direction of the lines example one

Started to mix up the direction of the lines example two

Started to mix up the direction of the lines example four

Started to mix up the direction of the lines example five

Started to mix up the direction of the lines example six

Started to mix up the direction of the lines example seven

Started to mix up the direction of the lines example eight

Started to mix up the direction of the lines example nine

Decided to stop as it would have taken me back to this stage.

ZOOMED IN DIAGRAM 2

Started to mix up the direction of the lines example three

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ZOOMED IN DIAGRAM 3 75

I selected example eight to then rotate the direction of them 30 degrees each time

Rotated to 60 degrees

Rotated to 90 degrees

Rotated to 120 degrees

Rotated to 150 degrees

Rotated to 180 degrees

Rotated to 210 degrees

Rotated to 240 degrees

Rotated to 300 degrees

Rotated to 330 degrees

Rotated to 360 degrees

I then selected the second stretched map with the black tags and layered the rotated 90 degrees lines

I then selected the second stretched map with the black tags and layered the rotated 180 degrees lines

I then selected the second stretched map with the black tags and layered the rotated 270 degrees lines

I then selected the second stretched map with the black tags and layered the rotated 360 degrees lines

ZOOMED IN DIAGRAM 4

Rotated to 270 degrees

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CHOSEN DIAGRAM 77

Once I have zoomed into the my site, I decided to pick the tags which were only black, which I then created a rule where I found three directions, which I colour coded and kept rotating clockwise, until I got back to the start.

After doing this I started layering the old information with the new, which helped me create my own rules, which I then selected one from. I decided to go with the first combination of which included the black tagged stretched site map, which had the layered 90 degrees new information layered on top.

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MORPHO[LOGIC] Operative Context | Form Finding

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FORM FINDING 82

FOLDING ARCHITECTURE 83

I looked into Vyzoviti (2004) for inspiration before jumping into my form finding task.

From looking through this book it was so interesting to see how, just by using words that are similar to my concept word, or words which can help me start thinking about model making, was very helpful.

This was a visual book, which used words while showing the process of making it through model making by hand. So, as my concept word is layering, I took some pictures of other words that I could associate with layering.

From this first model, I really liked how they interlocked parts together because then that creates new forms of layers under it and beside it.

From the words they used here, it shows that from this perspective you can see the layer in the back, but also in the front.

By scoring, creasing and then folding the paper, led them to creating new layers in between. Depending on the Angle that you stand out you can see layering and overlapping from different sides.

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FRANK GEHRY

Walt Disney Concert Hall designed by architect; Frank Gehry and was constructed in October 2003 in Los Angeles. It is known to be an outstanding building for its acoustics and very abstract like architecture. The building’s façade material is made from a metallic material, one of Franks most icon styles. The interior follows an angular structure to symbolise the music movement throughout the building.

However, I included this because I thought the idea of it being a free form building was very stimulating because as shown on the next page the

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form started to create its own layers (Jones, 2008).

The reason why I chose the above image is because, the roof got me thinking about ways I could create layering within the model making task.

This image showing the white interior roof, which is very free form, was quite appealing to me because as you can tell the form starts to overlap creating layers in front and behind.

Even the use of very unique interior pieces, brings words like overlapping, in front, behind and fold to mind, which I can take further when doing the form finding task.

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Quick Note...

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As you read through my book, I thought it was important to mention that the first form finding you read about isn’t my final one, as I continue to investigate further, later on in the book.

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FORM FINDING TRY 1 89

Using my chosen field diagram, the words that I associated with layering, the Folding Architecture Spatial Structural and Organizational Diagram book and the precedents I mentioned before, I used them to then move forward with the next task; conceptual form finding.

Cut, Fold, Lift

The base for the model to sit on

Here i was following the rule of cut, fold and then lift

Started thinking about the interior

Thinking about shadows and light and how that can affect the form

Folding upwards to create a sense of enterance Here is a side perspective Moving forward from these words and starting to introduce overlapping

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Cut, Fold, Lift, Overlap, Split, Interlock

Overlapping

Adding to words that i collected from template two

Front side of the previous image on the left

Combined parts togther and then split them

Then I interlocked the split forms togther

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Side perspective

More of a closed and controlled space

Cut, Fold, Lift, Overlap, Split, Interlock, Merge

Front side of the previous form

Final idea for my first attempt at form finding

Do the walls have to be solid?

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SKETCHES OF FORM 1

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CONCEPTUAL ELEVATION

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Conceptual North Elevation The north elevation is on one of the sides, which has Cromer Road on it. Sow either way people pass they will get a glimpse of the form.

Conceptual East Elevation This would be the front elevation for the entrance, to enter this form.

Conceptual South Elevation The south elevation is the side which has Edgbaston Road on it, but because there is a building right next to it, people wouldn’t see this side, but maybe if I thought about pedestrian routes, this could possibly change.

Conceptual West Elevation West elevation is the back side of the form, so if people were working down Cromer Road, then they would be able to see it from the side.

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LOCATION PLAN

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CONCEPTUAL FLOOR PLAN

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Even though this module focuses on design exploration and the next semester will be moving on to more architectural drawings. I thought it would be a good idea to use my sketch model to create a conceptual floor plan. This is just to sort of start thinking about where I would like to place the main requirements of the accommodations, (the next page shows the conceptual floor plan attempt on).

As shown on the conceptual floor plan, I kept the entrance of the building facing the main road because this way, they will have to walk, drive, cycle or bus past the building, which

increases the likelihood of them seeing it and using it.

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Quick Note...

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From doing the first form finding attempt I didn’t feel like I was fully satisfied because this whole concept of layering didn’t fully come through. In other words, once I was done with the first attempt, I started questioning myself. What if the walls weren’t solid? Could I have used different materials instead? What If I looked into more architectural precedents, but from a different perspective? Considering these questions, I then continued to explore further with form finding attempt two. Before I go into this, I decided to go back and re visit the templates and see if another temples suits where I’m trying to go with this form.

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BIRD’S NEST

Birds Nest located in Beijing and designed by Herzog. It was constructed for when the Olympics occurred, but one principle they hoped that would still continue today, no matter how old this place gets, is for the building to continue to attract and bring people together. The building’s façade appears to be like a grid like structure, which on the inside holds many places like restaurants, shops and stadium to bring people together and be at the heart of Beijing.

To develop the form finding task, I revisited the templates and took a look at layering from a different perspective, this precedent

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was interesting to see how instead of using solid walls, they took a different approach, which got me thinking about other ways I could interpret layering (ArchDaily, 2008).

Above is an image of the interior, I think its very smart of them to have this structure as it acts like a huge solid void.

In comparison to the people, its like this over hanging structure.

This next image is showing the exterior steel façade, the nest idea is so moving as it makes me think, maybe I could use string or thread to create layering effects for my form.

The above image is similar to the first one, but I thought I should include it because it doesn’t matter which angle you stand at the nest is designed to show different perspectives.

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“CITY OF DREAMS” 107

The “City of Dreams” Hotel Tower, designed by Zaha Hadid Architects for Melco Macau, hasn’t been constructed at the moment, but is something they are considering. It is a called the city of dreams because, it is a place where people could get together for leisure and entertainment purposes. The exterior façade of the building is like an exposed skeleton, with a mesh like structure, which they made from using the main rectangular shapes.

Due to the exterior, which impacts the interior as it creates these folded like triangular structure, which is the life of this building.

Next page shows how I can use this for my form

(ArchDaily, 2008).

I chosen this above image of the exterior, which is more zoomed in, as this could be another inspiration of how I could move forward with layering.

Then this next image is showing the inside of the building, where it has been folded, but still shows a way of layering depending on where you would stand.

Final image shows the center of the building and I was thinking maybe I could include a mixture of materials to show layering, so a combination of the new precedents with old.

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DIFFERENT MEDIA 109

Once I collected a couple of architectural precedents, I then started to search for different ways I could express my concept word layering, for when I’m finding my form, using different types of media.

This time round I have looked into these precedents, to give me inspiration and think of ways I could do layering throughout my form and not just as an exterior thing.

This page and the following one, shows images of precedents, I didn’t look to deep into its background because I was more interested, in the image

itself, the materials they used, how they did it and what I want to take further from it (N.A, 2012).

The above model is made

by Fabre de Lagrange in Paris in 1872, something I could take away from thus model is the use of thread to create layered walls, instead of solid ones.

Nike Savvas created the next string art model design, another way I could use my concept word layering to achieve my form.

The above designer is unknown, but it was interesting to see how the model is created with such minimal amount of material, but such a well designed model.

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3XN ARCHITECTS 111

The Waving Mixed Used Building, by 3XN Architects will be located in Toronto.

They created this design as they were inspired by the waves of the lake which will sit opposite it.

The building is made from metal balconies, with the views going out to the lake. I thought this could be another building, that I could use to help me with the form finding as I liked how they interpreted my word layering as they have this piling on top of each other effects. Also its been made in a way that depending on where you stand other words that I would associate with layering can be seen, like front and back (ArchDaily,

2008).

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FORM FINDING TRY 2

For my form finding attempt two, I used the architectural precedents, that I mentioned in the previous pages. These precedents weren’t put into place for me to copy, it was more to help me think of other ways to move forward with finding my form. As you read through my new form, you will notice I stuck with the old form because I realised I quite liked the shape I came out with the first time, as it was very conceptual and abstract. The part I wanted to improve, was by finding other ways to adapt the layering concept.

As, shown on the next couple of pages I did this by

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removing parts of the solid walls and replacing them with string or cutting parts of it half out. Therefore, depending on where you look at it from, you can see this continuous layering threw string and card. Its like this idea of the solid grey walls, which then contrast with the void, which are the lines, that cross from different paths, creating more layers.

It was interesting to see how layering could be interpreted, in so many ways, for my form I did this my folding parts, adding string, cutting parts out, interlocking and overlapping. So, when it came to taking pictures of

my model, depending on my angle, I can see continuous layering through these different stages.

This is where I stopped for my first attempt at form finding.

Then started to look at ways I could include new ways of layering, using new precedents.

Started to cutout the insides of solid walls.

Which I then changed to string, another form of layering.

Front view of the new change.

Here is a side perspective This is a side view of the change.

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Continuing on I repeated this step of adding string to solid walls

Top view of the form developing

To use the precedents i started to also cut out and glue back parts to create new layers.

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Started to add this process of layering in different places.

Thinking about how the inside will get effected.

Developing stages

Started to like this new development.

Solid walls started to mix with the Void; string.

Layering on the top view of the roof.

Different views, created new layers.

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PRECEDENT REFLECTION

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I’ve decided to include this precedent reflection page, to conclude how I have included the new precedents by the end of my final form, this has been mentioned throughout my form finding progress, which could be found on the couple of pages before this one.

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CONCEPTUAL ELEVATION

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Conceptual North Elevation

Conceptual East Elevation

Conceptual South Elevation

Conceptual West Elevation

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CONCEPTUAL FLOOR PLAN

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As part of my conceptual floor plan, I used my site plan sketch, which I developed to start thinking about the wider context and as to why I might want to put the different requirements, where I have.

As shown on this sketch I have put the entrance at the front because this way, pedestrians walking past and vehicles driving by will have to see it and might want to engage with what might be happening on the inside.

Whereas the back, where the smaller roads are, its quiet, so it would be a perfect space for residents to live, without getting distracted.

However, this might not end up being the final form, I’ve included this plan to show my thought process.

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VISUALS 125

The next few pages show both interior and exterior visuals of my conceptual form, to help understand it visually, to get a feeling of the scale space.

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MASTER PLAN 130

MASTER PLAN 2030

Graffiti is a way of communication, through an act of creating art on walls and surfaces on buildings.

In most countries graffiti is prohibited, because it’s against the law, as it’s an act of vandalisation, done by gang members. Due to such an extreme, illegal act, it is very dangerous because not only does it bring violence to that place, it also scares neighbours, brings fear and more danger into that area, making inhabitants a target and a threat. But what if this could all change?

My master plan vision for 2030, is taking, my urban element and using it in a positive way, to enhance

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Alcester Road for the better. As shown both in my sketch and final master plan, the broken roads which are being pushed back into place, is a metaphor for showing people, bringing back together the divided and broken society. But not only this. The society will be able to express the good in their life, by creating colourful and meaningful art throughout this area, by using spray paint, which once was illegal. Just by coming out and having a good time, expressing things they are grateful for and what they have achieved, is a way of them getting closer.

This will be a great way to change the dull, dark, isolated site that seems divided, back into one, giving people reasons to leave their homes again without fear, to socialise and express the good times with one another, through visual art. Also, as the community create this art, it will always stay there and as they start to layer upon each other’s work, they are already creating layers of history on these surfaces, which the site will be remembered by.

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WEST BANK BARRIER 133

This idea of using graffiti to express one’s happiness came from the precedent, The West Bank Barrier in Bethlehem, when Banksy once graffitied on a wall dividing Israel and Palestine and since then people from all around the world come to express how they feel, which has brought the society together (Inspiringcity, 2019). (The following page shows how i gathered this precedent and my idea to create the final master plan for 2030).

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REFERENCES

Anderson, F. and Ronald, R. (2014) Color studies. 3rd edn. New York: Fairchild Books.

Andrius. (n.d.) Someone peeled off 30 years of graffiti, and here’s what they found underneath. Available at: https://www.boredpanda.com/30-years-graffiti-hall-of-fame-doornroosje-netherlands/?utm_ source=google&utm_medium=organic&utm_campaign=organic (Accessed: 28 December 2020).

ArchDaily. (2008) 3XN reveals waving mixed-use building located adjacent to sidewalk labs’ future smart city. Available at: https://www.archdaily.com/882691/3xn-reveals-waving-mixed-use-building-locatedadjacent-to-sidewalk-labs-future-smart-city (Accessed: 30 December 2020).

ArchDaily. (2008) AD classics: Jewish museum, berlin / studio libeskind. Available at: https://www. archdaily.com/91273/ad-classics-jewish-museum-berlin-daniel-libeskind (Accessed: 29 December 2020).

ArchDaily. (2008) City of dreams hotel tower / zaha hadid architects. Available at: https://www.archdaily. com/491074/zaha-hadid-designs-city-of-dreams-hotel-tower-in-macau (Accessed: 30 December 2020).

ArchDaily. (2008) Inside herzog and de meuron bird’s nest. Available at: https://www.archdaily.com/6059/ inside-herzog-de-meuron-beijing-birds-nest (Accessed: 30 December 2020).

Basel. (2016) Ciprian muresan palimpsest. Available at: https://www.artbasel.com/catalog/artwork/39180/ Ciprian-Muresan-Palimpsest (Accessed: 20 December 2020).

Bertheaud, H. (2011) Identify gang graffiti. Available at: https://ink-and-paint.wonderhowto.com/how-to/ identify-gang-graffiti-p1-0127625/ (Accessed: 1 January 2021).

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Castalian Waters. (2018). Absolute as jet. Available at: https://antonfloyd.wordpress.com/2018/10/21/ absolute-as-jet/ (Accessed: 28 December 2020).

Inspiringcity. (2019) The graffiti of the west bank barrier in Bethlehem. Available at: https://inspiringcity. com/2019/01/19/the-graffiti-of-the-west-bank-barrier-in-bethlehem/(Accessed: 4 January 2021).

Jones, R. (2008) AD classics: walt disney concert hall / frank gehry. Available at: https://www.archdaily. com/441358/ad-classics-walt-disney-concert-hall-frank-gehry (Accessed: 29 December 2020).

Leastrice, E. (2006) Color: messages and meanings. Gloucester, Mass.: Hand.

Lee, R. (2016) The future of the past: toronto urban palimpsest. Available at: https://issuu.com/ryanlee71/ docs/20160422_lee_ryan (Accessed: 27 December 2020).

Moseley Community Hub. (2018) Moseley community hub at the school of art. Available at: http://www. moseleycommunityhub.org.uk/about-us/history/(Accessed: 23 December 2020).

N.A (2011) Contemporary palimpsest II. Available at: http://artpropelled.blogspot.com/2011/08/ contemporary-palimpsest-ii.html (Accessed: 28 December 2020).

N.A. (2012) The helpful art teacher. Available at: http://thehelpfulartteacher.blogspot.com/2012/03/ elements-of-art-and-principles-of.html (Accessed: 30 December 2020).

N.A. (n.d.) styles of graffiti. Available at: https://graffitocanberra.wordpress.com/styles-of-graffiti/ (Accessed: 27 December 2020).

Robinson, J. (2019) Flats plans revealed for vacant office block. Available at: https://www.insidermedia. com/news/midlands/flats-plans-revealed-for-vacant-office-block (Accessed: 25 December 2020).

Vyzoviti, S. (2004) Folding architecture spatial, structural and organizational diagrams. Available at: (Accessed: 29 December 2020).

WordPress. (n.d.) History of Balsall Heath. Available at: http://balsallheathhistory.co.uk/index.php/historyof-balsall-heath/ (Accessed: 23 December 2020).

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