BA (Hons) Interior Architecture and Design University for the Creative Arts Canterbury School of Architecture 2013 - 14
All Go Margate The year 2013-14 has been intense for our BA (Hons) Interior Architecture and Design course at Canterbury. Looking beyond disciplinary boundaries, the course has evolved, expanding its aims and adopting an overarching research agenda that seeks to explore the crucial role of interior architecture and design in urban renewal. This year we focused on the regeneration of coastal towns with all course activities specifically concentrating on Margate in Kent, one of the English seaside resorts currently experiencing a revival after years of economic decline. The pleasure and the delights of a holiday in Margate were well captured in the documentary from the 1971 titled ‘All Go Margate’. This describes a vibrant town with ‘… nine miles of glorious golden sands, just waiting to be played on, laid on, dug up, built up …’. Margate’s potential was there to be explored. This catalogue documents the results of a wide range of projects developed across the three stages of the course, which meticulously examined Margate’s glorious past and looked at the prospects for its regeneration. Stage 1 students celebrated the long tradition of handicrafts in the town designing a live and work place for practitioners of declined ancient trades on the site of the antique shop Hunkydory. Stage 2 students concentrated on temporary projects designing and building a Reading Room as a forum for debate at the old Pettman’s Depository and exploring the public interior as a place for collective experience at the Dreamland Arcade, one of the UK’s oldest amusement parks and Margate’s best known landmark. Stage 3 students tested the potential of cross-programming at the Winter Gardens, a banqueting and entertainment seaside venue, disrupting existing spatial hierarchies and introducing new uses to facilitate unexpected social relationships. All these projects together with a number of successful public events organised in Margate, show how our students have actively been involved in hands-on critical spatial practice, engaging with the local community in discussions about current issues and developments affecting the town. The work produced across all stages has been once again rigorous, ambitious and critical, demonstrating the results of the course emphasis on making and social engagement. Spending an entire academic year on the beach is not easy. We hope that our hard work will help you to see Margate in a new light. Lara Rettondini
IAD Stage 1
All Gone Margate In Stage One students are introduced to some fundamental skills, processes and issues that are relevant throughout their professional lives. The structure of the course consists of three Design Studio Projects, which are supported by specialist units: Cultural Context, Technology and Communication. In the first term the focus is on design in relation to the human body. Bodyscape_A introduces ways of understanding the relationships between the human body and the built environment. The project culminated in the design of a piece of full-scale wearable architecture influenced by site and body, which the students tested in Canterbury City Centre. Bodyscape B focuses on the design of a small intervention to be inserted into the context of the Canterbury Cathedral Precincts. The students were required to design a device which, by capturing a single quality of Canterbury Cathedral’s fabric, would make it more enjoyable for a single visitor to experience. In terms two and three the major design project, Synoptic, considers the relationships between architectural space, time and programme. The project, All Gone Margate - The Regeneration Game, required students to investigate the complex issues associated with coastal town regeneration, in an effort to develop a design proposal that could underpin the long-term recovery of Margate. The students were allocated a profession, which was selected from Holden’s Annual Directory 1811 of Margate: Chemist; Butcher; Farrier; Currier; Cordwainer; Vintner; Victualler; Perfumer; Baker; Maltster; Tailor; Sailmaker; Watchmaker; Milliner; Weaver. The brief required the development of a design that would allow the skilled professional (long-term occupant) to practise his/her profession in the form of a live/work space, temporary accommodation for an apprentice (local resident) and a public space for both occupants to interact with members of the local community and visitors. This meant implanting new public and private uses within the town’s topography, through the ‘adaptive reuse’ of an existing building on Margate High Street. Rob Nice, Tessa Baird, Rut Cuenca, Tamsin Landells Tim O’Callaghan, Vasiles Polydorou
Robinson, Spencer, Szewczyk, Robinson
Nicolaou, Mak, Nare, Ralph
Andrews, Abizgildina, Akinyemi, Campbell, Button.
IAD Stage 1
IAD Stage 1
IAD Stage 2
Meanwhile in Margate In the Stage 2 studio we have focused on how interior intervention can become a mediator for changing the perception of a place - enabling possibilities for future use. We started by analysing a series of public interiors in Margate, such as the railway station by Maxwell Fry, through measuring, drawing and casting. In the second phase of our investigations the students were asked to design and build a temporary 1:1 forum in Margate: a place for discussion and events and a medium for the sharing of ideas about regeneration. The installation was based on the tradition of Reading Rooms which were popular attractions for visitors from London to the town in the Georgian era. Designed through collaborative group work and built by the students from plywood and steel, the room was installed at the old Pettman’s Depository - one of our public interiors. The Reading Room hosted a highly successful week of public events including talks by local creative practitioners, individuals involved in policy and development in the town and UCA academics. The project was supported by ReCreate, a project funded by Interreg IVA Programme France (Channel) England and will be part of the Folkestone Triennial later this year. In the third phase of our investigations students worked individually to develop a complex spatial proposition for the Dreamland building on Margate’s seafront promenade. The brief required the design of a new meanwhile intervention incorporating a performance space and café in the currently unoccupied site. The proposals engaged in possibilities for interaction between the new public interior and the street and to reconnect the people of Margate with the Dreamland site as it begins its process of redevelopment. The students developed exciting schemes, which sought to create spaces of spectacle and wonder. Emma Bush, Zoe Jones.
Reading Room Installation, Pettmanâ€™s Depository, Margate
She Wei Chan
IAD Stage 2
Section A 1:50
IAD Stage 2
IAD Stage 3
Margate Panorama The panoramic can be considered in various contexts from the visual and auditory to the political. Further definitions of panorama may suggest something inclusive, extensive and all-embracing which sets up the possibility for social interaction and activities that wouldnâ€™t normally co-exist in a given building or place. For their Major Project, IAD Stage 3 students explored the regeneration of Margate by introducing new functions to the interior of an existing building - the Margate Winter Gardens. Existing functions at the Winter Gardens include stage performances, concerts and event spaces for weddings and conferences, which they were encouraged to retain wherever possible. Following an initial research and briefing stage, the students focused on their own choice of communities and functions before developing design proposals that take into consideration a wide range of viewpoints, both internally and externally, with respect to the Winter Gardens site and Margate town. By catering for two distinct and separate communities within the Winter Gardens buildings, the proposals set out to explore how communities might interact or meet, and in doing so provide for a wider range of viewpoints, interests and needs in the heart of Margate. The students considered multiple interior functions in the development of their own agendas for design and design research within this context, which led to a range of complex and culturally rich design proposals. Paul Gulati, ZoĂŤ Fudge
Jade Atkin-Marshall email@example.com www.jadeatkin-marshall.com
The relationship between the building and its sea front location is something currently lost when inside the Winter Gardens. The design develops a series of layers; two facades create a layered threshold between the interior and the exterior. Perforations that reveal light and programs move to break down the threshold in different ways. Moving through the density of layers the location and relationship is revealed through a gradual panoramic view. The movement of the facade intervention reveals new configurations to accommodate the various programmes of local artisans and 18â€“25 year olds. Workshops provided for the communities complement this movement of the facade moving independently into use.
IAD Stage 3
Tina Bakhtar firstname.lastname@example.org www.tinabakhtar.com
Panoramic Theatre focuses on creating a cross programmed space that celebrates both Margateâ€™s past and future, the proposal brings together Margateâ€™s thriving tourist history with its current regeneration scheme. The design incorporates a range of studio spaces for the community to learn new skills in harmony with a museum for Margate visitors. The spatial configuration reflects the concept of the project, which was based on the idea of viewing from a central point. This idea has been explored both internally and externally. The design allows for a flow of movement between the designated areas in turn allowing for the spaces to remain individual yet connected. This is reinforced with the opening of the sea front facade allowing users to connect visually with the outside space whilst inside through the opened stage.
IAD Stage 3
Jo Baston email@example.com www.jobaston.co.uk
A temporary cycling event that extrudes out of the seafront facade, inviting a competitive cycling club and the Margate Town Team to work in collaboration. Whilst the bulk of the structure remains permanent, pop up activities grow out of the structure onto the rooftop walkway offering different cycling activities for the public to participate in. The design aims to exploit the positioning of Route 15, a cycle path that makes up part of the national cycle network, in an attempt to engage Margateâ€™s local community with cycling, as a strategy towards creating a greener, more active and vibrant town.
IAD Stage 3
Melissa Cristallo firstname.lastname@example.org www.melissacristallo.com
Archiving Margate accommodates transformable spaces and movable elements. Curtains arranged in a grid formation create a network of flexible spaces. Varying materials selected for the curtains allow these spaces to develop different degrees of visibility and privacy. These qualities of space allow for two communities to manipulate the space freely to accommodate programs. A language school benefits from the control over intimacy of space through the use of soundproof curtains and modular furniture elements. The language school interacts further with the public through the Margate museum by using the curtains as a canvas for a digitalised photographic archive produced by local students.
IAD Stage 3
Alice Foley email@example.com www.aliceelisabethfoley.squarespace.com
Inspired by the beauty of the deterioration around the quaint seaside town, a concept was developed around the idea of reuse. Timber structures were developed and clad using found materials in Margate, representative of Margateâ€™s history. These elements were placed within the Queens Hall of the Winter Gardens. Each individual structure was adapted to suit the needs of Margate Civic Society alongside travelling film and television producers. Housing programs that facilitate the needs of the chosen communities, the design develops the aesthetic of the hall to embrace the new salvaged styling. The intention of open and closed spaces is to conceal or open views, encouraging curiosity of the visitors.
IAD Stage 3
Louise Freeman firstname.lastname@example.org www.louise-freeman.squarespace.com
The Stage Kitchen is a proposal for a cooking apprenticeship scheme, aiming to bring together two separate communities; young people aged 16-24 from Margate and city workers from London. The design creates a theatrical setting for the two communities that acts as a multipurpose kitchen. The teaching and cooking that takes place within the theatre halls contributes to a performance alongside an allotment element that completes the performance located on the roof of the Winter Gardens. A extension of the original fly system used by the theatre links the intervention performance with the existing context through the performance of cooking. Crates of grown food ascend to the allotment from the stage kitchen. The courses of each meal unfold like the acts of a play and the final curtain call is served shortly after dessert.
IAD Stage 3
Dmitrijs Gusevs email@example.com www.dmitrijs-gusevs.com
Combine The Incompatible, proposes to create a building within a building. The structure, which sits within the existing Winter Gardens, will hold a series of programmes. These programmes aim to facilitate the needs of the Thanet Coast Project in the form of a scientific laboratory, in addition to an archive and storage facility for a visiting archaeological team. The design intends to explore the threshold between the interior and exterior of the proposed structure and the existing building. The aim being that the proposed intervention will alter the rhythm, form and visual balance of the existing site. A central staircase controls the circulation within the proposed structure and provides view points for the artefacts and a panoramic of the coast.
IAD Stage 3
Connie Johnstone firstname.lastname@example.org www.connie-johnstone.co.uk
The Human Zoo seeks to explore the notion of viewing and being watched and how human behaviour changes when a person is aware they are being observed. This manifests itself primarily through reinstating the double-sided aspect of the main hall stage allowing for continuous view through the space. The design is based on a futuristic game where musical performers act as hosts in small intimate stages suspended from the ceiling. The competitors are convicted criminals who are required to navigate through a series of moving walls to reach a glass maze, which is situated in the main hall of the Winter Gardens. If the competitors complete the maze they can then be freed from the prison.
IAD Stage 3
Christina Kyriakou email@example.com www.christinakyriakou.weebly.com
This design focuses around the idea of how merchandise is displayed in shop windows. The concept of viewing is explored through the position of the merchandise allowing for some to be viewed unidirectional whilst others multidirectional. The proposed high fashioned vintage shop and a visual merchandising school work in the same space simultaneously. A multifunctional staircase has been introduced which can also be used for seating when lectures are held. A clothing rail spans from the ground floor to the first floor creates a relationship between the two levels, whilst the extended facade and staircase allows users to be connected with the outside space.
IAD Stage 3
Christopher Laing firstname.lastname@example.org www.christopherlaing.co.uk
The proposed design for the Winter Gardens aims to combine an artist in residence and exhibition space, with an Educational Youth Centre. The centre provides after school activities where participants can learn a variety of artistic skills in collaboration with the artist in residents. The design aspires to forge a relationship between the Winter Gardens, Turner Contemporary and the proposed hotel, which are positioned along the existing coastal promenade. The physical link allows for visitor to move freely between each of the key destinations. The design is comprised of wooden elements, which can be reconfigured to activate various spatial programme; an exhibition space, a cafe area and private studio space for artists. The design creates a visual link with the promenade and interior of the Winter Gardens allowing for an increase in the amount of natural light entering the building.
IAD Stage 3
Samantha Li email@example.com www.samanthali.co.uk
Winter Gardens: Step by step guide to Place Making, is based on the research of two communities that were found prominent in the coastal town of Margate. Four of Margate’s main discussion groups are encouraged to integrate with bus passengers arriving into the Winter Gardens. The Winter Gardens offers an opportunity to manipulate the waiting time at the proposed bus stop. The project challenges and explores the concept of ‘non-place’ versus ‘place’, by introducing a temporal cross programming scheme. Eight micro architecture devices form their own network within the interiors and contribute to existing networks in Margate to enhance regeneration. The design challenges transitions from public to private space, and questions how an urban atmosphere can be produced within an interior environment.
IAD Stage 3
Carlos Machado firstname.lastname@example.org www.machadocarlos.com
The main design aim of this project was to remove exterior boundaries within the site to create a seamless connection with the Winter Gardens interior and the North Sea located directly at the rear of the building. The communities related to this project, Margate Sea Cadets and the local sailing community, will both benefit from a direct relation to the sea front. This relationship manifested itself spatially by creating a flexible threshold to the sea though a bi-folding facade. Sails are suspended from a structure within the ceiling that can be easily reconfigured to create different interior spatial arrangements within the volume of the site.
IAD Stage 3
Suzy McAdam email@example.com www.suzymcadam.com
Box City proposes to exploit the relationship between the interior and exterior thresholds existing within the Winter Gardens. This concept is realised through the used of cantilevered rooms extruding from the north facade of the existing building. The lower level allows alternate boxes to protrude from the building, with the upper level acting as a reflection of this design. This proposed scheme creates the illusion that the intervention is growing out of the Winter Gardens. The design scheme was developed with strong emphases placed on circulation and the idea of fluidity within the space. This resulted in the varying segregation of the boxes and their position within the main hall. Elements within the space, such as rotating panels and wall sections, allow for private spaces to be created within the volume of the intervention. The arrangements are entirely controlled by the user and the function of the space is flexible to the required program.
IAD Stage 3
The Interior Landscape aims to create a social space for the local elderly community of Margate and a rehabilitation centre for the armed forces; a community which has a connection with the winter gardens from the second world war. The space aims to bring together the two communities in an environment that can both challenge and support their needs. The concept of â€˜old and newâ€™ is explored simultaneously between the ages of the chosen communities and furthermore with the choice of new materials introduced to the old building. In turn this creates a stimulating environment for the new users of the space.
IAD Stage 3
Faye Ryan firstname.lastname@example.org www.faye-ryan-fibo.squarespace.com
This project embraces the relationship between the interior and exterior accomplishing the connection between land and sea. A glass faĂ§ade allows for a maximum amount of natural light to enter the building and enhances the relationship between the building and its surroundings. The introduction of an infinity pool situated at the rear of the building aims to connect the immediate view of the pool with the distant view of the ocean. The relationship between inside and outside is developed, lending a feeling of continuity to the space; the connection between the two space is no longer confined formally but through its relationship to nature. The solidity and density of the bathhouse materiality is juxtaposed against the farmerâ€™s market fluid timber framework that encompasses a series of layered curves.
IAD Stage 3
Stelios Styllas email@example.com www.steliosstyllas.com
The project reinstates Margateâ€™s Winter Gardens as a garden. A proposed internal green space is provided for the Greek Society in Margate and the Windmill Allotment Project. The interior garden is divided into three zones; allotments, wedding reception space and a public garden. The growth of trees instigated the idea for the conceptual framework of the design. The concept of beauty and necessity is expressed through the growth of the greenery and the roots of a tree. This concept manifested itself spatially within the programs of a wedding reception and allotments.
IAD Stage 3
David Vyce firstname.lastname@example.org www.davidvyce.com
The design is a proposal for a renewal of the Margate Winter Gardens that allows a film club to seamlessly interact with film and performance artist. The proposal includes exploiting the numerous access points around the Winter Gardens and reprogramming the chosen locations as a box office, a cinema, studio/sets and an interactive film installation. Pavilions at each of these points explore the idea of a panorama by presenting the users with a series of views. The intention is to challenge the users of the architecture to consider how their own actions interact or define the view they are presented with. The architecture of these interventions is intentionally dematerialised and minimal to give primacy to program of each pavilion. By cross-programming a cinema with sets and studios in this way, the intention of the design proposal is to contribute toward the local artistic growth within Margate.
IAD Stage 3
Sophie Wilson email@example.com www.sophie-wilson.com
Coastal Vitrine aims to illustrate the crucial role of an interior through the urban renewal of The Winter Gardens, with the potential to eventually impact Margate as a whole. This design aims to reinstate the link between the sea and The Winter Gardens, dissolving the boundaries between the sea front and the interior. Taking inspiration from the tidal nature of the sea, key elements of the design are suspended above the chosen area within the Winter Gardens, creating layers of programmes. The space then has the ability to be transformed throughout the day depending on the programme. The new design aims to provide Margate Yacht Club with a site, which is adaptable to their changing spatial, needs, whilst integrating a Fish Market for local also providing a physical space to encourage a sense of community and the sharing of
IAD Stage 3
Katherine Wright firstname.lastname@example.org www.katherine-wright.wix.com/krwd
The proposed design, located in the existing Queenâ€™s Hall, accommodates the day-to-day activities of cancer patients from a nearby hospital to take place alongside the local Windmill allotment project. The space is designed as a mini cityscape, reflecting the way communities interact in a full-scale city, allowing for many different types of activities to happen in different programmed modules. The scheme is divided into several â€˜phasesâ€™, offering various levels of privacy in order to enable the patient to choose how much they integrate themselves into the new community. The activities range from simply relaxing to offering patients and visitors the opportunity to hold to larger social events for all users to enjoy.
IAD Stage 3
Head of School Allan Atlee
Course Leader Lara Rettondini
Tutors Tessa Baird Hocine Bougdah John Joe Brophy Emma Bush Rut Cuenca Ursula Dimitriou Zoë Fudge Paul Gulati Tabatha Harris-Mills
Matt Haycocks Ersi Ioannidou Lucy Jones Zoe Jones Tamsin Landells Rob Nice Tim O’Callaghan Vasiles Polydorou Brian Stater
Exhibition Team Tina Bakhtar Jo Baston Melissa Cristallo Louise Freeman Christina Kyriakou Samantha Li Carlos Machado Hannah Parfitt Stelios Styllas
Catalogue Team Jade Atkin-Marshall Suzy McAdam David Vyce Sophie Wilson Printing Omicron Reprographics UCA Print Bureau
Collaborators Visiting Critics Allan Atlee Je Ahn, Studio Weave Jane Ashe Thalia Allington-Wood, Design Museum Josē Bergua Stuart Atkinson, Fontaine Antiques & Decorative Arts Oscar Brito Alex Bank & Philip Christou, ARU Tenesha Caton Lukas Barry & Mariah Nielson, Carmody Groarke Will Chan James Binning, Assemble Marian Clayfield Sam Causer, Sam Causer Architects Thomas Corrie David Chambers, Aberrant Architecture Steph Crombie Dan Chilcott, Resort Studios Lizi Cushen Alex Chinneck, Artist Rute Ferreira Helene Forrester-Wood Uwe Derksen, Assistant Director Research + Enterprise Andy Garton Ian Dickie, Friends of Margate Museum Graham Gilmour Katherine Elworthy, British Institute of Interior Design Matt Haycocks Guy Hollaway Architects Adrian Hill Jessica Jordan-Wrench & Eoin Furbank, Tom Thumb Theatre Francis Hur Valerie Kirschner, Arlington House Residents Association Annelie Kops Kristina Kotov, UCA Ketan Lad Jan Leandro, Dreamland Trust Helen Leask Liam Nabb & Louise Oldfield, The Reading Rooms Jess Lumley Terry Norton, UCA Maria Mantikou Paul Palmer, Entertainments and Facilities Manager Margate Winter Gardens Hannes Pahl Gregory Ross Mark Parsons, Studio Polpo Punya Sehmi Mariana Pestana & Carolina Caicedo, The Decorators Chloe Sharpe Amie Rai, Interreg Project Co-ordinator, UCA Research and Enterprise Eva Sopeuglou Tamsin Landells & Tim Ratcliff, Ratcliff/Landells Brian Stater Helen Rookley, Herman Miller Roanna Thetford Rafau Sieraczek, Research and Enterprise Projects Officer Rebecca White James Soane, Project Orange Mike Whitfield Ro Spankie, Westminster University Chloe Young Gabor Stark, UCA Paola Zanotto Dan Thompson, We Will Gather Funding Elizabeth Turner, TRADA European Regional Development Fund Diana Yakeley, Yakeley Associates The European Union, investing in your future
Fonds européen de développement régional L’Union européenne investit dans votre avenir
University for the Creative Arts Canterbury School of Architecture New Dover Road Canterbury, Kent CT1 3AN www.ucreative.ac.uk www.cantarch.org