Stage 2 Portfolio BA (Hons) Architecture Newcastle University

JAMES | CLARK NEWCASTLE | UNIVERSITY BA | ARCHITECTURAL STUDIES STAGE | 2 DESIGN PORTFOLIO 2014 | 2015

LEARNING

SUMMARY

Second

year of my architectural education has pushed me in ways regarding not only my architectural knowledge and design abilities, but also my ability to sustain a working attitude throughout a year which has been stagnated by the complications of the physical injury of braking my arm at the start of the year; consequentially missing the first project.

Reflecting back on this year draws me to three main aspects for which I have attempted to engage with, in the process, receiving both positive and negative feedback, these being; context, space and conceptual thinking.

An element which has intrigued me throughout this year has been in the contextual nature of my design, i.e if my design would fit in with its surrounding environment, typically designing with the hope that my building’s would position themselves modestly and embedded within its setting. This practice of context can be seen most clearly in my design of Prospect & Refuge whereby by using a local larch cladding with an outer transparent glass curtain wall, together with an unobtrusive gabion wall plinth, I aimed to replicate the coastal nature of Amble. In regards to improving this aspect in my future designs, I aim to work in conjunction with the physical materiality by spending more time in the workshop, as I believe materiality is a central element of a healthy relationship between building and site. I will also push myself to be more daring in my designs, as at times, the passion I have with contextual placement has somewhat hindered my architectural ideas due to the possibility of it upsetting its surroundings.

A trait in which this year has further disciplined me with, is in the improvement of my spatial organisational thinking of my designs, particularly in plan form; drawing and tracing over plans to develop a logical organisation based on the brief. This can be seen in my Living on the Edge project, where I was able to organise a building which would use the site and the brief to form a logical design based on zonal distinction. This was formatted through simple diagrams of route, entry, domain, a helpful way of ‘reading’ my design. I came to understand that the circulation organisation could have been more efficient, criticism being that I had a lot of unnecessary circulation space. This inefficiency was perhaps improved in Prospect & Refuge, with the help of learning AutoCAD, giving me more precision and ultimately time saving to focus on other things. This process of developing plans, at times, often became the singular focal point for which sketches and experiential drawings were in absence and only really completed after the final crits. A lesson I have learnt to bring into next year is to work in parallel with both technical drawings and experiential drawings/ renderings to explain the atmospheric feel to these spaces. Doing Placed, Displaced at the end of the academic year somewhat touched upon this notion as I was able to learn SketchUp as a tool for which I could create sections/ elevations and experiential images in one shared document- a strategy which I shall work with going into third year.

Conceptual thinking has been stored in my mind at the beginning of each pro-

ject from visiting each site, however, at times I have struggled to communicate these ideas through physical evidence of work, and therefore ideas have been lost in the process. In Crossover I learnt how other people in my group approach work and how they output their ideas. This, highlighting my previous realisation that

the doing that the idea becomes”-

“it is in

Edmund Bacon. Diagrams and conceptual photomontages are a good way of addressing this, mediums which I shall research in more depth and implement early on in future projects to put my ideas across.

A medium which I am satisfied with this year is in my physical modelling of my final designs. Particularly, my Prospect & Refuge structural/ volumetric/ site model which shows the complete design in one complete presentation. Although rewarding in the final completion, showing hours of hard physical graft; this amount of time consumption can be heavily reduced with the use of laser cutting by which I only learned doing the Placed Displaced project at the end of the year. A combination of physical modelling for development and laser cutting my final design is a strategy I shall use in future projects.

Time management is a struggle which I have fought with throughout this year,

partially because my writing/ drawing arm has been at times difficult to work with, but mostly because of my general daily organisation and output. I believe that by touching on these three main aspects to use as in conjunction with one another I can create more work on a daily basis, helped by an improvement in my daily routine. This will help to address my critical problem of having to perform all nighters on the following night of a final crit. This has crucially been a milestone in the way I present my projects, often feeling let down by myself due a panic of a need to complete unfinished works the night before and thus showing in the all- round presentation of my project.

With learning from cathartic analysis of my own work and my own thought processes, thus realising my passion for context and ethical design; I aim to research further into these key aspects of architecture in our built environment. This, I hope, will help me to further understand and engage more with the future implications and ethical issues surrounding our designs and the impact they have on the community and the people. An approach, I strongly believe, as architects, should be held principally in our thoughts and not lose trace of in our design process.

Additional / Revised Work

CONTENTS PAGE

CROSSOVER

PROSPECT & REFUGE

LIVING ON THE EDGE

PLACED / DISPLACED

CHARETTE

NON DESIGN WORK

4 - 17

18 - 43

44 - 59

60 - 75

76 - 79

80 - 122

*

Castle Stairs, Newcastle

4 / CROSSOVER

CROSSOVER ‘Crossover’ was the most recent and final design project of the year, which saw stage 2 architect students working collaboratively with third year civil engineers. We were tasked with designing a temporary timber busking shelter/ experience in one of Newcastle’s historical ‘chares’- narrow, medievel streets in the town. This was a three week project, concluded by a final exhibition.

5

Axonometric Site Analysis

Site Model

Castle Stairs Our chosen chare; Castle Stairs, runs from the start of the Close and Sandhill up to the Black Gate and the Castle Keep. We chose this chare simply because of its uniqueness as a series of spaces mostly created by the remnants of the Old City Wall which strikes through the middle, and an interesting narrow landing which turns down to the grand steps leading from the quayside. Views to the High Level Bridge were also a factor.

Design Intent We decided that our busking festival experience would utilise both entrances of the chare; from the Castle Keep side, and the Quayside entrance, to draw the public into the main stages, which would be designed as domes, which are organised around the Old City Wall. This way, passers by could be drawn into the stages by what we designed as a series of frequent timber arches.

6 / CROSSOVER

Bottom of Castle Stairs leading to stage

Initial Conceptual Ideas for stages

CROSSOVER / 7

8 / CROSSOVER

These images highlight the journey from the foot of the chare, from the quayside leading up to the central dome- like stages.

Tunnel

This journey would take the form of a series of arches with a series of triangular component pieces acting as roofing/ shelter. This design would act as a tunnel by which the sound would mitigate towards the foot of each end of the chare, drawing people in towards the main stages.

Stages

The stages would take the form of domes, they would be made up of a series of triangular component parts which would slot together to form the wider dome like structure. This angular structure would enhance the acoustics of whatever genre of music is being played by the busker.

Stages

CROSSOVER / 9

Longitudinal Section

10 / CROSSOVER

CROSSOVER / 11

Section A-A

12 / CROSSOVER

Section B-B

Section C-C

Section D-D

Longitudinal Section

CROSSOVER / 13

1

entrance (from quayside)

14 / CROSSOVER

2

tunnel

3 3

2

1

Sectional Model

Construction Manual Diagrams

Experiential Renders

stage one

stage three

CROSSOVER / 15

05_MAY_2015 CRIT GROUP

4

-

Acoustic

4

Odyssey

Publicity Posters

16 / CROSSOVER

Exhibition

CROSSOVER / 17

18 / PROSPECT & REFUGE

Amble, Northumberland

PROSPECT & REFUGE A six week project imagining a University satellite facility on the Northumberland coast, in the Parish town of Amble- part University shop window (prospect), part academic retreat (refuge) for post graduates to study and reflect. The 15.6m x 15.6m cubed structure will also act as a public building, providing learning and leisure facilities for the community.

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Warkwarth Castle

Looking norh east

Coquet Island

Looking east

Amble, Northumberland This proposal seeks to provide a real educational and leisurely opportunity for the, perhaps un- provided for but strong social community Parish of Amble. Amble is an old coal mining town located on the beautiful coast of Northumberland, with a history of fishing.

Design Intent From my site visit I found the surrounding nature of the bronze reeds and the weathered rocks particularly inspiring, but also it’s manmade structures, such as the walkway pier and the coastal barrier, and how, over time, they weather and embed themselves into the nature of the site. My twin- phenomena concept was that of natural/ manmade, with the aim of designing a building which would replicate the surrounding features of the site and over time, weather to create an organic looking building which would not stand out as a so called ‘new landmark to the small town’ but be modest in its nature. I felt this was important as the building would be a grand scale compared to surrounding buildings.

Looking north

Looking south

20 / PROSPECT & REFUGE

* Sustainable Strategy Diagrams

Embodied

CO2 Double Skin Facade

Acts as a thermal buffer zone in the winter

Natural Purpose Ventilation

Notably through operable double hung windows

Local Materials

^

Local larch for cladding and rocks for the gabion wall

Thermal Mass

Exposed concrete circulation core stores heat during the day and releases it at night

Wind Protection

Double Skin surrounding facade decreases the strong coastal winds to the windows

PROSPECT & REFUGE / 21

Development Throughout the design process I looked at varying site positioning options and spatial organisational options as well as research on sustainable design and ventilation.

I looked at varying kinds of double skin facades, opting for a conventional curtain wall whereby I could maintain a typical cladding system behind the glass face. This way the aesthetic of the larch can be maintained and the windows can be opened for the occupant’s own comfort from inside the double skin.

22 / PROSPECT & REFUGE

Plinth Process Through experimentation of form using sugar cubes and then sketching the rough shapes out I was able to figure out the structure of my plinth. The intention was to firstly create a viewing platform using the plinth structure, this to be parallel with the walkway. Secondly, to use the other ends as a means to draw the visitors in to the entrances.

This created a clear dialog between the site and the building.

PROSPECT & REFUGE / 23

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Grid Model PROSPECT Structural & REFUGE / 25

Structural & Volumetric Model

26 / PROSPECT & REFUGE

Final Model (- double skin facade)

PROSPECT & REFUGE / 27

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Site Plan

*

Final Model

PROSPECT & REFUGE / 29

*

30 / PROSPECT & REFUGE

*

External Viewing Platform

Circulation Core

Coastal Observation Area

PROSPECT & REFUGE / 31

Level 0

32 / PROSPECT & REFUGE

Level 1

Level 2

Level 3

Level 4

Public Private PROSPECT & REFUGE / 33

*

Ventilation Strategy This Diagram illustrates my ventilation strategy, using the example of the first floor. Windows/ purpose ventilation brings the air inside the study room, and a fan draws the air into the hallway providing steady movement of fresh air.

Ventilation Diagram

34 / PROSPECT & REFUGE

1

2

First Floor Room Plan

PROSPECT & REFUGE / 35

*

1 Study Cells Post graduates or various proffessionals can take refuge in the study cells. Windows are small and level with sitting height to provide a sense of prospect when sat down at the desk; with the aim to inspire from the focused view of the coast.

Study Cells

36 / PROSPECT & REFUGE

2

*

Hallway Perspective

PROSPECT & REFUGE / 37

38 / PROSPECT & REFUGE

B

A

Cross Section

PROSPECT & REFUGE / 39

* A

Polycarbonate Wall These two watercolours show perspective angles from inside the lecture theatre and through to the University shop window. Both are public spaces and are joined by a polycarbonate wall which allows a blissfull of light to enter from the double height space of the shop window through into the lecture theatre.

40 / PROSPECT & REFUGE

* B

PROSPECT & REFUGE / 41

*

Photomontage

42 / PROSPECT & REFUGE

43

Ouseburn river, Newcastle

44 / LIVING ON THE EDGE

LIVING

ON THE EDGE

A six week long project imagining a ‘foyer’ located on the banks of the Ouseburn in Lime Street, for disadvantaged young people to learn a trade (boatbuilding) under the support of a tutor. The building provides; accomodation and facilities for the 8 students, a flat for the tutor and his family, a worshop and an exhibition space open to the public.

45

Looking west

Ouseburn River

Lime Street, Ouseburn

Looking west

This project challenged me in resolving the problematic issues associated with designing a small housing scheme in the heart of a city, that being mainly issues of privacy and community. The site, located on the banks of the Ouseburn at Lime Street, challenged me with proposing a coherent site strategy which would work in context with the site and the surroundings.

Design Intent From my site visit, I recognised the interesting ‘shape’ of the site and the opportunity this gave me in my design. The idea of my project being that this building steps down into the site and down to the Ouseburn river, marked by a tall entrance point of the narrow, north end of the site, down to the concrete base of the workshop at river level where a boat displaying exhibition area can be openly viewed from the Lime Street path level by the passing public and accessed via an external lift. The public are also able to see first hand into the workshop from Lime street due to two glass voids; which also allows the southern light to flow down into the workplace to allow for a positive working environment. Timber would be used for both cladding and plywood internal walling of the workshop to create an aesthetic which clearly connotes to the functionality of the building; that being a wooden boat building producer and outlet. Also, to provide a natural and organic, but modern looking structure which sits comfortably next to the Ouseburn river and the neighbouring masonry buildings.

Looking west

Looking north west

46 / LIVING ON THE EDGE

Process of ‘Shape’ The development of my spatial organisation was really a process of zonal analysis and re- drawing plans, with the final design made up of three clear zones (student/ tutor/ shared), strategically positioned based on their privacy needs. The student area on the north side, the tutor’s on the south side and the lobby breaking up the dwellings; which leads down to the shared workshop. This allows for a clear structuring of the building based on privacy needs.

Shape diagrams (plan view)

Development Plans

LIVING ON THE EDGE / 47

Volume Model

48 / LIVING ON THE EDGE

Sectional Model

Elevations

LIVING ON THE EDGE / 49

Section

50 / LIVING ON THE EDGE

Section

LIVING ON THE EDGE / 51

Route

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Entry

Domain

Student Tutor Mutual (Private) Public

LIVING ON THE EDGE / 53

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Level -1

Level

0

Level 1

Level 2

LIVING ON THE EDGE / 55

* Exhibiton Area/ Workshop

Exhibition Area

Workshop Light Studies

56 / LIVING ON THE EDGE

Final Model

LIVING ON THE EDGE / 57

*

Modified Elevations

58 / LIVING ON THE EDGE

*

Photomontage from across the Ouseburn

LIVING ON THE EDGE / 59

Borough Road, North Shields

60 / PLACED / DISPLACED

PLACED

/ DISPLACED

A 3 week project imagining a development of ten new 3 storey houses located in Waldo Street, North Shields; of which I had to design one of them. The client is a young family of three, the Father runs a small but growing business, the Mother works part time as a haematologist and they have a seven year old daughter. They are a lively and active family and own a small collection of original contemporary paintings and local historic pottery,

61

Looking south- east

Waldo Street, North Shields The site is currently occupied by 17 boarded- up garages tightly packed on a sloping hill. The access point for the site would be solely from Waldo Street. The plot would be opposite to a row of red brick terraced properties, and on the other side is Borough Road which leads down to the waterfront of the Tyne and the ferry terminal pier, this road contains a heavy flow of traffic. The site is on a north east/ south west axis therefore the main source of daylighting would be through the borough road facing facade.

Design Intent I was influenced by the history of the heavy industry of the North Shields shipyards and also the victorian feel of the reddish/ bronzed materiality of the red bricks surrounding this site and came to the conclusion of having copper sheething for a facade and roofing which gives a metallic appeal, similar to that of the famous ships of the area. This way it could stand out as an destinctive house but which also emulates its surroundings in a modern way. The design would have large areas of glazing on the south west facing side which allows light to flow through the building but designed in a way to avoid glare with the use of; glazing next to the stairways, window overhangs, indented windows and a perforated screen.

Looking north- west

Looking north- west

62 / PLACED / DISPLACED

Development

PLACED / DISPLACED / 63

Development Models

Initial Design

64 / PLACED / DISPLACED

Following Design

Initial Facade Idea

PLACED / DISPLACED / 65

The Building sits in between 9 other dwellings which each have their own private garden.

66 / PLACED / DISPLACED

The floor area is 4.5m by 6.9m, and is 11m high at its mid roof point, therefore a very tight volume to work with.

Spaces which are deemed more private such as bedrooms and the office are located higher in the dwelling to ensure a more comfortable and protective feel. The lower floors occupy more shared spaces such as the kitchen, dining room and living room.

Stairs run down the side of the house to ensure that as much floor area space is saved as possible for rooms.

Spaces on the bottom half of the building such as the kitchen, dining room and living room are more open plan and have taller celings to get a greater sense of space and openess. Whereas the upper floors with the 2 bedrooms and the office have lower celings to ensure a more comfortable environment. The office walks out onto an open top terrace to maximise the opportunity to be outside, whilst getting a view of the coast, ensuring a greater sense of wellbeing.

My design consists of windows at standing eye level and sitting eye level which are either set back or have overhangs; this way they provide focused, horizontal viewpoints. A large area of glazing runs down the side of the building parallel to the stairways which provides large amounts of natural daylighting into the occupied spaces. A large area of glazing in the middle of the double height space of the ground floor ensures the kitchen at the back is light and a positive space.

This window is shaded by a brick formation perforated cooper screen which is fitted infront of the window.

PLACED / DISPLACED / 67

Final Model

Section view

68 / PLACED / DISPLACED

South West Facing Facade

North East Facing Facade

PLACED / DISPLACED / 69

Materiality

Solar Shading Techniques

South Facing Elevation

70 / PLACED / DISPLACED

North Facing Elevation

PLACED / DISPLACED / 71

Ground Floor

72 / PLACED / DISPLACED

First Floor

Second Floor

Third Floor

Section

PLACED / DISPLACED / 73

Hallway

74 / PLACED / DISPLACED

Kitchen/ Dining Room

PLACED / DISPLACED / 75

76 / CHARETTE

Northern Stage Theatre, Newcastle University

CHARETTE A week long group project between members of each stage, easing us into the year. I was in the group ‘Unwasting Opportunities’, from this we were divided into smaller groups and made a small playful installation each; ours being a large skittles set of which the public can use when passing.

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Public Installation

78 / CHARETTE

Action Shots

CHARETTE / 79

NON DESIGN WORK

80

ARCHITECTURAL TECHNOLOGY

81

STRUCTURE & CONSTRUCTION STUDY

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Sustainability Analysis on Construc1onal Elements Building Research Establishments Green Guide

As you can see, I have maintained an A+ ra1ng for all construc1onal elements except the concrete ground floor. The ground floor contains the workshop which sits next to the slipway. To improve this ra1ng I could look into changing this current solid ground floor to a suspending ground floor.

Category: Internal Wall Construc1on Category: External Wall Construc1on -­‐ Element Number: 806210057 -­‐ Element Number:809760024 -­‐ Sub-­‐ Category: Cladding on Framed -­‐ Element Type: Framed Par11ons Construc1on -­‐ Element: Timber stud, plywood -­‐ Element Type: Timber Framed Construc1on (soYwood), unpainted -­‐ Element: Canadian cedar weatherboarding, -­‐ Climate Change: A+ breather membrane, plywood (temperate EN -­‐ Water Extrac1on: A+ 636-­‐2) sheathing, 1mber frame with -­‐ Ecotoxicity to Land: B insula1on, vapour control layer, plasterboard -­‐ Waste Disposal: A+ on baQens, paint -­‐ Summary Ra1ng: A+ -­‐ Climate Change: A+ -­‐ Water Extrac1on: A -­‐ Ecotoxicity to Land: A -­‐ Waste Disposal: A+ Category: Ground Floor Construc1on -­‐ Element Number: 820100029 -­‐ Summary Ra1ng: A+ -­‐ Element Type: Solid Concrete Category: Upper Floor Construc1on -­‐ Element: Screeded in situ concrete -­‐ Element Number: 807280022 slab, over insula1on on polyethylene -­‐ Element Type: upper Floor Construc1on DPM laid on blinded recycled -­‐ Element: Plywood (soYwood, 636 -­‐1) aggregate sub-­‐ base decking on 1mber joists -­‐ Climate Change: B -­‐ Climate Change: A+ -­‐ Water Extrac1on: A -­‐ Water Extrac1on: A -­‐ Ecotoxicity to Land: A+ -­‐ Ecotoxicity to Land: B -­‐ Waste Disposal: D -­‐ Waste Disposal: A -­‐ Summary Ra1ng: C -­‐ Summary Ra1ng: A+

A+

A+

A+

C

Category: Roof Construc1on -­‐ Element Number: 1212540030 -­‐ Element Type: Flat Roof: Warm Deck -­‐ Element: Timber joists, plywood (temperate EN636-­‐2) decking, vapour control layer, insula1on, oxidised polyester reinforced bitumen roofing membranes with mineral finish -­‐ Climate Change: A+ -­‐ Water Extrac1on: A -­‐ Ecotoxicity to Land: B -­‐ Waste Disposal: A+ -­‐ Summary Ra1ng: A+

A+

Category: Domes1c Windows -­‐ Element Number: 1413100006 -­‐ Element Type: Windows -­‐ Element: Preserva1ve pre-­‐ treated soYwood window, double glazed, water based opaque coa1ng internally and externally (WWA specifica1on) -­‐ Climate Change: A+ -­‐ Water Extrac1on: A+ -­‐ Ecotoxicity to Land: A+ -­‐ Waste Disposal: A -­‐ Summary Ra1ng: A+

A+

ARCHITECTURAL TECHNOLOGY / 89

ACCESS

90 / ARCHITECTURAL TECHNOLOGY

FOR

ALL

&

MEANS

OF

ESCAPE

Access for All

Means of Escape

Disabled Parking1 I will extend the already existing car parking on Harbour Road from the east of the Customs House, around to the west leading up to my building, thus providing two large car parking spaces. The disabled parking bays will be at the forefront of the car parking site, 15m from the west side main entrance of the building. A single parking bay area will be 2400mm x 4800mm with a 1200mm accessibility zone between and at the end of the bays, with a dropped curb for access towards the building. Bays will be a tarmac surface with a coating (or 2) of ’Watco Heavy Duty Anti Slip Traffic Paint’, to increase surface safety.

There will be a Parking ticket machine adjacent to the disabled parking bays, limiting distance of travel.

These will have controls between 750- 1200mm above the ground and a plinth which does not project in front of the machine and cause an obstruction.

Access for Wheelchair users to Main West & East Side Entrances & Distance of Travel to West side Entrance2 The disabled parking bays are 15m from the main west side entrance, providing a short distance of travel.

This journey is a level approach, and free of hazards, making it a smoother journey for disabled and elderly access. The main west & east side entrances are indented into the plinth in a way which acts as a guarding so that there is no impeding movement of the wheelchairs. Both entrances & entrance lobby doors are automatic sliding doors operated by sensors and will incorporate a clearly signposted ‘International Symbol of Access’ and from the edge of the site. The entrance lobbies have a width of 1300mm to allow for wheelchair movability.

Access for Wheelchair Users & Elderly to External platform3 To make the external platform/ terrace accessible to; wheelchair users, people with prams and bicycles etc. I have included ramped access, with a gradient of 1:15 and a width of 1500mm. Ramp access is clearly signposted in its approach. It is slip resistant with the help of a coating of ‘Watco Grip-Master’. There is a landing at the foot and the middle of the ramp of 1500mm in length. There are two alternative external step accesses from the west side and east side of the platform. Steps are 1400mm wide, have a going of 300mm and a rise of 166.7mm, making it suitable for elderly people and people with walking difficulties.

There are corduroy hazard warning surfaces at the foot of each stairs, 800mm in length, 400mm from first step. Handrails are applied on both sides of the ramp and external staircases and handrail endings protrude 300mm beyond the ramp and stairs start and end. There is also a wheelchair stairlift attached to the external stairs on the platform leading into the first floor to guarantee wheelchair access in this way.

Access for Wheelchair Users within the Building4 All internal doors are manually operated and non- powered. At each door there is a 300mm+ unobstructed space on the pull side of the door to enable the wheelchair user to reach and grip the door handle. Each door has a opening force of less than 20N, this is due to adjusting closers, making them easily operable. Door handles are easy to grip and are 1000mm from the ground for wheelchair accessibility. All doors, except the boiler room, storage room and toilet have glass vertical panels on the leading edge of the door of visibility between 500mm- 1500mm from the floor and interrupted between 800mm- 1150mm, providing visibility on each side to avoid collision and obstructions. There is a 750mm high part of the reception desk to attend for wheelchair users. There is a 1100 x 2200mm lift to ensure each storey is wheelchair accessible, this has both a button at eye level and a lower level for wheelchair users.

Other Notabilities for Access for Visually Impaired Users within the Building5 To provide clear visibility, all entry routes are provided with illumination of at least 100lux throughout the day. All nosings on each step are made clearly apparent when both ascending and descending, by a contrasting colour and tone, 55mm wide on both the going and riser. All door opening furniture contrasts visually with the surface of the door. Door frames’ color contrasts with the surrounding wall. There is a visual contrast between the wall and the ceiling, and the wall and the floor. There will be balanced artificial lighting and limited shiny surfaces on walls which cause glare from reflections.

Considerations My building has 5 storeys, accessible from 2 main staircases and 1 lift. There are 3 main final exits, 1 of which is on the first floor, and the other 2 on the ground floor. All doors (except toilet & servicing doors) are fire doors (FD30’s) and open in the direction of escape (outwards) to allow for a safer exit route and prevent obstruction.

Most glazing in protected areas is fire resistant. There is a smoke alarm fitted in circulation spaces 7.5m in proximity to every room. There are 2 fire extinguishers on every storey. Hearing loops, vibrating paging systems and visual blinking indicators are installed to alert people with hearing or visual impairments. To control the spread of smoke fumes, fans are installed to control the air movement out of the building. There are 2 fire hydrants, 1m from on the west side of the building plinth and a fire assembly point central to both exits for people to gather in safety and call emergency services in case of a fire.

Occupancy Levels Calculations1: Floor Space Factor Occupancy Capacity Storey Room Area (m2) (m2/person) Ground Floor Reception 35.7 1 35.7 Aquarium 27.45 1 27.45 Boiler Room* 7.48 2 sub total 65.2 First Floor 2x Seminar Rooms 44.1 1 44.1 Study Space 45.4 1 45.4 8x Study Cells 47.13 8 5.9 sub total 95.4 Second Floor Lecture Theatre 105.37 1 105.37 Teaching Space 56.25 1 56.25 Storage Room* 10.29 2 sub total 163.6 Third Floor Exhibition Space 46.23 5 9.25 Reading Area 22.46 1 22.46 sub total 31.7 Fourth Floor Observatory 58.48 1 58.48 Café 39.25 1 39.25 Admin Office 19.53 6 3.26 sub total 101 *Estimation because of the nature of the space Total 457 Minimum Escape Route Corridor & Door Opening Width for Each Storey2 Ground Floor- Occupancy Capacity 65.2, therefore 750mm First Floor- Occupancy Capacity 95.4, therefore 850mm Second Floor- Occupancy Capacity 163.6, therefore 1050mm Third Floor- Occupancy Capacity 31.7, therefore 750mm Fourth Floor- Occupancy Capacity 101, therefore 850mm Minimum Stair Width for Each Stair3 Since this building serves an area with an occupancy of more than 50, I will calculate for simultaneous evacuation. The width can be derived from this formula W= (P+(15N)-15) / ((150+(50N)) =(457+(15x5)-15) / (150+(50x5)) =1434mm I will increase my staircase widths to 1450mm Minimum Width for each Final Exit4 I will calculate the minimum width for each final exit on the Ground Floor and First Floor, where I have my final exits. Formula- W= ((N/2.5) + (60S)) /80 where W=minimum width of final exit, N= no. of people and S= Width of staircase First Floor W= ((391.7/2.5) + (60x1.45)) / 80=3046mm I will increase the First Floor Final Exit to 3050mm Ground Floor W= ((457/2.5) + (60x1.45)) / 80=3372mm I will increase Ground Floor Final Exits to 3400mm

1.

2.

3.

4.

5.

Pages 18-20 ‘Access to and use of buildings’ Building Regulations Approved Document M Pages 26-28 ‘Access to and use of buildings’ Building Regulations Approved Document M Pages 21-25 ‘Access to and use of buildings’ Building Regulations Approved Document M Diagram 9, Pages 29 & 34 ‘Access to and use of buildings’ Building Regulations Approved Document M Pages 23, 29, 35, 50 ‘Access to and use of buildings’ Building Regulations Approved Document M

1.

2.

3.

4.

Appendix C, Page 135 “Fire Safety’ Building Regulations Approved Document B Vol 2.

Table 4, Page 37 “Fire Safety’ Building Regulations Approved Document B Vol 2.

Table 6, Page 46- 48 “Fire Safety’ Building Regulations Approved Document B Vol 2 Page 38 “Fire Safety’ Building Regulations Approved Document B Vol 2

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ENVIRONMENTAL DESIGN & SERVICES

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SAP EVALUATION

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U- Value Calculations External Walls, Suspended floors, Flat Warm Roof Windows, Doors External)Wall) Material)thicknesses)+)conduc5vi5es:) 8)Plasterboard)(0.16)W/m2K))(12.5mm))R=)0.0125/)0.16=)0.08W/m2K) 8)Vapour)Control)Layer)(Ac5s)Hcontrol)Reflex)+))(R=)0.25m2))(8.5mm))R=)0.0085/)0.25=)0.034W/m2K) 8)Noggin)(0.13)W/m2K))(120mm))R=)0.12/)0.13=)0.92W/m2k)+)Insula5on)(Thermawall)TW55))(0.022)W/ m2K))(120mm))R=)0.12/)0.022=)5.45W/m2K)(need)to)average8)0.92+)5.45=)6.37.)6.37/2=)3.185Wm2K.)) 8)Plywood)(0.13)W/m2K))(12mm))R=)0.012/)0.13=)0.092W/m2K) 8)Breather)membrane)(TVEK)Reflex))(0.29)W/m2K))(0.22mm))R=)0.000022/)0.29=)0.000079W/m2K) 8)Ba[en)(0.13)W/m2K))(44mm))R=)0.044/)0.13=)0.34W/m2K) 8)Siberian)Larch)Cladding)(0.13)W/m2K))(100mm))R=)0.1/)0.13=)0.77W/m2K) ) U8)Value=)1/)(0.08+)0.034+)3.185+)0.092)+0.000079+)0.34)+0.77))=0.286W/m2K)

Flat)Warm)Roof) Material)thicknesses)+)conduc5vi5es:) 8 Ceiling/)Wood)panels)(0.13)W/m2K))(21mm)))) R=)0.021/)0.13=)0.16W/m2K) 8 Joists)(0.13)W/m2K))(240mm))R=)0.24/)0.13=) 1.85W/m2K) 8 Decking)(0.13)W/m2K))(30mm))R=)0.03/)0.13=) 0.23W/m2K) 8 Vapour)Control)Layer)(Ac5s)Hcontrol)Reflex)X)) (R=)0.25m2))(8.5mm))R=)0.0085/)0.25=) 0.034W/m2K) 8 Insula5on)(Thermataper)TT47)LPC/FM))(0.024) W/m2K))(200mm))R=)0.2/)0.024=)8.3W/m2K) 8 Waterproof)Layer)(Built)Up)Felt))(0.16)W/m2K)) (2mm))R=)0.002/)0.16=)0.0125W/m2K) U8)Value=)1/)(0.16+)1.85+)0.23+)0.034+)8.3+) 0.0125))=0.094W/m2K)

)

Suspended)Floor) Material)thicknesses)+)conduc5vi5es:) 8 Ceiling/)Wood)panels)(0.13)W/m2K))(21mm))R=)0.021/)0.13=)0.16W/m2K) 8 Joists)(0.13)W/m2K))(240mm))R=)0.24/)0.13=)1.85W/m2K)+)Insula5on)(Kooltherm) K10)FM)Soffit)Board))(0.020)W/m2K))(140mm))0.14/)0.020=)7W/m2K)+)Sand/) cement)mix)(0.53)W/m2K))(100mm))0.1/)0.53=)0.19W/m2K)(need)to)average8) 1.85+)(7+)0.19))=9.04.)9.04/2=)4.52W/m2K) 8 Vapour)control)layer)(Ac5s)Hcontrol)Reflex)+))(R=)0.25m2))(8.5mm))0.0085/)0.25=) 0.034W/m2K) 8 Floor)boards)(0.13)W/m2K))(30mm))0.03/)0.13=)0.23W/m2K) ) U8)Value=)1/)(0.16+)4.52+)0.034+)0.23))=0.202W/m2K)

Windows)+)External)Balcony)Doors) For)my)windows)+)Balcony)doors)I)will)use) ‘Progression’)Triple)glazed)windows.)They)are) Passivhaus)cer5fied)A8Rated)windows)with)a)U8) Value)of)0.68W/m2k.)This)is)going)to)keep)a) considerable)amount)of)heat)in)the)building) compared)to)my)ini5al)windows)which)had)a)U8 Value)of)2W/m2K)

External)Front)Door) I)only)have)one)external)door)(the)front)door)to)the) tutor’s)flat).)For)this)I)will)use)RK)Systems)‘Excellence’) Premium)door)which)has)a)U8)Value)of)0.67W/m2K,)far) be[er)than)the)ini5al)value)of)2W/m2K.)

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DIALux Report on Ground Floor In)order)to)analyse)how)affec5ve)the)glazing)is)in)my)ini5al)design,)I)have)chosen)to)work)on)DIALux.)This)will)tell)me) what)the)distribu5on)of)light)is)like)in)the)internal)spaces)and)let)me)improve)it)by)changing)window)sizes/)window) posi5on/)glazing)type)etc.)

Ini5al)Design) In)my)ini5al)design,)as)you)can)see,)there)are)large)areas)on)the)north)side)where)my)balcony)doors) and)a)large)floor)standing)window)are.)These)extensive)areas)reach)800)LUX,)this)is)far)too)bright)and) will)cause)glare.)In)the)single)bedroom,)there)is)almost)no)light)coming)through,)this)causes)a)very) nega5ve)room.)In)the)kitchen)and)dining)room)lej)side)of)the)image)there)could)be)more)natural)light) coming)through.)On)the)right)side,)this)largely)dark)area)will)actually)be)lit)up)from)the)floor)upstairs) with)light)coming)down)the)open)landing.)

Improved)Design) To)improve)the)corridor)so)that)it)has)more)even)levels)of)ligh5ng,)I) changed)the)original)balcony)doors)from)single)glazing)to)a)more)cloudy,) opaque)glazing,)this)reduces)the)amount)of)light)coming)through.)I)also) changed)the)original,)floor)standing)window)to)come)up)800mm)off)the) ground)and)increase)the)size)to)be)wider,)and)from)single)glazed)to) triple)glazed.)In)the)single)bedroom)I)have)increased)the)size)of)the) window)and)also)added)a)further)window)to)make)a)more)posi5ve) space.)In)the)kitchen)and)dining)room)I)have)added)another)window)and) increased)the)size)of)the)exis5ng)windows,)this)creates)a)brighter)space.)

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DIALux Report on First Floor Ini5al)Design) For)my)ini5al)design,)in)the)master)bedroom,)there)is)a)large)area)of)light)which)reaches)levels)of) 800LUX,)due)to)there)being)a)floor)standing)window.)This)may)cause)glare)and)irritability)for)the) tutor.)On)the)opposite)side,)in)the)bedroom)there)is)a)shortage)of)light)coming)through.)In)the) living)room,)on)the)far)side)there)is)another)area)of)uncomfortable)glaring)light.)The)bathroom)is) very)dark)and)needs)more)light.)On)the)top)right)of)the)image,)this)glaring)amount)of)light)is) permissible)due)to)it)being)the)stairway.)This)area)will)light)up)the)floor)below.)

Improved)Design)

To)improve)the)master)bedroom’s)lightness)I)decided)to)increase)the)original)single)glazed) window)on)the)north)side)to)triple)glazing.)I)also)brought)it)off)the)ground)to)600mm)high)and) widened)it)a)further)600mm.)On)the)south)side,)I)added)a)window)to)balance)and)increase)the) light)coming)in.)In)the)living)room)I)modified)the)large)south)facing)window)to)triple)glazing)and) increased)the)size)of)the)north)facing)window)on)the)right)side)of)the)television.)In)the)bathroom,) I)enlarged)the)window)to)create)a)more)posi5ve)space.)

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Energy Analysis + Research of Possible Alternative Energy Strategies My)SAP)report)shows)how)I)have)managed)to)reduce)the)yearly)space)hea5ng)cost)from)£394.58)to)£248.30,)with)the)emission)rate)reduced)from)12,728.43kWhr/year)to) 8009.735kWhr/year,)producing)1585.92kg)of)CO2)per)year.)The)water)hea5ng)costs)would)be)£153.84)a)year,)with)the)emission)rate)being)4962.856kWhr,)producing)982.645kg)of) CO2)per)year.)Pump)and)fan)costs)would)be)£15.60)a)year)(emission)rate)130kWhr),)producing)67.21kg)of)CO2)per)year.)Ligh5ng)costs)would)be)£92.65)a)year)(emission)rate) 325.8348kWhr),)producing)399.186kg)of)CO2)per)year.)The)total)amount)of)CO2)released)from)this)tutor’s)flat)is)3034.969kg)I)then)decided)to)research)some)alterna5ve)energy) sources)as)I)feel)my)design)could)be)more)carbon)friendly)and)energy8)efficient.)

Photovoltaic)(PV))Panels) A)way)of)producing)direct)current)electricity)in)my)design)by)using)a)natural)source,) the)sun)(solar)power),)could)be)to)employ)photovoltaic)panels)which)could)be) placed)on)my)roof/)walls/)nearby)ground)(most)likely)roof).)These)panels)are)made) up)of)a)number)of)solar)cells)which)convert)energy)from)the)sun)into)usable) electricity)within)the)building.)They)do)not)need)direct)sunlight)for)them)to)work,) in)fact)can)s5ll)produce)electricity)on)a)cloudy)day.)If)the)building)is)producing) more)electricity)than)needed,)the)energy)could)be)in)fact)sold)back)into)the) na5onal)grid.)A)typical)PV)system)could)save)over)30)tonnes)of)carbon)over)its) life5me.)

Ground)Source/)Geothermal)Heat)Pumps) A)way)of)producing)thermal)energy)in)my)design,)and)possibly)reducing)carbon) emissions,)could)be)to)employ)a)ground)source)heat)pump)system,)which)would) generate)heat)in)the)building.)This)uses)the)earth)as)a)heat)source,)using)the)warm) temperatures)in)the)ground,)usually)during)the)winter,)and)in)the)summer,)could) be)used)to)cool)the)building)down.)In)par5cular,)I)could)incorporate)this)system) into)the)two)suspended)floors,)crea5ng)under8floor)hea5ng,)with)pipes)running) through)them.)A)typical)system)I)could)use)would)consist)of)a)‘ground)loop’)which) is)a)ground)to)water)heat)exchanger,)a)heat)pump)and)a)distribu5on)system.)The) heat)exchanger)could)either)be)in)the)form)of)long)pipes)called)a)bore)hole)(up)to) 100m)deep),)or)a)trench)system)much)shallower)around)3m)deep.)According)to) ‘energy)saving)trust’,)these)systems)could)save)up)to)2.9)tonnes)of)CO2)a)year.)

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Biomass) A)way)of)making)my)design)more)eco8)friendly) could)be)to)use)biomass)as)an)energy)source,) i.e)in)the)form)of)a)wood8)burning)boiler.)

Biomass)is)a)renewable,)organic)energy)source) and)can)be)used)as)a)subs5tute)to)diesel)or) coal.)Biomass)does)produce)CO2)when)burnt,) however)the)organic)material)actually) absorbed)the)CO2)which)is)produced)when) burnt,)therefore)it)does)not)actually)increase) in)the)produc5on)of)carbon)dioxide)in)the) atmosphere.)

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ESSAY

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2. Architects of the 20th and 21st centuries not only designed buildings, they also wrote about the principles underlying their work and o<en illustrated them copiously to make a case for a specific approach to architecture. Select a book or manifesto wri@en by an architect and show how it supports a specific case. You might choose to look at in relaBon to the designs of the architect, or to contrast it with another book or manifesto that takes a very different posiBon.

James Clark 130139920

What is the ‘New Architecture’ described by Walter Gropius in his book ‘The New Architecture and the Bauhaus’ (1935) and how far should we consider its principles?

‘The New Architecture and the Bauhaus’ by Walter Gropius’ (1935/1965) explores both; the principles of the ‘New Architecture’, including his key principles of design, ideas on standardization and rationalization and his views on town and city planning. It also explains his teachings at the ‘Bauhaus’. This ‘New Architecture’ is a way of using the key materials of the early 20th century, steel, concrete and glass, to create light, expansive interior spaces due to revelations in the form of; structural frames, expansive glass facades and flat roofs. This new approach to architecture engrossed on designing buildings with an ‘engineers aesthetic’, an example being Gropius’ and Adolf Meyer’s ‘Fagus Shoe-Last Factory’ in 1911 (image on left). Le Corbusier (1923/2008), stated, “relying on calculations, engineers use geometric forms, satisfying our eyes through geometry and our minds through mathematics, their works are on the way to great works of art” (pg 100). Gropius (1935/1965) argues that through the processes of standardization and rationalization, architecture can be factory produced. Voysey (1909) argues that the process of mechanization “can be produced by the elimination of human thought and feeling” (pg 107), however agrees that the ‘machine’ is valuable to society, stating, “I would not have you go back to all methods of hand labour and neglect the aid of the machine. All we need to recognize its material value, and its spiritual imperfection” (pg 108). In the last part of the book, Gropius (1935/1965), explores the problems of town and national planning, recognizing that the expansion of travel services and technical developments is decreasing the time to travel, thus reducing the breach between the town and countryside. For Gropius (1935/1965), this demands for a need of greener, sunnier, and spacious cities, with solutions being, the redistribution of; the relations between industry and agriculture, the population, based on economic and geo-political principles, and an alteration of urban and rural zones within cities.

One of the elements, he (1935/1965) describes as being key to the ‘New Architecture’ is the reduction of the external wall due to a structural frame replacement. He states “instead of making the walls the element of support, as in a brick- built house, our new space saving construction transfers the whole load of the structure to a steel or concrete framework” (pg 26).

He (1935/1965) also argues that wider openings in wall surfaces, therefore, result in better lit rooms, and that the continuous horizontal casement window should be the replacement to the ‘old type of window’ which had to be hollowed out of a full thick, supporting wall. An early example of this case is the rear view of the ‘Administrative Office Building’ in the Werkbund Exhibition by Gropius and Adolf Meyer, 1914 (image on right) which celebrates an expansive array of glass spread across its façade; giving it a light-weight essence.

Another component of the ‘New Architecture’ is the ‘flat roof’. Gropius (1935/1965) stresses the advantages of having a flat roof as, firstly, it allows for a normal height ceiling for the top floor, rather than a dark claustrophobic, pointy attic. Secondly, it allows for the non-use of timber rafters, which Gropius (1935/1965) sees as a fire hazard. Thirdly, the roof can be accessible as an extra private space. Fourthly, it allows for simpler structural provision for future subsequent additions, for example, extra stories. Fifthly, less need for repairs due to unnecessary surfaces presented to the wind and weather. And lastly, it suppresses gutters and external rain pipes which often erode easily. Gropius (1935/1965) states, “the utilization of flat roofs as ‘grounds’ offers us a means of re- acclimatizing nature” (pg 30), arguing that the plot from which the building uses is reclaimed by the practicality of the accessible flat roof.

TWENTIETH CENTURY ARCHITECTURE / 109

Gropius (1935/1965) writes, “our age has initiated a rationalization of industry based on the kind of working partnership between manual and mechanical production we call standardization” (pg 33). These standards, or ‘norms’, are described as any standard exemplar, which is for general use; this is a combination of the best of its anterior forms, and all personal content of the designers and unessential features are removed. The images on the left are typical Bauhaus products, which were mass- produced by German manufacturers. He (1935/1965) claims that through the adoption of type- forms/ standards, a well ordered society is created as repetition of things for the same purposes molds a settling and calming influence on men’s minds. Gropius (1925/1965) turns the idea to housing, stating, “at the basic cellular unit of that larger unit the street, the dwelling- house represents a typical group- organism” (pg 37). He (1935/1965) argues that diversity in their sizes would provide the necessary variation and cause natural competition between dissimilar houses side by side. He (1935/1965) argues that the most ‘admired cities’ of the past provide proof that typified buildings enhance civic coherence and dignity. Voysey (1909), a textile designer and architect of the Arts & Craft movement who designed every detail of his houses, would argue that standardization lacks human detail. He (1909) writes, “the human quality in familiar objects has in many cases been driven out by the machine” (pg 107). He (1909) also states, “it is delightful to see the skill of hand and eye. All evidence of painstaking is a joy to behold. But in our materialism we have run after the perfection of the machine and preferred it to the perfection of the human heart” (pg 108).

In Gropius’ (1935/1965) chapter on ‘rationalization’, he states “we are approaching a state of technical proficiency when it will become possible to rationalize buildings and massproduce them in factories by resolving their structure into a number of component parts” (pg 39). He (1935/1965) argues that the pre- fabricated house can be loaded into a couple of lorries and the components can be quickly fitted together on site. He (1935/1965) says the advantage of this is due to the manufacturing being done indoors, thus independent of on site weather conditions which is important as moisture is the principle obstacle to economy in mortar joints due to; badly fitting joints, staining and time due to drying. Thus, he (1935/1965) argues that the pre- fabricated house will have a fixed price and definite period of construction, and by using modern materials enables the stability and insulation of a building to be increased and the weight decreased. Le Corbusier (1923/2008) agrees with the concept of mass- produced housing, he writes “if we eliminate from our hearts and minds all dead concepts in regard to the houses and look at the question from a critical and objective point of view, we shall arrive at the ‘House- Machine’, the mass production house” (pg 12-13). The images on the right are of ‘Copper- Plate Houses’ by Walter Gropius, 1932, which were designed for mass- production.

Images show the dry assembly of the walls.

Gropius (1935/1965), states, “technical developments are transplanting urban civilization into the countryside and reacclimatizing nature in the heart of the city” (pg 100). He (1935/1965) claims that there is a needed call for more spacious, greener and sunnier cities, and that its corollary is a division between what is; residential, industrial and commercial, through the provision of well coordinated transport links. Gropius states “thus the goal of the modern town planner should be to bring town and country into closer and closer relationship” (pg 100).

Howard (1985) agrees with this principle, he states, “Town and country must be married, and out of this joyous union will spring a new hope, a new life, a new civilization” (pg 11). Gropius (1935/1965) admits his indecision on what the most suitable dwelling for the bulk population is, whether a separate house with gardens on their own, tenement blocks of 2-5 floors, or 8-12 storied buildings. He (1935/1965) states that this dwelling is dependent on the person’s; profession, income, and personal tastes, however, the separate house is naturally the most welcoming in a great city due to a greater sense of seclusion and possession, and the asset of a garden. He (1935/1965) writes that the tenement block should be regarded as a necessary evil

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as it is a true embodiment of our age but its obvious defects (lack of space/ no garden) deter it from reconsidering its practical possibilities in a new light. He (1935/1965) argues that 8-12 storied blocks tend to be better than 3-5, writing, “dwellings of this kind satisfy all requirements in regard to light, air, tranquility and rapid egress; besides offering many conveniences it is almost impossible to provide in private houses” (pg 109). He (1935/1965) says this is due to the ground floor windows of the flat looking onto a clear view of the sky over the broad expanses of grass and trees, serving as children’s playgrounds, which separate the tenement blocks. He (1935/1965) writes, “Thus an oasis of verdure can be created in the midst of the stony deserts of streets” (pg 102). He (1935/1965) suggests that the flat roofs of these tall buildings consisting of gardens will eradicate the unhappy reputation of the ‘tenement blocks’. He (1935/1965) argues that both ‘Flachbau’ and ‘Hochbau’, or ‘horizontal and vertical housing’ ought to be developed side by side, where the former more produced in suburban areas and the latter in the dense, populous areas, and argues for the abolishment of the ‘Mittelbau’, or ‘blocks of intermediate height’.

He (1935/1965) suggests that the defects of urban buildings, their lack of; light, air, quietness and space can be solved by an increase in living- space, due to the multiplication of floors. He (1925/1965) argues that, “in comparison with two- storied, ten- storied blocks have over 60 per cent more utilizable superficial area” (pg 106), when an equal amount and angle of light is shone on the buildings. He (1935/1965) says that in order words, we gain a much more generous amount of light, sun and air through having an almost ten times wider interval between the blocks than in the case of the two- storied buildings, and with no corresponding practical drawbacks, also; valuable space made for car- parking and shops between the blocks is made. He (1925/1965) concludes that practical experience alone can determine the suitable height for the office block, however structural calculations and financial calculations suggests an eleven- storey type is best.

In conclusion, the simplified concept and principles of the ‘New Architecture’ seem to successfully address its main aim of providing a new way to create lighter, more spacious buildings, using the main constructional materials of its time; which, in turn, can be factoryproduced to enable its precision. However, Gropius’ (1935/1965) view of mechanization is very much a risky concept, running the threat of neglecting thousands of years of past cultural workmanship. Not only that, but it neglects past and present ‘architectural styles’ considering itself as the one and only way to design buildings. Following this, I believe that the ‘New Architecture’ should simply be regarded as a helpful and relevant, early insight to approach contemporary design, but one, which should be taken with notable uncertainty.

Bibliography/ Sources of Images: - Corbusier, L. (2008) ‘Toward an Architecture’, first published as ‘Vers une archtecture’ in French in 1923, trans. J. Goodman, London: Frances Lincoln Ltd

- Gropius, W. (1965) ‘The New Architecture and the Bauhaus’, first published in German in 1925, trans. P. Morton-Shand, London: Faber and Faber Ltd

- Howard, E. (1985) ‘The Master Key- An introduction by Ebenezer Howard’ in ‘Garden Cities of Tomorrow: New Illustrated Edition’, Ireland: Attic Press - Voysey, C.F.A. (1909) ‘Ideas in Things’ in ‘The Arts Connected with Building’, ed. Raffles Davidson, T. London, B.T. Batsford

- Front Cover Image portraying concepts of an ‘engineers aesthetic’, mechanization and formtaken inside the High Level Bridge (own image) - Image of Fagus Shoe Factory by Edmund Lill, 1924

- Images of; the Administrative Office Building in the Werkbund Exhibition, 1914, Bauhaus Standardized products and the pre- fabricated Copper plated houses, 1932, all taken from Walter Gropius’ book ‘The New Architecture and the Bauhaus’

EMBODIED DRAWING

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DISSERTATION STUDIES &

RESEARCH

METHODS

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PROPOSAL

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An Exploration of Alternative Ethical Approaches to Architectural Design in Cities/ An Exploration of Different Models of Practices and their Aims and Roles in Society

Since I do not, at this present stage, know which aspect of architectural design I would like to specify with; I would like to use this dissertation as a platform for which I can explore my beliefs and ethical values on architectural practice. I would like to explore the roles and values practices have in society, or communities, especially in cities, and the extent to which these values are implemented. Chan, J. (2013) writes, “While all research on ethics in architecture agrees to its importance, none has ventured further to consider how to teach ethics in architecture.”1 I would like to find out the extent to which these values are implemented in their decisions, Cuff, D. (1992) writes, “members of an office must share common values... In most architectural offices values are ambiguous because they cannot be enumerated or made explicit.”2 I would mostly likely focus on researching the quirkier practices with non-traditional models, possibly writing case studies on them. Hopefully I will gain a broader perspective of the kind of practice I wish to work for in the future.

I would like to explore the aims of some large architectural practices in today’s capitalistic society, are they possibly designing for profitable reasons? Are their aims really for the ‘community’ in cities, or are projects simply chosen which provide expansion and notability for the practice? This research could feature examples where large architectural practices have possibly neglected past historic values and styles of cities and towns; instead implementing a generic style. An example being Daniel Libeskind’s proposed design for the Physics Centre for Durham University. Is this simply an ego trip whereby he believes he can replicate ‘his style’ of building in any city with very little reference to that cities history? Are cities becoming homogenous? Is the future of architecture/ the build environment solely in the hands of large practices controlling the future of our Figure 1: Daniel’s Libeskind’s Proposed design for the Physics Centre for Durham University cityscapes?

century. I'm tired of this discussion of capitalism and socialism; we live in the 21st century; we need an economic system that has democracy as its underpinnings and an ethical code.”

Bibliography/ Works Cited: Chan, J. K. H. (2013). ‘Teaching ethics in architecture: contexts, issues and strategies’. Journal of the NUS Teaching Academy, 3(3), pg 85-99.

Cuff, D. (1992) ‘Architecture: The Story of Practice’, MIT Press; New Ed edition Moore, M (2009) ‘Dealbook’s interview with Michael Moore’, interviewed by Dealbook, in New York Times, 23 September Source of Image:

http://www.dezeen.com/2014/01/14/daniel-libeskind-physics-centre-durhamuniversity/

I would like to research practices, which place heavy focus on seeking to help the community (in cities), where there is not an aim of profit and maybe the money the practice makes is put back into the practice, such as social enterprises. I would like to really explore alternative architectural practices with socialist/ alternative models and find out how their ‘business’ operates and functions and what their core ethical values are and is there a wider application of some of these values? Or do they use a completely different model, which might resonate with their surrounding community. Moore, M (2009), interviewed by Dealbook in NY Times stated, “Here's what I don't think works: An economic system that was founded in the 16th century and another that was founded in the 19th

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THE

PLACE OF

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POSTER

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THE PLACE OF HOUSES Le Corbusier (1923) wrote: “all men have the same organism, the same functions. All men have the same needs. …I propose one single building for all nations.” Offer a critique of this position and contrast it with the theoretical ideas of home as presented by Dovey and other theorists.

When Le Corbusier makes this statement in his book ‘Towards a New Architecture’, we can assume by saying “men” he means, “people”; this particular ignorance, in a way, is a representation of his wider ignorance in also assuming that all people are the same. The fact is, that people have different requirements, due to an array of complex reasons and there is no single explanation, Amos Rapoport (1969, p.46) writes “all possible explanations, however are variations on a single theme: people with very different attitudes and ideals respond to varied physical environments. These responses vary from place to place because of changes and differences in the interplay of social, cultural, ritual, economic and physical factors.” Other theorists have varying ideas regarding this issue, but they all tend to agree on the principle that people demand different needs.

In the second part of Le Corbusier’s statement, he talks about proposing “one single building for all nations”; this is another way of him describing mass production housing. He says “If we eliminate from our hearts and minds all dead concepts in regard to the houses and look at the question from a critical and objective point of view, we shall arrive at the ‘House- Machine’, the mass production house, healthy (and morally so too) and beautiful” (p.12, 13). An example of such mass production housing is ‘Pruitt-Igoe’ in St. Louis, Missouri, U.S.A, which was built in 1954 due to the city being overcrowded and having poor living conditions. This building complex soon became notorious for its social decay, creating a neighbourhood even poorer than before and an increase in criminal activity. This lead up to its shortcoming demolition in 1972; leaving 2,870 apartments to be destroyed and 36 million dollars wasted.

Kim Dovey (1985) would argue that there could not be ‘one single building for all nations’ as ‘home’ “is an emotionally based and meaningful relationship between dwellers and their dwelling places” (p.34), therefore people in different nations would require different types of buildings. He names three properties by which the meaning of home can be approached, home as; order, identity and connectedness (p.34). Dovey’s (1985) first property of home, home as order, he describes as “being at home is a mode of being whereby we are orientated within a spatial, temporal and socio cultural order that we understand” (p.35).

This means that for Dovey (1985), home; is the centre of an individual’s spatial ordered world, it is a relationship which is temporal, timely and develops from past experiences, memories and behavioural cycles, and it is rooted in our unique socio cultural influences that impact the way the dwelling is. The image below is a photoshopped representation of ‘home as a temporal order’, using my street, my home.

Dovey (1985) recognizes that home is more than just a cognitively recognizable place but it is something for which we each have an emotional tie to, and a “connectedness between the dweller and the dwelling” (p.40). In this, he is explaining his notion of ‘home as identity’, which includes ‘spatial identity’ and ‘temporal identity’. There is an opposition in social and individual interpretations of identity with the debate being whether identity of our homes comes from social structure and is only a socially desired identity or is in fact a deeper connection between our homes and our individual character through our own personalization (p.40).

This idea of personalization can be seen in these images of a row of houses in Gilesgate, Durham whereby facades of houses are painted to distinguish themselves amongst one another, some of which have quirky names too.

Mass production housing in 1970’s Great Britain was another example of how this idea can be a disaster. This idea was soon interpreted as a ‘number’s game’, trying to construct as many blocks as they could with very little quality control. These industrialized buildings, which were made in factories with pre- fabricated components, were built like house of cards, with the blocks having no central frame and their strength ultimately resting on the bolts and fixings between the concrete panels. As councils demolished these short- lived housing blocks; many of these connections of wall ties and fixings were seen to be nonexistent. An example of a large scale British public housing failure is Killingworth Towers, built in the early 70’s and demolished in 1987. This building began to decline; vandals damaged the lifts, bins and stairwells, dogs blocked the walkways and youths used the walkway as a racetrack.

What these previous examples of mass production housing did not consider was the clients’ needs and their environment, Dovey (1985, p.34) states, “home is best conceived of as a kind of relationship between people and their environment.” A good example of how mass production housing can work, by working with the clientele, is Byker Estate by Ralph Erskine, built in 1968 and still functioning today. Erskine, unlike Le Corbusier, realized that this is a specific site, therefore specific needs need to be understood. He even had his office in Byker to be around the environment he was designing for and communicated with the locals, encouraging feedback with the future tenants on his working designs. Turner (1972) when analyzing the relationship between architects and clients writes, “he will therefore support open systems in which the output is the product of a dialogue between rule makers and game players, without which there would be no existential freedom” (p.162). Erskine designed a north facing, long high-rise wall, which faces a dual carriageway; this had small windows to reduce noise pollution. The south facing side has terraces and larger windows to maximize natural sunlight. Also included were; pedestrian paths, open green spaces with picnic tables, variation in sizes of rooms for different clients, variety of bright colours to make it a stimulating and distinctive place, intensive landscaping, recycled materials and old stone and Pallasmaa writes, “home is an individualized dwelling, and the means of this subtle personalization seems to be outside our nocarvings from the pre- existing Byker infrastructure. All these tion of architecture.” characteristics created a positive living environment and reinforced the local’s previous sense of having a strong social capital.

Dovey’s (1985) third view is that home is essentially a connectedness between people, between place, between past and the future: A connectedness between people providing social order, community and family. A connectedness between place; home environment, rootedness and culture. A connectedness with the past; memories and experiences, which form our home.

Connectedness with the future; power to develop and progress our environment (p.43, 44). This idea of connectedness could be applied in the design of the mass produced house, with special care taken in designing environments, which encourage this connectedness.

Le Corbusier is arguing that people’s needs are the same, the same across all nations. However, in fact, ideas of gender roles change with different era’s and cultures; 40 years ago, there were fewer women working, with their role seen as being the nurturer in a household, and the man tending to be the worker.

He also does not consider elderly people. For instance, if elderly people were to live on the top floor of these mass-produced blocks they might struggle getting to the bottom. They also might require special care and help for everyday tasks and so; their dwellings might need to be designed in a way, which helps them.

Co- housing is an idea, originating in Scandinavian, which works with the idea of sharing responsibilities to work in co- operation with the neighbor, to form a community whereby tasks associated with living are shared responsibly. This can be a good approach for housing older people whose life would be made much easier with helping each other out. The idea being that older people tend to turn to their neighbor instead of kin who live further away. An example of this proposition is Oakcreek Cohousing Community in Stillwater, Kansas, USA. This neighbourhood is a community with privately own houses situated around a ‘common house’ which functions as a shared space.

To conclude, I believe that Le Corbusier makes the mistake of heavily generalizing when suggesting that ‘all men have the same needs’, as people from different nations have varying views on what ‘home’ is. Pallasmaa writes, “It is clear that the experience of home consists of and integrates an incredible array of mental dimensions from that of nationality and being subject to a specific culture”. Therefore, his proposition of ‘one building for all nations’, or the ‘House- Machine’, is a flawed idea as it cannot be designed in a way to satisfy all cultures and nations.

Word count: 1426 Bibliography: - Dovey, K. (1985) ‘Home and Homelessness’ in Altman, I. and Werner, C. M. (eds.), ‘Home Environments’, New York and London: Plenum Press, 3364 - Le Corbusier (1927) Towards a New Architecture, London, Architectural press - Turner, J. (1972) ‘Housing as a Verb’ in John F C Turner & Robert Fichter, Collier Macmillan (eds.), ‘Freedom to Build, dweller control of the housing process’, New York, 148- 175 - Rapoport, A. (1969) ‘Socio- Cultural factors and house form’ in Philip Wagner (eds.), ‘House Form and Culture’ (Foundations of Cultural Georgraphy Series), Englewood Cliffs, N. J: Prentice Hall, 46- 73 - Pallasmaa, J. Identity, Intimacy and Domicile: Notes on the Phenomenology of Home - Souce of Le Corbusier image: https://rgerman.files.wordpress. com/2010/02/le-cobousier.jpg - Source of Pruitt-Igoe image: http://www.arquitectoscostarica. com/2013/02/pruitt-igoe-el-dia-que-la-arquitectura-moderna-murio/

James Clark 130139920

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