ESALA MArch Academic Architecture Portfolio

folio.

academic portfolio [masters of architecture]

[ 2020 ]

EDINBURGH SCHOOL OF ARCHITECTURE & LANDCSAPE ARCHITECTURE

* joseph coulter / MArch 2

EDINBURGH SCHOOL OF ARCHITECTURE & LANDCSAPE ARCHITECTURE

[ 2020 ]

design.

design.

practice.

report. folio.

[ DES C ] [ AMPL ] [ DES D ] [ REP]

ACADEMIC PROTFOLIO: MASTERS OF ARCHITECTURE

[ 2 020 ]

DESIGN REPORT: NEAPOLITAN POROSITIES

Academic Portfolio 2 MArch 2 / Semester 2

Design Report MArch 2 / Semester 2

Design Studio D MArch 2 / Semester 2

[ DES B ]

[ 2 020 ]

CITY FRAGMENTS: NEAPOLITAN POROSITIES

[ ATR ]

[ 2 020 ]

[ DES G ] Architectural Managment, Practice & Law MArch 2 / Semester 1

Design Studio G MArch 1 / Semester 1

POETIC THINKING: JOURNALS /ESSAY

[ 2 01 9 ]

CITY FRAGMENTS: PALERMO INSTITUTIONS

[ 2 01 9 ]

Studies in Contemporary Architectural Theory MArch 1 / Semester 2

Design Studio B MArch 1 / Semester 2

TECHNOLOGY RESERACH: Architectural Technology Research MArch 1 / Semester 1 GENERIC / CONTEXTUAL

[ 2 01 8 ]

CITY FRAGMENTS: PALERMO INSTITUTIONS

[ 2 01 8 ]

theory.

MArch 1

design.

MANAGEMENT & PRACTICE: CONTRACT GAME / EXAM / DRAWINGS

This portfolio is a comprehensive record of the academic work produced during the Masters of Architecture Programme (MArch) at the Edinburgh School of Architecture and Landscape Architecture (ESALA) , Edinburgh College of Art, University of Edinburgh. It includes design project work and associated theses, essays, reports, and dissertations, along with the project briefs, essay questions, and course outlines.The digital portfolio both celebrates the breadth of the enquiries undertaken during the time on the programme and its satisfaction of the required professional criteria to acquire the RIBA Part 2 qualification.

[ 2 01 9 ]

Preface

Design Studio C MArch 2 / Semester 1

* joseph coulter / MArch 2

tech.

CITY FRAGMENTS: NEAPOLITAN POROSITIES

[masters of architecture]

design.

[ 2 01 9 ]

academic portfolio

MArch 2

folio.

[ SCAT]

[ FOLIO]

Course / Module Navigation As per the previous course / programme mapping the following code and colour identify with corresponding course(s) / module(s).

studio / module / seminar title [brief two: act (I)]

module.

Course / Module Title As per the previous course / programme mapping the following code and colour identify with corresponding course(s) / module(s).

Title: Sub-title Extended project brief, objectives and outputs.

An extended project brief that situates the inentions of the course against the ARB criteria that is mapped for each module.

L01. Learning Outcome One L02. Learning Outcome Two L03. Learning Outcome Three

Learning Outcomes

L04. Learning Outcome Four

The unique set of learning outcomes set for each course that are used to assess the associated module.

student name / MArch stage student name / MArch stage

Course Brief

MArch1 [ DES X ] [ ATR ]

[ DES X]

[ YEAR ]

STUDIO / MODULE : TITLE / SUB-TITLE

[ SCAT]

*tutor name *tutor name

MArch2

Programme Navigation Over the course of the masters program broken down into four semesters over two academic years of study, this key identifies when the work was undertaken in the module in the context of the programme.

Course Leader(s) & Associated Tutor(s) Key members of staff associated with the teaching of the course / module.

[ DES X ] [ AMPL ] [ DES X] [ REP ]

[ FOLIO ]

[ collaborators ]

[ graduate attributes ]

EI AM GL EM KSa KSi

2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

[CODE ] page

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 11.1 10.2 11.2 10.3 11.3

001

ARB General Criteria for Part 2 Each course and each page highlight the ARB General Criteria that was satisfied throughout the programme as defined by the ARB Criteria booklet.

ARB Graduate Attributes for Part 2 The appropriate criteria is highlighted to define the context of the work as per the specific requirements defined by the ARB Criteria booklet.

Each of the course(s) / module(s) achieve a variety of these criteria, with the programme culminating in satisfying each of these requirements as necessary for Part 2 accreditation.

course / studio main page caption and title title

Collaboration Acknowledgement Over the course of the masters program collaboration within various size groups was encouraged. Collaborations occured in the majority of modules; with Eirrean Ianetta-Mackay (EI) in ATR; Ariana Monioudis (AM) in Design Studios G & B; Grace Losasso (GL) in AMPL; and Eirini Makarouni (EM), Kat Saranti (KSa) and Katy Sidwell (KSi) in Design Studios C & D

MArch1

Course / Module Navigation

[ DES X ]

As per the previous course / programme mapping the following code and colour identify with corresponding course(s) / module(s).

[ DES X]

[ ATR ]

[ SCAT] MArch2

[ DES X ] [ AMPL ] [ DES X] [ REP ]

[ FOLIO ]

module.

[ YEAR ]

STUDIO / MODULE : TITLE / SUB-TITLE

Programme Navigation Course Year of Study / Semester of Study

Over the course of the masters program broken down into four semesters over two academic years of study, this key identifies when the work was undertaken in the module in the context of the programme.

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

[ FOLIO] page

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 11.1 10.2 11.2 10.3 11.3

001

ARB Graduate Attributes for Part 2 The appropriate criteria is highlighted to define the context of the work as per the specific requirements defined by the ARB Criteria booklet.

Each of the course(s) / module(s) achieve a variety of these criteria, with the programme culminating in satisfying each of these requirements as necessary for Part 2 accreditation.

ARB Graduate Attributes for Part 2

GA2: with regard to meeting the eleven General Criteria at Parts 1 and 2 above, the Part 2 will be awarded to students who have;

2.3 - ability to evaluate materials, processes and techniques that apply to complex architectural designs and building construction, and to integrate these into practicable design proposals; 2.4 - critical understanding of how knowledge is advanced through research to produce clear, logically argued and original written work relating to architectural culture, theory and design;

ARB part two criteria mapping

2.2 - ability to evaluate and apply a comprehensive range of visual, oral and written media to test, analyse, critically appraise and explain design proposals;

academic portfolio

2.1 - ability to generate complex design proposals showing understanding of current architectural issues, originality in the application of subject knowledge and, where appropriate, to test new hypotheses and speculations;

2.5 - understanding of the context of the architect and the construction industry, including the architect’s role in the processes of procurement and building production, and under legislation; MArch1 [ DE S G ] [ ATR ]

[ DES B ] [ SCAT] MArch2 [ DES C ] [ AMPL ]

[ DES D] [ REP ]

folio.

[[ FO LIO ]] FOLIO

[ 2 020 ]

ACADEMIC PORTFOLIO: MASTERS OF ARCHITECTURE

Academic Portfolio 2 MArch 2 / Semester 2

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

[ FOLIO ] page

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

002

10.1 11.1 10.2 11.2 10.3 11.3

ARB General Criteria for Part 2 Each course and each page highlight the ARB General Criteria that was satisfied throughout the programme as defined by the ARB Criteria booklet.

ARB General Criterie for Part 2

GC1: Ability to create architectural designs that satisfy both aesthetic and technical requirements.

1.1 - prepare and present building design projects of diverse scale, complexity, and type in a variety of contexts, using a range of media, and in response to a brief; 1.2 - understand the constructional and structural systems, the environmental strategies and the regulatory requirements that apply to the design and construction of a comprehensive design project; 1.3 - develop a conceptual and critical approach to architectural design that integrates and satisfies the aesthetic aspects of a building and the technical requirements of its construction and the needs of the user.

GC3: Knowledge of the fine arts as an influence on the quality of architectural design.

3.1 - how the theories, practices and technologies of the arts influence architectural design; 3.2 - the creative application of the fine arts and their relevance and impact on architecture; 3.3 - the creative application of such work to studio design projects, in terms of their conceptualisation and representation.

GC4: Adequate knowledge of urban design, planning and the skills involved in the planning process.

4.1 - theories of urban design and the planning of communities; 4.2 - the influence of the design and development of cities, past and present on the contemporary built environment; 4.3 - current planning policy and development control legislation, including social, environmental and economic aspects, and the relevance of these to design development.

GC6: Understanding of the profession of architecture and the role of the architect in society, in particular in preparing briefs that take account of social factors.

6.1 - the nature of professionalism and the duties and responsibilities of architects to clients, building users, constructors, co-professionals and the wider society; 6.2 - the role of the architect within the design team and construction industry, recognising the importance of current methods and trends in the construction of the built environment; 6.3 - the potential impact of building projects on existing and proposed communities.

GC7: Understanding of the methods of investigation and preparation of the brief for a design project.

7.1 - the need to critically review precedents relevant to the function, organisation and technological strategy of design proposals; 7.2 - the need to appraise and prepare building briefs of diverse scales and types, to define client and user requirements and their appropriateness to site and context; 7.3 - the contributions of architects and co-professionals to the formulation of the brief, and the methods of investigation used in its preparation.

GC8: Understanding of the structural design, constructional and engineering problems associated with building design.

8.1 - the investigation, critical appraisal and selection of alternative structural, constructional and material systems relevant to architectural design; 8.2 - strategies for building construction, and ability to integrate knowledge of structural principles and construction techniques; 8.3 - the physical properties and characteristics of building materials, components and systems, and the environmental impact of specification choices.

9.1 - principles associated with designing optimum visual, thermal and acoustic environments; 9.2 - systems for environmental comfort realised within relevant precepts of sustainable design; 9.3 - strategies for building services, and ability to integrate these in a design project.

GC10: The necessary design skills to meet building users’ requirements within the constraints imposed by cost factors and building regulations.

10.1 - critically examine the financial factors implied in varying building types, constructional systems, and specification choices, and the impact of these on architectural design; 10.2 - understand the cost control mechanisms which operate during the development of a project; 10.3 - prepare designs that will meet building users’ requirements and comply with UK legislation, appropriate performance standards and health and safety requirements.

GC11: Adequate knowledge of the industries, organisations, regulations and procedures involved in translating design concepts into buildings and integrating plans into overall planning.

11.1 - the fundamental legal, professional and statutory responsibilities of the architect, and the organisations, regulations and procedures involved in the negotiation and approval of architectural designs, including land law, development control, building regulations and health and safety legislation; 11.2 - the professional inter-relationships of individuals and organisations involved in procuring and delivering architectural projects, and how these are defined through contractual and organisational structures; 11.3 - the basic management theories and business principles related to running both an architect’s practice and architectural projects, recognising current and emerging trends in the construction industry.

ARB part two criteria mapping

2.1 - the cultural, social and intellectual histories, theories and technologies that influence the design of buildings; 2.2 - the influence of history and theory on the spatial, social, and technological aspects of architecture; 2.4 - the application of appropriate theoretical concepts to studio design projects, demonstrating a reflective and critical approach.

5.1 - the needs and aspirations of building users; 5.2 - the impact of buildings on the environment, and the precepts of sustainable design; 5.3 - the way in which buildings fit in to their local context.

GC9: Adequate knowledge of physical problems and technologies and the function of buildings so as to provide them with internal conditions of comfort and protection against the climate.

academic portfolio

GC2: Adequate knowledge of the histories and theories of architecture and the related arts, technologies and human sciences.

GC5: Understanding of the relationship between people and buildings, and between buildings and their environment, and the need to relate buildings and the spaces between them to human needs and scale.

MArch1 [ DE S G ] [ ATR ]

[ DES B ] [ SCAT] MArch2 [ DES C ] [ AMPL ]

[ DES D] [ REP ]

folio.

[[ FO LIO ]] FOLIO

[ 2 020 ]

ACADEMIC PORTFOLIO: MASTERS OF ARCHITECTURE

Academic Portfolio 2 MArch 2 / Semester 2

design.

palermo institution(s) [brief two: act (I)]

City Fragments: Palermo Institutions Through City Fragments: Palermo Institutions we will not attempt to unify these distinct parts of the city, the city is built around their different times, spaces and forms. Rather, we are interested in acknowledging that this historically multiple, fragmented city, somehow, works; it is a place of work.We are interested in exploring how we might intervene in the intersections between the different spaces of the city (which embody different times, politics, histories, etc.) to develop new spaces for Palermo.

L01. To develop and act upon a productive conceptual framework based on a critical analysis of relevant issues. .

L02. To develop an architectural spatial and material language that is carefully considered at an experiential level.

L03. To investigate, appraise and develop clear strategies for technological and environmental decision.

joseph coulter / MArch 1 ariana monioudis / MArch 2

You will develop proposals for complex, institutional buildings, combining public and private spaces and programmes, that respond to the themes put forward as means for engaging with and understanding Palermo as a city of (historical, material, social) fragments. All of these spaces are spaces in which the city is performed (in one way or another) before it is made, and at the same time spaces that are reformed in the process of making the city.

L04. The development of skills in using, differing forms of representation to explain a design project.

MArch1 [ DES G ]

[ 2018 ]

CITY FRAGMENTS: PALERMO INSTITUTIONS

[ ATR ]

*chris french *maria mitsoula

[ DES B ] [ SCAT] MArch2 [ DES C ] [ AMPL ]

[ DES D] [ REP ]

[ FOLIO ]

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

[ DES G ] page

6.1 6.2 6.3

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10.1 11.1 10.2 11.2 10.3 11.3

001

palermo institutions a city of ‘chaos’ &‘decay’

Palermo is a city of pomp, performance and pageantry. It is home to the largest Opera House in Europe, the Teatro Massimo, built to celebrate the unification of Italy.

At its height, during the Belle Époque, the urban palazzi of the princes of the city – adorned with material that announced the wealth of an aristocracy at odds with a population in relative poverty – hosted extravagant balls and feasts (memorably described in Lampedusa’s The Leopard).

Today, the palazzi are in ruins, a result of profligacy, the bombings of World

War II and the abandonment of the old city. Theatres lie closed or in ruins. Despite increasing economic disparities, UNESCO funding and money deriving from the integration of the city into global real estate networks has resulted in only highvalue restoration projects, spaces offlimits to many.

The local response has been to reclaim the abandoned palaces; desolate buildings are being reappropriated by agents motivated to expose the cultural fractures present in the city. These re-appropriations re-figure classical notions of publicity and privacy, piazza and palazzo,

and performer and spectator, culminating in new public palaces composed of interiors where publicity is performed. The city has become a stage; a new era of affective theatricality is emerging.

The response of the thesis,‘Performing La Vucciria’, proposes a performative tectonics of masks, curtains and veils. An Institution forTelevision and Radio Broadcast in the heart of La Vucciria.

MArch1 [ DES G] [ ATR ]

[ DES B ] [ SCAT] MArch2 [ DES C ] [ AMPL ]

[ DES D] [ REP ]

design.

[ FOLIO ]

[ 2 01 8 ]

CITY FRAGMENTS: PALERMO INSTITUTIONS

Design Studio G MArch 1 / Semester 1

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

The drawing come installation also reiterates the difference in the urban fabric between the neighbouring districts of Kalsa

1.1 1.2 1.3

2.1 2.2 2.3

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4.1 4.2 4.3

5.1 5.2 5.3

and Castellammare. Selecting only key routes through both districts and their surrounding buildings the activity and chaos is presenting amidst Palermo’s decaying historic centre.

The drawing voids the massing of the city and reflects on the lost landscape that is hidden within the city. Being able to see through from one to the other enquires for a new perspective on the city and walking between the two allows considers how one may be regarded in relation to the other.

[ DES G ] page

6.1 6.2 6.3

7.1 7.2 7.3

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10.1 11.1 10.2 11.2 10.3 11.3

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drawing ‘out’ & ‘through’ palermo institutions a ‘lost landscape’

Through the ‘act’ of folding in and out ‘interior’ courtyards and ‘external’ piazzas and the series of ‘screens’ explores potential palazzo/piazza relationships and their positions within the city. Contextualising the urban sprawl of the open spaces also initiated a discussion in how certain urban moves, in specific locations, might re-make parts of the city and even intervene in the wider city scale.

[ general criteria ]

MArch1 [ DES G] [ ATR ]

[ DES B ] [ SCAT] MArch2 [ DES C ] [ AMPL ]

[ DES D] [ REP ]

design.

[ FOLIO ]

[ 2 01 8 ]

CITY FRAGMENTS: PALERMO INSTITUTIONS

Design Studio G MArch 1 / Semester 1

[ collaborators ]

[ graduate attributes ]

EI AM GL EM KSa KSi

[ general criteria ]

2.1 2.2 2.3 2.4 2.5 2.6 2.7

1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

* Piazza San Domenico

[ DES G ] page

6.1 6.2 6.3

7.1 7.2 7.3

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* La Cala

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‘Abandonland’

VII .

5.

3.

7.

V.

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III

2.

1.

[C]

[B]

raffelo

* Piazza Gar [A]

Gates ric City to Histo

paradoxical occurrence present in Vucciria. As a representation of the duality of the ‘high’ and ‘low’ arts of the city and of the North & South, the scenes are scored to a cut of Giuseppe Verdi’s grand opera ‘Les Vêpres Siciliennes’ and one of Jaentsch’s vide works.

tro os rn ate oP dr san lle aA Vi

8.

Additionally how the existing situation has generated our working processes and thesis outputs later translated into the final programme is compared. Furthermore, the appropriateness of paper in relation to these conditions is identified.

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representation becoming as relevant to the content. Its narrative not only exposes the range of theatricality in the city, paralleling the formal traditional mode of performance with the everyday unscripted events occurring across the city.

cinematic thesis performance

The video operated as an exploratory

Mer chatool nt E as much as an explanatory one.xchanThe double screens and ge w ith M playful performative nature of its ercat o del la Vuc example of production, are another ciria

It also helps to build a picture of Vucciria, one of the four districts in the historic centre and where the thesis takes focus. In particular it presents the iconic Piazza Garraffello, the chosen site for the project, whilst bringing further attention to the contradictory nature of the high and low art culture of Palermo, building on the image of a fragmented city.

MArch1 [ DES G] [ ATR ]

[ DES B ] [ SCAT] MArch2

By representing the videos in parallel, to be played in unison to the same soundtrack, sometimes converging and other times diverging becomes reminiscent of the supportive and

[ 2 01 8 ]

CITY FRAGMENTS: PALERMO INSTITUTIONS

Design Studio G MArch 1 / Semester 1

[ AMPL ]

[ DES D] [ REP ]

ALAB* Artisans

IV

[ DES C ]

Cre ative Exch ange with

design.

palermo institutions

a + Via Rom

4.

olo cci ara C a azz * Pi

6.

[ FOLIO ]

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ]

[ DES G ] page

[ general criteria ]

2.1 2.2 2.3 2.4 2.5 2.6 2.7

1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

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fields of performance & palermo institutions instituional territories

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Taking the district of Castellemmare as an extended site for the thesis to intervene, the project begins to identify ‘fields of performance’ as territories for intervention.

These territories are established and anchored through the existing piazzas and the dualities of interior and exterior spaces. Each identifies existing historic and abandoned architectural fabric as nodes for redevelopment that can be folded into a strategy for a performing city.

The thetic dialogue regarding the protagonist and performative practice is now embodied in a variety of proposed interventions across the city. Each of these begin

design.

to re-appropriate the ‘city as stage’ and reinforce community engagement through collaborations and public interventions in the city’s historic centre. As a collection of propositional fragment(s) they honour a long tradition of storytelling– or ‘cantastorie’ – through a series of new narrative practices and productions.

These ‘fields’ were further examined through the project, maintaining a focus on the way in which the orientation of the institution can begin to act upon the city, with these further sites contributing towards its performance.

The drawing and making ofpapyral maquettes and the associated language and process intrinsic to our thematic methodology are now used as a means to act propositionally upon the city.Through the repetition and re-making of fragmented pieces of architecture that elaborate on the tectonics established through the drawing rooms, we are now presented with a language that can be implemented through a range of scales.

Working with performative typologies and practices, we have used this papyrus means of making to begin to fold new programmatic elements into Vucciria

MArch1 [ DES G] [ ATR ]

[ DES B ] [ SCAT] MArch2 [ DES C ] [ AMPL ]

[ DES D] [ REP ]

[ FOLIO ]

[ 2 01 8 ]

CITY FRAGMENTS: PALERMO INSTITUTIONS

Design Studio G MArch 1 / Semester 1

[ collaborators ]

[ graduate attributes ]

EI AM GL EM KSa KSi

2.1 2.2 2.3 2.4 2.5 2.6 2.7

- Proposed ‘stage’ for performance.

02. Loggia dei Catalani

- Proposed ‘stage’ for production.

03. Loggia dei Catalani

- Proposed ‘theatre box’ for spectating.

04. Loggia dei Catalani

- Proposed ‘gallery’ for exhibit.

05. Palazzo Lo Mazzarino-Merlo

- Existing facade as proposed ‘screen’ and or ‘canvas’.

06. Palazzo Lo Mazzarino-Merlo

- Existing ground floor as proposed public ‘set’ for civic performance.

07. Palazzo ducca della Grazia

- Existing ground floor as proposed public ‘set’ for civic performance.

1.1 1.2 1.3

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3.1 3.2 3.3

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[ DES G ] page

6.1 6.2 6.3

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fields of performance & palermo institutions instituional territories

01. Loggia dei Catalani

[ general criteria ]

08. Palazzo Rammacca

- Proposed accommodation for ‘performers’, ‘actors’, ‘artisans’.

09. Existing Garages

- Proposed artisan ‘workshops’.

10. Exiting Mechanics

- Proposed ‘yard’ for production.

11. Chiesa di S.Eligio

- Proposed interior‘set’ for bicycle hire / repair.

12. Chiesa di S.Eligio

- Proposed exterior ‘set’ for bicycle hire / repair.

MArch1 [ DES G]

[ ATR ]

13. Exiting Residential Properties

[ DES B ]

- Proposed ‘screens’ for ‘projections’ of activity.

[ SCAT]

14. Abandoned Void

- Proposed ‘stage’ for residential amenity and performance of ‘play’.

MArch2 [ DES C ] [ AMPL ]

[ DES D] [ REP ]

design.

[ FOLIO ]

[ 2 01 8 ]

CITY FRAGMENTS: PALERMO INSTITUTIONS

Design Studio G MArch 1 / Semester 1

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

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[ DES G ] page

6.1 6.2 6.3

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performative palermo institutions installation

Exhibition and installation became a key thetic working methodology throughout the semester, presenting the opportunity to test an assemblage of thetic language across a variety of scales and media.

Layering and framing, and folding and cutting, holds a continual presence in the installed exhibitions through methods of making and curation. This was particularly evident inThe Matthew Gallery exhibition (see folio pages x-x).

Bringing everything away from the walls, framed by white sections of the wall.

In this respect, the Hortus Mundi was presented as 2 ‘screens’ with the intention that the spectator is able to engage and inhabit with these screens by walking between them. They are also on wheels indicative of a ‘truck’* in a theatre performance. In this way they can be viewed separately or together.

While the drawing operates on a 1:1000 landscape scale, the infrastructure of the ‘truck’ at a 1:1 scale offers something of the developing thetic language at a body scale. The presence of bringing multiple scales together under the same thematic umbrella began to test how theatrical elements can be manipulated for different architectural uses.

MArch1 [ DES G] [ ATR ]

[ DES B ] [ SCAT] MArch2 [ DES C ] [ AMPL ]

[ DES D] [ REP ]

design.

[ FOLIO ]

[ 2 01 8 ]

CITY FRAGMENTS: PALERMO INSTITUTIONS

Design Studio G MArch 1 / Semester 1

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

[ DES G ] page

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

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10.1 11.1 10.2 11.2 10.3 11.3

006

palermo institutions performative installation MArch1 [ DES G] [ ATR ]

[ DES B ] [ SCAT] MArch2 [ DES C ] [ AMPL ]

[ DES D] [ REP ]

design.

[ FOLIO ]

[ 2 01 8 ]

CITY FRAGMENTS: PALERMO INSTITUTIONS

Design Studio G MArch 1 / Semester 1

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

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The language that has been explored can be evidenced in the proposed facade system which, through an extension of the existing openings, creates a habitable frame for performance. Architecturally speaking, this is materialised by a series of lightweight steel layers and cabling that combine to create a mask that partially veils the existing facade.

This developing language, and the ‘mask’, as component in collection of architectural fragment(s) has been derived from a theatrical understanding

of the term and lends itself to be drawn through elevation as a ‘mask’ and exploded to show its fragment components.

This masking technique manifests as an architectural element that can be exploited in a similar way. Where masking also has connotations with concealing; protecting; emphasising and obscuring, in this sense the perforated steel mesh can be interpreted as a mask for a number of architectural functions (see opposite).

mask

To hide: an actor(s) masks another when he stands in front of them and prevents the audience from seeing them. Also a noun: fabric hiding a row of lanterns hung above the stage.

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thetic & tectonic palermo institutions language of ‘the mask’

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[mask: architectural element] Derived from a theatrical understanding of the term ‘mask’ this technique masifests as an archiectural element that can be eploited in a similar way.Where masking also has conntations with concealing; protecting; emphasising and obscuring, in this sense the perforated steel mesh can be interpreted as a mask for the following architectural functions.

1. Solar Shading (for a large South facing elevation) 2. Aiding Passive Ventilation 3. Preservation of the Existing ‘Rose’ wall 4. To Create a Habitable Wall Construction

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design.

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CITY FRAGMENTS: PALERMO INSTITUTIONS

Design Studio G MArch 1 / Semester 1

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The proposals that started to emerge begin to explore the duality of the publicity and privacy through performative practice and domesticity.

The spatial composition of both performative and domestic typology is developed to blur the boundaries of public and private activity in the same way the the relationships between performer and spectator are, at times, reversed. In this way, the subject of the home is provided the opportunity to be both the actor and spectator, both involved and detached from the domestic stage.

between publicity & palermo institutions privacy MArch1 [ DES G] [ ATR ]

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palermo institutions piazza garrafello; site as theatre MArch1 [ DES G] [ ATR ]

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joseph coulter

ariana monioudis

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fragment (A) drawing room ‘mask’

EI AM GL EM KSa KSi

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performing ‘mask(s)’ & palermo institutions ‘facade(s)’ MArch1 [ DES G] [ ATR ]

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design.

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CITY FRAGMENTS: PALERMO INSTITUTIONS

Design Studio G MArch 1 / Semester 1

tech.

technology research [architectural technology research]

Architectural Technology Research: Generic & Contextual Studies

You will produce illustrated reports, one with a detailed appraisal of an aspect of contemporary technology, researched as a structured enquiry that should be linked to the ‘Housing Innovation project’ around a particular question.The second will critically analyse and synthesise key issues of a technological and/or environmental issue or intervention and considering the impact of it on a context.The outputs from this will be prepared and presented as a distributed knowledge based resource to all students on the MArch programme later in the academic year.

L01. To appraise the technological and environmental conditions specific to issues in contemporary architecture, eg. sustainable design.

L02. To analyse and synthesise technological and environmental information pertinent to particular context (eg. users, environment).

L03. To organise, assimilate and present technological and environmental information in the broad context of architectural design to peer groups.

joseph coulter / MArch 1 eirrean iannetta-mackay / MArch 1

This course emulates the role of the researcher- practitioner, recognising that most architectural projects necessitate a level of technological investigation as a prerequisite to successful integrated design. It runs throughout Semester 1 with a series of trigger lectures on contemporary architectural technology and environmental issues.You will be required to develop and research a particular technological theme.

[ 2 018 ]

TECHNOLOGY RESEARCH: GENERIC / CONTEXTUAL STUDIES

L04. An understanding of the potential impact of technological and environmental decisions of architectural design on a broader context.

*kate carter *grigor mitchell

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generic study An investigation into the material strategies that enable industrial buildings to contribute towards a new tectonic language for residential development whilst contributing towards sustaining a cultural identity and memory of place (heritage).

Eireann Iannetta-Mackay Joseph Coulter

Architectural Technology Research Generic Study

Autumn 2018

A refurbishment altering the existing

structure, fabric and/or skin of the building due to the need for reconfiguration to enhance performance or function.

FRAMING THE QUESTION 1

Report; Generic Study

This study will investigate characteristics of the re-appropriation of latent industrial infrastructure as a sustainable solution for both protecting a nationwide heritage and ‘cultural’ identity, whilst providing additional dwellings in the UK. It will focus specifically on the nature of how buildings with industrial origins go through a change of use to provide residential units with a direct emphasis on retaining a strong and authentic, tectonic relationship with the existing building fabric. In this way, we will aim to explore how architects provide new propositional solutions and strategies to allow this change of use to materialise and the decision making process that determines the degree of intervention associated with such projects.

Through an analysis of both built and active propositional case studies, and established on the philosophical discussions surrounding identity and place, the intention is to investigate the distinct methodologies, processes and patterns that are evident when combining contemporary materials and systems with an historic building fabric: critically reflecting on and appraising the sustainability, temporality and underling becoming of the architecture of these adaptive re-use proposals.

Insertion:

A refurbishment that alters internal conditions and can be considered to ‘fit within’ the existing building, retaining and developing a relationship with the existing construction but not relying on it to control environmental living conditions.

Installation:

A refurbishment that leaves the entirety of the existing structure, fabric and skin unaltered, with new, stand alone elements installed within the existing building that rely on the existing building to provide and control environmental living conditions.

1.

Lynch, David, What Time Is This Place?, (Cambridge [USA]: MIT Press, 1972), p. 1.

2. Brady, Conor ‘Ugly Duckling; A Proposal for the Adaptive Reuse of a Machine Factory.’ Electronic Thesis or Dissertation. University of Cincinnati, 2010. (Available: https://etd.ohiolink.edu/pg_10?111603686383270::NO:10 :P10_ETD_SUBID:83281 [Last accessed 21st October, 2018.]) p. 18.

tech.

Working with existing infrastructure has an intrinsic relationship with architecture that is concerned with a model of adaptive re-use and there is potential for a strong architectural tectonic language to emerge through the intertwining layers of historical and contemporary presence. “These layers are each distinct in terms of what character they describe, and create a rich and complex understanding of the building as artefact.” 2 This investigation will interrogate empty or abandoned industrial buildings as the base, and investigate strategies that enable their potential to contribute towards a new tectonic language for residential development, whilst producing a cultural identity and memory of place.

These development projects also have an interdependent relationship with both environmental and social sustainability. Many of the industrial sites in question create ‘voids’ in their surrounding urban fabric that impede development around them.Through this study, we want to establish whether regeneration of these sites can overcome mass, low quality, new build housing through attempted retention of industrial heritage.We will also appraise whether re-appropriation projects are more effective than new build residential schemes beyond their historical and cultural contribution; in particularly the dictation of the degree of re-appropriation necessary to allow these projects to begin to give back to their immediate social landscape.

The paper will examine a collection of case studies that explore how re-appropriation of industrial infrastructure has become an alternative model for residential development that provides homes in urban areas, through environmentally and culturally sustainable way.The case studies will allow us to obtain an understanding of how the material and structural strategies for these projects enables them to come into being and contribute towards a ‘loft style’ housing provision in the UK that contrasts the increasingly standardised models adopted by developers across the country.

The research will appraise the structural and material treatment of the re-appropriation of these case studies against key criteria including; unit distribution; the balance between existing and contemporary materials and the proportion of existing fabric retained in order to gain an understanding of the nature of ‘change’ involved.We will also open an enquiry with the architects of an ongoing local adaptive reuse project in Edinburgh through an interview with the team involved in the re-development of a disused tram depot and engine room in Leith.

technology generic study research

Re-Modelling:

“Change and recurrence are the sense of being alive - things gone by, death to come, and present awareness. The world around us, so much of it our own creation, shifts continually and often bewilders us.

We reach out to that world to preserve or to change it so to make visible our desire. The arguments of planning all come down to the management of change.” 1

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TECHNOLOGY RESEARCH: GENERIC / CONTEXTUAL STUDIES

Architectural Technology Research MArch 1 / Semester 1

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EI AM GL EM KSa KSi

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Introduction / Industrial Context

Adaptive Re-Use / Defining Strategies

5.

6.

“Adaptive reuse, or adaptive re-use architecture, is the process of re-purposing buildings — old buildings that have outlived their original purposes — for different uses or functions while at the same time retaining their historic features.” 6

INDUSTRIAL CONTEXT

4. Randhawa, Selena. CNN (World). (127th October, 2017). Why warehouse conversions are sweeping the globe. Available: https://edition.cnn. com/2017/10/26/world/industrial-renovation-one-square-meter/index.html.

Last accessed 21st October, 2018).

figure 3 - Edinburgh Tram Club; Shrubhill Depot

We can understand this model for redevelopment as “the act or process of making possible a compatible use for a property through repair, alterations, and additions while preserving those portions or features which convey its historical, cultural, or architectural values.” 7 Whilst this makes reference to a strong justification for the retention of buildings with historic significance on the grounds of their contribution to heritage and culture, there is an intricate balance of hierarchical agencies for developments of this nature.With a continually increasing demand for urban housing in city centres across the UK, we will explore the feasibility of the adaptive reuse of these industrial sites for proving alternative housing typologies.

As industry has continued to encounter modernisation through perpetual shifts in technological advancement, industrial sites and infrastructure have become subject to abandonment; remnants of which stand empty as “physical markers of their time”. 4 Where these industrial buildings once contributed heavily to the fabric of their communities and performed significant roles in urban life and society, 5 they now have an opportunity to return some of these former benefits through new housing typologies.

6.

Craven, Jackie, ‘Adaptive Reuse - How to Give Old Buildings New Life’, ThoughtCo. (30 December 2017). (Available: https://www. thoughtco.com/adaptive-reuse-repurposing-old-buildings-178242 [Last accessed 21st October, 2018.])

7. National Park Service - U.S. Department of the Interior, ‘Guideline for the Treatment of Historic Buildings’ (29 June 2017). (Available: https://www.nps.gov/tps/standards/treatment-guidelines-2017.pdf [Last accessed 21st October, 2018.]), p. 2.

5. Brady, C ‘Ugly Duckling’, p. 3 & 26.

The following case studies are examples of what we have determined to be exemplary adaptive reuse projects that implement varying strategies for the re-development of existing industrial buildings. Our background research has presented categories to distinguish the approaches and strategies that have emerged.These strategies display the differing refurbishments, each of which are suitable in contrasting scenarios;

technology generic study research

3. Phillip Davies (Planning and heritage consultant) quoted in Greenhalgh, Hugo. Financial Times. (14th September, 2016). The Crumbling Heritage of The Industrial Revolution. Available: https://www.ft.com/content/e6b955e8-79b511e6-a0c6-39e2633162d5. Last accessed 21st October, 2018).

ADAPTIVE RE-USE Defining Strategies

At a time that saw Britain’s industrial and economic landscape change dramatically,Victorian Britain gave rise to new technologies that not only saw a significant shift in manufacturing technologies, but industrial building typology too.Through these new technologies, and a dependency on the machine for manufacture, emerged the dominance of the ‘factory’ model.This gave rise to an influx of new industrial infrastructure across the UK and “Victorian Britain was transformed on a scale unprecedented in its history”. 3

figure 4 - Internal Elevation of Windows & Exposed Brickwork; The Pipe Factory, Emrys Architects

Case Study II / Finlay’s Warehouse

Case Study II / Finlay’s Warehouse

12.

“Nothing has been left to chance and everything is beautifully considered. The new interventions not only seem utterly comfortable in their new location, they seem completely at home in every aspect of the original building. This is not an intervention that seeks to deliberately separately the new from the old; it is so much cleverer than that. A confident and complete architectural language with exquisite detailing.” 10

FINLAY’S WAREHOUSE Victorian Cotton Trade Warehouse Central Manchester, England Grade 2

10.

RIBA, ‘Finlay’s Warehouse - RIBA North West Award 2017’, (26th May 2017) (Available: https://www.architecture.com/awards-andcompetitions-landing-page/awards/riba-regional-awards/riba-north-westaward-winners/2017/finlays-warehouse# [Last accessed 25th October, 2018.]).

11.

Stephenson Studio, ‘Sales Brochure for Julie Twist Properties’, (2015) (Available: https://julietwist.co.uk/wp-content/uploads/2014/10/ Finlays-Warehouse-JulieTwist-A4-booklet.pdf.pdf [Last accessed 25th October, 2018.])

12.

Stephenson Studio, ‘Design, Access & Heritage Statement’ for Listed Building Consent for internal and external works associated with conversion of basement to third floor of building to 28 no. apartments, 56 Dale Street, Manchester (104422/LO/2013/C2), Manchester City Council Planning Portal (2013) (Available: https://pa.manchester.gov.uk/ online-applications/files/9A449E85EBE2D45CF178949DC884772E/ pdf/104422_LO_2013_C2-Design__Access_and_Heritage_ Statement-360693.pdf [Last accessed 25th October, 2018.]), p. 19.

13. Stephenson Studio, ‘Design, Access & Heritage Statement’, p. 19 14. RIBA, ‘Finlay’s Warehouse - RIBA North West Award 2017’.

figure 9 - Ground Floor Plan; Existing Finlay’s Warehouse, Stephenson Studio

figure 10 - Ground Floor Plan; Proposed Finlay’s Warehouse, Stephenson Studio

figure 8 - Internal View of Existing Brickwork & Exposed Timber; The Pipe Factory, Emrys Architects

Built in 1870, the warehouse expresses Manchester’s dominance in international cotton trade in the 19th and early 20th centuries. Following a similar life-cycle to that of the Pipe Factory, the decline in industry left the highly decorative Victorian warehouse empty and neglected in the mid 20th century; though in 1975, the building was refurbished as a night club that ran for over 25 years. Since then, the building sat as a “forgotten gem.” 11 The adaptations made by Stephenson Studio to convert the warehouse seen in fig. 8 into 28 apartments are understated and respect the original palette of materials.The sandstone plinth, red vernacular brickwork and cast iron along with numerous decorative internal features of ‘high significance’ are fundamental to the understanding of both the existing building and the architectural design concept. 12 “They play a major role in reflecting their evidential, historic, aesthetic [and] communal value.” 13

As a built proposition, the study praises the development’s attitude towards the synthesis of the contemporary and existing elements.The study displays a form of ‘re-modelling’ where the existing fabric of the warehouse is combined with new elements to rehabilitate the environmental and experiential performance.The applied material language makes outright contemporary statements, with new and bespoke carpentry work that allows significant existing features to provide a backdrop for new moves to be made. In such a way, it is clear that “respect for the original building pervades every design decision that follows”. 14

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Architectural Technology Research MArch 1 / Semester 1

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Case Study III / Shrub Place

Case Study III / Shrub Place

13.

14.

“We dealt with the project in a conventional manner, and that was purely because the building was ‘inside out’ in terms of the historic fabric. We had this incredible Victorian decorative brickwork on the inside, which is a really unusual thing.” 16

SHRUB PLACE Transport Department Workshop Leith, Edinburgh Grade B

With the existing shell structure independent on any internal framework, minimal requirement was needed for refurbishment.The ‘shed like’ structure that remains presents an interesting opportunity to leave almost the entirety of the existing fabric unaltered.

The initial retrofit proposal was designed by Edinburgh based practice Morgan McDonnell with planning consent issued in July 2015.This scheme was since revised by LDN and is awaiting approval as part of of a larger new build residential development in the remainder of the engine yard, providing 376 new homes (33 of which will be delivered through the retrofit).

Morgan McDonnell’s original proposal used an ‘insertion’ strategy displayed in figs. 12-15 to place new-build elements within the existing industrial fabric of the tram sheds.This approach was derived from their appraisal of the existing architectural features that remain on site, where “the brickwork on the outside [is] actually quite simple and robust [whilst] the inside of it was quite decorative […] like a celebration of the machinery.” 17

16. Morgan, Guy. Morgan McDonnell Architecture. (8th October, 2018).

Shrub Place & Other Refurb Projects - Interview by Authors. Available: See appendices.

figure 12 - 3D Model of Proposal within Existing Brick Skin

17. Morgan McDonnell Architecture, Shrub Place & Other Refurb Projects - Interview by Authors .

figure 11 - Tram Depot as Existing; Shrub Place Tram Depot, Leith

Case Study III / Shrub Place

Conclusion

15.

20.

Whilst all of three of the preceding case studies work with industrial infrastructure, each display bespoke interventions through the addition and integration of contemporary materials.We would suggest that unique tectonic language and propositional responses emerge as a result of a thorough and honest appraisal of the existing built fabric as an origin for an authentic site strategy.

Through this research it would seem that situating a hierarchy of the existing built fabric and its individual merit at the heart of a potential strategy is essential to determine the suitability for adaptive reuse over new build development.

20. Perry, J.G, ‘A Guide to the Management of Building Refurbishment’ in Report 133 for The Construction Industry Research and Information Association CIRA, (1994).

21.

Watson, P,‘The Key Issues When Choosing Adaptation’, p. 219.

22.

RIBA, ‘Finlay’s Warehouse - RIBA North West Award 2017’.

23.

Ibid.

24.

figure 23 - New Timber Stair; Finlay’s Warehouse, Stephenson Studio figure 13 - Empty Shell (as existing)

figure 14 - Empty Shell with Proposal to be Inserted

figure 15 - Empty Shell with Proposal in Situ within External Skin

Brady, C ‘Ugly Duckling’, p. 9.

25.

Lynch, D, What Time Is This Place, p. 54.

26.

Ibid, p. 39.

It should be made clear that whilst this study makes light of successfully procured industrial refurbishments, it is not always the most appropriate response to working with existing industrial infrastructure.The Chartered Institute of Building refer to a “discovery phase” 20 in their asset management guidance and choosing adaptation over new build, referencing ‘favouring’ and ‘limiting’ factors for proposed refurbishment. Among the favouring factors are, as our prior investigation has alluded to, social and economic gains through the likes of the preservation of historic fabric and identity and the savings associated with shorter construction periods and absence of demolition works for a start. Agencies such as marketability, suitability for reuse and building life expectancies made up the limiting factors. 21

It is important to recognise that this study has begun to uncover that this architectural, tectonic, language should be derived from a focus on the ‘new’ relationship that develops between the old and the new. “Far from following [an] imitative path” 22, the design of the new elements and application of new materials relate to the context of the existing fabric: but also find a way of thinking and a practical application that is “both intellectually appropriate and comfortably right.”23 The true sense of place is retained through the significant existing fabric that holds the material culture and layers of time and it is only out of this historical process of inhabitance and change 24 that “the past can be shown in immediate relevance to the present.” 25 Albeit this mode of development can not single handed provide an answer to the housing crisis, it presents a culturally and, in most cases, environmentally sustainable solution to providing a richer built environment through the delivery of additional homes. It offers a meritable counterpoint to the widespread, low-budget development synonymous with housing in the UK, and architects can contribute to a “world that can be modified progressively, against a background of valued re-mains, a world in which one can leave a personal mark alongside the marks of history.” 26

technology generic study research

15. Morgan McDonnell, ‘Planning Documentation’ for Refurbishment and conversion of listed building (Block D - refer to site plan) into 30 no. residential flatted units (as per the approved application 05/03128/ FUL), Site 69 Metres West Of 7 Shrub Place, Edinburgh, (15/00642/ LBC), City of Edinburgh Planning Portal (2005) (Available: https:// citydev-por tal.edinburgh.gov.uk/idoxpa-web/applicationDetails. do?activeTab=documents&keyVal=NJWNHLEW09Z00 [Last accessed 22nd October, 2018.])

“Built in 1898 the two (Grade B) listed buildings at Shrubhill were originally used as transport department workshops.They have an ornate industrial character with brick relief detailing and stone bands articulating a series of arched and circular openings which contribute a grand order to the otherwise plain, utilitarian façades.”15 The single volume spaces formerly housed a high capacity of mechanical activity, but are now consigned to a time of the past, seen in fig. 11. A cast iron colonnade that forms the spine of the former engine room is now one of the only remaining elements that evokes notions of the intensely mechanical processes that once energised this space.

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TECHNOLOGY RESEARCH: GENERIC / CONTEXTUAL STUDIES

Architectural Technology Research MArch 1 / Semester 1

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contextual study How does the environmental performance of new architectural proposition with an existing fabric affect the synthesis and levels of retention of an historic architectural fabric and its character?

Eireann Iannetta-Mackay Joseph Coulter

Architectural Technology Research Contextual Study

Winter 2019

new architectural proposition

FRAMING THE QUESTION

Exploration of the balance of contemporary technological factors; thermal performance and natural daylighting and their influence / relationship with how an historic fabric and its character is retained.

2

Report; Contextual Study

Having previously examined the success of varying strategies for the adaptive reuse of derelict industrial buildings to provide housing in the UK; this study will more closely explore the model of the ‘insertion’ of a new structure or secondary skin and how it interacts with an existing historic envelope to control new environmental conditions and create a new tectonic language through new architectural proposition.

Through further investigation of two conversion schemes for the old Shrub Hill Tram Workshop and EngineYard in Leith, the research will aim to explore a formula for the intervention with historic building fabric in this way to understand the nature of sacrifice involved in the retention of existing infrastructure. It will specifically explore the relationship between the proportion and success of the way in which the historic fabric and its character are retained against natural daylighting and the subsequent environmental living conditions that are provided for each residential unit and as functional living space.

The process of re-working existing and historic architectural infrastructure is continually presenting architects, designers and contractors with technical problems and challenges which are unrelated to the design and construction of new buildings, but rather require specialised spatial solutions and technical design expertise.2 In this sense, the interdependent relationship of contemporary environmental technologies and an existing built fabric, in particularly upgrades of thermal performance and the provision of natural daylighting, have a direct influence with the manner in which an historic fabric and, as a result, its character is retained.

This study is concerned with interrogating the way that new tectonic language and architectural atmosphere can be created through the intertwining and overlapping layers of historical and contemporary presence.

Perhaps subjectively, we speculate these architectural conditions can perform richly in domestic settings to provide unique and characterful living conditions and begin to re-contribute towards the fabric of the urban environment, whilst continuing to preserve the cultural identity and heritage of place.

1. Richards, Jonathan, Facadism, (London: Routledge, 1994), p. 45.

2. Highfield, David, The Construction of New Buildings Behind Historic Façades, (Florida: CRC Press, 2002), p. 29.

However, though the preservation of existing identity and historic fabric is inherently important to these adaptive re-use schemes on an experiential and cultural level, the building must first function adequately and perform to the needs of its user. In this case, as

residential units, the proposals must provide the habitable living conditions required for residential dwellings. More specifically then, this paper will aim to establish and understand how solutions for providing natural daylighting to an historic fabric can affect both the comfort of the environmental living conditions and architectural merit of the design of two different refurbishment proposals for the development of the abandoned tram depot at Shrub Hill.

As a further analysis of the synthesis between old and new building elements and how they come into being, the paper will also interrogate the role of legislation within these types of projects and more specifically, an investigation of the frameworks established by Historic Environment Scotland. It will provide a counterpoint to broaden an understanding of the balance between conservation and functionality, along with a focus on how performance and programme contribute to the success of the integration of old and new architectures.

technology contextual study research

“It seems that the thirst to look to, or rework the past, can never be totally assuaged in architecture. Human beings have a basic need to refer to the past, to their roots, to find a sense of time and place.” 1

MArch1 [ DES G ] [ ATR ]

[ DES B ] [ SCAT ]

MArch2 [ AMPL ]

[ DES D] [ REP ]

tech.

[ FOLIO ]

[ 2 01 8 ]

TECHNOLOGY RESEARCH: GENERIC / CONTEXTUAL STUDIES

Architectural Technology Research MArch 1 / Semester 1

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

[ ATR ] page

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7.1 7.2 7.3

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10.1 11.1 10.2 11.2 10.3 11.3

Analysis & Simulation / Daylight Simulation

Analysis & Simulation / Propositional Appraisal

26.

As residential developments, the proposals here for Shrub Hill also have a duty to provide habitable living conditions that perform to an acceptable environmental standard.

Though there are “very few (or no) daylighting requirements or recommendations in existing standards and building regulations that are enforceable by law in any country”,18 there are “several established and muchused methods of assessing, rating, and certifying the sustainability of buildings such as LEED (Leadership in Energy and Environmental Design) and BREEAM (Building Research Establishment Environmental Assessment Methodology)”.19 Such guidance material set the criteria for ‘best practice in the profession’.

“They would also sit back from the openings in the building so that one could look through the brickwork, the decorated brickwork.

Through the new openings we would be creating balcony spaces between the building and the proposition.” 5

For example, LEED states that “through computer simulation that the applicable spaces achieve daylight illuminance levels of a minimum of 270 lux and a maximum of 500 lux in a clear sky condition on September 21 at 9 a.m. and 3 p.m.Areas with illuminance levels below or above the range do not comply.”

- Morgan McDonnell Architects

Where BREEAM states that in domestic buildings,“kitchens achieve a minimum daylight factor of at least 2%; living rooms, dining rooms and studies achieve a minimum average daylight factor of at least 1.5%, and 80% of the working plane should receive direct light from the sky”.

PROPOSITIONAL APPRAISAL Morgan McDonnell Scheme To open the analytical enquiry and assessment of the two proposals for the Shrub Hill tram depot, this chapter will begin by depicting the design variants between the original scheme produced by Morgan McDonnell and the revised scheme that is now being progressed by LDN.

The paper will evaluate the following simulations of both typical North and South facing living spaces based on recommended levels of minimum 300 lux for most of the room area by meeting a daylight factor of between 2% and 5%, whereby artificial lighting is not normally required during the daytime, provided the uniformity is satisfactory.

The inside-out nature of the existing building drove the approach for Morgan McDonnell’s initial scheme that proposed to intervene with new-build elements that sit back from the internal brick skin of the primary North West, and South East elevations (see Fig. 13 & 14). In doing so, the new residential units within the newly inserted contemporary elements are organised around a full-height central atrium courtyard and also create balcony spaces between the existing building fabric and the proposition.

“They would also sit back from the openings in the building so that one could look through the brickwork, the decorated brickwork.Through the new openings we would be creating balcony spaces between the building and the proposition.” 5

19. Ibid.

20. Ibid.

figure 30 - Existing Site Photograph; (Interior Light Quality)

Following previous interviews with the architects for this scheme, it was clear that this strategy had been conceived through a desire to retain and celebrate as much of the internal

figure 12 - Exploaded Propositional Diagram; (Morgan McDonnell Scheme)

decorative brickwork as feasibly possible.Though the desire to retain a large proportion of the existing character and form had undoubtedly been established as an early design concept that resonated with the interests of Historic Environment Scotland.The resolution of the proposal and as such, its manifestation as an ‘insertion’ model of refurbishment also has origins that fall back on the consequent thermal performance and natural daylighting capacity of the scheme. By this we must understand the implications of the condition of the existing fabric and its inability to control the internal conditions of a residential typology without intervention.

Whilst this section of the chapter will continue to outline the propositional differences between the two schemes, these implications further explored later in the study.

Another of the notable features of the Morgan McDonnell scheme was to introduce two new, large openings to each of the North West and South East facades.These new openings, as shown and illustrated in Fig. 22, do not follow the existing fenestration patterns, though the introduction of projecting cor-ten reveals to these new openings, and the larger existing arched openings perhaps aim to integrate them into the fabric of the host building.The rhythm

of the existing historic elevation, however, is certainly disrupted and these new openings have a significant impact due to this juxtaposition in built form.

5. Morgan, Guy. Morgan McDonnell Architecture. (8th October, 2018).

Shrub Place & Other Refurb Projects - Interview by Authors. Available: See appendices.

12.

20.

EXISTING SOUTH EAST ELEVATION

173.9 m2

EXISTING NORTH EAST ELEVATION 270.35 m2

258.08 m2

EXTERNAL BRICKWORK RETAINED - LDN Architects

EXTERNAL BRICKWORK RETAINED - LDN Architects

(retained / existing) 184.79 / 258.08 = 0.716 = 71.6%

(retained / existing) 263.13 / 270.35 = 0.973 = 97.3%

Therefore, 71.6% of the existing wall is retained in the new scheme.

Therefore, 97.3% of the existing wall is retained in the new scheme

263.13 m2

- Conrasting Additions & Alterations - Inkeeping Additions & Alterations figure 14 - Proposed Section AA; Morgan McDonnell Scheme (1:200 at A3)

EXPOSED INTERNAL BRICKWORK

EXPOSED INTERNAL BRICKWORK

However, 0 m2 of the 184.79 m2 retained is displayed, thus: (displayed / retained) 0 / 184.79 = 0 = 0% (displayed / existing) 0 / 258.08 = 0 = 0%

However, only 168.5m2 of the 263.13m2 retained is displayed, thus: (displayed / retained) 168.5 / 263.13 = 0.63 = 63% (displayed / existing) 168.5 / 270.35 = 0.623 = 62.3%

0% of the retained skin is on display, which is 0% of the existing skin

63% of the retained skin is on display and 62.3% of the existing skin 168.5m2

EXTERNAL BRICKWORK RETAINED - Morgan McDonnell

EXTERNAL BRICKWORK RETAINED - Morgan McDonnell (retained / existing) 156.57 / 258.08 = 0.607 = 60.7%

(retained / existing) 258.8 / 270.35 = 0.957 = 95.7%

Therefore, 60.7% of the existing wall is retained in the new scheme.

156.57 m2

Therefore, 95.7% of the existing wall is retained in the new scheme 258.8 m2

- Conrasting Additions & Alterations

figure 23 - Elevation Retention Area Studies; (North West & South West Eleveations)

tech.

[ 2 01 8 ]

TECHNOLOGY RESEARCH: GENERIC / CONTEXTUAL STUDIES

Architectural Technology Research MArch 1 / Semester 1

EXPOSED INTERNAL BRICKWORK

EXPOSED INTERNAL BRICKWORK

However, 156.57 m2 of the 156.57 m2 retained is displayed, thus: (displayed / retained) 156.57/156.57 = 100 = 100% (displayed / existing) 156.57/258.08 = 0.607 = 60.7%

However, only 156.21 m2 of the 258.8 m2 retained is displayed, thus: (displayed / retained) 156.21 / 258.8 = 0.604 = 60.4% (displayed / existing) 156.21 / 270.35 = 0.578 = 57.8%

100% of the retained skin is on display, which is 60.7% of the existing skin

256.21m2

60.4% of the retained skin is on display and 57.8% of the existing skin

- Inkeeping Additions & Alterations figure 15 - Proposed Retention Section Diagram; Morgan McDonnell Scheme (1:200 at A3)

technology contextual study research

18. Velux. (27th November, 2017) ‘1.9 Daylight Requirements in Building Codes’, (Available: https://www.velux.com/deic/daylight/daylight-requirementsin-building-codes [Last accessed 9th January, 2019.])

Overall, daylight factor is the most common measure in the assessment criteria of these evaluative agencies, but the calculation methods and benchmarks are different.The advantages of the measure of daylight factor is that it is quick to calculate, and can be used in the early design process. It enables a basic understanding of the behaviour of daylight in a given space and can provide architects and designers with the information required to make informed decisions.20

10.

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ]

[ ATR ] page

[ general criteria ]

2.1 2.2 2.3 2.4 2.5 2.6 2.7

1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

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006

10.1 11.1 10.2 11.2 10.3 11.3

Analysis & Simulation / Daylight Simulation

Analysis & Simulation / Legislative Retention Evaluation

27.

DF average

18.

DF average

within unit living space = 1.2%

within unit living space = 1.7%

living space

living space

DF average

DF average

within unit living space = 2.6%

N

within unit living space = 2.3%

NW Unit

SE Unit

(see p. x)

(see p. x)

DAYLIGHT SIMULATION MorganMcDonnellDesignProposals

figure 31 - First Floor Daylight Factor Simulation; (Morgan McDonnell Scheme)

The simulation studies begin with the original Morgan McDonnelll scheme, where the full extent of the simulation for the proposed first floor of the ‘Big Shed’ is shown overleaf.The study now focuses on the data from the simulations of both a North and South facing unit and the associated ‘Daylight Factor’ (%) and ‘Lux Average’ (lux) for the best performing living space of that orientation (in this case the corner units due to the proposed new openings as referenced earlier in the study.

The Lux simulation (see Fig. 32) is representative of the internal daylighting conditions at midday during the March Equinox.The table below (see Fig. 33) further illustrates the ‘Lux Average’ for the North West and South East living spaces in the units highlighted in Figures 31 & 32 of the daylighting conditions at midday for Summer and Winter Solstice. lux average

living space

Equinox

living space

lux average

(see p. x)

SE Unit

N

NW Unit

within unit living space = 193.5

Solstice

Equinox

June

Solstice

September

- Conrasting Additions & Alterations

Month

March

Unit

NW

SE

NW

SE

NW

SE

NW

SE

LUX

111.5

193.5

153.5

271.0

111.5

193.5

December 43.5

89.5

- Inkeeping Additions & Alterations - Blocked Up Existing Openings

figure 33 - Table of Average Lux Level Simulations; All Values Taken at Midday - Intermediate Sky Conditions (Morgan McDonnell Scheme)

(see p. x)

figure 22 - Isometric Elevation Retention Study; Morgan McDonnell Scheme (North East & South East Eleveations)

figure 32 - First Floor Lux Level Simulation; Equinox at Midday - Intermediate Sky Conditions (Morgan McDonnell Scheme)

Impact & Practice / Comparative Impact

Impact & Practice / Formula for Adaptive Re-Use

33.

34.

- South East Facing Unit

COMPARATIVE IMPACT

- LDN

figure 53 - Comparative Scatter Graph; (Percenatge of Perceptable Retention vs Daylight Factor)

tech.

[ 2 01 8 ]

TECHNOLOGY RESEARCH: GENERIC / CONTEXTUAL STUDIES

Architectural Technology Research MArch 1 / Semester 1

they are in an original elevation that has survived unaltered”22, and these therefore came at a cost to the officer’s judgement of the proposals integration with the host fabric.

These results, whilst potentially unexpected, serve as proof that proposition to retain a celebrate existing historic character and providing well performing living conditions (in this instance in terms of natural daylighting) can exist through careful consideration. It highlights the significance of historic fabric, its “spatial and visual components and how proposed new development can tap into that character. By understanding the historic environment, its component parts and how they work together to create a whole, the designer will be more likely to achieve an outcome which both enhances the existing environment and the new design itself”.23

Whilst HES “were quite relaxed about having large openings on the rear (SE) elevation, because internally there are these recessed blind arches, which are being taken out”.21 “ They did “find the new openings intrusive [on the NorthWest elevation] because

formulaic process for re-development

4.

21. Porter, C & Mackie, G. Historic Environment Scotland. (15th November, 2018). Shrub Hill Tram Depot & HES Policy.

22. Ibid.

23.

Historic Environment Scotland. (2nd May, 2010) ‘New Design in Historic Settings’, (Available: https://pub-prod-sdk.azurewebsites.net/api/ file/01bce7f7-6a76-4b07-a0fc-a60500ac83a6 [Last accessed 9th January, 2019.])

2.

3.

5.

In terms of the daylighting, the decisions by Morgan McDonnell to both create new large openings in these NW and SE elevations and to pull back the newly inserted volume to effectively create a full height ‘light well’ also allow the units to out perform LDN’s.

- Morgan McDonnell

DAYLIGHT FACTOR (%)

If then, we are to take the best performing North and South facing units from each scheme that have been analysed previously, we can now consider how the percentage of perceptible retention (i.e. not masked over with newbuild elements) correlates with the natural daylighting conditions in each case.

The graph opposite plots these two conditions for each scheme presenting a considerable difference between the performance of each proposal whereby the effects of ‘covering over’ the entirety of the internal brickwork of the NW and SE elevations in the LDN scheme has a significant impact on the overall retention percentage. However, due to the shift in orientation as has been established, LDN did manage to integrate views from the living spaces back into the central atrium space that reveal glimpses of the original steelwork and the industrial aesthetic of the access decks.

- South East Facing Unit

- North West Facing Unit

PERCENTAGEOFPERCEPTIBLERETENTION

- North West Facing Unit

1.

material synthesis

A suitable material palette can then be established to aid performance, but also achieve a synthesis with the existing fabric to establish a new tectonic language influenced by old and new.

figure 54 - Enquiry based Inforgraphic; (Formula for Re-Development)

condition / context

An assessment of the building’s current condition in terms of performance and structural stability as well as the context of it’s re-development and the agencies that affect this.

FORMULA FOR ADAPTIVE RE-USE

existing hierarchy

Ideally, following a consultation with Historic Scotland, a hierarchy of existing significant historic elements should be devised in order to work from with an ambition to retain them.

commercial viability

A key facilitating factor in these projects is an understanding of the budget that is in place and that it can secure the subsequent typology for the re-development. An outline of floor area and the no. units to be delivered here is essential.

performance&programme The programme of the scheme and the nature of ‘controlled environments’ within the scheme begin to dictate where semi-controlled areas can be more ‘ambitious’ with retention for areas of historic fabric.

The evidence of the analysis undertaken in the previous chapter proves the intrinsic relationship between the ‘environmental’ and ‘experiential’ strategies of a proposal through the design process.That these strategies have such an impact on each other and the resultant performance of the built proposition (in these terms) in the sustainable curation of the historic environment, means that provision for the understanding of the associated process for working with these principles should undeniably be exposed.Therefore, the paper begins to conclude by outlining a formulaic methodology for the ‘best practice’ of this particular process of re-development. It takes into consideration a number of variable agencies discussed throughout the investigation and brings a rigour to their position and hierarchical impact within this framework for the design process.

Each of the five principle constituents for this formula, and their relative positioning within this speculative process, aim to strike the appropriate balance between conservation functionality and have been evaluated at various points throughout this investigation. As described in Fig. 54. they are: the structural and environmental condition of the existing historic fabric and its immediate context in the historic environment; the hierarchy of significant fabric and/or characteristics of existing historic importance; the commercial viability and financial resources available for the delivery

of the development; the preferred typology for the development and the standards for the environmental performance of the conditions required for such a typology; the material palette and the quality of both its technical detailing and construction on site.

Perhaps this formula can be perceived as guidance particular to an ‘insertion’ model of adaptive re-use that has become a more specified architectural equivalent to the blanket HES policy statement and one that promotes the best architectural practice and by association: proposition which both enhances and promotes the historic identity of the existing built fabric and the contemporary language of new proposal.24 The aspiration here is that the process provide meaningful outcome for developer, architect and contractor and that accepts change over time in the building as part of its whole story. One that offers a clarity and validity to the development of an authentic design process.

24. Brady, C ‘Ugly Duckling’, p. 16.

technology contextual study research

within unit living space = 113.5

lux average

within unit living space = 111.5

MORGAN MCDONNELL SCHEME Isometric Retention Study

lux average

within unit living space = 60.5

design.

palermo institution(s) [brief two: act (II)]

City Fragments: Palermo Institutions In City Fragments: Palermo Institutions we are concerned with how architecture frames a position in relation to landscape, and how landscape is recognised, accommodated and encouraged through our proposals for the city and for architecture. In Palermo Institutions (Act II) we are specifically concerned with the territory and design of the Institution, and with how this engages with the city and captures landscape.We are interested in how new Institutions might become active agents for refiguring and re-forming the city.

L01. A sophisticated approach to the programmatic organization, arrangement and structuring of a complex architectural assemblage in a loaded contextual situation.

L02. A knowledge of how to develop the structural, constructional, material, environmental and legislative aspects of a complex building .

L03. An understanding of the issues relating to sustainability, and its concomitant architectural, technological, environmental and urban strategies

joseph coulter / MArch 1 ariana monioudis / MArch 2

The brief for Palermo Institutions (Act II) is to design and detail a complex building project to a high level of resolution to enable an articulation of architecture and technology.These will be complex buildings, which will have multiple parts and multiple programmes but that will share theses.

L04. A critical understanding of, and ability to present complex design proposals through appropriate forms of representation.

MArch1 [ DES G ]

[ 2019 ]

CITY FRAGMENTS: PALERMO INSTITUTIONS

[ ATR ]

*chris french *maria mitsoula

[ DES B ] [ SCAT] MArch2 [ DES C ] [ AMPL ]

[ DES D] [ REP ]

[ FOLIO ]

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

[ DES B ] page

6.1 6.2 6.3

7.1 7.2 7.3

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10.1 11.1 10.2 11.2 10.3 11.3

001

I.

* La Cala * Piazza San Domenico

‘Abandonland’

VII

.

5.

3.

7.

V.

ia cir uc *V

II

6.

[D]

III

2.

1.

[C]

+ Via Roma

4.

lo cio rac Ca zza * Pia

[B]

ffelo

* Piazza Garra [A]

ric City to Histo

Gates

+

palermo institutions

Mer chan t Ex chan ge w ith M ercat o del la Vuc ciria

tro os rn ate oP dr san lle aA Vi

8.

ALAB* Artisans

curation, production & installation

Cre ative Exch ange with

IV

There was a conscious effort to exhibit the institution through the method(s) in which the works had been created throughout the year as well as the manner that they transcend a range of scale to present an architectural thesis coherent with its making.

From the lost landscape of the Hortus Mudi and its screens at a city scale to the spatial and material exploration of the 1:50 model, the project hoped to work the reader through a performance of the social narratives, embedded practices and urban and architectural lanuage of the thesis.

The means of exhibiton as a working methodology resulted in their architecture performing as an extension of, or means to develop,

the architectural language of the resultant proposition.

Furthermore, the style and production of drawings such as those overleaf, whilst operating as a descriptive and somewhat analytical scale, share a quality and agency to describe the thetic language of the project that was conistent across the entirety of the installation.

[F]

[H]

9.

*P

iaz za S. A nn a

MArch1

[J] 11.

[E]

+10.

.

12

Layering and framing, and folding and cutting, held a continual presence in all of the installed exhibitions through methods of making and curation in earlier exhibitions of the work. Now, with a development of resolution to the thesis and its institution, we present the findings of a thinking through making that take

on the language to an architectural proposition that performs for the city and the studio.

lsa * Ka

[ DES G ]

[G]

[ ATR ]

[ DES B] [ SCAT] MArch2 VI 13.

[ DES C ] [ AMPL ]

[ DES D] [ REP ]

design.

[ FOLIO ]

[ 2 01 9 ]

CITY FRAGMENTS: PALERMO INSTITUTIONS

Design Studio B MArch 1 / Semester 2

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

[ DES B ] page

6.1 6.2 6.3

7.1 7.2 7.3

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002

10.1 11.1 10.2 11.2 10.3 11.3 +18.

+17.

+6.

+18.

+9.

B. C.

A. +9.

.

G

[1:100 ]

+19.

INSTITUTION(S) : FIFTH FLOOR ROOFTOP BROADCAST (exploded assembly axonometric)

palermo institutions

+17. +8. +7.

theatrum mundi; ‘acts’, ‘moves’ & ‘gestures’

M er ca to de lC ap o

+6.

+5.

The Theatrum Mundi drawing (left) began to set out a connection between the architecture and urbanity of the scheme and the articulation of the cityas-landscape described through the screens of the Hortus Mundi drawing.

In representational terms, they oscillated between the ideality of the thesis and the reality of the site in relation to proposition and city.

design.

Acknowledging the whole of Vucciria as a field of performance, ‘thematic acts’ (such as those drawn on the right) manifest throughout the city. These situate themselves in response to urban strategies which have been proposed as part of the thesis and acknowledging the existing value and productivity of Vucciria.These ‘acts’ can be seen as tools which work across selected programme and function to support and allow an incremental and strengthened urban development on different scales over time.

[ 2 01 9 ]

CITY FRAGMENTS: PALERMO INSTITUTIONS

Design Studio B MArch 1 / Semester 2

MArch1 [ DES G ]

‘ mask ’ To hide: an actor(s) masks another when he stands in front of them and prevents the audience from seeing them. Also a noun: fabric hiding a row of lanterns hung above the stage.

[mask: architectural element] Derived from a theatrical understanding of the term ‘mask’ this technique manifests as an architectural element that can be exploited in a similar way.Where masking also has connotations with concealing; protecting; emphasising and obscuring, in this sense the perforated steel mesh can be interpreted as a mask for the following architectural functions.

1. Concealing & Framing of ‘Scene’ for Roof-top Studio 2. Address of Relationship to Chisea di San Domenico 3. City Guesture as Catalyst of Informal Performance 4. Indication of Urban Sub-Centre

[ ATR ]

[ DES B] [ SCAT] MArch2 [ DES C ] [ AMPL ]

[ DES D] [ REP ]

[ FOLIO ]

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

[ DES B ] page

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003

palermo institutions between ‘piazza’ & ‘palazzo’

The ground floor is designed to open up the groundscape connecting the piazzas and streets through passageways indicative of those already in the area. Where theresholds begin between exterior and interior is dissipated at this level. The piazza paving is extended into the foyers up through all the external areas of the building maintaining a visual and material connection with the exterior with the inside

at any height.The project works with the scale of domesticity, relating to the neighbouring constructions except with the height of the tower which becomes a landmark for Vucciria directly facing the adjacent cathedral.

MArch1 [ DES G ] [ ATR ]

[ DES B] [ SCAT] MArch2 [ DES C ] [ AMPL ]

[ DES D] [ REP ]

design.

[ FOLIO ]

[ 2 01 9 ]

CITY FRAGMENTS: PALERMO INSTITUTIONS

Design Studio B MArch 1 / Semester 2

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

[ DES B ] page

6.1 6.2 6.3

7.1 7.2 7.3

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004

palermo institutions

Metaphorically, the mask represents the paradoxical actions of the State of Palermo. In the way the governing bodies wear a mask to maintain peace in the area and extrude hope and false promises the decisions and true agendas are only revealed behind teh mask within the confines of the private municipal ‘palaces’. In resistence, the mesh used in the ‘masks’ of this proposition ensure a continual level of permeability.

Any occurrences behind the mask cannot be concealed, and the opportunity to be either side of the mask is always open. One can choose to be a spectator i.e. be a recipient of the decision or discussion occuring or a performer, involved in the decisions.

This ‘unmasking’ allows a total inclusivity and voids the condition of hierachy, something inherently absent in Palermo.

tectonics of the ‘mask’, the ‘veil’ & the ‘curtain’

Masks and meshes encompass all sides of the building designed as a series of filters and screens positioned in the façades that mediate between inside and out, laterally and top to bottom.

MArch1 [ DES G ] [ ATR ]

[ DES B] [ SCAT] MArch2 [ DES C ] [ AMPL ]

[ DES D] [ REP ]

design.

[ FOLIO ]

[ 2 01 9 ]

CITY FRAGMENTS: PALERMO INSTITUTIONS

Design Studio B MArch 1 / Semester 2

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

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[ DES B ] page

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005

palermo institutions institutional intervention(s) in the city MArch1 [ DES G ] [ ATR ]

[ DES B] [ SCAT] MArch2 [ DES C ] [ AMPL ]

[ DES D] [ REP ]

design.

[ FOLIO ]

[ 2 01 9 ]

CITY FRAGMENTS: PALERMO INSTITUTIONS

Design Studio B MArch 1 / Semester 2

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

demic use only]

[ collaborators ]

6.1 6.2 6.3

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[ DES B ] page

006

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[Academic use only] [Academic use only]

The street serves as a meeting place (topos), for without it no other designated encounters are possible (cafes, theatres, halls).

These places animate the street and are served by its animation, or they cease to exist. \ In the street and through the space it offers, appear appropriated places, realized in appropriated space-time.

Doesn’t this show that the disorder of the street engenders another kind of order? The urban space of the street is a place for talk, given over as much to the exchange of words and signs as it is to the exchange of things.

A place where speech becomes writing. A place where speech can become “savage” and, by excaping rules and institutions, inscribe itself on the walls.”

palermo institutions the ‘unfolding’ of a proposition MArch1 [ DES G ] [ ATR ]

In the street, a form of spontaneous theatre, I become spectacle and spectator, and sometimes an actor.

PERFORMATIVE GROUNDSCAPE: COMPOSITE SITE PLAN & ELEVATIONS

[Academic use only]

It begins to comment on the density and morphology of the landscape being dealt with and places the site in relation to the wider district of Vucciria.The materiality begins to comment on the tectonic language of the Institutions, something which was limited within the Theatrum Mundi as drawing.

The cast pieces present the found environment. As these become inhabited with interventions and the growing layer of transient art taking over the city they become broken down into spaces where interiors and exteriors become indistinguishable, hence the removal of roofs from the buildings. Building facades simply start to represent ‘screens’ or theatrical backdrops, both framing and animating the new streets being created.

[1:500]

The Theatrum Mundi drawing was developed further into a model/ installation, as a spatial-material assemblage, in correspondence with the developing Institutions.While it is constructed as a large-scale model at 1:200 it operates as a piece in the studio at 1:1 .

The street is a place to play and learn. The street is a disorder. All the elements of urban life, which are fixed and redundant elsewhere, are free to fill the streets and through the streets flow to the centers, where they meet and interact, torn from their fixed abode.

This disorder is alive.

It informs.

It surprises.

[henri lefebvre]

design.

[ 2 01 9 ]

CITY FRAGMENTS: PALERMO INSTITUTIONS

Design Studio B MArch 1 / Semester 2

[ DES B] [ SCAT] MArch2 [ DES C ] [ AMPL ]

[ DES D] [ REP ]

[ FOLIO ]

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

[ DES B ] page

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

007

10.1 11.1 10.2 11.2 10.3 11.3

palermo institutions within space(s) of performance

The amalgamation of layers with varying textures and surface become emblematic of the layering of the urban grain in Vucciria and wider Palermo. These layers can continue to be added to and changed like the grafittied walls below or changing backdrop of a play.

The intricacy at certain moments, despite the materials used not being of particularly high value, a combination of steel, wood and concrete, reflect the moments of high and low art overlapping as is continuously present in Vucciria

These meshes across this top broadcasting studio produce a dynamic spatial condition which, like a film camera control the intensity of the natural light.

MArch1 [ DES G ] [ ATR ]

[ DES B] [ SCAT] MArch2 [ DES C ] [ AMPL ]

[ DES D] [ REP ]

design.

[ FOLIO ]

[ 2 01 9 ]

CITY FRAGMENTS: PALERMO INSTITUTIONS

Design Studio B MArch 1 / Semester 2

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

[ DES B ] page

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 11.1 10.2 11.2 10.3 11.3

008

palermo institutions typical spatial arrangements

The extent of openess and publicity between spaces can be seen along with how the courtyard and palazzo stair situate themseles in relation to the internal spaces.

While the ground floor presents a spacious foyer open to the immediate urban landscape with voids above allowing glimses into internal spaces further notions of this visual permeability is expressed particularly in the key second and third floor plans opposite in the viewing ‘pods or ‘theatre boxes’ which begin to delieneate thresholds

between interior and exterior, publicity and privacy. They also function to hide structural supports within their buildups freeing up the floors from visible structural entities like columns .This is continually present in the basement where they are sculpted around the structures they conceal.

MArch1 [ DES G ] [ ATR ]

[ DES B] [ SCAT] MArch2 [ DES C ] [ AMPL ]

[ DES D] [ REP ]

design.

[ FOLIO ]

[ 2 01 9 ]

CITY FRAGMENTS: PALERMO INSTITUTIONS

Design Studio B MArch 1 / Semester 2

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

[ DES B ] page

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

009

10.1 11.1 10.2 11.2 10.3 11.3

RC 04

RC 03 RC 01

RC 02

FC 05

palermo institutions

EW 01

EW 02

FC 04

assemblage in the city

FC 03

FC 02 EW 03

FC 01

EW 03

MArch1

RC 05

[ DES G ]

Concrete sandwich walls allow for a controlled thermal insulation furthered by continuous layer of insulation around the buildings envelope. This will allow the building to depend much less on expensive air conditioning overall making the building more energy efficient. Mechanical cooling burns a huge amount of energy in hot countries.

Therefore insulation within the wall reduces the U-value and keeps the spaces cooler inside during the day.

design.

In this way year round comfort can be achieved, allowing for passive heat gain in the winter. Continuous insulation decreases temperature variations within the structure and increases energy savings. It absorbs and stores heat energy through thermal mass and provides an barrier between the interior and exterior of the building.

[ ATR ]

FD 01

[ DES B] [ SCAT]

EW 04

MArch2 [ DES C ] [ AMPL ]

[ DES D]

FC 01

[ REP ]

[ FOLIO ] FD 02

[ 2 01 9 ]

CITY FRAGMENTS: PALERMO INSTITUTIONS

Design Studio B MArch 1 / Semester 2

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

[ DES B ] page

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 11.1 10.2 11.2 10.3 11.3

010

palermo institutions the city’s performativity

Other influences from the city which contributed to the architectonic language were the precarious structures and restraints scattered around the city to act as temporary supports for the decomposing urban grain. Instead, years later, these still exist in the form of steel cabling and bracing and bricked up renaissance window frames. These interventions have been applied to any building irrelevant of its social status and as a result provided another layer of theatricality to the city. Where every building surface is now transient, these supports start to channel stage trusses, lighting rigs an support wires.Yet again adding to the notion of city as stage.

The extent of the city’s performativity is extrapolated. If the fundamentals of public and private, interior and exterior, palazzo pizza are re-figuring, so to is the differentiation of ‘performer’ and ‘spectator’ in the city.This calls for an architecture that is less definable and formalised than conventional parts.

Instead, adapting components often associated with the theatre and modes of performance, like masks, rostras and cycloramas, seemed more appropriate and inkeeping with the found environment and current occurances with their ability to move and screen and change.

MArch1 [ DES G ] [ ATR ]

[ DES B] [ SCAT] MArch2 [ DES C ] [ AMPL ]

[ DES D] [ REP ]

design.

[ FOLIO ]

[ 2 01 9 ]

CITY FRAGMENTS: PALERMO INSTITUTIONS

Design Studio B MArch 1 / Semester 2

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

[ DES B ] page

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

011

10.1 11.1 10.2 11.2 10.3 11.3

palermo institutions ‘unfolding’ as tectonic methodology

‘un’-folding

To open: or spread out something that has been folded.

If a situation or story unfolds, it develops or becomes clear to other people: As the plot unfolds, you gradually realise that your initial assumptions were wrong.

MArch1

[un-folding: architectural practice] As an exploration through the practice of ‘thinking through making’ across a range of scales (see 1:200, 1:100 and 1:50 study models), the thesis has developed a language of ‘layering’ and ‘folding’ that has culminated in an architecture of performative ‘masks’,‘screens’ and ‘curtains’ that act in the following ways.

1. To Make Storng Visual Connections with the City & Existing Institution(s) 2. To Facilitate the Re-Inhabitation of Abanandoned Infrastructure 3. To Delineate Urban Sub-Centres / ‘Stages’ for Interogative Performance 4. To Create a Habitable Wall Construction(s) 5. To Provide Means of Natural Ventilation & Solar Shading

[ DES G ] [ ATR ]

[ DES B] [ SCAT] MArch2 [ DES C ] [ AMPL ]

[ DES D] [ REP ]

design.

[ FOLIO ]

[ 2 01 9 ]

CITY FRAGMENTS: PALERMO INSTITUTIONS

Design Studio B MArch 1 / Semester 2

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

[ DES B ] page

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 11.1 10.2 11.2 10.3 11.3

012

+12. +14.

+13. +18.

+14.

+17.

+15.

+16. +17.

FC 02

[New Insulated Composite Concrete Deck; Floor Construction]

+6.

+25.

+18.

FN_0.01 65mm Power Floated Concrete Screed or 13.5mm Solid Timber Floor (with 6mm ply deck) FC_0.02 200mm Service Void FC_0.03 Adjustable Galvanised Steel Raised Floor Pedistal(s) FC_0.04 50mm Acoustic Insulation FC_0.05 250mm Solid In-Situ Concrete Slab

+9.

+24. +23.

+10. +9.

+18. +20.

INSTITUTION(S) : FIFTH FLOOR ROOFTOP BROADCAST (exploded assembly axonometric)

[New Insulated Secondary Steel Mask(s); External Wall ConstrucFN_0.01 Plaster Skim FN_0.02 12.5mm Plasterboard EW_0.01 Vapour Control Layer EW_0.02 150mmVertical Structural Steel Frame EW_0.03 150mm Wall Insulation (installed between vertical steels) EW_0.04 11mm OSB EW_0.05 UV Breather Membrane EW_0.06 50mm x 50mm Projecting Secondary Steel Frame (to recieve cladding / mesh panel) EW_0.08 Perforated Steel Mesh / Solid Sheet Steel Cladding Panels

EW 03

[New Insulated In-Situ Concrete; External Wall Construction]

RC 01

[New Bespoke Glulam Pitched Roof; Roof Construction]

+8.

+17. +8.

+5. +9.

+7.

+7.

+16.

+6.

[1:100 ]

EW_0.01 150mm In-Situ Concrete (inner leaf) EW_0.02 150mm Foam Insulation EW_0.03 150mm In-Situ Concrete (outer leaf)

palermo institutions

‘ mask ’

assemblage & typical construction sequence(s)

RC 04

INSTITUTION(S) : THIRD FLOOR RADIO BROADCAST (exploded assembly axonometric)

+5.

FN_0.01 22mm Birch Ply Lining RC_0.01 25mm x 50mm Softwood Timber Battens RC_0.02 Vapour Control Layer RC_0.03 400mm x 150mm Bespoke Glulam Rafters (at max. 1200mm centres) RC_0.04 11mm OSB RC_0.05 150mm Insulation (installed over rafters) RC_0.06 18mm Marine Grade Plywood Deck RC_0.07 Vapour Control Layer RC_0.08 Single Ply Roffing Membrane RC_0.09 50mm x 125mm Bespoke Secondary Steel Frame RC_0.10 25mm x 50mm Lightweight Steel Frame (to recieve cladding / mesh panel) RC_0.11 Perforated Steel Mesh / Solid Sheet Steel Cladding Panels RC 03

+6.

[1:100 ]

+19.

EW 02

+11.

To hide: an actor(s) masks another when he stands in front of them and prevents the audience from seeing them. Also a noun: fabric hiding a row of lanterns hung above the stage.

[mask: architectural element] Derived from a theatrical understanding of the term ‘mask’ this technique manifests as an architectural element that can be exploited in a similar way.Where masking also has connotations with concealing; protecting; emphasising and obscuring, in this sense the perforated steel mesh can be interpreted as a mask for the following architectural functions.

‘ curtain ’ A hanging cloth: that conceals the stage from the view of the audience; rises or parts at the beginning and descends or closes between acts and at the end of a performance.

1. Concealing & Framing of ‘Scene’ for Roof-top Studio 2. Address of Relationship to Chisea di San Domenico 3. City Guesture as Catalyst of Informal Performance 4. Indication of Urban Sub-Centre

[curtain: architectural element] Derived from a theatrical understanding of the term ‘curtain’ this technique manifests as an architectural element that has exploited in a similar way. Draping a lightweight, perforated veil over the structure framing moments of performative practice, the ‘curtain’ also serves the following architectural functions.

1. Thermal Enclosure & Waterproofing 2. Creation of Shaded External Terrace 3. Acoustic Deflection to South Elevation 4. Solar Shading to South Elevation

[New Insulated Composite Concrete Deck; Roof ConstrucRC_0.01 65mm Power Floated Concrete Screed (laid to falls to surafce water drainage) RC_0.02 Waterproofing Membrane RC_0.03 150mm Rigid Insulation RC_0.04 Vapour Control Layer RC_0.05 200mm Concrete Slab RC_0.06 80mm Steel Deck RC_0.07 303mm x 102mm Structural UB RC_0.08 250mm Service Void RC_0.09 25mm x 50mm Softwood Timber Battens FN_0.02 12.5mm Plasterboard FN_0.01 Plaster Skim

+2.

+3.

MArch1 [ DES G ] [ ATR ]

[New Perforate Mesh; Roof Construction]

[ DES B]

RC_0.01 Perforated Steel Mesh / Solid Sheet Steel Cladding Panels RC_0.02 25mm x 50mm Lightweight Steel Frame (to recieve cladding / mesh panel) EW_0.07 50mm x 50mm Projecting Secondary Steel Frame (to recieve cladding / mesh panel) RC_0.03 200mm x 133mm Structural UB RC_0.04 150mm x 950mm Lightweight Timber Rigging Trusses

[ SCAT]

+1.

MArch2 [ DES C ] [ AMPL ]

+4.

[ DES D] [ REP ]

design.

[ FOLIO ] +18. +10.

‘ screen ’ A fixed or movable upright partition used to divide a room; provide concealment or privacy; or upon on which images and data are displayed.

+15.

[screen: architectural element]

[ 2 01 9 ]

CITY FRAGMENTS: PALERMO INSTITUTIONS

Derived from a theatrical understanding of the term ‘screen’ this ‘act’ manifests as an architectural component in a variety of ways throughout the scheme. As a concealment of actor(s) onto ‘stage’ from the ‘wings’, the stair performs in the following ways.

1. Creation of Threshold / Entry onto ‘Stage’ 2. Deliniation of ‘Stage Left’ or the ‘Wings’ 3. Provide Regulation Balustrade 4. Tectonic Programmatic Motif

+11.

‘theatre box ’

+20.

+16.

Asmall, separated seating area in the auditorium or audience for a limited number of people for private viewing of a performance or event. Boxes are typically placed immediately to the front, side and above the level of the stage.

+14. +12.

[box: architectural element] Derived from a theatrical understanding of the term ‘box’ this theatrical element manifests as an architectural component that can be exploited in a similar way.The theatre box provides the opportunity to integrate the spectacle and connectivity in a way that denotes performance and threshold. In this way these ‘boxes’ make the following architectural ’gestures’.

Design Studio B MArch 1 / Semester 2

+19.

+13.

+21. +22.

1. Material & Thermal Threshold 2. Provide Places for Observation 3. Give Additional Acoustic Insulation to Necessary Areas 4. Acts as Nodes for ‘Formal’ Scenes of Performance

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

[ DES B ] page

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

012

10.1 11.1 10.2 11.2 10.3 11.3

figure 11.

Setting out ‘fields’ of institution(s) and ‘fragments’ of history.

An introduction to Palermo’s lost landscape.

I.

“In Palermo there is a sense of annihilation around any project.What you find beyond Kalsa, for instance, is essentially the persistence of debris.

Like Vucciria, it is a fossil; for forty years, it has survived any attempt at modernisation, it is the evidence of total imperviousness to any form of government. First-time visitors perceive the ruins of the1943 bombing as something impressive,but for people of Palermo they are an integral part of the city. Indeed, they are involuntary monuments to everything that hasn’t happened in recent years.” 11

city fragment (s)

[2019]

003

3.

7.

V.

iria cc * Vu

II

The studio comes to Palermo at a time where it momentarily finds itself the centre of international attention. Following decades of neglect and oversight, 2018 brought Manifesta to the city, the most influential art biennale in Europe, it was voted Italian Capital of Culture and the Norman palaces and cathedrals in the historic centre were recognised as UNESCO world heritage sites. It is a place whose history, reputation and needs, past and present, is beginning to be understood.

[brief three: act (II)]

[B]

1.

[C]

4.

zza * Pia

lo cio rac Ca

* Piazza Garraffelo [A]

to Historic

City Gates

Mer chan t Ex chan ge w ith M ercat o del la Vuc ciria

Via ro nd esa All ro ost ern Pat

8.

While not involved with itinerant architectures but rather in the same way the fair evolved into the museum as a concretisation of social practices, it explores how new temporal institutions of spaces of performance can make new building programmes.12

IV

Cre ative Exch ange with

Performing La Vucciria proposes a performative tectonics of masks, curtains and veils: An Institution for Television and Radio Broadcast in the heart of La Vucciria.

III

+

Re-figuring performative practices and establishing new means of working in and on the city, the thesis takes papyrus as material, together with layering and folding as process and technique, to not only form a tectonic language but also as a reflection of the (lost) landscape of Palermo.

6.

[D]

2.

City Fragments: Palermo Institutions studio acknowledges that this historical, fragmented city, somehow, works; it is a place of work. It takes interest in exploring interventions in the intersections between the different spaces of the city (which embody different times, politics, histories, etc.) to develop new spaces for Palermo within this understanding of temporality and situation.

Performing Palermo Privacy—Paper, Piazza, Palazzo—Publicity

‘Abandonland’

VII

+ Via Roma

palermo institutions

* La Cala * Piazza San Domenico .

5.

ALAB* Artisans

CITY FRAGMENTS: PALERMO INSTITUTIONS

design.

[F]

palermo institutions

[H]

9.

* Pia

zza

S. An na

[J] 11.

11. Prescia, Renata, ‘La Vucciria tra storia e progetto’ in La Vucciria Tra Rovine e Restauri. ed. by Prescia, Renata, (Palermo: Salvare Palermo, 2015), p. 60.

[E]

+10.

12.

sa * Kal

[G]

12. French, C and Mitsoula, M, City Fragments: Palermo Institutions, Project Brief, ESALA, p. 7.

joseph coulter / MArch 1 ariana monioudis / MArch 2

VI

13.

xvii

INSTITUTIONS(S) : FOUND ENVIROMENT OVERLAY

[1:1000]

[a lost landscape: ‘folding’ into Vucciria]

Practicing an architectural language that is consistent in proposition and thinking.

The Hortus Mundi (HM) offers an interrogation of the lost landscape of Palermo’s historic city centre, in particularly the difference in the urban fabric between Kalsa and Castellammare (Vucciria).Through the ‘act’ of folding in and out ‘interior’ courtyards and ‘external’ piazzas and the series of ‘screens’ explores potential palazzo/piazza relationships and their positions within the city.Throughout the thesis, the move of ‘folding’,‘masking’,‘layering’ and ‘cutting’ has been translated into an operational, architectural language.

Existing Piazza(s) 1. Piazza Garraffello 2. Piazzetta Appalto 3. Piazza S.Eligio 4. Piazza Caracciolo 5. Piazza S.Domenico 6. Piazza della Fonderia 7. Piazza Cassarelli

8. Piazza Cassa di Risparmio 9. Piazza S.Anna 10. Giardino dei Giusti 11. Piazza Aragona 12. Piazza Croce dei Vespri 13. Piazza S.Euno

Existing Palazzo(s) A. Palazzo Lo-Mazzarnino Merlo H. Palazzo Bonet J. Palazzo Valguarnera Gangi B. Palazzo Rammacca C. Palazzo ducca della Grazia D. Loggia dei Catalani E. Palazzo Bonagia F. Palazzo Cefalà G. Palazzo Castrofilippo

Existing Institution(s) I. Chisea San Domenico II. Teatro Biondo Stabile III. Chiesa Madonna del Lume ai Casseri IV. Chisea di Sant’Anna la Misericordia V. Fonderia Oretea VI. Teatro Garibaldi

emerging practice(s)

Palermo is a city of pomp, performance and pageantry. It is home to the largest Opera House in Europe, the Teatro Massimo, built to celebrate the unification of Italy (Risorgimento).

At its height, during the Belle Époque, the urban palazzi of the princes of the city – adorned with material that announced the wealth of an aristocracy at odds with a population in relative poverty – hosted extravagant balls and feasts (memorably described in Lampedusa’s The Leopard).

Today, the palazzi are in ruins, a result of profligacy, the bombings of WorldWar II and the abandonment of the old city. Theatres lie closed or in ruins. Despite increasing economic disparities, UNESCO funding and money deriving

The methodology used for development can be broken down into the following processes:

Layering and folding was used as process and technique. This allowed for historic surface and acted upon surface to be regarded as one rather than as disparate layers as the way they are converging is they are becoming inseparable.

The processes of folding and

layering became key to exploring the re-figuration of public-private relations. Folding internalised the public spaces of the piazzas bringing their activities into the private realm and vice versa. You no longer see spaces bounded by interiors and exteriors rather a continuous sequence of totally accessible urban space.

An unintentional result of testing and working within this language was the relationship between the work itself and the way in which it was represented.The architectonic language being developed as part of the propositional work also

became reflective in our methods of representation across. This opened up questions of scalability and producing a language suitable for applying to the city at 1:1000 to the body at 1:1. Hence why it was necessary to present the final project across a variety of scales, from the fragment to the whole with similar components visible across scales.

figure 36.

Creating a ‘tectonic’ language through the making of Hortus Mundi that is consistent in proposition and thinking.

[2019]

Firstly, the materiality of paper was chosen, combined with hatch and surface changes, to be

representative of the undefinability of the found environment in Palermo which is made up of an amalgamation of overlapping layers of ideologies, agendas and epochs rather than justifiable to a particular moment in time.

CITY FRAGMENTS: PALERMO INSTITUTIONS

The thesis called for a very specific architectonic language to be developed both reflective and unifying of the current and evolving environment in Vucciria.

This culminated into a language of screens, masks and meshes each with their own derivative from both the city and testings throughout the year.

40

design.

[ 2 01 9 ]

CITY FRAGMENTS: PALERMO INSTITUTIONS

Design Studio B MArch 1 / Semester 2

thetic development & commentary

hortus mundi

*chris french *maria mitsoula

from the integration of the city into global real estate networks has resulted in only high-value restoration projects, spaces offlimits to many. The local response has been to reclaim the abandoned palaces; desolate buildings are being re-appropriated by agents motivated to expose the cultural fractures present in the city.

These re-appropriations re-figure classical notions of publicity and privacy, piazza and palazzo, and performer and spectator, culminating in new public palaces composed of interiors where publicity is performed. The city has become a stage; a new era of affective theatricality is emerging.

Performing La Vucciria proposes a performative tectonics of masks, curtains and veils. An Institution

for Television and Radio Broadcast in the heart of La Vucciria provides a platform for emerging creative practices, allowing them to be recognised and heard.

The accompanying design report provided a format in which to discuss the thesis being developed over the course of the year. It acts as a supportive document to the submitted portfolio and exhibited design work, giving a comprehensive understanding of how the social, cultural and environmental conditions being dealt with tie together with any relevant theory. It offers further insight into a well considered final design that presents a relevant architectonic language, building programme with consideration to environmental, structural and sustainable aspects. The document provides an integral component to the interpretation of the design module

and only togther do they provide a holistic understanding of the year long thesis. As such it was a thoroughly satisfying document to put together to illustrate the complexity depth that the architecture studio project allowed us to broach.

MArch1 [ DES G ] [ ATR ]

[ DES B] [ SCAT] MArch2 [ DES C ] [ AMPL ]

[ DES D] [ REP ]

[ FOLIO ]

theory.

poetic thinking

[contemporary architectural theory] Poetic Thinking: Studies in Contemporary Architectural Theory This course is an inquiry into and a practice of “poetic thinking”, where the “poetic” is seen not as a genre of literature, but as an epistemological approach to the world, counter to a systematic or rational understanding. Not alogical, or lacking in rigour or precision, this seminar course takes the poetic as a synthesis of another kind, based on how we are already understanding the world.

Rather than attempting to speak about the world, or to explain it, the “poetic” is approached as an intensification of our perception and being-in-the- world.The seminar will explore texts which are philosophically poetic and poetically philosophical.

The course is assessed based on two assignments submitted at the end of the semester a reading diary and an essay.The course diary records your ongoing critical reflections and responses to the weekly readings and seminar discussions.You should report on these and elaborate upon the significance of some aspects of the readings for contemporary architecture and/or urbanism. Arising from the seminars and readings, the essay is not intended to be a comprehensive analysis or overview of the material covered in the seminar option, but rather an investigation of a specific topic connected to it that interests you.

L01. A capacity to research a given theme, comprehend key texts and contextualise them within a wider historical, cultural, social, urban, intellectual and/or theoretical frame.

L02. An understanding of the way theoretical ideas, practices and technologies of architecture and the arts are mobilized through different textual, visual and other media, and to explore their consequences for architecture.

L03. An ability to coherently and creatively communicate the research, comprehension and contextualisation of a given theoretical theme in relation to architecture using textual and visual media.

MArch1 [ DES G ] [ ATR ]

[ 2 019 ]

POETIC THINKING: ESSAY / JOURNALS

[ DES B ]

*fiona hanley *ella chmielewska

SCAT]] [ SCAT MArch2

[ DES C ] [ AMPL ]

[ DES D] [ REP ]

[ FOLIO ]

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

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poetic thinking journal entries; ‘frames’ of poetic thinking MArch1 [ DES G ] [ ATR ]

[ DES B ] [ SCAT ] MArch2 [ AMPL ]

[ DES D] [ REP ]

[ FOLIO ]

theory.

[ 2 01 9 ]

POETIC THINKING: ESSAY / JOURNALS

Contemporary Architectural Theory MArch 1 / Semester 2

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

1 2

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

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[ SCAT ] page

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Frames of Poetic Thinking Voices of Reverie: A Conversation of Creative Becoming

Studies in Contemporary Architectural Theory Poetic Thinking / Fiona Hanley

1

Journals; Frames of Poetic Thinking

journal entries; ‘frames’ of poetic thinking

exposed by the thinkers explored over the course of the program, which open into an expanded, speculative discussion on the poetics of ‘reverie’ as a source of both creativity and identity in the design process.

poetic thinking

their texts.

Voices of Reverie: The ‘frames’ unfold a range of movements A Conversation of Creative Becoming

Frames of Poetic Thinking: Studies in Contemporary Architectural Theory

The Eyes of the Skin Getting Placed Attunement, Atmosphere, Attention X: Exchanging Glances This collection of writings addresses a journey, a way through, a series of readings that explore The Tacit Dimension: Seeing-as a relationship with thinking and an exposure Listening to The Rhythm of Being to ‘being’ in the world. It contemplates the Poetry en Route tonality of the readings as an arrangement of Thinking in Turns; turns infragmentary thinking reflections, and speculates on Thought Images: Readingthe What Was Never Written turns in thinking of a collection of writers Reading Rooms through encounters with particular frames in

This collection of writings addresses a journey, a way through, a series of readings that explore a relationship with thinking and an exposure to ‘being’ in the world. It contemplates the tonality of the readings as an arrangement of fragmentary reflections, and speculates on the turns in thinking of a collection of writers through encounters with particular frames in their texts.

The ‘frames’ unfold a range of movements exposed by the thinkers explored over the course of the program, which open into an expanded, speculative discussion on the poetics of ‘reverie’ as a source of both creativity and identity in the design process.

MArch1 [ DES G ] [ ATR ]

[ DES B ] [ SCAT ]

joseph coulter

MArch2

joseph coulter Peripheral Contact: An Idle Becoming

Gathering Place: From a Beginning

The ‘Gap’: Atmosphere Between

Interior Possibility: An Invisible Dimension of Being

Tacit Connectivity: An Implicit Cognitive Animation

Listening: To the Rhythm of Being

[ AMPL ]

[ DES D]

joseph coulter

theory.

[ 2 01 9 ]

POETIC THINKING: ESSAY / JOURNALS

Contemporary Architectural Theory MArch 1 / Semester 2

[ REP ]

[ FOLIO ]

[ collaborators ]

EI AM GL EM KSa KSi

1

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

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4.1 4.2 4.3

5.1 5.2 5.3

[ SCAT ] page

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Journals; Peripheral Contact: An Idle Becoming

This collection of writings addresses a journey, a way through, a series of readings that explore a relationship with thinking and an exposure to ‘being’ in the world. It contemplates the tonality of the readings as an arrangement of fragmentary reflections, and speculates on the turns in thinking of a collection of writers through encounters with particular frames in their texts.

The ‘frames’ unfold a range of movements exposed by the thinkers explored over the course of the program, which open into an expanded, speculative discussion on the poetics of ‘reverie’ as a source of both creativity and identity in the design process.

“In these experiences, space takes on more gravity, as it were - the character of light becomes tangible, time seems to stop, and space is dominated by silence.

We identify with this place, the space this moments and they all become part of our body and consciousness.The experience of place returns the experience to ourselves: at bottom it is an experience of the self.” 3

It is through Pallasmaa that we can begin to understand that the experience and tangibility, in particularly, in his occularcentric world of ‘seeing’, of the world and the sensible intensity of its existence, most comfortably envelops us at the unfocused periphery of our sensuality. In turn, it ‘touches’ back; reaching out upon to our idle bodies to cradle, to embrace our very inner being. Just as the potter shapes new dimensions, volumes of resonance within the surface of the clay, so too the clay moulds the being of the body as a potter through a primacy of the tactile sense on the periphery.4 Perhaps, the periphery, by way of Pallasmaa, and the freedom from “the implicit desire of the eye for control and power, it is precisely the unfocused vision of our time that is again capable of opening up new realms of vision and thought.” 5

Rather, if we are to understand how the body can engage with a peripheral state of idle becoming, we are able to open new realms for contact with the flesh of the world as a whole.

Getting to know the world as the potter knows the clay on the wheel; lightly caressing its edges, its peripheries and moulding its interiority that carries the haptic being of the autonomy of the anatomy of its maker.

periphera;l contact: an idle becoming

- Juhani Pallasmaa, The Place of Man.

It sits on the edge of such a centre, a centre of becoming that, in turn, allows the peripheral to draw breath. In terms of tactility, one could suppose that the flesh1 of the world and its tangible intricacies are ‘received’ at the periphery.

If one were to immediately pierce the centre of being in the world, such haste would be confronted with the resistance of the fixity of a focused and abstracted force too assertive to attain any such haptic significance. In this way, the body and its sensibilities are unable to touch the essence of the world and the integrity of the anatomy of its centre. Here the body is stiffened with the preoccupations of the projections of the conscious mind and is without the autonomy to explore the tactile contours of the world.

poetic thinking

In its very nature, the peripheral is something that enables a centre to exist.

MArch1 [ DES G ] [ ATR ]

[ DES B ]

Precisely this mode of idle being that can re-sensualise the contemporary creative practices of becoming.

In ‘The Eyes of The Skin’, Juhani Pallasmaa challenges this role of the “body as a locus of perception, thought and consciousness”2 in a way that articulates the integration of each with the furthering of our being through the encounter: a sensual contact with the world on the periphery.

[ SCAT ] MArch2

[ AMPL ]

[ DES D] [ REP ]

1

theory.

[ 2 01 9 ]

POETIC THINKING: ESSAY / JOURNALS

Contemporary Architectural Theory MArch 1 / Semester 2

3

5

7

[ FOLIO ]

[ collaborators ]

[ graduate attributes ]

EI AM GL EM KSa KSi

1

2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

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Journals;The ‘Gap’:Atmopshere Between

The journals were presented, themselves, each within their own ‘frame’; a sleeve that carried loose-leaf pages each framing their own theoretical reflection. They were bound into a package with the subsequent essay with a ‘tonal’ graphic reference to the ‘becoming’ of the summative text.

Each of the components also employed a ‘white on black’ graphic quality to communicate different ‘voices’ within the texts - each alluding to and culminating in the essay title ‘Voices of Reverie:

Conversations of Creative Becoming’

Just as through Pallasmaa, “we see the importance of environment for our personalities and psyches. A properly organised environment - full of significance, finding echoes in the measurements of our body, and in the memories if our minds - expresses our relationship with the world, but at the same time reinforces our self identity.”7 For Bohme, the experience and measure of the body and world through the reciprocal and communicative effects of atmosphere are facilitated by the sense of oneself perceiving. Atmosphere carries beings of the world, transcends them beyond, to step outside themselves into an otherness that embodies an authentic growth.8

As a result of such an interdependent relationship, could atmosphere be understood as a perceptive state of re-awakening that inhabits a cognitive space between the object and subject?

A state that, once removed from the position of “mere spectators”5, hapticity takes over.The body and soul take up an inhabitance of the atmosphere whereby we encounter the truest sense of the self: a reverie of the unadulterated, unconscious self. A knitting together of the body in the world in such a way that the body is realised as ‘of’ the world.

MArch1

“Atmosphere is therefore a fundamental fact of human perception, that is, of the way in which people sense at once where they are, through their disposition. Seen in this way, atmospheres shape a person’s being-in-the-world as a whole.” 6

To characterise this betweenness is to describe a ‘gap’, the space that is opened up in the relationship for perception to unfold: a hazy and somewhat peripheral space at the root of the embodied encounter. “Atmospheres, which are experienced through immersion and by ways that affect our disposition, are impossible to locate precisely.”3 It is this peripheral and unfocused nature of this ‘in-between’ that dictates an ambiguous human understanding of this ‘gap’. One that enables a resonance, a sensual

We find ourselves in the moments where we are carried along by atmosphere. Picked up by hazy clouds of potentiality in moments of happening that extend beyond themselves and through which we feel the tones of our being and experience our very existence. But what is atmosphere and how does emancipate a sensual awareness that gives colour to our mood and emotion?

the ‘gap’: atmosphere between

inhabitance or dwelling-in what Böhme has termed a “sphere of felt bodily presence”.4

poetic thinking

Böhme reminds us of the ambiguity that surrounds atmosphere and in particularly that “one does not quite know whether to attribute them to the objects or environments from which they emanate or to the subjects who experience them.”1 Could the indeterminate tension presented by this dichotomy tend towards a perception that we are in this case at once both an embodiment of the object and subject in this relationship in a way that reflects our being ‘of’ rather than ‘in’ the world? For the duality of this dialogue as Bohme begins to suggest, in atmospheric terms, is one cannot exist with out the other, whereby the epistemological phenomena is “concerned with the relationship between environmental qualities and human states.This And, this in-between, through which environmental qualities and humans states are related is atmosphere.”2

Atmospheres that consume the senses, the haptic consciousness of the being could therefore be how we can begin to understand an attunement with our whole sense of self. It could be said that in these ‘‘reverous’’ moments of sensibility, we experience ourselves shaping perceptions of the world around us from the places that are at once part of us - just as we are shaping ourselves.

Atmospheres and the space they occupy within our bodies allow their moods to penetrate deep into this peripheral state of mind; to completely inhabit the subconsciousness of our sensual being. Fundamentally, the presence and motion of such moods allow us to begin to place thoughts amongst places, (both in the flesh of the world and our minds) from which our sense of self, our identity is able to grow.

[ DES G ] [ ATR ]

[ DES B ] [ SCAT ] MArch2 [ AMPL ]

- Gernot Böhme, Atmospheric Architectures

[ DES D] [ REP ]

1

theory.

[ 2 01 9 ]

POETIC THINKING: ESSAY / JOURNALS

Contemporary Architectural Theory MArch 1 / Semester 2

3

7

[ FOLIO ]

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

1 2

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

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Frames of Poetic Thinking Voices of Reverie: A Conversation of Creative Becoming

Studies in Contemporary Architectural Theory Poetic Thinking / Fiona Hanley

2

Essay; Voices of Reverie

As a piece of writing that extends the ‘frames of thinking’ presented through the reflective reading journals, this inquiry speculates at the potential of ‘reverie’ to open an unconscious space of becoming. Where reverie carries the maker into a discourse with the enigmatic syntax of an illusive interior being, there is an underlying resonance that facilitates the freedom and movements of creative growth.There is however a tension at play, a force of focus. A compulsion to abide to the voices of ego that drown out the tacit and peripheral advances of a haptic unconsciousness.

joseph coulter

The essay concerns how can we begin to find the edges of creativity through ‘improvisatory conversations’ with the voices of our inner being and gain momentum towards a way of moving on. It will propose ‘reverie’ as a way to suspend the conscious projection of thought towards an end,

essay abstract; ‘voices of reverie’

exposed by the thinkers explored over the course of the program, which open into an expanded, speculative discussion on the poetics of ‘reverie’ as a source of both creativity and identity in the design process.

poetic thinking

Voices of Reverie: The ‘frames’ unfold a range of movements A Conversation of Creative Becoming

Voices of Reverie: A Conversation of Creative Becoming

their texts.

Frames of Poetic Thinking: Studies in Contemporary Architectural Theory

The Eyes of the Skin Getting Placed Attunement, Atmosphere, Attention X: Exchanging Glances This collection of writings addresses a journey, a way through, a series of readings that explore The Tacit Dimension: Seeing-as a relationship with thinking and an exposure Listening to The Rhythm of Being to ‘being’ in the world. It contemplates the Poetry en Route tonality of the readings as an arrangement of Thinking in Turns; turns infragmentary thinking reflections, and speculates on Thought Images: Readingthe What Was Never Written turns in thinking of a collection of writers Reading Rooms through encounters with particular frames in

and instead open into a dimension of tacit knowledge to begin to understand the nature of how we come to perceive it.

MArch1 [ DES G ] [ ATR ]

[ DES B ] [ SCAT ]

joseph coulter

joseph coulter

MArch2 [ AMPL ]

[ DES D]

joseph coulter

theory.

[ 2 01 9 ]

POETIC THINKING: ESSAY / JOURNALS

Contemporary Architectural Theory MArch 1 / Semester 2

[ REP ]

[ FOLIO ]

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

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I meander through the woods. Follow the path between the trees, the air clear with the smell of fresh pine. So too the cedar, of the walls, as I inhabit the line.

The lining of the walls, that I caress in my mind, with corners, edges and depths so fine.

Here, doorways open.

In these moments there are slippages in time. Space to animate these encounters, show me a way to see their likeness, a meaning, and ask why? Can entering into the freedom to write and draw, follow the rhythm of reverie and carry unexpected discovery?

...On, to the next moment or movement where we find ourselves.

Bring colour and tonality to the journey, the way; a process of an enduring, creative, becoming.

essay extract; ‘voices of reverie’

The coming to know, of works we shape, and unfold with our hands, as we come to know ourselves opening on to new questions. Creating new frames: hazy imprecise perceptions … that move on.

poetic thinking

From long pebble beaches into new spaces of mine.

The light pours in and continues to shine through thoughts, on, to what I never knew I could find.

MArch1 [ DES G ] [ ATR ]

[ DES B ] [ SCAT ] MArch2

Knowing. Never ending,

unfinished.

theory.

But going on, just growing. [ 2 01 9 ]

POETIC THINKING: ESSAY / JOURNALS

Contemporary Architectural Theory MArch 1 / Semester 2

[ AMPL ]

[ DES D] [ REP ]

[ FOLIO ]

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

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If we have established that conversations in reverie lead us on to creative discovery, how is it that the nature of of these conversations differ to those we force upon ourselves in consciousness?What textures do they hold that allow us to feel our way through to new spaces of knowing? And how does reverie facilitate such action?

Jan Zwicky further explores the role of the metaphor and its multiplicity in experience through a transcendence of analytical and phenomenological philosophy in ‘Wisdom and Metaphor’. In a playful style of writing, she invites the reader to enter into a frame that is assembled across the spread of the page with a pairing of short texts: a left-handed text that presents a collection of aphorisms written by Zwicky and a right-handed text that is exercised to illustrate or extent the first through the voice of another. Within this carefully composed frame of reference the reader is encouraged to ‘experience’ metaphor.

To make a semantic leap from one passage to another in order to pertain new meaning and to read into, to ‘make’, with reference back to Ingold’s ‘Thinking through Making’, the unwritten connection between the two.

If one thing seems to be certain, it is that to dream, to enter into a creative institution of reverie is to open up to new possibilities of being; a ‘knowing from the inside’ that refuses to seek closure,32 but rather delights in the openness of a poetic dialogue with unconsciousness.

Notes; 27.

28.

29.

30.

31.

32.

Ogden, Conversations, p. 42.

In the inaugural issue of Drawing On, the journal of architectural by design research, and through Professor Nat Chard’s “Drawing Uncertainty” (an inquiry of the indeterminate conditions in architecture through the construction of drawing instruments), French is describing the encounter of a ‘metaphorical shadow’ that exists untethered from its ‘material’ twin: the drawing. “A shadow that registers the presence of something unseen or unknown, a haunting shadow that invites us to speculate as to the nature of the object that produces it”.

Chris French, “Introduction: On Drawing On”, Drawing On: Journal of Architecture Research by Design, 1, 1 (2015): 11.Michael Polanyi, The Tacit Dimension (Gloucester: Peter Smith, 1983), p. 7.

French, “On Drawing On”, p. 11.

Jan Zwicky, Wisdom and Metaphor (Edmonton & Calgary: Brush Education, 2014), p. 6.

Ingold, Making, p. 11.

essay extract; ‘voices of reverie’

Perhaps then, this is what Chris French alludes to in ‘On Drawing On’, in relation to the uncertainty of drawing, as a “metaphorical shadow”.28 A shadow that reverie casts over the unconscious conversations of our creative improvisations that facilitates their reading. “One that invites us to speculate as to the nature of the object that produces it” 29 in a way that allows us to see the indirect nature of the metaphor and its ambiguity as part of the unknown. An unknown that holds something of a tacit ‘otherness’ and places itself in a space for interpretation: creating a frame of reference that “comes in advance of understanding”, “precedes knowledge” and opens itself up for further inquiry.30

Throughout ‘Wisdom and Metaphor’ Zwicky creates a space between things, a ‘tacit dimension’ to relate back to Polanyi, to encourage a visceral animation to hang things together; to initiate the movement of becoming, of a speculation towards new knowledge. Perhaps it is that reverie can be accepted as a similar motive agency for creativity to resonate with perception in a space of becoming. If we endeavour to engage with a multiplicity of voice, and escape the conscious projection of identity onto our thought, maybe, reverie will allow the fullness of the way things gesture towards us to be caught up in the motions of ‘fluxus’ writings, drawings and talkings.

poetic thinking

Through my own experience of creative reverie, I have found the range of the vocabulary and the form language that I engage in conversation to be particularly enigmatic. This is notably apparent in the activity of improvisatory free-writing, that is thick with metaphor and surfaces without any logical structure or arrangement; though a similar poetry exists in the embodied images, which the conversations I have with sketches and drawings unfold.There is a descriptive nature to the tones that arise. An unconscious composition of phrases of likeness give ambiguous qualities to the subject of speculation. Ogden further describes our wandering unconscious conversations as having a “capacity to transform reverie (already a metaphoric expression of unconscious experience) into more usable forms: that is, into more verbally symbolic forms that can be considered, reflected upon, and linked […] to other thoughts, feelings, and sensations.” 27

Zwicky describes metaphor itself as “a species of understanding, a form of seeing-as” that has ‘flex’.31 Can we, as both designers and beings in and of the world, begin to understand creative reverie and the conversation of metaphor, to inhabit, to dwell in the in-between and make leaps of imagination in new ways of seeing the world? Can we listen to the unconscious voices of our sentient bodies and use improvisatory creative practice as a way to trace these conversations?

MArch1 [ DES G ] [ ATR ]

[ DES B ] [ SCAT ] MArch2 [ AMPL ]

[ DES D] [ REP ]

[ FOLIO ]

theory.

[ 2 01 9 ]

POETIC THINKING: ESSAY / JOURNALS

Contemporary Architectural Theory MArch 1 / Semester 2

* Piazza

Dante

ilo tta N zza * Pia

rico Sto ntro * Ce

. za S

z * Pia

re agio oM enic Dom

design.

* rio to ra O ia ar aM nt Sa di

* Piazza del Gesu Nuovo

ts

de Fe lla de

he ac on M lla e d ita rin ST *S

king

Up

The S

l ee

pin g

Gi an

N E A P O L I TA N

nico ome ia D +V

2nd Chan c

e: Wa

to ca er *M

a cc se na Pig

ro te as on *M

p o r o s i t i e s

ra hia aC nt Sa di

a ecc nas Pig Via

City Fragments: Neapolitan Porosities

lla de za iaz

*P

The central thesis offered by this brief (to accept, challenge, develop or contest) is that Naples might be thought of as porous, and that understanding this Neapolitan Porosity might allow us to consider how porosity more generally affords alternative means by which to develop architectural and urban design practices.To test this thesis, you will develop theses—in the form of architectural proposals—for Naples. Central to developing these theses will be questions of representation, of how we make certain conditions visible.You will explore how to make porosity visible through Animate Drawings.

rita Ca

tablish Re-Es

w ctivity Conne

co ith Par i Spagnol

L02. To develop an architectural spatial and material language that is carefully considered at an experiential level.

io lvar nteca Mo zza

Montecal vario Vico Lun go

+ Via Toledo

+C orso Vitto rio Ema nue le

* Pia

+ Vico 2° Montecal vario

L03. A critical understanding of, and ability to present complex design proposals through appropriate forms of representation.

kat saranti / MArch 2 katy sidwell / MArch 2

Performative Constructions will become proposals for (small) pieces of architecture in Naples developing the spatial material language of your thesis.We propose to conceive of these, in the first instance, as spaces in which a body meets the city (as thresholds).

MArch1 * ‘ De

[ DES G ] Mura ’

[ ATR ]

* Piazza Portacarre

se a Montecalv ario

[ DES B ] [ SCAT]

*‘ la rte Po ’ ta Cit lla de

*‘

tto pe am Il C ’

CITY FRAGMENTS: NEAPOLITAN POROSITIES

ntro la

[ 2019 ]

joseph coulter / MArch 2 eirini makarouni / MArch 2

+

[brief one: (animate drawings )] [brief two: (performative constructions)]

L01. To develop and act upon a productive conceptual framework based on a critical analysis of relevant issues.

i itell Cap

MArch2

* Quartieri Sp agnoli

[ DES C ] [ AMPL ]

[ DES D]

Vico Tofa

[ REP ]

[ FOLIO ]

+ Vico Tof a

irectional Axis

*chris french *maria mitsoula

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

[ DES C ] page

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001

N E A P O L I TA N

p o r o s i t i e s

Napoli; t h e l ay e r e d c i t y

Naples belongs to the Volcanic regions of Vesuvius and Campi Flegrei of southern Italy.

It is a city made and re-made on and of the earth of these field; of tufo—a sandstone of compressed volcanic ash—quarried from subterranean seams.

Upholding various roles throughout Italian history since its inception, the city has been in a perpetual state of ‘becoming’ as a result of the different cultures, religions and regimes which have overtaken it. The consequence is a city that “occupies a marginal position in the European urban

hierarchy, which is losing its identity as a focal point on a regional scale.” 5 The city was founded as Parthenope, a small commercial port, which expanded around Monte Echia on the South coast of the city, in the 8th and 9th Century BCE by Greeks from the city of Cumae, who had themselves settled from Euboea (now Evia).

In the 6th Century BCE, this first iteration of the city was renamed Neapolis (the “new city”), overwritten in the Neapolitan plains to the North-East of its predecessor, (becoming one of the foremost cities

of Magna Graecia), which now forms the Centro Storico - the historic centre of the city as we know it today.

The project explores Naples at a time when the city is going through a prolonged period of widespread social and economic crisis whereby the “role of the historical centre of Naples as the principles node for social life is declining,” and has necessitated a profound reexamination of its future and the nature of its development.

MArch1 [ DES G ] [ ATR ]

[ DES B ] [ SCAT] MArch2

[ DES C ] [ AMPL ]

[ DES D] [ REP ]

[ FOLIO ]

design.

[ 2 01 9 ]

CITY FRAGMENTS: NEAPOLITAN POROSITIES

Design Studio C MArch 2 / Semester 1

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

[ DES C ] page

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N E A P O L I TA N

p o r o s i t i e s

The drawing presents parts of the drawn figure; fragments that open up, record and are in dialogue with situations across the city as well as being able to operate independently.

Fragmented ‘ruins’, ‘labyrinths’ and ‘theatres’ are mapped on a tabula rasa, frequently overlapping or erasing each other, creating a new urban topography of Napoli.

In this sense we can return to the fact that we begin to record the way thresholds act out in the city, the way boundaries blur and territories bleed, definitions lose their definition and terms are re-determined, and the manner in which the theatrical, the ruinous and the labyrinthine co- exist in the city.

A n i m at e d r aw i n g : r u i n , L a b y r i n t h , t h e at r e

The basis of an ‘Animate Drawing’ explores the interrelation between recurring thetic terms: ruin, labyrinth, and theatre. Through it, we are able to test the nature of the way that these porous conditions exist in Naples.

MArch1 [ DES G ] [ ATR ]

[ DES B ] [ SCAT] MArch2

[ DES C ] [ AMPL ]

[ DES D] [ REP ]

[ FOLIO ]

design.

[ 2 01 9 ]

CITY FRAGMENTS: NEAPOLITAN POROSITIES

Design Studio C MArch 2 / Semester 1

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

[ DES C ] page

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 11.1 10.2 11.2 10.3 11.3

003

N E A P O L I TA N

p o r o s i t i e s

The bare plywood illustrates the municipalities, the formal territories that the city is split into, where, the gesso, describes the more erratic nature of the topographical landscape that these territories occupy. The grey paint is labyrinthine, part of the streets with theatrical white blocks within them drawing attention to where performance is held. The ruins are black, typifying their historical and

cultural prominence and positioning within the city’s underground realm.

The red becomes the field upon which this new conception of Naples rests: in essence, this becomes situational of a new language throughout the thesis, and here brings attention to specific sites of intervention. Etching and engraving mark points of reference, (contour lines and primary axes) that help situate the drawings, whilst the overlapping of scales allows for parts of certain, more detailed spatial porosities to impress themselves upon the urban fabric of the city.

A N I M AT E D R AW I N G : METHODOLOGICAL INDEX

As a methodological gesture, the drawing assigns material and colour to found conditions of porosity that have been described in Naples.These form a ‘Methodological Index’, the basis for a ‘series’ of Animate Drawing(s).

MArch1 [ DES G ] [ ATR ]

[ DES B ] [ SCAT] MArch2

[ DES C ] [ AMPL ]

[ DES D] [ REP ]

[ FOLIO ]

design.

[ 2 01 9 ]

CITY FRAGMENTS: NEAPOLITAN POROSITIES

Design Studio C MArch 2 / Semester 1

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

[ DES C ] page

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 11.1 10.2 11.2 10.3 11.3

004

N E A P O L I TA N

p o r o s i t i e s

A N I M AT E D R AW I N G : P O R O U S I N S TA L L AT I O N MArch1 [ DES G ] [ ATR ]

[ DES B ] [ SCAT] MArch2

[ DES C ] [ AMPL ]

[ DES D] [ REP ]

[ FOLIO ]

design.

[ 2 01 9 ]

CITY FRAGMENTS: NEAPOLITAN POROSITIES

Design Studio C MArch 2 / Semester 1

[ collaborators ]

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 11.1 10.2 11.2 10.3 11.3

* Piazza del Gesu Nuovo

Gi an

pin g

l ee pT he S

005

de Fe lla de

he ac on M lla de a t i rin ST *S

ts

2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ DES C ] page aia ar aM nt Sa di rio to ra *O

EI AM GL EM KSa KSi

[ graduate attributes ]

nico ome ia D ia V +V

i itell Cap

2nd Chan ce : W akin

gU

a cc se na Pig to ca r e *M

ra hia aC nt Sa di ro te as on *M

+ cca nase Pig Via

co ith Par li Spagnio

N E A P O L I TA N

w ctivity Conne

p o r o s i t i e s

rita Ca lla de zza

* Pia

tablish Re-Es

Vico Lun go

Montecalv ario

+C orso Vitto rio Ema nue le

ntro la Mu ra ’

* Piazza Portacarre

se a Montecalv ari

p e r f o r m at i v e c o n s t r u c t i o n s :

* ‘ De

fields of threshold(s)

+ Via Toledo

+ Vico 2° Montecal vario

ario calv onte za M

* Piaz

*‘ rte Po la

* Quartieri Spa gnoli

tta Ci lla de ’

*‘

MArch1

tto pe am Il C ’

[ DES G ]

Vico Tofa

[ ATR ]

[ DES B ]

+ Vico Tof a

[ SCAT] MArch2

[ DES C ]

[ 2 01 9 ]

CITY FRAGMENTS: NEAPOLITAN POROSITIES

Design Studio C MArch 2 / Semester 1

+ Vico Lungo

design.

Monte calvario

Primary Directional Axis

[ AMPL ]

* Ex

Merc ato di S . An na

[ DES D] [ REP ]

[ FOLIO ]

[ general criteria ]

2.1 2.2 2.3 2.4 2.5 2.6 2.7

1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

H R E S H O L D S

EI AM GL EM KSa KSi

[ graduate attributes ]

Un)doing

[ collaborators ]

A.

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 11.1 10.2 11.2 10.3 11.3

[ DES C ] page

006

D O O R / W A Y S t o N E W N E A P O L I T A N P R A C T I C E

1.

v.

D.

C.

iii.

N E A P O L I TA N

p o r o s i t i e s

ii.

iv.

Through the overlaying of plans, sections, fields and fragments, significant sites were drawn as re- compositions of their existing conditions, taking the “set of structured meanings” of the static survey drawing to the medium of the Animate Drawing.

B.

In this act of translation, the situations were remade from “one world into another,” using the material and context of the sites to open new understandings and these situations.

Through this methodology, the sites are treated not as static structures but as “a palimpsest and a quarry,” as situations “containing traces of both memory and

design.

[ 2 01 9 ]

CITY FRAGMENTS: NEAPOLITAN POROSITIES

Design Studio C MArch 2 / Semester 1

immanence”, opportunity in which space may be found to intervene.

Rather than being compromised by a ‘fear of erasure’, the tablets function as animate surfaces for marking and overlaying specific site conditions and measured surveys.

p e r f o r m at i v e c o n s t r u c t i o n s :

2.

fields of threshold(s)

i.

MArch1 [ DES G ] [ ATR ]

[ DES B ] [ SCAT] MArch2

[ DES C ] [ AMPL ]

[ DES D] [ REP ]

[ FOLIO ]

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

[ DES C ] page

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 11.1 10.2 11.2 10.3 11.3

007

N E A P O L I TA N

p o r o s i t i e s

OPENINGS TO INTERVENTIONS

Through the thickening of particular ‘intersections’ with the street, the proposals grant two points of entry two newly re-instated public spaces; a food court and a citrus garden.

The first new ‘urban gate’ piece is hinged on a heavy ‘ruinous’ masonry tower that is of the language of the existing buttressing. This fixed piece frames space for a maître d’ to manage the new courtyard space, whilst facilitating a further ‘labyrinthine’ circulation to upper public floors of the scheme. In contrast to this, the more ‘theatrically’ orientated ‘gate’, which performs to configure or calibrates the space throughout the day by closing

off the street and providing a canopy to a new elongated ‘threshold strip’ demarcated by a change in material underfoot, is assembled through the layering of various lighter weight steel and timber components and clad in charred timber.This material use of the recycled concrete shuttering echos the events of the ‘cippo’ and hints to the vast chimney of the oven and fire pit beyond.

MArch1 [ DES G ] [ ATR ]

[ DES B ] [ SCAT] MArch2

[ DES C ] [ AMPL ]

[ DES D] [ REP ]

[ FOLIO ]

design.

[ 2 01 9 ]

CITY FRAGMENTS: NEAPOLITAN POROSITIES

Design Studio C MArch 2 / Semester 1

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

[ DES C ] page

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

008

10.1 11.1 10.2 11.2 10.3 11.3 T H R E S H O L D S

(Un)doing

D O O R / W A Y S t o N E W N E A P O L I T A N P R A C T I C E

B.

A. ng c ano py

swi ng

op

en i ng

gate swin

g

+ Labyrinth; circulation system facilitated by ‘ruined’ brickwork fragment(s)

openi

N E A P O L I TA N

p o r o s i t i e s

F.

E.

C.

D. 6.

7.

5.

“This is not to suggest that the everyday prescribes a method of designing, because it is clear that as soon as one starts to design the everyday it becomes extraordinary; rather, the everyday acts as a catalyst for productive thinking.”

[ DES G ]

4.

V.

CITY FRAGMENTS: NEAPOLITAN POROSITIES

[ SCAT]

2.

MArch2

IV. 1.

[ DES C ]

9.

VI.

e res car rta Po Via

ario alv tec on aM

[ AMPL ]

III.

3.

[ DES D] [ REP ]

[ FOLIO ]

+

Design Studio C MArch 2 / Semester 1

[ DES B ]

9.

I.

[ 2 01 9 ]

[ ATR ]

2.

+

design.

MArch1

opening c anop y sw ing

g

As previously described, the ‘bassi’ typology contributes heavily towards a porous experience of the city.

The intervention offers a framing of this porosity through propositional, architectural, spatial and tectonic moves that begin to explore the depths,

densities and textures of ‘threshold(s)’ that facilitates the use of the host site as an extension of the street as observed by Benjamin and Lacis.

ope nin g ga te sw in

The proposals for this intervention are drawn into the distinctive ‘threshold’ condition of the Neapolitan ‘bassi’ and those created at a wider urban scale through the implementation of the work of Cyop & Kaf. It explores the operative configurations of Neapolitan domesticity and works with notions of ‘everyday thickness(es)’ to open new thresholds into cultivated public space.

P E R F O R M AT I V E CONSTRUCTION(S)

H. G.

in; Ru

nt me frag en’ ard dg e ll a d ‘w pose pro

II.

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

[ DES C ] page

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 11.1 10.2 11.2 10.3 11.3

009

N E A P O L I TA N

p o r o s i t i e s

p e r f o r m at i v e c o n s t r u c t i o n s :

thetic methodologies

MArch1 [ DES G ] [ ATR ]

[ DES B ] [ SCAT] MArch2

[ DES C ] [ AMPL ]

[ DES D] [ REP ]

[ FOLIO ]

design.

[ 2 01 9 ]

CITY FRAGMENTS: NEAPOLITAN POROSITIES

Design Studio C MArch 2 / Semester 1

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

[ DES C ] page

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 11.1 10.2 11.2 10.3 11.3

010

N E A P O L I TA N

p o r o s i t i e s

The nature of many ruinous sites nestled within the quarters such as those under speculation in this collection of ‘Performative Constructions’ hold a potential to be folded into this uniquely Neapolitan streetscape. As such , they become central to the strategic measures of the thesis to ‘open’ up the quarters and the monastery into

each other and explore the essence of the ‘threshold conditions’ that are created in doing so.

In this sense, we can begin to consider these sites as ‘thresholds’ that, through their ruinous characteristics (or with reference back to Gilloch, their “decay and transcience”), “mark occasions, opportunities for change [and] create or symbolically represent passages towards a possible future, already existing in the past.”

The first of these speculations or interventions occurs at a site in significant detrioation from earthquake damage, and brought

into a contemporary relevance by artworks from Cyop & Kaf. Half of the residential block that features prominently on Vico Lungo Montecalvario has been reduced to ruins and major structural buttressing has been necessary to re-enforce the remaining residential units and now occupies the best part of the site.

P E R F O R M AT I V E CONSTRUCTION(S)

Within the dense urban morphology of the Quarter Spagnoli, open public space is scarce beyond the surface of the street. ‘Openings’ into this morphology encourage activity and function as nodes of performativity throughout daily Neapolitan life.

MArch1 [ DES G ] [ ATR ]

[ DES B ] [ SCAT] MArch2

[ DES C ] [ AMPL ]

[ DES D] [ REP ]

[ FOLIO ]

design.

[ 2 01 9 ]

CITY FRAGMENTS: NEAPOLITAN POROSITIES

Design Studio C MArch 2 / Semester 1

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ]

[ general criteria ]

2.1 2.2 2.3 2.4 2.5 2.6 2.7

1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

[ DES C ] page

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

011

10.1 11.1 10.2 11.2 10.3 11.3

T H R E S H O L D S

(Un)doing

D O O R / W A Y S t o N E W N E A P O L I T A N P R A C T I C E

B.

N E A P O L I TA N

p o r o s i t i e s

A.

ng c ano py

swi ng

op

en i ng

gate swin

g

+ Labyrinth; circulation system facilitated by ‘ruined’ brickwork fragment(s)

openi

Much like the Trinità delle Monache offers a sanctuary of green space dislocated from the clamour of everyday life on the street, the thickness of the ‘ruinous’ concrete garden wall fragment creates a space of its 6. own; again, ‘labyrinthine’ in its spatial configuration, a void

P E R F O R M AT I V E CONSTRUCTION(S)

In Naples, “if you live in a basso, you live half your life on the street”, and therefore the second phase of the intervention is designed to further contribute open space to the nearby ‘bassi’ occupants of the Quarter Spagnoli.

F.

interstice is opened up between the street and a new timber lined citrus garden within.

E.

The nature of the interventions seek to knit into the uniqueness of the Quarteri Spagnoli, to (un) do something of the thespian quality of the ‘bassi’ that gives Naples its oddness; it’s greatness; it’s stubbornness. It’s Naplesness.

C. H. G.

MArch1 [ DES G ] [ ATR ]

[ DES B ]

D.

[ SCAT] MArch2

[ DES C ] [ AMPL ]

[ DES D]

7.

[ REP ]

[ FOLIO ]

design.

5.

[ 2 01 9 ]

CITY FRAGMENTS: NEAPOLITAN POROSITIES

opening c anop y sw ing

Design Studio C MArch 2 / Semester 1

4.

2.

V.

[ collaborators ]

[ graduate attributes ]

EI AM GL EM KSa KSi

[ general criteria ]

2.1 2.2 2.3 2.4 2.5 2.6 2.7

1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

[ DES C ] page

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 11.1 10.2 11.2 10.3 11.3

012

T H R E S H O L D S

(Un)doing

D O O R / W A Y S t o N E W N E A P O L I T A N P R A C T I C E

B.

N E A P O L I TA N

p o r o s i t i e s

ate s win

g

A.

F.

E.

H. G.

P E R F O R M AT I V E CONSTRUCTION(S)

C.

D.

Following D’Acierno’s description of Naples as a place that cannot be programmed, the proposals avoid certain programmatic and organisational fixities by designing for communal use and flexible arrangements.

5.

4.

ate s win

g

9.

2.

design.

The building is allowed to operate as an open facility with multiple functionalities while also preserving the parts within that allow it to represent isolated moments of social initiative and identity. TheV. porous and the aporetic are expressed in the thickening and extension of

a threshold condition. Spaces remain interpenetrative as boundaries remain blurred between interior and exterior.

In this instance, the performative elements of this construction embody an architectural language of overwriting. The doors and structures slide in and out, creating ‘theatrical’ gestures that open up spaces with a multitude of potentialities.

Design Studio C MArch 2 / Semester 1

[ SCAT] MArch2

[ DES C ]

[ REP ]

[ FOLIO ]

VI.

CITY FRAGMENTS: NEAPOLITAN POROSITIES

[ ATR ]

[ DES B ]

[ AMPL ]

IV.

[ 2 01 9 ]

[ DES G ]

[ DES D]

9.

3.

MArch1

III.

practice.

managment, practice & law [architectural management & practice

Architectural Management & Practice Law: Contract Game, Exam & Regulatory Drawings This is a lecture and workshop based course whose aims are to develop the student’s understanding of the professional requirements of an architect in practice and being admitted to the title of ‘architect’.The course is also intended, in part, as being a preparation for fulfilling the requirements of the Part 3 Examination in Professional Practice and Management.

It consists of a written examination (L01) undertaken in pairs on practice management and codes of professional conduct in the construction industry; written reports (L02) based on a ‘Contract Game’ (the simulation of conjectural procedures relating the the procurement of an architectural project; and a pair of regulatory drawings (L03) undertaken in pairs that illustrates the analysis of selected precedent(s) that studies and describes the precedents response to a specified legislative requirement.

L01. An understanding of practice management and codes of professional conduct in the context of the construction industry.

L02. An understanding of roles and responsibilities of individuals and organisations within architectural project procurement and contract administration, including knowledge of how cost control mechanisms operate.

L03. An understanding of the influence of statutory, legal and professional responsibilities as relevant to architectural design projects.

[ 2 019]

MANAGMENT & PRACTICE: CONTRACT GAME / EXAM / DRAWINGS

MArch1

*ian scott *chris french

[ DES G ] [ ATR ]

[ DES B ] [ SCAT] MArch2 [ DES C ] [ AMPL ]

[ DES D] [ REP ]

[ FOLIO ]

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ]

[ general criteria ]

2.1 2.2 2.3 2.4 2.5 2.6 2.7

1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

[ AMPL ] page

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

001

10.1 11.1 10.2 11.2 10.3 11.3

13. [ TEAM FEEDBACK ]

CONTRACT GAME: ARCHITCECTURAL MANAGEMENT & PRACTICE LAW

[2019]

team feedback

[ TEAM FEEDBACK ]

[ TEAM FEEDBACK ]

13.

Day One

Scale: 1 (negative) / 5 (positive)

2.

3.

4.

5.

[ CONTRACT ]

1.

Feedback Category

Good Practice in Contractual Communication

Completing Covering Letters and Contractual Documentation in an Accurate, Precise and Professional Manner.

contract game; team report

[ CONTRACT ]

[ SCENARIO ]

[ CONTRACT ]

Comprehensiveness of Answers

Referencing Key Documents Correctly - Bill of Quantities / Contract Clauses etc.

Utilising Different Roles, Communication Well and Making Decisions.

Completion of Scenarios to Allow for Game to be Completed.

[ SCENARIO ]

[ SCENARIO ]

Pace of Communication

Contract Game

A web- based simulation exercise which students play in small teams to try to complete a set of 36 scenarios related to the building contract of an imaginary architectural project; to gain an understanding of roles and responsibilities of individuals and organisations within architectural project procurement and contract administration, including knowledge of how cost control mechanisms operate within an architectural project.

[ RESPONSE ]

page

04

[ ATTACHMENT ]

[ ATTACHMENT ]

[ ATTACHMENT ]

“Progress has been a little slow, but the group dynamic is improving.”

“The group are becoming familiar with he key sections of the contract, and beginning to find their way through information quickly. Try to ascertain what are the key issues in each scenario.”

[ RESPONSE ]

[ RESPONSE ]

Additional Comments from Controller; “The team are getting to grips with the appropriate language for letters, documents etc, but are perhaps overly reliant on the official wording. Think about who the correspondence is addressed to.”

management, practice & law

[learning outcome two]

Effective Working as a Team

joseph coulter / MArch 2 page

page

13

16

1

4.

[ TEAM FEEDBACK ]

[ TEAM FEEDBACK ]

to

As the previous sample chart in Fig. 5 highlights, ‘Major Breakpoints’ can be observed when there are simultaneous shifts in each of the three ‘Activity Tracks’. In terms of the team’s development and performance as mapped in Fig. 4, we can observe the occurrence of three key ‘Breakpoints’, A, B and C throughout the game.

6

12

B

) PM

2(

9/

t

; target comple

10/

t

C

page

figure 6.

Performance targets and associated completion rates vs the occurrence of ‘key breakpoints’ throughout the game.

The contract game was an accelerated, two-day long educational simulation that presented the opportunity for small groups of students to work through a series of sequential scenarios aimed to advance an understanding of building procurement and contract administration. As an immersive learning experience, the game encouraged a familiarisation with contractual legislation and the formalities involved with the procedures of administration with various agencies involved.

12

- end

A

; target comple

day

2( day

1( day

1(

) PM

rate ion

38

6/

t

‘breakpoints’; timeline of development / performance

[ ATTACHMENT ]

[ ATTACHMENT ]

page

; target comple

rate ion

[ RESPONSE ]

The performance graph also indicated ‘Major Breakpoints’ at point(s) B and C in Fig. 4, that can be identified in the case of B as; the conscious investment of time in a direct group analysis of the teams process and how the roles and responsibilities were contributing to a dip in performance with respect to the navigation and application of the relevant clauses within the contract (the changes / development in these roles over through the course of the game are mapped in Fig. 3), and C as; the introduction and integration of a new member of the team into the group and the impact of the group’s attentiveness to ensure the same quality of understanding and learning was available to the new member through familiarisation with connections or references made back to previous scenarios. Again, with reference to Poole’s model, we can speculate that the concurrence of ‘shifts’ in ‘Activity Tracks’ are responsible for these ‘Major Breakpoints’ and as such, could use the classifications of activity types in Table 1 to hypothesise the nature these shifts as has been done above.

39

) PM

rate ion

the ‘Topical-Focus’ track from tX (scenario resolution) back to tY (analysis & orientation) due to a ‘Topical Shift’ (T) (those which are explored later with reference to our process / working methodology in Fig. 7).

4/

et

rate ion

•

; target compl

6

[ RESPONSE ]

the ‘Relational’ track from R2 (critical work) to R3 (opposition from the controller) due to a ‘Delay’ (D) in providing a correct response to the controller’s initial reply.

) AM

[ SCENARIO ]

•

[ SCENARIO ]

the ‘Task-Process’ track from T3d (solution confirmation & selection) back to T1 (problem analysis) due to a ‘Failure’ (F) to respond to the scenario correctly.

36

day

[ CONTRACT ]

•

30/

[ CONTRACT ]

scenario history

Breakpoint A pertains to an extended response time involved with the response to ‘Scenario 5’. As shown in the ‘Performance Graph’ a large proportion of the time invested in this response was during the controllers response.This was because, in this scenario, there was a significant amount of time spent engaged in verbal discussion with the controller surrounding the development of the response and the contractual understanding and application of the relevant clauses.With reference back to the sample chart, we can understand this as a key point in the group’s development, not only due to the immediate improvement in performance in terms of time over the following two scenarios, but perhaps also with an understanding that each of the ‘Activity Tracks’ may have shifted at this given time in the following way;

- start

E-mail from Contractor

nario comple sce tio n e rat

l; ta

scenario description

Report; Contract Game Simulation

The exercise was a web- based simulation exercise which students play in small teams to try to complete a set of 36 scenarios related to the building contract of an imaginary architectural project; to gain an understanding of roles and responsibilities of individuals and organisations within architectural project procurement and contract administration, including knowledge of how cost control mechanisms operate within an architectural project.

The report illustrated overleaf was submitted to accompany the following analytical rpeorts based on the exercise and documented the progress and resposnes of the team throughout the simulation.

contract game; simiulation exercise

4.

This was submitted as a ‘group’ report as an appendix to each of the individual reports submitted separately by each of the five group members.

MArch1 [ DES G ] [ ATR ]

[ DES B ] [ SCAT ]

MArch2 [ AMPL ] [ DES D] [ REP ]

[ FOLIO ]

practice.

page

16

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13. ulti-sequential group d l; m eve lop m en

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A

cational simulation that presented the opportunity for uential scenarios aimed to advance an understanding . As an immersive learning experience, the game and the formalities involved with the procedures of

1. group co-ordination; proof reading 2. writing contract 3. navigating bill of quantities 4. navigating guidance notes c. no controller present

1

D

B

pproach, groups are involved in a sly evolving and don’t always proceed in

[2019]

ing process that was played out as consequence of the ‘Multiple Sequence Model’ of group development.1 he team’s performance with the game but also their to ascertain a further knowledge of the intricacies of

‘Inception’

C

of group process as a set of interlocking tracks of activities onsists of three interlocking tracks of group activity, to accumulate a structure of components for task nd unitary ‘Phase Models’ such as Tuckman’s ‘Stages lexibility and dynamism of a group to engage in

3 1

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- Marshall Scott Poole

4

A ‘cyclical’ understanding of group development through Poole’s ‘Multiple Sequence Model’ that progresses through multiple changes or shifts in activity tracks (A, B, C, D).

[learning outcome two]

phase 2

phase 3

phase 4

c2

2

linear; phasic group development model

4

1

figure 2.

A ‘linear’ understanding of group development through Tuckman’s ‘Phase Model’ that progresses through discrete phases ‘Forming, Storming, Norming, Performing’ (1, 2, 3, 4).

c2. active feedback strategy written prompt(s) figure 3.

6. Including completing the Standard Building Contract With Quantities for use in Scotland (SBC/Q/Scot (2011 Edition) and familiarising ourselves with relevant reference materials and preliminary project documents such as the ‘bill of quantities’ and ‘guidance notes’.

A ‘spatial distribution’ of the roles and responsibilities; how they developed within the group over the course of the contract game, and; how they interacted with the controller(s).

7. Scott Poole, “Decision Development in Small Groups, III”, 340-341.

page

Contract Game

A web- based simulation exercise which students play in small teams to try to complete a set of 36 scenarios related to the building contract of an imaginary architectural project; to gain an understanding of roles and responsibilities of individuals and organisations within architectural project procurement and contract administration, including knowledge of how cost control mechanisms operate within an architectural project.

1. group co-ordination; proof reading; supporting documentation; contract navigation 2. writing draft response(s); contract navigation 3. communication(s); archiving correspondence; contract navigation assistance 4. primary contract navigation 5. general research; contract navigation assistance

3

Marshall Scott Poole, “Decision Development in Small Groups, III: A Multiple Sequence Model of Group Decision Development”, mmunication Monographs, 50(4), (1983), pp. 321-341, 331.

Scott Poole, “Decision Development in Small Groups, III”, 340.

day two

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management, practice & law

phase 1

contract game; team analysis

c1. active feedback strategy verbal conversation(s)

As a result of this, and through continued discussion surrounding the forthcoming exercise, the group outlined a specific desire to utilise the contact game as a vehicle for the mutual progression of the knowledge and understanding of building procurement, as opposed to a preoccupation with ‘winning’ the game. By identifying this attitude before the commencement of the game, meant that the group was coherent in its fundamental goal of establishing a working process or methodology that allowed space for reflection and the flexibility to respond dynamically to the scenarios encountered throughout the simulation.

The ambition to ensure for a continual understanding of how to best engage with the game as a pedagogical resource by unpicking our own working process and recognising how to improve has directly motivated this study to engage with the multiple sequence model.

Matthew Koschmann, “3. Multiple Sequence Model of Group Development.” Teamwork Skills: Communicating Effectively in Groups, versity of Colorado Boulder (Coursera).Video File. July, 2017.

1. group co-ordination; proof reading; supporting documentation; contract navigation 2. writing draft response(s); contract navigation 3. communication(s); archiving correspondence; contract navigation 4. contract navigation

c1

2

“ The multiple sequence model may make it easier to assess empirically the effects of such interventions on group process and adapt these techniques in an appropriate manner. ”

figure 1.

Marshall Scott Poole is an American communication researcher and professor of communication at the University of Illinois and his ‘Multiple quence Model’ of group development has been refined through a series of studies into group working development and the ‘Decision velopment in Small Groups’.

day one

c1

Gathering for the inception of the contract game and the immediate task of working through the contractual documentation,6 it was clear, as a group, there was a shared perception that, whilst the game was offering a realistic ‘imitation’ of true to life contractual procedure, as an exercise, it was primarily a pedagogical, learning experience.

equence Model’

Rigid development through discrete phases that are characterised by a dominant phase of activity within a definitive order, doesn’t cessarily reflect the way groups develop. Poole states that “the phasic model has led to great advances in our understanding of group cesses”, but that his research suggests that “we should move away from the traditional conception of phases toward a more dynamic and ible model.”

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CONTRACT GAME: ARCHITCECTURAL MANAGEMENT & PRACTICE LAW

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figure 4.

Performance graph that illustrates the distribution of time taken per response over the course of the game, highlighting potential ‘key breakpoints’ on the progression path.

•

- time taken for team to formulate response(s)

- time taken to preapre contract documentation

1

- average response time (for session)

end of day2

lunch day2

end of day1

lunch day1

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Poole states that “in many cases the group may begin the decision process with some of the prerequisites already satisfied.”

100

B

- Marshall Scott Poole A group may go through several shifts or breakpoints in their work whilst engaged in a single-task process or in this case a scenario. This section of the study will begin to examine the group’s performance, using key data from contract game (see Fig. X.) to evaluate the occurrence of specific breakpoints throughout the exercise.

time (minutes)

- Marshall Scott Poole60

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With reference back to Scott Poole’s ‘ActivityTracks’, Fig. X begins to map out the working methodology 1 3 4 6 7 8 9 11 12 that was developed as a perception of the groups own2 ‘Structural Requirements for Decision Making’ 0 5 10 for a typical scenario; and gives reference to the roles of those involved at each stage and the change(s) in these 0 ‘content-based’ activity tracks (as defined earlier in24Fig. X) from one classification to another.

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13. Scott Poole,“Decision Development in Small Groups, III”, 331.

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11. Scott Poole, “Decision Development in Small Groups, III”, 331.

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scenario(s) 10. Koschmann,“3. Multiple Sequence Model of Group Development.”

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analysis & orientation

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The following part of the study will now use this model to present the structure that was arrived at via the ‘adaptation of solutions to the group’s20 circumstances’ through each scenario within the game, before moving onto address how the structure of the procurement to highlight and critique specific cost control measures 1 implemented during the game.

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In this way, we can return to the team’s process at the inception of the game, whereby initial discussions gave rise to prioritise the game as a pedagogical experience pertaining towards a more accurate, realistic 40 understanding of contractual procurement; which meant that a common understanding was introduced with 2 which to interpret how each of the previously identified activity tracks (see Fig. X) was developing against.

A

60

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identification of previous related scenario(s)

4 A “group may already have a shared sense 80 of the problem and also a commitment to decide and act together; in this case, the major track is an agreed upon an effective solution, and the group’s interaction should be directed towards C developing it.” 16

80

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number of prompt(s) from controller

“ Breakpoints illustrate the importance of single critical events or junctures in group development.”

120

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- number of prompt(s) required from controller

The ‘ActivityTracks’ and ‘Breakpoints’ provide critical grounds to evaluate the nature of the development of a group’s progression through a series of tasks, yet Poole’s multiple sequence model has a final component, 120 the ‘Structural Requirements for Decision-Making’ that allows for the ‘objective’ of the sequence of activity to be addressed.13 The model describes that these structures comprise of components for task accomplishment, which might include the “recognition of the need for a decision, definition of the problem, diagnosis of 5 the problem, adaptation of solutions to the100group’s circumstances and implementation planning.” 14

‘Breakpoints’ The underlying principle in Scott Poole’s multiple sequence model is that groups oscillate between the three previously defined activity tracks; going back-and-forth between various activity tracks in a non-linear fashion.10 The multiple sequence model defines when groups ‘shift’ between activity tracks as ‘Breakpoints’; like when there is a shift in focus, a reflection on a particular process or position or when a form of conflict arises.

•

T2a. Orientation R1. Focused Work

- key ‘Breakpoints’ for evaluation

‘Structure’

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- time taken for controller to respond

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Report; Team Analysis & Cost Control

The contract game was an accelerated, two-day long educational simulation that presented the opportunity for small groups of students to work through a series of sequential scenarios aimed to advance an understanding of building procurement and contract administration. As an immersive learning experience, the game encouraged a familiarisation with contractual legislation and the formalities involved with the procedures of administration with various agencies involved.

The ‘Team Analysis & Cost Control’ report characterises the nature of the learning process that was played out as consequence of the game through the application of Marshall Scott Poole’s ‘Multiple Sequence Model’ of group development.1 This model will provide the basis not only to evaluate the team’s performance with the game but also their ability to establish a responsive process and their ability to ascertain a further knowledge of the intricacies of contemporary building procurement.

“ Rather than following a rigid phase-like approach, groups are involved in a variety of activity tracks that are continuously evolving and don’t always proceed in a linear sequence.

Scott Poole’s multiple sequence model is “based on a view of group process as a set of interlocking tracks of activities oriented toward task or goal accomplishment.” The model “consists of three interlocking tracks of group activity, interrupted at irregular intervals by breakpoints, and serving to accumulate a structure of components for task accomplishment.” It challenges long-standing, linear and unitary ‘Phase Models’ such as Tuckman’s ‘Stages of Group Development’ by allowing a capacity for the flexibility and dynamism of a group to engage in simultaneous cycles of activity and progression.

contract game; team report & cost control

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- mapping of ‘sample’ Traditional contract criteria - mapping of ‘sample’ Design & Build contract criteria

quality

time

c2

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(of materials and workmanship)

actice & Management

“a great project”

cost

“built quickly” c3

ndards as the “process which creates, manages and fulfils ing and construction works or disposals, or any combination

c1

the impossible utopia

the most common of which are:Traditional, Design ate Finance Initiative). Although each of these forms ing procurement, the distribution and weighting of ual relationships between employer, contractor and

5

The ‘Balance’ in Procurement

4

The differing forms of contract also hold varying degrees of control of the three key performance indicators for building work in cost, quality and time.28 Each prioritises specific areas within these three indicators and as such, it is a necessity that the most applicable contract for procurement is chosen to meet the requirements and expectations of the client and the specificity of the project under consideration.29

3

the project will be a bit rough around the edges...

2 1

In the construction industry, these performance indicators and somewhat competing factors (see Fig. 9) within the procurement process and their balance in practice generally changes to reflect the economy, with differing methods in turn shaping the direction, structure and organisation of the industry at any given time.30

q1

t1

the project will take longer to build...

[2019]

the project will cost more to build...

CONTRACT GAME: ARCHITCECTURAL MANAGEMENT & PRACTICE LAW

- evidence of prerequisite for ‘cost’ as largest mapped area

ethods of contracting used to procure

0

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contract game; procurement

In today’s climate there is a prerequisite for the majority of building projects to be procured for the lowest conceivable cost, which leaves the speed, and quality of the build in conflict for priority in the balance thereafter.

(and monitoring of contract sum)

“built cheaply”

e

tim t2

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[learning outcome two]

management, practice & law

qua

As consequence of this prerequisite, the report will examine how the divergence in characteristics of ‘Traditional’ (the procurement route selected by the client,The Border College Trust, within the game) and ‘Design and Build’ contracts would have affected the procurement of the project in the contract game and the suitability of the previously discussed ‘Multiple Sequence Model’ as a paradigm for understanding the development of the nature of the roles and relationships stipulated within these contractual systems.

Contract Game

A web- based simulation exercise which students play in small teams to try to complete a set of 36 scenarios related to the building contract of an imaginary architectural project; to gain an understanding of roles and responsibilities of individuals and organisations within architectural project procurement and contract administration, including knowledge of how cost control mechanisms operate within an architectural project. q3

t3

RIBA (Royal Institute of British Architects), RIBA Handbook of Architectural Practice and Management. Ninth Edition. London: RIBA blications, 2013, 4.

c1. Lowest Possible Capital Expenditure c2. Certainty over Contract Sum, (no fluctuation) c3. Best Value for Money Overall

figure 9.

Venn diagram adapted from ‘Colony Architects’ (to manage client expectation) indicating the ‘balance’ between the three performance indicators cost, quality, time.

BSI Standards Publication (CB/500). BS ISO 10845-1: 2010 - Construction procurement. Part 1 - Processes, methods and procedures. 2011, 4.

t1. Earliest Possible Start on Site t2. Certainty Over Contract Duration t3. Shortest Possible Contract Period

q1. Top Quality, Minimum Maintenance q2. Sensitive Design / Control by Employer q3. Criticality of Detailed Design

28. RIBA, RIBA Handbook of Architectural Practice, 5.

figure 10.

29. It is commonplace for an Architect under full professional appointment to advise/consult the Employer as to the form of contract to be used. A fundamental part of determining the procurement strategy and for assembling the project team is defining the timing of contractor involvement.The RIBA Plan of Work 2013 advocates establishing the project team during Stage 1.

A progression from the previous venn diagram, these radar diagrams are used to map the ‘balance’ of the client’s priorities for procurement; this one shows typical responses for ‘Traditional’ & ‘Design & Build’ criteria.

page

30. RIBA, RIBA Handbook of Architectural Practice, 5.

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full appointment of design services

‘Shifts’ in Contract

In ‘Scenario 6’, we can see the way that the traditional contract permits the application of a detailed specification to empower the client to establish control of the quality of the construction works whilst enforcing the contractor to accept liability for any works that fail to meet these specifications. This particular scenario presents an instance where the contractor was at fault for installing pipes that didn’t follow the specification in the contractual documentation. Despite the fact that the client was happy to agree to continue with the installed pipes on the grounds of additional cost savings, the subsequent delay(s), and consequence of further remedial works, including the installation of the requisite attenuation tank in ‘Scenario 8’, all fall onto the contractor in terms of liability as per Clauses 3.18.1-2 of the ‘Traditional’ contact in use. The scenario project presented another instance of ‘defective’ or ‘non-compliant’ works in ‘Scenario 14’ with respect to an ill-fitting ‘curved booth’ that was manufactured off site. Under the application of a ‘Design & Build’ contract, the client has little control over the contractors performance and as such the quality of the works.

Within this alternative framework for procurement, there would be no contractual obligation for defective works to be replaced as the contractor is wholly responsible for the design and construction works.

to make changes once the contact is signed without incurring significant penalty.

39. John Murdoch,Will Hughes, and Ronan Champion, Construction Contracts, 55.

- ‘overlap’ of involvement

6

Mapping of the involvement of the ‘Architect’ and ‘Contractor’ throughout the procurement process as per criteria set out in ‘Which Contract? 5th Edition’ with reference to the RIBA Plan of Work.

40. Ibid.

- involvement of architect

41. Ibid, 65.

- involvement of contractor

client architect

42. Ibid, 67.

32. Hugh Clamp, Stanley Cox, Sarah Lupton, Koko Udom, Which Contract? Choosing The Appropriate Building Contract, 5th ed. (London: RIBA Publishing, 2012), 46-47.

33. This pertains to Stages 5 & 6 of the RIBA Plan of Work. page

page

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34. Hugh Clamp, Stanley Cox, Sarah Lupton and Koko Udom, Which Contract?, 35.

35. Ibid.

36. John Murdoch,Will Hughes, and Ronan Champion, Construction Contracts, 67.

37.

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Hugh Clamp, Stanley Cox, Sarah Lupton and Koko Udom, Which Contract?, 46-47.

38. Ibid.

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31. “The Plan of Work consultation with members (the detail of which can be viewed at www.architecture.com/planofwork), undertaken by the RIBA in 2012, showed that traditional contractual arrangements remain the most prevalent form of procurement.”

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Ultimately, contract constitutes theconstruction specificities services; or for the design development and construction from maythough be forthecomplete design and of the ‘Relevant Events’ that would warrant ansupplied extension by a client’s consultants.35 information based on schematics of time, “these provisions […] are there to protect the employer’s right to deduct liquidated damages”.42 Furthermore, the fact Where design and in build contracting concerned with integrating design and construction responsibility,36 that the interpretation of these this instance falls toisthe 37 tendshastoanprioritise ‘cost’ and ‘speed’ employerit (who interest in the rejecting an application for of construction at the expense of its quality. In this way, and in comparison with the traditional form of procurement, a large portion of time is saved where the prean extension of time with respect to the enforcement of such ‘Liquidated Damages’ information as referred to innecessary part 1 of this construction to report) engage into a contractual agreement with a building contractor is no would advocate contractor be more conscious of theirprocurement yields an efficient, single contractual arrangement, the longer the necessary.

Whilst design and build performance with regards to the scheduled programme of works. contractor retains all control over their own performance and there is essentially38no flexibility for the client

ste

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Finally, ‘Scenario 25’, required the team to evaluate the contractors for an ‘Extension of Time’ Under the ‘cost’ and ‘quality’ of the building works at the expense of Thisapplication procurement method tends to .favour the contractual obligations of the the ‘Traditional’ form time. In this case, client remains in of control of design and variations and requiring particular standards to procurement used inorthedescribed; simulation project, thewhilst responsibility be shown however, there is clear cost monitoring at all stages of works that pertain to an to determine the validity of the contractors application falls agreed fixed priceinatthisthecase inception of the project, traditional procurement requires large portions of time to to the contact administrator, the architect.

As with be invested in thecontract production Clause 2.29 in the building used inof thedetailed contract design game, information before the tender stage.

‘Design and Build’ contracts also have provision for the interpretation of ‘Relevant Events’ that help to determine An alternative route for the procurement ofthe theVeterinary School facilities within the contract game may have contractors right an extension time.The difference here contract, “where the contractor to a greater or lesser extent for design, been to toengage with aof‘Design and Build’ arises in as that, within design and build framework, “it is the as what forthecarrying thegranted, work and its own consultants.” 34 In this instance, a client will approach employer whowell decides extension out is to be there may being appoint no 41 a buildingor contractor withthisa function. set of ”preconditions stipulating their needs and requirements. It is then for the contact administrate architect to exercise

ui

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procurement today. The client accepts that a team of consultants (often lead or assembled by an architect) assume responsibility for the design and delivery of tender documentation of the project through stages 0-4 “By removing blocks to effective communication, experience of thethese RIBA Plan ofWork, from which a contractor is then responsible for pricing and carrying out the works has shown that programmes and budgets are more 32likely to be specified in this documentation.

Ordinarily, the architect would then be responsible for the administration 40 adheredofto,the and the speed of building is likely be quicker.

33 ” contract between thetotwo, operating in the best interest of both parties to ensure the project is procured as specified in the contract documentation.

f parties; ‘desig n& nt o me b ve

l’ na

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‘Shifts’ in Balance

Furthermore, in ‘Traditional’ procurement, the architect would typically assume the role of ‘Contract Administrator,’ whilst remaining responsible for and providing continued consultation on the scheme’s design, in order to mediate scenarios such as the one previously described in order to control the quality of the works. For the architect to operate in this way and perform this roles specified through traditional procurement does, however, require time to consult the associated parties in order to make an informed decision. Often this can result in prolonged trails of communication to determine who may be liable for a particular issue and which can be uneasy to navigate.

t of parties; ‘tr ad men iti lve o vo

architect / consultant

‘traditional’

Again, under a ‘Design & Build’ contract, where the contractor is liable for both design and construction, a “single point responsibility” means that the contractor has no reliance on other parties for the execution of design, the supply of information or to make contractual decisions.39 It became evident in ‘Scenario 22’ that the delay to the installation of the windows and doors meant that the sequence of works required an amendment.This revision to the programme of works called for the architect to supply further detailed information ahead of the date originally set out in the ‘Information Release Schedule’. If The Border College Trust had entered into a design and build contract, the contractor is at liberty to arrange for the appointment of sub-contractors far earlier in the process and as such reduce the risk of delay in the first instance.The Similarly without the dependency an architect ‘Traditional’ contractingonroute for procurement whereby a client will appoint a design team and then for the release ofinto design information, relationship the contractorwith can make enter atocontractual a building contractor for the procurement of the construction of immediate their own programme to tackle the thealterations building issue without delay. has been31shown in the RIBA’s Plan of Work consultation to remain as the most prevalent form of

Since it has been established that the Traditional procurement method favours ‘quality’ and ‘cost’ (as do the majority of clients with respect to cost), one can speculate that in the case of the contract game, the client, The Border College Trust championed control of the quality of the build over the duration of the construction period.

“Construction is underpinned by the different methods of contracting used to procure building and engineering projects.”

building contract

client / employer

Report; Procurement

Procurement in construction is defined

by British Standards as the “process which creates, manages and fulfils contracts relating to the provision of goods, services and engineering and construction works or disposals, or any combination thereof.”

There are many standard forms of construction contract the most common of which are: Traditional, Design and Build, Construction Management and PFI (the Private Finance Initiative). Although each of these forms of contract share the same essential principles for building procurement, the distribution and weighting of risk and responsibility through the prescribed contractual relationships between employer, contractor and architect (consultant), shifts in each case.

The differing forms of contract also hold varying degrees of control of the three key performance indicators for building work in cost, quality and time. Each prioritises specific areas within these three indicators and as such, it is a necessity that the most applicable contract for procurement is chosen to meet the requirements and expectations of the client and the specificity of the project under consideration.

In the construction industry, these performance indicators and somewhat competing factors within the procurement process and their balance in practice generally changes to reflect the economy, with differing methods in turn shaping the direction, structure and organisation of the industry at any given time.

contract game; procurement report

26

MArch1 [ DES G ] [ ATR ]

[ DES B ] [ SCAT ]

MArch2 [ AMPL ] [ DES D] [ REP ]

[ FOLIO ]

[ collaborators ]

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

EI AM GL EM KSa KSi

2

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

[ AMPL ] page

6.1 6.2 6.3

7.1 7.2 7.3

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10.1 11.1 10.2 11.2 10.3 11.3

Exam; Question 1 - Appointment & Insurance

What can we compare this proposed appointment with to see whether it seems fair and reasonable and what else should we do before signing?

Can you please take a look at this and send me your thoughts before I reply?

As the Woodland Trust is providing their own documentation for the terms of our appointment, it is particularly necessary that, despite the abundance of ‘legal jargon’, we go through the document with fine tooth comb. From guidance in the RIBA’s ‘Handbook of Practice Management’, I would recommend that each of us should take time to carefully read through the documentation and bring attention to anything that seems out of the ordinary or that strays from the conventional and standard appointment documents that we might otherwise have used. “In general terms [we] should seek to enter appointments that leave [us] in no worse position than [we] would have been under common law in the absence of a [standard] appointment document.”1 It may be a useful exercise to compare the client’s proposed appointment documentation with some of these standard terms of appointment. The RIBA have published a suite of documents that have been produced to address conflicting issues and “to protect the interests of the architect while being fair so far as the client is concerned.”2 One such document that may be relevant for us to familiarise ourselves with as a counterpoint is the RIBA Standard Professional Services Contract 2018: Architectural Services which superseded the RIBA Standard Agreement 2010 (2012 revision) Architect. A specimen copy of this is available at https:// www.architecture.com/knowledge-and-resources/ resources-landing-page/riba-standard-professional-services- contract-2018, though for any future projects it is necessary to purchase a copy for each party involved in the agreement, which can be done through the RIBA’s online book store.

Since theTrust’s lawyers have prepared such ‘bespoke’ documentation, they will of course be “seeking to protect their clients’ interests as best they can, often in such a way as to potentially increase liability on the [us] architect[s].”3 It is as a result of this that we should also seek the advice of our solicitor and PI insurer, of course this may incur further fees payable by us and as such this should be considered with respect to our project fee.

The ‘Handbook of Practice Management’ states that “there are a number of aspects that regularly appear in bespoke appointments that would extend the architect’s responsibility beyond where they would be under common law and these should be resolved wherever possible”.4 These are as follows and give us further reference to what we should be looking out for in the Trust’s documentation

- The standard of care to be used in the performance of the services.

- The provision of guarantees or indemnities.

- The inclusion of services that are not the architect’s responsibility or whose performance is not fully within their gift.

What would seem particularly important to review from your notes is the the proposed schedule of services that the appointment documentation would make us ‘responsible’ or ‘liable’ to deliver. It is imperative to ensure that the terms of appointment clearly defines the services to be provided and that we are “satisfied that [we] are only undertaking to provide services which [we] are capable of delivering, in terms of both expertise and resources.” 5 This immediately brings to light the item that asks us to ‘ensure’ that we successfully obtain planning permission, a request that we are unable to guarantee from our role as the architect since the final decision is made by the local authority. In this sense, “any terms that require the [us] to ensure that [we] achieve something should be viewed with particular care” and this is one of them. Our role, which we need to ensure is re-iterated to the client is to work closely with the local authority to develop the design to give it the best possible chance of approval, submitting all relevant documentation on time and making an appropriate case for the applications approval. This becomes particularly poignant with the Trust’s request to make changes to the scope of works to include the demolition of a listed building, something that in the professional opinion of an architect is difficult to recommend will be agreeable with the local authority or Historic Scotland.

Further to these changes to the scope of works that require what would seem to be significant revisions to the scheme that was submitted for the competition entry, these may significantly affect our projected workload and would typically incur further cost to a the client where, here, there is no mention of any additional fee in light of these changes.This is unquestionably something that we should raise with the Trust at the next available time before signing any further agreement. Again it is essential that we acquire written confirmation of the schedule of works and that all three of us working on the scheme “understand clearly the limits of the services that the practice is contracted to perform on the project.”6 With regards to Professional Indemnity Insurance, I would suggest it would be worth re-evaluating the policy that has been put in place last week as I have a few reasons for concern based on your notes regarding the level of cover and particularly low premiums which seem not to be with a provider offered by the RIBA or RIAS insurance agencies or services.

From the outset, whilst £250,000 is the minimum level of cover required by the ARB to practice as an architect, I would suggest that this is not an adequate level of cover for the practice that we intend to formally start from here on in. The ARB stipulates that offices practicing with an annual turnover of between £100,000 and £200,000 require the minimum cover of £500,000.7 If we take this project fee of £180,000 alone, we would immediately fall into this bracket without taking on any further work and would be liable for noncompliance with the RIBA’s Code of Professional Conduct (see article 10) that “requires all members to ensure that their professional work is protected by an appropriate insurance policy at a level commensurate with the type of projects they undertake.”8 For this reason, along with the fact that it would seem good practice to have excess cover, particularly in our early, relatively inexperience days of running a practice would also ensure we are covered for any legal fees that may arise incurring further costs that could run over our existing cover.

Further to this, we need to ensure that an Innocent Non-Disclosure clause is incorporated into the policy. This would protect any failure of ours to provide correct information that is required by the duty of disclosure, but which occurs through genuine error or misinterpretation where the our state of mind is not fraudulent.The fact that this clause is absent form our current policy may begin to explain the ‘low premiums’ below the like of those offered through professional bodies such as RIBA and RIAS since “the RIBA Insurance Agency provides PI insurance on agreed RIBA terms, including an innocent non-disclosure clause, and, exclusively among PI policies, the right to refer a dispute to the President of the RIBA.”9 There may also be further reason why the premiums are so low, we need to ensure that we are aware of these, chiefly that the excess could be unproportionally high or that it may not cover all three of us as employees.

With respect to the proposed collateral warranty, the insurer is correct that the insurances would not cover any third-party agreements. The contractual appointment documentation forms a relationship between the client and ourselves, any further warranties that the client would want to introduce are unfavourable for us as they would enter us into further conjectural relationships with additional parties which may increase our liability unnecessarily and we cannot allow these to be introduced subsequent to signing the documentation.

If theTrust is to insist on introducing any third party agreements “it is important that the parties to whom these will be given and the terms thereof are negotiated at the project inception to control risks in the longer term.”10 In this instance our rights to could be protected if we are insistent on including a clause stating that claims made under the warranty will only be valid provided all consultants have entered warranties at the same time and under similar terms.

exam answer; appointment & insurance

The appointment also asks some questions about our professional indemnity insurance policy, which we put in place last week. The premiums are really low which is great! Much cheaper than the RIAS or the RIBA! I have checked the indemnity policy and can confirm that our policy has an aggregate limit of £250,000.00. The providers have confirmed there is no need for an ‘Innocent Non-Disclosure Clause’. I also asked them about the proposed collateral warranty but they said the policy would not cover specific third party agreements.

A:Where the appointment documentation will become‘legally binding’ I would suggest that rushing to sign the appointment documents in the first instance would be a mistake and that we should not sign until we have clarification on the matters bought to light in the following evaluation of the appointment process and such insurances.

management, practice & law

Q: We have just received a proposed, appointment document from the lawyers acting for the Woodland Trust. It is full of legal jargon but they want us to sign it by return. One of the items asks us to ensure that we will successfully obtain planning permission for the development, despite the fact that they now want us to revise the scheme to include the demolition of the existing listed mill building on the site? The project is to be covered by a collateral warranty.

MArch1 [ DES G ] [ ATR ]

[ DES B ] [ SCAT ]

MArch2 [ AMPL ] [ DES D] [ REP ]

[ FOLIO ]

practice.

[ 2 01 9 ]

MANAGEMENT & PRACTICE: CONTRACT GAME / EXAM / DRAWINGS

Architectural Managment, Practice & Law MArch 2 / Semester 1

[ collaborators ]

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

EI AM GL EM KSa KSi

2

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

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Exam; Question 2 - Planning for Future Business A: The following presents an overview of an outline summary business plan that might be used to demonstrate the objectives of the practice and ground for an application for further additional start-up funding.

Can you please prepare an outline summary business plan which considers questions the bank is likely to ask in relation to our start-up? Please provide a short paragraph on relevant content in each of the business plan sections proposed.

The newly formed Limited practice is a design studio set up by three recent graduates, following the win of a competitive building project forTheWoodland Trust at Tyndrum, Scottish Highlands. The studio offers a dynamic and creative approach carefully honed throughout our time studying at Edinburgh University, developing a deep understanding and respect for Scottish heritage and environment one of our USP’s.The studio will initially provide services for the undertaking of this project then expand and undertake other projects across a range of sectors.

I am told it has to include a SWOT analysis and set out our USPs for winning work in a competitive environment?

Our competitive edge lies in our ability to work cohesively as Limited company with relationships closely developed through our time at university and our ability to develop schemes that can win competitions against more substantial and established practices. The company have worked together closely for numerous years and are thus familiar with each others working patterns and are able to successfully work as a team to provide architectural schemes, from concept to construction.

The most significant challenges ahead lie in our ability as a start up practice to balance high start up costs with the overall profit from our initial project and securing a suitable location to officially set up an office. Once we have established these parameters we will be able to focus on growing our initial client base and ultimately positioning the company to wider markets across sectors that continue to engage with a wider understanding of Scotland.

SWOT Analysis By undertaking a SWOT Analysis (see listed below) of our new company we have established where we stand in current markets which has enabled us to develop a brief executive summary analysing our internal and external strengths, weaknesses, opportunities and threats.

Weaknesses: • No designated office space • Staff quantity - limited to three with no current prospects to employ more staff • Due to lack of staff, required to work overtime initially • Uncertainty about work following initial project • Financial resources • No previous experience running a business External - Opportunities: • University networks • Further project opportunities with Woodland Trust • Educational Sector • Competition results and publications raise recognition for practice.

Threats: • Larger firms • Election results/brexit • Educational sector is competitive with other larger firms • One off competition win • High startup costs and initially low profits • Declining demand for construction projects

running the business. Outside of the internal workings of the practice, we have established a close network within the local community through university connections and other organisations that we work closely with to generate exposure for our start up. This competition win provides us access into the sector we intend to explore most rigorously and will also set up networks within this sector that will continue to provide work.

As a young practice our greatest threat currently stems from larger practices that win work due to their established reputation and size, and also the high costs of starting up a practice and low profits which we will counteract with a series of measures. The current instability in the construction industry also threatens our start up, however by branching our across all sectors we hope to mitigate this situation.

USP:Winning Work The company intends to continue entering architectural competitions to increase publicity across Scotland wherever opportunity arises, to generate experience and continue to develop our knowledge and skills set across the Public and Community sectors. However as competitions are an uncertain source of work that often requires working without pay or promise of a project at the end, word of mouth will be an important strategy for the winning of work, driving us to ensure our services are up to scratch to be able to compete against larger practices. As the construction industry is built upon relationships and networks, word of mouth is a key networking strategy.13 To establish this our practice needs to develop these relations early on to ensure work will follow the initial startup project and attending key, local networking events regularly will be of importance to fulfilling this objective.

Having recently graduated from university our key strengths lie own our ability to work closely together and with others to achieve the desired outcome. One of our key USP’s is our deep understanding of Scottish heritage and respect for the wider landscape that we have developed and engaged with over our time spent studying within this context. Our development of a design approach that considers the wider landscape in a sensitive and sustainable approach.This local knowledge led us to win the recent competition and has set us up in this sector.

Predominantly we intend to continue to work within the Public and Community sectors that we are already beginning to establish, both sectors of which showed marginal increases in demand in the recent ‘RIBA Future Trends Survey’ suggesting work within these sectors will continue to be required.14 Our USP will focus our work in Scotland and predominantly the Highlands and wider landscape we will develop a deep understanding of the environment that will enable us to develop a specific set of skills regarding sustainable and sensitive development within the landscape that will set us apart from other larger corporate practices.

Our key challenges lie in our lack of designated office space and limited staff members which, due to high start up costs and low initial profits will have to remain as three meaning workloads will need to be carefully balanced in order to meet work outputs on time and to a good quality whilst maintaining and

However as the current climate for construction is relatively uncertain due to Brexit negotiations and recent Election results we intend to enter competitions across all sectors to ensure that if demand for public and community work decreases we can transition into other sectors.

exam answer; planning for future business

The opportunity presented to us by winning the competition sets up our ambitions to establish a practice that will create architecture deeply embedded in contextual surroundings of Scotland in order to add economic and cultural value. Initially as a start up, our target customers will be those with projects in similar sectors and of similar size, to allow us to continue to practice and hone our knowledge of this area. Our initial fee for this project will be £180,000 and of that our target profit £15,000.

Internal - Strengths: • Strong team working approach • Design ability - presidents medal nominations • Technical ability • Strong graphic style and ability • Good contracts from university networks • Local knowledge of Edinburgh communities • Excellent communication skills • Winning competitive projects

management, practice & law

Q: We would like to make a pitch to a bank for some additional start-up funding to see us through the first year until as we hope, regular fees start to come in after the completion of the Tyndrum,Woodland Trust commission.

MArch1 [ DES G ] [ ATR ]

[ DES B ] [ SCAT ]

MArch2 [ AMPL ] [ DES D] [ REP ]

[ FOLIO ]

practice.

[ 2 01 9 ]

MANAGEMENT & PRACTICE: CONTRACT GAME / EXAM / DRAWINGS

Architectural Managment, Practice & Law MArch 2 / Semester 1

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

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[ AMPL ] page

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management, practice & law crossing the gap between isolation & policy

Drawing; Black Barn (Planning Policy)

3

This study presents an exploration of planning policy, Paragraph 55 (for the purposes of the case study, now revised in NPPF 2019 to Paragrph 79 with an almost identical wording), a distinctly woolly clause within national planning regulation.

It permits the construction of one off, bespoke homes in isolated areas, but also enables planning bodies to closely, and perhaps subjectively, regulate submissions to ensure development in the countryside is controlled. Black Barn

by Studio Bark is a recently completed Paragraph 55 house in Suffolk which is the subject to understanding the qualifying features for Paragraph 55 applicability specifically looking at: how particular clauses within the paragraph refer to the vernacular characteristics of the local area; how an interpretation of ‘innovative’ design creates a tension within the regulation, and; how in turn, the Black Barn proposals have responded in order to attain approval.

MArch1 [ DES G ] [ ATR ]

[ DES B ] [ SCAT ]

MArch2 [ AMPL ] [ DES D] [ REP ]

[ FOLIO ]

practice.

[ 2 01 9 ]

MANAGEMENT & PRACTICE: CONTRACT GAME / EXAM / DRAWINGS

Architectural Managment, Practice & Law MArch 2 / Semester 1

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

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management, practice & law crossing the gap between isolation & policy

Drawing; Kielder Observatory (Building Regulation)

3

This second study will look at how the necessity for on-site service provisions for ‘isolated’ building typologies and the interplay between the associated regulatory requirements for building performance contributes to the quality of design in such areas.

An Observatory is by nature and isolated building; requiring darkness, minimal disturbance and optimal vantage points, all the while functioning as a public building and providing comfortable conditions suitable for inhabitation.

In the instance of the Observatory

at Kielder, such a location required ‘off-grid’ service supply and the study explores the way that the Observatory has negotiated the regulations of Part L2A to achieve compliance with building performance, and the impact this has had on the quality of its performance strategy and service supply. The study speculates upon the regulations below as to how the project achieved approval and how the level of compliance somewhat contradicts the service strategy for provision of energy from on-site renewable sources.

MArch1 [ DES G ] [ ATR ]

[ DES B ] [ SCAT ]

MArch2 [ AMPL ] [ DES D] [ REP ]

[ FOLIO ]

practice.

[ 2 01 9 ]

MANAGEMENT & PRACTICE: CONTRACT GAME / EXAM / DRAWINGS

Architectural Managment, Practice & Law MArch 2 / Semester 1

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ]

[ general criteria ]

2.1 2.2 2.3 2.4 2.5 2.6 2.7

1.1 1.2 1.3

2.1 2.2 2.3

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[ AMPL ] page

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ARCHITECTURE IN

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008

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I S O L A T I O N

DESIGN TEAM Location: Pound Lane, Dallinghoo, Suffolk Year: 2015 - 2018 Cost: build £932,000 of grid £75,000 Contractor: Avoncrown Structural Engineer: Structure Workshop Cost Consultant: Andrew Bird Associates M&E Consultant: Omni Heat and Power/Hudson Electrical Trusses: Anson Timberworks

[ P L A N N I N G ]

BLACK BARN : STUDIO BARK [2018] GRACE LOSASSO | JOSEPH COULTER Crossing the Gap Between Isolation and Policy This study presents an exploration of planning policy, Paragraph 55 (for the purposes of the case study, now revised in NPPF 2019 to Paragrph 79 with an almost identical wording), a distinctly woolly clause within national planning regulation. It permits the construction of one off, bespoke homes in isolated areas, but also enables planning bodies to closely, and perhaps subjectively, regulate submissions to ensure development in the countryside is controlled. Black Barn by Studio Bark is a recently completed Paragraph 55 house in Suffolk which is the subject to understanding the qualifying features for Paragraph 55 applicability specifically looking at: how particular clauses within the paragraph refer to the vernacular characteristics of the local area; how an interpretation of ‘innovative’ design creates a tension within the regulation, and; how in turn, the Black Barn proposals have responded in order to attain approval.

ET ARK MM KHA WIC ntre) 78 to e ce B10 servic y (ke

Paragraph 55. (now Parapragh 79) National Planning Policy Framework (March 2012, p.14) To promote sustainable development in rural areas, housing should be located where it will enhance or maintain the vitality of rural communities. For example, where there are groups of smaller settlements, development in one village may support services in a village nearby. Local planning authorities should avoid new isolated homes in the countryside unless there are special circumstances such as:

ARCHITECTURE IN [ B U I L D I N G

KEILDER

I S O L A T I O N

Location: Northumberland, UK Year: 2007 - 2008 Cost: £415,000 Contractor: Stephen H Mersh Client: Forestry Commission Quantity Surveyor: Burke Hunter Adams Procurement: JCT intermediate building contract/single-stage competitive tender

R E G U L A T I O N S ]

O B S E R V AT O R Y

CHARLES BARCLAY ARCHITECTS [2008] GRACE LOSASSO | JOSEPH COULTER Crossing the Gap Between Isolation and Policy

This second study will look at how the necessity for on-site service provisions for ‘isolated’ building typologies and the interplay between the associated regulatory requirements for building performance contributes to the quality of design in such areas.

An Observatory is by nature and isolated building; requiring darkness, minimal disturbance and optimal vantage points, all the while functioning as a public building and providing comfortable conditions suitable for inhabitation. In the instance of the Observatory at Kielder, such a location required ‘off-grid’ service supply and the study explores the way that the Observatory has negotiated the regulations of Part L2A 2006 (Conservation of fuel and power in new buildings other than dwellings) to achieve compliance with building performance, and the impact this has had on the quality of its performance strategy and service supply.

Regulation 9, Part L2A Building Regulations 2006 (now Appendix C, 2013 edition) p. 7-8.

- where the development would re-use redundant or disused buildings and lead to an enhancement to the immediate setting; or

Regulation 9 (paragraph 5) of Part L2a pertains to the compliance of this issue in that it describes buildings that are exempt from the requirements in Part L as;

- the exceptional quality or innovative nature of the design of the dwelling. Such a design should:

- 9.5.b. temporary buildings with a planned time of use of two years or less, industrial sites, workshops and non-residential agricultural buildings with low energy demand;

– be truly outstanding or innovative, helping to raise standards of design more generally in rural areas; – reflect the highest standards in architecture; – significantly enhance its immediate setting; and

– be sensitive to the defining characteristics of the local area.

100

(Figure 04) 1:10,000 Site Location Plan

(Examples of buildings which are industrial sites and workshops with low energy demand include buildings or parts of buildings designed to be used separately whose purpose is to accommodate industrial activities in spaces where the air is not conditioned. Activities that would be covered include foundries, forging and other hot processes, chemical process, food and drinks packaging, heavy engineering, and storage and warehouses where, in each case, the air in the space is not fully heated or cooled.)

CHARSFIELD

(local service centre)

- 9.5.d. stand-alone buildings other than dwellings with a total useful floor area of less than 50m2.

‘The benefit of this NPPF test and of such high quality schemes as the submitted one is that they continuously develop the language of rural design and help create a twenty-first centur y vernacular. [...] Although born of a modest, if not humble, building typology, the submitted scheme presents itself as innovative architecture.’

DALLINGHOO

- Robert Scrimgeour, Senior Design and Conser vation Officer, Suffolk Coastal District Council

(countryside hamlet)

Here we can question the contradictory definitions of the such vocabulary, how can something be innovative inherently referring to a new ideas/methods - if it is also striving to be derived of a vernacular language. [ Innovative : using new methods or ideas ] [ Vernacular : a local style in which ordinar y houses are built ]

Under 9.5.b, its is evident that despite creating internalised observatory spaces, that these have been deemed to be low-energy demand ‘workshops’ of the description above that are not required to be heated. Clearly this is a sensible strategy to ‘isolate’ the thermally controlled volume given the opening nature of these spaces to the outdoors. The contradiction in these requirements, namely within this paragraph, comes with the definition of ‘useful floor area’, which is defined as “the total area of all enclosed spaces measured to the internal face of the external walls”. In this respect, one would expect the observatory turrets to fall into such an area.

However, to be considered complaint, we see that either, these spaces must have been considered “open floors” or “balconies” (which are deemed exempt from this area) or with reference to 9.5.d, each of the volumes (each at less than 50m2) given consideration as separate, stand alone buildings and therefore exempt.

KIELDER

(local service centre)

KIELDER OBSERVATORY (site ownership & plot)

Fur ther complications arise where prior planning conditions requiring on site, renewable off-grid services to supply projects such as these. The typical power needs of the Observatory are met by the 2.5kW wind turbine an in calm conditions, ten 130pW photo voltaic panels keep the 24 deep cell batteries powered up. Excess power generated in winter is used to provide background heat to the warm room, however, during prolonged periods of heavy usage a por table generator can be required to top up the batteries. The exploration of the somewhat inadequate insulation strategy for the ‘warm room’ may have significant impact on the necessity for back up generators. If there had been more stringent requirements for thermal performance for such a controlled and isolated space, the energy demands become less and the building able to perform more efficiently in its setting.

(site ownership & plot)

+ RC_01

From these explorations and this understanding of the regulation, it could be understood that the local authorities are star ting to shape the definition of innovative design; par ticularly as seems to be the case of Studio Bark ( a practice that has become well know for success in this area), whereby each of the schemes put forward under Paragraph 55 (now 79) por tray a distinctive contemporary vernacular style.

BATHEKIN RESERVOIR

(Figure 01 Images of Kielder Observatory) (Figure 02 Technical sectional study of ‘warm room’, Kielder Observatory) (Figure 01 Images of traditional black barns and Black Barn) (Figure 02 Sectional studies of Black Barn structural roof truss system) 100

(Figure 04) 1:10,000 Site Location Plan (Figure 05) Exploded axonometric illustrating the structural arrangement of Black Barn that gives it it’s distinctive roof aesthetic inherited from the vernacular style barns of the area. The tapering roof is supported internally by a series of exposed trusses, each bespoke to create the gentle incline. In this case Studio Bark took precedent from the traditional building form and structure, elevated and re-imagined to create a new form of roof design.

RC 01

(see construction build ups & U-value performance below& right)

(Figure 05) Exploded axonometric to illustrate the nature of ‘isolation’ in the thermal performance strategy at the Kielder Observatory. It highlights the characteristics of the ‘open’, partially outdoor observatory turrets against those of the ‘isolated’ internal warm room and the components that have been used to achieved this.

EW 01

Y OR VAT SER OB CK DE

Y OR VAT SER OB RRET TU

Y OR VAT SER OB RRET TU ED M’ LAT OO ISO RM R ‘WA

FC 01

regulatory drawings

Ultimately, this study highlights the poor consideration given to the specificity of the isolated situation of the project in terms of the supply of its services and building performance. Whilst the regulations have allowed for a considered strategy of ‘isolation’ in an exemption for cer tain areas of such building typologies, the critical analysis of this regulation in conjunction with the way such projects are granted planning permission on the promises of environmental performance highlights how the resultant poor performance in minimally complaint isolated and controlled areas leads to inefficiencies of renewable on-site energy sources. This is something that seems to be occurring more and more frequently given the nature of the promises given in planning or high performing environmentally ‘innovative’ & ‘off-grid’ schemes, which are subsequently able to undermine themselves as a result of the energy requirements made through regulations such as those mentioned above.

BLACK BARN

management, practice & law

In the Officer’s Planning Repor t, Black Barn is celebrated for its re-imagined vernacular design that takes precedent from the local Black Aisle Barn building typology that was traditionally used for agricultural buildings. Internally, a roof truss system common to these traditional building types, demonstrates a contemporary take on this local style. The roof gently tapers up to a large gable end intentionally minimising impact on the surrounding site with charred cladding that is also familiar to this traditional black style. Although the proposal has been carefully considered to respond to and represent a local character can this be described as innovation if the proposal is presenting a historical style of building?

This direct clash within the regulation brings into question how planning authorities make decisions on schemes when the clauses themselves appear both vague and contradictory. To counter this Studio Bark seem to have established a tested protocol by which they develop projects that successfully attain planning. However this system relies on back and for th communication with planners and community bodies throughout the process which is a slow and drawn out process (see figure 03 to see planning times for Black Barn and similar projects).

In actuality it could be suggested that in order to attain planning approval, the schemes must go through rigorous testing involving planning bodies to directly attain what the planners are seeking, rather than an a design with an immediate presentation of innovation. Each of the schemes below were put through this system and all respond to a local vernacular. It could therefore be construed that the regulation is setting up a series of standards whereby schemes must be responsive to the vernacular which in turn highlights how the regulation is driving a style of “innovation” in architecture that is becoming very similar. In the case of Studio Bark’s paragraph 55 (now 79) projects, they often draw reference from vernacular as a purely aesthetic feature that doesn’t necessarily form par t of a working landscape like traditional examples of vernacular buildings have done in the past.

260m

- where such development would represent the optimal viable use of a heritage asset or would be appropriate enabling development to secure the future of heritage assets; or

SCO (dire TTISH B ctly to W ORDER est) S

The thermal performance and requirements of the Observatory have been established through employing a strategy of ‘isolation’, which itself falls into a gap of regulatory uncertainty. Whilst the ‘warm room’, isolated as an insulated volume, achieves a somewhat minimal compliance (now non-compliant with the current 2013 regulations see table below) the two observatory turrets remain uninsulated. The study speculates upon the regulations below as to how the project achieved approval and how the level of compliance somewhat contradicts the service strategy for provision of energy from on-site renewable sources.

- the essential need for a rural worker to live permanently at or near their place of work in the countryside; or

DESIGN TEAM

MArch1 [ DES G ]

+ EW_01

[ ATR ]

+ FC_01

[ DES B ] [ SCAT ]

MArch2 [ AMPL ]

(Figure 03 Planning table for Black Barn and other Paragraph 79 projects by Studio Bark that define planning timings) RC 01

(Figure 03 Table illustrating the required U-Values for 2006 & 2010 Part 2LA of Building Regulations and those achieved at Kielder.)

practice.

[ 2 01 9 ]

MANAGEMENT & PRACTICE: CONTRACT GAME / EXAM / DRAWINGS

Architectural Managment, Practice & Law MArch 2 / Semester 1

[Roof Construction] RC_0.01 20mm Asphalt RC_0.02 Vapour Control Layer RC_0.03 90mm Rigid Insulation RC_0.04 18mm Plywood Deck RC_0.05 250mm x 50mm Exposed Timber Roof Joists

EW 01

[External Wall Construction] EW_0.01 20mm Board on Board Larch Cladding EW_0.02 25mm x 50mm Horizontal Softwood Timber Battens EW_0.03 Breather Membrane EW_0.04 18mm Plywood Sheathing EW_0.05 125mm Quilt Insulation (between studs) EW_0.06 125mm x 50mm Timber Studs EW_0.07 12mm Internal Plywood Finish

FC 01

[Floor Construction] FC_0.01 20mm Softwood Timber Floorboards FC_0.02 12mm Plywood Sub-floor Deck FC_0.03 50mm Rigid Insulation FC_0.04 25mm x 50mm Softwood Timber Battens FC_0.05 250mm x 50mm Timber Floor Joists FC_0.06 300mm x 125mm Cantilevered Douglas Fir Timber Floor Beams

[ DES D] [ REP ]

[ FOLIO ]

* Piazza

Dante

ilo tta N zza * Pia

rico Sto ntro * Ce

. za S

z * Pia

re agio oM enic Dom

design.

* rio to ra O ia ar aM nt Sa di

* Piazza del Gesu Nuovo

ts

de Fe lla de

he ac on M lla e d ita rin ST *S

king

Up

The S

l ee

pin g

Gi an

N E A P O L I TA N

nico ome ia D +V

2nd Chan c

e: Wa

to ca er *M

a cc se na Pig

ro te as on *M

p o r o s i t i e s

ra hia aC nt Sa di

a ecc nas Pig Via

City Fragments: Neapolitan Porosities Through Brief 3:Tectonic Assemblages you are to design and detail a complex public building; this project should enable a more complete articulation of the architecture of your developing theses, and of the full material, functional, formal and technological complexities of an architecture of porosity.

lla de za iaz

*P

Taking programmatic, spatial, material, tectonic, or technological impetus from the Animate Drawings or Performative Constructions, you are to select an appropriate (series of) site(s), and put forward proposals for a new (series of) building(s) and associated public spaces.These should be public buildings charged with engaging the cultural and social concerns of the city, developing from the interests explored through Brief 1 and 2.They will contain a series of (interpenetrating) spaces of both primary, secondary and tertiary functionalities, and will work in the contingent space between the public and private realms that pervades Naples.

rita Ca

w ctivity Conne

co ith Par i Spagnol

L03. To investigate, appraise and develop clear strategies for technological and environmental decision.

io lvar nteca Mo zza

Montecal vario Vico Lun go

+ Via Toledo

+C orso Vitto rio Ema nue le

* Pia

+ Vico 2° Montecal vario

L04. The development of skills in using, differing forms of representation to explain a design project.

kat saranti / MArch 2 katy sidwell / MArch 2

tablish Re-Es

L02. To develop an architectural spatial and material language that is carefully considered at an experiential level.

MArch1 * ‘ De

[ DES G ] Mura ’

[ ATR ]

* Piazza Portacarre

se a Montecalv ario

[ DES B ] [ SCAT]

*‘ la rte Po ’ ta Cit lla de

*‘

tto pe am Il C ’

CITY FRAGMENTS: NEAPOLITAN POROSITIES

ntro la

[ 2020 ]

joseph coulter / MArch 2 eirini makarouni / MArch 2

+

[brief three: (tectonic assemblages )]

L01. To develop and act upon a productive conceptual framework based on a critical analysis of relevant issues.

i itell Cap

MArch2

* Quartieri Sp agnoli

[ DES C ] [ AMPL ]

[ DES D ]

Vico Tofa

[ REP ]

[ FOLIO ]

+ Vico Tof a

irectional Axis

*chris french *maria mitsoula

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 11.1 10.2 11.2 10.3 11.3

+

[ DES D ] page

ele anu Em

001

* Certosa di San Martino

lare ico un *F

to an ntes Mo

rban

*U

l te as C o lm ’E nt Sa

‘Se que nci ng’ of

Ur ban

Ga rde ns

&C

lois ter s

int wpo Vie

* Sca la Mo ntesan to

Ac ro

ss

Na po li

(Un)

doin gT resh ol

ds; D

oor

/W ays to

Ne w

2.

&P

ub l ic

Li b

1b.

ry ra

* Ur

Gal ler y

.

2b

lare ico un *F

to an ntes Mo

* ‘Il

ban View point

v

ele anu Em

1. rban *U

‘(In)Between Urban Ticknes s&V oid’:

+ Corso Vitto rio Emanuele

o tori Vit rso Co

ct i ce

hH ou se

iants’ eping G e Sle p th ng U aki ‘W nce ha

+

an Pr a

dC 2n

S *S

* Certosa di San Martino

he nac Mo elle ad nit Tri

Bat

ct ba Ur

*

ag o Sp Parc

Ne ap oli t

ia

‘ Into & Out of Everyday Tick nes(es )’: Li ve/W ork & noli

ero * Vom

D O O R / W A Y S t o N E W N E A P O L I T A N P R A C T I C E ( S )

*

Wi der Urb an

(Un)doing

2.1 2.2 2.3

o tori Vit rso Co

T H R E S H O L D S

1.1 1.2 1.3

ero * Vom

den Gar

1a.

tto’ mpe Ca

o nt sa te on *M

* Urban Gateway

* Urban Landmark

Wi der Urb an

rban

*U

‘Se que nci ng’ of

Ur ban

Ga rde ns

&C

lois ter s

Ac ro

icizia s Pud rale

ss

int wpo Vie

* Urban Garden

2a.

Na po li

Open

* Mu

ds; D

oor

ag o Sp Parc

to SS

‘(In)Between Urban Ticknes s&V oid’:

tio n’

2.

uc

str on

Gal ler y

&P

ub l ic

Li b

1b.

ry ra

‘Pe g of doin (Un) to the Site(s) Open / Receptive

rban *U

.

2b

gnoli * Quartieri Spa

C ve ati rm r fo

1.

e ach on eM dell ita rin ST S *

he onac elle M ita d Trin

* Ur

* ‘Il

ban View point

* Urban Garden

+

den Gar

ecca Pignas rcato

* Me

o nt sa te on *M

ca sec na Pig Via

2a.

way Gate ban * Ur

Open

+ Via Toledo

ve’ erati s ‘Op Kaf ’

Open

ing(s ) of P iazz

et Stre

a & Pia

Fi Art

eld

zza della Ca rita

therw

e ise D

rban nse U

d Fiel

oli pagn er i S uarti

to SS

* Me

Ves uvi u

yV iew s to

ith res ho ld w T

pen

&

En ter int oa

Ex

ten de d

Vis ua l

tha tO

tecalvario se a Mon carre a Porta * Piazz

+

Wi der

ca sec na Pig Via

Ur ban ‘Fiel dC

-C

on fg ur

in go r( Un )d oin ga

ond itio n’

Co nt em po rar y

Sp ati a

lP rac

tic eo fC

zza della Ca rita

ing(s ) of P iazza & Piazzett a Pu

ickness’ nctuate a S lowness of Movement as Treshold(s) within the ‘T

of an O

therw

e ise D

MArch1

d Fiel rban nse U

[ DES G ] [ ATR ]

s’

Ves uvi u

‘M t. s to

yV iew Cit

ith res ho ld w

* Piazza del

xist

ing Ur ba n‘ Ru ins’

Ex

ten de d

Vis ua l

T

‘Fie ld’ of E

Re tha tO

pen

&

En ter int oa

Wi de

rU rb a n‘ Fiel dC

ond itio n’

-C

on fg ur

in go r(

Un )d oin ga

Co nt em po rar y

Sp ati a

lP rac

Via

ith

Mu n

ici pa

l St

rat egic

ro te as on M

De

i ell pit Ca ico en m Do

om mo nin gt oE ng ag ew

a nt Sa di

vel op me nt

ra hia C

9. Oratorio di Santa Martia della Fede’(Centro Storico) 10. Piazzetta Nilo (Centro Storico) 11. * Monastero di Santa Chiara 12. * Monastero di Certosa di San Martino 13. * Castel Sant’Elmo

A. Vico Paradiso B. Via Pasquale Scura C. Via S. Lucia a Monte D. Scala Montesanto E. Funicolare Montesanto F. Piazza Montesanto

G. Mercato Pignasecca H. Via Toledo I. Corso Vittorio Emanuele J. Vico Tofa K. Vico Lungo Montecalvario L. Piazza della Carita

M. Murales Pudicizia N. Piazza Montecalvario O. Piazza Portacarrese a Montecalvari P. Piazza Trieste e Trento Q. Piazza del Plebiscito R. Piazza Dante

n/

Re

cep tive

de Fe

to t he ( Un) doin g of ‘ Per fo rmativ e Constr

[ DES C ]

[ AMPLtro S]torico en *C

[ REP ]

S. Via Trubunali T. Via San Biagio dei Librai U. Piazza del Gesu Nuovo V. Piazza San Domenico Maggiore

[ FOLIO ]

Sit e(s )O

Design Studio D MArch 2 / Semester 2

pe

[ DES D ]

Door / Ways Through the City 3. * Santissima Trinita delle Monache 4. Parco Spagnoli 5. ‘Il Campetto’(Quartieri Spagnoli) 6. ‘le Porta della Citta’ (Quartieri Spagnoli) 7. ‘Dentro le Mura’ (Quartieri Spagnoli) 8. Ex Mercato di S. Anna di Palazzo (Quartieri Spagnoli)

lla de

MArch2 tic eo fC

Legend

Propositional Territories 1. ‘Into & Out of Everyday Thickness(es)’ a. ‘Live / Work’ b. ‘Bath House’ 2. ‘(In)Between Urban Thickness & Void’ a. ‘Gallery’ b. ‘Library’

ia ara M

[ SCAT]

Sit e(s )O

Gesu Nuovo

+

A N I M A T E

Legend

nta Sa di rio to Ora

[ DES B ] *

(U n) do ing a

nta Sa di rio rato *O

CITY FRAGMENTS: NEAPOLITAN POROSITIES

m Do

nte a Da

zz * Pia

* Pia

Open

Napoli is re-figured, the city is ‘(un)done’ by thetic intervention that culminates in new ‘field conditions’.

‘Threshold connections’ are opened up across a conception of the city that performs interpenetrative conditions of porous architecture(s) and their relationships through time and across space. The Santa Trinità delle Monache holds these urban gestures in place and creates a new metropolitan axis upon which the city is ‘hinged’. It opens up to wider sequencing of the city that is punctuated by porous sites which are drawn into play by the thesis.They contribute towards a porous re-making of the city; themselves door / ways to new Neapolitan practice(s).

Via

itan Directional Axis om Existing Metropol mo nin gt oE ng ag ew ith Mu nici pa l St rat egic De vel op me nt

itan Directional Axis Existing Metropol

[(un)doing thresholds: (door / ways to new neapolitan practice(s)]

[ 2 020 ]

Gesu Nuovo

ra hia C

+ Via Toledo

D R A W I N G (S)

design.

Re

a nt Sa di

in an effort to achieve a new urban development framework for cities that have been subject to the inadequacy of local government to implement plans to improve city infrastructure.

r r fo ‘Pe

ing Ur ba n‘ Ru ins’

*

The persisting lack of provisions and planned development by governmental bodies, has led Naples to challenge the existing political structures by introducing social policies “establishing forms

‘2nd Chance: Waking Up the Sleeping Giants’ programme,

One such underused site at the centre of this European programme is the Santissima Trinità delle Monache, located at the top of the Spanish Quarters.

Through public use, albeit infrequent in its availability, the significantly dilapidated building complex that sits high above the neighbourhoods of Montesanto, Olivella and Quartieri Spagnoli has also become known as ‘Parco Spagnoli’, due to the quality of open, public-space it can provide in an otherwise overly saturated area of the city.

g of doin

* Piazza del

xist

ro te as on M

disfiguration of the urban cityscape, as a result of decades of sustaining disasters of both a natural and manmade nature.45

This includes the activity of ‘URBACT’, a European organisation that aims to reactivate such infrastructures through the

(Un)

‘Fie ld’ of E

*

economic backwardness, consolidated social disparities, and the recession”.44 Its sense of “citizenship and collective protection” has been lost in the

of self-government for critical social infrastructure including urban commons such as abandoned, unused or underused city assets.” 46

tr ns Co

+

Naples is a city in crisis. As De Rosa and Salvati describe, Naples is characterised by “political instability,

to the

e

(U n) do ing a

Cit

tio n’

Site(s) Open / Receptive

tiv ma

ecca Pignas rcato

he onac elle M ita d Trin

s’

&Q Tofa’

‘M t.

ico m‘V d fro eshol n Tr Urba

uc

gnoli * Quartieri Spa

a

ed xtend ing E O p en

cc

is Ax

* Piazza Montecalvario

A lo ng ‘Vic o To fa’

e as gn Pi ato erc M

l na tio ec Dir

Mura’

Tr esh old Up &

th wi

of an O zzetta P unctuate a ckness’ Slowness of Movement as Treshold(s) within the ‘Ti

n ta oli op etr M

* ‘Den tro le

Vis ua l

* Pia

o’ pett Cam * ‘Il

+ Vico Lungo Montecalvario

ed

D O O R / WAY S T O N E W N E A P O L I TA N P R AC T I C E ( S )

& Cyop Into

oli agn i Sp rtier Qua

ld’ ho res et T ark n ‘M rb a of U

ring Ente

Ext end

he nac Mo

g nin

h&

elle ità d

to an ntes Mo

Op e

wit ging Enga

diso Para ico +V

d’ ge in d ‘H se po Pro

ario + Vico 2° Montecalv

itan Directional Axis Existing Metropol

om n fr ditio Con

za

az * Pi

Trin ing of ssima ‘Urban T reshold(s)’ into Santi

A lo ng ‘Vic o To fa’

itan Directional Axis Existing Metropol

* Piazz

icizia s Pud rale * Mu

Tr esh old Up &

v

* Urban Gateway

* Urban Landmark

tecalvario se a Mon carre a Porta

ct i ce

1a.

tto’ mpe Ca

Vis ua l

N E A P O L I TA N

m d fro eshol n Tr Urba

noli Spag

ed

p o r o s i t i e s

ed xtend

eri uarti

an Pr a

hH ou se

is Ax

ing E Open

+ Corso Vitto rio Emanuele

&Q Tofa’ ‘ Vico

Bat

l na tio ec Dir

* Piazza Montecalvario

Mura’

Ne ap oli t

n ta oli op etr M

*

* ‘Den tro le

Ne w

‘ Into & Out of Everyday Tick nes(es )’: Li ve/W ork & noli

o’ pett Cam * ‘Il

+ Vico Lungo Montecalvario

/W ays to

ca ec as g Giants’ gn leepin Pi the S Up ato erc aking M th ‘W wi ce ld’ an ho h res d C et T 2n ark act b n ‘M rb a Ur of U ia

& Cyop Into

Tr esh ol

oli agn ri Sp

Ext end

he nac Mo

g nin

g terin & En

elle ità d

Un)d oing

to an ntes Mo

Op e

with

ie uart

Trin ing of ssima ‘Urban T reshold(s)’ into Santi (

d’ ge in d ‘H se po Pro

ario + Vico 2° Montecalv

ging Enga

Field Art treet ve’ S erati s ‘Op Kaf ’

Q om n fr ditio Con

za

az * Pi

o * Scaradis Pa la Montesan to ico +V

way Gate ban * Ur

pe

n/

Re

cep tive

ia ara M

lla de

de Fe

to t he ( Un) doin g of ‘ Per fo rmativ e Constr

uction’

uction’

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

[ DES D ] page

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 11.1 10.2 11.2 10.3 11.3

002

N E A P O L I TA N

p o r o s i t i e s

Framed as constructive overwritings within the city, the four‘openings’ sought to engage with different conditions of porosity specific to the chosen sites; spatial, social and urban porosities were identified, explored and challenged

through a shared set of material explorations and tectonic strategies–a making-common and a making-incommon.

These parallel practices acted as openings towards Santissima Trinita delle Monache, setting the stage for a collective site strategy with individual moments in dialogue. Four new proposals across the Santissima Trinita delle Monache operate in relation to each other at different moments and across different themes.

SITE READINGS & T E H T I C OV E RW R I T I N G

The working methodology in developing this thesis operated as a continuous exercise of testing and challenging relations, maintaining diversity within a unified strategy; a ‘methodological commoning’ facilitating a transformative practice in constant motion, continually asking questions and challenging assumptions, rather than seeking definitive answers or solutions.

MArch1 [ DES G ] [ ATR ]

[ DES B ] [ SCAT] MArch2

[ DES C ] [ AMPL ]

[ DES D ] [ REP ]

[ FOLIO ]

design.

[ 2 020 ]

CITY FRAGMENTS: NEAPOLITAN POROSITIES

Design Studio D MArch 2 / Semester 2

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

[ DES D ] page

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 11.1 10.2 11.2 10.3 11.3

003

N E A P O L I TA N

p o r o s i t i e s

methodological commoning MArch1 [ DES G ] [ ATR ]

[ DES B ]

Within this collective four, the proposals have been developed as two pairs, which work together to respond at certain scales and to specific conditions across the site. Two proposals on the north of the site (Projects 1a & 1b: ‘Into and Out of Everyday Thicnkess(es)) respond to the former domestic qualities of the monastery, and two at the south of the site (Projects 2a & 2b:‘(In) between UrbanThickness andVoid’) respond at an urban and institutional level.

design.

[ 2 020 ]

CITY FRAGMENTS: NEAPOLITAN POROSITIES

Design Studio D MArch 2 / Semester 2

Within these pairs, each of the four proposals retains an individual voice within the collective strategy, expanding upon the explorations of more specific porous conditions begun in semester one. The four proposals, as part of one larger project, are the product of an interpenetrative practice seeking to produce long term solutions to transform the isolated site into a place of collective life.

[ SCAT] MArch2

[ DES C ] [ AMPL ]

[ DES D ] [ REP ]

[ FOLIO ]

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

[ DES D ] page

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

004

10.1 11.1 10.2 11.2 10.3 11.3

1

Thesis Statement; (Un)doing Thresholds

Through a methodological commoning—a making-common and a making-incommon—(Un)doing Thresholds brings disparate sites and functions into relation.

Through a methodological commoning—a making-common and a making-incommon—(Un)doing Thresholds brings disparate sites and functions into relation. As an ongoing piece of research by design, the thesis presents a collection of interventions across the city.These sites look to Santissima Trinita delle Monache, an abandoned monastery on the hill above Montesanto, creating Door / Ways to New Neapolitan Practice(s) through social amenities for residents of the Quartieri Spagnoli.

A N I M AT E D R AW I N G ( S )

Exploring architectures of the ruin, labyrinth and theatre, be they programmatically labyrinthine or theatrical, or materially or spatially so, the thesis considers their interpenetration: each space becomes a threshold to another space. It promotes an expression of presence in the city, gathered in collectivity, that takes possession of space as a protagonist in constructing an experience of Naples that goes beyond the control of fixed political and historical representations of the city.

In such an architecture, spaces becomes thresholds to other spaces, gathering people into collectivities in a manner that enables a form of possession of space in which an experience of Naples is constructed where the social politic evades the rigidities and restrictions of bureaucracy and antiquity. An operative tectonic language of performativity and mobility, extends, encloses, makes present and gathers spaces between things. It presents the city in a way that no longer offers up spaces bounded by pure interior and exterior, but rather as a continuous and responsive sequence of urbanity.

N E A P O L I TA N

‘(Un)doing Thresholds’ explores the temporalities and architectonic specificities of porous conditions in Naples, a place in which (un)doing is—as described by Andrew Benjamin—a process vital to the formation of the city, one in which porous architectures are (un)done, drawn through one another in a constructive overwriting founded in and based on the immediacy of the city.

Making space for figures not to guard thresholds, (this would be anathema to Benjamin’s description of the threshold), but to inhabit them; they are not policemen responsible for borders (real or perceptual).

Rather they maintain the threshold, extend the spaces between things, providing both separations from and thickenings of the spaces of the city.

p o r o s i t i e s

Reading Walter Benjamin’s descriptions of cities, Graeme Gilloch notes Benjamin’s recurrent use of the terms ruin, theatre and labyrinth. If Benjamin’s Berlin, Gilloch suggest, is the labyrinth, his Naples is “the perpetual ruin, the home of the nothing-new” where “the cultural merges into the natural landscape, becoming indistinguishable.”X But this, as Gilloch subsequently notes, is to simplify Naples. In this merging of culture and nature—what Benjamin might describe as an interpenetration, a porosity—the city becomes labyrinthine. Boundaries blur and territories bleed, definitions lose their definition, terms are re-determined. These processes, as Benjamin and Lacis observe, are performed in the city, “buildings are used as a popular stage.”X The theatrical, the ruinous and the labyrinthine themselves, co-existent, porous conditions of Naples.

MArch1 [ DES G ] [ ATR ]

[ DES B ] [ SCAT] MArch2

[ DES C ] [ AMPL ]

[ DES D ] [ REP ]

[ FOLIO ]

design.

[ 2 020 ]

CITY FRAGMENTS: NEAPOLITAN POROSITIES

Design Studio D MArch 2 / Semester 2

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

[ DES D ] page

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

005

10.1 11.1 10.2 11.2 10.3 11.3

nto sa nte o eM lar ico un *F

Though collectively, as previously alluded to, the design research put forth by this design project is a result of a joint investigation and should be accredited to all parties, there are two pairs of proposals that are presented in this report under the (Un)DoingThresholds thetic enquiry.

Wi der Urb an ‘S

They are each attributed to different authors, engage with each other in numerous ways and can be characterised as follows;

Project 1; ‘Into & Out of Everyday Thickness(es)’

int po iew nV ba r *U

equ enc ing ’ of

Ur ban

a; Live / Work (Vico Paradiso) b; Bath House (Il Campetto)

Ga rde ns

&C

loi ste rs

* Sca la Mo ntesa nto

Ac ro

ss Na po li

(Un)

Project 2; ‘(In)Between Urban Thickness & Void’

doin gT resh ol

a; Gallery (Via Pasquale Scura) b; Library (Via S. Lucia a Monte)

ds; D

oor

/W ays to

Ne w

Li b

.

2b

ry ra

1b.

1a.

’ etto mp Ca * ‘Il

* Ur

METHODOLOGICAL COMMONING

ub l ic

N E A P O L I TA N

&P

p o r o s i t i e s

2.

Gal ler y

iants’ eping G e Sle p th ng U aki ‘W nce ha

hH ou se

en ard nG rba U *

‘(In)Between Urban Ticknes s&V oid’ :

ban Vie wp oin t

Bat

1.

e ach on M elle ad nit i r T

v

dC 2n

S *S

ct i ce

ct ba Ur

g Spa rco

* Pa

an Pr a

ia

‘ Into & Out of Everyday Tick nes(es )’: Li ve/W ork i l & no

Ne ap oli t

to an es t on *M

* Urban Gateway

MArch1

* Urban Landmark

rden * Urban Ga

[ DES G ]

2a.

way ate nG rba *U

Open

[ AMPL ]

[ DES D ]

oli agn i Sp

[ REP ]

[ FOLIO ]

ld’ ho res et T ark n ‘M rb a of U

th wi

D

e as gn Pi ato erc M

Design Studio D MArch 2 / Semester 2

w

[ SCAT]

[ DES C ]

g nin

CITY FRAGMENTS: NEAPOLITAN POROSITIES

ging Enga

& Cyop Into

el ità d

Op e

[ 2 020 ]

ring Ente ith &

from

Trin ing of ssima ‘Urban T reshold(s)’ into Santi

[ ATR ]

[ DES B ]

MArch2 e ach on le M

an lit po ro et M d’ ge in ‘H ed os op Pr

design.

Art treet ve’ S erati p O ‘ s Kaf ’

n ditio Con Field

rtier Qua

+

a zz

ia *P

diso ara oP c i V

to san nte Mo

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ]

[ general criteria ]

2.1 2.2 2.3 2.4 2.5 2.6 2.7

1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

[ DES D ] page

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 11.1 10.2 11.2 10.3 11.3

o iews t City V

with hold

*

* ‘U

006

ius Versuv

3.

’ den Gar rban

D.

’ Tres ore isual al C ded V rtic Exten ‘ Ve

14.

T H R E S H O L D S

(Un)doing

14.

Ve rtic al

Co re ’

17.

l le de

A(1 ’ ‘bassi

v.

bed

ii.

en’ ard nG rba * ‘U

to ’ in d(s) shol Tre

io) ’ ning Ope estic om

on

th wi

* ‘D

en ard

15.

ii.

eG Lim

6.

de’ onna lt Col * ‘Vau

rban g of ‘U Openin

y stud raph otog d ph

i.

i

2.

2 be

ct

v.

Co nn e

io /

ix.

7.

iii.

s’ Bath ate * ‘Priv

ud r’s st

write

i.

iv.

+A

B.

to san nte Mo

he ac on M

*‘

unit

H.

ay tew Ga an b r *U

15.

14.

D O O R / W A Y S t o N E W N E A P O L I T A N P R A C T I C E ( S )

G.

n to ctio nne l Co tica r e V

16.

ame ric Fr met

C.

16.

ità rin aT im tiss San

F.

* Iso

13.

14.

E.

viii.

v. iv.

9.

3.

vi.

iii.

vii.

* ‘Urban Pav ilion’

i.

+B

15.

4. ce’ Terra estic * ‘Dom

Op e

18.

’ en rd Ga an Urb

6.

e Sit ss

*

10. (s) ard ourty sticC me d’ Do ide * ‘Vo

iii.

1.

i.

Gatew ay

16.

* ‘ Verti cal Cor e

’ v.

Exte nded

City

View s up V ia

16.

Toled o

i.

s l Axi tiona irec an D Urb ary Prim

an rb * ‘U

iii.

20.

15.

’ ay tew Ga

ii. iv.

9.

* Urban

9.

iii.

7.

5.

1.

4.

en’ ard an G ‘Urb

en’ Gard rban

*‘

i.

ro Ac

* ‘U

of on uti trib Dis

s ree eT L im

19.

w

‘ r u i n o u s ’ f r ag m e n t s & the ‘labyrinth’

* ‘‘ Ex ist ing Ru in’

g nin

ld’ ho res tT rke ‘Ma n rb a of U

ca s ec na Pig to rca Me h it

iv.

i.

iii. iv.

6.

i.

er’ Tow nous * ‘Rui

6.

iii. vi.

(s) ard ourty sticC me d’ Do ide * ‘Vo

v.

ua l Vis

ix.

th’ byrin tic La mes ‘ Do

i.

C ith

ius suv Ver

8.

* Is

Exte nded Field Op

ened from ‘Sa

Libera ta’ &

‘Centro

+C

assi’

2 ‘b

C (x

/3 be

[ DES G ]

viii.

[ ATR ]

i.

iii.

Storico’

bed

v.

nto tesa on M

noli’ Spag rco

* ‘ Pa

[ 2 020 ]

CITY FRAGMENTS: NEAPOLITAN POROSITIES

Design Studio D MArch 2 / Semester 2 tto’ mpe

’ ore al C ertic *‘ V

design.

ache Mon delle inita

* SS Tr

[ DES C ] [ AMPL ]

[ DES D ] xis al A tion irec an D Urb ary Prim diso Para ico +V

tre ea T to

15.

n tio

) hops

5.

m fro

ec nn Co

+D

orks al w

tion voca

on cti ne on lC ca rti Ve

old sh re T ve ati rm rfo Pe

MArch2

8 ssi /

iii.

1 ba

v. v.

vi.

[ SCAT]

D (x

11.

12.

unit

*‘U

[ DES B ]

i.

nte Fe de

’ rinth Laby rban

unit

i.

om etr ic F ram e

6.

15.

MArch1

)

udio

tal st

gi d di

ii.

to ws Vie ity

*

w old esh Tr

v.

’ ning Ope estic om

* ‘D

15.

ed end E xt

ii.

* ‘Urban Gateway’

10.

v.

7. v.

2.

iv.

* ‘Urban Gateway’

N E A P O L I TA N

s)

udio

st ible

ii.

y atewa

vii.

G rban ith U

v.

flex

iii.

bed

ii.

22

B (x

it B

8.

w tion nec Con

ol’ g Po ivin * ‘D

ol’ lic Po * ‘Pub

p o r o s i t i e s

i.

ix.

unit

15.

iv.

Connection with Un

A.

[ REP ]

[ FOLIO ]

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

[ DES D ] page

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

007

10.1 11.1 10.2 11.2 10.3 11.3

N E A P O L I TA N

p o r o s i t i e s

urban gat e way s

This pair of drawings offers access to the ‘Batho House’ element of the schemes for the site and the way that the proposals perform as an ‘Urban Gateway’; hinging into Vico Paradiso to give access up to the lower (‘il campetto’) terrace of the main site and the new collection of public and private pools.

design.

The transition from the streetscape is mediated by a thickening of this ‘threshold’ with a new ‘Theatrical Skin’ that also choreographs glimpses of, and access into various other public spaces before arriving into the main Pool House which adjoins to and appropriates the existing series of vaults into its composition.

[ 2 020 ]

CITY FRAGMENTS: NEAPOLITAN POROSITIES

Design Studio D MArch 2 / Semester 2

At an urban scale this ‘Urban Gateway’ also frames a sequence of spaces for the city that are created by an excavation back into the site at street level. The operative and mobile nature of the ‘theatrical skin’ enable these spaces, (which open thresholds to, and construct new relationships with the public pools), to perform as an extension of the street, or to be isolated locally for specific programmed events.

One of these spaces, the Pool House pavilion courtyard provides space for retreat and dislocation from the city, where unorthodox spatial relationships with the the dive pool come into focus as a result of such intense topographical conditions.

MArch1 [ DES G ] [ ATR ]

[ DES B ] [ SCAT] MArch2

[ DES C ] [ AMPL ]

[ DES D ] [ REP ]

[ FOLIO ]

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

[ DES D ] page

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 11.1 10.2 11.2 10.3 11.3

008

N E A P O L I TA N

p o r o s i t i e s

PA R C O S PAG N O L I MArch1 [ DES G ] [ ATR ]

[ DES B ] [ SCAT] MArch2 [ DES C ] [ AMPL ]

[ DES D ] [ REP ]

design.

[ FOLIO ]

[ 2 020 ]

CITY FRAGMENTS: NEAPOLITAN POROSITIES

Design Studio D MArch 2 / Semester 2

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

[ DES D ] page

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

009

10.1 11.1 10.2 11.2 10.3 11.3 T H R E S H O L D S

’ ore lC ica ert * ‘V

J.

(Un)doing

ame ic Fr metr

* Iso

Threshold Connection to Lime Gar den

D O O R / W A Y S t o N E W N E A P O L I T A N P R A C T I C E ( S )

old esh Thr rban * ‘U

I.

H. G.

’ re Co tic es om * ‘D

F.

’ ore lC ica ert * ‘V

C.

E.

A.

l Skin atrica * The

B.

’ re Co tic es om * ‘D

* ‘Urban Gateway’

Skin ical eatr * Th

to on ecti onn ld C sho Thre iso rad op vic

N E A P O L I TA N

p o r o s i t i e s

D.

* Is

om etr ic F ram e

n tio ec nn Co

l ‘V icol o’ C ourt y

ards to

Parc o Sp

4. wer’ s To inou * ‘Ru

agno li

*‘ n’ de ar nG ba Ur

11.

3.

s th Ba to

s) ol( Po to

res hol dF ield from Inte rna

n’ de ar nG ba Ur

old sh re Th

T

n tio ec nn Co

Ex ten de d

old sh re Th

oin ts o f an

Skin ical eatr * Th

ii.

5.

rnal Inte

iv.

i. g nin pe O lo’ co Vi tic es om

e rrac o ’ Te icol * ‘V

iv.

Sp ag no li’

7.

iso arad ico P +V

xis al A tion irec an D Urb ary Prim

design.

[ 2 020 ]

CITY FRAGMENTS: NEAPOLITAN POROSITIES

Design Studio D MArch 2 / Semester 2

de ten Ex

iel dF

dO

d ne pe

m fro

fa’ To ico ‘V

&

r ua ‘Q

ri tie

e ch na Mo

MArch1 [ DES G ]

* ‘Urban Gateway’

[ ATR ]

[ DES B ]

1.

Op

* ‘D

* ‘ Urban Garden’

an ‘Urb ng of

y’ wa te Ga

ard urty ’ Co ided * ‘Vo ii.

Openi

elle àd nit Tri ima tiss San into ’ ) s d( shol Tre

in ’ Ru

an rb * ‘U

’ re Co al tic er

* ‘V

* Theatrical Node

* ‘ Vicolo’ Courtyard

9.

2.

g nin pe O lo’ co Vi tic es om

iii.

* ‘D

iii.

g tin xis * ‘E

al Core’

8.

i. e rrac o ’ Te icol

iv.

10.

9.

* ‘Vertic

6.

* ‘V

6.

olo’ t ‘Vic Stree

t h e at r i c a l s k i n s & pa s s ag e s

*‘

Wa yp

en in go fU rb an ‘M ark e

Ve rti ca lC on ne cti on

tT

res ho ld’ w

ith

Me rc

ato Pig nas ec

ca

[ SCAT]

fro m

M on tes an to

MArch2

[ DES C ] [ AMPL ]

[ DES D ] [ REP ]

[ FOLIO ]

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 11.1 10.2 11.2 10.3 11.3

010

DY N A M I C L AY E R I N G S

The lightweight, more mobile components enable it to react in certain localities to focus, or provide shade from direct natural daylight, within more domestically oriented interiorities.

The roof canopy of the pavilion(s), that intentionally avoid sealing the structure, allow air to move freely up through the proposals as part of a passive ventilation strategy employed across the scheme.

2.1 2.2 2.3

N E A P O L I TA N

As well as providing key constructional logic for the Live / Work portion of the scheme, the section opposite sets about describing the vertical distribution of programme across the proposals. The thickening of the ‘Theatrical Skin’ and further layering of more solidly articulated components responds to this distribution in a way that it performs to calibrate various conditions of these spaces.

1.1 1.2 1.3

[ DES D ] page

p o r o s i t i e s

“Responding to that symbiotic relationship between the room and its external circumstance places an almost intolerable weight on the appropriateness of the skin. […] It must respond with the accuracy of instinct to diurnal and annual changes of circumstance. Only by layering can it attempt so much.”

[ general criteria ]

MArch1 [ DES G ] [ ATR ]

[ DES B ] [ SCAT] MArch2 [ DES C ] [ AMPL ]

[ DES D ] [ REP ]

design.

[ FOLIO ]

[ 2 020 ]

CITY FRAGMENTS: NEAPOLITAN POROSITIES

Design Studio D MArch 2 / Semester 2

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

[ DES D ] page

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 11.1 10.2 11.2 10.3 11.3

011

N E A P O L I TA N

p o r o s i t i e s

into & out oF e v e ry d ay t h i c k n e s S MArch1 [ DES G ] [ ATR ]

[ DES B ] [ SCAT] MArch2 [ DES C ] [ AMPL ]

[ DES D ] [ REP ]

design.

[ FOLIO ]

[ 2 020 ]

CITY FRAGMENTS: NEAPOLITAN POROSITIES

Design Studio D MArch 2 / Semester 2

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

[ DES D ] page

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 11.1 10.2 11.2 10.3 11.3

012

N E A P O L I TA N

p o r o s i t i e s

SCALA MONTESANTO MArch1 [ DES G ] [ ATR ]

[ DES B ] [ SCAT] MArch2

[ DES C ] [ AMPL ]

[ DES D ] [ REP ]

[ FOLIO ]

design.

[ 2 020 ]

CITY FRAGMENTS: NEAPOLITAN POROSITIES

Design Studio D MArch 2 / Semester 2

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

[ DES D ] page

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

013

10.1 11.1 10.2 11.2 10.3 11.3

N E A P O L I TA N

publicity and privacy. They re-engage the project with the immediacy of the harsh topography of the site where the deep excavations re-claim ground and bring light and air through the proposals and to shield domestic spaces from excess visual intrusion.

p o r o s i t i e s

A layering of ‘ruinous’ voids and towers are cut through and into the site from Neapolitan Tufo and carefully composed arrangements of proposed brickwork as a heavy, contemporary, ‘material overwriting’ that curates a ‘field’ of visual connections into and of out spaces of varying degrees of

vo i d s & r u i n MArch1 [ DES G ] [ ATR ]

[ DES B ] [ SCAT] MArch2 [ DES C ] [ AMPL ]

[ DES D ] [ REP ]

design.

[ FOLIO ]

[ 2 020 ]

CITY FRAGMENTS: NEAPOLITAN POROSITIES

Design Studio D MArch 2 / Semester 2

’ en rd Ga

11.

2.1 2.2 2.3

3.1 3.2 3.3

ce ’ Terra colo

* ‘ Vi

4.1 4.2 4.3

iii.

5.1 5.2 5.3

i. iii.

6.1 6.2 6.3

7.1 7.2 7.3

O

* ‘ Vicolo’ Courtyard

8.1 8.2 8.3

9.1 9.2 9.3

2.

10.1 11.1 10.2 11.2 10.3 11.3

le del ità r in aT sim ntis o Sa ’ int d(s) shol e r nT Urba g of ‘ penin

1.

iv.

Ve rti ca lC on ne cti on

ii.

i.

Op g nin pe O lo’ co Vi ic est om

* ‘D

*

iv.

rrace lo ’ Te ‘ Vico

en in go fU rb an ‘M ark e

tT

res ho ld’ w

Sp ag no li’

7.

so radi ico Pa +V xis al A tion irec an D Urb ary Prim

d de ten Ex

Fi

O eld

d ne pe

m fro

fa’ To ico ‘V

&

‘Q

014

e ch na Mo

* ‘Urban Gateway’

iv.

* ‘ Urban Garden’

[ DES D ] page

y’ wa te Ga

* Theatrical Node

6.

rd rtya Cou ded’ * ‘Voi

1.1 1.2 1.3

9.

an rb * ‘U

’ ore lC ica ert

2.1 2.2 2.3 2.4 2.5 2.6 2.7

* ‘V

EI AM GL EM KSa KSi

[ general criteria ]

9.

Core’

8.

g nin pe O lo’ co Vi ic est om

[ graduate attributes ]

* ‘Vertical

6.

* ‘D

[ collaborators ]

ii.

5.

ith

Me rc

ato Pig nas ec

fro m

M on tes an to

ca

ri rtie ua

N E A P O L I TA N

p o r o s i t i e s

ache Mon delle inita

* SS Tr

noli’ Spag rco

* ‘ Pa

(un)doing thresholds

* ‘ Il

’ petto Cam

n atio o St sant onte

‘INTO & OUT OF EVERYDAY THICKNESS(ES)’ : PROPOSED SITE AXONOMETRIC

*M

A S S E M B L A G E ( S ) [into & out of everyday thicknes(es): (un)doing skins & passage(s)] As a re-configuration of the ‘labyrinthine’ qualities of the ‘Vicolo’ in the Quarters, the proposals aim to create ‘Threshold Connections’ and ‘Spatial Relationships’ that are open to exploration. ‘Theatrical Skins and Screens’ of timber, hung stone, and perforated metal sheets become ‘Performative Nodes’ that control, extend or block passages within and across the two proposals. Folding spaces ‘into’ and ‘out’ of each other,Thresholds are ‘(un)done’ to promote the uncertainty and dislocation of the labyrinth while the theatrical skins perform to choreograph spatial conditions and ambiguities within the fields in which the ‘bassi’, workshops and bathhouse function.

Legend

Legend

Public Pools & Private Bath House

A. ‘Theatrical’ Skin; Opening to ‘Pools & Specator’s Courtyard B. ‘Theatrical’ Skin; Opening to ‘Pools & vico paradiso C. ‘Urban Gateway’ to Public Pools & Private Baths D. ‘Theatrical’ Skin; Opening to Dive Pool Spectator’s Courtyard E. Threshold [bridge link to Unit B (*see plans for unit breakdown)]

Live/ Work (Urban / Public Gestures) F. Threshold [staircase link to Unit A] G. Portico [doorway to atrium; Unit A] H. Portico [doorway from private garden] I. Portico [doorway to apodeterium; changing rooms] J. Passageway to Pools & Private Baths

1. ‘Urban Gateway’ to Workshop(s) & Public Pool(s) 2. ‘Urban Gateway’ to Priavte Baths & Lime Garden 3. Urban Lime Garden 4. ‘Urban Garden’; Domestic Lime Terrace 5. Dive Pool Spectator Courtyard Garden

Legend 6. Internal ‘Vicolo’ Courtyard(s) 7. Covered Street Courtyard 8. Public Stair to ‘Urban Pavilion’ 9. Viewing Platform 10. Public Stair down to Urban Lime Garden

Through the (un)doing of the existing retaining wall to the site, the proposals perform as an ‘Urban Gateway’; hinging into Vico Paradiso and choreographing a threshold from the city and into the site.

Live / Work (Domestic / Private Gestures)

i. Domestic Opening to Perpedincular ‘Vicolo’ ii. Full Height Voided Courtyard(s) & Garden(s) (*anchor(s) to FF Internal ‘Vicolo’ Courtyards) iii. Flexible Live / Work Kitchen / Dining Room(s) iv. ‘Bassi’ Entrance(s)

Establishing a new metropolitan axis between the Quartieri Spagnoli and Centro Storico, an operative tectonic language of performativity and mobility, transcends scale and allows architectures of the ruin, labyrinth and theatre to construct new threshold conditions that extend, enclose and perform interstitial territories across the site.

TECTONIC ASSEMBLAGES(S) : COMPOSITE THETIC DECONSTRUCTION DRAWING (axonometric(s) to scale)

T E C T O N I c

[1:200 & 1:500 ]

[1: 500]

so radi co Pa + Vi

MArch1 [ DES G ] [ ATR ]

[ DES B ] [ SCAT] MArch2

[ DES C ] [ AMPL ]

[ DES D ] [ REP ]

[ FOLIO ]

design.

[ 2 020 ]

CITY FRAGMENTS: NEAPOLITAN POROSITIES

Design Studio D MArch 2 / Semester 2

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

[ DES D ] page

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 11.1 10.2 11.2 10.3 11.3

015

N E A P O L I TA N

p o r o s i t i e s

TECTONIC ASSEMBLEGES MArch1 [ DES G ] [ ATR ]

[ DES B ] [ SCAT] MArch2

[ DES C ] [ AMPL ]

[ DES D ] [ REP ]

[ FOLIO ]

design.

[ 2 020 ]

CITY FRAGMENTS: NEAPOLITAN POROSITIES

Design Studio D MArch 2 / Semester 2

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

[ DES D ] page

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 11.1 10.2 11.2 10.3 11.3

016

N E A P O L I TA N

p o r o s i t i e s

STREETSCAPE SKIN(S) MArch1 [ DES G ] [ ATR ]

[ DES B ] [ SCAT] MArch2 [ DES C ] [ AMPL ]

[ DES D ] [ REP ]

design.

[ FOLIO ]

[ 2 020 ]

CITY FRAGMENTS: NEAPOLITAN POROSITIES

Design Studio D MArch 2 / Semester 2

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

[ DES D ] page

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 11.1 10.2 11.2 10.3 11.3

017

N E A P O L I TA N

p o r o s i t i e s

VICO PA R A D I S O MArch1 [ DES G ] [ ATR ]

[ DES B ] [ SCAT] MArch2

[ DES C ] [ AMPL ]

[ DES D ] [ REP ]

[ FOLIO ]

design.

[ 2 020 ]

CITY FRAGMENTS: NEAPOLITAN POROSITIES

Design Studio D MArch 2 / Semester 2

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

[ DES D ] page

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

018

10.1 11.1 10.2 11.2 10.3 11.3

N E A P O L I TA N

p o r o s i t i e s

F R AC T U R E D INTERIORITES MArch1

Moments of interiority within private workspace(s) are tethered through the labyrinth back to the exteriority of Vico Paradiso. The intensity of this relationship is mediated by the mobility of more theatrical architectural components, but the labyrinthine construction of space allows interiors to perform to exteriors, for them to be “fractured”, and thresholds “opened to the gaze of neighbours and strangers”.

As an agency we come to experience by moving through, the project depends in large measure upon the existence of the ‘labyrinth’ as a “means of movement”, “communication” and “orientation.”

[ DES G ] [ ATR ]

[ DES B ] [ SCAT] MArch2

[ DES C ] [ AMPL ]

[ DES D ] [ REP ]

[ FOLIO ]

design.

[ 2 020 ]

CITY FRAGMENTS: NEAPOLITAN POROSITIES

Design Studio D MArch 2 / Semester 2

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

[ DES D ] page

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

019

10.1 11.1 10.2 11.2 10.3 11.3

N E A P O L I TA N

p o r o s i t i e s

PERFORMING THE E V E RY D AY MArch1 [ DES G ] [ ATR ]

[ DES B ] [ SCAT] MArch2

[ DES C ] [ AMPL ]

[ DES D ] [ REP ]

[ FOLIO ]

design.

[ 2 020 ]

CITY FRAGMENTS: NEAPOLITAN POROSITIES

Design Studio D MArch 2 / Semester 2

As simultaneously “animated theatres” never entirely exposed or concealed from view, the spaces behind these skins, as Benjamin would describe, “erupt fragmentarily from the buildings, make an angular turn, and disappear, only to burst out again”. The performative potentiality of these components is animated through phases

of daily calibrations which are projected back across the city as “programmatic eruptions” that spill into and out of everyday thickness(es) animated by project. Through a theatrical re-configuration of the labyrinthine qualities of the ‘Vicolo’ in the Quarters, the proposals create ‘Threshold Connections’ and ‘Spatial

Relationships’ that are open to exploration.

‘Theatrical Skins and Screens’ of timber, hung stone, and perforated metal sheets become performative nodes that control, extend or block passages within and across the two proposals. Folding spaces into and out of each other, conditions of ‘ruin’, ‘labyrinth’

and ‘theatre’ converge and thresholds are ‘(un)done’. “Building and action interpenetrate” to promote the uncertainty and dislocation of the labyrinth, while the theatrical skins perform, choreographed by the ambiguity of improvisation within the field in which the ‘bassi’ and workshops operate.

report.

[integrated studio design report] City Fragments: Neapolitan Porosities This core module, taken in the second semester of the MArchYear 2, requires the student to produce a comprehensive design report that documents in detail one of the projects that the student has completed during the Programme.

The Design Report sets out the research and design development undertaken, incorporating images including the key representations of the project itself.The design report should allow the reader to follow the student’s study process, allowing an understanding of the material examined, decisions taken, etc.The design report is also a reflective document allowing the students to reflect not only on their finished project but also a key aspect of their methodology and practice.

L02. The demonstration, through architectural design, of the integration of knowledge in architectural theory, technological and environmental strategies, and an understanding of architecture’s professional and economic context.

L03. The development of transferable skills and techniques through the preparation of a sophisticated graphic document.

kat saranti / MArch 2 katy sidwell / MArch 2

L01. To communicate, critically appraise and argue the rationale of a design proposal using text and image in the context of a printed report.

joseph coulter / MArch 2 eirini makarouni / MArch 2

design report

MArch1 [ DES G ]

[ 2020 ]

DESIGN REPORT: NEAPOLITAN POROSITIES

[ ATR ]

*chris french *adrian hawker

[ DES B ] [ SCAT] MArch2 [ DES C ] [ AMPL ]

[ DES D] [ RE P ]

[ FOLIO ]

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

1.1 1.2 1.3

pin g

Gi an

ts

page

napoli / and a ‘thesis’

+

za

ro te as on *M

rio to ra O

di

ia ar aM nt Sa

lla de

de Fe

II.

*

ent fragm en’ gard

pr in; Ru

g gate swin en i ng op

op

en i ng

gate swin

g

+ Labyrinth; circulation system facilitated by ‘ruined’ brickwork fragment(s)

en i ng

gate swin

g

+ Labyrinth; circulation system facilitated by ‘ruined’ brickwork fragment(s)

g gate swin

op

+ Labyrinth; circulation system facilitated by ‘ruined’ brickwork fragment(s)

op

g

ope nin g ga te sw in

g

ope nin g ga te sw in

CITY FRAGMENTS: NEAPOLITAN POROSITIES

di

ia ar aM nt Sa

lla de

di

a’ Citt

tto pe am Il C

’

+ Vico 2° Monteca lvario + Via Toledo

a hiar aC nt Sa

de Fe

performative construction(s) / ‘dentro le mura’

op

en i ng

gate swin

g

‘ E V E RY DAY T H I C K N E SS ( E S ) ’

en i ng

g

[ 2019]

lla de

+ Labyrinth; circulation system facilitated by ‘ruined’ brickwork fragment(s)

+ Labyrinth; circulation system facilitated by ‘ruined’ brickwork fragment(s)

Longer page sub-title for this page to be entered into.

figure X.

ope nin g ga te sw in

a hiar aC nt Sa

alled d ‘w opose

+

di

II. I.

ent fragm en’ gard

pr in; Ru

ro te as on *M

g

ita a Car dell

rte Po

D O O R / W A Y S t o N E W N E A P O L I T A N P R A C T I C E ( S )

T H R E S H O L D S

(Un)doing ope nin g ga te sw in

za

ol i

la

g

+ Via Toledo

* Piaz

ita a Car dell

*‘ *‘

ope nin g ga te sw in

a ecc nas Pig

II.

alled d ‘w opose

+

Via

I.

ent fragm en’ gard

+

alled d ‘w opose

pr in; Ru

III.

+ Theatre; proposed pivot gate fragment

[ AMPL ]

7.

1.

Via San

Academic Portfolio 2 MArch 2 / Semester 2

open i ng

+ Theatre; proposed pivot gate fragment

+ Theatre; proposed pivot gate fragment

7.

7.

1.

open i ng

can opy swi ng

1.

open i ng

can opy swi ng

can opy

P E R F O R M A T I V E

in open

C O N S T R U C T I O N S

D. II.

Dentro le Mura; ‘Garden Wall’ [proposed tectonic isometric 1:100] VI. Perforated Timber Screen I. Cast Concrete Wall Insertion II. Shuttered Concrete Street Entrance a Montecalvario Portacarrese + Via ‘Basso’ III. Projecting Steel Reveal(s) IV. Charred Timber Cladding V. Natural Timber Lining to Recessed Garden Seat

+ Via Portacarrese a Montecalvario

B.

+ Via Portacarrese a Montecalvario

+ Via Portacarrese a Montecalvario

II. B.

I.

4.

e swing ing gat

D.

swi ng

I. 4.

open

[1:100]

B. Dentro le Mura; ‘Gate’ [proposed tectonic isometric 1:100] F. Timber Studs A. Primary Steel Structure & Pivot System G. Vertical & Horizontal Timber Battens B. Reclaimed Brick Plinth & Tower H. Charred Timber Boarding C. Sheet Steel Cladding D. Gate Pivot & Counterweight System E. Structural Steel Plating

g gate swing

PERFORMATIVE CONSTRUCTIONS(S) : COMPOSITE INTERVENTION DRAWING (elevation / isometric & component(s)

I.

g gate swing

D.

‘Dentro le Mura’ [proposed site isometric 1:100] 1. Gate; waiting/service area 6. Chimney; pizza oven / fire pit 2. Table; drinking/dining 7. Retreat; chef’s lounge 3. Kitchen; cooking/service 4. Door; covered boardwalk 5. Garden; walled citrus garden

7.

1.

open i ng

can opy swi ng

4. in open

A framing of a propositional, architectural, spatial and tectonic porosity that begins to explore the depths, densities and textures of threshold(s) through an animate process of (un)doing.The programme transcends the duality of domesticity and performative art practice through a focus of the immediacy and presence of the everyday : setting up shared, open spaces to paint, make, eat and drink.

+ Theatre; proposed pivot gate fragment

+ Theatre; proposed pivot gate fragment

7.

1.

+ Via Portacarrese a Montecalvario

in open

D.

II.

II. B.

I. 4.

g gate swing

[1:1500 ]

PERFORMATIVE CONSTRUCTION(S) : COMPOSITE METHODOLOGY DRAWING (section/elevation(s) to scale)

D O O R / W A Y S t o N E W N E A P O L I T A N P R A C T I C E ( S )

II.

T H R E S H O L D S

e swing ing gat

B.

[(un)doing spatial porosities: vico lungo montecalvario ]

6.

(Un)doing

4. open

6.

ai Libr

DESIGN REPORT: NEAPOLITAN POROSITIES

I.

D.

6.

io dei Biag

[ 2 020 ]

6. can opy swi ng

[ REP ]

[ FOLIO ]

a Nilo zatt * Piaz

6.

open i ng

[ SCAT]

[ DES D] li una Trib + Via

I.

+

III.

[ DES B ]

[ DES C ]

iore o Mag enic Dom

II.

ent fragm en’ gard

pr in; Ru

III.

3.

+ Vico 2° Monteca lvario

III.

The thesis, and as such the document, works with, and refers to three key thematic frameworks offered up by the design studio. These have been taken on, challenged by and re-defined by the thesis and as productive constructs

za S.

alled d ‘w opose

a

VI.

[ DE S G ]

MArch2

* Piaz

I.

+

se carre rta Po Via

ol i

+

n co Spag

3.

ar with P ctivity Conne

a

Dante

se carre rta Po Via

* Piazza

3.

+

- Tectonic Assemblage

ico Stor ntro * Ce

a

IV.

VI.

MArch1 [ ATR ]

- Performative Construction

* Piazza del Gesu Nuovo

se carre rta Po Via

i itell o Cap enic Dom

+

- Animate Drawing

+ Via

3.

IV.

9.

ario alv tec Mon

a cc se na Pig

a

ario alv tec Mon

to rca

se carre rta Po Via

ario alv tec Mon

Axis

for its ongoing development. Each can be identified as an ‘act’ and/or ‘output’ of the thesis and are determined as follows;

* Me

+

ario alv tec Mon

he ac on M

pro in; Ru

lla de

IV.

VI.

ts

inita Tr

*chris french *maria mitsoula

2.

9.

VI.

Gi an

V.

9.

1.

9.

pin g

* SS

1.

9.

l ee

lvario teca a Mon

+

1.

II.

ent gm n’ fra garde

The S

* Piazz

posed

ed ‘wall

Primary Directional

a Montecalvario

2.

IV.

1.

I.

Up

The Design Report document is organised to present a comprehensive understanding of the process(es) and conditions which lead to the work(s) produced under the thesis (Un)Doing Thresholds. It describes various architectural proposals and interventions across a variety of scales and and reflects upon the methodologies and modes of practice employed in the development of the thesis. * Piazza Portacarrese

2.

9.

Montecal vario

Mura ’

2.

9.

king

Ema nue le

tro la

9.

* ‘ Den

V.

III.

3.

* Quartieri Spagnoli

V.

Vico Lungo

+ Vico Tofa

4.

2.

Vico Tofa

4.

2.

They bring disparate sites into relation (programmatically, materially and spatially). Together, they look from the city toward Santissima Trinita delle Monache, the abandoned monastery on the hill above Montesanto.

S. Ann a

o p e ni n g c anop y sw ing

4.

2.

+ Cor so Vitt orio

Mercat o di

opening c anop y sw ing

4.

2.

VI.

e: Wa

Monteca lvario

* Ex

o p e ni n g c anop y sw ing

9.

+ Vico Lungo

e Trento

5.

Making space for figures not to guard thresholds, (this would be anathema to Benjamin’s description of the threshold), but to inhabit them; they are not policemen responsible for borders (real or perceptual). Rather they maintain the threshold, extend the spaces between things, providing both separations from and thickenings of the spaces of the city.

* Piazza Trieste

5.

Exploring architectures of the ruin, labyrinth and theatre, be they programmatically labyrinthine or theatrical, or materially or spatially so, the thesis considers their interpenetration: each space becomes a threshold to another space. It promotes an expression of presence in the city, gathered in collectivity, that takes possession of space as a protagonist in constructing an experience of Naples that goes beyond the control of fixed political and historical representations of the city.

Plebiscito

7.

5.

V.

report.

H. G.

But this, as Gilloch subsequently notes, is to simplify Naples.

In this merging of culture and nature—what Benjamin might describe as an interpenetration, a ‘porosity’—the city becomes labyrinthine. Boundaries blur and territories bleed, definitions lose their definition, terms are redetermined. These processes, as Benjamin and Lacis observe, are performed in the city, “buildings are used as a popular stage.” The theatrical, the ruinous and the labyrinthine themselves, coexistent, porous conditions of Naples.

(Un)Doing Thresholds explores the temporalities and architectonic specificities of these conditions where (un) doing is presented through Andrew Benjamin as a productive conception of urbanity; one in which porous architectures are (un)done, drawn through one another, in a constructive overwriting founded in the immediacy of the city.

del * Piazza

oIV. pening c anop y sw ing

76 se carre rta Po Via

H. G.

2.

1.

o ari alv tec on aM

C.

performative construction(s) / ‘dentro le mura’

7.

5.

D O O R / W A Y S t o N E W N E A P O L I T A N P R A C T I C E

9.

6.

T H R E S H O L D S

7.

V.

D.

(Un)doing

7.

4.

2.

G.

D.

M. Piazza del Gesu Nuovo N. Piazza San Domenico Maggiore

6.

D O O R / W A Y S t o N E W N E A P O L I T A N P R A C T I C E

G. Piazza Portacarrese a Montecalvario H. Piazza Trieste e Trento I. Piazza del Plebiscito J. Piazza Dante K. Via Trubunali TL Via San Biagio dei Librai

As previously described, the ‘bassi’ typology contributes heavily towards a porous experience of the city. The intervention offers a framing of this porosity through propositional, architectural, spatial and tectonic moves that begin to explore the depths, densities and textures of ‘threshold(s)’ that facilitates the use of the host site as an extension of the street as observed by Benjamin and Lacis.

opening c ano p y sw ing

6.

E.

H.

G.

6.

5.

C. H.

F.

Legend

7.

C.

Door / Ways Through the City

6.

D.

A. Via Toledo B. Corso Vittorio Emanuele C. Vico Tofa D. Vico Lungo Montecalvario E. Piazza della Carita F. Piazza Montecalvario

H.

C.

X. Jeremy Till, ‘Angels with Dirty Faces’, Scroope (University of Cambridge), 7, June 1995, 5-12, p. 10.

F.

E.

G.

D.

A.

“This is not to suggest that the everyday prescribes a method of designing, because it is clear that as soon as one starts to design the everyday it becomes extraordinary; rather, the everyday acts as a catalyst for productive thinking.” x

F.

E.

D.

The proposals of this first intervention are drawn into the distinctive ‘threshold’ condition of the Neapolitan ‘bassi’ and those created at a wider urban scale through the implementation of the work of Cyop & Kaf. It explores the operative configurations of Neapolitan domesticity and works with notions of ‘everyday thickness(es)’ to open new thresholds into cultivated public space.

T H R E S H O L D S

A.

F.

(Un)doing

A.

swi ng

E.

C.

D O O R / W A Y S t o N E W N E A P O L I T A N P R A C T I C E

A.

ng c ano py

T H R E S H O L D S

openi

swi ng

7. * Monastero di Santa Chiara 8. * Funicolare Montesanto

F.

ng c ano py

(Un)doing

openi

swi ng

B.

a. ‘Urban Gateway’ & Garden(s) 5. Ex Mercato di S. Anna di Palazzo (Quartieri Spagnoli) a. ‘Urban Market Tower’ 6. Oratorio di Santa Martia della Fede (Centro Storico) a. ‘Curatorial Threshold’ b. ‘Common Goods Dining Hall’

nop y

Propositional Territories

E.

ng c a

Legend

D O O R / W A Y S t o N E W N E A P O L I T A N P R A C T I C E

openi

swi ng

1. Santissima Trinità della Monache 2. ‘Il Campetto’ (Quartieri Spagnoli) a. Football Pitch 3. ‘le Porta della Citta’ (Quartieri Spagnoli) a. ‘Bassi’ Food / Drink ‘Kiosk(s) 4. ‘Dentro le Mura’ (Quartieri Spagnoli)

D O O R / W A Y S t o N E W N E A P O L I T A N P R A C T I C E

T H R E S H O L D S

(Un)doing

T H R E S H O L D S

(Un)doing

ng c ano py

thetic development & commentary

ai Libr

openi

B.

A N I M A T E

io dei Biag

B.

D R A W I N G (S)

San

B. A.

[(un)doing propositional territories: (threshold(s) to new field conditions]

Via

Following an interrogation of representational strategies for the interpenetrative porous conditions being Ruin, Labyrinth and Theatre, a spatial ‘field’ of intervention emerges across the city from the ‘Quartieri Spagnoli’ to ‘Centro Storico’. Through shifting scales of an ‘Animate Drawing’ process, propositional territories are ‘opened’; re-drawn and overwritten in an ‘(un)doing’ through ‘Performative Construction’ that takes place in opening new conditions of ‘threshold’ across the city.

a Nilo zatt * Piaz

swi ng

2nd Chan c

Reading Walter Benjamin’s descriptions of cities, Graeme Gilloch notes Benjamin’s recurrent use of the terms ruin, theatre and labyrinth. If Benjamin’s Berlin, Gilloch suggest, is the labyrinth, his Naples is “the perpetual ruin, the home of the nothing-new” where “the cultural merges into the natural landscape, becoming indistinguishable.”

tablish

li una Trib + Via

iore o Mag enic Dom

ng c ano py

B.

page

77

Re-Es

rio to ra O

za S.

21. Benjamin. A, “Porosity at the Edge”, 38.

14

’

*

20. Ibid.

design report

19. Benjamin. W and Lacis, “Naples”, p. 171.

* Piaz

openi

+

The emerging thesis will take these ‘thresholds’ as unequivocal sites of porosity: as origins for exploration into realising architectures, and an attitude toward how those architectures might engage with the misalignment of development in city.

napoli / and a ‘thesis’

ico Stor ntro * Ce

joseph coulter eirini makarouni katy sidwell kat saranti

“Life bursts from doors”; “the living room reappears on the street”, and porosity is performed through threshold.20 In such ‘active dimensions’ borders are refused; boundaries blur and territories bleed; definitions lose their definition; and terms are re-determined.21

It will question to what extent the values and physicalities of ‘threshold’ be reevaluated? Whether the ruin; labyrinth; and theatre can be re-figured, (un)done, to introduce a new tectonic language for working in and on the city? And how it will employ this language to propose ‘new Neapolitan practice(s)’ for a more viable inhabitance of this porous city?

Exploring architectures of the ruin, labyrinth and theatre, be they programmatically labyrinthine or theatrical, or materially or spatially so, the thesis considers their interpenetration: each space becomes a threshold to another space. It promotes an expression of presence in the city, gathered in collectivity, that takes possession of space as a protagonist in constructing an experience of Naples that goes beyond the control of fixed political and historical representations of the city.

002

“So the house is far less the refuge into which people retreat than the inexhaustible reservoir from which they flood out” Benjamin describes.19

tto pe am Il C

a ecc nas Pig

Dante

* Piazza del Gesu Nuovo

(Un)doing Thresholds explores the temporalities and architectonic specificities of porous conditions of Naples, where (un)doing is presented through Andrew Benjamin as a productive conception of urbanity; one in which porous architectures are (un)done, drawn through one another, in a constructive overwriting founded in the immediacy of the city.

Animate Drawing(s) installed in Matthew Gallery, Minto House, November 2019.

*‘

Via

* Piaz

* Piazza

i itell o Cap enic Dom

(Un)doing Thresholds Door /Ways to New Neapolitan Practice(s)

figure 10.

By ‘(un)doing thresholds’, extending the spaces between things, providing both separations from, and thickenings within spaces of the city, the thesis will bring disparate sites into relation, (programmatically, materially and spatially), and together its projects will look from the city toward Santissima Trinita delle Monache, the abandoned monastery on the hill above Montesanto.

+ Via

[animate drawing] [performative construction] [tectonic assemblage]

15

a’ Citt

l ee

a cc se na Pig

(Un)doing

001

10.1 11.1 10.2 11.2 10.3 11.3

b o un da r i e s blur a n d t e rr i tor i e s bl e e d ; d e f i n i t i on s lo s e t h e i r d e f i n i t i on ; a n d t e rm s a r e r e - d e t e rm i n e d .

T H R E S H O L D S

9.1 9.2 9.3

to rca

CITY FRAGMENTS: NEAPOLITAN POROSITIES

8.1 8.2 8.3

* Me

e Trento

[ 2019]

7.1 7.2 7.3

lla de

pT he S

he ac on M

Axis

gU

lla de

lvario teca a Mon

a Montecalvario

+ Vico Tofa

* Piazza Portacarrese

* Quartieri Spagnoli

S. Ann a

* Piazza Trieste

Primary Directional

6.1 6.2 6.3

design.

inita Tr

* Piazz

Mura ’

Mercat o di

tro la

* Ex

* ‘ Den

Montecal vario

5.1 5.2 5.3

* SS

Vico Tofa

Vico Lungo

n co Spag

Ema nue le

ith Par

+ Cor so Vitt orio

w ctivity Conne

Monteca lvario

4.1 4.2 4.3

tablish Re-Es

+ Vico Lungo

3.1 3.2 3.3

rte Po

2nd Chan ce: W akin

2.1 2.2 2.3

la

EI AM GL EM KSa KSi

[ FOLIO ] page

[ general criteria ]

*‘

[ collaborators ]

* Iso

me tric

[ graduate attributes ]

Parc o Sp

agno li

5.1 5.2 5.3

6.1 6.2 6.3

8.1 8.2 4.

8.3

er’ Tow inous * ‘Ru

*‘ ’ en rd n Ga ba Ur

11.

7.1 7.2 7.3

9.1 9.2 9.3

s th Ba

ards to

to

4.1 4.2 4.3

res hol dF ield from Inte rna l ‘V icol o’ C ourt y

olo’ et ‘Vic Stre rnal Inte

Skin atrical * The

ii.

5.

10.1 11.1 10.2 11.2 10.3 11.3

O ng eni ’ Op olo Vic ic est om

* ‘D

pe ni ng of Ur ba n‘ Ma rke

* ‘ Vico

tT

res ho ld’ w

Sp ag no li’

adiso o Par + Vic

d de ten Ex

l Fie

dO

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m fro

fa’ To ico ‘V

&

‘Q

02a

ith

Me rca to Pig nas ec

02b

M on tesa nt o

16. ca

15.

ri rtie ua

page

xvii

xvi

1. ‘Urban Gateway’ to Workshop(s) & Public Pool(s) 2. ‘Urban Gateway’ to Priavte Baths & Lime Garden 3. Urban Lime Garden 4. ‘Urban Garden’; Domestic Lime Terrace 5. Dive Pool Spectator Courtyard Garden

‘C en tro Sto ric o’

‘Sa nte Fe de Lib era ta’ & fro m

Fi e ld

* ‘The

+B

[1:200 & 1:500 ]

Live / Work (Domestic / Private Gestures)

TECTONIC ASSEMBLAGES(S) : COMPOSITE THETIC DECONSTRUCTION DRAWING (axonometric(s) to scale)

Legend

6. Internal ‘Vicolo’ Courtyard(s) 7. Covered Street Courtyard 8. Public Stair to ‘Urban Pavilion’ 9. Viewing Platform 10. Public Stair down to Urban Lime Garden

’ ode al N atric

14.

15.

i. Domestic Opening to Perpedincular ‘Vicolo’ ii. Full Height Voided Courtyard(s) & Garden(s) (*anchor(s) to FF Internal ‘Vicolo’ Courtyards) iii. Flexible Live / Work Kitchen / Dining Room(s) iv. ‘Bassi’ Entrance(s)

14.

1b.

* Thea trical Sk in

4.

15.

15.

nde d Fi eld O

p en ed f

rom ‘

Vic oT ofa ’&

15.

vii.

ld resho al Th eatric * Th

i.

Performative potentialities animated through phases of daily calibrations which are projected back to the city.

napoli / the ‘fire games’ of napoli

p e r f or m i n g t h e e ve ry day

ix.

12.

x.

+D

x.

T H E RU I N ; ‘ I L CA M P E T TO ’

16.

* ‘Urb an Gat eway’

The discussions within the document are structured around key thetic terminology that together construct an interplay of porosities and explore the implications of the way in which (Un)Doing Thresholds considers its architecture(s) porous.

Perf orm ativ eT resh heat old rica Co l No nne de’ c ti

20.

on to T eat

re

vi. Multi-functional Flexible Studio(s) vii. Audio Recording Studio viii. Private Stair to Dwelling(s) / Pavilion(s) ix. Teaching Classroom x. Vocational Fabrication Workshop(s)

(the pitch), the initiatives and speculations that have

attached themselves to this site over the past decade continue to be ignored by the municipality; wasting its potential and the opportunity, for change towards a possible future.

X. Antonio Folle, “Quartieri Spagnoli, a Napoli un campetto da calcio al posto del degrado.” Il Mattino, February 26, 2020. https://www.ilmattino.it/napoli/cronaca/quartieri_spagnoli_ campo_calcio_area_abbandonata-5076525.html

napoli / the ‘fire games’ of napoli

18

3.

* ‘T

proposals. Folding spaces into and figure X. Rendered external perspective out of each other, conditions of view looking down Vico Paradiso ‘ruin’, ‘labyrinth’ andThe ‘theatre’ Montesanto. become ever more porous to those who wish to make site that plays host to the events of ‘Il Cippo’ is one towards converge and thresholds are ‘(un)done’. “Building of andmany action “spaces that lie abandoned and in the general use of it. disinterest the in one of the “youngest” neighbourhoods of interpenetrate” x to promote uncertainty and dislocation As well the city.of” x Where the lack of open space and meeting X. Benjamin & Lacis, “Naples”, p. 167. as being at the centre of the ‘Fire Games of the labyrinth, while theplaces theatrical is increasingly felt by the residents of170.the Napoli’, the residents of the Quarters continue to X. Ibid, p. skins perform, choreographed by Quarters, the ‘ruined’ that has been reduced to its petition for the site to be rehabilitated as a football field X. Ibid, p. 165. the ambiguity of improvisation within the field in whichfoundations the ‘bassi’ over forty following earthquake damage for the children of the neighbourhood. Sadly, despite and workshops operate.is at a premium for a society that has always paid the now being listed on Google Maps as ‘Il Campetto’

consequence for conditions of widespread social and economic degradation.

16.

p(s) ksho Wor

“Like a gallery […] either side of this narrow alley, all that has come together in the city lies insolently, crudely, seductively displayed. Only in fairy tales are lanes so long that one must pass through without looking to left or right.” x

Through a theatrical reconfiguration of the labyrinthine qualities of the ‘Vicolo’ in the Quarters, the proposals create ‘Threshold Connections’ and ‘Spatial Relationships’ that are open to exploration. ‘Theatrical Skins and Screens’ of timber, hung stone, and perforated metal sheets become performative nodes that control, extend or block passages within and across the two

20.

19.

n ratio esto + R

x that spill into and out of everyday thickness(es) animated by project.

The remains of the residential tower continue to contribute as echoes of the past: left behind, but facilitating contemporary actions of ‘theatricality’ and ‘temporality’ across the city. Despite measures being taken to keep people from entering the site, its abandonment blurs the boundaries of its inhabitance.

An enzymatic agency of the past, its ‘thresholds’

Academic Portfolio 2 MArch 2 / Semester 2

14.

15.

“programmatic eruptions”

118

DESIGN REPORT: NEAPOLITAN POROSITIES

page

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ility Mob

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As simultaneously “animated theatres” never entirely exposed or concealed from view, the spaces behind these skins, as Benjamin would describe, “erupt fragmentarily from the buildings, make an angular turn, and disappear, only to burst out again”.x The performative potentiality of these components is animated through phases of daily calibrations which are projected back across the city as

[ 2 020 ]

cal eatri * Th

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report.

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design report

Performing densities of domesticity for the Neapolitan everyday.

Live/ Work (Urban / Public Gestures)

Op

F R AC T U R E D INTERIORITY

[1: 500]

‘INTO & OUT OF EVERYDAY THICKNESS(ES)’ : PROPOSED SITE AXONOMETRIC

14.

9.

Legend

F. Threshold [staircase link to Unit A] G. Portico [doorway to atrium; Unit A] H. Portico [doorway from private garden] I. Portico [doorway to apodeterium; changing rooms] J. Passageway to Pools & Private Baths

den’ Gar rban

i n to a n d o u t o f e ve ry day t h i ck n e ss ( e s )

Legend

Public Pools & Private Bath House

A. ‘Theatrical’ Skin; Opening to ‘Pools & Specator’s Courtyard B. ‘Theatrical’ Skin; Opening to ‘Pools & vico paradiso C. ‘Urban Gateway’ to Public Pools & Private Baths D. ‘Theatrical’ Skin; Opening to Dive Pool Spectator’s Courtyard E. Threshold [bridge link to Unit B (*see plans for unit breakdown)]

oft ercr Und ouse th H + Ba

* ‘U

function.

vi. ii. i.

2.

[into & out of everyday thicknes(es): (un)doing skins & passage(s)] As a re-configuration of the ‘labyrinthine’ qualities of the ‘Vicolo’ in the Quarters, the proposals aim to create ‘Threshold Connections’ and ‘Spatial Relationships’ that are open to exploration. ‘Theatrical Skins and Screens’ of timber, hung stone, and perforated metal sheets become ‘Performative Nodes’ that control, extend or block passages within and across the two proposals. Folding spaces ‘into’ and ‘out’ of each other,Thresholds are ‘(un)done’ to promote the uncertainty and dislocation of the labyrinth while the theatrical skins perform to choreograph spatial conditions and ambiguities within the fields in which the ‘bassi’, workshops and bathhouse

i.

ld resho al Th eatric * Th

on Stati

Longer page sub-title for To contextualise the qualities of space that these back deeper into the site. Glimpses into external this page entered labyrinthine conditions construct, the project drawsto becourtyards and spaces of domesticity are revealed on into. from the network of Neapolitan ‘Vicolo’ that weave the approach to the first floor which turns back to through the Spanish Quarters. These ‘Vicolo’ are face the street where another semi-enclosed ‘Vicolonarrow, pedestrianised alleyways due to their width, esque’ street runs behind a theatrical timber skin (see that create in and fold around theandfig.out X opposite).

‘Into & Out of Everyday Thickness(es)’ brings a density of back-street Together,connections the proposals into of each most densely populated areas of the city and those, the everyday to the Santissima Trinitnà delle Monache other, creating a series thresholds thatinteriority within private workspace(s) that with the passage of the day, becomeofinhabited by connections Moments of by re-establishing programme(s) of domesticity the exiting site as a ‘ruinous’ all manner of overwrite domestic operations. are condition tethered through the labyrinth back to the and bearing a thickness of the Spanish Quarters in a of the city and which become (un)doneexteriority to promote of Vico Paradiso. The intensity of this porous ‘(un)doing’ of the site where it encounters and dislocation ‘labyrinth’.

As an agencythe we uncertainty come to experience by movingof the relationship is mediated by the mobility of more theatricalspatial architectural components, but the through, the‘Theatrical’ project depends in large measure Vico Paradiso into Montesanto. skins perform to choreograph labyrinthine construction of space allows interiors to upon the existence of the and ‘labyrinth’ as a “means of operate conditions ambiguities that to the perform to exteriors, for them to be “fractured” , and movement”, “communication” “orientation. ” x To bring specificities and within the fields in which the ‘bassi’, particular focus to one of the function. scheme with thresholds “opened to the gaze of neighbours and strangers”.x workshop andarea bathhouse reference to these ‘vicolo’ is to look to the street like conditions that are opened within the proposals X. Jackson, “The Discovery of the Street”, p. 55. that run perpendicularly from Vico Pardiso and that X. Gilloch, Myth & Metropolis, p. 27. speculate upon the route up through the project and 108

T E C T O N I c

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figure(s) 1 & 2.

A S S E M B L A G E ( S )

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viii.

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15.

(un)doing thresholds /project 1a & b

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2.1 2.2 2.3

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2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ REP ] page

ld ho res Th

EI AM GL EM KSa KSi

[ general criteria ]

Ex ten ded

[ collaborators ]

Fra me

The Design Report presents acomprehensive understanding of how the social, cultural and environmental conditions being dealt with tie together with any relevant theory. It offers further insight into a well considered final design that presents a relevant architectonic language, building programme with consideration to environmental, structural and

sustainable aspects. The document provides an integral component to the interpretation of the design module and only togther do they provide a holistic understanding of the year long thesis.

As such it is a celebration of the nequiry and of the project put together to illustrate the complexity and depth that the studio allowed us to broach.

MArch1 [ DE S G ] [ ATR ]

[ DES B ] [ SCAT] MArch2 [ DES C ] [ AMPL ]

[ DES D] [ REP ]

[ FOLIO ]

fol io.

academic portfolio [masters of architecture] Academic Portfolio 2: This course, taken in the final semester of the programme, requires students to curate the outcomes of academic work undertaken during the programme and present it in the form of an integrated academic portfolio that demonstrates compliance with the ARB Part 2 criteria.Various forms of presentation (drawings, installations, printed books /reports, models, photographs, films, digital material, etc.) and any other evidence of work, which has been assessed as part of the programme leading to an award of Part 2, will be represented in the portfolio.

The function of the Academic Portfolio is to record your work across the full programme in the form of a digital document. It is an opportunity to celebrate the breadth of enquiry you have undertaken during your time on the programme and its satisfaction of required professional criteria.

L01. To produce an integrated, well designed, architectural design portfolio that documents and communicates architectural knowledge and skills through coherent projects; and that synthesizes and presents work produced in diverse media.

L02. An understanding of the relation of the ARB Part 2 criteria and Graduate Attributes to the work produced, as demonstrated through a referencing system, covering the totality of the criteria.

L03. The acquisition and development of transferable skills to present work for scrutiny by peers, potential employers, and other public groups through structuring and communicating ideas effectively using diverse media.

[ 2020 ]

ACADEMIC PORTFOLIO: MASTERS OF ARCHITECTURE

MArch1

*chris french *adrian hawker

[ DES G ] [ ATR ]

[ DES B ] [ SCAT] MArch2 [ DES C ] [ AMPL ]

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[ FOLIO ]

[ collaborators ]

2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

5.1 5.2 5.3

[ FOLIO ] page

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

10.1 11.1 10.2 11.2 10.3 11.3

folio.

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ACADEMIC PORTFOLIO: MASTERS OF ARCHITECTURE

Academic Portfolio 2 MArch 2 / Semester 2

General Attributes

Overall the Part 2 course has allowed for a broad and extensive development into the architectural practice and upon completing Part 3 it can be assumed a highly articulate comprehension of the profession will have been reached.

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2 .2 2 .3

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2 .4

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2 .5

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2 .6

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2 .7

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1 .2

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1 .3

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2 .1

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2 .3

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3 .1

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3 .2

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3 .3

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4 .2

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4 .3

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5 .1

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6 .1

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11 . 1

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ARB part two criteria mapping

The General Criteria, 2.3 and 3.3, are heavily focused across many of the courses.This is important as there will be less opportunity for these skills to progress independently once working in practice. Criteria which are less dominant within the studies regarding professionalism will hold a more dominant focus in the Part 3 course and working in practice will help to add to the base knowledge which was taught within the Masters.

2 .1

MArch 1 MArch 2

1 .1

academic portfolio

The Academic Portfolio maps the Master of Architecture course in relation to the RIBA/ARB General Criteria and Attributes. Assessing the degree structure in relation to the criteria mapping revealed that all attributes were met within at least 3 courses.

The attributes which were covered within the most courses all hold relations to the practice of design which is primarily where the masters course holds focus. Attributes 2.5, 2.6, 2.7, appear less attainable within the education course however, as they will hold a more dominant focus in practice it could be beneficial for these to be more carefully considered to be integrated within the studies to build a more comprehensive understanding throughout the two years in order to provide a greater confidence upon entering the work place environment when finishing.

001

Course(s) / Module(s) General Criteria

EI AM GL EM KSa KSi

[ graduate attributes ]

[ REP ]

MArch1 [ DE S G ] [ ATR ]

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MArch2 [ DES C ] [ AMPL ]

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[[ FO LIO ]] FOLIO

[ collaborators ]

EI AM GL EM KSa KSi

[ graduate attributes ] 2.1 2.2 2.3 2.4 2.5 2.6 2.7

[ general criteria ] 1.1 1.2 1.3

2.1 2.2 2.3

3.1 3.2 3.3

4.1 4.2 4.3

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[ FOLIO ] page

6.1 6.2 6.3

7.1 7.2 7.3

8.1 8.2 8.3

9.1 9.2 9.3

002

10.1 11.1 10.2 11.2 10.3 11.3

Critical Reflection(s); on Practice

Though undertaking of the modular pathway, my study has yielded design thesis for projects in Palermo & Naples and, through the ‘City Fragments’ studio, the continuity of an enquiry that has a concern for working with the existing fabric of the city in both a social and material sense has been allowed to emerge.These theses, whilst sustaining relationships across the two years of study have cultivated modes of practice that whilst, intrinsically Sicilian or Neapolitan in each case, have asked questions about and caused a selfreflection on my practice that has been invaluable for my development on the way to becoming an architect.They forced a heavy, but healthy emphasis on the ‘process(es)’ through which things come into being and ‘how’ and ‘why’ they do, as much as the ‘final’ proposals with which they conclude.

This notion of ‘process’ is also something that I sought to engage with in the contemporarily theory module in which I placed an emphasis on my research to further this understanding of ‘how’ and ‘why’ we design in the way(s) we do.The enquiry gave me a chance to reflect on my earlier objectives for returning to study through a phenomenological lens to understand ways in which we might actively seek to understand much of our intuitive decision making with the design studio.

As a result I see it essential moving back out of study to maintain a strong focus on ‘how’ and ‘why’ I might undertake future projects and challenges in a way that ensures there is a strong concern for dealing with ‘real’ problems and providing them with ‘real’ and ‘authentic’ solutions.

folio.

[ 2 020 ]

ACADEMIC PORTFOLIO: MASTERS OF ARCHITECTURE

Academic Portfolio 2 MArch 2 / Semester 2

critical reflection on practice

During my time of study with ESALA, I wanted my practice to reflect that of a suitability and authenticity to endure the real pressures and demands made by the profession outside academia. I wanted to use the opportunity of extended study through the masters programme to further my individual practice by putting working processes and methodologies under the interrogation of the design studio.

academic portfolio

1

MArch1 [ DE S G ] [ ATR ]

[ DES B ] [ SCAT] MArch2 [ DES C ] [ AMPL ]

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[[ FO LIO ]] FOLIO