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Personal Development Portfolio BA Architecture Year 2 Marlow Parker


Personal Development Portfolio BA Architecture Year 2 Marlow Parker

Chapter 1 - ARC 550

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Contents

Introduction

Chapter 1 - Page 3

This Personal Development Portfolio holds research from external activities outside the main structure of Level 5 Architecture (Year 2). The assortment of projects are spread across multiple topics ranging from guest lectures at Arts University Bournemouth to activities undertaken whilst in study. Each Page will hold a description of the discussed topic which is then followed by a reflective analysis where applicable. All pages entered are continually being assessed and updated when research undertaken applies to the relevant topic. Chapters split the PDP’s across the three terms of 2nd Year Architecture labelled as 550, 551 and 552.

ARC 550 Personal Development Portfolio

Chapter 2 - Page 15 ARC 551 Personal Development Portfolio

Chapter 3 - Page 33 ARC 552 Personal Development Portfolio

Chapter 4 - Page 47 Reflective Conclusion ARC 650 Research by Making Learning Agreement

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Personal Development Portfolio - Marlow Parker


Chapter 1 ARC 550 PDP

Chapter 1 - ARC 550

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Birkha Bawari - Traditional Water Architecture

Description

Reflective Analysis

Throughout history civilisations have sought ways to collect, treat and distribute water within the local community be it the most important substance regarding our existence. There are many modern methods of water treatment and distribution however due to poor political practice the modern water infrastructure has not reached all areas of inhabitation. Birkha Biwari is an excellent example of how a community can come together whilst utilising ancient techniques to source and provide water for their own town Jodhpur.

It is clear that the world today faces many problems surrounding water. This vital solution we all depend on has transformed from being a symbolic part of out existence seen through deity’s and religion into a commercial asset which can be owned, sold and profited from especially in the western world. The privatisation of Water industries being a key component in this problem if supplying water to those who need it.

The 625 ft long water harvesting Step Well which holds 17.5 million litres of water was constructed in 2009 by local citizens to ensure the town had a sustainable method of collecting natural rain water. The sandstone used to build the monolithic subterranean structure was locally sourced from the surroundings of Jodhpur another positive accolade in the context of sustainability, (less travel, less pollution). The structure is a feat of structural engineering holding strong architectural qualities which with regard to materiality is an elegant solution to the contemporary problem of water shortage.

It is amazing to see a project completed by the locals of Jodhpur to benefit the community; a truly sustainable method of self preservation. The use of existing ancient knowledge surrounding step wells and water collection is impressive and highlights that cutting edge technology is not necessarily the direction to move in to solve contemporary problems.

Fig 1 - Jodhpur Step Well

Fig 2 - lowest point looking up in collection cylinder

Fig 3 - construction method

Fig 4 - arches work in lateral format to provide structure

Much can be learnt from the method of rethinking and reapplying technology which has been around for millennia.

List of Figures Fig 1 - http://www.amridul-architect.com/images/ama33/birkhaBawari/ BirkhaBawari5.jpg Fig 2 - http://www.insideoutside.in/IMG/543/1543/dpp0171jpg.jpeg Fig 3 - http://cseindia.org/userfiles/Urban%20Rainwater%20harvesting%20report.pdf Fig 4 - http://cseindia.org/userfiles/Urban%20Rainwater%20harvesting%20report.pdf

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Personal Development Portfolio - Marlow Parker

Fig 5 - Plan and Section of Brikha Bawari Construction

Fig 5 - http://cseindia.org/userfiles/Urban%20Rainwater%20harvesting%20report.pdf


JPA, John Pardey Architects Description

Reflective Analysis

John Pardey initiated the lecture with an example of a unique building named Can Lis positioned on a cliff top in Majorca; designed by architect Jorn Utzon. Pardey emphasised his enthusiasm for Utzon and his ability of creating this poetic piece of architecture through the use of standardised materials all being sourced from local building merchants.

John continued the lecture with examples of his own work from the practice JPA, the Watson House seen in Fig 8 shows how Pardey was influenced through the simple tectonic elements of Can Lis. The composition of balanced material elements in the Watson house does conform to this method of using simple forms to divide space for the programme whilst incorporating architectural aspects within the design. However the Watson house is a highly advanced project in technological terms. The floor, wall and roof systems all have underlying technical structures which are layered up to conform to modern building regulations. The contrast of technology between Can Lis and JPA’s Watson house shows how Pardey has been influence through Jorn Utzons work but with the constraints of a client in Pardeys work can be seen through the use of expensive materials, a large plot from which the Watson house sits and also the cost of constriction with the Watson house costing between £500,000 and £1,000,000 to build,

Pardey claims the spatial design of the house is of a quality not dissimilar to the works of Louis Kahn. This derived from the notion that the volumes of the house being divided exceptionally well for the required activities of: live,sleep,play,work.

Fig 6.CAN LIS by Jørn Utzon’s, House on Majorca (Exterior)

Fig 8. JPA Architects (Watson House)

List of Figures Fig 6 - Jørn Utzon’s House Exterior - https://s-media-cache-ak0.pinimg. com/originals/34/1b/ac/341bacdd4f649933d5fb04cb110805b8.jpg Fig 7 - Jørn Utzon’s House Interior - http://static3.evermotion.org/files/ EVRprfolio/958e82f76aec4dad6943339875d7826b23deb202.jpg

Fig 7. CAN LIS by Jørn Utzon’s House on Majorca (Interior)

Fig 9. JPA Architects (Watson House)

Pardey continues to imply the admiration of Utzon and his use of materials in component like formats creating additive architecture which in turn enhances the architectural aspects of the programme. He continues to unravel the buildings architectural features highlighting the references to Islamic architecture through walls of detailed porcelain tiles and a stone bench outside the front door, also a Mediterranean styled chimney built from standard roof tiles relates to the houses location in a simple yet effective method. Pardey mentions everything is fixed down in its rightful place: A stone sofa, stone dining table and stone kitchen worktops all add to the appreciation of architectural design due to the timeless nature of the material along with the simplicity of openings windows and other tectonic elements, the reveals being deep cause a cave like feel but with the wall stone texture a warmth is created complimenting the natural daylight which enters through various openings. One opening in particular as seen in Fig 7 shows a carefully placed slot in the corner of the room allowing sunlight to pierce through the building and illuminate the space.

Pardey mentioned in the initial stages of the lecture that an architects direction of work can fall into two categories, He explains commercial architecture is one route to pursue which holds a large pay packet, lots of work and the opportunity to work on large scale architectural projects contrast to this is that of a solo designer who seeks to find there own work in order to establish themselves as a unique architect with unique projects being undertaken under your name. It can be seen that Pardey chose the second of these pathways in order to produced buildings of his own architectural style nevertheless the type and scale of the projects shows the client base Pardey works around. That of wealthy individuals whom require a bespoke designed property typically in more rural areas.

Fig 8 - JPA Architects (Watson House) - http://www.johnpardeyarchitects.com/assets/bulkUpload/_resampled/CroppedImage25601440-jpa-WatsonHouse-JamesMorris-02.jpg Fig 9 - JPA Architects (Watson House) - http://www.johnpardeyarchitects.com/assets/bulkUpload/_resampled/CroppedImage25601440-jpa-WatsonHouse-JamesMorris-03.jpg

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A Folly for London Description

Reflective Analysis

Will Jennings project a Folly for London has been developed to analyse and understand the implications and processes behind the construction of large scale urban schemes in the city of London. Thomas Heatherwicks garden bridge proposal has been scrutinised after a deeper investigation into the monetary process which surrounds the project. The design of the bridge is not directly under fire however the design encumbered with the location and also intentions behind the bridge are extrapolated and critically evaluated by Will Jennings.

After seeing the concept art for the Garden bridge in various design journals personally the project seemed to hold positive connotations for the city of London. The amazing renderings of the bridge spanning the river Thames plus little information surrounding the project continued to enforce the idea that the project was of good intentions. However after hearing Will Jennings side of the argument with the polemics being congregated in one lecture was extremely useful in understanding the ethical values of the large scale urban project.

Jennings suggests the project has not seen proper public approval through the democratic systems that have been integrated for this task. He explains close friends of powerful individuals e.g. Joanna Lumley + the Mayor of London abusing this personal friendship to push the bridge through various planning phases without long term funding in place.

As an external observer to the city of London (having only visited the city a couple of times) it is more difficult to evaluate the personal effects it would have not living in the city nevertheless being an outside observer allows the city to be evaluated from a more theoretical method.

The first argument Jenning picks up on is the price of the project. The Garden bridge is set to cost between £60m and £150m of taxpayers money without offering any tangible improvements to the city due to the project being built as a commercial asset rather than an element of London’s transport infrastructure. The second issue Jennings found with the bridge was that it is being ‘advertised’ as a green project with overemphasis on the idea of it being environmentally friendly however due to it being thousands of tons of poured concrete it is obvious to Jennings that the bridge is not green in any shape or form. The people in charged using the pretence of it being a green project is being cleverly utilised as a from of distraction to the real intentions of the bridge. The third issue Jennings brought forward was the damage to the views from nearby locations of national landmarks such as Saint Pauls Cathedral. Overall Jennings has unravelled the hidden information within this project and brought the problems into the public eye in order argue the need for a large scale commercial asset being instigated under airy principals. (Jennings, 2015) 6

Personal Development Portfolio - Marlow Parker

Fig 10.Thomas Heatherwick, Garden Bridge Proposal

Fig 11. Garden Bridge proposal, users perspective

Fig 12. Concept of concrete column supporting garden bridge

Fig 13. Concept of garden bridge location on Thames

The idea that powerful individuals will pursue ventures for self gain is not uncommon in the 21st century and their was little surprise when listening to Will Jennings side of the argument as the issues are intertwined within most aspects of economic activity within the country. There are many examples of government spending from which were told only the information from one side of the argument, typically the personnel whom are profiting from the project will have the loudest voice through the publication of said ventures. Will Jennings provides a valuable counter argument to the garden bridge project plus informs the public of formats behind the design images which for small activist groups is rare in providing their side of the argument. To conclude, the lecture was extremely useful in not only understanding the garden bridge project in a deeper sense but ensuring that before making an opinion after seeing beautiful graphics of an amazing ‘looking’ project that more time is taken to understand all aspects of any project being undertaken to have stronger more coherent knowledge of a designs implications.

Bibliography Jennings, W. (2015) THE GARDEN BRIDGE. [Online] Available from: http://www.jennings-photography.net/afollyforlondon/the-gardenbridge/ [accessed 18 November 2015] List of Figures Fig 10 - http://37.128.132.134/~hstudio/content/uploads/2013/11/1.816_Garden-Bridge-view-D_CREDIT_Arup.jpg Fig 11 - http://i.kinja-img.com/gawker-media/image/upload/c8zsp9knarnrdsrr6im1.jpg Fig 12 - http://static.standard.co.uk/s3fs-public/styles/story_large/public/thumbnails/image/2015/02/17/10/NEWGARDENBRIDGE1702A.jpg Fig 13 - http://static.standard.co.uk/s3fs-public/thumbnails/image/2014/11/07/10/10gardenbridge0711a.jpg


Architecture of Mud

Fig 14.Yemenese Mud Architecture

Fig 15. Mud bricks being stacked after drying

Description

Reflective Analysis

The Hadhramaut region in the south of Yemen is renowned for its mudbrick architecture dating back to ancient times. The technique so effective the builders have the ability to create 10 story buildings form the materials surrounding the settlement. The art of this construction is not something that can be learnt overnight in fact an experienced builder being interviewed explained it took him 30 years to become a master of mud construction. The documentary starts with the creation of mud blocks being formed using simple wooden templates made from Ilb wood (Malaysian) which are filled with wet mud and straw all in the local area to the building site. Once dried the mud blocks are lifted, cleaned and stacked ready for the next phase of construction (Fig 15).

The ability to create such large structures form nothing more than mud, straw, timber and water is truly impressive. It can be seen why this traditional technique of building has remained for so long within this region of the world.

Foundations for the buildings are created using stone as one worker explains without the stone legs or solid legs the building cant stand, similar to the way a human cant stand without strong support. The foundation sits 40cm thick utilising a timber frame to knit the corners once this height. Walls are erected using the pre formed dried slab plus wet mud which binds the slab elements together; the wet mud being smoothed on the outside faces of the wall to give a clean crisp finish.

Fig 15 - http://msnbcmedia.msn.com/j/MSNBC/Components/Photo/_ new/pb-121120-yemen-brick-makers-kb-315p-02.photoblog900.jpg

Roofs are supported by large timber beams with straw and mud being forced in and around the wooden roof beams. More luxurious buildings have different finishes on the interior and exterior walls. Limestone is heated then subjected to wet conditions where a harmful chemical reaction takes place leaving the lime powdery and plastic. This lime putty after being beaten for 8 hours (Fig 17) is then applied to the walls in thin layers whilst being repeatedly rubbed and formed into the mud surfaces to create a ceramic like finish which is impermeable to water and reflects sunlight, ensuring the houses don’t become to hot within the harsh sun.

Fig 16 - https://sciarc2012haghnegahdar.files.wordpress.com/2011/09/ tmp3343-tmp_tcm20-132446.jpg

(Annonymous Produciton Videos, 2013)

Fig 16. Workers rendering the exterior of the mud buildings Bibliography Annonymous Produciton Videos. (2013) Architecture of Mud. [Online] Available from: https://www.youtube.com/watch?v=48iDhuzxIoU [accessed 18 November 2015] List of Figures Fig 14 - http://webodysseum.com/wp-content/uploads/2012/12/shibam-yemen-06.jpg

Fig 17 - https://www.youtube.com/watch?v=48iDhuzxIoU

Fig 17 A worker preparing the Lime putty

Coming from a construction background it is interesting to see the similarities between modern day western construction and this ancient method of building in Yemen. Although modern construction is filled with power-tools, safety equipment, paperwork and manufactured materials the behaviour of the workers is extremely similar. The workmanship and team effort on site can be clearly seen in the documentary and is not so different from the UK. Although health and safety has the biggest contrast where in the UK before a single job is undertaken a huge amount of paperwork, organisation and preparation has to be completed, in Yemen they seem to just get on with it, using common sense as there safety net. This shows how stringent the construction industry has become in the UK which in turn has negative connotations for young people wishing to learn a skill or trade due to health and safety demands a certain age, a certain qualification status and more polemics to deal with. From watching the documentary it can be seen that if a young person wished to watch learn or take part in any part of the construction this would not be as much of a problem as it is in the UK. It is clear after watching this documentary that buildings do not have to be produced using the most lavish materials or the most technical methods of construction and that sometimes simple materials with simple construction can enhance the effect of architecture through materiality and simplicity.

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The Human Presence - Thea and Stanton Williams

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Description

Reflective Analysis

This lecture addressed the idea of a cross collaborative project of architecture and Choreography to better understand what links can be made with regards to the experience of the body within space. ‘Place is more important than space’ a quote from Joesph Rickworth was used to initiate the perception of how the human condition experiences space; a place being a space with a human presence. Thea explained the inherent emotional law of empathy and how our physiological traits such as proprioception and kinaesthetic awareness shift within the spaces we inhabit. This connection is linked to architecture and choreography due to the presence of a body moving in, through or around a space. The empathetic emotional response through examples of dance can be used in order to shape certain architecture. An example of this kinaesthetic empathy can be seen in a Louis Vuitton installation where a desk is fitted with a screen showing a worker creating a leather bag. The user sitting at a table with the product being made in front of them increases the immersion of the experience so that the feelings of joy and pleasure arise from seeing a product created through craftsmanship. This intertwining of imagination and functionality creates a certain awe within the architecture as the association of the space is linked to the emotional experience creating a memory of place. Alan begun his half of the lecture showing how he has incorporated kinaesthetic empathy into his design of a Sainsbury’s laboratory. Alan designed the architectural typology of the laboratory’s to cause a certain interaction between scientists due to there stereotypical behaviour of not speaking to one another; a central corridor from which all rooms meet fitted with a coffee machine. There are further design informants within the building e.g. the typology of an area to walk around, similar to that of Oxford or Cambridge. This being derived from Charles Darwins act of moving around a sand path to aid in the contemplation and understanding his unique work the origin of species.

Thea’s opening of the lecture gave excellent examples of how kinaesthetic empathy effects our emotional response to a place or situation, with footage created showing a dancer from multiple angles incorporating a bizarre noise highlighted this effect of perception through witnessing someone else movements. When Alan began by explaining his links of place and space and how these can be choreographed into the architecture being designed. The Architecture of the Giacometti Art gallery was designed to fit the pieces within it, a retroactive design methodology which ensures the Architecture does not necessarily become the main focal point of the exhibition however the composition of rooms, lighting and colour has been chosen to accentuated the Art pieces giving a more congruent feel to the situational experience of visiting an Art Gallery.

Personal Development Portfolio - Marlow Parker

The project which stood out in its design method of crafting place rather than just space was the Sainsbury Laboratories in Cambridge. It is evident from the images that a lot of though has gone into the detailing of this building not just only the configuration of rooms but the control of material and positioning of roof lights creates a well balanced, expressive yet still functional series of laboratories and other educational spaces. Alan showed how the team designed the staircase to scale in their office space to experience how they would function, if it would be to steep or too flat and how the different shapes of stairs effect our perception of the movement upwards whilst moving up the stairs. This shows that the architectural elements which are added to the project have gone through a range of testing and understanding so that all the elements function together as one piece of Architecture.

Fig 18. Saisnburys Laboratory Entrance

Fig 19. Internal Staircase

Fig 20. Natural light in Labs from skylight

Fig 21. Entrance hallway past lecture hall, (Permeable) Bibliography Stanton Williams. (2010) Sainsbury Laboratory. [Online] Available from: https://www.youtube.com/watch?v=uOkLNqvypfg [accessed 24 November 2015] List of Figures Fig 18 - http://www.stantonwilliams.com/assets/lib/2015/08/16/img0b.jpg Fig 19 - http://www.stantonwilliams.com/assets/lib/2015/10/16/img5b.jpg Fig 20 - http://www.stantonwilliams.com/assets/lib/2015/10/16/img7b.jpg Fig 21 - http://www.stantonwilliams.com/assets/lib/2015/08/16/img2b.jpg


Petersen Tegl Brick Talk

Fig 22. Kolumba Bricks in varying colours

Fig 23. Example of finish quality using Petersen Bricks

Fig 24. Hand Moulding of Kolumba Bricks

Fig 25. A selection of the Petersen Brick range (Standard Bricks)

Bibliography http://www.petersen-gruppen.dk/ List of Figures Fig 22 - http://www.ebmsupplies.com/wp-content/uploads/2015/04/120327PiercyModels047.jpg Fig 23 - http://www.stylepark.com/db-images/cms/petersen/img/ l2_p327958_2200_1515-2.jpg Fig 24 - http://cdn2.world-architects.com/img/frontend/pages/2580/900:w/Product13-24-4.jpg Fig 25 - http://en.petersen-tegl.dk/products.aspx

Description

Reflective Analysis

Petersen Tegl is a Danish brick manufacturer established since 1791 when King Christian the seventh gave permission to Peter Anderson to run the brickworks of Nyboel Nor. Today the brickworks are run by Christian A. Anderson and his daughters being 8th and 9th generations of the founder. Petersen bricks are still handmade in the traditional way, like most bricks are as explained by Peter Zinck the 5 basic elements of Clay, Water, Air, Fire and Fuel (In Petersen bricks case, Charcoal) are brought together. However through research and development more has been understood about the process of brick manufacturing and how the finish of surface and colour can be controlled through various means. The fuel of charcoal being used and the varying temperatures and firing times allows the final finish of the bricks to vary still within a certain colour scheme but more has been trialled with regard to non uniform finishes of individual bricks. The Pertersen brick is manufactured and mixed within the factory ensuring that the bricklayer has a quicker job of laying the bricks on site. This method creates an undulation of colour within the final brick skin, which enhances the architectural effect of a solid brick wall. As seen in Fig 25 Petersen have a large range of brick colours from which to choose, all having colour and texture variations through experimentation of the methods mentioned above. Although the uniqueness of colour in Petersens brick could be said to be their strongest accolade this did not stop the company experimenting with different size bricks. Peter Zumthor contacted the company to query the length of brick that could be made. From this, new experimentation was undertaken to investigate the longest possible brick that could be manufactured. A 94cm brick was created uniquely for the Kolumba museum one of Zumthors projects at the time (Fig 22). This brick went on to become part of the Petersen brick range the Kolumba Brick again varying in colour formats. The handmade quality of the brick is an important part of the Petersen brick, each brick encumbering two finger prints from the moulding process seen in Fig 24 gives each brick a unique quality with the understanding of the human input in the manufacturing process.

The products of Petersen brick give an excellent example of understanding the importance of how the quality of materials can enhance the architectural appreciation of a project. The colour range of brick across the various precedents that were shown highlighted the effects that can be achieved through varying brick colour formats. Seeing the process of how hand made bricks are formed allowed the material to become more honest in terms of knowing exactly how each brick has had the craftsman touch, something that is not easily derived when seeing wire cut or extruded bricks made form a machine which are typically all identical; detaching the material from the journey of production. The 94cm long bricks are an interesting product, on one hand you have a non familiar shape crafted using the same method as standard bricks with the same colours and similar form however due to its length the Kolumba brick can be seen as more of a slab material which could be used for flooring (which it can), nevertheless the idea that a unnaturally shaped brick can be made doesn’t necessarily imply that the item is still a brick. Its modular ability and final appearance lacking the vertical mortar joints pulls the perception away from seeing or using it as a traditional building brick and can be seen more as a slab construction similar to the appearance of the carved vals quartz in Peter Zumthors, Therme Vals yet It still gives great architectural quality to a finished masonry building. It is clear that the bricks being made are of high quality typically for projects of high status, although there are example of a cheaper cladding method of brick shown on a project of social housing but with this high quality material of course comes a higher price tag. Whether the price is fully reflected in the method of manufacturing or if the product encumbers a premium for the name or brand of brick is yet to be understood although the product is a unique high quality product does the price restrict the use of this brick in smaller construction project which have smaller budgets.

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Fig 26 - British Embassy, Warsaw

Fig 27 - Fugslang, Denmark

• Protect cultural values of Embassy’s host country

• Economically depressed area

British Embassy, Warsaw

• Calm, Order, Symmetry • Found Pragmatic solution with poetic attributes • Double facade including thermal control -15 to 28 degrees Celsius • Triple glazed / 40mm thick • Inner Facade doubles as a security element (Blast Proof) • Transparency • Internal space holds open gardens, allows light to permeate through the building • Darkness of Facade at Night + Fencing enforce security.

After hearing Tony Fretton explain his various European projects it was apparent that his design style was that of simple decision making. After he explained that some Architects try to add to much into their projects he continued to state that sometimes it is the simplest decisions which hold the strongest architectural qualities; the control and detailing of materials and components is highly important with regard to the overall finish of the design. 10

Personal Development Portfolio - Marlow Parker

Fig 28 - Westkaai Towers 5 + 6

Fig 29 - Belgium Town Hall

• Adaptable Architecture

Tony Fretton Architects

• Facade to Last 200 years

Town Hall, Belgium

• 1780 to 1970 regionally Relative

• 2 Parallel blocks

• Source of local pride

• South side balconies

• 2 parts (Transparaency) Council Offices, Council Chamber for political process

• Mixed quality of the form site (Dogma)

• Junction of Brick

• Italian Stone (See Milan Uni) similar to concrete

• Re-configurable exhibition space (Stylistic coherence)

• Acoustic Glass Facade

• Anodised Silver Aluminium

• Community/Rental, Not sold

• Multi-Mono-Chromatic

• Urban community charm

• Stately, Utility

• Fabric of building speaks openly and honestly

• Views to Church

Fugslang, Denmark

• A building that holds a substantial amount of Art

• Varieties of natural and artificial light • Immerse oneself in art (Building becomes a periphery) • Vocabulary of ceiling forms + Roof lights • Brick roof light - 50 Lux of internal light to land on the routes through the building.

Tony mentioned the troubles of architectural developments within the UK and that the contemporary planning system combined with the political and economic situation of the UK does not prove insightful for designed projects to be undertaken, this being the reason for an increase in European work.

Westkaai towers 5 + 6, Amsterdam

With regard to the British embassy in Warsaw and the construction of a twin glazed exterior wall being bulletproof, blast proof, temperature controlled and a whole range of other security details, the question must be asked if to build a building with this much security detailing in a foreign country for the notion of diplomacy should the building be built if their is this high risk factor.

• Council Chamber views to Church, (Bureaucracy)

List of Figures Fig 26 - http://www.architectural-review.com/Journals/8/Files/2010/5/19/ brittishembassy.jpg Fig 27 - http://blog.gessato.com/wp-content/uploads/2011/05/fuglsang-kunstmuseum-tony-fretton-architects-gessato-gselect-gblog-3. jpg Fig 28 - http://afasiaarchzine.com/wp-content/uploads/2015/07/TonyFretton-Architects-.-towers-5-6-.-Westkaai-11.jpg Fig 29 - http://www.archello.com/sites/default/files/TFACHA0030.jpg


Fig 30 - The Observatory, looking south

Fig 31 - The Observatory, looking east

Fig 32 - The Observatory, looking east

Fig 33 - The Observatory, interior of workshop

SPUD Observation Visit

Continuation of 452 PDP Observatory

List of Figures Fig 30 - Authors Own Fig 31 - Authors Own Fig 32 - Authors Own Fig 33 - Authors Own

When approaching the Observatory project on the edge of Lymington town lagoon the horizon was interrupted by two dark points. As the path meandered round the wading birds and deep mud of the salt marsh the dark structures come into view, with clean edges and angled roofs. The charred wood exterior slightly glistening in the low winter sun. From the first step inside, the structure felt strong and sturdy as if it were made form a solid lump timber with a firm connection to the ground (No tipping or movement on entry). Once inside looking out the black steel finishing frames the seaside view in a tall but narrow window. With a few easy turns of the cast iron wheel the view started to move, The perception that the wheel was moving the architecture was hindered by the solidity of the structure plus the speed at which it moved creating the sense that the wheel was moving the view and not visa versa.

The bench inside comfy enough to spend an hour drawing and sketching. The timber clad interior as seen in Fig 4 was a durable material , It has had many muddy footprints walked across it coupled with being exposed to the elements nevertheless the project encumbered a feel of being weather into the landscape. The path across the artificial coastal barrier on which the observatory’s sit was busier than first anticipated with dog walkers, cyclists, runners and walkers. Many stopped and peaked inside the structures, from the passing conversations amongst the people it was clear that a certain amount of intrigue surrounded the project, the charred exterior cladding being discussed frequently due to its unnatural appearance as a building material.

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Dolls House and Enclave - Carp De Hass Architecture, Interior and Model Making Domesticity through shoe box dolls house Create ideal home with a shoebox Two images from 17th century Enclave depicts a man who carves out his home within the landscape. Presentation of the domestic environment Inhabitants, Architecture and layout of the landscape. Glimpse into the 17th century home which no other medium can achieve. Dolls house fits into the tradition of collecting, Big in the 17th century in Holland. Early version of interior architecture but also a tool to show off the complex design of a domestic property. Earth ,water, air, fire. Does not follow the architecture but holds collection which can highlight activities that took place in the home Silver, ivory and lacquer. These were the predessors of the 17th century German dolls house different as it hold stairs and complex external design work. Canal House 1750 Most elaborate of the remaining dolls house. All made to scale 1:9. (Fig 1) Artist would also paint the outside exploring artistic flare.

Each object plays a specific role in each of the dolls houses. Each room highlights the activities that take place within the room however can be contextualised to simpler activities. Dictionary - Dolls house. Relation between the women and the home from the 1960’s Separation of gender Entertainment, science and wonder Dolls house and architectural model Three dimensional, Spatial representation Objects placed in a coherent way create a picture of a domestic environment. Research tool for analysing the domestic environment. Canal house holds strong architectural design for the external facade. Models communicate building.

everything

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Inhabitation narrative Dolls house can be compared to a theatre where the house becomes a stage and the internal elements represent only a slice of life. Suitable medium for design influence and understanding. Poetry, humour and absurdity. Etching of saint Jerome, Rembrandt. Polar opposite of the dolls house. Gigantic Dolls house Project Conglomeration of small rooms to from large house.

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Personal Development Portfolio - Marlow Parker

Fig 34 - Dolls House

List of Figures Fig 34 - Available from - https://upload.wikimedia.org/wikipedia/commons/0/05/Dolls%E2%80%99_house_of_Petronella_Oortman.jpg


Is This the Future of London?

Fig 35 - Ubiquitous Unique Exhibition

Bibliography

Located at the Red Gallery near Old street London the Exhibition titled Ubiquitous Unique has been organised and arranged by the Reclaim London group. The Exhibition portrays a certain message regarding the next 100 new developments under planning application within various boroughs of London. Some of the applications have been approved whilst others are still pending but what strikes the host of this video is that from his perspective, ‘they all look the same’. especially when viewing the elevations of the 100 projects pinned together (Fig 1). Henry Scott-Irvine from Save Tin Pan Ally states ‘The urban blight which is about to be constructed in the terms of progress and profit by unaccountable offshore international corporations is in the benefit of home’ From this it is clear that Henry has a strong opposition to the type and reason of these projects and suggests it is not benefiting the Economical growth of the country due to its international funding systems and oversees investment which damages the city of London in return. Reclaim London focuses on the issues surrounding Investor driven developments which are not lived in. Businesses fail as there is no-one occupying the properties. Section 106 clause is a key part of these projects where the UK government receive a percentage financially however this is perceived as going back to upstairs downstairs with a tokenism of 3 dwellings within each luxury apartment complex. The host implies they appear as if they were stolen from the communist planning office within the soviet union for outskirts of Moscow however these schemes even Stalin refused to give any consent to and are now being built in London. Brent cross holds a compact cluster of luxury apartments. Due to the increase in building density the quality of light within these buildings is highly degraded, this is said not to matter as the apartments are not actually being lived in and instead are used for investment.

Drift Report. (2015) Is this the future of London?. [Online] Available from: https://www.youtube.com/watch?v=uOkLNqvypfg [accessed 24 November 2015] Fig 35 - https://www.youtube.com/watch?v=uOkLNqvypfg

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Personal Personal Development Development Portfolio Portfolio - Marlow - Marlow Parker Parker


Chapter 2 ARC 551 PDP

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Eden Project Visit Description

Reflective Analysis

Built in a disused China clay quarry in Cornwall sits a sustainable super structure designed by architect Nick Grimshaw. The Geodesic Biomes of the Eden project contain controlled climates within a lightweight steel structure. ETFE hexagonal pouches filled with air create the insulated divide between the cold Cornish weather and the internal conditions of a tropical rainforest and Mediterranean desert. The bubble like forms derived through biomimetic studies resembling spores of pollen in their shape and orientation. Meandering paths through a multitude of plant species allows a great educational opportunity for further engagement with visitors and local schools.

Due to the Eden Project being located close to home a visit over the Christmas holidays proved the perfect opportunity to experience the architecture and design of the educational centre. Before venturing into the Bi-omes a session on the ice rink was first on the itinerary. The building which holds the ice rink from memory as a child was an amazing tented structure with large steels and tensioned fabric seen on the left of Fig 36. However when returning as an architecture student the building was perceived in a completely different way. Bad maintenance has caused the fabric to green from the damp secluded climate of the quarry. Inside the wooden floor structure which holds the rink was tired and beaten up from all the rink use over the winter periods. After re experiencing the rink structure it was the Bi-ome next.

The sustainable design incorporated with the experimentation of the largest ‘greenhouse’ in the world has given the Eden Project a unique position in the field of sustainable design. This project shows that through the combination of architectural design, engineering and environmental science a format of varying climates could be created anywhere in the world.

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Entering the Bi-ome in groups of 30 people a time did not give the freedom and experience of wandering in and about the structure. On entry walking in a queue through sliding doors and before the chance to witness the sheer size of the structure a security team was on hand to distract from the experience scanning visitors with metal detectors. When continuing through whilst following the direct tarmac path it was clear looking up seeing the trees and feeling the heat and humidity that it was a rain forest with hundreds of plant species nevertheless walking on a guided tarmac path packed with signing about the species of plants and birds which are within the Bi-ome again causing distraction from the immersion of a true rainforest. As an overall experience the visit to the Eden project proved great for the young family, intrigued by the educational facilities and interactive systems however due to the poor maintenance and corporate feel when moving through the structures the architectural quality was lost within the distractions and basic movement areas. The Bi-omes are still an amazing feat of engineering being within touching distance of some of the core structural components really shows the sheer size and strength of the structure with the addition of experiencing a rainforest in the damp climates of Cornwall.

Fig 36. - Inside rainforest Bi-ome

Fig 37. Eden Project, Biomes

List of Figures Fig 36. - https://upload.wikimedia.org/wikipedia/commons/f/f2/Eden_ Project_geodesic_domes_panorama.jpg Fig 37 - https://wellywoman.files.wordpress.com/2012/10/dsc09756.jpg


Map Exhibition 2015

Fig 38 - MAP Logo

Description

Reflective Analysis

Music, Architecture, Poole or MAP is an exhibition installed in the vicinity of the lighthouse arts centre in Poole. The exhibition is Curated by four students with Channa Vithana as the lead Curator. The collection is compromised of 2nd year student work which includes a curiosity shop, music school and future scenarios projects. The work presented is collated from the development stages of multiple students project work. Examples of sketchbook work showing initial ideas and concepts were presented with each project showing the development stages through various applications of media including: sketches, photography, AutoCAD imagery, Photoshop montages and physical models.

Visiting the MAP exhibition at the Lighthouse Arts Centre, Poole promoted good awareness and understanding of what the 2nd year of studying BA architecture holds. With examples from most aspects of project work in different media formats allowed a visual perception of how the brief can be interpreted in varying ways with each student having their own particular flare within the visual communication of their projects. The examples of sketchbooks were particularly interesting highlighting the importance of drawing consistently throughout the project ensuring not only the quality of individuals drawing improves but also how various design decisions can be conceptualised and understood throughout the stages of design development.

The addition of tangible construction materials were placed within the exhibition to further communicate the materiality of various projects and their construction technique.

The physical models of the music school and future scenarios showed clearly the scale and typology of each project with other visuals showing the type of imagery which works best within communication of design concepts. The long Petersen Tegl bricks used to hold large strips of design stage work linked the scaled imagery to the materiality in 1:1 context. Seeing and feeling the bricks created further acknowledgement of the skill that is needed to such a product whilst improving the perception of the material by able to physical touch the brick extending the knowledge basis from the Petersen Tegl guest lecture in 550.

List of Figures Fig 38. - http://assets3.lighthousepoole.co.uk/images/MAP2014_ Logo_555f581850566.jpg

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Material Thought Siah Armajani and the half open door

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Description

Reflective Analysis

Siah Armajani’s exhibition of crudely crafted models named the dictionary for building was presented in an exhibition with the pretence of highlighting what qualities can be discovered through the use of tangible materials. The architect believed architectural theory, the thought process of architectural design should be grounded in the material world. His belief of practicing art within an industrial environment spurs from the use of physical objects as industrial spaces are suited for the production, testing and movement of materials. Miniature models are used as exploratory thinking tools, creating a physical sketch from which architectural qualities can be derived. By crafting spaces within a domestic environment utilising standard elements such as door, window, stairs and porch various emotive qualities can be read through the design of these situations or places within the home. His models become a metaphor for the emotional quality of a situation. The Attempt to understand how an bridge for example can be explored as more than just a physical object but how the physical and metaphysical qualities can come together to evoke an emotional response within architecture. As music is the composition of sound Armajani sees architecture as the composition and synthesis of the material world. The compositions being experimented in various models is used to understand the poetics of space and situation again within the domestic environment. These miniature built poems hold suggestive qualities and proportions which directly link through the visual perception with the phenomenon of the human experience. The image, feeling and meaning can be explored through these artefacts of thought. This material nature expressed through a particular congruence of mind and situation aids in reading and experiencing an atmosphere or feeling rather than form. The non linguistic means of communication allows individuals to perceive these poetic places through there own unique inner qualia.

Armajanis method of utilising physical materials within his design development showed how valuable material though can be. As a young designer it was hard to notice architectural qualities in a model which has been crafted poorly, however seeing Armajanis modelling technique, that of being simple and crude really highlights how working physically in three dimensions with tangible materials can aid in the experimentation and understanding of architectural spaces. The reconciliation of Place, Space and Material within simple models teaches how not to be quick at judging something in a visual perspective but to observe and understand these models over time. Through this technique poetic solutions may be extracted which may not of presented themselves if something was only though about within the mind. The dictionary for building gives an insight into how Armajanis thought process is open and valuable through his creation of architectural places.

Personal Development Portfolio - Marlow Parker

Fig 39 - Siah Armajani model

Fig 40 - Siah Armajani model

Fig 41 - Siah Armajani model

Fig 42 - Siah Armajani model

List of Figures Fig 39. - http://artasiapacific.com/image_columns/0000/3326/feature_ sa_dictforbldgseries10_74-79_flow_100dpi.jpg Fig 40 - http://prod-images.exhibit-e.com/www_alexandergray_com/ 9fe555e7338d1cfbd1c23404bb5dfc870.jpg Fig 41,42 - http://www.beamcontemporaryart.com/sites/default/files/ imagecache/FULL-SIZE-OVERLAY/artwork/A3%20-%2088.%20Models.%20Dictionary%20for%20Building%201974-1975%20%284.10%29. png


Le Corbusier, La Tourette Description The Convant La Tourette was designed by Le Corbusier for the Dominican order between 1953 and 1960 when the architect was at the height of his career. This building was required due to an upsurge in religious vocations after the war. The monastic school was sized to accommodate 80 students. After the student revolt in 1968 only one student remained at the monastery. This is when the Dominican Order was inclined to sell the building, however 20 friars firmly resisted as they believed the architecture of the place embodied the spiritual quest of their order in a unique way. It remained Dominican, Saved by architecture. Fig 43 - Front of convent showing musical fenestration

Fig 44 - Side of convent with discreet entrance

In the Spring of 1953 Le Corbusier visited the site situated near the French château, Tourette. ‘I drew the road, I drew the horizon, I sniffed out the topography, I noted the orientation of the sun. I decided where to build as this has not been decided yet.’ Corbusier chose not to sit the building low on the slope but to position it high up in line with the horizon. He designed the building from the roof down allowing the structure to meet the slope where it might. This technique created a forest of concrete pillars below, compensating for the irregularity of the relief. Concrete , normally used for factories was the architects favourite material due to its cost effectiveness.

Fig 45 - Church space within convent

Fig 46 - Corridor with Le Corbusier slit window

Bibliography Youtube. (2012) Le Corbusier - The Cloister La Tourette . [Online] Available from: https:// www.youtube.com/watch?v=HQSozfwZ_5E&list=PLnESNlGNmi2ZHgnk6psG9KEG6nGY25FQz&index=46 [accessed 26 January 2016] List of Figures Fig 43 - https://buildlivegreen.files.wordpress.com/2010/03/la-tourette-by-corbusier.jpg Fig 44 - https://upload.wikimedia.org/wikipedia/en/d/d8/Sainte_Marie_de_La_ Tourette_2007.jpg Fig 45 - http://41.media.tumblr.com/8756753125c38d60bf41a0a4475ec901/tumblr_ mu23eyylKz1rptssio4_1280.jpg Fig 46 - http://www.artandarchitecture.org.uk/assets/aa_image/700/4/d/f/4/4df4a51e2a3f81e7cd755ef172e67e75a4602cc6.jpg

The monumental facade sits five stories high with the mass of the building housing a church, a town hall, a school with classrooms and library plus the accommodation for the inhabitants. A public square with cloisters were also designed into the building. All these elements of a small town enclosed in a large concrete quadrilateral.

The friars cells positioned at the front of the building looking out into the valley. The cells are simple volumes, five meters ninety two long, one meter eighty three wide and two meters twenty six high. These proportions being the Corbusier pattern are based from the golden ratio present in the human figure. What Corbusier named le modular. The cells adapted to standardisation and minimalism, the monastic cell with 10.8 practical square meters with all the comforts. A distressed concrete finish for the walls of the cell were present however a friar noted to Corbusier that the distressed pattern was not ideal for contemplation so Corbusier introduced a smooth section of concrete in front of the table which was better suited to long periods of contemplation and serenity. The Architect deliberately obstructed the windows at the end of each corridor with what Corbusier called ‘concrete flowers’. The corridors have long horizontal windows to receive daylight (Fig 46) The slits are interrupted by curious concrete blocks which protrude from the wall both inside and outside. These lumps are smaller parts of the concrete columns which emphasise the structure of the building. Façades of the public areas were open allowing the light in and view out. Alternating façades are derived from the functionality of the various spaces.

Reflective Analysis This building shows how Corbusier applied his modernist style for the creation of a religious building. At first this building was understood only visually from images which didn’t allow for the true understanding of architecture to be present. However after various research and the help of this documentary it has highlighted how Corbusiers approach to architecture is that of synthesising functional spaces in simple and minimalistic ways. The control of material and light throughout the building have been thought of so carefully to ensure the effects are most striking throughout the monastic school. Chapter 2 - ARC 551

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Dropped Half Sized - Panel Discussion

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Description

Reflective Analysis

This four way collaboration project was initiated through the Creativity in the Bronze Age research programme (CinBA). A film was created by film maker Zan Barbeton showing the process of the collaboration. The film begins with a terracotta pot falling slowly to its demise. After hitting the ground the pot breaks into multiple pieces, the fragments are collected and posted to an archaeologist. The archaeologist studied the broken pieces to investigate what clues can be seen from the pot once glued back together. The archaeologist comments on the handmade quality of the terracotta pot and its triple leg design explaining how re assembling the fragments allows various creative clues to be discovered. They explained that through archaeology they can normally explain how most artefacts are made but fail to ever explain why due to the creative process of these ancient designers being lost through history. Throughout the video many comments about the design process were included. Jonathon Garret the potter explains that you have to have a creative stem, this stem allows ideas and directions to bud off in what Jonathon describes as creative electricity. He adds that too much attention or too much self awareness can be a hindrance to the freedom of design, explaining that using ideas form history is not a move against design as these elements are ingredients or ideas, he believes the composition or recipe is up to the designer. The video finishes with Jonathon expanding on his design points explaining he puts love and care into his work, he never tries anything to clever or to interesting as these can cause design work to multiply into an uncontrollable quantity of ideas. After the video the room was opened up to discussion. One student asked for a deeper explanation of the concept vs process dialectic. The four collaborators came to a conclusion that design can vary through numerous factors but a creativity can be found with a balance between Head, Hand and Heart. Thought, Craft, Inspiration

The CinBA Collaboration project highlights the effectiveness of how a Potter, Artist, Archaeologist and Filmaker can come together to achieve desired results through group research in there specific fields. The discussion between design through process or concept opened up more understanding of what design can be. Jonathons explanation of allowing ideas to bud from a creative stem whilst not trying to be too ambitious, clever or interesting shows how design can lean more toward the concept rather than the process. Although the studies of architecture can depend a lot on process due to buildings needing to work; something a painting or music score doesn’t. The idea that using more conceptualised ideas can aid in the qualities of design is helpful however it is important to not throw away all that has been learnt through utilising a structured design process. This notion of concept just re establishes that design is not always analytical or logical and that a combination of concept and process can work effectively in architecture. Jonathons comments about balancing Head, Hand and Heart within design work was a positive notion which will not be forgotten, this simple method of dividing how a project could be worked on will certainly be integrated into the designing of future architectural projects. Hand and Head are more prevalent within previous projects, it will be the integrating of heart and emotion which hopefully will improve design qualities whether its through the design process or visual concept.

Personal Development Portfolio - Marlow Parker

Fig 47 - Throwing a pot

Fig 49 - Three legged pot - Textured

Fig 48 - Three legged pot - Textured

List of Figures Fig 47 - http://www.davidhobson.net/www.davidhobson.net/public/ wp-content/uploads/2011/09/FiredFruits.jpg Fig 48 - http://www.studiopottery.co.uk/images/stories/garratt_j/Jonathan_Garratt_2013.jpg Fig 49 - http://www.dorsetartweeks.co.uk/images/artists/web/0013.jpg


Touch of Madness - Dr Willem de Bruijn

Fig 50 - Domino tiers - 15th century

Fig 51 - Domino paper example

Fig 52 - Interior wall to be papered - Sergison Bates

Fig 53 - Final pattern for curtains

List of Figures

Description

Reflective Analysis

Willem began describing that Art can be synthesised through craftsmanship combined with a touch of madness. The first of the three projects was an interior design project for Architects firm Serigson Bates. The building is a retirement home with cluster accommodation for elderly citizens fifty percent with forms of dementia. The project entailed designing a wall paper and curtains for the interior wall that backed onto the central courtyard and all the windows. The research began with the craftsmen (Domino tiers Fig 50) who first created the original domino paper within the 15th century. The domino paper (Fig 51) was used for end leaves of books, wallet linings and wall decoration and was patterned using a press. The domino tiers were unable through legislation to produce any form of type markings due to the patents for use of the printing press. The woven pattern influenced from the historical oudenaare verdure tapestry was combined with the imprinting of designed pattern using a screen print method to create the texture wallpaper seen in Fig 53. The colours pulled sourced directly from the surrounding landscape of the site.

The lecture showed how the use of insightful knowledge across the history of art, architecture and design could be applied for an interior architecture project within a retirement home. The organic yet ordered pattern created for the wall paper combined with the natural green colour enhances this building to create real authenticity and uniqueness which the residents can connect to. As explained by Willhelm the process of fitting and creating the wallpaper within the building is as much enrichment for the residents as is the final finish when completed. This is a rewarding method of craftsmanship known from previous experience working in a building of this nature.

Fig 54 - Tapestry texture research

Fig 50 - http://www.vieuxmetiers.org/gravure/imajpg/dominotier.jpg Fig 51 - https://farm7.static.flickr.com/6123/5959145353_3e4a312588. jpg Fig 52 - http://www.sergisonbates.co.uk/Content/pdfs/3%20Selected%20projects/81-Huise-5.jpg Fig 53 - http://2.bp.blogspot.com/_apxaoe3XLoA/S3FXx_Tjw2I/ AAAAAAAAAOU/t3qu-tttzbk/s400/04_grav.jpg Fig 54 - http://3.bp.blogspot.com/_apxaoe3XLoA/S3FXZl89qrI/ AAAAAAAAAOE/mAi1HdC2oeo/s400/02_grav.jpg

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CEMEX Concrete Visit, Poole

By visiting CEMEX Concrete located on the opposite side of Poole harbour allowed a better understanding of the concrete creation process. The process will be explained below through annotated images. The use of concrete from this facility within the construction of the Poole Music School would improve sustainability factors with regard to the transportation distance of materials. Fig 55 - JCB used to move materials around the site

1. This large pile of mix sand and stone is dredged from the waters surrounding the isle of white, a barge delivers the raw stone from the waters edge. 2. The raw mix is then shovelled to the screening plant nearby. The screening plant below utilises a range of gridded meshes to control the diameters of stone moving through the equipment. 3. The raw mix now separated into fine sand, 4mm gravel and 10mm gravel is stored in large open air bays seen in fig 59. 4. The digger is used again to move the sorted sand and gravel to a conveyor unit seen in fig 60 5. The conveyor plant the moves the materials up into smaller storage facilities marked for the various sized materials.

Fig 56 - Concrete leaving to pour underwater load

List of Figures Fig 55 to 68 - Authors Own

6. Reclaimed rain water is stored in a metal silo ready to be used in the process. Due to concrete being a dirty product the use of fresh treated water would be negative move in the terms of sustainability. 7. The three silos seen in Fig 63 hold the cement powder. One silo contains standard Portland cement however the two others are filled with SEM2 a combination of Portland cement and pulverised fuel ash. SEM2 has higher sustainability qualities and is used more frequently than standard Portland cement.

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Personal Development Portfolio - Marlow Parker

8. The plant shown in Fig 64 is a large industrial concrete mixer. The area to the right behind is the storage for the various sand and aggregates. These materials fall through hoppers onto a weighing belt. The various materials are weighed and moved to a skip. The skip is then raised on winches to the top area above the lorry where to mixer is located. Cement powder from the silos is moved to the mixer via large steel pipes with Archimedes screws inside. The plant in front of the mixer is a wash pit and reclaimer, if any unused concrete is returned it can be placed into this machine where the aggregates and cement are divided through centrifugal force to then be moved back into the process. 9. The aggregate, sand, cement and water collect inside the mixing unit seen in Fig 65 where various additives, plasticisers, retarders and other treatments can be added. On visitation a batch of underwater concrete was being mixed. 10. All the plant is controlled electronically via PLC computers and electrical systems all locked into an automated logic programme. The batch room (Fig 66) is where an operator ensures all the equipments and systems are operating correctly. Once the concrete mix is ready from the mixer the operator then operates the hatch which allows the mix to move into the spinning lorry. This ensures the concrete is not stationary where it would begin to set. 11. The concrete moves from this chute into the top of the concrete lorry ready to be transported to the construction site.


Fig 57 - Dredged ballast of raw minerals

Fig 58 - Screening plant and conveyors

Fig 59 - Stored sand and aggregates

Fig 60 - Conveyor hopper

Fig 61 - Aggregate storage above weighing belt

Fig 62 - Reclaimed water tank (Rainwater)

Fig 63 - Cement silos

Fig 64 - Concrete mixing plant

Fig 65 - Mixer located above lorry pull in

Fig 66 - Batch room and operator

Fig 67 - Concrete chute below mixing unit

Fig 68 - Concrete moving from mixer to lorry

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Hooke Park, Architectural Association

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Description

Reflective Analysis

Nestled in the forest of Hooke park sits a campus for the Architectural Association. This campus provides qualifications in design, technology and science with the use of timber as an architectural building material. From the history of Hooke park and the ever changing dynamics of architectural application the AA seeks to create innovative solutions by using historic timber refinement methods combined with cutting edge technology. Due to climate and ecological impacts various wood types and elements of certain woods e.g. bent timber, forked timber are unsuitable for use in construction, however the AA has made it their task to re establish methods of utilising this supply of timber. Various buildings have been erected within a clearing of the forest using a progressive method of construction using the creative and scientific aspects of locally sourced materials. The modern techniques utilised by the AA are composed of advanced scanning techniques for cataloguing the living trees that are available. Acoustic measuring tools are used for analysing the internal strand qualities of various timber (In growth) which is said to be the most important factor with regard to timbers overall structural capacity. The buildings shown adjacent are created through the use of computer software in parallel with the physical work of students. The boiler house structure seen in fig 71 was contextualised and developed with the use of curved timber elements selected by various software. This method allowed timber templates to be created to ensure the structure is built in accordance with the calculations provided by the engineering firms whilst using what was before unsuitable timber. The other projects use methods such as steam bending again with the help of software to create structural timber forms across the campus. The model shown in fig 70 is a final 1:200 model for the design of a wood chip store. After meticulous design with constant communication with the various skills on site allowed this unique structure to be completed again using timber which would normally be classed as unsuitable.

The methods of construction within AA’s campus are truly unique and hold numerous architectural aspects within the construction of fairly basic utility buildings. The combination of modern technologies with the historic craftsmanship of wood allows a new a freedom of opportunity for the construction of architectural projects. However the overuse of technological equipment has removed certain elements from the historic crafting process. The way in which timber is selected by eye or crafted with bare hands, the ability to feel the wood within the process has been removed. It could be stated that with the removal of these decision making perceptions could render the projects with such a high precision that the hand made quality within timber manufacturing or construction is lost. The introduction of computer technology of course has allowed the expansion of available material through the scanning of suitable timber elements throughout the forest. The projects in themselves are feats of engineering but this is only possible with the introduction of expensive equipment and the collaboration of professional experts and students. It is hard to see at this point in time whether this building technique could be applied to mass construction across the globe.

Personal Development Portfolio - Marlow Parker

Fig 69 - Timber workshop, AA

Fig 70 - 1:200 model of Chip storage structure

Fig 71 - Boiler house, Curved exterior timber

Fig 72 - Steamed pressed beech, Timber drying canopy List of Figures Fig 69 - http://www.invisiblestudio.org/wp-content/uploads/2012/04/ p10402053.jpg Fig 70 - http://hookepark.aaschool.ac.uk/wp-content/uploads/2015/08/1.jpg Fig 71 - http://life.aaschool.ac.uk/wp-content/uploads/2015/02/ VB0_7477.jpg Fig 72 - http://static1.squarespace.com/static/530a2056e4b01764e0003793/53344631e4b0e9a24bd82918/533446a8e4b0e9a24bd829c5/1434465801413/Hooke_Park_Design_%26_Make_Timber_Seasoning_Shelter_%C2%A9Valerie_Bennett_2014_02_22_0036. jpg


Piers Taylor - Guest Lecture - AUB

Fig 73 - Piers Taylor Community project timber structure

Fig 74 - Piers Taylor woodland studio, Invisible Studio List of Figures Fig 73- http://www.landscapeinstitute.org/news/resizeCrop/resizeCrop. php?src=http://www.landscapeinstitute.org/news/userfiles/images/ SplashPoint4.jpg&w=&h=&wl=800&hl=&wp=&hp=550 Fig 74 - http://images.adsttc.com/media/images/53a9/0bcb/ c07a/80b4/8b00/01a8/large_jpg/Andy_Matthews_Photo_22. jpg?1403587490

Description

Reflective Analysis

Piers Taylor began his lecture with his first small domestic project designed in 1991 through Glen Merket Architects. Piers worked for Glen Merket after graduating as an architect in Sydney. Piers believes buildings should always hold design rooted in their context no matter the style of building. Piers went through the development of his own home in Bath. The initial diagram showing the sloped plot with woods to the rear and facing south west. It was important for Piers in the design of his own home to ensure elements of transparency would be present when approaching the extension to the existing house, allowing the views of the countryside to be held within the architecture. Piers moved on showing simple agricultural barn structures and explaining how these frugal structures inspired his next phase within his architectural career.

The lecture presented by Piers Taylor held many inspirational ideas surrounding the application of architectural ideas. His openness and honesty about the unrewarding experience when working with middle class clients was interesting to hear as this has been mentioned by other architects who have spoken at AUB. His courage to leave a successful practice and move into a different area of design is truly admirable. This may of been due the ongoing pressures of individuals around and within the subject of architecture seeming to always promote that the path to success is through high end projects within affluent architects firms on large scale big budget projects. Pierses’ work shown within the lecture held a certain realistic and rational approach to the construction of timber structures. The method of design whilst building shows how these small scale timber projects can hold a more unique story within their creation. The simplicity and efficiency of the projects can be seen within the finished building giving the architecture much more life and character. Examples of leaving timber elements as they are installed and not spending the extra time or monetary resources on making the timber absolutely perfect improves these projects aesthetics ten fold over some pre fabricated timber frame unit with clean crisp edges which has to be installed by skilled professionals. The final look and outcome of a project Piers showed really did look characterless compared to the timber projects that were built and designed through the local community with simple techniques and outcomes. To conclude the direction Piers took within his career path seems truly rewarding. The hand crafting of materials, working with the local community and using ingenuity and intuition to perform architecture projects sounds like a positive direction to have taken. The thoughts and ideas of architects like Piers share are extremely helpful when trying to understand the various pathways of architectural discourse within the discipline. Hearing personal stories of architects career development instils optimism and excitement within the coming years of architectural education and working within the field of Architecture, Design and Construction.

Through the love of rural settings and the unsatisfactory projects being undertaken for middle class clients in urban areas, Piers decided to move to smaller scale timber projects seeking true design satisfaction through architectural applications through the crafting of timber. Piers showed numerous project which all held similar accolades with regard to their design and construction. Due to small budgets and minimum access for contractors and suppliers Pierses’ projects held a certain design ethic of build what you can, with what materials you have and not being particularly worried about the detailing of the finish. This technique of designing whilst building with people from the local community in-itself was as rewarding to Piers as performing a complex plan for an urban setting. The efficient techniques used combined with lower skill workers gave a certain rational feel to the projects along with their stick built construction method.

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ARC 550 - Curiosity Shop - The Whisky Vault Description

Reflective Analysis

The Whisky Vault was a design proposal to be integrated into the urban fabric of Poole high street. The shop consisted of a 60sqM shop from which whisky is sold, a distillery portion where the whisky was made and bottled and a roof terrace. The existing building was an old bank with stone detailing on the front. Due to current socio-econmic instances the institutionalised bank front was chosen to be removed with the window and door forms remaining as a palimpsest of Poole’s history. The external material was changed from standard distressed red brick to 500mm Petersen Tegl Kolumbus brick in order to create a deeper understanding of the materiality of the shop whilst also reflecting the colours present in the whisky manufacturing process. The roof was converted into an urban terrace being open to the public twenty four hours a day. This ensured that the floor space the buildings footprint took up would be replaced at high level as an extension and expression of the convivial space. Various metallic materials were used throughout the project to mimic the materials of the Whisky distillery positioned within. The most striking and unique elements of the whisky vault are the large storage columns surrounding the perimeter. These columns not only support the roof and wall structures but were carefully developed so to store the made whisky within for aging. This promoted the social cohesion of the shop with the ability of placing and removing the barrels in a ceremonious way.

The curiosity shop project encumbered multiple methods of architectural application from the beginning. Initial ideas were recorded through multiple site visitation allowing sketches and early thoughts to be tested. The ability to have an existing building to work from also allowed more skills to be practiced within the discipline. Measuring and recreating the building as a technical drawing held numerous positives when understanding the construction and design of existing buildings. The research of brick along with a guest lecture from Petersen Tegl improved not only the understanding of brick technology but made aware more design application using brick. The tutorials surrounding urban integration resolved multiple design decisions along with more knowledge on the effect of how good architecture within the urban environment can enhance public space. The technology lectures throughout 550 aided the research of applicable technology within the construction of low rise commercial buildings Throughout the design development of the Whisky Vault it was possible to practice multiple skills in various fields, this ensured all aspects of design and decision making could be utilised for the testing, understanding and communication of designed proposals. Overall the Whisky Vault was an enjoyable project due to the development of design, technology, contextual knowledge and IT having challenging decisions and tasks to research, apply and resolve.

Fig 75 - The Whisky Vault, ARC 550

Fig 76 - The Whisky Vault, 1:500 Plan

Fig 77 - The Whisky Vault, High street Elevation

Fig 78 - The Whisky Vault, High street Montage

List of Figures Fig 75 - Authors Own Fig 76 - Authors Own Fig 77 - Authors Own

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Fig 78 - Authors Own


ARC 551 - Poole Music School

Fig 79 - Poole Music School, Cafe and East entrance

Fig 80 - Poole Music School, Student & Staff entrance

Description

Reflective Analysis

This design proposal for Poole Music School is to be situated in the north east area of Poole, adjacent to the Lighthouse art centre. The design was to incorporate a fully functioning music school complete with Practice rooms, Teaching Spaces including student and staff amenities. The school also serves as a public building with the addition of a cafe and relaxing external space positioned where the pedestrian route moves through the site. This is to ensure the passing trade potential is maximised whilst creating a more pleasant space. The building is divided between four floors. The basement provides suitable space to house the mechanical and electrical plant along with the batteries for the photo voltaic system. The lowest floor also holds the lower parts of the recital hall and the main auditorium due to the sloped nature of the performance and practice spaces. The first floor acts as the more public space, with entrances on either side (one from the west side and one from the east) allows the flow of movement in and through the building. The first floor also holds administration and instrument storage with male and female changing rooms positioned to the rear. The second floor accommodates two classrooms overlooking the skyline of Poole, these south facing rooms allow morning and midday sun to permeate the building providing suitable light from teaching and studying. The student/staff entrance is positioned on the 1st floor to the rear of the building so that access from the car park is at an appropriate distance. (This also provides disabled parking again with a short distance to the building. The second floor although encompassing 3 larger practice rooms again with brilliant views to the sea, this space is designed for larger social occasions. The bar holds a panoramic view of the surrounding landscape through its large curtain wall

This building held many challenges throughout the developmental phases, however the narrow tapering site provided the opportunity to position the building so that both sides were unimpeded by the architecture. The fan shaped plan was derived through using a segment of a radial grid, inspired by Peter Eisenmans approach to architecture through utilising a grid ensuring a space void of human sentiment and proportions could be achieved. The programme went through many interpretations allowing the optimum placement of rooms and areas to be achieved. The elevation change within the site also allowed the opportunity to provide two levels of entrance giving the building a more dynamic feel due to its multiple routes in and through the school. The designated music rooms along with the recital hall and auditorium were positioned in such a way that the proportions allowed a pleasant music space through acoustic science. Due to these main acoustic spaces being positioned in the centre of the building (Minimising sound coming in and out) allowed them to serve as the main structural components through the centre of the building. A service core was utilised for the toilet spaces moving from the basement all the way up to the roof. To conclude the designing of the music school although challenging in many ways pushed the limits of architectural design allowing numerous skills to be acquired and refined throughout the various stages of this project. Time spent using 3D software in order to produce designs will be minimised in future projects due to limitations and complications within said software nevertheless this provided a good opportunity to produce visualisations which could be easily communicate the intended design.

List of Figures Fig 79 to 84 - Authors Own

Fig 84 Poole Music School, East Elevation Fig 81 Ground floor plan

Fig 82 First floor plan

Fig 83 Second floor plan

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Russell Cotes House + Exhibition Description The building of East Cliff house is situated on the cliffs of Bournemouth overlooking the pier and the beach. Construction of this Victorian villa began in 1897 and was completed in 1901. The owner Merton Russell Cotes gave the property to his wife as an extravagant birthday present ‘Lavish, splendid and with a touch of fantasy’. The exotic seaside house holds a collection of relics artefacts and art collected by Merton and his wife form there world travels.

Reflective Analysis The visit to Russell Cotes house was undertaken with no idea or concept of what the trip would entail. The only information received before going was the name of the building. Walking through the gardens the house can be viewed in its full stature, perched upon the cliff top with its spired roof elements puncturing the sky. After entering the building and moving through a small gift shop atop the stairs was a small collection of artefacts. The collection being exhibited in glass cabinets held various items including a large metal plate, hand crafted in gold silver and other precious metals designed with the most intricate detail, an elephant figure for burning incense also hand crafted from gold silver and precious stones (ruby’s, sapphires and flecks jade) sat below. After looking round this small collection for a short time in what appeared to be a modern extension finished in flat white walls and solid metal and glass details the sign for the House was spotted. Due to the not knowing what to expect when entering the house it was quite a surprise when moving into the dining room. The entire room filled with elaborately carved furniture, metallic trinkets and art work with the ceiling being supported by gold and marble columns. A large fireplace drew my attention due to its unique architectural composition. A fire located centrally with two mini wooden benches either side with arched windows above. It is obvious that most activities would of spurred from this area when occupying the dining room. 28

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Moving through the dining room to the lobby hearing the wooden floor creak gave rise to the idea that this was a historic house with all original components. The lobby having a large balcony surrounding the space with natural light being pulled through the stain glass atrium was massive. The large open spaces controlled with more carved furniture, statues and artwork with numerous cabinets filled with delicate porcelain. The gallery held a vast collection of large paintings mostly works by Edwin Long. Being the first time witnessing artwork in this manner an array of thoughts of the past became present seeing these complex moments of life captured in the near realistic artwork. When moving upstairs it couldn’t be helped to imagine what life would be like living in a house of this size and stature. This house implied a truly incomparable way of living compared to personal experience of inhabitation. The upstairs rooms being themed across various colours with a green, yellow, red and blue room all housing individual collections from areas of the globe. Red being particulary interesting holding numerous artefacts from Japan and other Asian countries. This collection was particularly elaborate due to Merton and his wife love of Japan. There wasn’t one area of wall space within the house which held nothing, every space filled, every space decorated with handmade ornaments or artwork. Overall the experience of the house gave a sense of appreciation with a pinch of envy. The knowledge of how wealthy families lived within history is fascinating with the architecture reflecting the complex diverse and ornate features of the lifestyle.

Fig 85 - Garden and front of Russell Cotes house

Fig 86 - Lobby, Russell Cotes house

List of Figures Fig 85 - http://russellcotes.com/russell-cotes/wp-content/uploads/2015/04/russell-cotes-lobby-1400x630.jpg Fig 86 - http://bournemouth.co.uk/bournemouth/wp-content/uploads/2015/04/russell-cotes-main-hall-1050x500.jpg Fig 87 - http://bournemouth.co.uk/bournemouth/wp-content/uploads/2015/05/russell-cotes-garden-sunny-view-1050x500.jpg

Fig 87 - Lobby, Russell Cotes house


Bryanstone School: The Tom Wheare Music School

Fig 88 - Bryanston Music School

Fig 89 - Piano Recital Hall

Fig 90 - Auditorium Skylights

Fig 91 - Auditorium Seating

Description

Reflective Analysis

Architect - Hopkins Location - Dorset, United Kingdom Value - £6 million Size - 2,500 m² Client - Bryanston School Year - 2014

The trip to the music school allowed an insight into the facilities of private education for pupils aged 13 - 18. The school being empty over half term allowed a closer and longer inspection of various architectural elements throughout. The first impression when arriving was the neat control of brickwork. Lime mortar is used to allow the red brick to be more prominent in its application within the surrounding context. When moving around the school it was clear when you were entering acoustically controlled spaces due to the effectiveness of construction. The rooms felt solid, divided and quiet but also in a way which gave a feeling of confinement due to the pressurized feel when moving in and out of the rooms. The main auditorium being constructed of mostly timber was the lightest appearing space in the school. Large glazing units seen in (Fig 90) pull natural light into the hall with smooth finished timber floors, walls and ceiling elements reflecting the light around the space. The timber components however felt almost to smooth to the point where it could be undistinguishable from coloured or textured plastic. Due to the budget constraints this wood was probably the most efficient use of material having a large quantity need to cover the tectonics. The timber fins seen in (Fig 92) are manually operable which allows the space to be controlled for different types of music. Undulating timber elements are added to the lower levels of the auditorium varying in depth to the wall. This seemed like an effective method of sound absorption using the cladding elements of construction as the finished acoustically dynamic surface. Overall the building held a simple feel with various elements not being designed to elaborately with regard to their function. The trip revealed multiple ideas for applying architectural elements to the 551 music school and all details witnessed will be remembered for future architecture projects.

The music school sits within a wooded area of the Dorset countryside. The building holds a 300 seat auditorium enclosed within its steel and brick structure. The auditorium holds a large glazing unit created by the split roof. Timber has been used for most surface for the control of acoustic with exposed brick expressing the exterior material within the inside. The building has been designed to fit into the surrounding context pulling influences from the nearby recently completed Sanger centre. The Grade 1 listed Norman Shaw house sits to the west with other campus buildings surround the vicinity. The arrangement of linked buildings surround a central courtyard allowing a congruence of subjects, pupils and staff within one open space. The entrance of the music school sits within the courtyard allowing entrance onto the thrid level. The school then moves downwards to a semi underground area again with open green spaces at the lower level to the back (Fig 88). Above the lower levels sits to wings holding classrooms and practice rooms with the integration of office and utility space between various rooms. The school also encumbers a recital hall (Fig 89) with a large window created from the split roof level, similar to inside the auditorium.

List of Figures Fig 88 to 93 - Authors Own

Fig 92 - Auditorium acoustic control

Fig 93 - Rear of Music School

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F.A.T Collaboration Research Description These drawings and notes were produced for the research stage of the FAT collaboration having the Lexicon Lightweight as the project title. The Urban Hood concept was initiated after visiting Poole and squeezing between the already existing Market canopies to move out of the rain. The thought was to have a lightweight dynamic canopy structure which could be controlled to suit various weather conditions. With the ability to keep the high street dry with the hope to increase activity of exposed urban areas . The works of architect Frei Otto was researched looking into his innovative lightweight structures of the mid 19th century.

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Chapter 3 ARC 552 PDP

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Kieran Long - Guest Lecture - AUB Description

Reflective Analysis

Kieran Long senior curator of contemporary architecture at the Victoria & Albert Museum began his lecture by revealing what is held within the mosaic detailing on the door pediment of the V&A (Fig 94). The mosaic depicts the royalty of Queen Victoria positioned in the middle with queues of people bringing items on either side. The left hand side represents the crafted items of trinkets, clothes, jewellery and artwork whereas the right hand side shows the mechanical machines, tools and instruments used for the crafting being brought forward.. This artwork depicts how all objects of production and design within the industrial era were as important as one another. Kieran attempts to re establish the lost understanding of the importance these machines have as secondary objects to the items of beauty or use in contemporary culture. His Exhibition technique named ‘Rapid Response Collecting’ seeks to bring back meaningful discourse surrounding normal objects of everyday life. By unravelling the meaning of these objects more can be revealed about there true value within society. Rapid response collecting ensures the objects that are exhibited hold contemporary meanings within the current climate of political, economical and social affairs. Examples shown within the lecture included an array of what at first seemed to be invaluable items with little meaning or sotry however through Kierans explanation the meanings and influences of objects shown became clear. The palm tree show in Fig 2 not being an actual living tree instead a mobile phone mast not so cleverly disguised with colours of green and biological forms (excluding the antennas shooting out from the top). This disguised mobile phone mast once de-constructed as an idea becomes on one hand a fun object making light out of an ubiquitous situation with the complaints of grey mobile masts from locals happening at every example. On the other hand it could be seen as a ridiculous technique of grafting technology with nature in an industrial mechanical way for the integration of infrastructure ensuring the least amount of hassle from locals. Kirean believes by presenting these examples of objects within the contemporary exhibition space of the V&A museum the general public will have the opportunity to engage in thought around such objects to find true relevance and value within society. This being something that is not as easy to do with an object from the past as the underlying polemics surrounding historical objects can only be read or interpreted through thought and language not experience. Kieran uses the Ultra rope technology shown in fig 96 as an example of how a technological advancement can drastically effect ones experience within architecture but is so discreet in its application that without the exhibition of this item the technology would be hidden in the background, never being understood or appreciated by the general public.

The lecture by Kieran Long held a fresh contemporary approach to the exhibition of objects within museums. It dislodged the existing idea of what a museums main function is within society. Instead of exhibiting historical objects with the adjoining stories and problems of the past whereas items from current situations can have a more real and drastic effect on the consensus of objects within the twenty first century. The objects displayed within the rapid response collection exhibition included the Palm tree phone mast (Fig 96) Ultra rope lift cable technology (Fig 97) and the Primark jeans label. These objects once engaged within discussion or thought hold strong polemics regarding their function, meaning and integration within society. The Primark label is one example of how a small, simple, inexpensive object can hold horrifying meanings due to its nature. The label shown in Kierans lecture was shown amongst broken rubble from the collapse of a Primark factory in Bangladesh. This immediately expands the meaning of the object due to the disaster and loss of life the label holds links too. To further evaluate the label as an object you could suggest the label amongst the rubble is symbolic of the nature of a capitalist economy with import and export trade so diversified that the true nature of what is happening is disguised through clever marketing and compartmentalisation. Whether this is an intentional act to retract the problems and meanings associated with the Label in order for Primark to continue its business model it yet to be seen however by exhibiting the label within the exhibition these problems can at least be discussed and not hidden away behind the facade of a simple slip of card with a simple graphical design. Kieran seeks to express that objects should be seen with more depth and clarity especially within the current climate of diversion, distraction and development in modern society, Much will be taken from Kierans lecture most importantly the idea that all objects regardless of size, cost or design all have underlying issues which have valuable meaning which can be interjected into the social discourse of the population in order to maximise the perception of an odes or object without just looking at the surface or face value.

Fig 94 - Victoria and Albert Museum

Fig 96 - Ultra-rope, V&A Collection

Fig 95 - Palm tree phone mast

List of Figures Fig 94 - http://ikonworks.co.uk/wp-content/uploads/2014/06/victoria-and-albert-museum-see-do-museums-galleries-large.jpg Fig 95 - https://d.ibtimes.co.uk/en/full/1360774/mobile-phone-mast.jpg Fig 96 - http://designobserver.com/media/images/38454-UltraRope.jpg

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Fig 97 - http://designobserver.com/media/images/38454-Primark_ Jeans.jpg

Fig 97 Primark jeans SLIM label


Syd Mead - Visual Futurist

Fig 98 - Syd Mead, Concept artwork, Tomorrowland

Fig 99 - Syd Mead, Concept artwork, Elysium

Description

Reflective Analysis

Syd Mead is an international artist famous for his futuristic conceptual artwork. Mead has worked in multiple variations of design throughout his career. His career began within the automotive industry at the advanced styling centre for Ford, Detroit. He repositions himself within the disciplines of design within numerous projects through his life ranging from interior design of international hotels, visual concept art within entertainment design and product design within industrial applications. Designing concept art within the entertainment industry allowed Mead to create atmospheric artwork which clearly and effectively depicts a certain narrative or direction in which he believes a future scenario may be applied. Fig 98 shows the concept artwork for Phillip Bradleys 2015 Tommorowland . With the film being set within a futuristic setting Mead attempts to envision what a utopian society could appear like pulling influences from the developing technologies present in contemporary society; most notably the advancements in space travel and transport. Fig 99 shows an image depicting a modern civilisation located on a large ring structure positioned in an upright fashion. This concept has been applied within Neil Blomkamps 2013 sci-fi film Elysium. The ring structure space station within the film is applied as a utopian concept of perfection and order, however the film depicts the conditions back on earth which include mass poverty, overpopulation and automated control through mechanical humanoids. The films gives a direct juxtaposition of utopia and dystopia and fulfils the narrative across the opposing elements of the utopian space station and the dilapidated cities upon earth. Other examples within entertainment design have used the large scale ring structure in a scifi setting. The Halo digital gaming series based around large halo shaped weapons in deep space implies Meads ring concept could of been an influential factor within contemporary video games. The third image Fig 100 shows a concept image by Mead showing an earth based cityscape set in the future. This artwork openly influences the works of game franchise Mass Effect. With the narrative of a space faring civilisation rife with war, peace, trade and technology this artwork depicts a democratic society upon earth. This again pushes the utopian narrative (albeit with the inclusion of war) to a higher meaning with unimaginable technological concepts being developed within this fictional world. Mead has also undertaken concept artwork for dystopian films such as Blade Runner, Alien and Time cop however due to the narrative within ARC551 with the application of an educational based society in a utopian setting of Poole these examples did not hold enough relevant concepts to be included within the discussion.

Syd Meads artwork is easily recognisable due to the care, precision and most notably the style of paintings produced. His ability to create atmospheric scenarios full of story and dynamism have surely been perfected over his years as an artist. With the art skills he holds combined with a fruitful imagination and positive outlook on the future Syd Mead has generated an idealistic style of utopia and humanity encumbering modern technologies and social methods. The design of mechanical elements is possibly aided through his work within the automotive industry, nevertheless some would say Syd Mead unknowingly promoted the use of the motor car and individual transport within the future. Even though in contemporary society the car is moving from an utopia ideal into a distopian entity due to the pollutants effecting the environment and the shear scale of control and power the oil companies have with the idea of an individual vehicle for each person.

List of Figures Fig 98 - http://sydmead.com/v/12/wp-content/uploads/2014/10/WEBvrsnTOMRRWLND.jpg Fig 99 - http://static.giantbomb.com/uploads/original/0/5911/1538148-mass_effect_art.01.jpg Fig 100 - http://www.designophy.com/uploadedimages/ tmn/2009/01/20/16_4.jpg

Fig 100 - Syd Mead, Concept artwork, Mass Effect

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Holland Study Trip - Amsterdam

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Description

Reflective Analysis

The organised trip to Holland in March 2016 provided a unique opportunity to experience the architecture of a European city with fellow students from the Architecture group. Our journey began flying on a small propeller plane from Southampton to Schipol Airport to then get a train from the airport to the Clink Nord hostel. The hostel was a large building due to its previous life as a shell petroleum laboratory. The day of arrival having unloaded the bags early afternoon was the opportunity to first experience the global village of Amsterdam. When walking from the hostel to the town a large white angular building sits aside the river with open space surrounding the structure. The building so different to any typology seen since arriving in Holland (Fig 102). This building after approaching revealed itself to be a museum building built to holds the works of various photographers and other works involving lens art. This portrayed through the hexagonal shaped detail on the façade a geometry notable to the aperture in historic cameras. After crossing the river by ferry and arriving at the edge of the city the walkways, roads, tramways, cycle lanes and bus routes all merge in a birds nest of infrastructure directly in-front of Amsterdam Central Station. After navigating the pedestrian way through the tangle of transport the main walkways and canals of Amsterdam lay in front of us. A boulevard sprawling with people, shop fronts and food outlets. When exploring the city we found our way to one of the main squares which held the Madame Tussaud building (Fig 101). The building large and dominant over the gathering space had a regularly organised Facade with equal fenestration creating a cultural building of stature and purpose. Other architectural locations were visited throughout the trip including the Borneo housing complex ,and projects by MVRDV, these will be discussed on attached pages. The canals seen in Fig 3 meander there way through the city lined with bars, shops and food premises. Activity spreads throughout the city, the main canals provide navigation when moving laterally across the city through small alleys and walkways; all bustling with activity.

As a non frequent traveller all aspects of the trip stood at pretty much a first experience. After the first walk through Amsterdam it was clear that the town held a plethora of architectural environments which weave through the city creating a space of dynamism and prosperity. The spaces surrounding the tall slanted buildings held the most notable aspects of how a city with well designed public space can create an electric environment rife with activities and situations. There were many cafés, restaurants and seating areas from which to sit, eat drink and socialise. The city life spreads through all the intricate walkways within the city. These were vastly explored throughout the trip to ensure the full range of the city could be appreciated; not just the tourist areas. Having visited Berlin last year this was the only precedent for experiencing a European city. However there couldn’t be more differences between the two cities. Berlin has a feeling of clarity and commercialism with spread out buildings and large public spaces which even when busy with walking pedestrians can still seem thinly spread. The difference in Amsterdam having thin walkways which create a more bustling sense when filled with people. Also the public were pleasant and friendly which was not evident in Berlin.

Personal Development Portfolio - Marlow Parker

Fig 101 - Madame Tussaud, Amsterdam

Fig 102 - Eye Museum, Amsterdam

List of Figures Fig 101 - 103 - Authors Own

Fig 103 - Canal, Amsterdam


Holland Study Trip - Rotterdam

Fig 104 - Rotterdam Centrall Station, Rotterdam

Fig 105 - Unknown Building, Rotterdam

Description

Reflective Analysis

The trip to Rotterdam evolved travelling an hour by train from Amsterdam Central to Rotterdam. Rotterdam Central Station was a huge building with sleek floors, open design and thick grade solidly built cladding. (Fig 104). The main purpose of the day trip was to walk the entire city to experience a second city in Holland through its public spaces. On first impression the city felt much like Berlin due to the crisp finish to most sky rise buildings, Large public walkways and glass façades expressed throughout. There was a lot of distance between cultural buildings with neat yet complex transport infrastructure between. Lots of works by MVRDV were apparent due to there colourful and playful buildings protruding the skyline of Rotterdam. MVRDVs market hall seen in fig 106 was a large arch shaped building with a vertical curtain wall either end. Bright vivid colours made up the arch lining of the building giving again a playful nature, somewhere that’s friendly, hospitable and welcoming. After seeing the MVRDV corner of Rotterdam we walked to the financial district where buildings by Norman Foster and Rem Koolhaas were built. When moving across the large steel suspension bridge the Rem Koolhaases’ building dominated the skyline, Three large disorientated cuboid structures sat amongst one another linked with a glass facade of striated detailing. Moving to the isle and across the back of the prominent buildings finished our route through Rotterdam where a well needed coffee was needed from the New York Cafe.

Rotterdam was a really enjoyable city to walk through. Extravagant buildings were to be seen all over with MVRDVs influence really impacting the city in a positive way through its use of colour and form. The Market Hall was one of the only buildings that was seen from the inside. The large platform of market stalls, slightly staggered to minimise the corridor aspect whilst also promoting the scale of the building. The hall held multiple food and drink outlets with communal seating throughout so that time can be spent with the open view of Rotterdam ahead of you with natural daylight flooding the internal space. The city was epically windy due to the open nature of the port town. The suspension bridge was almost too windy. Driving your path of motion side to side in a battle against the elements. This being in spring season also, so it couldn’t be imagined how it feel be in winter. Once over the bridge we moved through the space behind Koolhaases’ building (der Rotterdam). It was a cold space dark and dominated by the large buildings either side. Differently dominating than the quaint toy town like buildings of Amsterdam. Overall the city was an exciting journey with the chance to see many famous architectural structures whilst moving through the clean and open public spaces. The cool colour was applied to the photos mimicking the feel of the city as a whole. Also due to the cool fresh day these photos will encumber the feeling of the day using a blue filter to cool the buildings and paces into the atmosphere remembered.

List of Figures Fig 106 - MVRDV Market Hall, Rotterdam

Fig 104 - 106 - Authors Own

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Holland Trip - Ultrect & Redfield Schroder House Description

Reflective Analysis

The second day of the Holland trip was spent walking through the city of Ultrect another location with numerous buildings designed by famous architects. We reached a university after walking through the city stopping off at a Hertzburger building which we entered into the main public space to see how his unique approach to architecture had been synthesised into a cultural building. Moving on villas were spotted nestled next to an open green space deisgned and built in the 60’s including one building by Le Cobusier. Modernist in there designs yet all different they sat with pride. Maintained well enough throughout the years and with there timeless designs they did not seem out of place within the suburban area of Ultrect. After seeing the ABC building along with buildings by Koolhaas (Educational buildings) we arrived at the Redfield Schroeder house where we would have a guided tour through the unique domestic dwelling.

Ultrect had a certain atmosphere throughout the city, not that it was dirty or rough but that it was greyer, gloomier and less lively than Amsterdam and Rotterdam. It may of been the timing we visited there as there didn’t seem to be many public activity only the odd shopper seen walking the high street. The walk was miles which may of effected the experience of the architecture nevertheless it was still a good day in terms of discussing architectural aspects of various cities with the ability to compare and contrast the three cities visited. The tour around the Schroder house was fascinating even if the expressions of the tired group were a bit mulled. The knowledgeable guide explained many interesting design aspects which were integrated into the house. Methods of phantom lighting, a marble distribution board and an upper floor which could be completely re configured to accommodate a range of activities and functions was seen. The original chair seen in fig 2 sat proudly and prominently in the main sitting area. The chair could be seen as a condensed version of the house or visa versa. They furniture complimented the design which housed intricate interactive elements which shifted and morphed different spaces efficiently.

Fig 107 - Redfield and Shroder House

Fig 108 - Redfield and Shroder House, Upstairs

Fig 109 - Redfield and Shroder House, Upstairs

List of Figures Fig 107 - https://upload.wikimedia.org/wikipedia/commons/a/a7/Rietveld_Schr%C3%B6derhuis_HayKranen-20.JPG Fig 108 - http://3.bp.blogspot.com/-IVUDxx2P550/UJDbMIspSXI/ AAAAAAAASwk/muD-8Z9QN4U/s1600/067-schroder-house-interior+copy.jpg Fig 109 - http://rubens.anu.edu.au/htdocs/laserdisk/0233/23307.JPG

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Lord Norman Foster - Inspiration and Collaboration

Fig 110 - Norman Foster on Dome Model

Fig 111 - Foster and Partners Model

Fig 110 - Norman Foster Model

Fig 111 - Foster and Partners Model (Bridge)

List of Figures

Description

Reflective Analysis

Norman Foster was invited to give a lecture at AUB on the 25th of April 2016. The main focus for the lecture was the how the use of models within architectural design is an essential process of the designing of place and space. Foster began showing a model which was 6600 years old, proving that the human mind has always sought to create forms in miniature through craft. Within the 14th Century Foster believes models were a necessary tool for the communication of craftsmen. He moves on to suggest within the 19th century models were used as a tool for exploration and investigation. Showing a 1:10 model which was the largest interactive model ever built highlights fosters love of model craft. The model city showing a futuristic urban environment allowed people to move around the city which was constantly in motion with moving vehicles and people. Foster shows examples of using models as a structural tool within construction calculations. Even if the model is 1:1 a single part can be tested like the concrete mushrooms which were built to test the large concrete cantilever. Foster continues to highlight of example where models have been a key tool within the design phases of architecture. Gaudi used models and photography to intrinsically explore his architectural ideas whilst also producing elements for communication and testing.

Fosters lecture was an interesting event due to the high profile nature of the guest speaker. The emphasis on models throughout the lecture was intense. A range of projects were shown from fosters and partners architects. Each project had a unique story of how the model was involved throughout necessary and sometime complex design phases. It is apparent that foster and partners use models as a key tool throughout project development with Fosters love of models being highlighted through the images shown of the workshop and exhibition facilities at their offices. The Projects undertaken have ranged from high profile large scale buildings e.g. the gherkin, too smaller more humanitarian based projects such as the drone station in Africa. The architecture created by Foster and Partners holds beautiful geometry honed through parametric software, however Foster was keen to show the initial sketches of projects and how drawing with pen and paper is still an as important job as model making due to the fluidity of design capabilities from the pencil. Overall it was a pleasure to hear from Lord Norman Foster himself about his architecture as it is always best to form your opinions when you get the information direct from the architect. His persona was friendly and humble although it could be detected that through his numerous lectures and speeches performed their failed to be a personal link to the students throughout the lecture and the Q+A session which followed. Foster work will always be positioned toward the pinnacle of architecture through his obvious hard work and ability to create such wonderful architecture, nevertheless it could be stated that hearing from a floating rumour that Foster and Partners holds fifty percent of the architecture market raises questions of the monopolization the office has encumbered throughout the years.

Fig 110 - http://aub.ac.uk/wp-content/processed/background/50,50,2095999482/2016/04/Norman-Foster_7u5c7626.jpg Fig 111 - http://2.bp.blogspot.com/-usknwx3clb0/T1uzc0FH4xI/ AAAAAAAALYU/niBua2MsINM/s1600/jmh_modell06.jpg Fig 112 - http://2.bp.blogspot.com/-x8K1L2lmVzE/U2fleQy3-4I/ AAAAAAAAW58/81-v5wCbx6U/s1600/IMG_5240.JPG Fig 113 - http://www.fosterandpartners.com/media/1741534/img0.jpg

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Hampshire County Council - Noon Lecture

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Description

Reflective Analysis

The lecture was initiated by the design manager of Hampshire County Coulncil (HCC), Nick. Nick began by explaining the input from HCC within the design and construction of community projects within the public realm of Winchester. Explaining the mixed group working situation of working in an office with Architects, Structural Engineers, Interior designers and History professionals. HCC perform architectural design for multiple clients including Schools, Social buildings, Adult services, Urban Design and Planning with a full scope of attributes from Feasibility to Hand over. Even once the projects are handed over the team at HCC remain in contact with the projects to initiate a feedback loop to continue positive progression within the community. Nick stated that the team work on issues of place making, ensuring that spaces provided encourage the public to stop, stay, linger or participate within architectural solutions built for the good of the community. Numerous projects were shown which included: Winchester Discovery Centre, GoSport Disocvery Centre, Waterlooville Library and Lanterns School along with a plethora of other school buildings which had been completed under the HCC. Nick was continually supporting the idea of local and uniqe heritage within the town and how the project can be interwoven within the historic fabric. After Nicks presentation two part 1 architects which graduated at AUB began a presentation on what to expect when working in practice as a part 1 architect. Various drawings and images shown from the works allowed a vision of the quality and aspect of work required when in part 1. Many programme diagrams and sketches were shown within the development of projects with attention focused a lot on the site. Other digital models were shown that had been produced in sketchup which communicated the designs of the school they had been working on efficiently.

The lecture by HCC held a large quantity of projects which were slightly hard to retain due to the speed the projects were shown. However it can be stated that the team at HCC are dedicated to provide pleasant and beautiful architecture in order to enhance the social conditions of Winchester. The projects were simple but effective creating order from chaos due to the initial phases of the designs shown being complex and thorough. The designs after passing through each stage had been refined and refined until a cost effective simple and elegant architectural solution was produced. Hearing from graduate students from AUB was helpful due to the small amount of time they are ahead within their architectural careers. The progression from AUB could be seen and allowed a sense of realisation seeing what work is produced when working as a part 1 architect graduate. Overall the lecture was extremely helpful seeing how architecture within the public space could be achieved and how the effort and want to create better spaces rather than profit within projects was a fresh sound within the current economic climate.

Personal Development Portfolio - Marlow Parker

Fig 114 - Lanterns School

Fig 115 - Gosport Discovery Centre

Fig 116 - Winchester Discovery Centre

Fig 117 - Waterlooville Library

List of Figures Fig 114 - http://cache1.asset-cache.net/gc/154462369-lanterns-children-centre-winchester-united-gettyimages.jpg?v=1&c=IWSAsset&k=2&d=GkZZ8bf5zL1ZiijUmxa7QZhK8XdeTcrxqcLjJ9PJP0CYc7V8jPCRwS7Rpn%2Bzkp2337jBLNwZk%2BoSCldJDuyz2Q%3D%3D Fig 115 - http://www.gosportheritage.co.uk/wordpress/wp-content/uploads/2015/06/Gosport-Discovery-Centre.jpg Fig 116 - http://www.dpalighting.com/wp-content/uploads/2014/09/ tn_Interior09.jpg Fig 117 - http://www.amiriconstruction.co.uk/wp-content/uploads/2014/07/Waterlooville-Library-1.jpg


CODA Music Centre

Description

2 5 .0 m

Fig 118 - CODA music centre courtyard

Fig 120 - CODA music centre, Aerial Photo

Fig 119 - CODA music centre courtyard

Fig 121 - CODA music centre Plot

Within the Summer of 2016 a project at CODA Music School is to be initiated. An existing music centre with a community driven aspect seeks design influences for the expansion to the facilities using student driven designs in order to acquire various funding for the construction and implementation of ideas put forward. Within next years PDP Document will record the progress made working on designs for the Music Centre.

Š Crown copyright and database rights 2016 Ordnance Survey (Digimap Licence). FOR EDUCATIONAL USE ONLY.

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May 05, 2016 23:32 70

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Marlow Parker Arts University Bournemouth

List of Figures Fig 118 - http://coda.org.uk/wp-content/uploads/2015/09/Coda-Music-Centre-640x360.jpg Fig 119 - http://coda.org.uk/wp-content/uploads/2015/11/P1030239640x360.jpg Fig 120 - Google Maps Fig 121 - Digimaps

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Graphic Design Collaboration - Hypermarket Microcosm

Fig 122 - Sketches for Graphics Collaboration

“The point of a maze is to find its center. The point of a labyrinth is to find Your center�

Fig 123 - Labyrinth Art

Fig 124 - Oil canvas Painting

Fig 125 - Coloured Labyrinth

Fig 127 - Coloured Labyrinth

Fig 128 - Rational Market Model

List of Figures

Fig 129 - Full Coloured Labyrinth - Hypermarket Typology

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Personal Development Portfolio - Marlow Parker

Fig 123 - http://orig04.deviantart.net/a3c9/f/2009/035/c/6/labyrinth_by_ snugsomeone.jpg Fig 124 to 129 - Authors Own


Guildford Castle Visit Photos

Fig 130 - Guildford Castle

Fig 131 - Guildford Castle

Fig 132 - Guildford Castle

Fig 133 - Guildford Castle

Fig 134 - Guildford Castle

Fig 135 - Guildford Castle

List of Figures Fig 130 to 135 - Authors Own

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Internet Videos Watched for Research and Inspiration Melancholia: Depression on Film - Nerdwriter1 Space Elevator - Science Fiction or the Future of Mankind - Sci Show Space Political History - John Locke - School of Life Harry Potter and the Prisoner of Azkaban: Why its the best - Nerdwriter1 Snowpiercer: The Artist as Historian - Nerdwriter1 Ansel - Adams: Photography With Intention Lord of The Rings: The Gravity of Objects The Next Era of Architetcure - Nerdwriter1 Timeless Things That Aren’t Really Timeless - Nerdwriter1 Blade Runner: The Other Side of Modernity - Nerdwriter1 A Serious Man: Can Life Be Understood - Nerdwriter1 The Unique Art of Video Games - Nerdwriter1 How Art Transforms The Internet - Nerdwriter1 Lord of The Rings: How Music Elevates Story - Nerdwriter1 How Hitchcock Blocks A Scene - Nerdwriter1 The Death of Socrates: How To Read A Painting How to Carve a Stone Sink in 4 hours - The Samurai Carpenter Ten Things We Wished We Kew Before We Went Off Grid - Fouch-o-matic Off Grid Earthships: Living off the Grid - The Good Stuff Middle Earth and the Perils of World Building - Nerdwriter1 Why We Need a Revolution in Energy Storage - The Good Stuff Continuous Monument by Superstudio - Willaim Fortin 10 x Tutorials on Unreal Engine 4 - Thomas Haskell Making a Japanese Marking Knife from Damascus Steel - Walter Sorrells Building a Base on The Moon - Sci Show Space How Language Can Change Our Perception Of The Solar System - Seeker Network Does This Discover Prove There’s Another Universe - DNews Nano Biological Computing - Quantum Computer Alternative - ColdFusion Its Not You. Bad Doors are Everywhere - Vox Leonardo da Vinci machines in motion - veproject1 Reflective Objects - idcreatures Sketching tutorial - How to shade basic shapes - idcreatures How to draw proportions in perspective - idcreatures Sketching Tutorial - How to draw one point perspective - idcreatures Life in a Mars Colony - SciShow Space How to draw complex rounds - idcreatures Eastern Philosophy - The Love of Rocks - The School of Life Blanched Beauty - The allure of overexposure- BBC News How to improve draftsmenship and proportional sensitivity - Scott Robertson MIT Researchers plan death of traffic light with smart intersections - Dezeen Mind of Architect 3 Concept Design - Nicholas Carnigan How many Trees are there? - It’s Okay To Be Smart Skillbuilder: Seven tips for working with acrylic - Make: ART/ARCHITECTURE - Cy Twombly Line weight demos with various pens - Scott Robertson Hidden Meaning in Blade Runner - Wisecrack Human Figures for Architectural Sketches - Themodmin

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Philosophy - Michael Foucault - The School of Life PLATO ON: The Allegory of the cave - The School of Life Archigram, Arquitectura Pop - Arcuva television - arcuvatv Instant City - Peter Cook - Leo Archigram - misterbigtown MIT Architecture: Pesonal CATTt: Surrealists - Rodanthi Vardouli Ghost in The Shell: Identity in Space - Nerdwriter Pneumatic Tubes: Transportation of the Past?...and Future? - SciShow Paper Epicness. Moleskine & Game of Thrones - moleskineart 9 Futuristic Materialds - SciShow Le Corbusier vs Salvador Dali & Terry (Modernism vs Surrealism in Architetcure) - betapicts Surrealism SmART History - Damianthemouse Introduuction to Surrealism - Spencers Painting of the Week Dada and Surrealism - the Dali Museum Sigmund Freud: Dreams and The Surrealists Exploring the Surreal with Peter Capaldi - Tate The Glass Age, Part 1 and 2 - Corning Incorporated Inflateable Space Room - SciShow Space Nighthawks: Through the Window - Nerdwriter1 The Most Controversial Lemon Squeezer of the Century - Dezeen Children of Men: Dont ignor the Background - Nerdwriter1 100+ Drawing Turtorials - Multiple Channels 20+ TED Talk Lectures - TEDTalks FZDSCHOOL of Design Channel (All 1 hour) Design Cinema - EP 45 - Painting Studies Design Cinema - Ep 85 - Mythological Creatures Design Cinema - Ep 51 - Multitasking Design Cinema - Ep 54 - Chaos to Control Design Cinema - Ep 53 - Illustration and Industrial Design Design Cinema - Ep 48 - Creature Sketching Design Cinema - Ep 62 - Real-Time Creature Design Design Cinema - Ep 63 - Black and White Value Paintings Design Cinema - Ep 36 - Traditional Mediums Design Cinema - Ep 84 - Designing to Spec Design Cinema - Ep 83 - Designing with Silhouettes Design Cinema - Ep 24 - Ancient Battle Part 3 Design Cinema - Ep 25 - Frankenstein Design Cinema - Ep 26 - Sniper Vehicle Design Cinema - Ep 28 - Vehicle Sketching Design Cinema - Ep 29 - FOV in games Design CInema - Ep 31 - Creating World Design Cinema - Ep 33 - Mech Design Design Cinema - Ep 35 - Digital Landscape Design Cinema - Ep 81 - Playing with Scale Design Cinema - Ep 80 - Mixing Surroundings Design Cinema - Ep 40 - Fantasy Landscape


Films Watched for Research of Future Scenario (ARC552) Bladerunner - 1982 - Ridley Scott

Mad Max: Fury Road - 2015 - George Miller

Elysium - 2013 - Neill Bloomkamp

Inception - 2010 - Christopher Nolan

Chappie - 2015 - Neill Bloomkamp

Children of Men - 2006 - Alfonso Cuaron

District 9 - 2009 - Neill Bloomkamp

LOTR Trilogy - Peter Jackson

Alice in Wonderland - 1951 - Clyde Geronimi

The Hobbit Trilogy - Peter Jackson

Alice in Wonderland - 2010 - Tim Burton

The Matrix Trilogy - Lilly & Lana Wahowski

Willie Wonka and the Chocolate Factory - 1971 - Mel Stuart

Wizard of Oz - 1939 - Victor Flemming

Charlie and the Chocolate Factory - 2005 - Tim Burton

Suckerpunch - 2011 - Zack Snyder

Farenheit 451 - 1966 - Francois Truffaut

Skyline - 2010 - The Brothers Strauss

Tron - 1982 - Steven Lisberger Tron: Legacy - 2010 - Joseph Kosinski Demolition Man - 1993 - Marco Brambilla Judge Dredd - 1995 - Danny Cannon

Dredd - 2012 - Pete Travis The Shining - 1980 - Stanley Kubrick

Tomorrowland: A World Beyond - 2015 - Brad Bird In Time - 2011 - Andrew Niccol

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Chapter 4 Conclusion + ARC 650 Learning Agreement

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Conclusion

Having the opportunity to explore external activities within the study throughout the 2nd year of Architecture has allowed a larger scope of projects to be researched and collated. Lectures by guest speakers are one of the most influential aspects to the work produced within the course. Hearing individuals or groups talk of there work injects inspiration. Often a lecture holds so much knowledgeable insight and application within the world of design that it can swing an existing opinion which had previously be made to the positive, or pulls the positive out of projects which may of been seen as negative. External activities such as visiting the concrete plant and seeing exhibitions will continue to be undertaken due to the vast breadth of architectural knowledge required when designing within practice. The Study trip to Holland although only a small amount has been mentioned within this document an independent book is to be published within the next year of study composed of all the photography taken plus more reflective analysis on individual buildings and schemes seen in Holland. The pages which finish are a small sample of the external media watched or read within the studies of the second year. Although Youtube videos are seen as not the most effective academic resource small facts and interesting ideas which are present in many videos have been held onto in order to be used if and when they are needed in the future.

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ARC 650 Learning Agreement

Throughout the summer of 2016 many aspects of architectural design will be researched and recorded for the return to University. ARC 650 Research and Making project will attempt to involve previous uses of architectural ideas from previous projects. More research will be done on the Surrealist movement of art and how it can be interjected into architecture in order to create unique yet uncanny spaces. The use of the Grid as seen in Peter Eisenmans works along with many other architects will also be researched in order to collect material ready for the start of the next project. Architects such as Zaha Hadid, Frank Gehry, Frank Lloyd Wright and more will also be researched to allow the acquisition of knowledge of these architects along with allowing new ideas to flourish within the time off of study. Sketching and drawing will be practiced constantly throughout the summer break, refining drawing skills in order to produce better quality drawings which are more effective at communicating ideas within the application of architecture. Traditional and Digital mediums of artwork will be practiced to enhance and spread the existing skill set. A book on the 2016 Holland study trip will be collated and printed throughout the summer again enhancing and refining skills within publication and presentation of documents. Other relevant activities will be undertaken throughout the break allowing a collection of PDP elements for ARC650 PDP.

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Profile for marlowparker

Personal Development Portfolio - Second Year BA Architecture  

Personal Development Portfolio - Second Year BA Architecture  

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