Making & Field Research by Emma, Dominic and Vikash by Mike Ramwell

MAKING and FIELD

RESEARCH REPORT

EMMA EADY VIKASH PATEL DOMINIC WARD

INTRODUCTION

CANADA FIELD TRIP

ACADIA 2013 - ADAPTIVE ARCHITECTURE

FABRIC FORMWORK WORKSHOP

MAKING WITH PHILIP BEESLEY

CASE STUDY: RED HOUSE

PAPER MODEL MAKING WORKSHOP

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DRAWING WORKSHOP

198

PRINT-MAKING WORKSHOP

234

DOLLS HOUSE COMPETITION

262

Introduction - Studio MARS The Making Architecture Research Studio explores a creative dialogue between ‘abstraction and situation, technique and tactility, art and architecture, the analogue and digital.’ 1 As the name of the studio suggests the primary method in invention and exploration in our ideas and research, is through making. The studio starts as a collective group, researching case study houses and participating in a number of workshops. We then move on to develop our own thesis projects enriched by our group work. The studio is lead by Professor Michael Stacey and a number of Assistant tutors who where past ‘Martians.’

Opposite: Unit Scalextrics competition. The unit worked as a team to design and make the course.

CANADA FIELD TRIP

Introduction In October 2013, the students of studio MARS flew to Canada for 10 days. The group stayed with architecture students from the University of Waterloo in Cambridge, Ontario. Studio MARS participated in a two day Fabric Formwork workshop aswell as a three day construction workshop for Philip Beesleys installation, Protocell Mesh, for the Prototyping Architecture Exhibition. The group also attended the three day conference, ACADIA 2013 Adaptive Architecture. Inbetween days, we visited Toronto, to see Philip Beesleyâ&#x20AC;&#x2122;s studio and watch a basketball game. We also visited Niagara Falls before heading back to Nottingham. We have documented our time spent in Canada and the exporation into making through the workshops. These can be found through the following pages of the book.

Above and Right: Studio MARS visited Toronto, Philip Beesleys Office, and Niagara in a old school bus.

Opposite Left to Right: Niagara Credit Union by Philip Beesley, Allen Lambert Galleria by Calatravo and Forever Bicycles by Wei Wei Opposite Bottom: Forever Bicycles inhabiting the square. Right: Niagara Credit Union by Philip Beesley

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Toronto Whilst visiting the city of Toronto the group visited a few architectural projects. Forever Bicycles - Wei Wei The installation by contemporary Chinese artist, Wei Wei, was made of 3,144 bicycles. We walked through the labyrinth like space created by the thousands of identical bikes. The form of the bike can be read in different planes abstracting the shape the bike. From a distance the installation becomes blurred due to the repetitive lines. Allen Lambert Galleria - Calatravo The beautiful arched roof by Calatravo is supported by eight free standing supports, the glazed structure reminds us of the amazing Gothic vaults of cathedrals. Niagara Credit Union - Philip Beesley The Beesley Bank was interesting for us to see after we had help construct his abstract installation, Protocell Mesh. The building was primarily built from stone and timber. A front veranda lined with tree-like canopies created outdoor walkways. The wooden sructures resembled that of his component designs he later developed in his installations.

ACADIA 2013 ADAPTIVE ARCHITECTURE

Above: Studio MARS working on constructing the Philip Beesley intallation for the Prototyping Architecture Exhibition in the Cambridge Galleries, Ontario, Canada. Photograph by Michael Ramwell

ACADIA Conferenece The ACADIA Conference 2013 was entitled ‘Adaptive Architecture.’ The conference ran over the course of three days, with around twenty speakers each day and three ‘key note’ speakers. The conference was held in the Knox’s Galt Presbyterian Church opposite the School of Architecture in Cambridge, Ontario. As part of our field trip we attented the lectures and participated in a two day Fabric Formwork workshop. A few students from MARS then presented the group’s work in the Pecha Kucha lectures. The lectures focused on the computational design of environmentally responsive, intelligent, interactive and reconfigurable architecture. The lectures were split according to the investgation, ranging from materials, energy, robotics, information, textiles and structures. The Protoyping Architecture exhibition curated by Professor Michael Stacey, ran alongside the ACADIA conference. As part of the exhibition the studio MARS students helped to construct the Philip Beesley installation over a three day workshop.

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Furnicular Shell Design Exploration 2 Matthias Rippman and Philippe Block ETH Zurich The lecture was presented in summary as an exploration into new digital fabrication methods that make the realisation of complex forms, such as the furnicular shell, feasible to construct. The paper presents innovation in form finding and construction methods by testing digital models as scaled prototypes to provide realtime feedback and structural inforation. The research is influenced by the form finding, hanging models of Gaudi and Otto. In response they have developed an interactive tool, RhinoVAULT, that allows for real time exploration of furnicular networks. The tool is able to produce a tessellated geometry that links the general shape to its structural analysis From the programme, they are able to 3D print models and test as prototypes for advanced masonry shells. The model opposite stands in complete compression, and unglued. The vault only partially collapses after several blocks are pushed out of the hexagonal structure.

Above: ETH Zurich investigates funicular shell structures opening up exciting possibilities through interactive, digital-tool implementation. Opposite: Unglued scaled model is 3D printed and tested to provide a convincing first validation of the capabilities of the structure.

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Opposite and Above: The thin masonry vault was modelled over the wooden â&#x20AC;&#x2DC;negative.â&#x20AC;&#x2122; Once completed the vault stood in complete compression, only partially collapsing under a heavy load.

The lecture gave a visual presentation of the team designing, building and testing the furnicular shells. The shells were tested by applying weight and force to see the consequences of removing parts of the shells. Consequentially the designs would only partially collapse, leaving the other half still in compression. The talk expressed how design can be led through prototyping, they also displayed how they had fun with the experiment. There was a close collaboration between architects and engineers, sharing computational tools to produce new unexpected forms and spaces. The experimentation of free form masonry shells is interesting. Their methodology looks back into architectural history, learning from the past, reminding me of Gothic masonry vault. However, they are innovative in applying the new techniques and technologies that are available today to a historical form findng excersise. The process of form finding, fabrication and erection opens up exciting possibilites for new furnicular shapes in the future of architecture.

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Adaptation as a Framework for Reconsidering High-performance Residential Design 3 Geoffrey Th端n and Kathy Velikov North House The North House project, which was constructed 2007- 2009, has an approach to adaptive residential design through a number of systems. The house is intended for the research and promotion of high-performance sustainable architecture. Environmentally responsive kinetic envelope components, intelligent HVAC controls and interactive interface design aimed at producing co-evolutionary behaviors between building systems and inhabitants. A model for the design of an adaptive architecture was mobilised to develop a vision for a contemporary factorybuilt high-performance home designed specifically for northern climates; one that could annually produce more energy than it consumed and is structured as an adaptable test-bed for ongoing research. The goal to reduce overall energy and resource demand while in use, would be met by developing an architectural approach that would be simultaneously adaptive to site and locational conditions, environmental resources and extreme climate variability. Professors Geoffrey Thun and Kathy Velikov and students at the University of Waterloo achieved these aims through a number of ways.

Opposite: Exploded isometric showing primary components of North House. Above: North House as installed on the Mall in Washington DC, 2009.

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The façade has a series of louvres that adjust to provide automatic façade shaping. This moved to control wind, sun, privacy, temperature, air quality and the acoustic environment. The house façade was 100 percent glazed with quad-glazed, krypton filled glass. In order to manage and make use of the broad spectrum of seasonal climate extremes which are typical of near north regions, whilst minimising energy usage and maintaining a high degree of interior comfort, the envelope is composed of a system of ‘performative and interdependent layers that serve individual as well as cumulative environmental functions and modify themselves in response to climatic conditions.’ The variable climate adaption is achieved through a combination of active and passive building envelope parts that work together, and are controlled by an integrated central system. The system as a whole was modelled to absorb and double the amount of energy that the building itself used. The excess power is fed back into the grid, making the house a net energy producer.

Opposite Top: Exterior shade configuration scenarios based on relative exterior environmental conditions Opposite: Components of Distributed Responsive System of Skins (DReSS). Above: Interior of main living space with internal and external shades deployed and light diffusing soffit above.

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FABRIC FORMWORK WORKSHOP

Introduction Fabric formwork is a contemporary type of concrete construction. It utilises sheets of woven textiles to create flexible and lightweight formwork for concrete casting. The use of fabric contrasts the usually solid formwork traditionally associated with in-situ concrete construction and allows a wider range of forms to be produced. At the start of the workshop teams were assigned to each tutor and our unit were asked to select which team they wanted to join. Our tutor was Mehrnoush ‘Mush’ Rad, who immediately began to organise the group. The brief we received for the fabric formwork workshop outlined that we must use fabric formwork techniques to produce a piece of furniture. Anne-Mette Manelius is an innovative designer who successfully uses fabric formwork to create sculptural pieces of furniture. Her series of works, Ambiguous Chairs, challenge the users perceptions of material by suggesting the chairs are soft and have similar properties to traditional upholstered chairs such as the Chesterfield. Inspired by Anne-Mette’s Ambiguous Chairs we decided to design and make a bench. Constrained to the use of concrete we wanted to explore the tactile perception of concrete.

Right: Anne-Mette Maneliusâ&#x20AC;&#x2122;s Ambiguous Chairs explore phenomenological perceptions of an object. The textured and bulging surface are associated with an upholstered chair.

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Left: The design process consisted of sketches and quick test models. The production of the bench was considered throughout the design stage.

Above: Varying stages of the construction of the primary formwork. Constructed from timber and steel cable.

The initial designs were inspired by the fluid properties of concrete and how they may influence the form when the concrete was poured into the fabric formwork. After a series of sketch designs, quick test models were produced to assess the best possible techniques to produce the bench. By using a simple frame and a flexible fabric we predicted that the weight of the concrete would cause the material to sag in the middle, creating a bowl like form. As a reaction to this prediction we questionned the way in which we could manipulate the fabric to control the form. One way that was considered to control the form was through using shaped plywood sheets to prop up parts of the fabric. Although this would control the form we felt this solution would be too rigid and would result in impressions of the plywood being left in the concrete. By using galvanised steel wires we could contain the fabric and have more influence on the final form while still allowing the formwork to naturally react to gravity. The main timber frame acted as a platform to attach the fabric to and to control the position of the wires. To contrast the usually block like appearance of concrete we aligned the wires in a twisted form as to create a more elegant base. The load of the concrete on the fabric was considered when tensioning the wires. To achieve the correct tension the wires were pulled tight with pliers and screwed into the timber frame.

Left: The images show the polythene sheeting and water experiment used to test the performance of the formwork.

Above: The fabric was carefully fitted to the formwork. Cuts were made and sewn to fit the organic form of the bench.

To assess the performance of the formwork and to try and predict how the fabric would react under load we performed a series of experiments using polythene sheeting and water. After the experiment we were confident the formwork would perform well under the load of the concrete. To reduce the amount the fabric bulged (as noted during the experiment) we added a few more wires and increased the tension of the existing wires. When the primary formwork and support wires were completed we began the task of attaching the fabric. Another thing that was observed during the experiment was the creasing of the material. We were concerned that large amounts of the fabric would become trapped in the cured concrete, especially around the edges of the base. To avoid this problem the material was carefully measured, cut and sowed around the areas that were creased. We ensured the fabric was as closely shaped to the formwork as possible. After the first layer of fabric was in place the lace was attached. Reminescent of Nottinghamâ&#x20AC;&#x2122;s traditional lace industry the lace was used to add a delicate intricacy to the finish of the concrete. To ensure the lace would not become trapped in the concrete it was pinned to the main layer of fabric.

Timber battens screwed into the top of the primary frame kept the fabric taut and further added to the structural stability of the formwork. Initial tests using staples to hold the fabric in place proved unsuccessful as the weight of the concrete would cause the fabric to rip from around the staples. To create the quilted texture of the seat a simple system for pulling the seat fabric during the pouring stage was devised. A timber frame held the seat fabric in place and was situated lower than the highest point of the frame. This would allow the seat fabric to compress the concrete and bulge upwards. Nylon wire threaded through the fabric and attached to buttons on the top surface would allow the fabric to be pulled down into the bulged concrete. The location of the buttons was uniform to create a similar pattern to the traditional Chesterfield chair. A small hole drilled into the bottom of the formwork was used to thread the nylon wires through so they could be accessed after the concrete had been poured. The entire formwork was placed onto a pallet so the wires would not become trapped. Another solution for creating the quilted texture would be to use compression. A simple frame with uniformly arranged rods could have been used to compress the fabric down in the required places. This method although as simple as the final solution would not allow us to adjust the pressure of the indentations.

Above: The series of images show how the fabric was used to create the quilted texture. The final image shows the completed fabric formwork.

Above: The formwork in place and soaked in preparation for the concrete pouring. Photograph by Professor Michael Stacey

Above Right: The use of fabric allowed large amount of water to leech out.

After the formwork was completed and we were confident it was stable the pouring of the concrete could begin. Each team was provided with a ready mixed concrete of portland cement and ballast. The usual water to cement ratio is 1:4 but we were concerned this would be too viscous and would not give a good impression of the lace. The final mix had a ratio of 1 part water to 3 parts cement. To reduce the concrete sticking to the fabric and to provide a smoother finish the fabric was soaked before pouring began. We slowly filled the formwork equally from both sides and used our hands to hold the lace firmly against the fabric. The benefits of using fabric formwork became immediately apparent as we noticed large amounts of water seeping through the fabric. The fabric was firmly patted and the timber frame was tapped to remove air from the concrete. Despite the experiments and careful preparation of the formwork parts of the fabric became creased and distorted. We used our hands to try to adjust the fabric and reduce the amount of creasing. The primary formwork held well under the load of the poured concrete. After the formwork was filled and the seat fabric had bulged we pulled the nylon wires to create the indentations of the quilted texture. The surface of the side tables was carefully skimmed for a smooth finish.

Fig.17

Opposite: The concrete was poured and allowed to cure over three days. Above: When fully cured the formwork was struck to reveal the concrete bench.

After the concrete was poured the bench was allowed to cure over three days. The use of fabric allowed water to seep out and reduced the length of time it took to cure. When the bench was fully cured the formwork could be struck. The primary timber frame was carefully removed from the bench so we could access the fabric. We used scissors and craft knifes to remove the fabric and nylon wires, paying particular care when removing the lace, The timber battens used to frame the seat fabric had became lodged into the concrete. By carefully tapping them with a mallet we were able to remove them without damaging the bench. Small parts of dried concrete remained on the fabric but we were suprised to see the intricate finish of the lace pattern was imprinted into the concrete. Bits of fabric remaining in the bench were cut closely to the concrete. We experimented with singeing the small fabric fibres left on the concrete but this began to blacken the concrete so we removed as much as we could by hand. The square edges of the sidetables had small amounts of excess concrete. These were removed using fine grain sandpaper.

Reflective Statement The intention of the design was to make a bench that is both functional and sculptural. The parts of the bench are distinguished by the quilted texture of the seat and the smooth finish of the side tables. The quilted surface rising above the square indent gives the seat prominence. The base of the bench is aligned to the center of the seat to take the load of the user. The concrete is well formed and the bench has a solidity to it that reassures the user it is firm enough to sit on. Another positive aspect of using fabric to form concrete, is that the weight of the concrete pushes the fabric down, which causes the base to be even and substantial enough to make the bench balanced. The twisted undulating form of the base could only be achieved easily through the use of fabric formwork, making this process an essential one. As we filled the formwork with concrete it slowly became apparent that certain features that we had designed would come out differently to what we expected. The curves created from the wires hadnâ&#x20AC;&#x2122;t been expressed as much as intended. To keep the intended form and to reduce the bulging of the fabric, more steel wire could be used to spread the load of the concrete. This could be seen as positive as the base became less tapered and so more elegant. The fluid properties and constraints of the concrete added to the balance of the overall form. The texture of the concrete was how we intended it to be. The lace pattern, inspired by Nottinghamâ&#x20AC;&#x2122;s historic lace industry, left an impression on the curved surface of the base as if the pattern was intricately carved into the concrete. The concrete, although solid, was slightly fragile in parts; in particular, the lace texture. This could be prevented in a number of ways such as, adjusting the mix of concrete or adding admixture to certain parts to allow the concrete to have a smoother finish. The top surface of the bench is separated into levels that distinguish where a person sits and the two side tables either side. The smooth surfaces denote the side tables. The quilted texture gives the solid material a sense of softness as this texture is associated with upholstered furniture such as the Chesterfield chair. The sides of the base have creases, but they are subtle, and simulate soft fabric.

Opposite: Completed concrete fabric formwork bench in place at the Prototyping Architecture Exhibition 2013, School of Architecture, University of Waterloo, Canada.

The strength of the design and method in which it could be formed was successful and that came through in the final product. In making the bench we used and learnt a number of techniques, which will be useful in the future. Using fabric formwork allowed us to create forms that would be very hard to make using a conventional mould. This method of forming concrete is unique because it is manipulated by gravity, and although the concrete is contained by the formwork it in turn, transforms it.

MAKING WITH PHILIP BEESLEY

Prototyping Architecture Exhibition The Prototyping Architecture Exhibition, curated by Professor Michael Stacey had been previously exhibited in the Wolfson Prototyping Hall at the University of Nottingham and the Building Centre, London. The final venue was to be held in the Cambridge Galleries at the School of Architecture, University of Waterloo, Ontario. This was to be displayed alongside the ACADIA Conference 2013: Adaptive Architecture. During our 5th year at the University of Nottingham we were involved in the construction of the Protocell Mesh Exhibit by Philip Beesley for the display in both exhibitions. Whilst on our field trip to Canada, we were invited to visit Philip Beesleyâ&#x20AC;&#x2122;s architectural practice in Toronto. As a Professor at the University, Beesley encourages students to participate in the construction of his projects. For him the development of team building and understanding of the manufacturing process through making becomes as much a part of the end result as the three-dimensional space.

Right: Philip Beesleyâ&#x20AC;&#x2122;s Protocell Mesh fabrication at The University of Nottingham, September 2012.

Protocell Mesh The Protocell Mesh project is constructed of a series of chevron shaped components that are arranged to form a suspended meshwork canopy. The meshwork is primarily composed of aluminum and acrylic scaffolding that held under tension, creating a flexible hyperbolic grid shell. 4 This structure then supports suspended filters containing a protocell carbon capture chemistry. The structure consists of three layers; the acrylic/aluminium lily structure, the ghost layer and the protocell chemistry. Philip Beesley describes his designs as an engineered landscape, ‘an artificial layer that extends and supports a living system.’ 5 The mesh becomes a new artificial scaffold to support the near-living chemistry layer. His ideas experiment with the possibilities for a future façade to be adaptive to its surroundings.

Above: Production line in the classroom, consisted of groups specialising in sections of construction.

Our initial encounter with the Protocell Mesh had been at the end of September 2012, the beginning of our first Semester in 5th year Diploma. A set of diagrammatic plans were given to demonstrate how our project had been explored two-dimensionally. These were to be the instructions to produce the complex three-dimensional space. Students felt there was an amazing contrast between the simple instructive diagrams and the final intricate mesh. The diagrams are flat and informative allowing us to engage with the construction process simply, creating a dialect between architect, constructor and user. The simplicity exaggerates how the materiality and configuration of the project is key to its visual impact. Fabrication began at the University of Nottingham, with acrylic components being lasercut in the Built Environmentâ&#x20AC;&#x2122;s Centre for 3D Design and the aluminum components were cut in Derbyshire by FC Laser. The unit group of 15 students were split into groups of 3 and 4 to begin to assemble the acrylic lilies.

Left: Philip Beesleyâ&#x20AC;&#x2122;s list of components for the Protocell Mesh. Fig.18 Right: Instructions for the formation of a single lily petal. Fig.19

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Opposite: Philip Beesleys two-dimensional diagrams instructing methods of constructing diagrid mesh and attachment of lily petals to umbrella structure. Right: Diagram of ghostlayer acrylic scaffold.

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After a series of successful generations, a system of standardised sets of parts had been developed with a tried and tested, lasercut, snap-fit joint. Whilst on the site visit to Beesley’s practice in Toronto he explains ‘Methodology in the initial production focuses on the component itself, clarifying and refining the composition,’ 6 This proved to be fundamental to successfully creating the whole mesh, especially when a team, alien to the design itself is constructing the product. The Modular structure consists of slightly varying acrylic ‘bones’ that are used multiple times in varying positions to create the structural mesh layer. This methodology has regularly occurred within the sculptural pieces of Philip Beesley’s work. The chevron link acts as the core piece in the structural mesh, once clicked into place the single component can create a carpet structure that similarly relates to a woven textile. The use of tessellated geometry of hexagonal and rhombic arrays creates a symmetry and regular tiling system. By progressively connecting the pieces, complex lily forms are created that once fixed together form the scaffolding for the chemistry below.

Left: Components for umbrella tension structure. Below: Acrylic lily structure.

Right: Lily petals connecting to umbrella structure.

Left: Philip Beesley mixing the chemistry to form the protocell.

Above: Production line during the making process.

Thousands of components were delivered and the parts were placed into a systematic order for the construction to begin. As in a typical manufacturing line, sub-assemblies were formed by groups constructing the different fragments of the structure. This allowed us to break down the instructions and focus on perfecting a methodology for one aspect of the construction, speeding up the process. A classroom in the gallery was transformed into a working assembly line. The system allowed the group of students to assign roles and manage themselves; we became a small working community, commonly working with the same end goal. The acrylic components snapped together with a system that did not require any fasteners, the aluminum components utilized a slot fit joint relying on tension to keep the form. Due to the harsh edges of the components and the nature of the material, we found the process of connecting components would cut our hands. Cable ties were often needed to hold the aluminum chevrons in place until the umbrella tension rods could support the lily scaffold.

Meeting Philip Beesley By working closely with both materials it was clear how Philip Beesley had foregone a thorough exploration of the material qualities, manipulating the acrylic and metal to allow for bending and compression under tension. On the first few days of production we worked under the supervision of the project coordinator, Jonathan Tyrell, a staff member of Philip Beesley Architect Inc. On the third day Philip Beesley joined the production team. The group was eager to meet the designer of the mesh we had quickly become so familiar with. Throughout the day we engaged with the architect and allowed him to choreograph the final few stages. Beesley was interested in how we were finding the experience; we discussed what issues had occurred and how we felt about the process. After the intense two day lily assembly workshop, we began to start hanging the structures from the roof of the Woolfson exhibition hall. The process required us to work again as teams to adjust the heights of the lilies and then begin to fix them together, once elevated. Specialised acrylic joints were attached to allow the acrylic â&#x20AC;&#x2DC;ghost layerâ&#x20AC;&#x2122; to clip onto the mesh and hang the chemistry. After six days, the team had finished construction and the Protocell Mesh was ready for the opening of the exhibition.

Overleaf: The opening night of the exhibition with a finished Protocell mesh.

Right: The group working in the Wolfson Exhibition hall, constructing the meshwork.

Philip Beesley and the London Building Center For the second stage of the Prototyping Architecture Exhibition, the Protocell Mesh was to be disassembled and transported to the Building center, London Euston. The disassembly involved six people. The mesh scaffold was separated into its individual lilies which were to be stored and transported individually. The ghost layer and protocell chemistry were to be transported in boxes. The disassembly took around six hours. Reassembly consisted of a three day period with the manpower of four people. The exhibition space was much smaller and construction of other major exhibits such as the Loblolly house section was also to be coordinated at the same time. It was therefore important that we were efficient in our working method. The lilies managed to keep their form through transportation, it was therefore only required to elevate and join them together. As we had recently worked on the structure we were confident with what was required. We had gained skills and were able to work the material to ensure the joints fit correctly. Construction was therefore much faster.

Above: Studio MARS constructing the Protocell Mesh in Cambridge Galleries for the Prototyping Architecture Exhibition.

Studio MARS and Beesley During the period of visiting the School of Architecture at the University of Waterloo, the MARS team worked on constructing the exhibition for the final time, exactly a year after our first introduction. The workshop was spread over three days with 22 students working full time and a handful of local volunteers coming and going. The team consisted of 6 people who had previously worked with the Beesley Mesh and 16 who had not yet been involved in its construction. The schedule was tight and so quick organisation and methodology was required. Philip Beesley briefed the previous team members to remind them of the process. It was key to the production of the project that a fast production line would work. The member who had worked on the meshwork would brief a small group on how to construct the lilies in a system that resembled that of the classroom production line in Nottingham. Due to jet lag and their first time experience with the chevron components, the students took a while to understand the method of connection. After a few hours the production was at a steady pace and the meshwork began to take shape.

Left: Studio MARS constructing the Mesh in Cambridge Galleries.

Right: Studio MARS constructing the Mesh in University of Nottingham Prototyping Hall.

The transportation of the meshwork had not been so successful from London to Canada. The majority of the lily scaffold had been broken which required a lot of time fixing the structure. Due to the amount of times the metal and acrylic had been worked, individual pieces were also damaged and broken. A group of students had to improvise. To fix the broken joints rubber tubing, intended for the chemistry, was used. A key component was also missing in transition, we therefore had to recreate the piece by cutting extra C9 chevrons and adding rubber tubing to recreate the missing component. Further to this, we ran out of supplies of the C16 joint, a key component in the connection of the lilies. Due to the universal connection between each chevron, we explored the ideas of connecting the structure with a different component. Through testing, we found the joint did not provide adequate tension for the structure to support itself. Beesley therefore introduced new prototype C16 components that were currently being tested on newer designs. Alterations had been made to the connection joint in which the dimension of the join remained the same but had an added circular lip. The connection became much easier to handle due to the added flexibility that allowed for a slight expansion of the chevron legs to accommodate an easier fit.

Above: Improvising by fixing transportation damages with rubber tubing

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Above: Beesleys new C16 prototype. The new version on the left only differs slightly from the older C16 component on the right.

This was kinder on the hands and proved to be faster in construction. The new structural explorations of the aluminum material demonstrated how the design of the components and assemblies has been an evolutionary process, developed and refined according to demands in flexibility and strength of the material.

Philip Beesley Architecture Inc. In between construction days, Professor Philip Beesley invited us to his architecture practice in Toronto. It was our opportunity to see what Beesley was working on a year after the Protocell Mesh. The workshop consists of a large studio with smaller workshop spaces for laser cut manufacturing and other practices. Boxes stacked full of components were being prepared to be transported to his new exhibition in South Korea, where the process was to start all over again. The space is extraordinary, with prototypes of new ventures hanging down from a systematic grid that Beesley has created from the old industrial ceiling. Bulbs of glass and acrylic feathers hang from the windows and doors, every space from wall to ceiling is used to study the structures. It is clear the process of development is through experimentation and research in making.

Above: Philip Beesley explains his new acrylic component. Using heat to expand and stretch a circular disc.

Right: Beesleys hanging components allow you to become absorbed into the design. Making is expressed as the forefront of development.

Above: Philip Beesley shows MARS around his workshop. Boxes full of prototypes are to be sent to South Korea for his new installation.

Philip Beesley described his new exhibition in South Korea. The exhibition will use a series of computational devices and sensors that work through intimacy and touch. The structure will sense the viewer moving in â&#x20AC;&#x2DC;gentle muscular movementsâ&#x20AC;&#x2122; that signify the human presence. Further to that Beesley has introduced a new component resulting from further exploration of acrylic. Beautiful vase like structures were created through the expansion of acrylic after it had been heated. A circular disc laser cut with chevrons was stretched to form the same tessellated, diagrid geometry mesh. The process involves the loss of the individual component producing a lightweight scaffold that is quicker in production. Beesley demonstrates a very researched focused programme, collaborating with artists, scientists, architects and engineers to produce each installation. The studios design methods combine the craft of building with advanced digital visualisation and digital prototyping. Beesley uses visualization programmes Rhino and Grasshopper as well as two-dimensional CAD to explore all aspects of design.

Conclusion Philip Beesleys ability to design a set of components to produce an amazing mesh system that is both visually attractive but structurally smart proves that it is through rigorous prototyping and analysis that you achieve the finalised product. The meshwork design has allowed for easy transportation and installation both nationally and internationally, demonstrating a flexible system that proves to be easy to change and reconfigure. This allows for further expansion and development where new prototypes can be easily accepted. The process allowed a group of students to become a successfully functioning construction community. The classroom was an enjoyable area to work in as there was a strong feeling of enthusiasm and determination to produce the final structure. The craft of the build became a personal attachment and ownership of the installation of which we were proud to be a part of. Much like many complex buildings, as a large three-dimensional structure, is it hard to comprehend how it is made. The Beesley workshop provided an educative process whereby through a method of interaction with singular components, a body of knowledge began to develop through an understanding of material limitations, layering compositions and making.

Above: Studio MARS helped transform the exhibition space into a production line.

CASE STUDY: RED HOUSE PHILIP WEBB

Introduction Sitting in a suburban district of Bexleyheath, South East London; Red House today remains hidden behind its high red brick wall and close-boarded gates that line the perimeter. A single blue plaque reads,

Red House, built in 1859-60 by Philip Webb, architect, for William Morris, Poet and artist, who lived here 1860-1865. Introducing the thousands of visitors it attracts to the period in which English Architecture became an international influence. The beginning of what is known as The Arts and Crafts movement. The house today, remains not so different to how it once looked to the excited visitors and friends of William Morris almost 150 years ago The story of Red House comprises that of architect and artist, an endearing relationship between two young entrepreneurs, sharing a passion for experimentation and good craftsmanship to create a fresh domestic architecture in a Victorian, industrial age.

Right: Red House is plain from the outside. Inside, William Morris and friends would paint the walls, ceiling and windows with their art.

Architect Philip Webb and Artist William Morris, together created an enterprise that challenged the manufacturing methods of mass production within the growing industry. The pair engaged in medieval techniques to restore the workmanâ&#x20AC;&#x2122;s enjoyment of his work, rejecting the machine and together with friends, creating a community of artisans to complete his dream house. Historically, the house becomes a manifestation of Morrisâ&#x20AC;&#x2122; & Webbs aesthetic vision and the beginning of a partnership that would lead to the historically celebrated firm Morris, Marshall, Faulkner & Co.

Right: A hooded entrance to the ‘pilgrims rest’ marks the informal entrance to Red House. The space has a small chair, where Morris would enjoy this ‘outdoor room.’

Arts and Crafts ‘Art is the expression of pleasure in labour.’ 7 Morris & Webb deplored the transformation that rapid industrialization had brought upon traditional English life. A common aim was to reunite a harmony between life, work process and product, this was highly influenced by key socialist leaders of the time, namely architectural theorist John Ruskin. Ruskin believed the way to bridge the gap between art and industry would stem from Gothic revival, he rejected Classical architecture and its symmetrical rules and rigidity and looked for expression; ‘reflecting order and stability of the Christian faith.’ 8 Through architecture he hoped to reunite craftsman and designer. Ruskins teachings became prominent in many Arts and Crafts buildings, in particular, a chapter The Stones of Venice expresses ‘the building had to be truthful before all. The worker must once again become a thinking being, able to enjoy the independent creation of his hand; this was the prerequisite for human existence.’ 9 The chapter inspired principles of the Arts and Crafts movement - honesty in construction, emphasis on the workman, tactile observation and respect to the historic culture and surrounding nature.

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Above: Gothic Architecture influenced the beautiful proportions of Red House and the freedom of the facade.

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Ruskin explored how the honesty of Gothic architecture could respond to every demand unhibited by rules and open to experiment.

â&#x20AC;&#x2DC;Gothic is not only the best but the only rational architecture, as being that which can fit itself most easily to all services, vulgar or noble. Undefined in its slope roof, height of shaft, breadth of arch, or disposition of ground plan, it can shrink into a turret, expand into a hall, coil into a staircase or spring into a spire.â&#x20AC;&#x2122; 10 Webb agreed with the freedom Gothic Architecture allowed in craft and workmanship but rejected ornament. He believed in simple, honest forms that were without style but built to re-establish a sense of place and consistency with regional traditions and craft. He aspired to create an architecture that would return to a production in which function, form, and material were closely connected.

Left: Bexleyheath by John Tennant, 1841. Bexleyheath was wild open countryside before the railways bought development to the area.

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During the summer of 1857 William Morris together with Webb and his close friend Charles Faulkner went on a trip to Northern France. They expressed a great interest the beautiful Gothic Cathedrals, its fine proportions and expression of craft. During the trip, a development of an idea was discussed to build a house for himself and his new wife to be Janey. He quoted, â&#x20AC;&#x2DC;a small palace of art of my own.â&#x20AC;&#x2122; 11 After much deliberation, a site in the beautiful fields of the town Upton Bexleyheath was chosen for its picturesque landscapes away from the smoke stacks of London. Bexleyheath was positioned three miles from Abbey Wood train station allowing Morris to conveniently travel to London most days. Morris bought a field with an orchard, on which the house was to be built, surrounded by the already matured apple and cherry trees. It was specified that very little trees were to be knocked down therefore dictating the orientation of the house and placement of key windows. It was later told, the house was built so close to the trees, apples would fall into open windows on hot summer days.

Below: Upton - Bexleyheath in 1870 as a series of Orchards and fields, with a small town named Hog’s Head a mile from Red House site.

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Building Red House â&#x20AC;&#x2DC;I got a friend to build me a house very medieval in spiritâ&#x20AC;&#x2122; 12 Webb and Morris began design on the house closely collaborating as artist/client and architect. Their method was to take influence from the Gothic spirit of good proportions but reflect the context of the site and architecture of the current period. The pair rejected ornament as necessary decoration, believing that good materials, arranged in a straightforward fashion, would be beautiful enough in themselves. The house was to be built from modest red brick, inspired by parsonages and schools designed in the 1850s by Gothic Revivalists, George Edmond Street and William Butterfield. The decorative brick was an original choice of the time contrasting the stylistic stucco and slate of the Queen Anne style that remained a popular choice in districts where stone was not a native building material.

Above: Morris and Webb designed the furniture for the spaces whilst desiging the house. The furniture was originally painted on by friends. It has since been painted over.

The house was also to be notable in its contrast to conventional domestic arrangement. Its original ‘L’ shaped plan, highly contrasted the box-form Georgian and Victorian terraces that lined the streets of London. Its informality and openness astonished people of 1860 whom were not accustom to this form. Morris friend Edward Burne-Jones notes his experience of Red House.

‘Feeling at home at Red House did not merely replicate the normal pleasures of Victorian domestic comfort but marked an ambitious attempt to re-shape social relationships through a re-oritentation of domestic shapes and objects.’ 13 The project was not to be isolated to the house, every aspect would be designed in great vigor. Webb and Morris would design all the furniture as personal and bespoke objects. Morris quoted his reasonings were ‘to escape the flat ugliness of the current article.’ 14 Throughout the project a great energy and care was applied to all aspects of craft exploring the roots of craftsmanship but always conducted in a lively, fresh manor.

Living in Red House ‘More a poem than a house…but an admirable place to live in too.’ 15 The house was to be built for Morris and his wife, Janey to live in shortly after their marriage. In 1859, the couple moved in to a furnished, blank canvas Red House. For many Red House was described as ‘open house,’ with Morris regularly inviting friends over for ‘working parties’ and active days playing bowls in the garden, practical joking and decorating the blank walls and ceilings with paintings and embroidery. Friends would stay over for the weekend, one friend writing ‘O the joys of those Saturdays to Mondays at Red House’ 16 In the mornings William Morris would teach the women how to print and embroid wall hangings. They would be asked to engrave furniture and decorate the ceilings of halls and rooms. The activities allowed women to express creativity in an unconventional way. The men meanwhile, would collaborate together to map out the next stage of decoration. In the afternoons the friends would indulge in games and great feasts. Morris allowed the house to be a place that reflected his celebration of art and craftsmanship. Red House became a device that promoted an interaction of craft with his friends. He did this by revealing the built form through its gradual development with those who do not interact with architecture in such a way.

Right: Stained glass painting was to be sold by Morris, Marshall, Faulkner & Co.

Interior design merged into a unified whole that would provide the appropriate atmosphere to foster domestic harmony and instill creative energy to its inhabitants and visitors.

Morris, Marshall, Faulkner & Co. The enjoyment of close collaboration and commitment between the group led to discussions of a more formal business arrangement. Morris proposed a manufacturing and decorating firm that would commission household furniture and decoration to sell to the market and improve decorative arts in England. Morris, Marshall, Faulkner & Co. Design was established. Morris and his friends would design and craft furniture, stained glass windows, embroidery, printed wallpaper and tapestries. In a letter to his old tutor requesting a list of clergymen, Morris writes â&#x20AC;&#x2DC;we are, or consider ourselves to be, the only really artistic firm of the kindâ&#x20AC;&#x2122; 17 Throughout these years Red House lavish scale developed. Layers of experimentation allowed the beauty of the house to naturally progress.

Opposite and Right: Wallpaper, painting and embroidery was to be sold by Morris, Marshall, Faulkner & Co.

Leaving Red House ‘Red House is the most beautifullest place on earth.’ 18 After 5 years at Red House, friends Edward & Georgie Burne-Jones had to cancel plans to move into the new planned extension due to financial problems. Morris continued to have bad stints of poor health due to his long daily journeys to and from London. It was therefore agreed Morris and his family would move to London into Kelmscott Manor. A devastated Morris vowed never to set eyes on the house again. He had a great attachment to his masterpiece of craft - the growth of William Morris, the inspiration – development of great imagination. Shaping his life. Red House demonstrates an ideal example of how celebrated art and craftsmanship can educate and provide a community. The house itself became an architectural experiment that enlightened the future of domestic architecture.

‘The message will be of nature and man, of order and beauty, but all will be sweetness, simplicity, freedom, confidence and light.’ 19

Philip Webb’s Approach to Architectural Design Red Houses’ admiration and influence among the architecture profession of its time resulted from several aspects of innovative design in which the creation of the Arts and Crafts movement was perceived to have begun. A moment in `British architectural history that made an original contribution to the course of architecture on an international scale.’ 20 are claims of Muthesis in his book Das Englische Haus. This presented Red House, as a theoretical foundation of the modern movement. Philip Webb’s Red House remains today a significant approach to architectural design in its clear adoption of rejecting style and disregard of inventing a new one. Architecture in the mid-nineteenth century was predominantly designed by the Classicists and Gothic revivalists. Architectural style remained at the forefront of design for domestic development. Webb studied many periods of architecture and believed the architects of the 19th century had lost progression in design. He believed design should reflect society of today, rather than reviving past traditions, differing with Ruskin who strongly proclaimed great architecture could only come from gothic revival.21 Instead, Webb began to build simply and rationally, recovering traditions from the old master-mason and breaking out of the renaissance moldings. It was through good building knowledge, composition and no style, Webb believed architecture would be revived.

Above: Webbâ&#x20AC;&#x2122;s plan of Red House colour coded and labelled with extensive instructions for the builder.

Influences Gothic Architecture was admired for it simplicity and proportion. When designing Red House in 1858 â&#x20AC;&#x201C; Webb looked for inspiration from mid-nineteenth century architecture. In particular Webb had an admiration for the simple, vernacular vicarages, village schools and cottages of his previous tutors, Gothic revivalists, William Butterfield and G.E Street, both of whom were highly influenced by Pugin. Webb had been involved in developing some of the buildings and had extensively studied the vicarages and cottages of Alvechurch (1855), Great Bookham (1856) and Baldersby (1855) by Butterfield. Studying Red House we began to draw clear similarities between the house and its influences. Webb had adopted Butterfieldâ&#x20AC;&#x2122;s use of vertically sliding sash windows; this was a functional improvement to the casement windows found in many 19th century buildings. The sash windows improved access to open windows freely. Much of the roof and chimney details reflected Butterfields work and the use of red brick had been used in many of his parsonages.

Right: St Nicholas church, Greak Bookham. Far Right: House in village of Baldersby Below: Baldersby St James Primary school All built by William Butterfield.

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The oriel window supported on a pier resembles Butterfield’s Alvechurch Rectory and the stair tower, bell cage is like the ridge of Butterfield’s school in Great Brookham. Webb has also been greatly influenced on their French trip, the dormer windows and the rows of circular windows in Red House, reflect the clerestory fenestration of the church at Mantes. Other influences came from tudor cottages, brick built barns and oast-houses found locally to Red House in Kent. According to Sheila Kirk, Webb’s most recent biographer, Red House has become known as the first ‘parsonage manor.’ Due to its striped back simplicity, it resembled the quick build parsonages and schools of the 19th Century. Webb repeatedly simplified his designs, although Red House was filled full of decorative design, the interior and exterior has no carved ornament. Its medieval arches and beautifully patterned chimneys were without gothic detailing, simply expressing the materials natural quality.

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Above Left: Alvechurch Rectory, William Butterfield Above Right: Tudor cottage in Kent Right: Notre Dame Mantas Cathedral, Paris

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The Rejection of Ornament Webb believed ornament was not honest construction and quite often would conceal bad structural work. On approaching Red House, you will notice the external expression is plain, no moulded cornices, or ornamentation. The absence of conventional decoration is countered by variety of detailing. The exterior has recessed relieving arches, sloping sills and windows of all shapes. The roof is a beautifully composed combination of gables, hips & half hips, dormers and a variety of coping and eaves details. The expression of large chimneys and sweeping roofs ground the building to its surrounding landscapes.

Above: Red House facade has no ornament. Webb relys on suttle arched brick decoration around the windows and doors.

Above: Webbâ&#x20AC;&#x2122;s drawing of the feature Well in the garden. Webb lists construction details alongside and supplys detailed measurements.

Dialogue with Tradesmen Philip Webb served a two year apprenticeship with a builder, during these years he gained an extensive building knowledge and an independent approach towards architectural design. He would often speak to the tradesmen on site and learn how their local trade differs. Consequently, he was extremely advanced in the understanding of materials and architectural craft. Webb would study colour and texture and learn the method of working the material, cleverly placing materials together to contrast and balance tone. He would base his designs on his extensive knowledge of the effects of weather, moss, and lichen on materials, walls, and roofs of all aspects, and of the buildings of every type, size and age.22 The drawings for Red House much like his following projects, were colour coded for construction. The sections and plans almost read like a set of instructions to the builder. Webb would reinstate the builder as an artist calling them his â&#x20AC;&#x2DC;workmen.â&#x20AC;&#x2122; This relationship between architect and builder allowed for design and build to be unified.

Overview Red House is situated in Bexleyheath in an old orchard that was chosen by William Morris due to its ‘aesthetic, romantic and practical grounds.’ 23 The garden was important to Morris and the old fruit trees of the orchard make the new garden look established straight away. Philip Webb designed the building, but William Morris the client was closely involved and was in charge of the interior decoration. Philip Webb and William Morris shared a general view of art and found that ‘all the minor arts were in a complete state of degradation.’ 24 So Morris decided that almost every item needed for furnishing and decorating the house was to be specially designed and made. The house was a fun place to live in, life there became an enjoyable ‘mixture of conviviality, practical joking, playing games on the bowling-green in the garden, painting works of art, decorating the walls, ceilings and woodwork of the house, and designing furniture and other household items, or embroidering hangings...’ 25 The building is separated into two parts: the living spaces and the servant spaces. The living spaces are where William Morris and his family lived and the servant spaces are where the servants lived and worked. The building is a ‘L’ shape in plan and this shape follows through to the first floor. The two parts occupy the two wings and in the middle are the hallway and the main staircase, which was called the ‘heart of the house.’ 26

Living Spaces Servant Spaces Circulation Spaces

Above Right: Garden and where the bowling field used to be, on the west side of the house. Right: South-east garden, previously the well-court.

William Morris and Philip Webb’s approach when designing Red House, was the importance of making the individual spaces inside work well. This is shown through the collection of windows, which vary in shape and size, apparently ad hoc yet specific to the rooms and spaces, almost disregarding the buildings external symmetry, but working well as windows in a room. The windows consist of tall casements, hipped dormers, round-headed sash dormers and bulls eye windows. There wasn’t a disregard to the building as a whole though. One of the reasons for making the building a ‘L’ shape was so no trees where knocked down and so the existing orchard was still whole. Webb thought the unity of the landscape was important. The L-shaped plan also allows the house to embrace the gardens as a part of the domestic sphere, as well as creating an asymmetry that is typical of traditional Gothic structures that were built over long periods of time. The roof is an interesting part of the house. The varying pitch heights of the roof show the influence of Gothic architecture on Webb. The roof plays with the idea of linking the building with the surrounding greenery as the slopping roof reaches down to meet the climbing plants on the walls of Red House. Red House was very different to the square Georgian houses with slate lids that Morris and Webb disliked. It was a ‘well-controlled, beautifully composed and proportioned assemblage of varied parts, unified by the strong colouring of the red bricks of the walls and red clay tiles of the striking roofs.’ 27

Opposite: The entrance of Red House.

Walkthrough of Red House The entrance is on the north side of the house, and the main rooms in the two twostorey wings face outwards towards the garden, while the passages faced the well court, and the pyramid-roofed stair tower acted as a pivot between the two wings. The dining and drawing rooms occupy the western end of the northern wing. On the ground floor, left of the hall, there was a waiting room for potential patrons. Through the well-lit passage on the left of the hall is a guest bedroom and an inset garden porch named by Morris as the, ‘Pilgrims’ Rest’. The passage is repeated on the first floor, where it leads past the master bedroom to the L-shaped studio. This was the main room of the building and where it was in the building ensured the room was well lit. The west wing of the house consisted of kitchens and domestic offices on the ground floor. The first floor of the west wing housed two family bedrooms, the housekeeper’s bedroom and the maids’ room, which was divided by curtains into three. The house had no bathrooms or central heating which where considered as luxuries at the time, but provided water closets.

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Above: Observational hand drawing of Red House.

Left: Exploded Isometric drawing of Red House. The complex roof has varying pitch heights making each room a height specific to its function.

1. Corridor 2. Hall 3. Sitting Room 4. Reception Room 5. Dining Room 6. WC 7. Pantry 8. Kitchen 9. Scully 10. Corridoor 11. Studio 12. Bedroom 13. Drawing Room 14. Servants Quarters

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Technical Drawings Plans The plan of Red House is different to other buildings being built at the time. Victorian houses often had rooms that are accessed via other rooms but Red House has every room off a circulation area. In Victorian houses the main rooms are on the ground floor and instead Red House has some of its main rooms, the bedroom and studio, on the first floor. The house was pushing the boundaries of domestic architecture creating an ‘informal’ plan different to the contemporary ‘norm’. The orientation of the L-shape allowed the building to fit into the existing orchard without the felling of any trees. The plan shows the variety of sizes the windows have and that their symmetry is discovered through the internal spaces rather then the external facade. Throughout the house the doors and windows of the rooms line up.

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Ground Floor Plan Scale 1:200 01. Dining Hall 02. Hall 03. Sitting Rooms 04. Lavatory 05. Pantry 06. Kitchen 07. Scully 08. Kitchen Court

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First Floor Plan Scale 1:200 01. Drawing Room 02. Master Bedroom 03. Studio 04. Guest Bedroom 05. Guest Bedroom 06. Sitting Room

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Roof Plan Scale 1:200

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Elevations As previously stated, Webb looked at each room individually as a space and the windows where placed to suit the spaces rather than adhere to an external symmetry. The north side, that was the most public view of the house, is more formalised in the positioning, shape and size of the windows compared to the other facades. The south and east facades that face the well court have a variety of window shapes and sizes to give different views as you move through the house. As Red House had been influenced to a degree by Pugin, Butterfield, and Street, the position and relative position and importance of each room might have been expected to be obvious externally. The drawing room is expressed on the exterior by having its own roof, which happens to be the tallest one; and the main staircase, the hub of the house is expressed externally by its large windows and pyramid shaped tower. But, the maidsâ&#x20AC;&#x2122; staircase, drawing room, studio, kitchen and pantry all have windows with similar pointed relieving arches, and from the outside the studio windows give the impression of two distinct rooms.

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Above: Elevation Key Plan Opposite Top: North Elevation, Scale 1:200. Below Right: East Elevation, Scale 1:200.

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East Elevational Section Scale 1:100

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Like the interior, the exterior of the house shows the experimental nature of the house. The combination of gables, hips and half hips, dormers, ridges at right angles and ridges in parallel, a cat slide, a pyramid stair tower and more varieties constitutes a sampler of roofing forms. Webb experimented with different roofing types. There are many seemingly unintentional quirks about the house such as the zigzag brickwork under the exterior of the bay in the drawing room, which covers part of the dining room window shown in the West Elevation.

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Above: Elevation Key Plan Opposite Top: West Elevation, Scale 1:200. Below Right: South Elevation, Scale 1:200.

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South Elevational Section Scale 1:100

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Section AA Cut Through North Wing Scale 1:100 1. Grand Staircase 2. Dining Room 3.Drawing Room 4. Morrisâ&#x20AC;&#x2122; Bedroom 5. Studio.

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Section BB Cut Through West Wing Scale 1:100 1. North Entrance 2. Entrance Hall 3. The Garden Passage 4. Grand Staircase 5. Upper Passage 6. Morrisâ&#x20AC;&#x2122; Bedroom 7. Passage to childrens bedroom 8. Servants Passage 9. Servants Staircase 10.Water closets.

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Garden Plans The garden was an integral part of the house. The ‘L’ shaped plan allows the house to embrace the garden as a domestic square. The idea of a garden was a series of exterior rooms. The rooms consisted of a herb garden, a vegetable garden, and two rooms full of old-fashioned flowers—jasmine, lavender, quinces, and an abundance of fruit trees—apple, pear and cherry. Currently the garden rooms are not separate spaces and through time the idea of garden rooms was lost.

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Old Garden Plan (1859) Scale 1:500 1. Medieval-style small “rooms” enclosed with wattle fencing 2. Brick Well 3. Wattle Fencing 4. Bowling Green 5. Apple Orchard

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The garden as it stands at the moment has gained space. The orchard is still intact and although the idea of garden rooms has been lost the National Trust are considering re-establishing the â&#x20AC;&#x2DC;garden roomsâ&#x20AC;&#x2122;. The garden rooms where separated by bushes and that were designed by Philip Webb. Today the garden is up kept by volunteers of the National Trust.

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New Garden Plan Scale 1:500

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Key Spaces and Interior Red House had an intricately designed interior, which William Morris consistently developed overtime. Morris and his colleges, along with trusted designers designed the stained-glass windows, wallpaper, paintings and furniture. The interior never seemed to be finished as it was always in a state of flux, since they used Red House as an experiment for the business. William Morrisâ&#x20AC;&#x2122;s business included the design and making of wallpaper, stained glass, tapestry and furniture and this echoed throughout the house. The house has many keys spaces and rooms. The keys rooms usually have a unique fireplace, feature wall with big windows and a large piece of furniture. The hall was regarded as a key space and even a room. The hall had a unique and complex fireplace as well as a large piece of furniture. Like the rest of the interior the hall had ornaments in abundance. The wooden decorated stair is a sculptural ornamental piece that bends around to meet the floor above. Wedged timber stairs, commonly found in Victorian terraced houses were often covered, unique to Red House, the underside of the stair hs been exposed to express the structure.

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Opposite: Staircase situated in the hall of Red House.

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Opposite: Hall leading to Studio on the first floor. The furniture piece and windows draw you down it. Above Right: Hallway on ground floor. It was designed as a functional room hence the placement of a fireplace and large furniture piece. Right: The main staircase. It was seen as the â&#x20AC;&#x2DC;heart of the houseâ&#x20AC;&#x2122;. The placement of the windows draw you up the stairs offering different views as you progress up.

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Studio The main rooms have a theme of having one large piece of furniture, a fireplace, and feature wall of windows. The east elevation of the room has a high circular window, which adds character to the room. The studio was seen as the most important part of the house, it is where the designing and craftwork was conceived. It is located on the first floor for the best light, and positioned where it could have windows on the north, east and south walls. High levels of light came through the circular window in the east gable and a dormer on a inner slope of the double roof, and was reflected by the inclined planes of the ceiling. The way in which the windows collide on the corner plays with the Modernist idea of a frameless corner window. It seems like this room has been experimented on more than the other rooms. The details around the room of hxow the ceiling meets the wall and how the wall meets the floor are unique. The windows in the studio have windows facing north, east and south bringing a large amount of light into the room, responding to its function as a studio.

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Above: On-site study of the internal spaces of Red House.

Above: Important details in the studio Right: Isometric drawing of the studio.

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Drawing Room The drawing room was the liveliest room of the house. The Morris family always had guests over and this is the room they would sit and entertain their guests in. It is where they would talk socially about their work. The first room to be met once fully up the staircase, it has three large north-facing windows and west-facing windows. The triple lancet windows, unlike most of the other windows had casements which folded inwards compared to the other windows which where vertically sliding sashes, which Webb believed gave better ventilation. The major rooms overlook the gardens, with views of sunlit countryside through the north-facing windows. The window seated oriel with leaded lights of small diamond-shaped panes formed an intimate sitting area that also admitted southerly light into the room. The room is full of decorative furniture and details. The windowsills on the westfacing windows are of a certain height and were extended to be used as a bench. The main piece of furniture in this room is a large cupboard that has benches and also had a space at the top for small plays to be enacted.

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Above: On-site study of the internal spaces of Red House.

Above: Details of the drawing room. Right: Isometric drawing of the drawing room.

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Dining Room The dining room is an important room as the Morris family had a lot of guests around for their dinner parties. The dining room is quite a pleasant room with windows looking out onto the side of the garden where the bowls pitch is. The windows are tall and are placed quite low so you can see out of the window when you are sitting at the table. The table is a famous piece of furniture designed by William Morris. Webbâ&#x20AC;&#x2122;s intension was provide as simple a background as possible to give Morris free reign in the decoration of the house. The dining room was to have had a series of twelve embroidery panels, each bearing a figure in applique designed by Morris.

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Above: On-site study of the internal spaces of Red House.

Above: Details of the dining room. Right: Isometric drawing of the dining room.

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Fireplaces The fireplaces throughout the house are unique to each room. The fireplaces where made from brick and were created using experimental methods. Webb and Morris turned the common brick into a piece of art. The bricks were alternated, diagonally laid, shaped differently and curved. The technique they used to curve the brick was to rub the bricks together to create the shape needed. The bricks to be rubbed were taken from the top of the kiln so they where more soft. Even though the bricks where slightly softer the rubbing of the bricks was a laborious task and that is why there are very little made today, people are not prepared to spend time to craft with bricks. The fireplaces have their own identity and characteristics and match the room to William Morrisâ&#x20AC;&#x2122;s specifications. The fireplaces are not all symmetrical, working with the room as a whole rather than a stand-alone piece.

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Top Right: Tile detail in fireplace of the studio Right: Studio Fireplace 1:20

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Left: Floor detail in fireplace of the entrance hall. Bottom Left: Entrance Hall Fireplace 1:20

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Right: Tile detail in fireplace of the dining room. Bottom Right: Dining Room Fireplace 1:20

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Right: Drawing room Fireplace 1:20 Opposite: Tile and floor detail in fireplace of the dining room.

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1:20 Scale Sectional Model To understand the space better, we constructed a model of the middle section of the house. The model explores the relationship of the windows with the circulations spaces of the main hallway, staircase and the ground and first floor passages on the north wing. The model shows how the windows guide you through the spaces working more symmetrically in the interior than the exterior. The model also explores the construction of the roof. The square-based pyramid shaped roof over the staircase peaks over the other roof pitches to be expressed as a important space in the interior as well as the exterior. The roof pitches and window specification change according to the space making each space unique.

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Opposite: Sectional Model at 1:20 cutting through the North wing of Red House.

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Opposite: North entrance of Red House Right Above: Staircase detail showing how the windows vary in heights to guide you up the stairs. Opposite: South-east elevation showing the windows facing the Well Court.

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Introducing the Corridor Webb considered the plan of the house more than its external elevations. He was concerned with the aspect, circulation, and character of each room aswel as the relation to the garden and external views. The plan was to be revolutionary in its â&#x20AC;&#x2DC;Lâ&#x20AC;&#x2122; shape due to its informal room arrangement and corridor. A popular layout for 19th century houses were an interlocking matrix of rooms across a rectangular plan; there would be sequential movement from room to room with each room leading onto the next. Any individual passageway was for servants, to keep them out of the way of the gentlemen and ladies of the household. The separation of circulation and room space was for convenience; connected rooms therefore implied a type of social standing that Morris and Webb were trying to avoid. Webb designed Red House with movement as a generator of form. By introducing the corridor he removed traffic from rooms and made the circulation space a prominent aspect. Each room is individual with one door, all rooms share a common corridor. All corridors face out over the garden and the lower and upper passageways have beautiful stained glass windows. Morris and his friends would paint and decorate the corridors to express how this space is as important as any of the individual rooms.

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Above: Ground floor diagram plans of two urban houses: Left: 31 Old Burlington street, 1818. Right: 11 North Audley Street, 1825.

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Above: ‘L’ shaped plans for Arts and Crafts houses. Left: Standen - Philip Webb Middle: Hill House - Charles Rennie Mackintosh Right: The Homestead C.F.A Voysey

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Circulation becomes a place to linger, a place of social gathering, Webb designed the hall to have its own furniture and fireplace as a result Morris would often hold great feasts in his grand hallway. After leaving Red House, Morris describes the layout of Kelmscott Manor, a traditional 19th century building,

‘the first floor has peculiarity of being without passages, so that you have to go from one room into another to the confusion of some of our casual visitors, to whom a bed in the close neighborhood of a sitting room is a dire impropriety. Braving this terror we must pass through.’ 28 The ‘L’ shaped passage plan and functional, frictionless living of Red House was adopted for many Arts and Crafts houses including examples by Lethaby, Charles Frances Annesley Voysey and Charles Rennie Mackintosh.

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Proportion in Plan Red House follows a simple plan of two halves. The ground floor and first floor rarely differ and rooms follow patterns of similar size. We drew quick proportion tests to understand the formation of the spaces. The lengths of the halves are proportioned at regular intervals of 9 foot and 10 inches at a ratio of 2:3. The widths are then dictated according to the corridor width. The Servants corridor is thinner, this width is then carried through ther rooms at a ratio of 1:3. The Family half has a wider corridor which is carried through the width of the plan at a ratio of 1:2. This gave Red House its overall footprint. We noticed the room sizes were generally split into rectanges of 16 foot 5 inches by 10 foot 8 inches, the smaller rooms would then either be half or a third of this size. By breaking down the proportions further we could see Red House was layered of rectangular boxes all overlapping to create the general plan. This exercise can be seen on the following pages. We then tried to test if the proportions of the plan reflected the positioning of the windows. By breaking down the proportions to the smaller intervals it was clear that in the majority of cases, the window placement was aligned according to the spacing. Therefore making the elevations not as hap-hazard as first thought. The elevations seem to be a thought through random of pleasing proportions. Webb demonstrates a rhythmic facade that still works on a set of proportioned rules.

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Right: Exploration of Red House plan proportions.

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Below: Ground Floor proportion diagrams exploring relationship between sizes of rooms and coridoors.

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Below: First Floor proportion diagrams.

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Far Left: South Elevation proportion diagram in relation to plan. Below: East Elevation proportion diagram in relation to plan.

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Below: West Elevation proportion diagram in relation to plan. Far Right: North Elevation proportion diagram in relation to plan.

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Unfolding Red House Each individual room was designed according to their activity. The room would have a feature wall of large arched windows and a bespoke redbrick fireplace. The window heights would vary according to the movement throughout the space. The Dining Room: The feature wall faces west, with two windows, an added window is found on the north facade, overlooking the countryside. The windows are long but low; an ideal height for people sitting around dinner to watch the sunset. The fireplace is grand with china tiles surrounding the fire. The dining room wasnt prefered as a place to eat, often Morris would use the grand hall to entertain guests. The Studio: The studio has light entering the room from south, east and west, it is therefore the most illuminated room in the house. This is where Morris and his architect friend, Charles Faulkner would sit and plan the murals. All low windows are at desk height with a series of three windows positioned at the corner of the room. This is where the main architects desk is placed. The entrance of the studio lines up perfectly with the circular window in the upper passageway, alignment throughout the studio continues connections to outside. The Room is arranged to draw you to look outside.

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Right: Unfolded room elevations exploring the window placement according to volume and height.

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The Studio

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The Drawing Room

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The Hall: The hall reguarly entertained guests at Morrisâ&#x20AC;&#x2122; dinner parties, it was a lively, energetic space that received sunlight from the two large windows that follow the progression of the stairs. The Drawing Room: The drawing room has the grandest fireplace being the most sociable room in the house. The feature wall has almost full height windows facing north with stalls integrated into the window frame. The room also has the bespoke oriel window. The space has two windows at eye height standing up and two windows lower for sitting down. The plan dictates the placement of outside windows, this was made clear when unfolding the individual room and then the full house and comparing against the unfolded elevation. The windows follow the movement of the people through the house. In spaces that are used reguarly, the windows become a feature and key in displaying the surroundings. Each room has a feature window wall. In spaces that are seen as less important, such as servant quarters, the windows are smaller and less regular. The corridors for the upper and lower passaged have stained glass feature windows, decorating the space. Where possible, these windows align with the doors behind.

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Even though it may seem the elevations reveal the internal space, this was not meant to be the case. Webb continues to design with the plan as priority through the rest of his career. The plan dictates the placement of outside windows, this was made clear when unfolding the individual room and then the full house and comparing against the unfolded elevation. The windows follow the movement of the people through the house. In spaces that are used reguarly, the windows become a feature and key in displaying the surroundings. Each room has a feature window wall at varying heights depending on the activity. In spaces that are seen as less important, such as servant quarters, the windows are smaller and less regular. The corridors for the upper and lower passages have stained glass feature windows, decorating the space. Where possible, these windows align with the doors behind.

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The Dining Room

The Studio

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The Drawing Room

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Exploring Through Making The true essence of Red House can be encapsulated through its eclectic mix of hand-crafted details. Every single detail both internally and externally appears to be bespoke giving Red House its unique character. By exploring these details through their physical construction we felt we could gain a deeper understanding of William Morris and Philip Webbâ&#x20AC;&#x2122;s intentions. There were several details throughout Red House which stood out as fine examples of craftmanship. As you approach the house the first example you notice is the intricately painted stained glass windows. The patterns of the stained glass reflect the internal patterns of the printed wallpaper, both of which have been designed and produced by William Morris. After passing through the carved front door you are met by the first beautifully hand rubbed fireplace. Intended as a focal point for each of the main rooms in the house the curved form of the fireplace softly frames the wood burning fires. The next details you notice are the carved timber balusters and newel posts lining the stained timber staircase. Sitting above the staircase the timber framed ceiling patterns begin to suggest the structural elements of the house. On the first floor of Red House the roof structure penetrates the ceiling to reveal beautifully finished timber joinery. One of the most interesting timber details can be found in William Morrisâ&#x20AC;&#x2122;s studio.

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Left: Exposed timber roof joint in William Morris’s studio. Middle: An expressive exposed timber joint in the first floor hallway. Right: The beautifully hand rubbed fireplace in William Morris’s studio.

The image shown on the top left shows the exposed timber joint in the studio. The simple but elegant form of the joint depicts the true skill of the craftsman and begins to describe how the roof structure may have been constructed. Webb specified that English oak ‘free from sap and other defects.’ should be used for all structural elements. Comparing this detail to Philip Webb’s sectional drawings illustrates how comprehensive the architectural package of drawings are. Through analysing Webb’s Specification of Works - Carpenter and Joiner, it is clear to see Webb continuely supervised and managed work on site to ensure everything met the standards he had specified. Throughout the contract Webb continuely uses superlatives to emphasise the importance of craftsmanship. The fireplace shown on the top right is a fine example of brick craftsmanship. The perfectly curved columns delicately support the solid chimney breast. The configuration of the bricks on the breast describe a verticality which draws your attention to the fire. The use of internal brickwork also suggests an internal/external connection, an ideal that both the architect and client emphasised throughout the design process.

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Timber Joint Study Through conversations with Tony Lord, a technician at the Centre for 3D Design and a practising carpenter and joiner, we were able to predict how the timber joint located in the studio may have been crafted. It is believed that the vast majority of the roof structure would have been prepared, laid out and constructed on the ground and hoisted into place. This method of constructing the timber joints would have ensured a higher quality of joinery and would have allowed for other trades to continue alongside the roof construction. Although the English oak of Red House has been substituted with sawn pine the same techniques could be used to craft the timber joint. The two primary members, the wall joist and roof purlin, were probably attached using a bridle or splice joint. The bridle joint is a solid method of attaching two members of varied angles and can be secured with dowels or bolts. This method of joining would have been consistent across the roof structure. The central curved member would have provided added support for the purlin and reduced deflection. This would have been attached to the two primary members using a mortise and tenon joint and as seen in photographs of the joint it would have been secured with iron bolts.

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Above: Calculating and preparing the central support member. Opposite: Showing the construction of the bridle joint.

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After carefully measuring and marking up the timber the process of construction began. To calculate the central section of the timber we used a marking gauge, the gauge ensures each component will correctly line up. The two primary members were cut and chiseled to form the female and male components of the bridle joint. Tony Lord demonstrated the correct method for chiselling out the male component and then supervised as we began crafting the two components. With a small amount of sanding the two components slotted together smoothly. The mortise and tenon joint was a more time consuming process. The central member was first cut to the desired curve and sanded for a smooth finish. Using a bandsaw we cut out the mortise and bevelled the edges to avoid splitting. Unlike the bridle joint, which was cut, the tenon had to be chiselled out by hand. By using two hands to finish the tenon we were able to achieve a clean and precise hole. With a bit of adjusting the mortise and tenon joint fitted together snuggly. We were suprised to see that even without screws or glue the entire detail was strong and stable. For added stability and hole was drilled through the bridle joint and pinned with a wooden dowel. The final detail was trimmed to size and sanded.

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Above: Tony Lord demonstrating the correct techniques for crafting the bracing member. Opposite: Handcrafting the mortise and tenon joint and the assembled joint.

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Left: Finishing stages of the timber detail. Opposite: The detail was placed on a timber floorplank base and backed with plywood.

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Printmaking Today, every room of Red House is adorned with beautifully printed William Morris wallpaper. However when Morris was using it the walls where decorated with tapestry hangings and, at the time, that is what the Morrisâ&#x20AC;&#x2122;s business produced. Morris went on later to produce wallpaper, but not the standard wallpaper that was mass produced. He designed patterns and using a woodcut printed the paper. The wood is carved by hand integrating the idea of craftsmanship. We looked at re-creating this craft of printing design. We took an example of Morrisâ&#x20AC;&#x2122;s design and carved it into a piece of linoleum. The design was made so that the prints connect and form a larger repeated pattern. We used a brayer, which is a hand roller to apply the water-based printing paint on the linoleum. We then put the paper on top of the design and pressed down firmly with a flat and smooth edge to get an even print. The print where connected and added to the detail piece giving the piece a complete representation of the idea of craft in Red House. The prints came out relatively well and the next step to further on this exercise would be to print with the linoleum using a actual printing press.

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Above: Testing the process of linoprinting. Opposite: The final linocutting was used to print the intricate wallpaper.

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Left: The punctured ceiling panels act as guides for the painter. Opposite: The final timber junction detail.

Final Detail William Morris used an interesting technique to create the decorative painted ceilings of Red House. Repetitive patterns where painstakingly punctured into the ceiling panels to act as guides for the painting. This process was replicated in the final detail using drilled plywood instead of the traditional lath and plaster which would have lined the ceilings of the house. The timber structure was coated with wood stain to enhance the detail and replicate the tones of Red House joinery. After the timber detailing had been finished the printed wallpaper was pasted on to express the wall finish. The final wall to ceiling detail provides an interesting abstraction of Red House and explores the many techniques used to craft the interior. Through producing this detail we were able to gain an in-depth understanding of the skills involved in producing such an intricate house. The detail also gave us a great appreciation for Philip Webb and William Morris and their ability to understand and perform great feats of craftmanship.

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Brickmaking The process of brickmaking played an important role in the internal aesthetics of Red House. The beautifully crafted brick fireplaces which were carefully rubbed and laid form a decorative focal point for each of the main spaces in the house. Today, conventional brickmaking has became an automated process with some factories producing thousands of bricks a day. In the 1800s brickmaking would have been an intensive manual process. Each brick would have been thrown by hand into a mold, removed, stacked and fired in a kiln (or clamp). Sawn pine was used to form a simple brick mold. A mix of one part clay to two parts sand was prepared, too much sand and the brick would crumble and too little would mean the brick would not dry properly. The use of fine modelling clay meant the clay did not need to be sieved to remove impurities and larger sediment, Before throwing the clay the mold was soaked and dipped into sand, this process is important as it stops the clay sticking to the mold. The excess clay was sliced from the top of the mold and the formed clay was knocked out onto a bed of sand. After a week of air drying the bricks were placed into a preheated tabletop kiln. The kiln was taken up to a temperature of 1000â&#x20AC;&#x2122;C. Unfortunately, the temperature of the kiln was raised too quickly which resulted in the bricks fracturing. This problem could be avoided by slowly raising the temperature over a matter of hours.

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Above: The contemporary process of brickmaking is almost completely automated. Opposite: The mold was constructed from softwood timber and screws.

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Opposite: The firing of the bricks in the tabletop kiln and the unfortunate result. Right: The brick which had been dried for 24 hours shattered into several pieces.

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1:5 Fireplace Detail After experimenting making 1:1 scale bricks we decided to construct a 1:5 scale model of the fireplace detail. This particular fireplace was chosen as it utilised a range of brickmaking techniques and bonds. From the issues we discovered removing the bricks from the mold during the 1:1 scale brickmaking process we decided to innovate a new technique for making the 1:5 scale bricks. An oversized MDF mold with the height of a 1:5 scale brick was constructed to produce a slab of clay from which 90 bricks could be cut. As the scale of the bricks is far smaller than a conventional brick the ratio of clay to sand was reduced to 10 parts clay to 1 part sand. When the slab had been thrown it was placed onto a bed of fine sand so the bricks would not stick to the workbench and to provide a soft surface for the brick cutting. From this slab the dimensions of a 1:5 brick were measured and cut to size using a 18 gauge guitar string to ensure a clean and precise cut. The freshly cut bricks were seperated and left to sun dry for a period of 3 days, they could have been fired but the small size meant sun drying was more convenient. The bricks which had not been cleanly cut were used to rub the more precise bricks into the required shape. Although the bricks were dense they were still easily worked and the final finish of the brick was nice. To bond the bricks and ensure the model could be moved without falling apart a mix of lime mortar and PVA was used to lay and point the brick detail.

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Above: The existing fireplace in William Morrisâ&#x20AC;&#x2122;s studio at Red House. Opposite: The process of making the 1:5 scale bricks.

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Opposite: The process of rubbing the scaled bricks. Right: The final 1:5 scale brick fireplace detail.

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Overlooked Issues with Red House Although the house was built and decorated with a fastidious attention to detail, many practical matters were overlooked. Today, with years of development and the use of the internet many of these issues may seem obvious but one must appreciate the limited sources of information available to Morris and Webb almost 150 years ago. We have observed a number of issues during our study of Red House: -Red House contains no bathrooms, only water closets; there was also no back entrance for deliveries, meaning that they had to be carried through the garden. -The house was built facing North meaning that the house was brutally cold, even in summer. During the period of the 19th century, many Victorians feared the effects of sunlight on their skin but also on their artwork & interior finishing. The house is believed to be orientated away from the sun, for the preservation of Morrisâ&#x20AC;&#x2122; paintings. -The Main rooms to the North also overlooked a beautiful sunlit countryside. Sunlight floods the circulation space, once again creating a warm atmosphere to encourage gathering. The entrance hall is illuminated for the arrival of friends at the weekend. -The kitchen and larder were placed to the west, receiving the most amount of sunlight and heat in the afternoon when cooking. This made it difficult to keep the food cool. -The ornate fireplaces were not large enough to adequately heat the rest of the house. The fireplaces smoked therefore a few years after the house was built the chimneys had to be extended to fix the problem. Aware of its faults, Webb was often quoted that he never wanted to see or hear of Red House again and that â&#x20AC;&#x2DC;no architect out to be allowed to build a house until he was forty.â&#x20AC;&#x2122; 29 Red House was however his first major architectural project and for him as much as it was for Morris, an experiment.

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Conclusion Philip Webb and William Morris both worked together to build an unconventional house without style or ornament. Their love for art and architecture was the pure driving force in a time where the impression of social wealth was extremely important. Webb and Morris bravely challenged the conventional architecture of the time and not only promoted the idea of craftsmanship but also the freedom of experimentation. Through understanding how details were made we were able to see Red House for more than just its physical architecture, it is an exceptional collection of stories about making and experimentation. Physically handling the materials such as timber and brick gave us an understanding and appreciation for the craftsmanship of Red House. Re-creating the timber detail was an important element of the project. The detail presents a summary of the house. During the making of the detail we tried to be true to Morrisâ&#x20AC;&#x2122;s ideals by using traditional tools and techniques. The analysis of the processes used to create the detail taught us a variety of new skills, which can be developed further in our thesis proposals. Another form of analysis was undertaken through the medium of drawing. Unwrapping the faĂ§ade gave us an understanding of the specifically designed interior spaces, in particular, the organisation and variation of windows in the circulation spaces. This showed us that carefully planned connections of the interior and exterior through its fenestrations, can guide you around a space. When Red House was being constructed and during occupation, Morris worked with others to teach and gain knowledge in different crafts. Red House was a canvas for ideas and experimentation, to learn and create spaces through traditional craftsmanship. We felt that through studying Red House, we can still learn from Morris. His ideology of craftsmanship is still relevant today.

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PAPER MODEL MAKING WORKSHOP

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Introduction Modelling throughout our architectural course has always been as important as drawing in order to convey the spatial qualities of the design. Before the papermodeling workshop we attempted to produce a greyboard model as a spatial study of Red House, cutting through the main entrance hall. Due to the 1:20 scale we used 4mm greyboard but found it was extremely time consuming to cut. The quick, spatial study, became a six day, two man job due to the time the card took to cut. Once the model was completed we were looking for a new method of creating quick spatial studies. The workshop therefore created the opportunity to engage with a much more dynamic material. The watercolor paper, whilst extremely strong, was easy to cut, allowing time for error and experimentation. After experimenting with a few prototypes we were able to create a digital net for the building that we could print out and use as a stencil. This method of making allowed less time to be spent cutting and sticking and ensured a neat folded finish. The aim for our choice of modeling Red House Studio was to create a quick spatial model that focused on window positioning to test the houses orientation on the heliodon. It was through the workshop we wanted to test the speed in which we could create a useful model with a desirable finish. The model in entirety took one working day with three people, compared to the previous greyboard model. Paper has proven to be an extremely good tool to demonstrate ideas quickly.

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Opposite: Process of making the paper model of the studio.

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Opposite: Folded 1:100 lasercut card model of Red House Above: Finished paper model of William Morrisâ&#x20AC;&#x2122;s studio.

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DRAWING WORKSHOP

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Introduction Yorkminster Cathedral towers above the picturesque medieval town of York near its ancient gates of Bootham Bar. The Minster is the largest medieval cathedral in England and second largest in Northern Europe. At a height of 31 metres, the York Minster Cathedral matches that of Westminster Abbey and the nave of St Pauls Cathedral, London. The build began in 1220 and took more than 250 years to complete. In the 15th century, York embodied its self-image as the second city of England through completion of its powerful Gothic cathedral. It is classic in its Gothic Style, with beautiful ornamentation carved from the magnesium limestone material sources from the nearby quarry in Tadcaster. Entering the Cathedral you are in reverence to the 128 stained glass windows that line the perimeter, including the Great East Window, created by John Thornton in the early 15th century, which at a height of 23 metres, is the largest expanse of medieval stained glass in the world. The Minster has a cruciform plan with an octagonal chapter house attached to the north. It is in the Chapter house that we began our morning session of the drawing workshop.

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Right: Yorkminsters Gothic Ornamentation crafted over 250 years of human labor. The external facade demonstrates similarities to Red House.

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The Chapter House The roof of the Chapter House has an elaborate construction, made entirely from wood, the weight of its whole structure is primarily supported on four horizontal beams without a central pillar supporting the domed roof. The dome is therefore hanging off the buttressed walls. The Chapter House has many sculptured heads above the canopied stalls representing some of the finest Gothic sculpture in the country Frances Stacey was to be leading the drawing workshop; beginning with short exercises to quickly focus our mind and increase our observational skills. Frances Stacey read the following quotes to question how we choose to engage with the space:

‘You will have to walk all round it to see it You will have to stay with it to know it.’ -Thomas A Clark ‘Its like drawing, and drawing and drawing, to try and understand something better: the space is a mental one created through the activity of drawing.’ -Mike Nelson

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Above: The Chapter house roof is an innovative construction of the time.

Above: Studio MARS spent the morning with Frances Stacey experimenting with drawing techniques.

Drawing began with one and two minute sketches, focusing through quick actions of relaying the mind, eye and hand to draw what we see. It was a test to see how much you can understand a space, or element in sixty seconds. Time didnâ&#x20AC;&#x2122;t become an issue in determining the focus. You would mentally make the decision of what you want to capture, and within that time focus on only that element. The connection between eye, mind and hand becomes stronger due to the time limit. Frances then got us to do a series of experimental 10-20 minute exercises.

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Drawing Through Touch Frances supplied a ‘lucky dip’ bag of random objects of which we all took blindly. We then spent 10 minutes drawing the object. The method reverses the usual way we draw from EYE - MIND - HAND to HAND - MIND - EYE therefore testing your ability to draw to recognize what you feel. You are able to touch and feel the surface and its contours adding a new memory to which you understand the object. It becomes a recorded sense, not just a depicted outline. The key was to layer the drawing with shape and texture. Architect Juhani Pallasmaa in his book, The Thinking Hand discussed how his mentor Aulis Blomstedt would draw with his eyes closed to ‘eliminate close coordination of the eye and the hand.’ 30 Reducing the control of the hand from what the mind tells you the eye is seeing. For many, the object which felt unrecognizable revealed its form through the layering of shape and texture on the page.

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Above: The Chapter house domed roof splits down into 8 windows which sit above 6 caopied stalls.

Above: Carved heads above stalls range from serious to comical.

Ambidextrous Drawing Frances explored two-handed drawing to get us to work both sides of the brain, testing the hand as a tool but also the control in the mind. For many of us there was an automatic attempt to draw symmetrically, proving it to be difficult to allow the mind to let go of both hands. The exercise allowed you to split the mind and split the focus; the eye would dictate the movement of each hand individually, using one hand to draw the shape while the other shaded, or both hands to draw the focused area. Due to many having a stronger hand, the skill of the other lacks use in drawing becoming a waste of a tool. The drawings produced would clearly have a lead, steady hand and an unstable shakey hand. Through practice the strength of the hand would increase and both hands would become valuable assets.

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Drawing Without Looking at the Page This exercise stressed the relationship between the eye and the mind and its coordination with the hand. Many found it extremely hard not to look at the page out of habit, resulting on half the unit laying down and looking upwards in order to prevent the natural occurance. Many stress the focus on observation in art.

â&#x20AC;&#x2DC;Nothing has such power to broaden the mind as the ability to investigate systematically and truly all that comes under thy observation in lifeâ&#x20AC;&#x2122; 31 -Marcus Aurelius The result was an abstract piece of the space, to others may be unrecognizable, but to the drawer understandable. The drawing becomes a mental note between the mind and the space. Altogether MARS spent two and a half hours within the Chapter House. Even with a limited palette of materials, the students produced a range of spatial and detail drawings demonstrating how the act of drawing allows expression into the individualâ&#x20AC;&#x2122;s mental analysis of the space.

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Above: The Entrance to the Chapter house consists of layers of carved ornamentation covering structural walls.

Above: Eight Beautiful windows draw your eye up the walls of the octagonal Chapter house.

Afternoon Exercise: Long Drawing Frances quoted Hedde Sterne from her book Art as a Thinking Process: Visual Forms of Knowledge Production to enthuse us for the afternoon excersise:

‘I once told Barney (Newman) a story, which he wanted to adopt as the motto for the abstract expressionists: A little girl is drawing and her mother asks her ‘what are you drawing?’ And she says, “I am drawing God”. And the mother says, ”How can you draw God when you don’t know what he is?” And she says, “That’s why I draw him.” 32 For many of us, we have little knowledge of Gothic design and large scale Cathedrals therefore Frances proposed we do two, 50 minute study drawings. An initial study was to focus on a detail, capturing the light, depth, texture and colour. This was to be developed through layering shapes, contours and tones. The second study was to consider the spatial construction of the cathedral. The drawings allowed us to focus on the depth and layering of ornament aswel as study the material quality.

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Opposite: Collection of one and two minute drawings. (Vikash Patel) Above: Collection of two minute drawings. (Emma Eady)

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Opposite and Right: Ambidextrous drawings. (Emma Eady)

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Opposite and Below: Ambidextrous drawings. (Vikash Patel)

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Opposite and Below: Ambidextrous drawings. (Dominic Ward)

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Left: 20 Minute drawing of the light and shade. (Emma Eady)

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Right: Plague rubbing. (Dominic Ward)

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Opposite: Blind drawing. (Vikash Patel) Right: Blind Drawing. (Emma Eady)

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Opposite: Blindly drawn objects Left: Chapter House floor tracings. (Dominic Ward)

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Below and Opposite: 50 minute drawings. (Vikash Patel)

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Reflection - Emma Eady The Drawing workshop allowed us to engage with the Cathedral on a different level compared to just taking photos. Drawing allows you to utilize your natural skill of observation, for me, drawing is the main way I can release my expression. Following Frances’ thoughtful quotes, I found a quote from Juhani Pallasmaa to summarise the act of drawing in design.

‘it is often through the act of drawing itself, the deep engagement in the act of unconscious thinking through making, that gives rise to an image or an idea.’ 33 As architects we are continuously analysing space, often we explore and capture the space through 3D modeling and CAD drawing. Through the act of drawing you are forced to connect with each plane. Your mind is in direct connection with the hand, therefore it is a transfer of mental imagery into solid form. You can draw it once or draw it hundreds of times but through repetition you allow trial and error to perfect the shape and heighten precision. The test is what to focus on and what to omit.

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Opposite: 50 minute drawing. (Emma Eady)

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Left: Beautiful ribbed vaults of Yorkminster inspired arches in Red House.

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Above: John Ruskins exploration of Gothic Architecture through drawing taken from his book ‘7 Lamps of architecture.’ Ruskin believed ornamentation was fundamental in all good architecture. Webb rejected ornament, instead using the colour and texture of material to replace subtle motifs.

Philip Webb and William Morris explored the expression of art through good workmanship and understanding of material qualities. By rejecting machine made products, they believed the concept of arts as being the expression of mans pleasure in his work, ‘living art- after all is said- is but a representation of right living.’ 34 This was highly influenced by the teachings of John Ruskin who was fascinated by the notion of medieval artists and craftsmen working together, celebrating their combined talents and enjoyment in work through architecture. It was through the influence of great Gothic Catherdrals like Yorkminster that Red House was designed. Whilst visiting the Cathedral it was interesting to acknowledge how there are very similar characteristics between Cathedrals all over England and Europe. The development of Cathedrals and Gothic Architecture within the period was almost mass production of human craft. Webb’s exploration of Gothic architecture was to take elements of the style and apply in a simplistic, honest form. I was able to draw similarities between Yorkminster and Red House, the simplistic plan of rational proportions, the pointed arch, the grouping of windows of various sizes and circular Oriel windows on one side of the façade. Gothic Cathedrals serve as beautiful precedents for well built, crafted architecture.

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Reflection - Vikash Patel I found the drawing workshop was a useful activity in engaging with York Minster. The building is full of character and has grandeur about it. The drawing exercises gave me a chance to analyse the building through the medium of drawing, varying the types and methods of sketching giving me a different impression of the building. I found that my most successful drawing is a drawing of the wooden structure in the quire room. The intricacy of the detail of that structure was done very well. The sculptural forms were above all the seats around the room in smaller scales. In my drawing I showed some parts in detail to show the intricate craftsmanship that it has. The drawing was useful as it makes you look and really understand the form and only then do you start to think about the story behind it, it wasnâ&#x20AC;&#x2122;t mass produced in a factory, but made from hand by a skilled carpenter.

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Above: Choir section of the York Minster. It provided a setting for a grand use. Opposite: 50 minute drawing of a wooden detail in the choir section.

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Drawing is a tool that no only gives you a representation in an accurate or impressionist way, but also a tool to analyse the subject. William Morris was known for his prints of flowers and nature. It seemed like there was an unlimited amount of print designs he could produce. His patterns were inspired by his intimate knowledge of natural forms discovered through drawing. John Ruskin believed that spaces hold information. He believes that spaces have layers that give it character such as history, its users and its surroundings. â&#x20AC;&#x153;Nothing can be true which is either complete or vacant; every touch is false which does not suggest more than it represents, and every space is false which represents nothing.â&#x20AC;? 35 Drawing is a medium that can begin to unearth the meaningful layers of the subject forcing further analytical observations as well as through senses such as sound and touch. Through drawing without looking at the paper and only the subject, forced me to concentrate on the subject unlocking layers of information I would have otherwise overseen.

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Opposite: Chapter House, York Minster. The detail of the inset seats. Right: 15 minute blind drawing of detail of the inset seats in the Chapter House by Vikash. Far Right: John Ruskin - Drawing of a balcony, Venice, c.1850, watercolour. Below: William Morris Windrush, 1881-83, pencil and watercolour.

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Reflection - Dominic Ward I have always found drawing particularly difficult. My attention to detail often leads to frustration when I cannot replicate exactly what I see. I found the detailing of the tiled floor in the Chapter House fascinating and wanted to capture its essence. After a few sketches I decided the most accurate representation of the pattern would be achieved through tracing. Tracing the pattern allowed me to get a sense for the flow and geometry of the pattern. The incredible amount of detail over such a large expanse gave me a great appreciation for the craftsman of the Chapter House. Although alot of the tiles were repeated there will still a great variety of patterns. The drawing workshop gave me a great opportunity to practice with media I would not usually use. I also felt a new found confidence in my drawings and realised that I was not trying to produce a work of art but instead recording what I saw for a visual record. The drawings were my interpretation of the space I occupied and only included the details that interested me.

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Above: Tracing the tiles ensured the pattern was captured accurately.

Right: The beautifully crafted tiled floor of the Chapter House.

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PRINT MAKING WORKSHOP

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Introduction The studio MARS underwent a printmaking workshop to look at creative ways to make prints. The workshop was lead by printmaker and artist, Trish Ferguson, who teaches a printmaking course at the University of Nottingham. There are many forms of printmaking. Using a variety of techniques, we created many prints such as collagraphs, linographs and mono prints. We created interesting textures and patterns through different material use and techniques. The workshop gave us a chance to further explore William Morrisâ&#x20AC;&#x2122;s craft in printmaking. He made prints using collagraphy using a wooden plate in which his design was carved in to. Other artists such as Rembrandt van Rijin used printing in the form of monoprinting, a print that cannot be reused. He etched on to paper to pick up paint on a separate surface leaving an impression on the paper.

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Top Right: Monoprint done through etching, call Self Portrait (Rembrandt van Rijin c.1630) Right: Printmaking workshop held at Jubilee Campus, Univeristy of Nottingham.

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Monoprinting The first technique we used was monoprinting. Monoprinting is a form of printmaking that has images or lines that can be only made once, unlike most printmaking, where there are multiple originals. To do this we first spread an oil-based paint on to a non-soaking surface such as acrylic. We used a brayer, which is a hand roller, to spread the paint evenly and thinly so the paint doesnâ&#x20AC;&#x2122;t drown the print. An oil based paint is better than a water based paint as the paint drys very slowly, so you can take your time printing, and the colours appear more vivid. We then placed a piece of paper on top of the rolled out paint and applied pressure to the places where we wanted the print to leave a mark on the paper. The ways in which you can make marks on the print are infinite, you could use you finger to leave a soft impression or a pencil to make a solid line.

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Left: Monoprint taken form a detail study at York Minster, York. The print explores the material qualities of the limestone against rhe ornament through the use of texture and variation of depth. (Emma Eady)

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Right: Monoprints testing textures. Negative print prduced by pressing on dampened cartridge paper. (Emma Eady) Bottom Right: Monoprint experimenting with a variety of marks using hand, pencil and cloths. (Dominic Ward)

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Right: Monoprint using hand, cotton to produce texture and pencil to create outline. (Dominic Ward) Opposite: Monoprint using pencil for the outline and smooth end of pencil for the lighter tone within the design. Inspired by William Morrisâ&#x20AC;&#x2122;s print designs. (Vikash Patel) Below: Monoprint using press and the used paint sheet on dampened cartridge paper. (Vikash Patel)

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Collagraphy Collagraphy is a printmaking process in which materials are applied to a rigid substrate, usually paperboard or wood. The substrate called a collagraph plate can be made from many materials and textures. The advantage to collagraphy is that it can be used many times. We made our collagraph plates by starting off with a piece of thick card. You can scratch, tear of layers, add textures and many other things to create a plate. Once we finished with the card we applied PVA glue to fill any gaps or parts unstuck. We then painted on varnish to further strengthen the plate and add a layer that can easily be cleaned and re-used. Then we used the oil based paint and applied it using a card straight piece of card and then using that card scrape the surface of the plate to get the excess paint off. Then we used a piece of tarlatan (an open-weave muslin fabric) to get the top layer of paint off the plate, which is called scrimming, so that when pressed the plate will imprint the negative of the top layer. To print we used a etching press which is large freestanding press. The plate is placed in between etching blankets with the paper on top. The paper is dampened beforehand by letting it soak in water for a few minutes and then pressed between dry papers to dry the surface. This is used instead of dry paper because the damp paper absorbs more of the paint picking up the finest details. The handle of the etching press is turned and the print is made.

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Right and Above: Process of printing using a press, applying paint with card and scrimming plate with tarlatan.

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Top Left: Plate having design being cut and the top layer taken off. Left: Free standing press used to print.

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Top Right: Collagraph print on dampened cartridge paper. Design is abstractly inspired by William Morrisâ&#x20AC;&#x2122;s prints. Right: Collagraph plate used to produce the print. (Vikash Patel)

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Opposite and Right: Collection of collagraph plate, first and second prints. Printed on dampened cartridge paper and printed with a press using an oil-based paint. Exploring the detail taken from York Minster, York. (Emma Eady)

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Left: Collagraph print on dampened paper using a cardboard collagraph plate and a press. (Dominic Ward)

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Left to Right: The collagraph plate, first print and second print without adding extra paint. Printed on dampened cartridge paper and printed with a press using an oil-based paint. The print explores the texture of the oak grain. (Dominic Ward)

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Linocut Linocut is a printmaking technique, a variant of woodcut in which a sheet of linoleum is used for a relief surface. A design is cut into the surface of the linoleum with a sharp knife, V-shaped chisel or gouge, which the uncarved areas being the areas that would have been printed. This, like the collagraph is re-usable. We saw this as a good opportunity to use the linocut from the case study of Red House and explore ways in which can print using it. We used a brayer directly on the linoleum to apply paint to it. Using a press, this time a bench model as the print required more delicacy, we rolled the prints. The paper used was dampened paper so that it absorbs more of the paint. The prints produced by this press using linoleum create a clean and crisp print as well as giving the print an embossed effect.

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Right: Process in carving into the linoleum, rolling the paint and printing using a press.

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Prints produced which consist of an embossed print, a first attempt of a print without stablisers and a print in a different colour. The prints show slight variations depicting William Morris’s idea of every print being an ‘orginal’ piece. (Vikash Patel)

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Reflection - Vikash Patel Printmaking was a useful workshop to have under taken, as it let me further explore the ideas of craft after our case study house, Red House. More specifically it let me explore into the art of printing and the process in which the Morris business went through to test their ideas and designs. There are so many ways in which printing can be done and this workshop was a great induction on the art of printmaking. Cutting the linoleum was challenging, as the print is quite complex but the process was enjoyable. The linoleum for me yielded the best results as I thought it was the crispest and worked well with the embossed texture. Using it on a press produced much better results then when I printed by hand. I can use print making again when trying to communicate ideas, through using them as a medium for drawings. The embossed texture created from the linoleum print is a useful presentation technique. Learning and doing these processes allowed me to understand the idea of craftsmanship, each print has a story. I did not consider the prints that I produced as a “copy” but rather an “original”. This is because each print I created varied to an extent due to the printmaking process, making every print unique.

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Above and Opposite: Woodcuts by William Morris currently in Red House where he resided. There was a great amount of accuracy even though it was crafted by hand.

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Reflection - Dominic Ward Through the printmaking workshop I wanted to explore the texture and grain of timber. I felt the beauty of woodgrain is often overlooked yet is one of the main reasons timber is such a nice material to work with. The pattern of each piece of timber is unique, like a persons fingerprint. Initially the collagraph plate was intended for a two-dimensional print. After printing a few samples on dampened catridge paper I noticed the press was creating a relief of the plate on the reverse of the paper. I explored this further by using a small press with increased pressure. This resulted in a strong relief of the plate that wasnâ&#x20AC;&#x2122;t hidden by ink and which I felt really emphasised the texture of the oak. I felt the process of printmaking was a happy medium between drawing and physical model making. The resulting work had a beautifully depth and texture to it that canâ&#x20AC;&#x2122;t be found in conventional drawing techniques. This method of relief printing could be combined with drawing or model making to produce rich textural elements.

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Above and Opposite: Explorations of the texture of oak through the medium of printmaking.

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Reflection - Emma Eady I had previously focused on how I could capture the ornament against the limestone wall of the York Minster. I focused on textures and tones in the drawing workshop and so decided to continue with that theme. By simply layering pieces of paper with slight textures I was able to capture tone quickly. I started by mono-printing simple images created by rectangular textured paper, this resembled the limestone wall. I then began to layer the ornament by adding ink straight to the print itself. The ornament applied was clumsy and so further practice would be required to display the contrast between limestone and ornament. I continued the focus of the limestone wall on my collagraph plate, I again layered texture but carved out the shape of the ornament to add a depth to the print. For areas of shade, I layered tracing paper, to adjust the tone. The collagraph print was successful and I feel captured the rustic effect of the wall. Due to the varnish shrinking on the plate, added veins of ink ran through the prints contributing to the stone texture. As we have recently been working with techniques Morris would use in printing his wallpaper, it was interesting to further our knowledge on how universal printing is. The method is quick and can be explored in hundreds of ways.

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Above and Opposite: Using different tones and colours of ink produced a fine example of ornament and texture.

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DOLLS HOUSE COMPETITION

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Introduction The Dolls House competition brief outlined that each team must design and make a dolls house for the three year old client, Thea Stacey. Our aim was to create a product that expands on the idea of a typical dolls house and could be made into a viable and sellable product. The dolls house should be based on one of our Case Study Houses. The Dolls House was to be tested by Thea Stacey in the Lake District and therefore needs to be safe to use by a three year old.

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Concept The initial concept of the design was to make a dolls house that could be changed and adapted, promoting the clients act of invention and creativity. Looking at the way in which children play with their toys we understood that they create stories and they act out those stories through the toys and spaces around them. Looking back at our case study, Red House, William Morris and Philip Webb treated the house as a canvas for experimenting craft. The spaces they created were very specific to the use and that concept is the driving force of our project. The outcome is that the client could create her own stories through craft, giving her changeable spaces. Stemming from those ideas, the dolls house attempts to engage with the client through the medium of play and experimentation.

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Above Right: Ceiling above staircase design in Red House. The pattern was painted on and the holes where used as a â&#x20AC;&#x2DC;stencil.â&#x20AC;&#x2122; Right: Custom details and wallpaper in the studio room of Red House.

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We took this initial concept and produced options that promote the idea of craft. The cassette model explores the idea of the dolls house becoming a shell in which movable cassettes can be adapted to create spaces. Inspired by William Morrisâ&#x20AC;&#x2122;s wallpaper prints, the cassettes can be removed and drawn on to further promote the idea that the client can create her own spaces. There is a wide variety of craft that can be used to change the wallpaper of the dolls house including, drawing, painting, stenciling and printing.

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Top Right: Cassettes slide into the grooves to allow the dolls house to be adapted. Right: The Dolls House cassette model.

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Broadening the uses of a traditional dolls house, this option looks at the dolls house having a dual function of play and furniture. The intention of this idea is having a dolls house that sits within the client’s first desk. The spaces inbetween the desk and chair create a canvas where the client can shift walls to create spaces as she is playing. Each leg of the desk would act as a separate dolls house, creating four canvases to play with, giving the opportunity to engage with other people through play. The desk top provides a folding option to turn into a mini-drawing board and when folded the top is set into position to resemble the form of a roof. The desk is the dolls ‘house’.

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Opposite Above: Four spaces on each leg gives the notion of neighbouring houses. Opposite Below: Desk top can fold into a mini-drawing board.

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Through further modelling the previous designs and concepts where merged to create a dolls house which has the function of Theaâ&#x20AC;&#x2122;s first desk. The notion of craft is promoted through the changeable cassettes, which can be drawn on and replaced. The way in which the cassettes would be inserted and moved would work similar to the previous model in that grooves would be routed into the inside faces of the dolls house. The grooves could be arranged into a grid system to allow the walls to move perpendicular to each other.

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Above: Initial design explored through paper modelling. Opposite: Desk and chair connect and form a unified medium to play in. Cassettes vary the internal spaces.

Right: Monoprint using hand, cotton to produce texture and pencil to create outline. (Dominic Ward) Left: Monoprint using pencil for the outline and smooth end of pencil for the lighter tone within the design. Inspired by William Morrisâ&#x20AC;&#x2122;s print designs. (Vikash Patel) Below: Monoprint using press and the used paint sheet on dampened cartridge paper. (Vikash Patel)

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Ergonomics Understanding ergonomic design is of great importance when designing furniture, especially during the design of desks and chairs. Prolonged periods of poor posture when sitting at a desk can cause long-term pain and discomfort. Variations of a personâ&#x20AC;&#x2122;s height, weight, size and even age should all be considered when designing ergonomically. Through analysing the information taken from Royal College of Paedatrics and Child Health (RCPCH) we can calculate an ergonomic profile for the client during her childhood. Many manufacturers have already produced ergonomic furniture especially designed for a growing child. The existing designs we have researched were almost always adjustable so as the child grows the furniture can be adjusted accordingly. The design of our desk and chair made it impractical to integrate adjustable features. By calculating an average set of dimensions taken from the existing products we could determine the correct size and proportion for our client. One important issue we had to consider when determining the correct dimensions was that a young child is often more adaptive to larger furniture than an older child using smaller furniture, because of this the final figure we calculated was taken from the upper averages we had researched.

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After calculating the ergonomic profile of our client we re-evaluated our design. To our surprise we found that most of the existing dimensions of the desk and chair were not too far from the calculated dimensions. Unfortunately, we found that the depth of the seat was considerably larger and by adjusting the depth of the seat we realised this had an effect on the dimensions of the desk. In turn, we found the calculated dimensions of the desk effected the dimensions of the seat. After many attempts and variations in the dimensions of both the desk and chair we were able to find a happy medium. Two dimensions which were calculated but which we felt were negligible when considering the clientâ&#x20AC;&#x2122;s ergonomic profile were the length of the desk and the width of the chair. The final dimensions are: Desk: Chair h: 690mm h: 360mm d: 600mm d: 350mm l: 950mm l: 350mm

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Opposite: Model of newly proportioned Dolls House.

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Details There are a number of techniques and ways in which the design could be constructed. The major factor in deciding which technique to use was how the joints work and how they can be stable enough to ensure the cantilever of the wood is achieved. Through looking at different options, the most viable one seemed to be the idea of laminating strips of wood and staggering them to fit together. To test this method of joining the wood we made two laminate prototypes.

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Top: Prototype of the fingerjoint detail clamped for lamination. Opposite Top: Prototype of the finger-joint detail clamped and glued. Opposite Bottom: Detail assembly, showing the dowel insert to strengthen the joint.

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Final Design Another issue to the design was the desk stability. Due to the cantilevered top, the desk was likely to topple forwards if leant on with force. We introduced an additional leg to the design. This was to be a 100mm strip of laminated wood that would act as a continuation of the desk top protruding down one side of the desk and across to complete a rectangle; framing the dolls house whilst acting as an additional support. The leg could only be viewed on one side still giving the impression of the cantilevered desk top, also acting as a guide to line up the chair with the desk, fitting together resulting in a unified playing space. An additional thickness to the seat was required due to the ergonomic findings and also to ensure stability. The thickness would be reciprocated on the desk to ensure all heights of the playing space and therefore the cassettes would be the same. After completing the final paper model, we found the additional middle thickness lost the elegance of its thin, simple form. In order to overcome this, half of the thickness would be inset, forming a shadow layer. As a result the elevation of the Dolls house would be read as a uniform thickness.

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Opposite: Isometric drawing of the Dolls House showing the chair pulled out. Right: Isometric drawing of the view from the bottom on the Dolls House.

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Right: Isometric drawing of the Dolls House showing the chair and desk together making a unfied playing space. Opposite Top: Front Elevation, Scale: 1:10 (Chair orientation 1) Opposite Top: Back Elevation, Scale: 1:10 (Chair orientation 1)

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Top: Front Elevation, Scale: 1:10 (Chair orientation 2) Opposite Top: Book Case Elevation, Scale: 1:10 Opposite Bottom Left: Side Elevation, Scale: 1:10 (Chair orientation 1) Opposite Bottom Right: Side Elevation, Scale: 1:10 (Chair orientation 2)

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Making of The Dolls House The method in which the Dolls House was constructed was firstly to laminate the pieces of wood to create the staggered ends which, when assembled, create a finger joint. To create the inset thickness of the middle plane the desk and chair was made out of two ‘U’ shaped pieces, which interlock to create the intended ‘S’ shape. The grooves were routed before the planes were assembled. The method is documented through the following images.

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Opposite: The cut batons are laminated by glueing and clamping them together forming a single piece of wood.

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Top: The laminated piece is sanded with a belt sander to ensure it is a flat plane. Opposite Top: Detail of the top of the chair, creating an asthetic that is coherent.

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[Academic use only]

Final Cassette Designs Scale 1:2

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Final Cassette Designs Scale 1:2

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Left: The finger joints before assembly. Top: The planes of wood are routed with a router before assembly. Opposite Top: Laser cut acrylic cassettes. Opposite Bottom: Laser cutitng of the cassettes.

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The cassettes were designed to be entirely flexible with all the same heights, allowing the client to move them fluidly throughout the playing space. Clear acrylic and white acrylic were engraved with William Morris wallpaper patterns. The engraving was then filled with different colour acrylic paint creating vibrant wall plates. Framed cassettes were cut by sandwiching two clear acrylic panels. Allowing paper to be inserted, crafting the flexible cassettes where the client can design and draw their own wallpaper. Additional wall cassettes were cut as stencils; we envisage our cassettes as elements that could be sold as different scenery packages. The grooves within the Dolls House work on a 100mm x100mm grid. The grid is continued across the desk onto the chair. The chair can be realigned with the grid in different orientations allowing the client to create new spaces and forms. The dolls house becomes flexible in both the composition of internal space through moving the cassettes and its external form through orientation and position of chair.

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Above: Emma prepares the cassettes by filling the engraving with acrylic paint and wiping off the excess. Opposite: The finished cassettes.

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Right: Once assembled and glued, the joints are snaded to ensure a smooth finish. Opposite: The grooves are chamfered to add ease of inserting the cassettes into the Dolls House.

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Conclusion The aims of the Dolls House were successfully achieved through its ease of use, dual function and its nature of fostering and promoting creativity. The adaptive spaces, that this Dolls House has achieved, challenges the usual rigidity of the traditional dolls house and allows the client to develop an architecture of their creation. Removable walls and windows become a canvas for exploring craftsmanship while the permanent structure of the desk and chair remain as stable constant. The Dolls House responds to the attachment of a Dolls House to a child. A dolls house is something that should be useful as the client grows. The size of the desk and chair is at a size were it could be used for children aged up to 10 or more. The stencils are changeable and can be replaced by more intricate designs, as the client grows older. The spaces in the Dolls House could be used as a bookshelf or the top as a coffee table. The cassettes can be kept as a record of the child’s creative development. The Dolls House itself becomes a ‘scrapbook’ of memories. The Dolls House is a sentimental ornament and to its user, it would be timeless physical record of their childhood.

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Semester One Reflective Statement - Emma Eady The case study exercise on Red House was for me a personal insight into the historical background of my hometown Bexleyheath. The house itself has been located in the suburban town for around 150 years. It was therefore surprising that many friends and family were unaware of the house altogether and I, myself had not visited the National Trust Heritage site even though I live a 20 minute walk away. It was therefore intriguing to learn that Bexleyheath was home to an influential architectural development. Whilst on site, I spoke to the local people working at the National Trust house, they spoke of how Red House is extremely well known and very often attracts hundreds of visitors a week, bringing a tourist base into Bexleyheath. Through further exploration it was clear to see how this charming brick house could be so attractive to visit and such an influence on an international scale . William Morris and Philip Webb did not follow define rules but developed an architecture through the process of testing and creative play. The house is quaint and swallowed within the growing urban context, but for me Red House is much more than an exploration of a built form. Our studies have revealed that the mixture of art, craft and architecture can instill a creative energy that consequentially forms a collaborative community. Through various workshops in making, drawing and printing like Morris and Webb, we have established that it is important to experiment through creative play to grow and test your ability. Most importantly, the projects have been about collaboration and coordination with our team. The Study has presented that how even with 150 years difference, methods of learning still remains true. As an architecture student we constantly question, â&#x20AC;&#x2DC;what is architecture?â&#x20AC;&#x2122; Through the various projects we were exposed to an alternative perspective of architectural studies. This I feel has been demonstrated in the Fabric Formwork and Dolls House projects. The projects were about the design and construction. We were to make our final product at 1:1 scale. I felt the process exposed us to how the testing of the design through physical construction can influence the initial thinking. The projects became very personal to us and an exciting way to research through testing materials. By building a finished, physical form, we could appreciate the importance of rigorous testing. We had tight deadlines that focused our attention and allowed us to make quick, rational decisions that reflect the constraints of working in an actual practice. The projects were fun and the end products successful but I feel what I have learnt from this semester cannot just be constructed as a portfolio. I found much of the work is through the process, if the finished product is successful, it is a bonus, but it is the making and sharing of skills that is most important. To this, I want to thank my team, Dominic Ward and Vikash Patel for making all the projects possible and sharing many skills.

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Semester One Reflective Statement - Vikash Patel The aims of this semester were to gain a further understanding and broaden our knowledge of architecture through making. The group work has enriched our architectural vocabulary through the exploration of making, case studies and workshops. Red House is an exciting house to research and I realised that it was ahead of its time, a truly unique piece of architecture, for an interesting client. The nature of studio MARS allowed our group to explore the house through craft allowing us to fully appreciate the qualities that Philp Webb and William Morris intended it to be. Making the details of the house particularly helped us to understand the concept of craftsmanship. I found the craftsmanship and process of the wallpaper printing a fascinating aspect of the house. The craft of designing patterns through drawing, hand crafting the woodcuts and printing them create a piece of art. The prints are then not just a piece of room decoration, but contain layers of meaning and through its craftsmanship each print is slightly different adding character to a piece of art. The field trip to Canada was insightful as the ACADIA conference was engaging. The idea of architecture that adapts and reacts to users and the surrounding environment is something that interests me. Philip Beesley Architect Inc. have developed ‘adaptive architecture’ through installations as a stepping-stone to the idea of adaptive spaces at a building scale. It works towards an ‘intelligent space’, a space that can respond to its users, function and environment and one which contributes to the future of architecture. The fabric formwork was enjoyable as it was the first time I have physically handled concrete, although I regularly use it in the design of projects. I think now I have physically mixed, poured and treated concrete I have greater knowledge of how concrete can be used. My experience in attending workshops has been very perceptive. The drawing workshop in York Minister gave me a greater understanding of the importance of drawing to appreciate space and the use of materials. The printing workshop was very useful in allowing me to continue my exploration into William Morris’s patterns. The workshop introduced me to many techniques and made me understand the skill and work that is used to create prints. I found this to be challenging and enjoyable at the same time and I would like to take this craft and explore it further. The Dolls House competition was an exiting process. Our interest in Red House shone through in our design and making, through the idea of ornament and the philosophy of craftsmanship. Our team worked well throughout the projects, motivating each other through our variety of interests and each of us contributing to broadening our knowledge. I have learnt a great deal from my group as well as the projects in which we undertook.

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Semester One Reflective Statement - Dominic Ward Studio MARS challenged our perceptions of both contemporary and traditional architecture through a series of workshops and projects during the first semester. The unitâ&#x20AC;&#x2122;s emphasis on making gave me the opportunity to explore a variety of physical representation, an area I have always found particularly interesting. Before the Fabric Formwork workshop I perceived concrete to be a bold and unforgiving material, constrained to the solid geometry of its formwork. AnneMette Maneliusâ&#x20AC;&#x2122;s Ambiguous Chairs inspired us to question our perceptions of the material. Through testing and experimenting we were able to predict how the concrete may react to the formwork we had produced. The process of making the formwork was extremely engaging as we had to constantly evaluate and adjust our design to ensure the benches success. The Fabric Formwork workshop opened my eyes to the diversity of concrete and what can be gained from truly understanding the properties of a particular material. The Red House case study not only gave me the opportunity to explore a renowned piece of architecture but also let me experiment with a range of mediums and making processes. In particular, the construction of the timber detail taught me a lot about traditional joinery and gave me a strong appreciation for the craftsmen of Red House. Although already interested in timber and the methods in which it is worked the incredible amalgamation of crafted details throughout the house sparked my interest in other forms of craftsmanship. Attempts to make full scale bricks were unsuccessful but I felt the importance of my studies were in the process of experimentation. The Dolls House competition was a short but interesting project. By applying concepts and ideas developed from our case study I was able to further develop and explore the art of timber joinery. In a similar fashion to how we worked in the Fabric Formwork workshop we developed our design during the making process. This form of design has taught me the importance of rigorous testing and prototyping. Throughout the first semester I feel I have been challenged to explore different skills and practices that I probably wouldnâ&#x20AC;&#x2122;t have explored otherwise. I feel the research and skills I have developed will help to inform and support my thesis proposal.

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Notes 1

Stacey M., 2013. Studio 2: MARS making architecture research studio. [Briefing Document] University of Nottingham.

Rippman M., Block P., 2013. Furnicular Shell Design Exploration. In: Beesley P., Khan O., Stacey M., ACADIA 2013 Adaptive Architecture. Cambridge, Canada, 2013. Toronto: Riverside Architectural Press.

Thun G., Velikov K., 2013. Adaptation as a Framework for Reconsidering High-Performance Residential Design. In: Beesley P., Khan O., Stacey M., ACADIA 2013 Adaptive Architecture. Cambridge, Canada, 2013. Toronto: Riverside Architectural Press.

Ohrstedt P., and Isaacs H., eds., 2010. Hylozoic Ground: Liminal Responsive Architecture,Philip Beesley. Cambridge: Riverside Architectural Press.

7 Ruskin. J., 1849. The Seven Lamps of Architecture. [online book] Available at: <http://academics.triton.edu/faculty/fheitzman/Ruskin,%20 John%20The%20Seven%20Lamps%20of%20Architecture%201849. pdf>[Accessed November 2013] 8 Cumming E. and KaplanW., 2002.The Arts and Crafts Movement. London: Thames & Hudson world of art. p.11 9

Ruskin J., The Stones of Venice. Volume 1. The Foundations. 1851. [online book] Available at: http://www47.homepage.villanova. edu/seth.koven/gothic.html [Accessed November 2013]

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Mackail J.W., 1950. The Life of William Morris. 2 Vols. New York: Dover Publications, Inc. p.137.

Marsh J., 2005. William Morris and Red House: A Collaboration Between Architect and Owner. London: National Trust Books. p.19.

Mackail J.W., 1950. The Life of William Morris. 2 Vols. New York: Dover Publications, Inc. p.25.

Mackail J.W., 1950. The Life of William Morris. 2 Vols. New York: Dover Publications, Inc. p.143.

Langmead. D and Garnant. C., 2001. Encyclopedia of Architectural and Engineering Feats. California: ACB-CLIO, Inc. p.270.

Hollamby. E., 1999. Arts & Crafts Houses I (Architecture 3s). London: Phaidon Press. p.258.

Mackail J.W., 1950. The Life of William Morris. 2 Vols. New York: Dover Publications, Inc. p.149.

Mackail J.W., 1950. The Life of William Morris. 2 Vols. New York: Dover Publications, Inc. p.159.

19 Coleman B.D., 2005. Historic Arts and Crafts Homes of Great Britain. Hong Kong: Gibbs Smith. p.65. 20

Muthesius. H., 1904. das englische haus; translated by Janet Seligman. Reprint 2007. London: Frances Lincoln. p.34

Ruskin J., The Stones of Venice. Volume 1. The Foundations. 1851. [online book] Available at: http://www47.homepage.villanova. edu/seth.koven/gothic.html [Accessed November 2013]

Kirk. S., 2005. Philip Webb: Pioneer of Arts and Crafts Architecture. West Sussex: Wiley-Academy. p.96.

Kirk. S., 2005. Philip Webb: Pioneer of Arts and Crafts Architecture. West Sussex: Wiley-Academy. p.22.

Kirk. S., 2005. Philip Webb: Pioneer of Arts and Crafts Architecture. West Sussex: Wiley-Academy. p.20.

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Kirk. S., 2005. Philip Webb: Pioneer of Arts and Crafts Architecture. West Sussex: Wiley-Academy. p.21.

Kirk. S., 2005. Philip Webb: Pioneer of Arts and Crafts Architecture. West Sussex: Wiley-Academy. p.26.

Kirk. S., 2005. Philip Webb: Pioneer of Arts and Crafts Architecture. West Sussex: Wiley-Academy. p.23.

Morris. W., Gossip about an old house on the upper thames. [online book]. Available at: <http://www.burrows.com/morris/gossip.html> [Accessed November 2013]

Kirk. S., 2005. Philip Webb: Pioneer of Arts and Crafts Architecture. West Sussex: Wiley-Academy. p.23.

Pallasmaa J., 2009. The Thinking Hand: Existential and Embodied Wisdom in Architecture. West Sussex: John Wiley. p.95.

Aurelius M., [historic quote] [online]. Available at: < http://www. bartleby.com/100/718.html> [Accessed November 2013]

Ambrozic M., and Vettese A., eds., 2010. Art as a Thinking Process: Visual Forms of Knowledge Production. New York: Sterneberg Press.

Pallasmaa J., 2009. The Thinking Hand: Existential and Embodied Wisdom in Architecture. West Sussex: John Wiley. p.92.

Kirk. S., 2005. Philip Webb: Pioneer of Arts and Crafts Architecture. West Sussex: Wiley-Academy. p.21.

Rosenberg. J. D., new ed. 1998. The Genius of John Ruskin: Selections from His Writings. Virginia: University of Virginia Press. p.28

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Figures Unless stated otherwise all photographs, drawings and diagrams in this document have been produced by, and belong to, the authors. Fig1. [Niagara Credit Union] n.d [image online] Available at:< http://www. philipbeesleyarchitect.com> [Accessed November 2013] Fig2. [Shell Structures] n.d [image online] Available at: <[http://block.arch. ethz.ch]>[Accessed November 2013] Fig3-8. [Digital Stereotomy] n.d. [image online] Available at: <[http://block. arch.ethz.ch/brg/research/project/digital-stereotomy]>[Accessed November 2013] Fig9-13. [North House] 2013. [image online] Available at: <http://www. perkinswill.com/research/research-journal-vol.-05.01.html>[Accessed September 2013] Fig14. [Anne-Mette Fabric Formwork] n.d. [image online] Available at: <http://3.bp.blogspot.com/_fjgp7a6-P-4/TLtQ_Zai6jI/ AAAAAAAAAEQ/d_-Wdj76Stk/s1600/ velour+stof+detail+beska%CC%8Aret.png>[Accessed November 2013] Fig15. [Anne-Mette Fabric Formwork] n.d. [image online] Available at:< http://1.bp.blogspot.com/_XspppT0WU_Q/TC2zOajUyoI/ AAAAAAAAARw/fgPe9pE0DIQ/s1600/Stolen-ude-detail-01. jpg>[Accessed November 2013] Fig16. [Anne-Mette Fabric Formwork] n.d. [image online] Available at:< http://2.bp.blogspot.com/_XspppT0WU_Q>[Accessed November 2013] Fig17. Mistry N., 2013. Fabric Formwork [photograph] (digital copy provided by photographer) Fig18-24. [Lily Components]. [Diagram]. Pernilla Ohrstedt and Hayley Isaacs. eds., 2010. Hylozoic Ground: Liminal Responsive Architecture,Philip Beesley. Cambridge Ontario, Riverside Architectural Press. Fig25. [Keble College Oxford] n.d [image online] Available at: <http://www. flickr.com/photos/amthomson/6147727285/in/pool-william_ butterfield|amthomson> [Accessed November 2013] Fig26. [CathĂŠdrale de mantes la jolie] n.d [image online] Available at:< http:// www.flickr.com/photos/ruamps/4032125480/>[Accessed November 2013] Fig27. [Ruskin Cathedral] n.d [image online] Available at <http://www. ontarioarchitecture.com/gothicrevival.html>[Accessed November 2013] Fig28. [Bexleyheath,kent, John F Tennant] n.d [image online] Available at:<http://www.bbc.co.uk/arts/yourpaintings/artists/john-f-tennant/ paintings/slideshow#/10> [Accessed November 2013]

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Fig29. Ordinance survey,1870.Bexleyheath.EDINA Digimap [online] Available through University of Nottingham Library http://digimap.edina.ac.uk/ digimap/home [Accessed November 2013] Fig30. [St Nicholas church, Greak Bookham] n.d [image online] Available at:<http://www.flickr.com/photos/tudorbarlow/8009748858> [Accessed November 2013] Fig31. [Baldersby village house] n.d [image online]Available at: http:// groupblue3.blogspot.co.uk/p/morphology_10.html [Accessed November 2013] Fig32. [Baldersby Primary school] n.d [image online] Available at:< http:// commons.wikimedia.org/wiki/File:Baldersby_St_James_C_of_E_ Primary_School_-_geograph.org.uk_-_179086.jpg>[Accessed November 2013] Fig33. [Keble College Oxford] n.d [image online] Available at: <http://www. flickr.com/photos/amthomson/6147727285/in/pool-william_ butterfield|amthomson> [Accessed November 2013] Fig34. [Tudor House] n.d [image online] Available at:<http://projectbritain. com/houses/houses.htm>[ Accessed November 2013] Fig35. [Notre Dame Mantas Cathedral, Paris] n.d [image online] Available at:<http://www.atlasprotour.ru/brussel.php>[Accessed November 2013] Fig36-38. [Standen House Webb] n.d [drawing] Macaulay J. Introduction by Dunlop.B., 1999. Arts & Crafts Houses I. London: Phaidon Press Fig39. [Brick Manufacturing] n.d [image online] Available at: < http://i2.wp. com/bizopy.com/wp-content/uploads/2013/11/p63500. jpg?resize=1280%2C720 > [Accessed December 2013] Fig40-42. [The Seven Lamps of Architecture] n.d [drawing online] Available at:< http://academics.triton.edu/faculty/fheitzman/Ruskin November 2013] Fig43. [Ruskin balcony] n.d [image online] Available at: <http://www. architecture.com/LibraryDrawingsAndPhotographs/OnlineWorkshops/ DrawingOutMeaning/10JohnRuskin.aspx#.UsxcqRbUPa5> [Accessed November 2013] Fig44. [Morris, Windrush] n.d [image online] Available at: <http:// www.artyfactory.com/art_appreciation/graphic_designers/william_ morris.html>[Accessed November 2013] Fig45. [Rembrandt van Rijin] n.d [drawing online] Available at:<www. theprintperspective.com>[ Accessed November 2013]

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