Z3P12

19 -20

Making Space For Protest

Adam James Blacknell Newcastle University Ghost In The Machine

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Ghost In The Machine

Portfolio Adam James Blacknell 170426150

Newcastle University School of Architecture Planning and Landscape

Ghost In The Machine 2019 2020 Stage 3

GHOST

THE MACH

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P ROJ ECT:

Ghost In The Machine

6

10

22

Reflective Report.

Charrette.

Primer.

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70

88

Staging.

Case Study.

Thinking Through Making.

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142

173

Realisation.

Synthesis.

Appendix.

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P ROJ ECT:

Ghost In The Machine

Below Prada Foundation, Photo Credited to Kyros

Reflective

Report.

once compared my project to a rocket ship.

1. Development When reflecting on my own development throughout this year, there’s one moment that I look back on which truly stands out.

Our Case Study Presentations. I vividly remember in our first stage 3 lecture, with Mags outlining this years programme and saying that we where to give a year wide presentation. My heart sank. All of my friends on this course will tell you how anxious I get before Crits. Crits, unexplainable as it is, are the best and worst things to happen to me regarding this process. Non was more prevailing than our Case Study presentations. That experience taught me a great deal about myself- most perceptible, was a self understanding that having confidence in my own work, allows me to breathe confidence in Crits. I have tried to maintain this throughout stage 3, and will continue to try and take this notion moving forward.

Intro

Fundamentally, self management has helped me develop into this course’s workload. Be-

001

My degree and final year as an architecture student has played out to be the most challeng-

ing in, and within ‘studio culture’, although

ing year of my university experience. I have hated loving, and loved hating every moment of

toxic at times, has helped me to produce

this roller-coaster of a journey. A mixture of emotions I believe is the best way to describe

more work and at a higher quality than in

this process in its entirety. That said, my third year, spending an entire year developing one

previous year. I believe this all stemmed

project, has been worth every heart ache endured. I’ve found Ghost in the Machine (GITM)

from a very interactive and consulting

to be challenging, rigorous, scary, but most importantly welcoming. The level of conceptu-

Primer experience- whereby everything

ality through Primer and Staging made me properly enjoy this course for the first time since

was within a studio atmosphere, bouncing

AUP. Daunting though a year long project at the start was, GITM allowed me to manifest

ideas and communicating effectively. Which

and build upon my own interests which helped me enormously through this process. Hav-

undermined my own preconception that

ing a studio that stimulates your own interests has been refreshing and has made me feel a

working from home had a greater impact

sense of freedom to explore and do many unconventional and abstract things- even if Mags

than working in the studio.

7

Reflective Report

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Reflective Report Continued

P ROJ ECT:

Ghost In The Machine Below, Spatial Constitution, developed around January.

Detriment to early progression, Will actu-

much potential: with the process of Realisa-

exploring but spearheads forms that are

ally played a vital role in this. In part him

tion, which was so fruitful for me- becomes

not contextual nor realistic. As interesting

and I would encourage each other competi-

overshadowed by Synthesis. This disconcert-

as Lebbeus Woods, the “High-Tech” band

tively, to maintain a high standard and push

ed notion can be quite sad, I look at these

and avant-garde Constructivism may be: it

ourselves- which is much easier to do with

models everyday and feel a sense of fulfil-

makes for tough tech report. The resolution

someone, rather than being by yourself.

ment, which becomes obsolete knowing

of design is something that is continual-

Motivation is the catalyst for success on a

that my resulting Synthesis and final design

ly demanding for me. The integration of

course so demanding as this. It’s perhaps

doesn’t resonate with me in the same minor.

technology has been both rewarding and

why lock-down and isolation has been such a struggle for myself.

challenging. It added another dimension to

3. Integration

my proposal through the affluence of Structurally Expressionism which fed into my de-

2. Context

The integration of both theory and technol-

sign narrative’s: Gender and Inequality. I’ve

ogy have been hugely influential in shaping

tried to argue from the outset: how Gender

The practicality of context has played many

my final design. The theoretical framework

can manifest into Architecture? Structure

meaningful steps in all aspects of this

that defined my design methodology, and

was key line of enquiry for me to explore-

process. Context, regarding the project, has

what was covered in my ARC 3015 Theory

and with the help of Cara, Mags and few

manifested through both physical and social

into Practice essay, provided me with a clear

of the feminist & architecture readings we

morphology. My site has informed decision

narrative to follow. Using AOC Architecture

felt that structural expressions was the right

making as much as gender and inequality

language to articulate the design ideologies.

has informed decision making. The notion

However, this affluence brought with it a

of liberation regarding the plan and section stems from these intangibles. Whereas the

3

whole new world of reading that I had to grasp in order to contextualise our Technol-

buildings structural grid, is a direct response

ogy assignment. And in truth, I still don’t

to Coventry Cathedral’s facade. That said,

as a precedent, looking at how they move

the buildings contextualisation on site has

from spatial constitution to model to instal-

been challenging. This stems from my own

with a clear framework to develop my own

I do. In the sense I like to make things as

process from. However, as mentioned, the

hard as possible for myself, by creating

design, although interesting, was challeng-

alistic: in pursuit of a plan or section that

ing, frustrating and, at some times, infuriat-

looks interesting rather than functional.

and Pratt School of Architecture, and their

Making Space For Protest

translation[s] from my models to a working

ideas and forms that are sometime unre-

student precedents from The Bartlett, AA

at this project [structurally speaking].

lation was instructional as it provided me

attitude towards this course and the things

This attitude perhaps stems from looking at

fully understand half the things I’ve thrown

5

works, trying to imitate some of their forms

ing. Notionally, this affirmation is similar to my experience’s of Stage 2. Where the ideologies and, almost ‘paper’ aspect of architecture take hold. The things within the subject that I’m most interested in brake through

created. Which is without doubt- much

and almost take over the decision making

easier said than done. My Model making

regarding the design. This is problematic

didn’t help this process either. The affinity I

in every sense. It not only undermines the

have towards model making is unparalleled

aspect of user-centricity that I have been

when compared to other representational

Outro I have a tendency, like many, to be hyper-critical of my own work. There are still an innumerable quantity of tweaks, developments and revisions to my models and design that I want to make. Reflecting on these three years, in hindsight, I don't think I've completed a single thing. And if you'd had asked many of my peers, I think they'd say the same thing. But whether "completeness" is meaningful- I'm not sure. The only true reflection and possibly only positive, is reflecting on my capabilities at the start of this course, and comparing them today. This honestly allows me to acknowledge my

mediums. I find the process of modelling

progress as an undergraduate. The result being, although partial, I feel I managed to

comforting and expressive. In truth I wish

produce a complex project both tectonically and theoretically, which addresses and

I could translate any of my models into a

responds to societal issues, whilst contextualising a very difficult site. The manifesta-

workable building, but its that step, I have

tion of Gender, Inequality and Architecture is ambitious but I feel as though the type of

found most challenging. At times its been

language and style that you’re about to see- delineates the themes explored throughout

stressful knowing that my models carried so

Reflective Report

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Above Massing Models developed around February. Developed from my Spatial Constitution.

Right, AOC’s Spatial Constitution. Building Blocks. Stockholm, 2009–10

this portfolio.

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Reflective Report

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Ghost In The Machine

What

Lies

Behind

Charrette.

Themes: CONSUMPTION, FASHION, RE-USE

Outputs: SHOPFRONT INSTALLATION, EXHIBITION The fashion industry is one of the worlds leading polluters. By 2030, apparel consumption is projected to rise by 63%. Fast fashion is the antithesis of sustainable practice.

What Lies Behind encouraged a slowing down of the manufacturing process with an awareness of every component, material and detail involved in an items production.

For this charrette, we were ask to study the retail streets of Newcastle, searching for materials to re-appropriate and combine to create new garments. There was an emphasis to be made on the narrative of each found element, using digital, analytical and sensory mapping techniques to record the process from inception to product.

The smart phone currently plays an inherent role in the ease of online consumption and allows for instant results from a single click. Within this charrette however the phone was used to play a crucial role in disrupting the speed associated with consumption. Using the phone as a recording device, with both photography and film to capture the evolving and complex nature of manufacture which is often hidden behind the face of a singular object.

002

.

“Buying just one white cotton shirt produces the same amount of emissions as driving 35 miles in a car.”

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=

2700 L

OF WATER

=

DRINKS IN 2.5 YEARS

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Ghost In The Machine

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Charrette

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Charrette

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Fashion Show

“85% of the plastic pollution in the ocean is due to microfibres from synthetic clothing.” – Dr. Mark Browne

“Catwalk” Photos Credited to Yew Zhi Xuan Charrette

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Charrette

Charrette

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RE-appropriate

RE-USE

2019

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Shopfront Installation

...A Royal Mess Our Carbon Footprint

Charrette Reflective Report Our Charrette this year “What Lies Behind” centred around critiquing the environmental impact of fast fashion. My reflection on charrette leaves with some of the best memories of Stage 3. Our team: Ming, Will, Reuben and I can thoroughly say that charrette was one if not the best projects during Stage 3, due to its relaxed nature and all-round exciting experience. Through we got off to a slowish start- perhaps all of us were not taking it too seriously, we managed to pull a charrette out the bag. Which conceivably made the experience every more fun. The majority of our week consist and messing around and creatively whipping ideas with the materials we had gathered. And within the last two days we bound what we had and made well a mess! Laughs, jokes and alcohol followed

“The carbon footprint of NEW CLOTHES bought in the UK EVERY MINUTE is GREATER than DRIVING a car around the world SIX TIMES.”

the very success charrette show with “What Lies Behind” rounding off the event.

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Charrette

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Outputs: UNION MAPPING, INTERFACE MODEL, EXHIBITION Systemic Design denotes the study of system[s] and their respected effects on the built environment, measured through a 1st and 3rd person perspective.

Our Primer asked us to investigate tangible and in-tangible systems in Coventry, with an emphasis on considering how systems may change over time, to then map it digitally. Looking at a past, present and future possibilities and changes in threshold between night and day. The processes of Primer asked us to read books by JG Ballard and identify how systems and protagonist’s interact with each other.

Taking into account how each protagonist is restrained by the system they interact with.

Progressively, Primer asked us to map with both an emphasis on conceptuality whilst not loosing the authentic aspects of Coventry’s quantifiable data. Producing Union Maps which slotted into a pegboard base representing Coventry’s public realm. In addition, we were tasked to create an analogue or digital immersive interface model to make an animation from. Our animations followed a chosen protagonist from the books of JG Ballard, placed into scenario which explored the point of exchange between our protagonist and a mapped system within Coventry.

Systemic

Themes: INTERACTION, HUMAN PERSPECTIVE, EQUIFINALITY, USER CENTRIC

Design

Primer.

Ghost In The Machine

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Ghost In The Machine

Ghost In The Machine

Studio Outline

Studio 3_

GHOST IN

THE MACHINE Ghost in the Machine is a studio led by Cara and Mags. The studio centres around people

The stage for our stories are set in Coventry. Coventry has been awarded the 2021 UK City

and their relationship with systems and infrastructures. A System can be defined as:

of Culture and has an urban centre which was rebuilt in the 1950s and 1960s following bombing during the Second World War. Coventry played a pivotal role during due to its in-

Working together as parts of a mechanism or an interconnecting network;

dustrial landscape. Besides it's legacy of industry, Coventry has rich cultural language which,

a complex whole.

has and still is at the for front of right and equality. This stems back through Coventry's historic landscape, from Lady Godiva and her ever received liberal social attitudes. Coventry

Systems can be hidden (intangible) or visible (tangible), our studio has explored systems

has been influential in women’s rights ever since her mythical act of defiance. Its this narra-

through these lens to help us understand the structures around us. Our studio, spearhead-

tive that my journey begins.

ed by Cara and Mags, have a vested interest in change and how systems respond to change: weather they able to adapt, become obsolete or be appropriated in an attempt to keep up with our ever evolving socio-political and environmental landscape.

Key Question's...

How do we engage with Systems and Places?

Where are our points of interaction to a System?

Primer

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Task 01.

Chapter Reading Kingdom Come: Chapter One

Reading of JG Ballard. By filtering Chapter One, from Kingdom Come through the perspective of story’s main protagonist: Richard Person. Our brief for this task was to diagram how our protagonist interact with the systems that the author may try to disclose.

What system does the protagonist encounter?

Is the system intangible or tangible?

What implication does the system have on the character?

The drawing is set in the restaurant that Richard goes to buy a pint. Richard insistently notices the broken glass that spoils his view onto the parade outside. The array of security cameras

Racism

Antagonism

are off-putting and discomforting to our protagonist. Richard is lost. He pulls out his map to try and navigate the some what idyllic town that he has wonder across. Lost, he retraces his journey as for back as he can, as the restaurant owner sheepishly wanders to take his order.

Marginalization

Discrimination

“Just a pint please and the bill”

Knowing that two is a step too far. Richard notices a women, possibly the owners wife, hiding and staring, as if she was afraid of our protagonist. The parade is in full swing. St. Georges flags swing from ear to ear, paint laces the children’s faces. Richard leaves his drinks break underwhelmed by the ordinarily flat Carling. He sees smoke behind a tower car park, brutish in nature which dominates the towns sky line. Out of place, just like him. He follows his nose, ripe of smoke and comes across a building on fire. The car park, concealing the system. A mosque set alight with a parade of flags cheering the flame. A dance.

With the taste of sour still lining his lips, Richards mind flies back to his pint.

Primer

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“Why was she watching me?”

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Systemic Mapping

Ghost In The Machine

Of Coventry’s Public Realm

CO V AV E

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A. S ARE 25

AC

CLASS 0

DAYTIME ECONOMY 50

75

100

125

Class

0

Communication

Community / Political

25

50

75

100

125

Daytime Economy

Education N

Task 02.

DIAGRAM FLOOD RISK TITLE IN COVENTRY

Key Low Level Flood Risk

0

Employment

Felipe 1

Felipe 2

Felipe 3

25

50

75

100

Medium Level Flood Risk

High Level Flood Risk

125

Flood Risk

As a group we produced 2D maps of coventry’s public realm

N

diagramming two systems that we identified during our first tutorial. Our brief was to consider how our chosen systems had

Politics

manifest themselves both in the physical and hidden. We tried

Government

Drug abuse

to help us better understand how system have affected our enviI picked out the hat were: Gender and Night-time Economy.

2018

Money

to represent forms of movement and change within these maps ronment & get to grips with Coventry, our site. The lucky maps

Education

Consumerism

Aa Markers highlight the institutions of clinical psychologists and drop-in centres, specialised in the diagnosis and management of mental health conditions. Most of these centres are placed in and around residential areas.

Relationships

Green spaces are a well-known remedy of some common mental health issues. Without undermining the severity and intangible nature of this issue, having access to green spaces can aid the reduction of health inequality, improve well-being, and contribute towards the treatment of mental illness.

The words illustrate some parts of the city that have the potential to contribute to mental instability and the institutions in which they encompass.

Key

DIAGRAM KNOWLEDGE TITLE IN COVENTRY

Food

Mental Health

Key University educational buildings

0

Housing

Social Interaction Primary Shopping Area

25

50

75

100

Public educational buildings

125

Knowledge N

Religious Area

~49m ~30m ~25m ~20m ~15m ~0 m

Key

Education Area

Planning system 0

Manufacture

Nature

Physical Health

25

50

75

100

125

Planning

Pollution Anual Visitors flow in Commercial Area

Jan.

Feb.

Mar.

April

May

June

July

Aug.

Sept.

Oct.

Anual Users flow in Religious Area

Nov.

Aug.

17℃

Dec.

Jan.

Feb.

Mar.

April

May

June

July

Aug.

Sept.

Oct.

Nov.

Dec.

17℃

Nov.

5℃

Dec.

Annual Temperature Averages

Oct.

7℃

Humidity: 88% Dew Point: 3 °C Wind: 9 mph Pressure: 1015 mbar Visibility: 9 km

Sept.

11℃

Humidity: 87% Dew Point: 5 °C Wind: 9 mph Pressure: 1013 mbar Visibility: 9 km

Aug.

14℃

Humidity: 83% Dew Point: 8 °C Wind: 9 mph Pressure: 1013 mbar Visibility: 10 km

July

Nov.

Pressure: 1015 mbar

June

Oct.

Wind: 9 mph

Key

Sept.

Humidity: 78% Dew Point: 10 °C Pressure: 1016 mbar Visibility: 10 km

Pressure: 1015 mbar

Weather

July

Wind: 9 mph

May

15℃

June

Wind: 9 mph

April

May

Humidity: 74% Dew Point: 12 °C Visibility: 10 km

Transport

Mar.

April

Wind: 9 mph

Surveillance

Feb.

Mar.

Humidity: 72% Dew Point: 12 °C Visibility: 11 km

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Key

12℃

Wind: 10 mph

Primer

Signage

Arrows are used to highlight zones and specific areas that are relevant to the use of ‘signage’. These areas are closely linked to road network systems and retail/ entertainment venues.

7℃

Feb.

Humidity: 73% Dew Point: 10 °C Pressure: 1016 mbar Visibility: 10 km

Power

New freestanding digital signage suits the fast-pace, ever changing nature of consumerism in a urbanised area.

5℃

Humidity: 75% Dew Point: 5 °C Wind: 10 mph Pressure: 1014 mbar Visibility: 10 km

Humidity: 86% Dew Point: 2 °C Wind: 10 mph Pressure: 1015 mbar Visibility: 9 km

Jan.

Modern totem wayfinding signage. These information spots are purposefully situated in popular locations and places of greater footfall. The placement of these signs guide visitors towards two specific points- the commercial shopping quarter and the cathedral ruins.

Humidity: 83% Dew Point: 2 °C Wind: 11 mph Pressure: 1016 mbar Visibility: 9 km

5℃

Humidity: 79% Dew Point: 3 °C Wind: 11 mph Pressure: 1016 mbar Visibility: 10 km

Lowest Precipitation: 16.5 mm (Annual Averages )

9℃

Humidity: 74% Dew Point: 7°C Pressure: 1016 mbar Visibility: 10 km

Highest Precipitation: 27.1 mm (Annual Averages )

Jan.

Dec.

N

Anual Users flow in University Area

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Task 02 Mapping

Ghost In The Machine

Of Coventry’s Public Realm

Night-time Economy Primer

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Gender

Composite Map 31

Primer

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Readings

Ghost In The Machine

Gender Discourse Around Architecture and the City

1.

Women and the Man-Made Environment

“A stiff challenge to the great macho myths of metropolitan architecture”

2.

Feminist Futures of Spatial Practice

By MATRIX

By AADR

Jos Boys

Meike Schalk

Frances Bradshaw Jane Darke

Therese Kristiansson

“Materialisms, Activisms, Dialogues, Pedagogies, Projections”

Ramia Maze

Benedicte Foo

Making Space, Women and the Man-Made Environment is an open critique from the perspective of a group of feminist designers collectivity know as Matrix. The book highlights how sexist attitudes regarding family life, typically the roles of women, and how these assumptions how manifested into the design of our homes and cities. It highlights stereotypes regarding the kitch-

Sue Francis

Similar to Making Space, Feminist Future of Spatial Practice highlights the growing stratum

Barbara McFlane

between Architecture and Gender. Whereas Matrix highlighted contemporary issues of 60s, 70s

Marion Roberts

& 80s in their critique. AADR talk about gender discourse of more present times but still articulating their experiences within the reading as main narrative. The writing forefronts socio-spatial

en as a “workplaces” also being situated at the back of homes, and this sociological attitude affects

struggles, in which equality, access, representation and expression are suggested to be derivatives

thought. The book questions the convention that a women’s place is in the home, and reflects on

of. “Feminist spatial practices contributes substantially to new forms of activism, expanding

how post war architecture, typically Second World War architecture, has impacted this stereo-

dialogues, engaging materialisms, transforming pedagogies and projecting alternatives” (AADR,

type both for the better and worst. The book has an emphasis on building a narrative from the

2020) in an attempt to trace temporalities, events and practice tools that may assists future femi-

perspectives of the authors themselves, using their experience as mothers, which subverted to an

nist practices. The reading influenced and has deepened my understanding of different genders,

exhibition “Home Truths” developing around women and the design of their houses; considering

bodies and peoples and how diverse voices and forms of expression culminate in alternative ways

the impact this may have had on them as mothers. In summary, the book centres around critical-

of living together. (AADR, 2020). Activism was a key reading and was something that I would

ly reflecting on the way our build environment can effect women in this society.

take through into my design.

Projections 313

Primer

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Primer

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Union Mapping Pt 1

P ROJ ECT:

Mapping Gender Inequality In Coventry University

Ghost In The Machine

42% 58%

Coventry University Gender Pay Gap Women's mean hourly rate is 16.1% Lower than men's. In other words when comparing mean hourly rates, women earn 84p for every £1 that men earn. Women’s median hourly rate is 13.7% lower than men’s. In other words when comparing median hourly rates, women earn 86p for every £1 that men earn.

Proportion of women in each pay quartile: Top quartile (highest paid) - 42% of the top quartile are women Upper middle quartile - 46% of the upper middle quartile are women Lower middle quartile - 53% of the lower middle quartile are women

46% 54%

Lower quartile (lowest paid) - 71% of the lower quartile are women

Who received bonus pay:

53%

8.1% of women 7.1% of men

47%

Difference in bonus pay: Women’s mean bonus pay is 3.2% lower than men’s Women’s median bonus pay is 33.3% lower than men’s

= Male

= Female

(Catherine Wyatt & Fionnula Hainey) https://www.coventrytelegraph.net/news/business/gender-pay-gap-how-coventry-14492322

Primer

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71% 29% 35

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Union Mapping Pt 2

Ghost In The Machine

Primary 6mm Steel Nut x 30

Primary 4mm Clear Acrylic x 6

Making Assumption on Gender Equality Past Present Future

Primary 6mm Threaded Rod Steel x 4

Secondary 1m Steel Washer, 6mm Clearing x 60

Secondary 4mm Threaded Rod Steel x4

Secondary 3mm Copper Tube

The central helix within the Union Map denotes my assumption on-toward Gender Equality within the UK. The size of the Gender Symbols represent this. Although they do not refer directly to date, but rather, is my own projection of how I assume gender equality: was at Past, is now at Present and will perhaps be in the Future? The Size of the female gender symbol is 20% the size of the male Gender symbol, starting at Past. The female Gender symbol progressively get larger as it moves up through the union map. At present it is 60% the size of the male gender symbol.

Again, progressively getting bigger until an equilibrium is reached...

Secondary 4mm Steel Nut x 8

Tertiary 1m Steel Washer, 4mm Clearing x 20

Tertiary Primer

36

4mm MDF Board

...Somewhere in the Future.

ing

P ROJ ECT:

Union Mapping Pt 3

Union Mapping

Mapping Gender Inequality In Coventry University

Ghost In The Machine

12/11/19

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12/11/19

Union Mapping 12/11/19

Union Mapping 12/11/19

Union Mapping 12/11/19

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Union M

Primer

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Primer

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Cash Machine

Ghost In The Machine

Immersive Interface Model

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41

Primer

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Primer

Exhibition

2019.

Mapping tangible and intangible systems of Coventry onto its public realm. This years GITM Primer was systemic mapping onto Coventry’s public realm. As a group we each produced our own “Union Maps” which were 3D explorations of systemic data native to Coventry, and then displayed them onto Coventry’s public realm through modelling. As a group we printed and then exhibited this as our main Primer output. The process of producing this exhibition as a group was very fun, even if we did stay up most of the night trying to construct Coventry’s public realm. Overall I believe our Primer exhibition went very well, and was successful in communicating our studios investigation into systems, orientations and data of Coventry’s public realm.

Primer

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Ghost In The Machine

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Primer Exhibition

Ghost In The Machine

1:250 Base Model of the Public Realm in Coventry

Primary 6mm Nut x 120

Primary 4mm MDF Board

Coventry's Public Realm.

As a group we produced a 3D map of coventry’s public realm to

Primary 6mm Threaded Rod (Steel) x30

Primary 4mm MDF Board

use as a base for our primer exhibition. The public realm was to be used to hold our union maps which slotted into the public realm much like a pin bored. Our Union Mapping outcomes had to facilitate this aspect seeing many of our initial designs not slot into the public realm due to how grids and holes lined up. The Realm in question is made from MDF, 6mm threaded rod, 6mm nuts, trace paper (Composite Map). We constructed using the laser cutter to define Coventry’s Public Realm along

Secondary 1mm Trace Paper (Composite Map)

with the gridded 6mm holes- and then assembled in a painful argumentative process using the 6mm threaded rod and nuts.

The entire construction used no adhesive.

Primary 9mm MDF Board

Primer

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45

Primer

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Primer Exhibition 1:250 Base Model of the Public Realm in Coventry

Primer

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Ghost In The Machine

P ROJ ECT:

Ghost In The Machine

Primer Exhibition

2019

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10 / 11 / 19

Primer Reflective Report Primer was good fun. Definitely one of my favourite stages of the design programme. It captured everything I enjoy about this course from its emphasis on graphical representation to model explorations and research. Primer was a more conceptual approach in our explorations of systemic design but was still grounded in its sense of research and how we’re able to translate data into visual form. This is something I find very interesting and very fun to try and work out.

Though Cara and Mags may disagree about our Primers conceptual foundation, its perhaps this attitude that I have towards conceptuality that I found so liberating in terms of the outputs produced and Primer all together. It was both rooted in group work with our own individual outcomes and was a very successful “making friends” experience: especially the 5am construction of Coventry’s public realm the night before our exhibition.

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Primer

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Studio Manifesto

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HINE

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Stating Our Position Glossary of Terms:

“Ghost’s 19/20” Photo Credited to Mags

System: An interconnected network of components that

Formal: A systemic problem, experienced by the whole

work together as a complex whole. Throughout Primer

of an organization or a country and not just particular

we investigated systems at a variety of different scales. To

parts of it.

assist this we categorised ‘systems’ into Tangible and In-

Time: Our part of existence that is measured in minutes,

tangible.

days and years. This process is considered as a whole.

Tangible: Systems that can be touched, shown and inter-

Change: To exchange one thing for another thing, espe-

acted with. (Example would be Gender)

cially of a similar type.

Intangible: Systems that exists but that cannot be

Animate: To make someone seem more happy or active.

touched, exactly described or given an exact value. (Ex-

Static: Staying in one place without moving, or not chang-

ample would be Inequality)

ing for a long time.

Interface: a connection between two pieces of electronic

Dynamic: Having a lot of ideas and enthusiasm.

equipment, or between a person and a computer; a situ-

Kinetic Art: Involving and producing fluid, organic

ation, way, or place where two things come together and

movement.

interact.

Unplanned: Not planned and unexpected.

Network: A large system consisting of many similar

Disrupt: To prevent an action, especially regarding a sys-

contextualised.

10.

We enact abstract and uncomfortable techniques to

parts that are connected together, to allow movement or

tem, process or event; from continuing as usual or as ex-

2.

Information should be presented at an engaging

develop dynamic, interactive and engaging models.

communication between or along the parts, or between the

pected.

manner using a 1:1 scale in order to be most effec

11.

We Should aim to create an experience that fills the

parts and a control centre.

Engage: becoming involved, or have contact with some-

tive.

user’s periphery that stimulates various sense

Interaction: An occasion when two or more people or

one or something.

3.

Systems can be tangible or intangible. Their iden

Simultaneously.

things communicate with or react to each other.

Diagram: An illustration that explains how a system,

tification is not limited to their identity.

12.

Form should not just be limited to three dimensions,

Immersive: Seeming to surround the audience or protag-

machine, process or plan operated and organised.

4.

We should Inspect systems from the point of its

in the strictest sense.

onist so that they feel completely involved in something.

Body Centric: Having stated things as your main inter-

engagement to the wider system as a whole.

13.

Form should therefore be observed through intangible

Infrastructure: basic systems and services, such as

est.

5.

Resistance to a system should be considered as

lenses as much as tangible lenses.

transport and power supplies, that a country or organiza-

User Centric Design: People are placed into every de-

much as the function of the system itself.

14.

The public realm forms the basis of our study as this

tion uses in order to work effectively.

sign decision, emphasising how our actions affect users.

6.

Design must be though through at all scales.

is the most accessible part of Coventry and therefore is

Systemic: A systemic drug, disease, or poison reaches

7.

We Investigate through a specific [chosen] lens-

the most important.

and has an effect on the whole of a body or a plant and not

es and explore place through non-bias quantita

15.

We use User Centric Design to establish a narrative

just one part of it.

tive and qualitative methods.

from our focused explorations or systems within

8.

All facets of a problem should be considered which

Coventry.

will allow further consideration over the cause of

problems.

Primer

50

GHOST

We use modelling as a process.

Information is useless unless its compared and

THE MACH

9.

1.

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Ghost In The Machine

Outputs: PROJECT DASHBOARD, SYSTEM TIMELINE, PROTAGONIST STORY, COMPOSITE SPATIALISED DRAWING, SITE ANALYSIS, SITE STRATEGY. After an enjoyable Primer Exhibition, our Staging asked us to develop a brief out of our themes and narratives explored in Primer. The mapping of Gender onto Coventry’s public realm, along with mapping Coventry’s Gender Pay Gap led me into gender and architecture and how gender discourse can manifest itself into the city and daily regimes.

The main outputs stated up, encouraged us to think about data, mapping and narrative, asking us to community our findings throughout the process of Staging. Progressively we would begin to develop our owns briefs and ultimately a question that our architecture would try and answer.

By the end of Staging it was becoming clear to me that my projects narrative was founded upon gender inequality. Making graphics that responded to gender inequality, which ultimately are realised in my constitutional drawing was a tricky and rewarding process that developed my own understandings around this issue that rooted in society today.

User

Themes: GENDER EQUALITY, FEMINISM, USER CENTRIC DESIGN

Centered

Design

Staging.

004

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Identifying A Question

How do we bridge the gap between minorities, to allow for an inclusive space for all?

Ghost In The Machine

When thinking about defining a Narrative in relation to our Studio Manifesto Vs. Stating Our Position and the work developed during Primer, I gave myself some themes to catalyse this process...

1.

Gender & Architecture

2.

Inequality & Architecture 1200

1430

Defining Social Marginalization 1900

Social Marginalization refers to disadvantaged and underrepresented groups of society. Exclusion is a multi-disciplinary process which is driven by unequal power relationship interacting across four main groups. Economic, Social, Political and Cultural. Marginalization can manifest in different levels of these main groups.

Individual, Household, Community and Country. Resulting in a continuum of exclusion characterised access to resources, capabilities and rights.

3.

User Centered Design

Research

Make The Godiva

Sisters Test

Staging

54

55

Staging

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Making Space For

InfoGraphic Pt 1

Protest...

Ghost In The Machine

Marginalization in Society

Key Question How do we bridge the gap between minorities, to allow for an inclusive

space for all

The design of sitting areas and the positioning of benches can encourage or inhibit conversation

?

No Social Interaction

Vs Encourages Conversation

Above. A designs guides mechanistic view of open spaces and social interaction. From An Introduction to Housing Layout.

1978.

Staging

56

The Yet Unbreached Barrier that Keeps Minorities

57

Staging

Down

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InfoGraphic Pt 2

Ghost In The Machine

Coventry’s Top 5 Employers

1.

Coventry City Council

2.

Coventry University

3.

NHS Trust (Coventry)

4.

Severn Trent Water

5.

University of Warwick

?

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Layered Timeline

This Layered Timeline is an exploration into the system[s] of Gender and Equality represented both domestically and in Coventry. The first dating back to lady Godiva and her individual act of activism in protest to her husbands increased taxation. The general trend of the timeline suggests a high concentration of cases or ‘acts’ of equality over the last 40 years.

The correlation that I’m most interested in regarding this timeline, is Coventry’s Post War regeneration, to that of the increased concentration of acts under ‘Second & Third Wave Feminism’. Can a link between Post War regeneration and Feminism be identified? Can we go as far to suggest that Post War regeneration was a one of the catalyst for waves of Feminism?

Staging

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Staging

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1

Initial Protagonists

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The Godiva Sisters

A group of multi-cultural, multi-ethnic, multi-faith women who live in Coventry.

*More on the Godiva Sisters to follow...

Pru Poretta “I feel so privileged to have been able to be Godiva and I’ve done a lot of things I never would have been able to do, and travelled to different places representing Coventry. I love Coventry and I’m proud to have been allowed to be an ambassador for the city for so long.”

2

Elizabeth

A non-binary musician living in Coventry.

“Women make up 60% of interns, 59% of entry-level business roles, but only 30% of senior executive positions in the music industry.”

- UK Music Diversity Survey 2016

After Graduating from collage 3 years ago, Elizabeth, a singer and songwriter native to Coventry and has ambitions of exploring other avenues of media. Elizabeth has been

“Women make up only 14% of Performing Right Society (PRS) for music writers and performers.”

pushing her music through Coventry’s local seen, but hasn’t seen much activity. She feels underrepresented within the seen. The domestic sound and media industry has a history

- PRS For Music Foundation

of neglecting female and non gender conforming individuals.

Both could easily be addressed as a minority. ‘Less than 5% of the people creating the sounds, music and media in the daily soundtrack of our lives are women/gender non-con-

“87% of female architects responding yes to the question of whether having children puts women at a

forming (GNU) individuals’ (Women’s Audio Mission).

disadvantage in architecture” - Women’s Audio Mission

3

Annabelle

A group of multi-cultural, multi-ethnic, multi-faith women who live in Coventry.

“41% of women identified as victims of bullying while working in architecture, 68% said the incidents in question occurred within their practice.”

- Arch Daily

Anne is a post-grad architecture student who lives and studied in Coventry, having recently completed her part one.

“When asked whether they had suffered sexual discrimination during their architectural career, 75% of female respondents said that they had.”

She is now in employment in a firm within the Midlands, looking to complete a year in practice before she embarks on her Master’s Degree, again at Coventry University. Anne is

- Arch Daily

conscious about the lack of gender equality within modern day practice. Women make up 50% of entrants to schools of architecture, falling to only 45% of registered architects in Practise. By the time female architects have been in practice for more than five years, the gap has increased with a ratio of

“87% of female architects responding yes to the question of whether having children puts women at a disadvantage in architecture”

nearly 2:1 male to female qualified architects.

- Arch Daily

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Spatial Constitution

This exhibition piece looks at the different spaces represented and identified within my initial idea’s of program and form. It place’s heavy emphasis on the role of gender and identity within Coventry. The composite looks at how primarily the Godiva Sisters would use and interact with each massing within this initial proposal. The main spaces that I have identified through the Godiva Sisters as a protagonist are: The Exterior Threshold: A Place For Protest, Activism and Performance Godiva Sister’s Workspace: For Services Civic: A Museum Area to House Feminist Art and Commemorate Coventry’s Legacy of Human Rights.

Additional Services This Composite relies on the notion of promoting a civic narrative which is built upon the foundation of a intangible system inequality, to promote social change through a shared collective of performance and awareness. And only by raising awareness are we able to cause change.

Celebration Piece For Staging

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Ghost In The Machine

"A "A Stage Stage For For Culture" Culture" Design Protagonist[s] 1.

Design Narratives Responding to Protagonist[s]

2.

3.

1.

2.

3.

1200

Research The Godiva

Sisters

1430

1900

Gender & Architecture

Staging

66

Make

Test Inequality & Architecture

User Centered Design

Giving Choice Through Circulation

"Intentional Overlapping�

Structural Expressionism

67

Staging

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Ghost In The Machine

Gender Inequality

2019

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User-Centricity 06 / 01 / 20

Staging Reflective Report The conceptuality of Staging paired with it's level of research suited my interests regarded this course varied programme. The outputs where really enjoyable to do as I felt I could be as creative as possible for the Spatial Constitution and our Layered Timeline's. There was no real critique, unless our theme's weren't adequately researched or if our graphics weren’t represented accordingly. The ambiguity around the output was also quite liberating. I knew my themes and what I was researching- but as for the outputs I certainly had no Idea, and there wasn’t really any pressure to know. The experimental approach is something I like to think I thrive off. Staging allowed me to draw from my own interest to produce a branch of architecture that’s disassociated from building, but just as just as important as the final product. The conceptuality and creative nature of graphics and communicating ideas and research, is a problem solving exercise in itself. I guess I just find this most fun.

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Ghost In The Machine

From the Centre of Turin to the Centre of Milan

6

Case Study.

Themes: CIRCULAR ECONOMY, EXTINCTION REBELLION, INDUSTRY, PARALLELS Outputs: CASE STUDY Our Field trip began with a site visit down to Coventry. Through our Primer and collective mapping exercise I felt pretty comfortable in knowing what to expect from Coventry...

With its ecclesiastic nostalgia of a post war utopian aesthetic, Coventry in every aspect shocked me. From what I thought was a timid city with little identity, was actually a rich and indulgent city with a vast history of striving for social equality, dating all the way back the Middle Ages. Within Coventry we were also introduced to our Case Study: Coventry Cathedral.

At first glance, Turin offered a complete contradiction to Coventry, with its only initial parallel coming in a mutually shared loss of industry in the 80s. Turin’s grid typology and scale opposed Coventry’s inconsistency within its public realm. However when experienced through a 1st person perspective, the noticeable link between Coventry and Turin became apparent. The public realms of both cities features arcades and sheltered walkways through the city, which opened up onto courtyards and other civic institutional programs. Both cities shared a common denominator. Whilst Turin was able to continue growing, to some extent, after Fiat pulled its production from within its walls.

Although vibrant and teeming with identity, Coventry stagnated after its loss of industry.

Locations within the zones of interest

Coventry

143.7 km

Turin

*See Appendix for the entire Case Study. The work outlined in ‘Case Study’ on pages 74, 75, 76, 77, 78 and 79 is solely my own work produced during this assignment.

From the Centre of Coventry to the Centre of Turin

Milan

1416.4 km

005

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Coventry Cathedral

Ghost In The Machine

Coventry Basil Spence

73

Case Study

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Program Circulation to Use

Symmetry and Balance

Hierarchy

Highest Significance Considerable Significance Moderate Significance Negligible Significance

Most Important Least Important

Regrading the New Cathedral, similar to the strata that was before, hierarchy plays a pivotal role, architecturally. There’s a clear hierarchy to the whole scheme, including the Cathedral Ruins. This is enforced by the natural slope of the site meaning every element south has more emphasis placed on-It. As you move north from the Ruins through the Porch, Nave and so on, less Importance is placed on these elements in order to frame the Cathedral Ruins.

Basil Spence’s proposal was the only submit-

The relief of the Alter, separating it from the Cathedrals main massing [Nave] gives it its own

ted design to incorporate all of the ruins with

identity when walking around. Steps are used to elevate the Alter, whilst its enclosed through

his conception. His proposal would therefore

clergy stalls. The stalls support a throne like structure which represents clergy members. This

orientate perpendicular to the ruins, which

privatisation of space through enclosure and elevation makes the chapel seem very personal

would be frames by a glazed south facing

within the open Nave. This again, adds to the notion of austerity realized through hierarchical

facade. In-turn, this places emphasis into the

systems.

ruins as a national heritage site, now used as a performance and concert area.

The Nave accumulates the majority of volume within the cathedral. Two separate chapels: the Chapel of Unity and Chapel of Christ the Servant make two separate north / south relief’s of the main massing.

Case Study

74

75

Case Study

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Environmental Strategy Sunlight Exploration of the Baptistery Window

“The Baptistery window, 81 feet high and 51 feet across, is

The Baptistery window’s curved profile allows for like to enter the Baptistery and Nave dusk till noon; roughly 12.00pm during winter and approximately 13.00pm during Easter The Baptistery window had to be curved to affiliate sunlight penetrating the glazed facade during Easter Sunday Mass and Christmas Day Mass. Without such a profile sunlight wouldn’t have been able to reach the Baptistery and Nave,

glazed with stained glass by John Piper. It is a rich composition in

respectfully, at either 11.00am on Christmas Day and Easter

colour culminating centrally in a clear blaze of golden light”

Sunday.

- Basil Spence

Easter Sunday

Christmas Day

08.30am / 22.29o

08.30am / 1.22o

11.00am / 42.29o

11.00am / 12.91o

Case Study

76

77

Case Study

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Environmental Strategy Summer & Winter Solstice

Initial Porch The initial Porch was designed at a much shallow depth than what was built. In turn, this would have effected the amount of winter sun being able to penetrate the glazed southern wall. This would have decreased the amount of natural light into the nave during winter by more than 50%.

12.00am / 14.21o

The exterior Porch of the Cathedral is south facing and acts as a threshold connecting the old and new. As Spence suggested “aesthetically, the Porch should soften the contrast and be a true buffer between the two architectural characters. The Porch’s functionality in relation to its horizontal loading and framing of the Cathedral ruins creates a profile the softens the connectivity between the old and new. Environmentally Spence’s Porch acts as a horizontal element that mediates sunlight into the Cathedrals Nave, along with

Winter Solstice Axonometric / 14.21o

keeping the entrance to the Cathedral dry and inhibiting weathering

12.00am / 14.21o

Winter Solstice

12.00am / 58.28o

Alter where the Bishop would give their Sermons during mass.

Summer Solstice Axonometric / 58.28o

Winter Solstice light is able to reach the profile within the Nave,

Case Study

due to the relief of the porch.

Summer Solstice

The Porch acts as a horizontal element which inhibits the high summer sun from penetrating the Cathedrals glazed south facade. This elements mediates uncomfortable warm sun from getting into the cathedral.

78

79

Case Study

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Hotel La Serra

Ghost In The Machine

Ivrea Adriano Olivetti

81

Case Study

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Torino Esposizioni

Ghost In The Machine

Turin Pier Luigi Nervi

83

Case Study

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Lingotto Factory

Ghost In The Machine

Turin Renzio Piano

85

Case Study

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Frondazione Prada

Ghost In The Machine

Milan OMA, Rem Koolhaas

Field Trip Reflective Report Our Field Trip to Coventry, Turin and Milan was one of the highlights of my Stage Three journey.

And although Dissertation and a Case Study presentation in front of the whole year where both looming, my Field trip experience made the hardship to come feel somehow worth it. Although the trip itself felt more like social event rather than a learning experience, and whether that was intentional or not by Mags and Cara, the trip as a whole was truly a once in a lifetime experience, the places we visited where incredible. Having relayed back to the studio and got all the dirty info on each respected studio- I can confidently say our trip was the best. I would definitely feel sorry for the Stage Two’s coming up if they weren’t able to get that same experience and opportunity I had. The field trips also gave us Ghost an opportunity to socialise much more. Some great friends were made through the shared experiences, which was definitely maintained throughout the rest of the year.

These friendships catalysed by the field trip helped me enormously during Crits, as presenting to people that are your friends makes the experience much kinda and a lot less stressful.

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Case Study

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Casting

With

27/01 - 31/01

Cloth

Thinking Through Making.

Ghost In The Machine

006

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Thinking Through Making

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TTMW

Ghost In The Machine

91

Thinking Through Making

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Thinking Through Making

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TTMW

93

Thinking Through Making

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Ghost In The Machine

Thinking Through

2020

+6

Making

Week

27 / 01 31 / 01

TTMW Reflective Report Thinking through making week was a fun period after our dissertation submissions. I remember thinking at the start of the week, what the hell are we doing?

However, as the week progressed with, TTMW was a breath of fresh air which elapsed no real pressure onto students which was ideal after a very stressful previous month. Late nights and early mornings still followed this brief project, however this free alcohol during TTMW Exhibition made it seem worth it. The freedom that we were encouraged to develop during the week was exciting, Ghosts and myself have always placed an emphasis on modelling and its potential to produced more than one outcome- with this being non more relevant during this week. The model itself I think was successful in exploring structure, shadow projections and fabric formed concrete- although the relief of the formwork, could have been expressed more had to concrete been better by myself.

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Thinking Through Making

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Ghost In The Machine

Themes: GENDER DISCOURSE, INEQUALITY, SOCIAL CONDENSER, MODEL MAKING Realisation was definitely one of the most challenging stages of this design module. The synopsis of Realisation centres around the notion of a social condenser and what this may mean under the parameters that I have built up through this document. How Gender and Inequality have manifest into to design has been documented with negative connotation. My aim is to test the boundaries contemporary practice and see if gender and equality can manifest itself into built form. I have faced many challengers along Realisation often considering if this idea is futile in my attempts to realise it. My main futility lies in opinion. Opinion plays a massive role in architecture, in the sense one perspective of form can be described as A or B and similar to writing an argument: there’s always multiple opinions to disclose. I had a similar issue with this design. By stating it is what I wish it to be, it may also be considered something else.

For myself, there was an emphasis on model making throughout the process. I began realisation by produces expressive models, founded on 3 specifications. Giving Choice Through Circulation. Liberation of Plan & Section. Structural Expressionism. My tutors and I felt these 3 themes would help the process of realising a type of architecture founded in Gender and Equality. From these model's I went on to produce a series of plans that tried to capture the qualities for each model, translating the best aspect of each massing model, building up a series of key spaces which led me to plans and sections.

A

Social

Condenser

Realisation.

007

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A Social Condenser

Can Architecture Influence Social Behaviour?

Ghost In The Machine

Thinking about what a Social Condenser means in relation my systematic themes; Gender and Inequality, I gave myself THREE key specifications to try and enact throughout this Process...

1.

Giving Choice Through Circulation

2.

The Liberation of Plan & Section To Create “Intentional Overlapping”

3.

Structural Expressionism

Definition of a Social Condenser The design approach investigates the notion of a social condenser as taken from Constructivist theory, which can be defined as a spatial idea that ‘architecture has the ability to influence social behaviour [by] breaking down perceived social hierarchies [through] the intentional overlapping and intersection of programs within a space through circulation. This project aims to suggest what this metaphor means under present day equity parameters.

Realisation

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PROJECT:

Dashboard Graphic: Describing the Design Process

AOCʼS BUILDING BLOCKS PROJECT, STOCKHOLM 2009-10 AOC led a co-design initiative for a ‘mini- buidling collaborative designed with eight-year-old pupils at Friars Primary School’

Ghost In The Machine

Onto Realisation

Process Precedent

*Text taken directly from ‘ARC 3015 Theory into Practice’ assignment

“The children collaboratively developed their brief for a dream house. A spatial constitution was de veloped by synthesising their drawings.”

The spatial constitution developed by school pupils of

to problems by involving the human perspective in all steps of the problem-solving process’. Condensing design to user centric parameters, advocates a

ideas from drawing to model.

AOCʼs Spatial Constitution Illustration [Building Blocks]

Services

process where the user experience of a final product is integrated into the design process of said product. Enacting

Godiva

Civic

AOCʼs 1:1 Buidling Blocks Installation

ing the Godiva Sisters as a protagonist to help me realise and justify specific areas of programme. The

vent disassociated design by the user

Threshold

of the interaction between humans and

Onto Realisation

translation of ideas form composite drawing to model

being placed into every decision rating ergonomics- defined as ‘the study

AOCʼs modelling iterations developed from their Spatial Constitution [Building Blocks]

massing iteration dervied from user centricity regard-

this specific methodology, aims to pre-

throughout the design process. Incorpo-

Regarding my own body of work, I produced a series of

3

Onto Realisation

tional framework that ‘develops solutions

constitution as a type of progressive oeuvre translating

Translations from Axonometric to Model

User Centred Design (UCD) is a nota-

Narrative Through Spatial Constitutions

2

informed scaled models that reference their spatial

Onto Realisation

1

User Centric Design

the Frairs Primary School and produced by AOC

iteration’s is the informed correspondent between my work and AOC’s Building Blocks. Utilised in a way to mitigate between object analysis and free form subjectivty of ideas that transcend between both media.

their products understanding their emotional physical and psychological responses’ in this way, contextualising the user and their response to product: as the catalyst for design methodology.

Authors Models, developed from my Spatial Constitu-

Authors Plan Compostite, devloped from Model itera-

tion [MSFP]

tions [MSFP]

Onto Realisati

Author Spatial Constitution Illustration [MSFP]

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Massing Model

Ghost In The Machine

1.

Massing Model 1, derived from the spatial constitution produced in Staging focus's on Expressive Forms and Expressed Circulation. Precedents that influenced this model include: James Sterling and Coop Himmelb(L)au. The was also aspect of giving choice through circulation that I was exploring within the model. The process was liberating and enjoyable whenever I got stuck or I could think of a design move, I would throw in a pre-cut letter, in futura font- that reference the Spatial Constitution, and work this into the design. This allowed me to keep up the pace when producing these models.

On-site Massing

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Massing Model

Ghost In The Machine

2.

Massing Model 2. Focus here is on Structural Expressionism, Cantilevered Elements and Exposed Circulation. An area to improve on from the last massing model was Colour. Colour for this project has been a key theme. The precedents used for this was Tschumi: parc de la villette and MVRDV Expo 2000. Contextualisation of site was becoming a bit of an issue regarding these models projecting them onto a site plan felt like a secondary notion that followed the aesthetic and character of the models. Forms where emerging however. The models circular amphitheatre was becoming affluent as it provided a nice juxtaposition of forms that would intact within, into and around the Circular space.

On-site Massing

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Massing Model

Ghost In The Machine

3.

Massing Model 3. Most closely affiliated to the Spatial Constitution- which was a direct course of very little motivation. The focus her was on Structural Expressionism, Intentional Overlapping of spaces and shapes and Cantilevered elements. Cantilevering was becoming a prominent notion, I would use this to create a threshold for my final proposal which marked the entrance to the Godiva Sister Centre. I was also beginning to explore how letters could be used within design. Typography and Iconography of architecture fascinates me, here I'm beginning to use this to frame cathedral views and mark points of interest within the site.

On-site Massing

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Massing Model

Ghost In The Machine

4.

Massing Model 4. Focus's around the Conversion of an existing building on site, keeping its existing structure. The angle of Coventry Cathedrals Facade dictates the Massing lobby and future entrance. Structural Expressionism and Intentional Overlapping are the key themes here. Seeing the secondary met-sec faรงades set within the existing structure and glazed elements set within that. R. Piano's Lingotto Factory Conversion was used as a key precedent, most noticeably the extensions "Bolla" or bubble which characterises the extensive attitude of his client. The Bolla's primary structure is exposed externally with glazing set within its frame.

On-site Massing

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Massing Model

Ghost In The Machine

5.

Massing Model 5. Key themes within this Model are Expressed Circulation, Giving Choice through Circulation, Structural Expressionism and Cantilevered Elements. This Model try's to capture most of the themes developing within Realisation- and would be the primary model I would go onto use to develop my plans from. Reflecting on the influences of the model, looking at precedents that include Richard Rodgers, El Lissitzky and John Hedjuk: all of whom where influencing my style and design language, where expression, scale and composition were all becoming important to this process.

On-site Massing

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Process Work

Ghost In The Machine Massing Model

Massing Model

Massing Model

Realisation

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1.

2.

5.

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Process Work

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Initial Composite

As mentioned my fifth massing was primarily used to translate some of the themes generated into plan form. This was a difficult process as the translation of object form, within the models, that was very interesting and engaging was lost in translation, primarily due to the site and its constrains and, perhaps, my own capabilities. That said these initial plans, in hindsight, where extremely influential regarding my final plans. Much of the forms produced are can be traced through design process with a circular amphitheatre and squared off threshold. Although this does highlight my own intention to stick with the design themes laid out at the start of realisation, it does in many cases contradict the aspect of user centricity that I explored in Staging. Hindsight has shown me that although the plans have changed there hasn’t really been much change within iteration, under the lens of user centricity: trying and testing ideas. But more-so, under the lens of, functionally toward the site.

I N I TI A L FLO OR PL AN S

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1:350

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Floor Plan[s] 2nd Iteration

Ghost In The Machine

AA [Site Section]

Aa

Bb

BB

BASEMENT FLOOR PL AN

1:200

Exterior Perspective

G ROUND FLOOR PL AN

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Floor Plan[s]

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Self Reflecting on 1st & 2nd iterative plans These plans that I produced for our Realisation reviews captured some of the ideas of liberation and irrationality that I was trying to capture, however their translation into section where fairly average. I wanted to produce a Section that captured "Intentional Overlapping" much like my Plans do.

Furthermore, the plans on-site didn’t really contextualise the site and its surrounding, the feeling evoked out of these plans was one of dissociation and not really capturing the core concepts that I have been trying to reiterate throughout this process. Gender, Inequality & social influence.

CO MPOSIT E FLOOR P L AN

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Developing a Relationship Between Old and New The main criticism from our Realisation crits was my design un-contextualised language on site. Therefore to contextualise the proposal my tutors and I decided to grid the site, using Cov-

Using Eisenmans, Wexner Centre for the Visual Arts, and looking at how that proposal responds to a series of grids developed from the site and its context, I decided that the primary struc-

entry Cathedrals saw tooth facade as a primary axis to develop my plans from again. I also decided to add a second axis, to make the grid have a more interesting language. The second axis

ture of this proposal would respond directly to the Cathedrals saw tooth facade, both its true alignment and its perpendicular arrangement. In the illustration below X, again, denotes Coven-

corresponds to the spine of the Cathedral, which is slightly off centre when comparing the Cathedrals Axis to the rest of the Site. The Cathedral itself responds perpendicular to the old Ca-

try saw tooth facade. X2 is its corresponding perpendicular angle. This set up the foundation for gridded steel structure.

thedral ruins, which was bombed during World War Two. Therefore we can say, the proposal has two primary axis labelled on the illustration below as X and Y. X is donated as the angle that follows the Cathedrals saw tooth facade. Y corresponds to the axis of the Cathedral which is perpendicular to its ruins. These two Axis where introduced as a way to respond more to the sites context.

X

X Realisation

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X2

Y 123

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Developing a Relationship Between Old and New

As mentioned in the self reflection on the plans produced for my Realisation Review, although it went well, I was still not happy with how those sets of plans translated into a Sectional Drawing. An easy trick to develop an interesting plan was to void two spaces within the gridded framework. This fit into my overall themes structure and how different structure interact. The voids in question are pre cast concrete and tilt at an angle to each other creating a type of hugging language that is enforced by the tension bridge system which connects the two gridded structure.

This outstretched "hugging" language was built upon the Reconciliation statue (below) found within the ground of the Cathedral Ruins. The sculpture was conceived in the aftermath of war, which depicts a man and women hugging. The bronze cast was built upon the story of Caretaker Tom, who spent all night trying to put out the fires which ravaged through the cathedral as it burnt down during a German Bombing campaign on the 14th November 1940. In the morning, and aftermath, once the blaze had been put out, Tom dropped to his knees, exhausted, and hugged women unknown to him.

The voids are further contextualise through there height. Both peak at the same height to Coventry Cathedrals- Chapel of Christ the Servant which can be seen in the Section Aa on the next page.

These bridges, developing a relationship between old and knew is synonymous all over this site. Most noticeable regarding Coventry cathedral to its Ruins. Therefore this proposal had to capture some relationship to its surrounding context, albeit physically and theoretically.

(Above) Reconciliation, by Josefina de Vasconcellos, in St. Michael's Cathedral, Coventry. https://en.wikipedia.org/wiki/ Reconciliation_(Josefina_de_Vasconcellos_sculpture)

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3nd Iteration Aa

Aa [Partial Section]

Bb

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G ROUND FLOOR PL AN

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3nd Iteration Partial Exterior Perspective [Process]

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Partial Site Axonometric [Process]

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Partial Render[s]

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Development & Self Reflection

These renders are for develop-

The only troubling aspect for me

ment and serve as a nice area

thus far is the type representa-

to reflect upon the design thus

tion showing. Render software,

far. Which has been a difficult

much like an unhealthy amount

process. Being out of the work-

chocolate at stressful stages,

shop and away from my peers

served as a quick release for

has been troubling which has

upcoming tutorial's. Photore-

definitely affected my productiv-

alism is not something that I

ity and work rate. There's some-

enjoy although, knowing it to be

thing about a studio atmosphere

necessary evil when under the

that pushes you to work vigor-

time constrains of this course.

ously and all the time, which has

Its sometimes not practical to

not been matched back home.

Photoshop everything, even if the outcome may be more

Although partial the renders on

visually appealing. That said for

this spread give me a good un-

more important and, ultimately

derstanding of how the project

finished pieces, I believe us-

is developing on site and its clear

ing Photoshop will deliver the

that the themes of Structural

aesthetic and representation that

expressionism and Intentional

best suits a project such as this.

overlapping are well represented.

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Technology Integration

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Notes Taken From Arc3013 Summer Solstice: 55.17o

Thermal Mass: Summer Night Solar gain will be utilised as concrete has effected thermal mass transfer properties. The concrete void and concrete deck floor slabs will, over the course of the day be heated up through solar gain, made possible due to the building’s heavily glazed elements. The transfer of heat energy will then be released back into the building at night, due to the basic principles of diffusion.

The centre is heavily glazed therefore solar gain will heat to building up throughout the summer. HVAC will circulated stagnant air out through the central voids. Porch threshold acts as a horizontal element that is cantilever out by about 5m to prevent solar gain from entering the entrance lobby.

Winter Solstice: 14.21o

Thermal Mass: Winter Night

Solar gain will heat up the building again during the winter, made possible by its heavily glazed language. MVHR (Heat Recovery Ventilation) located at the mechanical ventilation ducts will filter and use waste heat generated by the building throughout the day, heating up fluid to be re-circulated through the building’s radiator’s.

Natural Ventilation The ventilation strategy utilises the voids as a type of atrium, spanning the height of the building, to help regulate the buildings temperature through both natural and assisted ventilation.

Electronically operated ducts at the top of the voids opened close depending on the buildings internal condition.

Similarly the natural ventilation works through the process of diffusion. This sees a higher concentration of cool air, gradually get warmer of the course of a day, due to the laws of diffusion: transitions from high concentration to a low concentration to reach an equilibrium.

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Similarly thermal mass will heat the building during the night. Along with the re-circulated heat recovered by the MVHR. Additionally and dependent on the building’s temperature the use of a Geothermal heat pump is incorporated which will transfer the heat obtained in the ground in water to be circulated through the building’s radiator’s.

Mechanical Ventilation

HVAC and MVHR work together in this cause to regulate the buildings temperature. As stated the voids use physics to ensure the work efficiently. The voids also play a role in the buildings mechanical system as here is where the MVHR and HVAC units will be. These work together the circulate and regulate the convection current in the voids.

MVHR takes “hot air” and transfers its heat energy into water to be used else where in the building. This intern sends cool air down to the HVAC system at the bottom of the void where it is to be processed around the building. This type of mechanical system works by speeding up the natural processes that are occurring in the Natural Ventilation process.

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Notes Taken From Arc3013 Secondary Concrete Deck Roof slabs poured on-site, decking cut off site. 250mm thick.

Parti Plan

Secondary Met-sec Facade, Structural exposed. Glazed insulated waterproofed.

Parti Section

Symmetry & Balance

Primary Concrete Deck floor slabs poured on-site, decking cut off site. 150mm thick.

Additive / Subtractive

Plan to Section

Primary Steel frame, galvanised red. Columns = 250mm SHS. Cellular I Beams - 300mm deep

Primary Cast In-Situ Concrete void

Hierarchy

Primary 560mm diameter concrete columns spanning roughly 16m

The Grid structure of The steel frame corresponds to Coventry Cathedral saw tooth facade, to create a response to the Cathedral. Structural expressionism has been a key design focal point. I felt that responded to the site in such a way, both grounded my project in keeping with its environment around

Circulation to Use

it whilst, allowing me to express some of my desires regarding the building structural language. It needed to be bold whilst referencing the sites monument.

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Notes Taken From Arc3013 Primary

Secondary

Secondary

Tertiary

Quaternary

Tertiary

560mm diameter concrete columns. X4

10mm diameter tension wire. Negating Horizontal load of Columns.

Cellular I Beam 200mm. Vertical Metsec mullions 150mm thick by 15m.

Attaches to Tension Wire system, roof element and ground floor slab.

Steel galvanised red, curtain wall mullion & transom system, attaches to secondary system behind.

Rubber sealant used to insulate and attached polycarbonate.

Polycarbonate panels 40mm x 2500mm x 1930mm. Polycarbonate cut to size and slotted into openings.

Self Reflecting on Curtain Wall After some tutorials with my tutors, both felt that the type of AirCrete panel hung off a lightweight facade was not the right type of language to be using, nor would it be structurally appropriate. This was emphasised by the use of a hexagonal shape, that in many cases contradicted much of the language that I have explored in my plans and sections.

Therefore the AirCrete panels are to be removed leaving just the structurally expressed cross bracing visible. See next spread for outcome...

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Celebration Piece For Realisation

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Choice Liberation

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Realisation Reflective Report Realisation was a good bit of fun by all accounts. I had developed further theory into my project, considering the effectiveness of a "Social Condenser" which delineates whether architecture can influence social behaviour through morphology and ideology. This allowed me to consider form, introducing themes like the "liberation of plan & section" to help me realise an architectural language that manifests Gender, whilst responding to Inequality. The theory around this subject is fascinating to me. I found it, although futile and incredible precarious at times, almost encapsulating the way you're able to worm hole into a subject field and become divulged by it. This aspect of "Theory into Practice" was most rewarding and fruitful for me. However, the meat of the matter, and area that carries most weight, academically speaking was, and will continue to be where I fall short. The work that counts: the Realisation of design is almost built up as a mental bloke, where every decision seemed wrong.

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Synthesis.

Themes: STRUCTURAL EXPRESSIONISM, CHOICE THROUGH CIRCULATION, LIBERATION OF MORPHOLOGY Through Synthesis I have tried to bring all of my design narratives through, to document graphically, how this project has come to fruition.

Making Space For Protest is an experiment. This project is a manifestation of Gender, whilst responding to systemic inequality present in Coventry. The Godiva Sister where central to this notion. They shaped large parts of this project by exploring key spaces they need to carry out their mission: which is to represent the marginalised minorities of Coventry, through performance.

The project utilising much of its sites context, taken angles and grids generated by the site to inform many aspects. Most noticeable is how Making Space For Protest responds to Coventry Cathedral: using the cathedrals saw tooth facade to generate its most prominent axis. Precedents like James Sterling and John Hedjuk also informed some of the language and representative articulation of my plans and sections: aesthetically and ideologically. Where the notion of liberation is most felt.

The inclusion of Avant-garde Constructivism is felt through the inhabitation of these drawings much of the Actors have been photo shopped in from that rich source of imagery, which adds a more playful and less photo realistic language to the work produced for Synthesis.

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Program Summary

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Mechanical Ventilation rqd.

Heightened Fire Risk

Natural Daylight rqd.

Noise Sensitive Areas

The Godiva Sisters Centre

Offices

Workshop Seminar Rooms

Amphitheatre

Lobby/Reception

Porch Threshold

Plant/Services

Teaching Rooms

Public Semi - Private

Exhibition Area

/R ec e

pt io

n

Cafe

by

Gift Shop

Lo b

Sisters Centre for Exhibition

Private

Plant/Services

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Basement Plan

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Final Iteration

Bb

Aa 1

5

1

W/c

2

W/c Storage

3

Plant Room

4

Plant Room Storage

5

Workshop

6

Workshop Storage

7

Amphitheatre

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3 2

4 6

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Ground Floor Plan

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Final Iteration

Bb

Aa

8

11 9

7

Amphitheatre

8

Lobby

9

Reception

10

Reception Continued

11

W/c

12

Plant Room

13

Exhibition Space

14

W/c

12

14

13

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Final Iteration

Bb

Aa 15

15

Seminar Room 1

16

Seminar Room 2

17

Lobby

18

W/c

19

Cafe

18

17

19

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16

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Second Floor Plan

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Final Iteration

Bb

20

Aa

21 24

20

W/c

21

Pru Porretta's Office

22

Relax Area

23

Seminar Room 3 / Secondary Discussion Room

24

Primary Discussion Room

25

W/c

26

Gift Store

27

Exhibition Area

23

22

26

27

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25

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Section Aa

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Section Bb

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#cd1719 RGB (205,23,25)

“бей белых красным клином” Beat the Whites with the Red Wedge As Rogers suggest ‘the pin-joint has become a type of motif ’ (redbox, 2020) affiliated with structural expressionism.

An ideological notion that the pin-joint and high-tech architecture are synonymous was founded through the over use of pin-joints within this spectrum of architecture. A similar 'ideological motif ', of the colour red (#cd1719), has become a prevalent design choice right from the very start of this process. #cd1719 references much of the design's ideology through its association with: Activism, femininity, Russian Constructivism and High-Tech. Red throughout history has been affiliated to: love, sexuality and in many cases the over sexulisation of a women’s body. The characteristic of this can be seen within literature, art and film. Within Of Mice and Men by Steinbeck, Curley's Wife is used as a type of ideological motif where her character development is intertwined with graphic over-sexulisation "added to by the overuse of the colour red when describing her, as often we connotate red with both danger and sex" (Cameron K, 2015).

Red is also affiliated with Avant-garde Constructivism. Being reiterated, largely, within its art and propaganda. "Beat the Whites with the Red Wedge" is considers "symbolic of the Russian Civil War" (Stanska, 2018) through is graphical effectiveness as the colour red captured much of the Bolshevik Party where associated with: Power, Strength and Unity.

Red within propaganda can be seen as a type of social condenser as the meaning of that propaganda is meant to influence and in cases indoctrinate its user's. Only birthed through red's ideological association to radicalization; which had aligned itself with the ideologies of the Bolshevik party- which it was meant to portray.

Promoting activism through colour can be documented to the Russian Revolution. It could be argued why Red is so prominent with protest today, is because of that event. Its graphical exclusion of other colours, often dominating the colour spectrum is what makes it so powerful. "Radical-Red" and its connotation to "women [who] started the Power Red movement" (Andrews, 2007) is signified through red's psychological effects as a colour, that underpins much of our environment through association of object to past events. In this case: Activism today is directed by red and Revolution, through association.

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Synthesis Reflective Report

Making

Space For

Protest

Synthesis has been by far the most challenging aspect of the design programme.

I've briefly articulated my struggles through realisation and, truthfully, I don't know why I struggle so much with the Realisation and Synthesis of design. I think at moments I've put far to much pressure on myself to produce high quality work in all aspect. At times I've gone into far to much detail, microscopic changes to the point where there is no visual difference- but only to satisfy my own preformation. Again, the decision making aspect of realising a building is something I find challenging. Everything I've done to produce a building doesn’t resonate with quite like it should. Intern, this causes me to loose interest and build up quasi-attitude towards this course. Comparing Synthesis to rest of this year's design programme: Primer, Staging, Case Study and Realisation- I believe it ranks last. This is founded through a type of impediment that for reasons unknown to me: obstructs my ability to produce work on time.

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Cultural Bibliography

RSA Annual Exhibition 2019 Way back in September of 2019 my girlfriend and I went up to Edinburgh for the weekend, where we visited the Royal Scottish Academy of Art and Architecture Exhibition of 2019. The focal point of the RSA programme, showcased work from RSA Academicians

Cultural

native to Scotland. Although the architecture exhibit was somewhat overshadowed by the modern art on display, the exhibition as a whole was very informative, in the sense of the quality and experimental nature of both exhibitions. The 2019 exhibition was its 193rd year, and continues to provide a platform for contemporary painting, sculpture, film, printmaking, photography and installation, alongside work by some of the country’s leading architects. (RoyalScottishAcademy, 2020). The architects work on display consisted of mostly models of master-plans that where to regenerate some areas of Edinburgh. It was informative to see how practices went about executing these. There focus was more informative driven of finished projects rather than communicating ideas.

Bibliography.

Pg. 167 Pg. 167

RSA Annual Exhibition 2019 Heather Ross: All the Better to Hear You With

Pg. 168

ARTIST ROOMS Roy Lichtenstein

Pg. 168

Matrix and After

Pg. 170

Bibliography

RoyalScottishAcademy, 2020

Heather Ross: All the Better to Hear You With Similarly in September of 2019, Will, Reuben and myself visited Heather Ross’s exhibition in the Hatton Gallery. The installation itself was very architectural in form, and had an influence on my Primer Union mapping outcome. The installation in question emerged from Ross’s 2014-17 project entitled On Being Out of Touch which explored the gaps between information, knowledge and experience, specifically considered in relation to learning about the birds. In All The Better To Hear You With Ross combines these concerns with her research into Kurt Schwitters’ experimental approaches to the written and spoken word, exploring the discrepancies between how words are read, perceived, stored in memory and processed internally and orally. (HattonGallery, 2020) Within her Hatton installation Ross aims the depict the birds call through gestures. There was an emphasis on the individual to activate sound through touched, transcribing the words generated through a performative act.

HattonGallery, 2020

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Cultural Bibliography

ARTIST ROOMS Roy Lichtenstein In the same exhibition as Heather Ross’s, at the Hatton Gallery, a selection of Roy Lichtenstein’s prints where on display by Artist Rooms. Artist Rooms, firstly are a collective which run a touring programme across the country. Its ran by the National Galleries of Scotland and Tate, and uses public funding to put on free exhibitions which allows young people to get involved in creative projects and discover more contemporary art. The work on display were a series of large scale prints produced in the 1990’s towards the end of the artists life, which aimed to capture the optimism and growing commercialisation of the period. Lichtenstein brought popular, everyday images into fine art and questioned authorship and originality through produced prints. (HattonGallery, 2020). Although the exhibition didn’t really influence my design work particularly, in terms of medium and representation. A parallel could be made of the artist self critique of their views onto professionalism and the growing environments ownership.

HattonGallery, 2020

Matrix and After Around late November, Matrix: A feminist led collective, who I briefly mentioned in Primer gave a lecture discussing their work. Unfortunately I was on our Field Trip at the time of the lecture. Luckily, however I was able to recap the lecture through the APL’s YouTube channel, when it was uploaded in January.

Matrix was one of the first worldwide to bring issues of gender centre-stage to the design of the built environment. Their work was incredibly radical, not only by being a women-led and collaborative platform, but also by integrating new interdisciplinary ways of working across theory and practice (ncl, 2020).

Having watched the Lecture online, their methods and mode of practice has been something that I have tried to develop. The way Matrix have identified specific problems that feed into the network of gender inequality within architecture and then try to solve or work around the issues raised: is very informative as it shapes a different way of thinking and problem solving. Their graphic style has also impacted my work. Much of this document try’s to reflect the styles that they have used, both analogue and digital representation.

APLyoutube, 2020

Cultural Bibliography

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Bibliography

Allen, Stan. Stan Allen in Drawing with Rafael Moneo, Madrid. 1984.

Archer, B. J., Anthony. Vidler, Leo Castelli Gallery, and James Corcoran Gallery. Follies : Architecture for the Late-twentieth-century Landscape. New York: Rizzoli, 1983.

Baird, George. “La Dimension ‘Amoureuse’ in Architecture”. In, George Braziller, New York, 1969.

Coates, Nigel., John. Thackara, Brian. Hatton, and Architectural Association. Ecstacity. London: Architectural Association, 1992.

Coates, Nigel. Narrative Architecture. Chichester: Wiley, 2012. Print. AD Primers.

Cooke, Catherine. Russian Avant-garde: Theories of Art, Architecture and the City. New York: Museum of Modern Art, 1995.

Coleman, Nathaniel. Utopias and Architecture. New York: Routledge, 2005.

Corner, James. Agency of Mapping. London: Reaktion, 1999.

Crinson, Mark., And James Stirling. James Stirling : Early Unpublished Writings on Architecture. Milton Park, Abingdon, Oxon ; New York, NY: Routledge, 2010.

Dukhan, Igor. Lodder, Christina. Visual Geometry: El Lissitzky and the Establishment of Conceptions of Space–Time in Avant-garde Art. Art in Translation, 8:2, 2016.

Bibliography.

Dr. Cramer, Charles. Dr. Grant, Kim. “Constructivism, Part I in Smarthistory.”

Evens, Robin. Translations from Drawing to Building. Cambridge, Mass: MIT Press, 1986.

Gould, Jeremy. Gould, Catherine. Coventry: The Making of a Modern City 1939-73. Swindon, Historic England, 2016.

Gössel, Peter. Coop Himmelb(l)au : Complete Works, 1968-2010. Köln: Taschen, 2010.

Heynen, Hilde. Architecture and Modernity A Critique. Cambridge, Mass: MIT Press, 1999.

Johnson, Samuel. El Lissitzky’s Other Wolkenbügel: Reconstructing an Abandoned Architectural Project, The Art Bulletin. 99:3, 2017.

Kiesler, Lillian. Frederick Kiesler Biography, Frederick John Kiesler Papers. New York: Smithsonian Institution, 1980.

Kiesler, Frederick. Contemporary Art Applied to the Store and Its Display. Michigan: Brentano, 1930.

Lynch, Peter. An Imaginary Reconstruction of the Sky Over Moscow. 2005.

Matrix. Making Space: Women and the Man Made Environment. London, Pluto Press Limited, 1984.

Murawski, Michal. Introduction: crystallising the social condenser. The Journal of Architecture, 22:3, 2018.

Noever, Peter, Jeffrey. Kipnis, Sylvia. Lavin, Coop Himmelblau, and Österreichisches Museum Für Angewandte Kunst. Coop Himmelb(l)au : Beyond the Blue. München : Wien: Prestel ; MAK, 2007.

Kandinsky, Wassily. Concerning the Spiritual in Art. Vitale: Ravenna, 1911. [Translated by Michael T. H. Sadler] Piano, Renzo. The Complete Logbook : 1966-2016. 2017.

Phillips, Stephen J. Elastic Architecture: Frederick Kiesler and Design Research in the First Age of Robotic Culture. Cambridge, Mass: MIT Press, 2017.

Portaluppi, Mario And the Bacciocca | Italian Ways. Italianways.Com, 2015.

Rendell, Jane. Only Resist: A Feminist Approach to Critical Spatial Practice. London and New York: Routledge. 2018. [Accessed 01/07/2020] https://www.architectural-review.com/essays/only-resist-a-feminist-approach-to-critical-spatial-practice Richer, Hans. Koepfe and Hinterkoepfe (Heads and Back of Heads). Zürich: Arche Verlag, 1967.

Rowe, Colin. Koetter, Fred. Collage City. Cambridge, Mass: MIT Press, 1978.

Sant’Elia, Antonio. Marinetti, Lanciati da. Tommaso, Filippo. Manifesto of Futurist Architecture. Florence: Firenze Lacerba, 1914.

Schalk, Meike. Kristiansson, Therese. Maze, Ramia. Feminist Futures of Spatial Practice: Materialism, Activisms, Dialogues, Pedagogies, Projections. Baunach, AADR, 2017.

Tafuri, Manfredo. Architecture and Utopia Design and Capitalist Development. Bari: Guis Laterza & Figli, 1973.

Tschumi, Bernard. Architecture Concepts : Red Is Not a Color. New York: Rizzoli, 2012.

Venturi, Robert. Brown, Denise S. Izenour, Steven. Learning From Las Vegas. Massachusetts: MIT Press. 1972.

Vyzoviti, Sofia. Folding Architecture : Spatial, Structural and Organizational Diagrams. Amsterdam: BIS, 2003.

Willis, Carol. Zoning and Zeitgeist: The Skyscraper City of the 1920s. California: University of California Press, 1986.

Wolfe, Ross. Mikhail Barshch’s Housing-Communes in Moscow 1928-1930. The Charnel-House, 2014.

Yaneva, Albena. Made by the Office for Metropolitan Architecture : An Ethnography of Design. Rotterdam: 010, 2009.

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Deferral Period Design Diary

Pg. 186

Case Study

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WEE K 4 : 13 / 7 - 17 / 7

0 200

1000

2000

4000

8000

SCALE BAR 1:20

3mm (60mm) 4.1mm (82mm) 7mm (140mm) 9mm (180mm)

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M y Ou tp u ts :

Contents

Field Trip Case Study

Will

Architect & Designer

2

Annie

Typology

4

Ming

Site

6

Adam

Program

8

Malika

Design Concept & Process

11

Jordon

Studio Relevance

16

Ming

Spatial Sequence

20

Will

Structural Strategy

22

Adam

Environmental Strategy

26

Malika

Atmosphere

30

Jordan

Materiality

35

Annie

Threshold

29

Bibliography

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Architect and Designer

Coventry Cathedral

Sir Basil Urwin Spence, (13 August 1907 – 19 November 1976) was a Scottish born architect who is most notably renowned for his work on the new Coventry Cathedral and the Beehive in New Zealand. Throughout his early career he experimented with many styles but is most know for buildings developed towards the end of his life in a refined Modernist/Brutalist aesthetic.

The Sydney Jones Library (1976) 50 Queen Anne's Gate (1976) Aston University Library (1975)

British Embassy, Rome (1971)

Civic Centre (1970) 65 – 103 Canongate, social housing developments (1969) Newcastle Central library(1968-2007)

British Pavilion Expo 67 (1967) Swiss Cottage Leisure Centre (1962–4) Hutchesontown C �lats (1962–1993) Coventry Cathedral (1962) Spence House (1961) St Paul's Church, Wordsworth Avenue (1959) Sydenham School (1959) Duncanrig Secondary (1953) Sea and Ships Pavilions for Festival of Britain (1951) Broughton Place, Peeblesshire (1938) Gribloch Country House (1938)

1930

1938

1935

1940

1945

1950

1955

1960

1976

1965

Residential

1970

Educational

1975

Public

Of�ice

1980

Religeous

2

Typology Typology

D. SITE

-Church of Notre -Dame Le Raincy -Auguste Perret

-Church of St. Jo-hann Dominikus -Bohm Neu-Ulm

Rebuilding from the ashes was a strong momentum pushing the citizens of Coventry after the war; not only was the cathedral damaged, but seventy-one factories, and over 41,000 homes. With Coventry a hub for manufacture many saw the need for a new post-war city.

These photos are to show the juxtaposition of architecture and time, but also the unification and coupling of the new with the old.

Coventry cathedral is located inside ‘the ring road’ and is a short walk from the main city station. Coventry is in the West Midlands, and is famous for its manufacturing history, especially in cars, and currently in black cabs. The city is famous for the Cathedral which has been reconstructed three times. First as St Mary’s, then St Michaels in the 14th Century, and eventually the current St Michaels in 1956. The architect Basil Spence and ARUP won the competition to rebuild the new addition after the cathedral was bombed on November 14th, 1940 by the German Luftwaffe in World War II. The coupling of the old structure with the news has been praised by many, as Spence chose to keep and celebrate the bombed shell of the previous diocese emanating the story of death and rebirth.

Spence opted for a large open plan style for many reasons, one of these being that he was worried that the budget would not stretch very far as the war damage commission was able to pay for a ‘plain replacement’. To succeed in a simple monumentality, Spence used very slim columns which gives an ethereal nature to the building. The Church of Notre Dame, Le Raincy presents the same solution to a similar problem. Le Raincy Church presents a Plan containing a naïve, isles and sanctuary in a single space. A shallow concrete vault with tunnel vaulted isles resting upon slender columns is also presented again reflecting those of Coventry cathedral.

The Church of St Johann, presents interesting plans which some speculate Spence must have been influenced by. Directional light is key in St Johann Church as it centres around the importance of light and liturgy. The Zig-Zag edges allow long windows to direct light straight towards the altar therefore emphasising the importance of the liturgy. This directional light is shown in exactly the same way in Coventry Cathedral as Spence repeats the Zigzag edge as seen in the plans opposite.

3

“I saw the old cathedral as standing clearly for the sacrifice, one side of the Christian Faith and I knew my task was to design a new one which should stand for the Triumph of the Resurrection” - Sir Basil Spence, ‘Phoenix at Coventry’

REFERENCES Campbell, Louise. (1996). Coventry Cathedral: art and architecture in post-war Britain. [online]. http://www.openbibart.fr/item/display/10068/933720 [Accessed: December 2019].

COVENTRY CATHEDRAL. [online].https://www.coventrycathedral. org.uk/wpsite/our-history/ [Accessed: December 2019] Herbert, J. D. (Spring 1999). Bad faith at Coventry: Spence’s Cathedral and Britten’s “War Requiem”. [online]. University of Chicago Press Journals, Critical Enquiry 25. https://www.journals.uchicago.edu/doi/ pdfplus/10.1086/448933 [Accessed: December 2019].

Historic England. (14 August 2019). The destruction and rebirth of Coventry Cathedral. [online]. https://heritagecalling.com/2019/08/14/ the-destruction-and-rebirth-of-coventry-cathedral/ [Accessed: December 2019].

Spence, Basil. (1962). Coventry Cathedral. [online]. AJ Buildings Library. https://www.ajbuildingslibrary.co.uk/projects/display/id/2254 [Accessed: December 2019]

4

Program

‘The High alter has become even more prominent and the reredos behind it has been removed entirely.’

Highest Significance

Considerable Significance Moderate Significance

Negligible Significance

- Basil Spence Ruins

High Alter Choir

‘I felt it should be dominant and separate; I put it on the axis of the font - from the old Cathedral to the alter and from the chapel of unity’ - Basil Spence

Symmetry And Balance

6

Chapel of unity

Basil Spence’s proposal was the only design to incorporate all of the ruins within his conception. His proposal would therefore orientate perpendicular to the ruins, which would be framed by the glazed south facing facade. In turn, this places emphasis onto the ruins as a national heritage site, now used as a performance and concert area.

Porch

Circulation To Use

Chapel of the Christ the Servant

The relief are the chapel, separate it from the rest of the massing. Giving it, its own identity. Felt through the use of steps to elevate the chapel, while it being enclosed by clergy stalls. The stalls support a throne of throne like structures which represent clergy members. This privatisation of space in a seemingly open space makes it a very personal space to enter. Which again, adds to this idea of austerity felt through hierarchy.

Nave

Baptistery

Swedish Stairs

Swedish Stairs

Organ Bowler Room

Organ Bowler Room

Office

Office

Workshop

Workshop

Store

Store

Workshop

Workshop

St Michael Hall Treasury

St Michael Hall Treasury

Provost’s Vestry

Provost’s Vestry

Sub Station

Sub Station

Millennium Chapel

The Nave accumulates the majority of volume within the cathedral. Two separate chapels: the Chapel of Unity and Chapel of the Christ the Servant make two separate north / south relief of the main massing.

Within the New Cathedral, similar to the strata that was before, hierarchy plays a pivotal role, architecturally. The orientation that causes the sun to wind around the back of the church (if you-re in mass ) sees only the backs of people get direct sunlight.

Void Space

Service Corridor

Millennium Chapel

Service Corridor

Hierarchy

Most Important

Refectory

Choir Room

Choir Vestry

Navy Room

Lecture Room

WC’s

Archive Room Sewing Room

8

Appendix

186

8

Muniment Room

Chapter House

Boiler Room

Muniment Room

Chapter House

Boiler Room

Architect’s Room

9

Architect’s Room

10

National Records of Scotland. (Sept 3, 2013). Basil Spence architect 1907-1976. [online]. Webarchive. https://webarchive.nrscotland.gov. uk/20170903010727/http://www.basilspence.org.uk/worship/buildings/ coventry-cathedral [Accessed: December 2019].

Design concept process Design Conceptand & Process

5

Program

4

7

The Architect

When the architect Basil Spence first went on the site, he felt like he needed to do something about the cathedral and that this loss would definitely be a challenge to rebuild.

Within the first twenty-four hours, Spence designed his first plans and the main parts are unaltered today. One of the requirement was that the new Cathedral should be built to enshrine the altar. When on site, the architect had this unusually clear vision of a great nave and an altar that was an invitation to Communion, and a huge picture behind it. In these few moments the idea of the design was planted. In essence it has never changed.

“I have never considered an alternative; although in a normal project alternatives and variations are very much the rule”, Basil Spence.

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187

Appendix

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P ROJ ECT:

Case Study

Ghost In The Machine

The Chapel of Unity

The Nave Windows

The Baptistry and Stained-glass windows

“I was deeply moved. I saw the old Cathedral as standing clearly for the Sacrifice, one side of the Christian Faith, and I knew my task was to design a new one which should stand for the Triumph of the Resurrection”, Basil Spence.

Basil Spence felt there must be continuity, unity and permanence with the old, as well as vital ingredient – vitality. He knew that the accepted way of being avant-garde is consciously to avoid anything that even reminds one of the past. The architect therefore planned a very simple exterior of pinkygrey stone similar to the original Cathedral and a rich interior with a huge tapestry behind the High Altar. Spence placed the altar at the end of the main axis as a climax. Moreover it was raised, by a series of steps and ramps, six feet above the level of the nave so that it could be seen above the heads of the congregation.

On his first plans, the bays of the Cathedral walls were curved to give a feeling of great niches on the interior, with stained-glass windows in these niches. Spence then decided to use ‘zig-zag’ walls as a way to enlight the altar. It certainly fitted in the plan, as the windows would then face south-east and south-west; the coloured shafts of light would streak to the altar.

The designing and making of the ten nave windows which rise about 75 feet from floor level to the ceiling is, according to Spence, the largest single commission for stained glass in the history of the craft

“It is the duty of the architect not to copy but to think afresh”, Basil Spence.

12

Concerning the Baptistry and Nave windows, both were designed the same way, by hand, with the help of hammer and chisel. To accomplish this work, the artist John Piper used a turning wheel which can be varied by using different sizes and hardness. The effect is a spontaneous drawing, like chalk, of great vitality and expression, giving the exact feeling required.

As for the Chapel of Unity, he saw it as a star. According to him, this strong shape gives a sense of unity and strength.

For this reason, he wanted it to be dominant and separate. Its emplacement on the plan create two main axis: one from the old Cathedral to the altar and the second from the Chapel of Unity to the font.

13

12

Studio Relevance

On the plan Spence placed the altar in the North, and a porch connected the old and the new buildings. He decided to make the walls ‘zig-zagged’, so that you could only see the nave windows when standing around the altar and would therefore enlighten the altar with beautiful coloured rays.

Basil Spence had never considered using this type of wall before, but he saw it in his vision and knew that zig-zag walls are well-known way of directional lighting.

14

Studio Relevance

Studio Relevance

15

Studio Relevance

Chapel of Unity

There are multiple systems going on from inside the New Cathedral, the cathedral can be the venue for such events as christenings and weddings, preaches and many more...

Based on the realms of the New Cathedral, it is important to look at each section as having its own set of systems, as each section has its own purpose.

Chapel of Christ the Servant

Entrance/Staircase: The staircase on approach to the cathedral from the east portrays invites guests to walk up the stairs into a place of worship, this has religious connotations as you are walking up into this place of worship and into the heart of coventry.

Systems The main theme that we have been exploring in our studio is systems, how we use and move around our environment.

Therefore I have broken Spence’s design into 5 parts based on systems of spaces and how these spaces are occupied.

Pulpit

Chapel of Unity

The raised and enclosed platform area, the ‘pulpit’ is where a preacher will deliver a sermon. The platform is raised above the floor for audibility and visibility and is accessed by steps, with sides which will come to around waist height.

With strong relations to parables from the bible, and world peace The Chapel is used for worship by different Christian traditions and hosts ecumenical services.

Lectern

Porch The Cathedral Porch is the bridge between the old and new, the connector between the old cathedral ruins and the New Cathedral. The Porch is the one of the first things someone will connect with when visiting the church as you have to go under it to get to either of the cathedrals, so it's a very important part of the cathedral in itself. The Great West Screen allows the visitor to view the inside of the New Cathedral, whilst having a reflection of the old.

Porch

The Lectern is where the bible is red, the Lectern of Coventry Cathedral is cast in bronze by Elizabeth Frank, which symbolises the spreading of the ‘word all over the world’. Again the platform is raised to proclaim the importance of the bible and its contents.

Chapel of Christ the Servant Formally the ‘Chapel of Industry’ which represented Coventry’s industrial roots, the chapel of Christ the Servant is highly represented by world peace, communities, and relationships. The clear glass of the Chapel offers the exterior views and allows visitors to connect with the outside world.

High Altar The High altar is a important structure within Christianity, at the heart of the high altar is the original ‘cross of nails’ for by 3 nails which were part of the old cathedrals roof.

Both chapels are used for certain cathedral based services and meetings.

Entrance/Staircase

New Cathedral/Main Hall

16

17

16

18 http://www.coventrycathedraltour.org.uk/node.php?n=pulpit

19 http://www.coventrycathedraltour.org.uk/node.php?n=chapel_of_unity

Concrete

With many religious arenas, cathedrals especially, stained glass is a vital part to the atmosphere and ambience in the holy space. Coventry Cathedral encapsulate light being funnelled into and around the main body and viaducts of the Church.

Here, I have diagrammed the main/ all light features in the Church. With, the main atrium window acting as the primary source of daylight. And, the large stain glass mural to the right, a light feature, yet filtering it gently into the space. Closer to the pulpit are more brutalist elements, with no stain glass, allowing huge beams of light to enter the back of the Church, illuminating the main feature of Coventry Cathedral, the Cross of Nails.

Light has strong spiritual elements, so how it filters into, circulates and highlights elements of the spaces is important.

Appendix

188

Structral Strategy

The circulation diagram within the Cathedral is to show most of the congregation would move around the space in relation to the clergy, who would be more centralised to the religious centrepieces of the Cathedral. The thickness of line is to demonstrate how more people would travel through the Church, down the central aisle filtering into the pews on either side, rather than the two outer chapels at the front and back of the Cathedral.

CATHEDRAL

Spatial sequence is ‘the effect of different spaces/ambiences experienced in chronological order while moving from one to the next. I have decided to focus on light and accessibility in relation to Coventry Cathedral.

20

Concrete

Churches and religious sites tend to promote a welcoming and friendly environment, meaning how one walks up to and enters the space important.

Here I have added drawings demonstrating how visitors come from around the Cathedral and how they view the site in relation to surrounding buildings. Visitors are led from the main road and surrounding paths to the central corridor that connects the ruined cathedral and new, an interim/ transient space so that viewers appreciate both sites.

The primary intention of the design engineer was for most of the building to be formed by unreinforced concrete in order for it to act structurally in the same way as a masonary builing and reflect the building of the original cathedral but through implication of new technologies to similarly reflect the current time. By placing the concrete on the inside spence could clad the building in a stone similar to the original building and eliminate any corrosive elements. This was in recognition that religeous are usually amongst our oldest structures.

Geometric baptistry and nave roof Secondary structure

Concrete tie-beams Primary structure

False roof and slender decorative columns Tertiary structure

20

Prestressed Concrete zones

-Basil Spence

Baptistry This image shows the steel within the concrete expanding and breaking away from the material. This is After the loss of stone cladding allowed the concrete to weather

Hidden concrete truss Primary structure

The columns sit of tiny bronze pins to illustrate what the main structure has achived to created a sense of wonder when emmersed within a spiritual and to some enlightening place.

Sketches of a detail of the Freyssinet prstressing system

Porch Pile-cap

Main concrete structure Primary structure

Brick facade Tertiary structure

21

“The building was designed for a life of at least 500 years... concrete was not allowed to come directly in contact with the english concrete”

22

Structural plan of the new cathedral set perpendicular to the old cathedral ruins. It emphasises the thick concrete walls that support the new building. The interior columns are highlighted red as they are not supportiong the main infrastructure.

Entrance spectical of the elaborate false roof as a result of the engineering. This entrance guides you into the space and frames a view of the altar.

189

Nave

23

Appendix

Roof Strcuture

Rib Truss

The nave of the roof has a shallow pitch that runs down the body of the main hall. It was designed as a succession of flat plates that “carry their load principally through extensional forces, tension and compression”. The baptistry roof was designed differently as it carries the fleche. Despite its very light weight, the height means it may induce a significant moment due to the wind which had to be accounted for.

Force transfer within the Nave roof, as shown in the original Arup drawings

Case Study

Ghost In The Machine

Glass facade and entrance porch

Rib Truss

A lot of structural consideration was given to the grand porch and front facade to allow its apparent ‘lightness’. Upon entering you are faced with an entire front wall of etched glass and a view straight through the main cathedral hall. This allows for a honesty within the architecture, reminicent of it’s style, but also welcoming experience.

The glass is held in place by elegant thin strips of bronze. To allow for this at the time of its building spence used delecate steel cables that were attatched to both the interior and exterior using the steel’s ability to work well under tension.

A plan view showing the use of the hollow spaces transfer force to the rib truss

The prestressed concrete elements above the baptistary roof allows spence to play with large planes of glass to give the effect of two building intersecting with one another. The view of the first image mirrors the porch in that the roof appears ‘floating’

This image shows the cables that attach to the porch roof in order to hold up the glass facade.

These cables will require maintainence to remain in tension.

Porch Roof 7.31m

766.5kN

1117kN

Triangluar stress distributions shown on a single element

5398kN

21.3m

M

External view of baptistry roof analysied, highlighting areas of prestressed concrete including the front porch lintel 5977kN

24

The porch acts as a threshold connecting the old and new. As Spence suggests ‘Aesthetically, the Porch should soften this contrast and be a true buffer between the two architectural characters. The Porch’s functionality, in relation to its horizontal loading and framing of the Cathedral ruins creates a profile that softens the connectivity between the old and new.

The Porch profile allows light to hit the Alter within the nave, where the Bishop would give their sermon.

Winter Solstice

12.00 pm / 14.210

Winter Solstice Axo / 14.21

Horizontal element of the Roof extends to inhabit Summer Sun from penetrating the south glass facing facade.

Summer Solstice

Summer Solstice Axo - 58.280

Thermal ducts have been placed into the buildings environmental strategy, in both the Chapel of Unity and the Chapel of the Christ the Servant. A steady release of warm air can be felt when around the vents. This prevents condensation from occurring on the interior envelope of glass panelling.

Chapel of unit

Chapel of the Christ the Servant

For the structural concrete that makes up the Nave, Baptistery and porch roofing, non structural lightweight aerated concrete (celcon) was added to provide insulation

Alter where the Bishop would give his sermon during mass. Winter Solstice light is able to reach the profile, due to the relief of the porch.

Easter Sunday

‘The Baptistery window, 81 feet high and 51 feet across, is glazed with stained glass by John Piper. It is a rich composition in colour culminating centrally in a clear blaze of golden light’ - Basil Spence

11.00 am / 42.290

08.30 am / 22.290

11.00 am / 12.910

26

27

Gothic Style in Old and New Cathedral

12.00 pm / 14.210

12.00 pm / 58.280 0

The Baptistery window’s curved profile allows for light to enter the baptistery & nave from dusk till circa 12.00 pm during winter and roughly 01.00 pm during Easter. The Baptistery window had to be curved to affiliate sunlight penetrating the glazed facade during Easter Sunday mass and Christmas day mass. Without such a profile sun light wouldn’t have been able to reach the Baptistery and Nave, respectfully, at either 11.00am on Christmas day and Easter Sunday.

08.30 am / 1.220

25

Building Efficiency

Initial Porch was designed at a much shallow depth that what was built. In tern, this would have effected the amount Winter sun penetrating the glazed southern facade.

Forces applied to the porch buttress demonstrating the feasibility of the slender elements of the raised roof.

This creates a grand entrance allowing light into the large glass facade.

The roof appears detached from the structure as though it is ‘floating’

24

Proposed Porch

Summer & Winter Solstice

2.34m

Sunlight Exploration of Baptistry’s window

Christmas Day

Atmosphere Atmosphere

The assumed shell action of the baptistry roof, with internal stresses and tendon forces

1117kN

Environmental Strategy

P ROJ ECT:

Environmental Strategy

+9

“If the altar is to be seen, appreciated, and be an invitation to Communion, a bright window behind is, to my mind, a mistake.

“The Cathedral would be like a plain jewel-casket with many jewels inside: but the biggest and brightest jewel would be the Altar. I would have the same acoustic properties in my building as the great cathedrals, it would sound like the old cathedrals during Matins and Evensong”, Basil Spence.

Having the confidence to design a modern building as a cathedral even though the tradition would want the edifice to be in a Gothic style, Basil Spence still wanted to keep some main elements from the old cathedral, such as, for example the presence of arches all along the main aisle.

No sculptural ornamentation within the Cathedral are present. This is down to the dust ornaments collect over a long period of time. Acoustics are of up-most importance within Cathedrals, due to dusts ability to absorb sound Spence consciously left out this iconic element of previous churches. The lack of ornaments within Spence’s proposal was heavily praised and criticised. Many saw this progressive / radical proposal as a contemporary way to contradict whilst praise the ruins. The only sculptural ornamentation is felt on the exterior

28

29

28

30

The Nave Glass and Directional Light Wall

The Baptistry and Stained-glass windows

31

The Chapel of Unity

The first row of angels on the nave glass consists of the five most famous Old Testament saints; the second, nine famous New Testament saints and fourth and fifth consist of British saints. The six angels are chosen from the New Testament – four from the Gospels, two from the Revelation

Progressing towards the altar, the five pairs of zig-zagged windows would reveal themselves and therefore you can enjoy the colourful rays illuminating the altar.

32

190

In this impressive star shaped room, Spence decided to realise the same floor as the one from the Royal festival Hall: a polished fossil stone. As for the wooden elements, they are only decorative and have as a functional effect to give warmth and human scale to the room. Moreover, from the outside, you can admire Spence’s talent for juxtaposition and interaction. Although the Chapel of Unity is designed as a separate element of the Cathedral, the architect figured out a way to link both units together.

Provost Howard and John Hutton got together to work out the individual saints to be represented on the glass wall at the entrance of the cathedral.

It was suggested that it should go up in layers of saints and angels so as to give scale. This idea was accepted and interpreted with great skills so that the effect now is of celestial ‘cream cake’ layers of saints and angels. As for the second picture, Spence designed this “directional light” wall, illuminating the Tapestry in golden light.

Basil Spence’s choice of colours for the Baptistry and stainedglass windows was really specific. The idea being to represent in colour the stage from birth to afterlife. He would assign youth in predominant green; the age of passion in nuances of red; middle life was a kaleidoscope of colours (bright and sombre, light and dark); and finally he would assign the old age to deep purple with dark blue freckles and drops of silver and gold.

Appendix

Materiality Materiality

“This screen was a considerable challenge. Through it the visitor may be difficult to see right through the daytime, the effect at night should be exciting and I am certain that this screen will prove to be one of the great works of the Cathedral”, Basil Spence.

32

33

34

35

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Appendix

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P ROJ ECT:

Materiality

Ripped Canopy Thousands of sitka spruce rafters sit between the concrete rib support, which makes for an ambient interior space. This roof pattern is based on the eyes of a fly and has strong gothic intent

Ripped Canopy Thousands of sitka spruce rafters sit between the concrete rib support, which makes for an ambient interior space. This roof pattern is based on the eyes of a fly and has strong gothic intent

Materiality

Materiality

Concrete Columns Concrete roofing, with reinforced tapering concrete piers on the interior support the ribbed canopy. Concrete piles and pile caps are used for the foundation..

Material Downfalls

Cathedral Cladding Cathedral Cladding The material used for the exterior cladding are crucial as they areThe material used for the exterior cladding are crucial as they are a direct response to the original high quality materials. Spence a direct response to the original high quality materials. Spence chose the Blue-Grey-Green Westmorland slates to contrast with chose the Blue-Grey-Green Westmorland slates to contrast with the rose-coloured hollington sandstone of the external walls of the rose-coloured hollington sandstone of the external walls of both the New Cathedral and Ruins. both the New Cathedral and Ruins.

Bronze Casting St-Michael Statue

Ghost In The Machine

Threshold Threshold

Materiality

Case Study

Sandstone Inspired to stay true to material used in the previous cathedral, the new cathedral is cladded externally with warm coloured red ashlar sandstone, the cathedral is also founded on a layer of sandstone as well as concrete.

●

There are however signs of water ingress and staining to the internal north-east corner of the baptistry, clearly water is penetrating the structure causing this. There is also stains on the exterior facade from rainfall on the bottom of the sandstone walls.

●

Stains can also be seen towards the bottom of the porch pillars and on the exterior facade, the sandstone material is noticeably darker towards the bottom due to rain splashing up on the the material. Due to the structure not having any change of material when the walls meet the floor, this causes the damp sandstone to darken over time.

Bronze Casting St-Michael Statue Stained glass (Baptist Window)

The Work of art by American-British sculptor Jacob Epstein The Work of art by American-British sculptor Jacob Epstein which was cast in bronze and is one of Epstein's final sculptures.which was cast in bronze and is one of Epstein's final sculptures.

The amazing stained-glass baptist window was designed by John Piper and created by Patrick Reyntiens with a total of 195 panels.

The yellow of the stained glass window represents light and allows light to shine through to the cathedral.

Represents the location of the baptistery wall

The Baptistery wall of light at Coventry cathedral presents a vast array of coloured glass with the centre being a ball of orange light. This ball of light emanates throughout the entrance of the cathedral and acts as a memorial and reflection of the destruction through the bombing of Coventry. The Baptistery wall of light presents us with an indirect repeat of Gloucester cathedrals great east wall which has the same immense presence utilising light and scale to evoke powerful emotions

36 http://www.engineering-timelines.com/scripts/engineeringItem.asp?id=1068

http://www.engineering-timelines.com/scripts/engineeringItem.asp?id=1068

https://www.ajbuildingslibrary.co.uk/projects/display/id/2254

https://www.ajbuildingslibrary.co.uk/projects/display/id/2254

36

https://heritagecalling.com/2019/08/14/the-destruction-and-rebirth-of-coventry-cathedral/ https://heritagecalling.com/2019/08/14/the-destruction-and-rebirth-of-coventry-cathedral/ https://historicengland.org.uk/listing/the-list/list-entry/1342941

https://historicengland.org.uk/listing/the-list/list-entry/1342941

37

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http://www.know-britain.com/churches/coventry_cathedral_5.html https://historicengland.org.uk/listing/the-list/list-entry/1342941 http://www.know-britain.com/churches/coventry_cathedral_5.html https://historicengland.org.uk/listing/the-list/list-entry/1342941

Adam Architectuul.com. (2019). Coventry Cathedral. [online] Available at: http://architectuul.com/architecture/coventry-cathedral [Accessed 8 Dec. 2019].

Chris Burgoyne, O. M. (2016). Prestressing in Coventry Cathedral. Structures, 62-83.

Will

Coventry Cathedral. [online].https://www.coventrycathedral.org.uk/wpsite/our-history/ [Accessed: 8 Dec. 2019] lynch, D. (2012, April 19). Coventry Cathedral awaits cathodic protection cash decision. Retrieved from New Civil Engineer: https://www.newcivilengineer.com/archive/coventry-cathedral-awaits-cathodic-protection-cash-decision-19-04-2012/

Chris Burgoyne, O. M. (2016). Prestressing in Coventry Cathedral. Structures, 62-83.

Ice. (2019, December 11). Build a cathedral to replace the one destroyed during World War 2. Coventry.

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lynch, D. (2012, April 19). Coventry Cathedral awaits cathodic protection cash decision. Retrieved from New Civil Engineer: https://www.newcivilengineer.com/archive/coventry-cathedral-awaits-cathodic-protection-cash-decision-19-04-2012/

Coventry Cathedral Church of St. Michael

Spence, Basil. (1962). Coventry Cathedral. [online]. AJ Buildings Library. https://www.ajbuildingslibrary.co.uk/projects/display/id/2254 [Accessed: 10 Dec. 2019]

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Threshold Porch Entrance connection Retail unit

Ruined Cathedral Church of St. Michael Ruined Cathedral Church of St. Michael

Coventry Cathedral Church of St. Michael

Threshold Porch Entrance connection

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10m

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Holy Trinity Church New Coventry Cathedral Old Ruins Holy Trinity Church

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Morel, Michel, "Coventry Cathedral, 1962: Redeeming The Scar Into Modernity", Études Britanniques Contemporaines, 2012, 123-138 <https://doi.org/10.4000/ebc.1327> nearby), J.Hannan-Briggs, "Interior, Coventry Cathedral (C) J.Hannan-Briggs", Geograph.Org.Uk, 2019 <https://www.geograph.org.uk/photo/5124260> [Accessed 12 December 2019]

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Ming

Jordon

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https://www.youtube.com/watch?v=nqThbXcLAag http://www.engineering-timelines.com/scripts/engineeringItem.asp?id=1068 https://www.ajbuildingslibrary.co.uk/projects/display/id/2254 https://heritagecalling.com/2019/08/14/the-destruction-and-rebirth-of-coventry-cathedral/ https://historicengland.org.uk/listing/the-list/list-entry/1342941 http://www.know-britain.com/ churches/coventry_cathedral_5.html https://historicengland.org.uk/listing/the-list/list-entry/1342941 http://www.know-britain.com/churches/coventry_cathedral_5.html https://historicengland.org.uk/listing/the-list/list-entry/1342941 https://www.360cities.net/image/st-michaels-coventry-cathedral BOOK (REMEMBER TO REFERENCE) Pretessing in Coventry Cathedral (2017) Owen Mitchell, Chris Burgoyne

COVENTRY CATHEDRAL. [online].https://www.coventrycathedral.org.uk/wpsite/our-history/ [Accessed: December 2019] Herbert, J. D. (Spring 1999). Bad faith at Coventry: Spence’s Cathedral and Britten’s “War Requiem”. [online]. University of Chicago Press Journals, Critical Enquiry 25. https://www.journals. uchicago.edu/doi/pdfplus/10.1086/448933 [Accessed: December 2019].

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The Porch Entrance to Coventry Cathedral, reinforces a discreet continuity from the old to the new. By creating a large open porch sat on slim columns, Spence has managed to soften the contrast between the delicate, almost lace like ruins and the solid shell of his new cathedral therefore acting as a buffer between these two very different architectural styles. By binding these two buildings using a large open porch, Spence is trying to show and heal a scar therefore embodying all the scars from the war.

The right angled plan of Coventry’s old ruins and new cathedral, create large green spaces which allow elements such as The Holy Trinity church to read as a pavilion in it’s own space. Furthermore, the right angle plan offers views from Broadgate naturally down St. Michaels Avenue to the poach between the ruins and the new cathedral.

Basil Spence. 1962. The phoenix of Coventry, p.45-48

Spence, Basil. (1962). Coventry Cathedral. [online]. AJ Buildings Library. https://www.ajbuildingslibrary.co.uk/projects/display/id/2254 [Accessed: December 2019]

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National Records of Scotland. (Sept 3, 2013). Basil Spence architect 1907-1976. [online]. Webarchive. https://webarchive.nrscotland.gov.uk/20170903010727/http://www.basilspence.org.uk/ worship/buildings/coventry-cathedral [Accessed: December 2019].

https://www.ajbuildingslibrary.co.uk/projects/display/id/2254 https://heritagecalling.com/2019 http://www.coventrycathedraltour.org.uk/node.php?n=pulpit

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