Matthew Harrison Portfolio

SLOWING MY METHODS OF ARCHITECTURE

ARC8060 Academic Portfolio Unlearning Architecture Matthew Harrison 150051383

ABSTRACT

FAST

STAGE 5

STAGE 6

SLOW

My methods of architecture are in a perilous state.

They have become engrained with speed and instant gratification, primarily through my overreliance on digital technology. I have explored this through a slow process of constant self-reflection.

Previously, I have been so focused on producing and racing towards an end point, that I have been blind to developing my process, and as a result I have slipped into many detrimental practices. I was using short-term solutions to keep my processes relevant today without considering the damage that this was doing to my learning for tomorrow, hence diminishing the value that I can add to society in my future as an architect.

Through this project I have held a mirror up to these practices in the same way I hope to hold a mirror up to my architectural education. This has not been a comfortable experience as slowing down and reflecting has undermined much of my previous work, yet it is an experience I feel we must all have, if we are to grow as architects, as a profession, and

as people.

Below is a QR Code and URL for my presentation video that explains my thesis.

https://www.youtube.com/watch?v=jecs3aWZ5BE

“As we hurry through life, cramming more into every hour, we are stretching ourselves to the breaking point” Carl Honoré

What is the practice of the future?

2

CONTENTS

01

Protagonist

The Micro Scale

02

03

9 Primarily focused around the 1960s Newcastle Redevelopment Plan I studied how Newcastle City Centre has become a city of exchanges with the balance of power shifted from the pedestrian to the motor vehicle.

Global Acceleration

The Global Scale

04

An exploration that provided me with an alternative perspective on how to analyse the urban environment.

Urban Context

The Urban Scale

I am aiming to present my portfolio so that it can be read at different speeds. A basic level of understanding can be gained from a quick glance at the images. However, to understand the full detail of my project the text can need be read as I narrate you through

14

A study into global trends of acceleration through studies of instant gratification and hypostatisation that drew in theories of Lefebvre and Virilio.

Methods of Slowness

The City Scale

5

18

Exploring methods of slowness that are appearing across the world as a retaliation to the oppressive and increasing speed of modern life.

my process of how I have slowed my methods of architecture over the year. Bridging these speeds will be my own handwritten notes of my thoughts extracted from my sketchbooks this year. They will look to summate my key ideas and views from the equivalent stage of

05 Pathologies of Architectural Pedagogy The Building Scale

06

07

Critical Reflection

Future Practice

the year. For this I have created a font from my own handwriting. An example of which can be seen here.

33

The importance of having time working outside of digital technology allowing me to get hands on with a craft allowed me to better develop my project through the process of making

Applying a Reflective Process

The One to One Scale

08

Understanding how my processes have been affected by the built form of my architectural education. This was investigated through a poetic and homunculus re-imaging of space.

The Value of a Slower Method

The Personal Scale

24

45

A study into my haptic connection to the built environment of my education through a series of imprints of the building details I interact with throughout a day of work that catalogues their effect on me.

67 The result of my yearlong investigation has revealed the many pathological issues of speed relating to my practices as I begin to develop a slower method of architecture that will be of benefit to my future as an architect.

Handwritten Notes

3

CONTENTS A Timeline of My Processes October

December

February

April

Protagonist Changing Perspective A Front and a Back

Channelisation Urban Experience Speed

Education Emotional Connection Personal Experience

Pandoric Use of Digital Technology Unsustainable Mental Health Crisis

Future Practice

November

January

March

May

1960s Newcastle Redevelopment Plan Never Fully Implemented Car-centric

Hypostatisation Diminishing resources Instability

Tunnel Vision Slower Methods Questioning Progress

Haptic Connection to Place Personal Representation Reflective

This portfolio will take you chronologically through my year. It is important to approach my project in this linear way to highlight how I have arrived at the conclusion on my current beliefs on my future as an architect and how I have slowed my methods of practice over

the year. I must emphasise the importance that this has been a yearlong exploration which will not stop upon me finishing the architecture degree therefore it would be meaningless to just present the point I have currently reached as if it were the end. I will look to

continually evolve my methods as I develop as an architect with this year teaching me that so long as I can allow for slowness and reflection in my process, then I will be a better architect with a more stable mental health.

“Being slow means that you control the rhythms of your own lives” Carl Honoré 4

CONTENTS

Integrating research throughout the process to continue to learn

A Timeline of My Research October

December

February

April

Changing the Ways I Look

Newcastle Redevelopment Plan Reviews

Understanding How Space Can Effect Me

Understanding Craft Engaging with Current Architectural Debates

Future Practice

November

January

March

May

Thesis Research Document Readings Understanding the Urban

Understanding Speed and Rhythm

How to Stop Speed Why I Must Slowdown Ways to Slowdown

The Power of Representation

Unusually for me this year I engaged in depth with architectural theory at every stage of my project. I believe that this was vitally important as it allowed me to contextualise the very personal thoughts that developed throughout my project. In a year where I have felt

very disconnected due to the pandemic, the continual research has allowed me to have conversations about my work.

5

01

PROTAGONIST

01 - PROTAGONIST Altering My Perspective

The aim of studio was to unlearn architecture, and this was first engaged with by conducting analysis of Eldon Square while embodying the perspective of a protagonist other than ourselves. This element of the project was explored through group work. As a group we chose the main protagonist of a rat. We saw this as a chance to experiment with new ideas and analytical techniques as an introduction to our individual projects. Key themes that developed concerned the unseen back of the city, the unexplored subterranean world, and the inefficient waste culture of modern society.

The rat, as a protagonist arose from our initial site visit to the Metrocentre where we found a dead rat, this conjured up ideas of the life cycle of the ecosystem, death and rebirth, products, and by-products. We thought the rat would be a humorous protagonist to unpack our ideas of the interdependence of rats on human consumer waste infrastructures, and the parallels of rats to consumers in shopping centres.

Like a rat in a maze, humans scurry around sprawling shopping centres motivated by meaningless gratification. Humans crowd together on transport like rats in sewers on an endless, self-defeating, and pointless pursuit, attempting to earn a reward in vain. Why do you think it is called the rat race?

Our initial site analysis is shown through these two collages. The first explores the ideas of the unseen, hidden areas, waste, and support infrastructures that allow the shopping centre to function. The second is a juxtaposition from the rat’s perspective, looking up. Opening connotations of power, control, and authority.

How do we live in the city?

Left: Right:

Collage exploring the unseen areas of modern life Collage exploring the human world from the rats perspective

7

01 - PROTAGONIST The Rat. The Consumer. The Remover. The Controller - Group Film THE RAT

ROLE Scavenging on waste

RELATIONSHIP TO THE ECOSYTEM The rat is an opportune scavenger and an integral part of the predatory ecosystem. Rats will eat anything, and with the encroachment of humans into their habitat they have formed new lives around our grotesque consumer waste infrastructure.

HUMAN PERSPECTIVE The rat and the human are not so different. Like a rat in a maze, humans scurry around sprawling shopping centres motivated by meaningless gratification. Humans crowd together on transport like rats in sewers on an endless, self-defeating and pointless pursuit, attempting to earn a reward in vain. Why do you think its called the rat race?

The culmination of our research into the experience of the rat can be shown in a short film (QR Code right). Elements such as filming using two cameras moving independently, inspired by research into how rats’ eyes move independently, were all part of how we tried to fully engage with our protagonist.

The style of narration of the film was inspired by the film ‘Existential Journey of a Plastic Bag’ by Werner Herzog.

Left: Graphics showing the various protagonists relating to the rat Right: Film poster On Film Poster: Film QR code

8

01 - PROTAGONIST A City with a Front and a Back - Personal Response to the Protagonist

The rat identified the way we limit ourselves to the front of the city, especially in and around Eldon Square. The front is a place where consumerism is rife and controlling, surely this is not all that the city can be distilled down to?

Guy Debord’s talks of how modern life has receded

into a representation, which parallels with the idea that in Newcastle we are being presented with a clean front to meaninglessly interact with.

I then began to explore how this front in Newcastle had come about, primarily through research into the redevelopment plan of the 1960s.

“In societies dominated by modern conditions of production, life is presented as an immense accumulation of spectacles. Everything that was directly lived has receded into a representation” Guy Debord

ShouldI look to redesign the back spaces? But to begin this I must first understand why they have appeared Left: Collage section with yellow area showing the realm of the rat in, under and around Eldon Square Right: Collage showing the how people mindlessly wander through the front of cities often

ignoring social interaction 9

02

URBAN CONTEXT

02 - URBAN CONTEXT The Utopian Dream - A Plan for Efficient Movement

The Newcastle Development Plan of the 1960s by T Dan Smith and Wilfred Burns represented a utopian dream for Newcastle that was grounded through its approach to movement. A key aim was to overlay the vehicular and pedestrian routes to increase the fluidity of movement through the city centre. I cover the development plan in more detail as part of my thesis research document [ARC8064].

“The design gives an efficient system of traffic distribution and transportation, and leaves the main shopping deck to be developed with the only one factor in mind – the satisfaction of the shopper” Wilfred Burns

The gyratory motorway was crucial in overlaying different forms of movement as it pulled vehicles away from the centre creating areas of pedestrian movement. However, this limits journeys to the centre on foot as it cut off the residential suburbs. Small roads are also still needed to assist getting cars into the multi-storey car parks that were key to the plan. This shifted the balance of power in the city away from the pedestrian to the motor vehicle.

Left: Top Middle: Top Right: Bottom Middle: Bottom Right:

Sketch overlays highlighting the planned pedestrian and vehicular areas of the city Figure 2 - 1960s redevelopment transport plan Inner city motorway wrapping around the city centre Smaller roads providing vehicular access to the city centre Plan for extensive car parking facilities throughout the city centre

11

02 - URBAN CONTEXT Fragmentation of the Dream - Channelisation

The utopian dream of achieving a perfect city centre for both pedestrians and vehicles was ambitious, however, as economic strain increased many elements of the pedestrian network, primarily the Skywalks, were only partially built. The primary focus of development in Newcastle became ensuring the speed and ease of access for vehicles in getting consumers in and out of the city centre, rather than the pedestrian experience within it.

shopping streets of Newcastle, most notably on Northumberland Street, as well as internally through Eldon Square. This has created routes that cut through the city centre of Newcastle, not allowing pedestrians to percolate naturally through the space, therefore creating a faster consumer driven experience along pedestrian highways. This links back to the ideas brought up from our investigation into how a rat would perceive the city as having a clear separation between its front and back.

Channelisation has begun to occur through major

Diagram by SWA Group looking at how people move through plazas when channelisation occurs.

Scaled up this idea can be applied for what has happened in Newcastle with the few major shopping streets cutting through the city.

“Pathways with minimal edge variation sped up pedestrian traffic and lowered dwell times” SWA Group

Economic strain fragmenting a socialist dream

Top Middle: Top Right: Bottom Right:

Plan showing the locations of Skywalks put forward in the 1960s redevelopment plan Plan showing the locations of Skywalks built and remaining in Newcastle today Sketch overlay showing that only the key routes remain as channels through the city 12

02 - URBAN CONTEXT Speed of Movement in the City Centre

Can you stillappreciate an ex perience fullywhen it happens so fast?

Even Distribution of Speed Pre-1960s Plan

Before the 1960s plan the vehicular and pedestrian networks were extensive across the city, however they obstructed each other meaning movement was slow with high levels of congestion. As previously mentioned, the 1960s plan established key routes for pedestrians and vehicles through the city centre therefore making it more easily navigable.

However, these key routes through the city are becoming all the city is. The Front. The back of the city is being slowly forgotten as proprietors of consumerism push to get their

Major Routes Strengthened by Plan

merchandise onto the active fronts of the pedestrian highways. Although there is some spillage of pedestrians through the city centre, the majority keep to the front and the back begins to decrease in quality.

Although this does create a more efficient city in terms of the simple flow of people, it is also leading to an acceleration in the experience of the city. We have a want and desire, and it can be immediately satisfied with minimal effort due to speed of access.

Channelisation Through Major Routes Today

This creates a system of ease, a system of instant gratification, and although the short term hit of positivity is pleasant, it can lead to long term detrimental effects. As instant gratification becomes engrained in our lives, we seek quick fixes rather than facing a true struggle and tackling it head on. The slower and more difficult the path the greater the journey. Is the joy of the journey being lost from modern cities?

Key: Thickness of lines refers to prominence of route and therefore the speed at which it allows movement

“(In the modern era) a new society was installed: that socio-economic organisation of our urban–State–market society. The commodity prevails over everything. (Social) space and (social) time, dominated by exchanges, become the time and space of markets; although not being things but including rhythms, they enter into products.”

Henri Lefebvre

02 - URBAN CONTEXT Relfections on Thesis Outline

As this stage of my project, where I was expected to submit a Thesis Outline Document, I was overcome with a desire to look to solve the urban issues of speed that had arisen in Newcastle since the redevelopment plan. However, this was the first red flag that my processes needed to be questioned.

I was latching onto an idea and running with it towards a predetermined fixed end point. What is the point in doing a masters if the second half of the year I simply do, rather than learn?

I therefore took a step back from looking to produce a physical building outcome for this project and instead looked to engage more vigorously with the subject of speed within my methods of architecture and how I have been previously so desperate to produce things. By removing an endpoint, I create a freedom to my work allowing my ideas to continually develop as I learn through the process

“This is a damaging model because it discourages the slowness of process that comes from the patient search. Certainty is a prison.”

Tsien Williams

I need to clarify the question

Top:

Bottom:

Diagrams showing how current direct routes encourage speed and how this could be changed to create a slower experience Site and precedent analysis of using the spiral car park to create a slower experience proposed in my thesis outline submission 14

03

GLOBAL ACCELERATION

03 - GLOBAL ACCELERATION Hypostatisation in Architectural Thought

My desperation to propose something for my thesis outline submission is an excellent example of the hypostatisation of ideas that is rife throughout architecture and construction. We design, we build, we demolish. And then the process repeats. This inefficient process is only accelerating, therefore demanding more resources for which the planet cannot sustain.

On a personal level, the hypostatised ideas in my previous projects have been damaging for my mental health due to fast paced constant transition. As I have previously worked at such speed, I feel that I have been unable to react and reflect as I desperately try and create outcomes from underdeveloped ideas.

In my future as an architect, it will be my role to counteract these effects to improve quality of life and fight environmental battles. How can I fight this speed in my practices to create a more sustainable and ecological process?

Accelerating Use of Resources

Accelerating Experiences

Increased Stress on Deadlines

There is a danger in preconceived ideas

A pandemic of speed

Right:

Diagram showing the circular and unsustainable system with which we develop ideas, buildings and cities 16

03 - GLOBAL ACCELERATION Rhythm and Information Speed

To understand speed in architecture I began to reflect on the speed in modern life beyond the physical. I began this by exploring Virilio’s theories on information speed where he discusses the instantaneity of time that is being generated due to suggestive power of digital technology. He explores how this has created a need for instant feedback on everything we do, therefore leading to a fundamental loss of orientation. This loss of orientation due to the use of digital technology resonates with my initial reflections on my processes.

To help reorientate myself within my processes I read Rhythmanalysis by Henri Lefebvre. He believes that to understand external rhythms, you must first listen to the rhythms of your own body. As a result, from this moment forward in the project I aimed to situate my explorations into speed around my own experiences. Not only would this provide first-hand evidence of how I can develop a slower method, but it will also provide me with a scale of investigation manageable for a thesis project for which I could become an expert in.

“The suggestive power of virtual technologies is without parallel” Paul Virilio

“The rhythmanalyst listens - first to his body; he learns rhythm from it, in order consequently to appreciate external rhythms” Henri Lefebvre

“My whole life has turned into an exercise in hurry, in packing more and more into every hour. I am Scrooge with a stopwatch, obsessed with saving every last scrap of time, a minute here, a few seconds there.

Carl Honoré

The faster I move, the less stablemy footing and the closer I am to disaster

Are we trying to outrun nature?

17

03 - GLOBAL ACCELERATION Instant Gratification - The Marshmallow Test

Marshmallow Test - Delayed Gratification

“Instant gratification takes too long.”

Carry Fisher

In the 1960s and 1970s Stanford University conducted an investigation that has become known as the marshmallow experiment. It tested a subject’s ability to wait for a greater reward and catalogued the gratification of the subjects regarding their various choices. Although only done with marshmallows, this relates strongly to my architectural processes,

as I so often look for quick fixes to problems to get stuff ready to present for the next tutorial or the next review. Whilst I receive short term satisfaction, this process stunts my development because by producing I become inflexible to change. Rather than trying to present finished ideas, I would be better opening conversations through semi-developed work which has more research and thought behind it. It is hard to present unfinished work, yet in education our work is never finished, therefore I must look to be more comfortable presenting a checkpoint along a greater journey, rather than a premature conclusion.

Gratification

My reading of Virilio brought up ideas of instant gratification relating to the need for instant feedback as in a world of instantaneous information speed it becomes harder to make the tough decisions that lead to a negative impact now despite potential long term benefits.

Time

Everyday Test - Delayed Dissatisfaction

Gratification

How do I value the process more than the outcome?

Key

One Marshmallow/Instant Gratification Two Marshmallows/Delayed Gratification

Time

Left: Right:

Graphic depicting the marshmallow experiment Graphs showing the results from the marshmallow experiment 18

04

METHODS OF SLOWNESS

19

04 - METHODS OF SLOWNESS How to Stop the Acceleration

Slowing Use of Resources

Slowing Experiences

To quell the acceleration, I must look to slow down my practice of architecture. However how to slow this down is challenging as modern life is so engrained with speed and instant gratification.

Over the next few pages, I will explore methods of slowness that are cropping up around the world as people begin to fight against what Virilio describes as “The Dictatorship of Speed”.

“To stop. A gesture of resistance in a world primarily designed to encourage work, consumerism, perpetual growth, and efficiency.”

“We have to stop seeing stagnation as an ill” “If we do not slow down, there is no escape from imminent disaster. We would wreck our very home, the planet we live on. We need to slow down because we have nowhere else to speed to without catastrophic consequences.”

Danny Dorling

Jean-Francois Prost

Reduced Stress on Deadlines

Left:

Graphics showing how the deceleration of life would reduce the use of our planets resources, allow us to slow down and appreciate true experiences, and also decrease the pressure on deadlines with more onus being put on the process rather than the outcome 20

04 - METHODS OF SLOWNESS The Slow Food Movement

The first slow activist I investigated was Carlo Petrini, who created the slow food movement that links the pleasure of food with a commitment to community and the environment as shown in the Venn Diagram.

This movement wants people to take back control of their lives through embracing their locality, therefore breaking a reliance on global trends and companies.

If they can control this, then it could be possible to control their own rhythms and speed, thus returning

speed to a local scale, rather than a global one.

Embracing locality ties in with Virilio’s theories regarding globalisation of time. If we look to primarily engage with what is around us, then our speed should be controllable as it exists in the physical realm rather than the digital.

“The slow food movement that links the pleasure of food with a commitment to community and the environment” Carlo Petrini

Pleasure In Food

Environment

“Being slow means that you control the rhythms of your own lives. You decide how fast you have to go in any given context. If today I want to go fast, I go fast; if tomorrow I want to go slow, I go slow. What we are fighting for is the right to determine our own tempos” Carl Honore from interview with Carlo Petrini, creator of the slow food movement

“The very word “globalization” is a fake. There is no such thing as globalization, there is only virtualization. What is being effectively globalized by instantaneity is time.”

Paul Virilio

Community

Left:

Graphics showing how the slow food movement combines the pleasure of food with a commitment to community and the environment 21

04 - METHODS OF SLOWNESS Slow Design Principles

Reveal

Engage

“Reveal experiences in everyday life that are often missed or forgotten, including the materials and processes that can be easily overlooked in an artefact’s existence or creation”

“Processes are open-source and collaborative, relying on sharing, cooperation and transparency of information so that designs may continue to evolve into the future”

Expand

Participate

“Consider the real and potential ‘expressions’ of artefacts and environments beyond their perceived functionalities, physical attributes and lifespans”

“Encourage users to become active participants in the design process, embracing ideas of conviviality and exchange to foster social accountability and enhance communities”

Evolve Reflect

“Recognize that richer experiences can emerge from the dynamic maturation of artefacts, environments and systems over time. Looking beyond the needs and circumstances of the present day, slow designs are (behavioural) change agents”

“Artefacts/environments/experiences induce contemplation and reflective consumption”

Inspired by the Slow Food Movement, Carolyn F. Strauss and Alastair Fuad-Luke developed guide for slow design based off the six key principles shown above. Their aims for cultural environmental sustainability equate similarly to how I plan to embrace slower

processes to better my method of architecture. My yearlong investigation aims to: reveal my detrimental practices, expand my understanding and creative interpretation of the spaces of my education, reflect on my experiences in architecture, engage with other

thinkers on this topic through continued research of relevant literature throughout my year, participate with others through inviting them into my emotions and faults within my previous working methods, and evolve my practice of architecture.

22

04 - METHODS OF SLOWNESS Tsien Williams Partners

An architecture practice I have become interested in is Tsien Williams as they work based on the belief that there is a secret bond between slowness and memory, between speed and forgetting. They are a practice that appears to be constantly aware of the dangers of hypostatisation. They look to avoid the use of computers as much as possible and heavily critique the use of printouts and flythoughs to present their work.

As I have incorporated more digital technology into my processes, have I lost the sense of learning through making that is so crucial to the architectural profession. Challenging my use of digital technology this year will be heightened by the pandemic, however if I can manage it during these extenuating circumstances, then I should be able to incorporate it into my practices once a sense of normality returns.

“The degree of slowness is directly proportional to the intensity of memory; the degree of speed is directly proportional to the intensity of forgetting.”

“Computer generated flythrough or printouts... too clean... they are cold, machine like lenses that follow a too-logical sequence of movement” Tsien Williams

Left:

Hand sketches produced by Tsien Williams of Kimball Art Centre

23

04 - METHODS OF SLOWNESS Zen Buddhism Principles

“Cultivate your inner safe space unbound by time or obligation”

“Adjust posture, adjut breathing, adjust mind”

“Cherish every encounter”

“Be like water, tread lightly and delineate between yourself and others”

“Surround yourself with people you admire”

“Align your words with your actions”

The principles Zen Buddhism relate strongly to slowness. I can understand my speed through them as my previous actions often opposed them. So often I would sit at my desk for long hours getting more unproductive through narrow mindedness. Delineation

from others occurs rarely, as in studio I regularly compare my work, heaping further pressure on myself. So far this year I may have begun to challenge speed through my words, however up to this point I remain producing with speed in the same manner as

before. An inner safe space has often manifested itself within the physical realm for me through the physical separation of my place of work from my place of rest. This has also been challenged this year due to the pandemic and is therefore something I must work on

if I am to slow down my practices. Finally, in terms of my relationships to people, this has been constantly challenging this year due to the pandemic, however it is something I will look to embrace as the world begins to open up.

24

04 - METHODS OF SLOWNESS Slow Education

In looking into slow methods, I came across theories of slow education. I found this particularly interesting because all of my fast practices of architecture will likely have routes in education as this is has been my first and primary exposure to architectural working methods.

Pouzenc questions universities capabilities to teach slower methods due to their business-like nature, rewarding completion above the process.

If architectural education becomes only about producing rather than learning, then what is the point in it. Would I not be better learning on the job with real life experiences of production.

collaborative conversation where learning comes through moments of living in the breaks between times of production. These thoughts are echoed by the Urban School Ruhr who look to remove produced goals in order for these conversations to happen more regularly as the balance between learning and producing is shifted.

A commonality between these methods of education is that it suggests learning cannot exist in concurrence with producing. This is a destabilising thought to me as putting faith in the process like this is not what I have previously done. However, if I am to learn and improve as an architect, I believe that I must embrace this.

Illich proposes architectural education as a

“The necessity for universities to behave as competitive entities has progressively transformed the educational panorama, instating evaluations based on ranking and reputation within an entrepreneurial reality.”

Joanne Pouzenc

“Transform each moment of living into a moment of learning” Ivan Illich

“By deciding that there are no produced goals — withdrawing from the temptation to show shiny images of experimental built architecture — they provide an environment for critical thinking and the free flow of ideas.”

Urban School Ruhr

A Therapeutic Education Iseducationtoodisconnectedfromortoosimilartopractice?

Right:

Photographs exploring the Urban School Ruhr’s teaching methods through an importance in conversations

How do I make something worthwhilewithout producing something?

25

05

PATHOLOGIES OF ARCHITECTURAL PEDAGOGY

05 - PATHOLOGIES OF ARCHITECTURAL PEDAGOGY Acceleration in Architectural Education

Following my studies into methods of slowness I have begun to look at my own education in greater detail to understand how my own practices have been influenced. I feel I am expected to develop projects creating quick solutions to large problems.

I encourage myself to develop projects so fast that the groundwork ideas of the project have not had time to set. Cracks will inevitably appear just as if you tried to build on insufficient foundations. In education I can cover these cracks with flashy visuals and fanciful descriptions which provide me with the same kind of instant gratification as discussed earlier. These cracks will only get wider as I move into practice. This is unsustainable for my future as an architect and for my own mental health.

“A never-ending race to accelerate output” “Deadlines, by their very nature, give us a reason to rush.”

Carl Honoré

Strength of mind needed to trust the process

How do I make the process less directionalas with direction comes the fallacy of completion?

Right:

Image showing how I have previously used flashy visuals to paper over the cracks of a project that has insufficient foundations 27

05 - PATHOLOGIES OF ARCHITECTURAL PEDAGOGY Acceleration in Architectural Education

Further reflections into my practices this year highlighted an instant gratification in how I looked to solve the problems I was having with my project through switching locations regularly hoping for an upturn in my work and my mood.

University Home

At my university home I was easily distracted. In studio brief glimpses of other projects accelerating added to my stress. The Library was helpful for reading; however, it was not conducive to creative thought and I was getting buried in books too much.

The ever-changing location increased instability, which was detrimental to my ideas becoming

confused, as well as my mental health taking a hit.

Normally we would have a studio that is open 24/7 providing a sense of stability in an accelerating project. But that is a problem. Are we being trained in a way that implies we will have times of perpetual work, where life is forgotten about? The mental health burn out is inevitable.

According to a poll by the Architects Journal in 2018, 1 in 3 architecture students received support for mental health issues. We are trying to create a sustainable world, yet our own world of architecture is entirely unsustainable.

“1 in 3 architecture students recieved support for mental health issues” Scott McAulay

Socially Distanced Studio

Socially Distanced Library

Understanding why I am feeling mentallystressed is vitallyimportant I stillfellinto the trap of representing what was physicallythere

Left: Right:

Diagrams showing my places of work this year Photograph of me working my desk at my university home 28

05 - PATHOLOGIES OF ARCHITECTURAL PEDAGOGY Causes of Speed in Architectural Education

Categories of My Experiences of Architectural Education In exploring my architectural education, I catalogued my various experiences within the architecture school over the years and split them into five categories to see if any common themes were emerging. Despite the fact I was developing an understanding into how the use of digital technology

was speeding up my process and reducing my time for reflection, I was still using an infographic style representation which although simple to understand, does little to speak of the emotional states of the various experiences that presents a conclusion to my work, rather than the work itself.

Studio Culture

Blinded By Technology

Disconnect With Craft

Lack of Collaboration

Fear of Failure

Left: Right:

Photograph of me working at my desk in studio Diagram showing the categories of experience I explored in my initial reflection on my time in architectural education 29

05 - PATHOLOGIES OF ARCHITECTURAL PEDAGOGY Homunculus and Poetic Reimaging of Space

The juxtaposition I realised at this stage of the project was that while I was preaching a break from technology, I was finding it difficult to work in another medium. This was partly due to the pandemic as everything is being presented through the digital realm of zoom. However, it was also down to my own fear of being out of my comfort zone. I therefore decided to put my theory into practice, that a more hands on approach will create a more complete process with richer results. This was encapsulated through using clay to explore issues with spaces of my architectural education.

of its author visible”. Below is the QR Code and URL for my film and its script features on the following pages.

Despite the aims of removing digital technology from my practices there was still the case of how I would present this over zoom. Simple, flat photographs could lose the feeling and emotion of the process of making these models, so I therefore decided to create a film. This was also inspired by Andrei Tarkovsky who said, “A film can make the inner life

The more I engage with speed the less I understand the effect the spaces of my lives are having on me

My emotionalstate is affecting my process Top Left: Middle Left: Bottom Left:

Plan of the Newcastle architecture building ground floor Traced plan beginning to explore a homunculus re-imaging of space Plan view of my homunculus model of the architecture building 30

05 - PATHOLOGIES OF ARCHITECTURAL PEDAGOGY Homunculus and Poetic Reimaging of Space

On approach, I feel the pressure building. The intimidation of the façade bears down on me as I drag myself towards its entrance.

Amazing visuals mark my arrival and journey to my destined studio space.

I am immediately forced to engage with an end product, a celebration of completion. I scurry away knowing this is what I must achieve, yet I do not see the path to get there.

I take the leap into studio, excited about a day of creative thought and expressing my ideas. However, a compressing ceiling weighs heavy on my thoughts. I press on, all with the knowledge that I am approaching my next deadline. I want to free myself from the confinement of this pressure, but I feel must move forward.

Where has the morning gone. I fear no progress has been made as nothing has been produced while all around me visuals and models are piling up.

I force myself to leave my desk and climb out of the pit of work to get lunch and to have a break. A time to stop. Kofi bar is where I go. Yet the high walls do nothing to calm my nerves.

The narrowness squeezes me through this uncomfortable place...

31

05 - PATHOLOGIES OF ARCHITECTURAL PEDAGOGY Homunculus and Poetic Reimaging of Space

...A moment of solace can be found in the Mag space. However, I know I cannot stay long. I must return to work.

I feel the walls caving in around me as I dread my project is crumbling. But I must go forward, and only forward, then I will reach my destination. I planned an elaborate and detailed journey, but there is no time.

A new studio. One of openness. One where I can see the movement, yet I feel distant from it. This could be my space. However as cold air rushes over me from a faulty window, I again experience a discomfort and urge myself to work faster to rid myself of discontent I look out to the workshop. I long for that freedom. But I do not have time. I must move my project on to the next stage, everyone else appears to be there already. I must not fall behind, not now.

I see an end; I race towards it. I struggle up the hill to pin up and submit. I long to be free of this stress.

I deny it, but I know this process will only repeat, and next time the pressure will be greater, the time shorter and the speed will have to be faster to cope.

32

05 - PATHOLOGIES OF ARCHITECTURAL PEDAGOGY Homunculus and Poetic Reimaging of Space

Excavate the sites of my education

33

05 - PATHOLOGIES OF ARCHITECTURAL PEDAGOGY Mapping My Homunculus Experiences Older Studio

Kofi Bar

Corridor

Past Work Displays

Reception

It is important to understand that although I have used this diagram to help navigate others through my homunculus model, the purpose of this model is not to open up my experiences to others, but instead open up an understanding of these experiences within

Top Floor Studio

myself. If I had simply represented these spaces as they are and talked about them, then they would be easier to interpret for others, but the richness of my reflections through the process of making would have been lost.

Corridor

Facade

34

06

THE VALUE OF A SLOWER METHOD

06 - THE VALUE OF A SLOWER METHOD The Pandoric Nature of Technology in Architecture

In the wake of my homunculus models, I looked to understand why they had been a success through exploring further literature on the power of making and learning through a process. This led me to Richard Sennett’s ‘The Craftsman’ where he speaks of how understanding and expression are impaired when process speeds up. He describes the use of digital technology as Pandoric as it has begun a dangerous and potentially uncontrollable acceleration. If speed is the problem, by using computers to try and catch

up we are only adding more speed to the system.

Rather than trying to catch up I must look to fight against speed if I am able to have a stronger and more fulfilling process. This links back to my earlier discussions surrounding instant gratification.

Through moving slower without a reliance on digital technology, I can regain control of my processes, consequently regaining control of my mental health that threatens to race and spiral out of control.

“What happens when hand and head, technique and science, art and craft are separated? The head then suffers; both understanding and expression are impaired.”

“The ecological crisis is Pandoric, man-made; technology may be an unreliable ally in regaining control” Richard Sennett

There is a blindness in my use of technology

Left:

Graphic exploring the how integrating technology within my architecture process has a pandoric nature in that the long term effect it will have is unknown 36

06 - THE VALUE OF A SLOWER METHOD Sesnory Experiecnes of a Slower Method

More Balanced Use of Senses Through Richard Sennett’s theories on the dangers of digital technology in creative methods, I was reminded of the way I felt more connected to the clay as I made the homunculus models. I believe that the stronger connection is felt partly because it is a slower process, but also because the method engages with more of the senses in the making and viewing of the model. By evoking more senses, I have learnt more about my experiences of the architecture school as further memories can be unlocked.

Through my past use of digital technology to represent my ideas, I focus on the look of things and the physical layout of spaces, without truly considering the experiential qualities of the space I am creating and representing. I have come to realise that this is not because I am bothered only about aesthetics, rather through my methods of developing and representing my ideas I struggle to show the complexity of my thoughts as I restrict myself by remaining within the predominantly visual medium of presenting through the digital realm.

The Eye Dominates

The further I have progressed through education, the less willing I have become to engage with making. I feel the time constraints bearing down on me, so I turn to the digital to speed up my processes.

In ‘The Projective Cast’ Robin Evans talks of how through using digital representation we limit ourselves to projective geometry, the geometry of vision, and often forget about the metrical geometry, the geometry of touch.

Architecture is a wholebody ex perience

Right:

Diagram showing the difference in sensory experience between analogue and digital methods of architectural representation in terms of completing and viewing it 37

06 - THE VALUE OF A SLOWER METHOD My Decreasing Relevance Within the Process

Designing is where I can add value to a project through my creativity and research methodology

Producing drawings and reports is what is seen and understood by others as my project

Design

When existing simultaneous there is a balance between design and production.

However, this creates a split between the stages of design and production thus separating the process from the outcome.

By no longer developing a project through its production I limit the value I can add to a project and consequently reduce my relevance within the process.

Technology is a temporary escapism

Design

Production

Design

Production

Design

A Repeating Process

Technology halves production time and I thought this would give me more time to focus on design.

Production

Production

38

06 - THE VALUE OF A SLOWER METHOD My Decreasing Relevance Within the Process

A Repeating Process

Kerry-Ann O’Neill argues how technology can benefit architects by creating more time for creative development. However as discussed above this creates a problematic engagement between digital technology and my architectural process, as it becomes easy to use it just for the sake of efficiency.

As shown through these diagrams, the way I have

allowed digital technologies into my practices has started a dangerous spiral of reducing the value I can add to a project. If left unchecked I would become mindless within architecture as there will be no time to think as all I will have time to do is produce.

“Technology should allow architects more time to focus on creativity and emotional intelligence” Kerry-Ann O’Neill “BIM irons out problems, but it might also iron out happy accidents as well.”

Tom Cheshire

Am I in danger of commercialising my process?

What does it mean to be an architect?

Right:

Extension of previous diagram showing the decreasing time that I work caused by over reliance on digital technology 39

06 - THE VALUE OF A SLOWER METHOD Seeing the Method

The QR Code and URL below are to a video that builds upon the previous video where I explored the spaces of my architectural education. For the most part it features similar content, yet it brings in greater explorations and understanding of my processes. This was presented at my interim crit in April.

https://www.youtube.com/watch?v=p7G90dUSwWI

Right: Top down view of my temporary desk set up in my university home. This was set up

for my homunculus model and more examples of this view will feature on the following pages 40

06 - THE VALUE OF A SLOWER METHOD Seeing the Method - The Gap Between Work and Rest

Does this represent my method?

41

06 - THE VALUE OF A SLOWER METHOD Seeing the Method - The Gap Between Work and Rest

One aspect of my practice that I was keen to explore, heightened by the pandemic, was a narrowing gap between the places of work and rest. Through this abstracted model of my bedroom at university I have explored how I feel within this gap and my desperation to push the gap apart.

My primary stimulus is a digitalscreen

The computer cannot give me allthe answers

Right:

Photograph of my model showing a narrowing gap between work and rest

42

06 - THE VALUE OF A SLOWER METHOD Seeing the Method - The Gap Between Work and Rest

This model has also been transformed into an exploration as to how one ‘space’ is often inadequate for multiple different activities to occur.

Comparatively, I increasingly limit my processes to a single medium, this being the digital realm. I use single computer programmes in the hope that it will provide a universal remedy for all my processes.

The narrowing gap between things links back to my earlier readings of Virilio and his theories on information speed and the instantaneity of time. As I speed up my practices it is inevitable that aspects of myself, life work and rest, or different processes within my architectural methods, will be drawn closer together. I believe that this is the route of the compressing feelings within my own mental health.

Right:

Photograph of my model showing how I want to force gap between work and rest apart

43

06 - THE VALUE OF A SLOWER METHOD Seeing the Method - Studying My Direct Process

Reconstructing my architecturalmethods 44

06 - THE VALUE OF A SLOWER METHOD Seeing the Method - Studying My Direct Process

Following on from the theme of compression, as well as drawing in a commonality between the spaces created in my homunculus model, I have explored the tunnel vision I often place myself within when I feel like a project is getting on top of me. I force the project towards an end point over challenging hurdles that when looked back upon create an incomplete and partially unfathomable process.

Every project is ajourney, however the end point shouldnot be set in stone from the outset otherwise what is the point of the process

Certainty is a prison

Right:

Photograph of my model showing the tunnel vision nature of my past approach to projects as I force them towards a predetermined endpoint 45

06 - THE VALUE OF A SLOWER METHOD Seeing the Method - Studying My Direct Process

This year I have tried to free myself from this tunnel vision by removing the constriction of an end point. I believe that this has allowed me to move more slowly and confidently through a more interesting methodology that engages with more active, interconnected, and thorough investigation throughout, rather than forcing myself towards something specific. This is how I learn, not through blindly producing, but reflecting and changing.

I am aware that my project meanders however I do not think this is a bad thing as it reflects on my process. Anyone could march towards a conclusion, but it is through the slowness of the process I aim to develop a more sustainable method of working, both for the planet, and for my own mental health.

“Progress is a stutter step, it is not a forward march.”

Tsien Williams Despite my best intentions I do not feel that I was correctly demonstrating my process through these clay models. This idea of documenting my process is something I have battled with all year. It is the evidence of how I have improved and learnt, yet I am still being drawn into representing an abstract theory about my process rather than the thing itself.

The documentation of my process of modelling was evident through photographs of me working however this has failed to unlock the same emotive memory I unearthed in the making of my homunculus model of the architecture school.

Is too much freedom crippling as I begin to strugglefor motivation?

Right:

Photograph of my model showing how a slower, more meandering and reflective process can lead to a more complete project. When I look back on this process I can see the series of steps I took to reach the current state of the project 46

07

APPLYING A REFLECTIVE PROCESS

07 - APPLYING A REFLECTIVE PROCESS A Haptic Map of the School

As a response to these theories, I returned to the architecture school to create a series of clay models that I planned use to explore my experiences in more detail that would both be and represent my method. Initially this was inspired by reading Robin Evans’ ‘Translations from Drawing to Building’. He talks of how a drawings power is in its unlikeness to the thing that it represents. Therefore, through doing imprints of the school I felt that I would be creating an alternative and abstract method of representation of the school.

year as I look to give power to slower methods.

However, through doing the process of casting the imprints I realised that this approach was flawed as it placed too much focus on the outcome rather than the process. I was still slipping back into old habits of being desperate to produce. This highlights the challenge of the journey that I have been on this

These models also taught me the power of architectural details in the effect the built environment can have on a person as these provide the moments of physical interaction that arguably evoke more emotion than the visual. This links back to my earlier sensory analysis of representation.

By engaging with a slower process in making these models it allowed me time to reflect on what I was doing wrong. Throughout the year I have gained a confidence in reflecting and critiquing my own work whereas previously I would only look to show it off. It is through allowing these reflections into my method that has been key to my development in sixth year, as without it I would have continued to march meaninglessly forward.

“Recognition of the drawing’s power as a medium turns out, unexpectedly, to be recognition of the drawing’s distinctness from and unlikeness to the thing that is represented, rather than its likeness to it, which is neither as paradoxical nor as dissociative as it may seem” Robin Evans

Articulation of my methodology Romanticism of portraying the building how it feelsrather than how it looks

Testing a methodology that shows the process

48

07 - APPLYING A REFLECTIVE PROCESS

This is a personalmodelnot properlyunderstood at a glance

Tunumiit Wood Carvings

What I have produced is something more akin to the wood carvings of the Tunumiit people of Greenland which they used to navigate coastline through touch. I can orientate myself within the school through holding my imprints, helping me to understand the moments of

conflict and rigidity that are causing me stress and compelling me to only look forward.

Over the next few pages I will explain, through the imprints, my day in the life of being in the architecture school as a deadline is approaching.

Left: Right:

Wood carvings made by the Tunumiit people of Greenland Diagrams showing how these haptic models relate to the coastline of Greenland 49

07 - APPLYING A REFLECTIVE PROCESS A Day in the Life

On entry I tap in, my arrival now exists in the digital realm, I worry that I am later than everyone therefore giving them a head start on me, I must catch up.

I immediately turn to the toilet and pull the series of doors open. As I touch the model, I am reminded of the angular handles which reflect the discomfort of this space. My first interactions with the architecture school do nothing to calm my nerves, no wonder I uncontrollably race through the day.

Top Left: Top Right: Bottom Left: Bottom Right:

Clay imprint of the back door key card reader Hand sketch of the imprinting process of the key card reader Clay imprint of the basement toilet door handle Hand sketch of the imprinting process of the basement toilet door handle

50

07 - APPLYING A REFLECTIVE PROCESS A Day in the Life

I then begin my journey up the school in the lift, the buttons are another engagement with technology, they are cold and often unresponsive. Whether hit with hand, finger or leg, they demarcate the experience of beginning work. Although mundane, this provides a positive separation from work and rest, as now a productive day must begin.

Top Left: Bottom Left: Bottom Right:

Clay imprint of the up lift button Hand sketch of the imprinting process of the up lift button Clay imprint of the large second floor lift button 51

07 - APPLYING A REFLECTIVE PROCESS A Day in the Life

I reach the studio and turn the standardised handle. Despite my clear memory of the handle, I am still unsure if it is a push or a pull, I should know this by now, I have been through this door enough times. Yet the disconnect from the object to the action is unsettling. The regularity of these handles throughout the school confuses my memory.

Another constant throughout the school is the easy to clean rubber floor texture.

I can read and remember its practicality, however like the door handle, I cannot truly place it in my memory.

Top Left: Top Right: Bottom Left: Bottom Right:

Clay imprint of a studio door handle Hand sketch of the imprinting process a studio door handle Clay imprint of a studio floor texture Hand sketch of the imprinting process of a studio floor texture

52

07 - APPLYING A REFLECTIVE PROCESS A Day in the Life

As I move through studio towards my seat I push through a door. Despite its weight, through the presence of the metal pad I can easily recognise the actions, thus preparing me for the action. The pressure needed to open this door can be read through the model, however the smoothness of the imprint speaks to me of how this is not an arduous task.

Top Left: Bottom Left: Right:

Clay imprint of the push door in studio Hand sketch of the imprinting process the push door in studio Clay imprint of the push door in studio 53

07 - APPLYING A REFLECTIVE PROCESS A Day in the Life

A breath of cold air rushes over me from a faulty window next to my desk in studio.

I struggle to close it with the array of old handles and locks. The irregularity of these can be felt through the imprints, as can the crumbling frame. There is a sense of others’ past experiences that I attach to these handles as I imagine they would have had their own ways to use them.

A haptic connection to memory

Top Left: Top Middle: Bottom Left: Right:

Clay imprint of the old window lock Clay imprint of the old window frame Hand sketch of the imprinting process the old window handle Clay imprint of the old window handle

54

07 - APPLYING A REFLECTIVE PROCESS A Day in the Life

I place a model I have made on the shelves separating desks from corridor of studio. Both visually and emotionally they provide a calmness and secluded nature to working in this studio. I can hide behind them while manipulating them to suit my needs. In a building where I so often feel out of control, this is an object I can have personal to me.

As I leave studio to go and get some lunch, I walk down the cathedral stairs. I extend my hand over the wide banister and brush over it as I descend the staircase.

The haptic weight informs me to attach a long duration of time to this object as I envisage past students would have done the same. A connection to the past gives me a sense of pride in the tasks I am undertaking as I am not alone in my thoughts of needing to rush.

Top Left: Top Right: Bottom Left: Bottom Right:

Clay imprint of a studio shelf Hand sketch of the imprinting process a studio shelf Clay imprint of the cathedral stair banister Hand sketch of the imprinting process of the cathedral stair banister

55

07 - APPLYING A REFLECTIVE PROCESS A Day in the Life

Before I leave the building for lunch I venture into the gallery to inspect my crit space and a moment of solace can be found as I rest on a window ledge above a radiator. Through holding this model I evoke memories of the cold ledge with warmth rising from below.

From this position I can survey my pin up while also glancing outside to the quad and the many people scurrying through the space. Despite the visual connection I often feel so distant from the outside world when trapped inside the architecture school. By only interacting with architects am I learning a specific way to do things that I will be unable to translate across to those in other disciplines.

Top Left: Bottom Left: Right:

Clay imprint of the gallery window ledge Hand sketch of the imprinting process the gallery window ledge Clay imprint of the gallery window ledge 56

07 - APPLYING A REFLECTIVE PROCESS A Day in the Life

As I move to leave the building, I notice the lattice texture making up the balustrade of the cathedral stairs. Again, like its banister, its uniqueness within the space induces a sense of place and belonging, a far cry from the standardised door handles littered throughout the school.

To exit the building, I press a plastic button. The disconnect from this object to the grandeur of the exit door is stark, yet I will never have a haptic connection with the door itself as it is now fully automated.

I have vague memories from first year that this did not used to be the case, but the strength of these memories has been erased by the staleness of the button.

Top Left: Top Right: Bottom Left: Bottom Right:

Clay imprint of the cathedral stair balustrade lattice Hand sketch of the imprinting process the cathedral stair balustrade lattice Clay imprint of the cathedral door button Hand sketch of the imprinting process of the cathedral door button

57

07 - APPLYING A REFLECTIVE PROCESS A Day in the Life

On returning to the building for lunch, I approach through the main entrance, the heavy door aggravates me as I force my way through. Although aesthetically pleasings, the impracticality of this handle marks this out as a negative experience, one that only intensifies my unease within the school.

Top Left: Bottom Left: Right:

Clay imprint of the main front door handle Hand sketch of the imprinting process the main front door handle Clay imprint of the main front door handle 58

07 - APPLYING A REFLECTIVE PROCESS A Day in the Life

As I enter Kofi Bar, I am met with an uncomfortably narrow table, its thick frame can be understood through the model as it squashes my legs into the person sat next to me.

Top Left: Bottom Left: Right:

Clay imprint of the low table in Kofi Bar edge Hand sketch of the imprinting process the low table in Kofi Bar corner Clay imprint of the low table in Kofi Bar corner 59

07 - APPLYING A REFLECTIVE PROCESS A Day in the Life

I could sit at the higher ledge tables but here my feet collide with a pipe forcing my knees into the underside of the ledge.

I go back to studio for comfort as the cramptness of Kofi Bar has only intensified my stress. By lunching at my desk, I am dangerously blurring the lines between work and rest.

Top Left: Top Right: Bottom Left: Bottom Right:

Clay imprint of the underside of ledge table in Kofi Bar Hand sketch of the imprinting process the Kofi Bar pipe Clay imprint of the Kofi Bar pipe Clay imprint of the Kofi Bar pipe

60

07 - APPLYING A REFLECTIVE PROCESS A Day in the Life

I walk up the main stair, wedging my hand within the tight gap surrounding the handrail. Aesthetically this detail is very satisfying, however, through the imprint I can understand its impracticality.

Top Left: Bottom Left: Right:

Clay imprint of the main staircase handrail Hand sketch of the imprinting process the main staircase handrail Clay imprint of the main staircase handrail 61

07 - APPLYING A REFLECTIVE PROCESS A Day in the Life

I re-encounter a standardised handle and for once open the door the right way.

They may be practical, but they dull an experience of entering a new space to a step in a mechanical process.

A factory for producing

Top Left: Top Right: Bottom Left: Bottom Right:

Clay imprint of a studio door handle Hand sketch of the imprinting process a studio door handle Clay imprint of two studio tables connection Hand sketch of the imprinting process of two studio tables connection

62

07 - APPLYING A REFLECTIVE PROCESS A Day in the Life

As the pressure has risen throughout the day the studio now reveals more of its repetition. Repeated tables and floor textures, as well as countless wheelie chairs are the same for all, which although offers equal opportunity, gives me the impression of a factory for producing architecture rather than a place for slower creative thought. My thoughts get lost through its banality as the creative threads of my project begin to fray.

Top Left: Top Right: Bottom Left: Bottom Right:

Clay imprint of a wheelie chair wheel Hand sketch of the imprinting process a wheelie chair wheel Clay imprint of the underside of a wheelie chair Hand sketch of the imprinting process the underside of a wheelie chair

63

07 - APPLYING A REFLECTIVE PROCESS A Day in the Life

As my work draws to a close, I journey to the top floor toilet. The handle here, although like those of the studios, is far more distinctive. Despite its flatter and arguably less ergonomic nature, through this model I can picture the latch in the door clicking into place. The unusual strength of this memory can be attributed to the individuality of this haptic experience.

I bounce up the short top floor staircase taking note of the usual corner that forms at its top.

Top Left: Top Right: Bottom Left: Bottom Right:

Clay imprint of the top floor toilet door handle Hand sketch of the imprinting process the top floor toilet door handle Clay imprint of the top floor short staircase Hand sketch of the imprinting process the top floor short staircase

64

07 - APPLYING A REFLECTIVE PROCESS A Day in the Life

I once again descend the cathedral stairs yet this time from the top floor. I imagine this banister is trying to replicate the experience of the banister between the first and ground floor. However, its angular form provides discomfort.

I exit the building out the back door through convenience. The handle again provides confusion as despite its form, it needs to be pushed. As I aim to rid myself of the thought of a stressful day of work I once again am reminded of a conflict between the haptic nature of the object and its action.

Top Left: Top Right: Bottom Left: Bottom Right:

Clay imprint of the cathedral stair banister Hand sketch of the imprinting process the cathedral stair banister Clay imprint of the back door handle Hand sketch of the imprinting process the back door handle

65

07 - APPLYING A REFLECTIVE PROCESS A Haptic Map of the School

Through my video I showed myself touching and holding the various imprints to show how they evoke a sense of place as I can locate myself within the school. I can understand the experience of these locations through the models. This is an incredibly personal map

of the school as everyone’s haptic experience would be different. This ties in with how this year has been a personal experience of develop and change to arrive at a slower philosophy that I can move forward with throughout my future as an architect.

All:

Stills taken from my video presentaion, the link for which can be found at the start of my portfolio. These stills reference how through holding the models I can orientate myself within the architecture building 66

STAGE 5

STAGE 6

08 FAST

CRITICAL REFLECTION SLOW

08 - CRITICAL REFLECTION The Power of A Destablising Process

The result of my yearlong investigation has revealed the many pathological issues of speed relating to my practices and how they have been influenced by my generic engagement with modern life and the built environment of my education. In the future, I must adopt a slower philosophy if I am to interrogate problems in architecture with greater reflection and without fear of critiquing and changing my previous work is the solution.

However, it is not a perfect solution, this year has not been easy as by questioning my methods I have held up a mirror to my practices and I have not

always liked what I have seen, which has led to more regular mental health stresses. However, the benefit of me doing this while I am still in my education, rather than while already in practice, is that I have time to discover the reasons behind my detrimental practices.

Through discovering techniques to engage with slowness, mainly through engaging with hands of craft to break my over-reliance on digital technology, I have created a road map for how I should react to speed in my practice in the future.

68

08 - CRITICAL REFLECTION The Power of A Destabilising Process

A key reason why being slow has been such a challenge is because of the instant gratification engrained in modern life and the architectural methods I have been exposed to in education.

I must stress that this is not an end point for my thoughts on this topic, because for this year to be a success, I must allow slowness to constantly inform and evolve my practices if I am to have a healthy relationship with the profession in the future.

It is important to understand that what I have explored is my own personal experiences of the architecture

I do not know what is nex t, but I believe that if I approach it critically and reflectively, it willbe more successfulthan if I race into it

school to form my route of reflection, and this will differ from other’s experiences. However, embracing elements of slowness is something I imagine others can adapt into their practice in order for them to take their own journey of reflection, to question the sustainability of their methods to overcome their own obsessions with speed and production.

The long-term benefits of engaging with slower and more reflective methods of architecture, although difficult to see, will inevitably out way the short-term strife.

Being slow is an individualchoice

69

BIBLIOGRAPHY

Quoted in Portfolio Armitage, J. (1999). Paul Virilio. Theory, Culture & Society, [online] 16(5-6), pp.1-23. Available at: <https://journals.sagepub.com/doi/10.1177/02632769922050845> [Accessed 25 May 2021].

Prost, J. (2020). Stopping - Arrêts - Adaptive Actions. [online] Adaptive Actions.Available at: <http://adaptiveactions.net/aa/stopping-arrets/> [Accessed 5 January 2021].

Books read as part of research

Journals read as part of research

Allen, A., Lampis, A. and Swilling, M. (2016). Untamed Urbanisms. London: Routledge, p.1.

Akkar, M. (2005). Questioning Inclusivity of Public Spaces in Post-Industrial Cities. [online] Available at: <http://jfa.arch.metu.edu.tr/archive/0258-5316/2005/cilt22/sayi_2/1-24.pdf> [Accessed 2 December 2020].

Bachelard, G. (2014). The poetics of space. New York: Penguin.

Burns, W. (1967). Newcastle , A Study in Replanning at Newcastle Upon Tyne. Londres: Leonard Hill, pp.1-41 Cheshire, T. (2021). BIM’s ‘Google Docs for buildings’ is transforming architecture – but could it kill creativity?. [online] WIRED UK. Available at: <https://www.wired.co.uk/article/ architecture-software-creativity> [Accessed 25 May 2021].

Debord, G. and Knabb, K. (2005). The Society Of The Spectacle. London: Rebel Press. p.7

Sennett, R. (2009). The craftsman. London: Penguin, pp.9-26, 278-279.

Bennett, J. (2010). Vibrant Matter. Duke University Press, p.5.

Slow Food in the UK. (2021). Slow Food in the UK - Celebrate what’s on your plate!. [online] Available at: <https://www.slowfood.org.uk/> [Accessed 25 May 2021].

Slow Living LDN. (2020). The 6 Principles of Slow Design. [online] Available at: <https:// www.slowlivingldn.com/journal/live-consciously/slow-design-principles/> [Accessed 27 May 2021].

Berman, M. (2010). All That Is Solid Melts Into Air: The Experience of Modernity. London: Verso.

Burns, W. (1963). New Towns For Old. [London]: L. Hill, pp.211-212.

Gregson, N. (1995). And Now It’s All Consumption. Progress in Human Geography, [online] 19(1), pp.135 - 141. Available at: <https://journals.sagepub.com/doi/10.1177/030913259501900113> [Accessed 2 December 2020].

Lefebvre, H. (2017). Dissolving City, Planetary Metamorphis. Environment and Planning D: Society and Space, [online] 32(1), pp.203 - 205. Available at: <https://journals.sagepub.com/ doi/pdf/10.1068/d3202tra> [Accessed 2 December 2020].

Coleman, A. (1994). Utopia on trial. London: H. Shipman.

Dorling, D. (2020). Slowdown. Yale University Press Books, pp.1-10, 231-232.

Evans, R. (2000). The projective cast. Cambridge: The MIT Press.

The Denizen Co. (2021). 6 Inspiring Zen Buddhist Principles That Will Change Your Life — The Denizen Co.. [online] Available at: <https://www.thedenizenco.com/journal/zen-buddhistprinciples> [Accessed 25 May 2021].

Harvey, D. (2012). Rebel Cities. New York: Verso.

Harvey, D. (2002). Spaces Of Hope. Berkeley: Univ. of California Press, pp.133-181.

Evans, R. (1997). Translations from drawing to building. Cambridge, Mass.: MIT Press, pp.5-9, 154-159.

Fisher, C. (2011). Postcards from the edge. London: Simon & Schuster.

The Guardian. (2021). From lizarding to lingering: how we really behave in public spaces. [online] Available at: <https://www.theguardian.com/cities/gallery/2019/aug/01/lizardingand-flex-allure-how-do-you-use-your-city-plaza-in-pictures-field-guide> [Accessed 25 May 2021].

Honoré, C. (2005). In Praise Of Slow: How A Worldwide Movement Is Challenging The Cult Of Speed. London: Orion Books Ltd, pp.1-25.

Tsien Williams. (1999). On Slowness - Tod Williams Billie Tsien Architects. [online] Twbta. com. Available at: <http://www.twbta.com/3031> [Accessed 5 January 2021].

Kundera, M. and Asher, L. (1997). Slowness. Harper Perennial.

Lefebvre, H. (2016). The Production Of Space. Malden, Mass.: Blackwell.

Minton, A. (2009). Ground Control. London: Penguin Books.

Rykwert, J. (2001). The Seduction Of Place. London: Phoenix, pp.3-21.

Lefebvre, H. (2004). Rhythmanalysis: Space, Time and Everyday Life. Bloomsbury, pp.1-19.

Oxman, R. (2008). Digital architecture as a challenge for design pedagogy: theory, knowledge, models and medium. Design Studies, 29(2), pp.99-120.

Pendlebury, J. (1999). The conservation of historic areas in the UK: A case study of “Grainger Town”, Newcastle upon Tyne. Cities, [online] 16(6), pp.423 - 433. Available at: <https://www. sciencedirect.com/science/article/pii/S0264275199000402> [Accessed 2 December 2020].

Rogers, P. (2001). Public Space or Transitory Shopping Zone: Old Eldon Square. Forum: A Postgraduate Journal in Architecture, [online] pp.1-9. Available at: <https://www. researchgate.net/profile/Peter_Rogers5/publication/237770863_Public_Space_or_ Transitory_Shopping_Zone_Old_Eldon_Square/links/56b8117308ae44bb330bcb1d.pdf> [Accessed 2 December 2020].

Virilio, P. (2006). Speed and politics. Los Angeles, CA: Semiotext(e).

Samuel, F. (2018). Why Architects Matter. Routledge, pp.1-15, 51.

McAulay, S. (2021). With One In Three Students Suffering, It’s Time The RIBA And Schools Acted On Mental Health. [online] The Architects’ Journal. Available at: <https://www. architectsjournal.co.uk/news/opinion/with-one-in-three-students-suffering-its-time-theriba-and-schools-acted-on-mental-health> [Accessed 5 January 2021].

O’Neill, K. (2021). Will technology make the Architect obsolete? (via Passle). [online] Passle.

Available at: <https://insights.pickeverard.co.uk/post/102gkt2/will-technology-make-thearchitect-obsolete> [Accessed 25 May 2021].

Petrie, H. (2007). Review of Ivan Illich, Deschooling Society. Educational Theory, 22(4), pp.469-478.

Pouzenc, J. (2021). What’s Wrong with Academia? On Alternative Schools of Architecture. [online] Archinect. Available at: <https://archinect.com/features/article/149995822/what-swrong-with-academia-on-alternative-schools-of-architecture> [Accessed 25 May 2021].

www.dictionary.com. (2021). Definition of hypostatize | Dictionary.com. [online] Available at: <https://www.dictionary.com/browse/hypostatization> [Accessed 25 May 2021].

Smith, T. (1963). Development Plan Review 1963. Newcastle upon Tyne: City Council, pp.1-20, 256-336.

Films watched as part of research

Strauss, C., & Fuad-Luke, A. (2008). The slow design principles. Proceedings of the Changing the Change, 14.

Andrej Tarkowskijs Exil und Tod (The Exile and Death of Andrei Tarkovsky). (1988). [film] Directed by E. Demant.

Tabb, W. and Sawers, L. (1984). Marxism And The Metropolis. New York: Oxford University Press.

Open Culture. (2015). Existential Journey Of A Plastic Bag. [online] Available at: <https://www. openculture.com/2015/08/werner-herzog-narrates-the-existential-emotional-journey-ofa-plastic-bag.html> [Accessed 6 January 2021].

Tafuri, M. (1977). Architecture And Utopia. Cambridge, Mass. [u.a.]: MIT Press.

Robinson in Ruins. (2021). [film] Directed by P. Kieller. United Kingdom: British Film Insitute.

Websites read as part of research Building Design. (2021). Open design competitions devalue the architectural profession. [online] Available at: <https://www.bdonline.co.uk/opinion/open-design-competitionsdevalue-the-architectural-profession/5086748.article> [Accessed 26 May 2021].

Hartman, H. and Hartman, H. (2021). Architects Must Beware That The New Technology Does Not Devalue Their Skills. [online] The Architects’ Journal. Available at: <https://www. architectsjournal.co.uk/archive/architects-must-beware-that-new-technology-does-notdevalue-their-skills> [Accessed 26 May 2021].

Wilson, M. (2019). Moralising Space. New York: Routledge.

Ravenscroft, T. (2021). Patrik Schumacher outlines the crisis in architectural education. [online] Dezeen. Available at: <https://www.dezeen.com/2019/07/09/patrik-schumachercrisis-architectural-education/> [Accessed 26 May 2021].

70

LIST OF FIGURES

List of figures that are not my own work Page 5

All book covers referenced in bibliography

Page 10 Something Concrete + Modern. (2021). Newcastle Central Development

Plan - Something Concrete + Modern. [online] Available at: <https://www. somethingconcreteandmodern.co.uk/building/newcastle-central-

development-plan/> [Accessed 25 May 2021].

Page 14

Page 14

Rogers, D. (2008). Corkscrew Car Park &Copy; David Rogers Cc-By-Sa/ 2.0. [online] Geograph.org.uk. Available at: <https://www.geograph.org. uk/photo/1048354> [Accessed 6 January 2021].

Le Grand Magasin. [online] Available at: <https://www.mvrdv.nl/projects/ 4/le-grand-magasin> [Accessed 5 January 2021].

Page 24 Pouzenc, J. (2021). What’s Wrong with Academia? On Alternative Schools (Both Images) of Architecture. [online] Archinect. Available at: <https://archinect.com/ features/article/149995822/what-s-wrong-with-academia-on-alternative-

schools-of-architecture> [Accessed 25 May 2021].

Page 48

Weiss, D. (2021). Wooden Inuit Maps - Archaeology Magazine. [online] Archaeology.org. Available at: <https://www.archaeology.org/issues/ 337-1905/features/7550-maps-greenland-wooden-inuit-maps> [Accessed 25 May 2021].

Page 48 Magazine, H. (2021). He’s Got the Whole Coast in His Hand | Hakai

Magazine. [online] Hakai Magazine. Available at: <https://www. hakaimagazine.com/article-short/hes-got-whole-coast-his-hand/>

[Accessed 25 May 2021].

Page 14 Gibson, E. (2017). Frank Lloyd Wright’s Guggenheim Is An Icon Of

Modern Architecture. [online] Dezeen. Available at: <https://www.dezeen. com/2017/06/09/solomon-r-guggenheim-museum-frank-lloyd-wright-

new-york-city/> [Accessed 6 January 2021].

Page 14

Mvrdv.nl. (2021). Markthal. [online] Available at: <https://www.mvrdv.nl/ projects/115/markthal> [Accessed 25 May 2021].

Page 15

Braintrust Ineractive. (2017). background-fast-city - Braintrust Ineractive. [online] Available at: <https://braintrustinteractive.com/home/ background-fast-city/> [Accessed 25 May 2021].

Page 18 Woodhead, P. (2021). The marshmallow method: a new technique to

increase productivity. [online] Medium. Available at: <https://medium. com/swlh/the-marshmallow-method-a-new-technique-to-increase-

productivity-80bd085b9d95> [Accessed 25 May 2021].

Page 21

Slow Food in the UK. (2021). Slow Food in the UK - Celebrate what’s on your plate!. [online] Available at: <https://www.slowfood.org.uk/> [Accessed 25 May 2021].

Page 23 Vinnitskaya, I. (2021). Kimball Art Center / Tod Williams Billie Tsien (Both Images) Architects. [online] ArchDaily. Available at: <https://www.archdaily.com/

200109/kimball-art-center-tod-williams-billie-tsien-architects> [Accessed

25 May 2021].

71