Julian Djopo Portfolio

ACADEMIC PORTFOLIO NEWCASTLE UNIVERSITY ARCHITECTURE PLANNING & LANDSCAPE CURATING THE CITY | STAGE 3 | 2020 - 2021 JULIAN DJOPO

STUDIO | CURATING THE CITY

CONTENTS

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1 ILLUSTRATED REFLECTIVE DIARY

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2 FRAMING

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3 TESTING

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4 SYNTHESIS

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5 THINKING THROUGH MAKING

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6 THEMATIC CASE STUDY

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7 CULTURAL BIBLIOGRAPHY

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8 LIST OF FIGURES

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9 BIBLIOGRAPHY

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NEW WORK AFTER FINAL REVIEWS IMPROVED WORK AFTER FINAL REVIEWS SEE APPENDIX AND SKETCHBOOK SEPARATELY 3

1 | ILLUSTRATED REFLECTIVE DIARY

STUDIO | CURATING THE CITY

OPENING REFLECTION Throughout the year, my design proposal was inherently connected to the other modules, in conceptual design, creative development, technological integration and professional design management.

These modules included the ARC3013 Integrated Technology Report, ARC3014 Professional Practice and ARC3015 Theory into Practice.

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ILLUSTRATED REFLECTIVE DIARY

Along with these modules, my design was also influenced by my experiences in extracurricular lectures and talks from my Cultural Bibliography, influences from my year-long dissertation research and the thinking through making piece.

and in turn influencing the final design response. Furthermore, listening to other architects such as Feilden Fowles and guest contemporary stone architects, enabled a further understanding of their ways in approaching materiality, site response and response to the wider global architecture context.

I progressively appreciated the wider effects of my design proposal, backed-up by the core modules of the course to develop the design further.

All these facets fuelled the way I progressed as an architecture student, communicated through my sketchbook to understand the information recorded and channel into the design project.

I realised that the design project cannot be developed right from concept sketch to final design without thorough development of the theoretical underpinning that builds a strong framework,

Drawing study process of Oodi Library precedent from ALA Architects.

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ARC3014

ARC3013

My experience within the professional report has grown in understanding a fraction of what it may be like to be an architect in the future. By learning about the differences between design and construction management, I understood the importance of the processes involved before, during and after the construction of a building, for example through the RIBA Plan of Work.

In aiding the technical framework of my design project, the technology module facilitated a rationalisation of the design through the studies of similar precedents through their technical details. Two main precedents that I found helpful were Cottrell and Vermeulen’s (C & V) Brentwood School Learning and Resource Centre, and the Children’s Day-care Centre in Berlin by Mono Architekten.

I now have broader understanding of the management in teams, regulations in architecture industry and implications of being an architect in an evolving industry.

ARC3015

Studying the Brentwood Learning and Resource Centre, I found that the contemporary arches forming the portico were hung against a concrete formwork, enabling the arches to be built in much more modern way. This supported my design rationale as the ground level walls needed to be loadbearing to support the upper lightweight structure constructed from timber materials.

20 Through reading about thick sections,

With spatial development, I hope to

By reading various texts around such as Tourism and Visual Culture, Biopolis and Landscapes of Industrial Excess, I was able to form an underpinning framework that influenced my design approach. Patrick Geddes’ role in the theoretical understanding of City Planning and human evolution greatly influenced my design objectives which were focused around the symbolic and metaphorical connections of the Greek agora and the idea of a ‘temple’ as a place of gathering.

I grasped the relationships between my approach to visually understanding these complex ideas from Patrick Geddes’ and Karen Wells’ texts was through the practice of diagramming and drawing, bring together the ideas that can be applied to my design project.

Going forward, my initial explorations

the historical background of Gas

create a dialogue between theory

visual representation of the site’s

design process. In the current stage of

urban

virtually in SketchUp, Photoshop and

a deeper and sensitive connection to

process through hand-drawn and

site. However, the relationship and

Works Park is woven together through

The theory into practice module enabled a greater appreciation of the theoretical and conceptual thinking process I undertook within my studio during the Framing stages of design. This approach allowed me to criticise the heritage and conservation of my site through themes of Visuality, Heritage, Assemblage and Urban form.

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and design, with a visual narrative of

narrative. Tera Hatfield produced thick

work, my design process is based

sections (Figure 12) in this reading for an investigation of Gas Works Park.

These

provide

descriptions

Illustrator. In progressing the design

and

imbued memories of Gas Works Park

traced layers on the site, I will be able

and its challenges throughout history.5

to apply some of the theoretical ideas to my design proposal.

Figure 12: Thick section of Gas Works Park by Tera Hatfield.

and inspirations from visuality, thick sections approach, speculative retrofictions

and

Greek

metaphorical concepts have allowed

the experience of the community and connection to my design strategy

may be limited unless I transition the iterative process to scaled handdrawings on the site.

The Children’s Day-care Centre supported my approach to a sustainable timber construction in detail. I also realised the importance of researching specific timber cladding which would be the predominant cladding for my design proposal, thoroughly researching led me to choose Siberian larch wood.

Integrating these and many other technical strategies into my design provided confidence and understanding of the structure as well as the environmental implications of my material and construction approaches.

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Figure 22: Drawing by Francois Schuiten in a digital print format. These

fictional urban environments inspired some of my approaches of spatial concepts for design project.

Thaïsa Way, ‘Landscapes of Industrial Excess: A Thick Sections Approach to Gas Works Park’, Journal

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of Landscape Architecture, 8.1 (2013), 28–39 (p. 36.) <https://doi.org/10.1080/18626033.2013.798920>.

SECTION 4 - BRICK ARCHES By looking at the Brentwood School Learning Resource Centre by Cottrell and Vermeulen I was able to understand the use of concrete as a plinth and utilising a brick facade to cover the wall and relate to the immediate context of the site.

Figure 53. Brentwood School Learning Resource Centre Construction Images. (Jonathan, 2015).

This would mean the upper structure would still be constructed out of wood, being lighter-weight to the base and therefore not requiring deep foundations on the site.

This approach also means that the arches can be constructed quicker on the site and the shape can be designed using the form work of concrete.

Figure 55. Brentwood School Learning Resource Centre Cottrell and Vermeulen. (Cottrell and Vermeulen, 2015).

Figure 54. Simple render of the South-facing facade colonnade and pitched roof upper structure, with the inner courtyard glazed. (Author’s own).

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CLOSING REFLECTION

Dissertation Project Overall, my dissertation research and assignment increased my awareness of the operational aspects of the design proposal and how this may reflect the sustainability of the design.

Sketchbook Process and Conclusion Finally, the progression of my design would not have been possible with my A4 Fabriano Sketchbook. As a refuge for where I normally engage with most design and technology information, my sketchbook reflects all my design work and development throughout the year, and I was able to weave together the core modules into the design work in a tangible way.

Titled Building with Earth and Tradition, the dissertation research process allowed me to critically engage with material decisions in the construction industry and impacts these have when constructing buildings. By reflecting on earth construction and hybrid construction methods, my resolve to design more sustainably was strengthened by choosing locally available materials such as locally felled trees for interior furniture.

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BUILDING WITH

EARTH AND TRADITION

Studying Anna Heringer Architects project, METI School in Bangladesh, and CAUKIN studio’s approach to socially and environmentally sustainable greatly inspired my original resolve to integrate sustainable approaches when designing my building proposal.

This research also heightened my personal interest in construction for the local area where it can have a greater, global effect sustainably.

Figure 42: Early construction stages of Naweni Kindergarten II.

JULIAN DJOPO

Figure 43: Completed Naweni Kindergarten II with playground.

As a result of keeping to handdrawn methods for most of the year, my three-dimensional digital model was only in the massing stages until the end of Testing stage where I began to engage with all my overlaying ideas from thematic research, theory and technology through Synthesis.

Through the development of my design project, I realised the comfort when engaging with design process by hand, through drawing. However, a deeper tectonic understanding would have been possible if I produced some physical detailed models.

Furthermore, my experience over this year-long project has been interesting, generating a hypothetically realistic project influenced by multiple factors.

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The manufacture of construction materials is connected to the

release of greenhouse gases (GHGs) which pose a significant impact to the environment. Table 1 showcases some materials manufacturing processes and their connections to specific environmental problems.

Table 1: Material manufacturing processes and their connection to a range of environmental issues.

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One of my workspaces during the Covid-19 pandemic showing initial stages of design in the Testing Stage.

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SYNOPSIS Critical engagement with Saltaire as World Heritage Site through Studio Thematic Research.

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My studio required an exploration into the ideas of curating to critically engage with a World Heritage Site of Saltaire. Saltaire was built as a model village based around the largest textile mill in the 1850s in West Yorkshire.

Critical engagement developed through four thematic sections of the studio Heritage, Visuality, Ecoassemblage and Urban form. The thematic sections enabled me to build a critically rigorous research base fuelled by theoretical concepts of the Greek agora and Patrick Geddes’ schematic thinking of the valley section.

By focusing on the community of Saltaire, is the preservation of Saltaire’s heritage through bringing back the focus to people, a possible agenda towards Curating the City?

Figure 1: Saltaire site plan produced during groupwork.

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STUDIO THEMATIC RESEARCH VISUALITY

HERITAGE

ECO-ASSEMBLAGE

URBAN FORM

The Saltaire Arts Festivals enable tourist to experience the various cultures and arts within Saltaire at various locations through out Saltaire. Beginning to understand the experiences within Saltaire and influence on perception and visual discourse through advertising and media.

The diagram to the right portrays this, however ideas began to diverge from the initial research of studying the visual discourse and visual construct of the town, expressed through the architecture, scenes and framed gazes around the town.

As James Moir quotes below, these experiences enable a break with routine in life for the tourists and this manifests as an issue for the locals where focus on their own lives is lost.

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Would it be a different experience to enable a “break with routine life” as well as gaining “recreative experience”? (Moir, p. 165, 2010).

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STUDIO THEMATIC RESEARCH VISUALITY

HERITAGE

ECO-ASSEMBLAGE

URBAN FORM

Analysis of the photography within Saltaire of key locations.

Saltaire is the physical narrative of social history which can be experienced through seeing the architecture. Discourse of photographs and videos express Saltaire to the audience, where photographs from historical periods of 1800s look no different to current photographs.

With tourists visiting, they may only capture their experiences through photographs, fixes their gazes of what they see as a memory they can look back to.

The connection of this analysis to memory and gaze shows that visitors perception of Saltaire may remain the same as they seek to experience the memories they have either kept through photographs and through their subjective perceptions through experience.

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Photographs do not only make places visible, perform-able, and memorable, places are also sculptured materially as simulations of idealised photographs as ‘postcard places’.

(John Urry, 2011)

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STUDIO THEMATIC RESEARCH VISUALITY

HERITAGE

Visual analysis group work of ‘moments’ and ‘gaze’ within Saltaire.

VIEW 1

VIEW 2

VIEW 3

ECO-ASSEMBLAGE VIEW 4

VIEW 5

VIEW 6

VIEW 7

VIEW 8

VIEW 9

URBAN FORM VIEW 10

VISON - MOMENT & GAZE SITE PHOTO

This group analysis demonstrates the relationships between the gaze and moments to the character of Saltaire. The key views are stripped to their key structural perspectives and viewpoints to understand how they frame the scenes in Saltaire.

Other aspects that characterise the moment a gaze of each frame at key locations include the skyline, colours and changes in topography, influencing the visitor’s experience and procession through the locations.

This study aims to demonstrate the relationship between vision and moment. By thorough analysis of the different aspects of moments and gaze to indicate the character of Saltaire and weakness of Current urban planning. I separated the analysis into two-part. First part demonstrates the experience and feeling of each moment, Second part is more tend to the objective which analysing the influence of vison to people, for instance: "Perspective" "skyline" "different element in site" etc.

SKETCH OF MOMENT

PRESPECTIVE

VIEW POINT

SKYLINE

IN PLAN

Location of ten moments in Saltaire

TEN MOMENT

SKYLINE 2/3

1 Roberts Park looking south from the Half Moon Pavilion

2 Axial view between the East and West Shelters

3 Roberts Park looking south-east

4 George Street axial view north

5 Albert Terrace looking east

6 looking east along Caroline Street

7 Albert Terrace looking west

8 Exhibition Road looking South

9 Exhibition Road looking West

10 Exhibition Road looking North

TEN MOMENT

Ten Moments in Saltaire

SKYLINE 2/3

Whether the skyline is two thirds of the way above the screen ?

COLOUR

How many colour in the image

COLOUR GREY ELEMENT GREY ELEMENT

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Artificial Creatures

GREEN ELEMENT

Nature element but artificially modified

GREEN ELEMENT

BLUE ELEMENT

Nature element : Lake, forest

BLUE ELEMENT

TOPOGRAPHY CHANGE

Any topography change in image or site?

TOPOGRAPHY CHANGE

GREEN

YELLOW

BLUE

RED

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STUDIO THEMATIC RESEARCH VISUALITY

HERITAGE

ECO-ASSEMBLAGE

URBAN FORM

Group research of Saltaire’s history and development of the textiles Industry between 1800s to 2000s.

Built in 1851 to 1853, Saltaire is the most complete model village to be built in the textile industry.

The Salts Mill was built initially, followed by development of housing terraces, church, school and hospital to the south of the Salts Mill and Chimney.

Saltaire has had a rich textiles history both with the people and the architecture. The artsled regeneration meant to bring back life to the shut-down mill in the 1980s turned the village into an Arts focus and heritage centre.

Nominated in 1999 as a UNESCO World Heritage Site, Saltaire become a prime example of the model village, integrating transport, model housing, and social amenities. ( The initial project task set out but the studio was to curate a contributing design intervention with a theorized agenda to respond to Saltaire.

Figure 2: Groupwork timeline of Saltaire’s industrial history and development to Arts-led regeneration.

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STUDIO THEMATIC RESEARCH VISUALITY

HERITAGE

ECO-ASSEMBLAGE

URBAN FORM

Group research of Saltaire’s history and development of the Textiles Industry between 1800s to 2000s.

Further understanding the urban form of Saltaire required an understanding of the building typologies developed during the phased construction of the town after Salts Mill was built.

The diagram to the right summarises the four phases of housing construction in Saltaire in close proximity to the Salts Mill as well as the obvious lower heights in comparison to the Mill.

The canal links diagram conveys wool and coal transport from Liverpool.

This factor would characterise the approach to design with a chosen site that is sensitive to building heights and the typology determining the local area and community.

Figure 3: Timeline of Saltaire’s Mill Industry, produced during groupwork (Right).

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STUDIO THEMATIC RESEARCH VISUALITY

HERITAGE

ECO-ASSEMBLAGE

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Building typology studies through sections of Saltaire village and Demographic Comparisons to other model villages.

In studying the demographics of Saltaire, I built an understanding of the ages ranges that is most prominent in Saltaire. Saltaire showed to have more than half of the population to be between the ages of 18 to 59 years old, with just over a quarter being the younger population.

When compared to other model towns Saltaire is closely related to New Lanark rather than New Earswick, where they both were developed as a response to the industrial revolution and emerging textiles industry. New Earswick was a response to the Arts and Crafts philosophy and built in the 20th century. These studies help to determine the importance of Saltaire historically as well as an understanding of the usage demographic for my design proposal.

Figure 4: Demographic analysis of Saltaire compared to example model villages.

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Figure 5: Saltaire site sections produced during groupwork.

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STUDIO THEMATIC RESEARCH VISUALITY Group research on the heritage and conservation of Saltaire.

HERITAGE

ECO-ASSEMBLAGE

Option 1 | Embracing its original identity

Should Saltaire have stuck to its original roots of being linked to the British textile industry?

Option 2 | Using the arts to establish a new heritage for Saltaire

By turning Salts Mill into a traditional museum that exhibits the contents of the former mill, will it be better or for worse?

Critical heritage within Saltaire revolved around Titus Salt’s original ideas for the healthy and safe work environments, and lifestyles of the people marking Saltaire as the model town for the increasing effects of the industrial revolution to urban areas. However issues with workhealth lifestyle continued to prevail such as no trade unions, no private farms, and no political movements allowed.

By understanding the evolving conservation methods and issues with heritage, possible solutions were theorized, responding to the original identity of Saltaire, embracing the arts-led regeneration strategies to revive the industry and jobs.

URBAN FORM

With the arts-led regeneration, it effectively turned Saltaire into a thriving town again

To achieve this, the regeneration had to essentially forget what Saltaire used to be, with the architecture of the village being the only aspect left of its 19th century life.

If Saltaire does pursue this, will the new heritage continue to benefit the village or will it eventually lose its value? Will it still be remembered as the textile village to house its workers or a tourist attraction for the arts?

Option 4 | Harmonisation between the past, present and future

Option 3 | Forget the textile industry, Saltaire will adapt to the changing world

Or can we explore the option of keeping the integrity of the WHS boundary?

Some see the conservation of the architecture as a hinderance to the potential Saltaire can achieve if it wasn't held back by its past

The heritage response of my proposal looks at preserving the people of Saltaire through advocating new spaces for learning and civic engagement.

If it forgets its industrial past, essentially forgetting it, will it allow Saltaire to thrive even more?

With the rapid developments taking place in the modern world, should Saltaire be transformed to join the modern times, as some see the maintenance older buildings as hinderance where that time and money could be better spent elsewhere?

Where the whole fabric of the site is preserved to resemble its 19th century identity, while curating the Buffer Zone area to keep up with modern demands whilst still blending in with its surroundings?

Is this option an attainable? Or are there too many policies and complications for us to be able to achieve this?

Figure 6: Groupwork heritage conservation concept options in response to critical heritage studies of Saltaire.

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STUDIO THEMATIC RESEARCH VISUALITY

HERITAGE

Group Research on Eco-Assemblage and the Valley-section in relation to Patrick Geddes.

ECO-ASSEMBLAGE

URBAN FORM

Saltaire

We a k ness es as a Garden Cit y

Urban growth and expansion 1850s

© Landmark Information Group Ltd and Crown copyright 2020. FOR EDUCATIONAL USE ONLY.

In this research, the development of Saltaire was linked to The Valley Section and The Garden City, where the expansive greenbelt surrounding the town aligned it to ideas of the Garden City developed by Ebenezer Howard.

Saltaire is also influenced by the Valley Section developed by Patrick Geddes who developed Frederick Le Play’s right-livelihood into a schematic representation for a hierarchy of settlement to the city.

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Projection: British National Grid

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Jessica Helena Eve Male University of Newcastle

1890s

© Landmark Information Group Ltd and Crown copyright 2020. FOR EDUCATIONAL USE ONLY.

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Nov 06, 2020 14:14 Jessica Helena Eve Male University of Newcastle

1920s © Landmark Information Group Ltd and Crown copyright 2020. FOR EDUCATIONAL USE ONLY.

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Valley section

This process was accelerated in the 1960s, when a number of new estates were developed around Saltaire.

This is a weakness of the site as it reduces the size and proximity of the rural landscape around the site, which provides beautiful scenery, an escape from urban life and a lowering of air pollution.

Nov 06, 2020 14:14 Jessica Helena Eve Male University of Newcastle

1960s

© Landmark Information Group Ltd and Crown copyright 2020. FOR EDUCATIONAL USE ONLY.

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Saltaire has grown significantly since it was built in the 1850s, expanding into the surrounding greenbelts. Its founder Titus Salt had intentionally picked a rural location for the site, 3 miles outside of Bradford, but it has since been absorbed into the neighbouring town of Shipley.

Nov 06, 2020 14:16 Jessica Helena Eve Male University of Newcastle

Sug geste d improvements

conurbation City

City

Village

City

(Financial)

(Manufacturing)

(Residential)

(Financial)

Manchester

Bradford

Saltaire

Leeds

346ft

272ft

108ft

central location between two large citys

close to bradford with a nice setting

very well connected to london and manchester

Preserve existing green spaces surrounding Saltaire by preventing further development, especially of large housing estates.

Currently there are still green belts to the north and south of the site, athough housing estates have been delevoped between Saltaire and these rural spaces.

To protect the ecological, aesthetic and environmental benefits of the valley in which the village sits, any further development into these spaces should be closely regulated.

Figure 7: Groupwork diagrams about the Garden City to Saltaire.

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74ft a large city known for its system of canals

Figure 8: Groupwork diagram of Valley Section theory based on Saltaire with other cities.

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ASSEMBLAGE CONNECTION

PROPOSAL

Creating the links between themes of Assemblage and Patrick Geddes’ theories of civics to design project.

Focused on the ‘FOLK’ and ‘PLACE’ aspects of Geddes’ rightlivelihood diagram, my proposal would represent these two of Le Plays triad, enabling the community to follow Geddes’ Network of Society in Saltaire as originally imposed, with the ‘WORK’ aspect already existing as the various arts events and visitor services.

Geddes’ Arbor Saecularum forms an inspiration to draw together Saltaire’s history through the people symbolically. The proposal could be viewed a ‘temple for the people’, theorised through the assemblage of the Greek Acropolis (Temple, Academic and Theatre). The building will be interpretation of temples as a place for the locals to gather and engage, inspired by Geddes’ methodological approach to design of temples.

Contemporary Interpretation

Urban Fabric

Physical Structure

SALTAIRE

ACROPOLIS

By exploring the ideas of the Greek acropolis I hope introduce a building for the community that acts as a symbolic temple that is part of the Assemblage of metaphorical acropolis in Saltaire.

Renewable energy, low-impact development, design with nature.

Civic participation, community empowerment, land use.

TECHNICS

CIVICS

PLACE

Place-work

Place-folk

work-place

PLACE

Work-folk

Folk-place

Folk-work

FOLK

EUTECHNICS of

GEOTECHNICS

ASSEMBLAGE

Place for Community

symbolic meaning

TEMPLE THEATRE

VICTORIA HALL

ACADEMIC

SHIPLEY COLLEGE

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HERITAGE CONNECTION Connecting key ideas from theme of heritage and memory to design project enquiry.

EFFICIENT DESIGN

TITUS SALT

SALTS MILL

Gridiron Layout

TEXTILES INDUSTRY AND MILL WORKERS

Titus Salt aimed to solve the issue of industrial urban congestion in Bradford by adapting the efficient urban design principles of the Gridiron, a uniform and grandiose architectural style for efficient land-use planning. This aimed to provide a better quality of life, healthier, stronger and more educated locals for high output levels at work.

With Salts Mill being regenerated for an arts and media focus, the original ideas that encompasses wellbeing and lifestyle of the locals begin to fade, as tourist discourse becomes a higher priority. The community gradually loses its identity connected to the Salts original intentions for healthier work-life environments that bring a community together.

My programme aims to bring back a focus on the locals, hosting various schedules of accommodation that foster community action and engagement.

Grandiose Architectural Style

1853

Cloth and textile industry

18 miles worsted cloth per day

1930s

CIVIC BENEFITS

1987 Present

Site sold to Bradford Property Trust LDT

quality of life education healthy lifestyle

better work output

SHIFT TO TOURISM INDUSTRY AND ARTS

Loss of original work-life intentions

PROGRAMME

PROPOSAL

Civic engagement

Bring back focus to community and locals

ro ual P ximity ut M

With the programme being situated in a strong urban context and historical character with close proximity to the Salts Mill, there is already a mutual connected to the heritage, therefore reconnecting back to the community through its location.

Site sold to Bradford Property Trust LDT

SALTS MILL

Transactional tourism for visitors and locals

Recognise local efforts

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VISUALITY CONNECTION

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Skylines Architecture

Views Colours

Linking key ideas of the perception and memory of a place to the thematic of Visuality.

MOMENTS

NOSTALGIA

Saltaire is the physical narrative of social history which can be experienced through seeing the architecture. Discourse of photographs and videos express Saltaire to the audience, where photographs from historical periods of 1800s look no different to current photographs.

With tourists visiting, they may only capture their experiences through photographs, fixes their gazes of what they see as a memory they can look back to.

In response to this, my proposal will express a materiality and form that breaks the visual discourse and express a new imagination that is not based on the constructed gaze of Saltaire.

HISTORICAL SIGNIFICANCE

INDUCE S

Impacti ng o n

STUDIO | CURATING THE CITY

Collected Memory Constructed Memory

FIXED GAZE

Photography

This is to be achieved while retaining the representation of civic (community) through metaphorical symbolism of the Greek Acropolis and Agora. A de-constructed perspective.

Artworks

IMAGINATION

DECONSTRUCTED COGNITIVE PERCEPTIONS

ARTISTIC EXPRESSION

discursive perspective deconstructed perspective

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CONCEPTUALISING THE AGORA AND MONUMENT Framing ideas of the Greek agora and acropolis in relation to Saltaire and it’s own monuments

Through reading of Biopolis: Geddes and the City of Life by Volker Welter, Patrick Geddes’ themes of the Greek polis and agora emerged, where I wanted to link the ideas to Saltaire’s urban fabric.

Patrick Geddes approached his schematic ideas of Towns and Cities through the overlaying of concepts with that of the Greek Acropolis and the Valley Section.

These ideas also developed around my concepts that lead toward Temple for the People.

Therefore my reinterpretation of the Temple for the People begin to form around the fabric of Saltaire, where Salts Mill and Chimney are the landmarks to the site, where the community can gather.

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Acropolis and Temple, Forum and Cathedral, thus fully reappear, and these not only in their rationale and significance in the past, but in their renewal in the future. (Welter, p.52, 2002).

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CONCEPTUALISING LIBRARY AND COMMUNITY Framing the concept of agora and library spaces

Bringing together the ideas from studio thematics this concept visualises the overarching ideas of framing key views of the site’s monuments, Salts Mill and Chimney, as well as the idea of community spaces for gathering.

This conveys my theoretical ideas of assemblage where Frederick Le Play’s triad of Work-Place-Folk comes together to respond to my ideas of a place that focuses on the locals and their social interactions from work.

In relation to Karen Wells’ quote below, my research around the visuality thematic opened ideas around the perception of monuments and being perceived.

This influences how the design would respond to the closely related heritage structures that reflect both the history of the people and the urban fabric of Saltaire.

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... the monument may be considered as concrete panoptician. Of course the monument cannot see the subject but nonetheless it reminds the subject that he or she can be seen and of the consequences of being seen. (Wells, p139, 2007)

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STUDIO TEXTS AND FURTHER READING In understanding the theoretical concepts and framework that contextualises my design to the site in Saltaire, I studied various readings that increased my understanding of ideas around our studio themes of Heritage, Visual structure and Assemblage.

Through these readings, I have been able to experiment with bringing together theoretical concepts into contemporary responses that aim to achieve the most suitable strategy for my project.

Through these readings, I stratified the most relevant theme of Assemblage, from Patrick Geddes’ theory of Geotechnics that observe civic engagement and empowerment. These readings enabled an experimental exploration into the ideas of Greek agora, polis and the acropolis. All of these underpinned the design approach I would undertake to design a building that seeks to embody the civic aspect and represent the community as the heritage of the Saltaire.

“

NOMINATION OF

SALTAIRE VILLAGE FOR INCLUSION IN

THE WORLD

HERITAGE LIST

The purpose of a monument is to impress on the visual sense of the subject, although they apparently fail to do, notwithstanding animating moments. In this respect, technological extensions of sight.

(Wells, p. 139, 2007)

Saltaire CONSERVATION AREA ASSESSMENT

ENGLISH HERITAGE

MARCH 2004

SALTAIRE

WORLD

HERITAGE

SITE

NOMINATION

1

“ “

This sense of enjoyment is related to the notion of the psychology of the tourist as visiting somewhere different in order to break with routine life and gain some recreative experience by sightseeing.

(Moir, p. 165, 2007)

Gazing at particular sights is conditioned by personal experiences and memories and framed by rules and styles, as well as by circulating images and texts of this and other places. Such ‘frames’ are critical resources, techniques, cultural lenses that potentially enable tourists to see the physical forms and material spaces...

(Urry, p.2, 2011)

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PROPOSAL

The Arts-Led regeneration of Saltaire since the 1980s has re-directed focus to tourists and tourism meaning the locals progressively loose social interaction between them. This proposal aims to provide a space for community gathering, engagement and activity, reflecting on the ideas of Patrick Geddes’ lessons of civic participation, community empowerment and sustainable land use, advocating social sustainability of the community demographic and an opportunity for visitors to learn about the people of Saltaire.

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CHOSEN SITE

Caroline Street Allotment Gardens

A Community Centre and Library that recognises the heritage of the community at the heart of Saltaire World Heritage Site.

My project aims to bring focus back to the community of Saltaire through a Community Centre and Library, influenced by the concept of the Temple for the People and the Greek agora.

The architecture of the building represents the social history of the people of Saltaire, mill workers, child labourers, and locals who have committed to establishing Saltaire as a World Heritage Site.

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The chosen site is situated between a great juxtaposition of building scales that define Saltaire’s local typology. Site number 5 is parallel to the railway line and adjacent to the north of the site is Salt’ s Mill workers entrance. Both the Salts Mill and mill chimney are overpowering obelisks that overshadow the site to the north and east, creating a unique landmarking of the project building.

A key characteristic of the site is its wealth of greenery and trees on the landscape. Naturally growing fauna and the overgrowth of allotment gardens within the site create a concealing foliage that breaks the monolithic massing of the Salts Mill to the north of the site.

Further characteristic analyses such as land gradient to the north and east, access into site and building typologies are challenges that influence the iteration and design development of a community building.

Caroline Street Social Club is the current building in use on the site.

As a place for the community to socialise and gather, the building has been described as “poor design quality and has a negative impact on the view to the site”. In choosing this site, my aim is to bring focus back to the local community, centralised by its unique position in the World Heritage Site of Saltaire.

The Community Centre and Library hopes to accommodate both locals and visitors through a complex programme of spaces, akin to that of the French Salle Polyvalente (multi-purpose) Centres. The Library programme, being the largest houses a quiet studies, collaborative learning spaces, computer rooms reading areas and Biographical Archives of Saltaire’s people and history.

Other programmes include a Children’s Area (crèche), Cafe and Bar, Community Adaptive Hall, Council Offices and Chamber.

SALTAIRE - WORLD HERITAGE SITE

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SITE ANALYSIS Site section looking north.

Site section looking east.

New Mill Chimney Mill Chimney Mill Chimney Salts Mill Building Two-storey Terraced Houses

Proposed Site

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Shipley College

River Aire

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Railway Noise

Building Heights

The site is parallel to the main railway line to the north of the site, separating the site from the Salts Mill workers entrance front to the north. With the railway in continued use, there is a greater possibility for noise penetration into the site, calling for interventions to reduce noise infiltration into the spaces.

In studying the surrounding buildings, the immediate context of the site is surrounded by tall building structures of the Salts Mill to the north and the mill chimney to the east. Terraced housing to the south are two storeys tall, creating an open view towards Salts Mill, in line with the original intentions by the architects Lockwood and Mawson to appreciate the Mill building.

One of the main features of the site, is the presence of trees and plants lining the edges parallel to the railway, Caroline Street and intersections within the site that separate pieces of land. This feature may act as natural buffer to the train noise and therefore will be important to integrate the design proposal with the nature.

Site Location

According to the 2014 Management Plan of Saltaire, a 15 metre minimum height of a new building development can be an opportunity for potential to create new frames of views and enhance the character of the site.

15 METRES Allowed

Railway line Approach Noise dispersion

Salts Mill Chimney

67 METRES

Detached Housing

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Plant Growth and Fauna

New Mill

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The site is home to the allotment gardens where there is a growth of pants and trees, making the site a significant patch of green landscape within the urban context.

Salts Mill

24 METRES

Street trees and grass cover most of the site and obstruct certain views to the Salts Mill.

The Management Plan 2014 included a scheme to restore the pavements around the sites where the growth of mature trees have led to the upheaval of pavement tiles. The original scheme was to remove the trees and re-plant suitable species for growth.

New Mill Chimney

45 METRES

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In response to this approach my design project proposal aims to utilise as many trees possible in the design, keeping trees on site to promote the natural environment in the town and utilising lumber from removed trees in structure.

Site boundary Allotment gardens Street trees Green areas Other trees Tree diameter approximate scale

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Figure 9: View from Caroline Street to Site 5, looking NorthEast

Figure 10: View from Victoria Road to Site 5, looking NorthEast toward Salts Mill

Figure 11: View from Caroline Street to Site 5, looking North West

Figure 12: View from Victoria Road, to Site 5, looking East

Studying the key views that overlook and surround the site.

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ARTISTS INTERPRETATIONS

There are many artists, illustrators and photographers who have captured Saltaire in their own interpretation for audiences to get a glimpse and construct a perception of Saltaire village.

According to Karen Wells, “objects and images may be considered as another kind of text, comparable to linguistic texts”, which means each person may categorise what they see, photographs or paintings of Saltaire Village, and creating their own personal understanding of the community, people and spaces depicted.

These depictions of Saltaire focus on the designed view by Lockwood and Mawson with Salts Mill to the north, foreground, and mill chimney to the east (background).

With my site being situated within this designed view, these interpretations provide inspiration for representing the building proposal of community centre in the immediate context, generating new imaginations and perceptions by locals and tourists of the World Heritage Site.

Figure 15: Salts Mill Allotments

by Nick Tankard.

Figure 13: Saltaire Allotment Gardens by Clare Caulfield

Figure 14: Saltaire in Spring by Sven Shaw.

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Figure 16: Gardens at Saltaire by John Sibson.

Figure 17: Salts Mill by Dorothy Burrows.

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SALTAIRE MANAGEMENT How is Saltaire Managed and maintained?

Saltaire is managed by many different local and national organisations, that enable a coordinated approach to managing Saltaire. These local and national bodies come together to highlight concerns and challenges that must be addressed to sustain the vibrant community. The main management responsibility is held by a Bradford Council Project Board comprising of sub-groups that oversee strategic issues for the World Heritage Site.

With my project focusing mainly on the local community, the design proposal aims to be the centre of the key local organisations. The Management Plan revised in 2014, highlights and complex connections in the responsibilities required to manage Saltaire, and this means regular consultation with all the local Council officers.

Some of the issues in management of Saltaire have been represented on the page opposite. Public consultation with local organisations and individuals was carried out to gather information to develop strategies in progressing and improving the World Heritage Site of Saltaire. One of the strategies included The Saltaire Community, which my project brings to focus through a Community Centre and Library

SALTAIRE COMMUNITY COUNCIL

PUBLIC CONSULTATION

MANAGEMENT ISSUES

SALTAIRE 6 STRATEGIC THEMES

MANAGEMENT PLAN

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PRECEDENT THEIS KHAN ARCHITECTS

PRECEDENT REIULF RAMSTAD ARKITEKTEN

BAT AND BALL CENTRE

ROMSDAL MUSEUM

These precedents enabled an understanding of how the architects expressed the identity of a community through the typology and tectonic approach to design.

• Administration wing, exhibition spaces, auditorium, library, archives, workshops.

• Embodied history and identity • Structure signals its meaning and identity through the architectural expression and use of local materials.

Each building was selected specifically in response to applying similar inspirations to my own project, such as the interior layout and atmosphere.

Theis Khan precedent inspires an approach to embody the structure seamlessly into the environment and community, whilst acting as the identity centre for the people.

• Scale directly influenced by urban morphology and contextual typologies.

• Progressive attitude to enable diverse utilisation.

• Visitors have opportunity to connect to wider community.

By studying the approaches to intertwine community, history and identity, I seek to conceptualize an architectural expression and materiality that is embodied into the function of the structure itself.

Figure 19: Reiulf Ramstad Arkitekten

• Offices, community hall, conference centre, council chamber, café, nursery.

(250 capacity for mixed use spaces) • Circular garden • Direct connection to station • Refurbishment of existing community building – retained structure, external over-cladding and fully refurbished interior.

• Refreshed landscape.

Figure 18: Theis Khan Architects

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PRECEDENT STUDIO HOLLENSTEIN

PRECEDENT ALA ARCHITECTS

GREEN SQUARE LIBRARY AND PLAZA

HELSINKI CENTRAL LIBRARY OODI

• Connection to outdoor public spaces

• Offices, community hall, conference centre, council chamber, café, nursery.

(250 capacity for mixed use spaces)

• Natural light filling the library below the plaza.

• Key volumes that protrude the public realm at plaza level and also enable light penetration.

STUDIO | CURATING THE CITY

• Circular garden • Direct connection to station • Refurbishment of existing community building – retained structure, external over-cladding and fully refurbished interior.

• Shared territory with multiple uses – meeting rooms, computer lab, reading room, children’s area and outdoor amphitheatre for events.

• Refreshed landscape.

Figure 20: Studio Hollenstein

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Figure 21: ALA Architects

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REFLECTION In this phase of Testing, the design of the building developed through a series of iterations which developed various design ideas, corresponding to a combination of site analysis, framing research and architectural tectonics from architectural precedents.

TESTING

3

Through the testing phase, I explored the important of setting a building appropriately in sensitive and challenging site with great historical value and meaning. Therefore with the aim of designing a building for the people (Temple for the People) my designs sought to respond to the sensitive interactions between spaces that hold the people, spaces of interaction, natural wellbeing and learning.

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PROGRAMME VOLUMES

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Library Reception/Entrance Children’s Area Cafe/Bar Community Hall Civic Meeting Garden Markets

Initial studies looked at visualising each space as a volumetric space and the connection between these spaces that will be active in my Community Centre and Library Building. Initial sketching of the massing models enabled me to visualise the spaces and begin to develop iterations specifically on the site of the previous Caroline Street Social Club.

Power Plant

With my proposal being a Community Centre and Library in the heart of Saltaire, I wanted the library to be the central space that creates a threshold between the public and semi-private spaces in the programme.

In my further iterations, I aim to integrate the building into the site while creating an architectural language that represents the people and that respects the immediate typology of the setting.

The programme of spaces begin with visualising the required spaces as volumes on the site to understand the relationship between the spaces and relations to the site through the overall massing on the site to understand the.

My initial idea is to locate the library as the heart of the programme and connecting to the rest of the spaces, like a n auxiliary threshold to the other spaces. The sketches below and to the right show the testing of the programme in site, beginning to look at access routes and inhabitation of trees in the landscape. Also experimenting with an interior garden void that would also enable natural light infiltration into the library spaces.

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PRECEDENT STUDIES Kindergarten in Arzachena - Studio Wok

Brentwood School Learning Resource Centre - Cottrell & Vermeulen Architects

Studio Wok is small practice in Milan, Italy, whose design strategies respond to the site landscape, materials, light and atmosphere. Kindergarten in Arzachena expresses a volume that responds to the urban scale of the town surroundings. Being both a school and public building it remains as a unique building at the urban scale.

Studying the Brentwood School Learning Resource Centre

by Cottrell and Vermeulen enabled a much more technical understanding of the structure for the arches that would form the colonnade of the design proposal.

I was inspired by the atmospheric organisation of the children’s areas and courtyard spaces, key programmes within my programme.

These spaces enable natural light into the spaces and increase the vibrancy of the coloured spaces for the kindergarten that engage the children.

The circulation and open spaces that can be reorganised were also key influences that I wanted to adapt into my design proposal, providing an open public space with educational rooms.

Figure 22: Kindergarten from Studio Wok.

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Cottrell and Vermeulen Architects is a RIBA Chartered practice based in London. They focus on building spaces and structures that are materially and socially sustainable.

The front entrance portico of the Learning Resource Centre creates a threshold space into the education hub, and is inspired by the nearby cloister building. Constructed in red brick the building also relates to the immediate context of red bricks.

Figure 23: Brentwood School images from Cottrell and Vermeulen Architects.

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INITIAL RATIONAL MASSING This iteration involves the massing responding to climate, wind flow and access from the street. By pivoting the axis of the front face towards the sloping street, the building aims to welcome the local users into the building. The rotation is also a response to train noise from the north of the site.

Thinking about the key views to the building and from the building influences the location of windows and openings to the outdoor areas. The cafe connects to the library at the entrance for a social public space that encourages interaction. I also wanted the movement throughout the spaces to encourage meeting other people when moving between the spaces.

In response to the typology of terraced housing the roof shape adopts the classic gabled roof with the idea of maximising the views between the Salts Mill and Chimney.

First floor Massing rotation

Ground floor

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Roof plan

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COURTYARDS AND SCALE Developing the roof of the massing form aiming for a reverse pitched roofing. Inspired by the ideas of stereotomy, carving out shapes from a solid form and creating spaces.

This massing was influenced by the initial volume of programmes set out for the brief, with open courtyard spaces at the centre and the axis rotated to face the downward slope of the street. I hoped to create a programme and approach that welcomed passers-by to the building.

However, the problems with this design was a limited connection to the immediate context, and site strategy relating to the other massing. Needs to respond more closely to Chimney, Salts Mill and local housing. Reminded by tutors that the site is overshadowed by large monuments, and therefore the design had to respond to this contrasting scale differences.

Visualising the initial design concept on site in context to related volumes. However this iteration requires further development to integrate the design sensitively into the site.

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Programme concepts and sections.

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CONNECTIONS AND KEY VIEWS Designing in section, I wanted to form the emphasise a connection between the Salts Mill and the community through two main changes. Firstly, the massing directly responds to the intersection of opposite streets that are parallel to each other, Maddocks Street and the back alley of Rhodes street. This aimed to open the key views parallel to the streets that run uphill. By breaking up the massing to these three parts, the programme is split between the space three blocks from the first level upwards.

The building remains permeable by keeping sections of the Salts Mill viewable from the streets, characterising the typology of the parallel terrace housing.

Secondly, the form of the roof communicates the differences in height between the Salts Mill and Chimney to the local terrace housing. The southfacing elevation of my building becomes more friendly and local, whereas the north-facing elevation responds to the scale of the Salts Mill and Chimney, monument and obelisk of the site.

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ESTABLISHING VOIDS AND MASSING In this iteration the internal garden spaces would be at a lower level in-between the intersections, with a roof opening that maximises natural light penetration into the two courtyard voids. The idea of creating further internal voids to emphasise the internal spaces of the library for visitors. At the main reception entrance vertical circulation lead the user through the floors from lower level to the upper first level.

Further developing the ideas from previous iteration, I experimented with the triple-mass form on the upper level, responding to the typology of the terrace housing and Salt’s Mill. Implementing a more prominent external public space, centralised by a café/bar and the entrance to the main library building. Development of south-facing portico of arches act as threshold into library.

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EXPERIMENTAL MASSING

The previous developing iterations conveyed the development of a diagonal roof form that scales up from the south to the north in response to the juxtaposition of heights between the Salts Mill and Chimney, this concept embraces the functionality of the rooftop terraces, for each library space.

Each block can have a clear view to the south and on each level, maximising the light penetration into the floor levels of each block.

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MATERIALITY AND STRUCTURE

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PROPOSAL DEVELOPMENT

Rather than using the conventional red brick for the base walls and arches, my design would incorporate lightlight coloured bricks that mimic the tones of stone. Marziale bricks emulate a varied tone with an offset of textures that provide a weathered and traditional look to the walls. The bricks would also reflect light, providing light and open atmospheres underneath the arches, welcoming the public the open spaces.

0

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Development of floor plans with programme of key spaces highlighted on each floor. This design adapts the final iteration design that utilises the triplemass form and cafe extension in plan view. In section, the design develops with the building integrating to the slope of the site.

Danish bricks can also provide a light tone to the base of my structure, providing a stonelike tone and texture to the walls. Using lighter colour bricks enables the building to blend into the immediate context but also highlights its presence in the landscape for the community.

Figure 24: Marziale wall texture from Wienerberger.

Marziale Product Technical Information Sheet Wienerberger Code

134510

Production Plant

Thorn (Netherlands)

Manufacture

Soft Mud Moulded Stock

Configuration

Frogged

Colour

Cream Multi

Appearance

Creased

Work Size (mm)

215 x 102.5 x 65

Pack Quantity

552 No.

Individual Dry Brick Weight (kg)

2.4

Technical Properties to BS EN 771-1

Figure 25: Dundee House by Reich and Hall Architects in D71 Danish Brick.

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Size Tolerance (Mean/Range)

T2/R1

Gross Dry Density (kg/m 3 /Tolerance)

1700 (D1)

Compressive Strength (N/mm²)

≥20

Thermal Conductivity (W/(m⋅K)) 10,dry,unit value (EN 1745 tabulated: S1)

P=90% 0.45

Durability Designation

F2

Water Absorption (%)

≤12

Initial Rate of Water Absorption (kg/(m²·min))

Min. 0.3 Max. 2.0

Active Soluble Salts

S2

Reaction to Fire

Class A1

Issue Date: 12/10/2020

Technical data correct at time of issue.

Individual dry brick weights cansheet. vary and are Figure 26: Marziale Brick produce information for guidance only. Any questions regarding this data should be referred to the Wienerberger Technical Department. Due to the limitations of screen and print colour representation of product images it is advised that brick samples are viewed prior to ordering.

Wall and Landscaping enquiries

0161 491 8200

www.wienerberger.co.uk

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CONCEPT SKETCHES Adjustments being made to the programme.

Realising the final design through concept sketches and rough sections.

Process changes being made to the circulation on the ground level, Vetical access highlighted in red and are further modified in the final design.

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DEVELOPMENT OF FINAL IDEAS Section drawing which influenced the development of my 3-dimensional digital model, Here I wanted to understand how the main double lift would be connected to all the levels through the long section, including the lower ground floor level.

This is followed by a rough idea of the arch portico and how these may respond to the gradient change, whether the arches remain on a datum line or drop down to the sloping level.

Design of the proposal was alongside the technology and structure for the ARC3013 report.

I researched initial ideas of a loadbearing base and the use of glulam beams to create open floor plans in the library spaces. Structural consideration challenged me to retain the initial design ideas sensitively to the site while enabling the structural stability of the building.

(Below) Understanding the effect of having the portico arches surrounding the open public space to determine a clear agora space of the library complex.

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TECHNOLOGY DEVELOPMENT Research and development towards the integrated technology and structure.

Thorough research involving precedent details was required to integrate the best structural strategy to my design. Drawing and understanding the details enabled a better understanding of how the material and calculations would work.

Going through multiple mistakes was as a result of adjusting to a more technical mindset before reverting back to the design aspect to maintain a sensitive response to the challenging site.

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ENVIRONMENTAL STRATEGIES FROM ARC3013 REPORT

As a result of solar radiation and warming of air in the courtyard space, warmer air rises and cooler air flows from the ground level into the lower openings, enabling further passive cooling of the building without mechanical aid. This makes the courtyard as a cold island to the building, maximised by the integration of trees or body of water such as a pool or pond. (Chikkalgi, 2017) The Community Centre and Library consists of three voids, two of which are protected courtyards for both the library space and children’s space on the ground level. The building has two courtyards increasing the cold island effect in the building during the summer seasons.

Figure 28: Summer Day diagram showing passive flows of heat.

Temperature differences and shadow changes throughout the day cause heat transfer through convection between the surfaces and the air. This occurs between the indoor and outdoor spaces of the courtyard, and the fraction of heat stored in the thermal mass of the courtyard, through plants, soil and solid surfaces, is released at night. Remaining heat transfers through conduction and natural ventilation occurs through the sky over the courtyard. (Zamani, 2018, p581).

Figure 29: Summer Night diagram showing passive flows of heat.

Figure 27: Courtyard effect diagrams above.

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TECHNICAL DETAIL SECTION AND ELEVATION Through the final detail section and elevation render output for the ARC3013 Report, I further refined how the design would be integrated with the structure. This process also allowed a refinement of certain materials, for example Siberian larch for external cladding which can come in many forms depending on the usage requirement.

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SYNTHESISING THE COMMUNITY CENTRE AND LIBRARY From testing and realisation of the design ideas, the final design embodies theoretical framing concepts from themes of Assemblage, Heritage and Visuality.

These thematic concepts are translated into a complex programme of spaces, influenced by sensitive responses to the site such as the key views through the building mass, tectonic approaches and public gathering spaces that enable social interactions.

SYNTHESIS

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Inspiration from Patrick Geddes’ Theory of Eutechnics and the right-livelihood diagram draw together the historic aspects of Saltaire with the people and translates their importance within Saltaire through the architecture of the building. The proposal is observed as an interpretation of temples, as a place of gathering.

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SALTAIRE COMMUNITY CENTRE AND LIBRARY (SCCL) Site plan at 1 : 2500

Conservation area boundary The Community Centre and Library sits within a sensitive site, south of the monolith of the Salts Mill and its Chimney. Aiming to integrate into the site, the building incorporate two internal courtyards responding to the growth of plants and nature on the allotment garden site.

The triple-mass form is also evident which cut-through views to Salts Mill and Chimney, from parallel streets the parallel streets to the South. The Community Centre and Library replaces the Caroline Street Social Club, representing the community of Saltaire as hub for civic engagement.

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SALTAIRE COMMUNITY CENTRE AND LIBRARY (SCCL) Lower Ground Level - 1 : 200

1.

Study room

2.

Open study

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Plant and services room

4.

Storage room

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Double lift

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Library void stairs

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SALTAIRE COMMUNITY CENTRE AND LIBRARY (SCCL) Upper Ground Level - 1 : 200

1.

Public gathering space

2.

Colonnade walkway

3.

Cafe and Bar

4.

Cafe outdoor seating

5.

Reception and Help-desk

6.

Children’s Area

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Children’s study room

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Hallway

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Courtyard

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Community Hall

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Storage room

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Public toilets

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Study desk

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Services

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Fire escape

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SALTAIRE COMMUNITY CENTRE AND LIBRARY (SCCL) First Floor Level - 1 : 200

1.

Open study library

2.

Group study

3.

Council office

4.

Debate chamber

5.

Kitchen

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Toilet

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Fire escape

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First level balcony

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SALTAIRE COMMUNITY CENTRE AND LIBRARY (SCCL) Roof Terrace Level - 1 : 200

1.

Double lift

2.

Roof terrace access

3.

Roof terrace seating area

3 1 2

3 2

2 3

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SALTAIRE COMMUNITY CENTRE AND LIBRARY (SCCL) Roof Plan Level - 1 : 200

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SECTION LOOKING EAST Short section through main library building - 1 : 200

To convey the juxtaposition of spaces within the programme of the library building, this short section highlights the varied spaces from the varied spaces from basement level to the rooftop access level. The children’s space on the ground floor is contrasted by the library studies on the first level. This section also reveals the south-facing elevation of the building which is characterised by the colonnade of arches that make up the portico.

The portico acts as a shelter from direct southern daylight and the weather elements, as well as acting as a threshold into the boundary of the Community Centre and Library. Above the portico is a balcony terrace that also creates a direct fire escape to the East and Western wings of the building from the first level and provides key views to the uphill housing terraces.

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SECTION LOOKING NORTH Long section through main library building - 1 : 200

This long section shows the entire programme through the three main blocks of the Library and Community Centre. The ground level is characterised by the protected courtyard gardens that connected the interior to the exterior nature. The first level portrays the quiets library spaces and the civic offices and debate chamber to the far right block.

This section also captures the building’s connection to nature from the interior to the exterior.

The building facilitates civic engagement and promotes the importance of being around nature for calming environments.

The elevating roof of the Community Centre and Library responds to the scale of Salts Mill, almost reaching out as a symbolic metaphorical connection for the locals of Saltaire and highlighting the building’s presence for the people like a temple.

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ELEVATION VIEWS Colonnade of Arches - 1 : 200

A threshold determines the boundary into another space. The portico of arches wrap around the front elevation, responding to the arched windows of the Salts Mill to the North. The arches establish the beginning of the Temple for the People and acts as a physical representation of permeability through the building.

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RECEPTION PUBLIC ENTRANCE Entering the Library, welcomed by the reception and courtyard garden.

Welcoming the visitors, the reception and main entrance introduce the user to the grand open space that is easy to orientate, with two central courtyard gardens.

Indirect northern sunlight diffuses into the entrance from the north, emphasising a light cathedrallike atmosphere.

The main stair way within a void reminds the user of the multiple levels for access above and below. The user may receive a sense of floating floors on each level in the library as they move vertically. Large cut-out windows to the front arches frame views to Caroline when processing through the Courtyard hallway.

The series of atmospheric drawings on the following pages transition through the library spaces, realising the connection to the Salts Mill Chimney and immediate context. This intangible connection is visualised through the locals and users, along with existing buildings in context being in black-and-white. The Community Centre and Library becomes the symbolic temple, remaining in subtle colour tones as a reminder of it’s importance in retaining the civic and cultural heritage of the locals of Saltaire.

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TRANSITION TO CHILDREN’S AREA Looking toward the transition between courtyard garden and children’s library area.

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EXPERIENCING ‘TEMPLE FOR THE PEOPLE’ First level library space on the eastern wing of the building with double-height atrium.

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PROCESSION THROUGH ‘TEMPLE’ HALLWAY Ground level hallway of the library block, conveying the relationship from outside arches to internal courtyard garden.

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EXPERIENCING THE PROTECTED COURTYARD GARDENS The internal courtyard garden introduced at the entrance into the library, overlooking the northern roof terrace access.

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EXPERIENCING THE PROTECTED COURTYARD SPACES Most-central courtyard garden dedicated to the children’s area of the library building.

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EXPERIENCING THE PROTECTED COURTYARD SPACES Central-most courtyard garden facing the children’s library area frames by regularly organised timber louvres.

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BALCONY TERRACE ON FIRST LEVEL Central balcony on the first level providing key views to the southern uphill local terrace housing of Maddocks street.

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THRESHOLD INTO THE AGORA Entering the through the threshold into the agora space, framed by the cafe block, library entrance and the Salts Mill in the background.

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VIEW TO THE OBELISK The north-facing roof terrace raises locals and visitors close to the monuments for a closer view to the site’s heritage.

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PROCESS OF THINKING My thinking through making process explores the use of seamless connections for GlueLaminated Timber frames (GLULAM) with City of London Freemen’s School Pool as a precedent study for this.

THINKING THROUGH MAKING

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This seamless design creates a clean and light atmosphere, with the array of portal frames in the structure emphasising a cathedral atmosphere. The glulam frames have been stained-white to reflect the light and lighten the interior of the pool.

I explored the butt-jointed connections digitally, producing a concept model of portal frames coming together as a structure informed by the precedent.

This will develop towards the structural exploration for my design proposal.

Figure 30: Freemens School interior by Hawkins Brawn

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PROCESS OF MAKING

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Final Renders

Digital Modelling in SKetchUp

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Steps 1 to 6 involve the process of understanding and modelling the hidden connections of the butt joint at the apex of the glulam portal frame. This process enabled me to apply the similar idea to the portal frames of my design proposal.

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CASE STUDY GROUP RESEARCH In this group research we looked into the Paul Marshal Building by Grafton Architects, understanding the firm, design approach and progressive conservation in relation to our studio themes.

Own work is identified

ASHER HON

Grafton Architects Grafton Architects is an international architecture studio based in Dublin, Ireland. From this base, the practice has completed many significant and prestigious buildings in Ireland and internationally.

With projects spanning from Milford to Milan, and from Lima to London; Grafton Architects embeds each project, within its own unique context.

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THEMATIC CASE STUDY

THE PAUL MARSHALL BUILDING

In 2020, because of their practice of the LSE Project, which is The Marshall Building LSE, 44 Lincoln's Inn Fields, London. The director of this practice, Yvonne Farrell and Shelley McNamara received the Pritzker Prize, considered the highest honor in the architectural profession. Grafton Architects were also laureates of the Royal Gold Medal in 2020, the Royal Institute of British Architects’ highest honor.

Farrell and McNamara were selected as curators for the Venice Biennale 2018, the largest architecture festival in the world. They chose the theme of Freespace, a theme that evokes a generosity of spirit, and the free gifts that architecture can offer.

GRAFTON ARCHITECTS

FIGURE 1: Yvonne Farrell and Shelley McNamara

VISUALITY GROUP | CURATING THE CITY

FIGURE 2: The Marshall Building LSE

FIGURE 3: Department of Finance, Dublin

FIGURE 4: Universita Luigi Bocconi, Milan

FIGURE 5: Parnell Square Cultural Quarter,Dublin

FIGURE 6: Trinity College MME Dept.

FIGURE 7: University of Limerick

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ASHER HON

Architectural Theories, Ideas and Preoccupations

The Marshall Building LSE

The two founders of Grafton ArchitectsYvonne Farrell and Shelley Mc Namara have a deep interest in the physical reality of time and movement of Le Corbusier's Modernism, they inherited strong values from traditional modernism, they claim that those strong values become their instinct when they are designing a building.

Grafton doesn't want to upset the overall feel of the square; so they've chosen the same materials a s t h e b u i l d i n g s a n d s pa c e s around it, enabling the Marshall building to both stand out and fit into the greater sweep of London's cityscape and landscape. Which the building would be made from portland stone and glass.

FIGURE 12: Facade of Marshall Building

FIGURE 13: Render of the Marshall Building

FIGURE 14: 3D Render of the Marshall Building

Yvonne Farrell and Shelley Mc Namara value the idea of "generosity of spirit and a sense of humanity at the core of architecture's agenda", and "the opportunity to emphasize nature's free gifts of light, air, gravity, materials". Which can relate back to Le Corbusier's Five Points of Architecture "The horizontal window, which cuts the façade along its entire length, lights rooms equally". To communicate the idea of natural lighting.

In Graf ton Architects' project, they celebrate the natural free gifts, such as the public spaces at their Universidad de Ingeniería y Tecnología in Lima, Peru.

Materiality and Facade

FIGURE 8: Interior of Villa Savoye

Structure

FIGURE 9: Interior of Universidad de Ingeniería y Tecnología in Lima, Peru

They are fascinated by the immediate design of a pavilion in Hyde Park, London by Eduardo Souto de Moura with Cecil Balmond in 2005. They are interested in using computers to calculate and design a highly sophisticated structure. They are interested in turning a computerized process into a craft-like design result.

Y v o n n e Fa r re l l a n d S h e l l e y M c Namara then tr y to apply the advantage of computers in calculating sophisticated structures in their own project.

FIGURE 10: The Pavilion in Hyde Park, London in 2005

FIGURE 15: Digital Model Of Tree-like Column

They aim to make much of the building’s structure simple, flexible, and cost-effective; A design-led approach resulted in tree-like column structures. Due to the complexity of some of the plate geometry, they were drawn 2D in CAD so that they could be directly imported into the IDEA StatiCa models as a profile and given a thickness.

The design team of Bourne Group created models in IDEA Statica to design the connections for all the steel branches that make up the trees, applying the loads at each of the individual coupler locations.

FIGURE 16: Digital Model Of Tree-like Column

This related to their inspiration and idea from the Pavilion in Hyde Park, they use the advantage of technology in their design process, enable them to create a larger space with fewer columns.

Yvonne Farrell and Shelley Mc Namara claim that there is an obsession with space with the idea in the social implication or the urban implication of a project, but there is also the thing of trying to rediscover the word and language of architecture in terms of the material that they use.

Farrell and Mc Namara are focusing a lot on the connection between the city and the interior, they try to remove the boundaries and barriers between building and city, to provide a better experience for visitors.

FIGURE 11: Diagrams of intent, DNA of each project

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FIGURE 17: Tree-like Column on site

FIGURE 18: Tree-like Column in Actual Life

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FIGURE 19: Tree-like Column in Render

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ASHER HON

Site

Grand Hall

MICHAEL ZHOU

Lincolns Inn Fields will become a new gateway to the campus of LSE as a whole. This gateway can release the energy of the campus onto the square. The front face, although open and porous, will retain a cer tain formality to welcome visitors to the Paul Marshall Institute.

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MICHAEL ZHOU

Structure

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1. Sir John Soane's Museum

2. Lincoin's Inn Fields Chapel

3. Lincoln's Inn Fields

4. Royal Collage of Surgeous

5. Saw Swee

6. Royal Courts of Justice

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This related to the idea of opening to free natural elements. To the inspiration from Le Corbusier's Modernism. By having a large h o r i z o n t a l w i n d o w, to p ro ve entire.Better than the idea of Le Corbusier, those opening also open entrance for visitors and users.

MICHAEL ZHOU

Tree one structure

The concrete-framed structure mainly constructs the whole building. Still, within its frame, there are a number of integral steelwork elements called 'tree-like' structure that not only achieve the desired architectural vision but also to maintain slimmer structural profiles.

In the completion of the building, all of the steelwork will be hidden from view. By using this tree-like structure, the Marshall Building could create the open-plan areas that providing another experience in the building rather than using standard column structure. At the same time, this tree-like structure evenly transfers substantial loads to the foundations. There are two kinds of tree-like steel structure in the building called 'Tree one' and 'Tree two'. Both of them is similar in size and providing similar solutions and purpose to the building

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In the LSE Project, Grafton Architects saw the potential of the site, they can condition the relationship between the city and the building. As the building will contain the Marshall Institute of Philanthropy and Social Entrepreneurship, the ethos of the building and the spaces should represent a vision of diversity, openness, inclusiveness, and love of humanity.

FIGURE 20: The Grand Hall

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The site of The Marshall Building is located at the corner of Lincoln's Inn Fields which surrounding with the Royal College of Surgeons and Saw Swee, close to Parliament, the Law Courts and the City of London. The Building is sitting on the largest public square in London flanked by superb buildings including the Sir John Soane Museum, that providing an ecological environment for people to relax and play.

FIGURE 21: Section of Marshall Building (The red arrow represents the movement of users)

Figure. Master plan of the building

Figure. Tree-like structure Figure. Interior space of the building

FIGURE 23: Picture of Marshall Building

Figure. Construction photo

Although both of the 'tree-like structure' are similar in the size and providing similar solutions and purpose to the building, there are still have some differences between tree one and tree two. The structure of tree one is supported by a column, stemming from the first floor through a secondfloor void, and supports the third floor. 'Tree one' which constructed in six pieces - a base plate, central node and four branches.

Figure. Location of the LSE Figure. View of Great Hall

FIGURE 22: A Floor Plan of Marshall Building (The Yellow arrow represents the lighting)

Lincoln's Inn Fields has a unique 'in-between' character being at the boundary of the three Boroughs: the world of Theater-land; the Lawyers' world, and the informality of Camden. The new building will play a key role in promoting the values, ethos and brand of LSE.

FIGURE 24: Picture of Marshall Building

Once the steelwork was installed, the entire tree was encased in concrete.

And then Whole building will present into one visual structure language concrete language, although using two different structure. The purpose of this tree-like structure is to create a more public and open space, mainly on the ground floor that makes group floor area becoming to be a welcoming space.

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MICHAEL ZHOU

London to LSE

Figure. Sketch of context with building

Figure. One of the tree nodes is lifted into place

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MICHAEL ZHOU

Open and Transforming

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MICHAEL ZHOU

Tree two structure

JULIAN DJOPO

The Paul Marshall Building | Grafton Architects

Context

Verbal Communication

The London School of Economics (LSE) launched a design competition for 44 Lincoln’s Inn Field building that achieves the values and ethos of the LSE, contemporary high quality design that will inspire future generations of students and academics. The LSE even held a mid-competition workshop with each of the teams to make sure they understood the brief.

Architect’s identity was kept anonymous.1

The whole building presents an open and porous by using planar architectural language.

Based on open and public experience of building, the building retains a certain formality to welcome visitors to the Paul Marshall Institute. At the same time, due to the building is divided into different parts that each part is facing one particular building or site that made the building itself becoming to be one part of the site. Yielding to a more informal world of gathering and exchange along the recesses and edges to the south and west connecting with John Watkins Plaza and the Saw Swee Hock Student Centre. In term of the context with the city, the building itself which providing an opportunity integrate the external and internal landscape of the site and also creating a new landscape transforming connectivity between existing LSE buildings and Lincoln's Inn Fields

The design of The Marshal Building by Grafton Architects is conceptualized with twelve design proposals, which framed the overall design of the building. This was exhibited to the public after they were announced winners of the competition. Based in the Strand Conservation Area (SCA) it is proposed to cause no harm to the adjacent setting and compliment Lincoln’s Inn Fields, part of the Bloomsbury Conservation Area.2

Design Proposal Framing • Location • Pivotal Position • Context • The Grand Hall • North-West Facade • Materials • Inside the Building • Building in the Round • Academic and Research Spaces

1. View of front entrance to Paul Marshal Building.

In order to pitch their ideas to the London School of Economics and public, Grafton Architects curated A1 boards which differed between the pre-submission and post-submission when they were announced winners. There are also slight rendering details that changed between before the submission and after the submission as they were posted on different websites.

Partner companies that deal with engineering and technical solutions conveyed the solutions for specific tectonic and material concepts. These included 3PM, Ideastatica and akt-II company.

2. Presentation Boards for Competition by Grafton Architects.

Figure. View towards Kingsway

Figure. View from Lincoln's Inn Fields

Figure. Map of Lse Campus

Paul Marshall is part funding the redevelopment of 44Lincoln's Inn Fields, and this building will house the Marshall Institute for Philanthropy and Social Entrepreneurship. The building is sitting on the 'shoreline' of Lincoln's Inn Gardens to the north, which connecting with the north and south part of London. The height of the building is 53 meter, just higher than the surrounding building a little bit and lower than the landmarks in London. It makes the building which not destroying the sense of harmony of the whole London skyline and also maintain the importance of building in the site and allowing building have a better view of the landscape whether the Park on the north or the 'Shoreline' on the south.

The marshall building Figure. View towards Kingsway

Figure. View from John Watkin's Plaza

Figure. View from Lincoln's Inn Fields

The structure of 'tree two', supports the slab at the level and is founded on a steel column that is sat on top of a transfer beam at level one. 'Tree two' which constructed in ten pieces - a column, central node, four branches and steel ring beam. The architectural intent for this tree was to have a void in the slab at level four. Therefore it was not possible to have connecting Macalloy bars between the opposite raking branches, like the other tree. As the forces are lower, the design team decided to redirect the horizontal forces around the perimeter of the void with a steel ring beam encased in concrete.

Figure. Tree two has a steel ring beam in order to create a void in the level four slab

53 M Figure. Skyline of the London

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3. Aerial view of Strand conservation area.

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JULIAN DJOPO

JULIAN DJOPO

The Paul Marshall Building | Grafton Architects

Tectonic Approach

Research/Institute

Graphic Communication

Management/Finance Teaching and Learning

The steelworks are hidden from view to maintain the material textures and blend in adjacent structures on the interior. Structural designers akt-II helped to design the structural layout to keep it as simple as possible while maintaining the elevating light aesthetic as it moves up the levels. The tree-like columns rotate at two levels as the grid layout changes from a 15.2m grid on ground floor to a 10.8m grid on first second and a 7.6m grid on remaining upper floors.5

In order to visualise the project before construction, Grafton architects produced various renders which showcases The Marshal Building in visual context with the surrounding buildings to empathise its scale, position, materiality and programme of spaces. According to planning permission WC2A-3PF the current building was monolithic with little architectural quality and this is conveyed with a before and after of the north-elevation of both buildings.3 Through doing these realistic renders in context to surrounding buildings, The Marshal Building affirms it’s position for maintaining and even “enhancing” the character of the Strand Conservation Area (SCA).

University Campus, UTEC Lima in relation to the surrounding coastal site

EXPOSED STRUCTURES

1 - Milan, Italy 2 - London, United Kingdom 3 - Lima, Peru

8. Order of tree-like structures for each floor by AKT-II

Grafton Architects maintained a uniform materiality but formal expression as the building faced Lincoln’s Inn Fields gardens. The materiality composes of natural stone and reconstituted stone that will be grit blasted to reveal aggregate textures and reflect light.

Each building differs either spatially.

Tectonically and aesthetically, yet show similarities in one of these areas. This is most likely due to the contrasting sites and conditions that the buildings are in, and although they are all University Campus buildings, they are used for different functions and subject so hold different spaces and atmospheres.

The Marshall Building, London School of Economics Grafton Architects

University Campus UTEC Lima

6. View from John Watkins Plaza

Load testing with 2D drawings

7. Site section render by Grafton Architects.

10. CAD Drawings and testing of tectonic connections by IDEAStatiCa

JULIAN DJOPO

Public Realm Connection

The previous building, 44 Lincoln’s Inn Fields was occupied by Cancer Research until 2016. The building was regarded as a “large monolithic mid-twentieth century with little architectural quality”6 in comparison to the surrounding architecture. The new Marshal Building aims to enhance the character of the area and keeps within the construction area of previous building. Grafton architects looked to respecting the graded buildings surrounding by adapting to the site geometry in rotation and retaining the existing patterns.

The main approach to design for Grafton Architects focuses on the public realm and experience, to “embedded each new project into the context uniquely through contextual relations to social and architectural rhythm.”7 To embedded the Paul Marshal Building into the site, Grafton Architects integrated a public space on the ground floor of the building.

This would create a connection to the city of London through the people where they can experience open events in the Grand Hall.

12. 44 Lincoln’s Inn Fields building facing the park and gardens with plan view.

Increasing heights matching patterns

Material grain proposed to existing.

EXPOSED STRUCTURES

The Grand Hall is open to students and public during the day, where card access is required to research levels through the lift. They aimed to minimise security patrols and measures to create a “sense of being”8 to the city, so that citizens and students a-like feel welcome. Security measures are introduced at night.

The exterior colonnade is open for the full height and depth of the building, establishing a civic presence which complements Surrey County Hall opposite. The new colonnade provides a covered thoroughfare which is three metres wide.

16. Public access through perspective section, showing function of spaces.

Both the Marshall Building and the Town House have a wide open performance space / entrance hall followed by smaller but still open spaces on the upper levels.

COLONNADE STRUCTURE

19. Rendering of the front north entrance by Grafton Architects.

17. Grand Hall interior experience rendering by Grafton architects.

Town House, Kingston University London

Flexible Teaching Flexible Teaching Space Space Goods In

The Town House and The Marshall Building have very similar interior aesthetics, open, tall and fluid. They differ in materiality slightly with the Town House showing a timber floor and less raw exposed concrete.

West Core Reception

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Entrance of The Marshall Building

EXTERIORS

Sub Station

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LD

Both designs are centred round the staircase and have the same ethos of ‘openness’. The use of such an open staircase ensures that people never feel lost as they can centralise to the staircase, and therefore highlights this sense of openness.

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FIE

Sub Station Refuse

Similar Ethos to LSE Marshall Building

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Toilets

Grab & Go Café

Refuse

Main Core

Service Laneway (covered above)

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Toilets Grab & Go Café

Service Laneway (covered above)

Main Core

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Main entrances Main entrances Site Boundary Site Boundary

Reception

GRAND HALL GRAND HALL

Access to basement Access to basement Grand HallGrand SpaceHall Space

Interior of Town House

Goods In

PORTUGAL PORTUGAL STREET STREET

11. Elevation profile analysis and comparisons.

18. Grand Hall floor plan at 1:250 scale

20. Interior render by Grafton.

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Small volumes for offices are placed on top of a boulder like hole in the ground which creates the auditorium, the centre of the building.

– Grafton Architects

GRAFTON DESIGN ETHOS

By looking at multiple projects by Grafton Architects, an ethos which is widespread throughout all of their designs is the sense of ‘openness’ and providing an open door experience for all of the buildings users. Farrell and McNamara (directors of Grafton Architects) were selected as curators for the Venice Biennale 2018, the largest architecture festival in the world. They chose the theme of FREESPACE, a theme which evokes a generosity of spirit, and the free gifts which architecture can offer. This highly refelcts the ethos presented and interpreted throughout the designs we have looked at.

There is a heavy focus on public space and the use of this through the projects. Due to grafton designing mainly educational buuildings, there’s a pivot on attracting people to the bulding not just for educational purposes but to have an experience through the public realm and interiors too. This is achieved through the vast entrance halls and porus facades.

INTERIORS ‘The anchor for the totality of the building’ The main function of this University building is the underground auditorium.

This creates a confined and enclosed feeling to the space despite being flooded with light from above. Contrasting to the main spaces of The Marshall Building, which are very open, light and free.

Similar interior intentions

Access to upper Accessfloors to upper floors

HANNAH FORDON

CONCEPT

“We saw this brief as an opportunity for the Luigi Bocconi University to make a space at the scale of the city. To this end we have built at the scale of the site, 80 m x 160 m. Inside, our building is thought of as a large market hall or place of exchange. The Building’s hall acts as a filter between the city and the university.”

Universita Luigi Bocconi Milan

INTERIORS

West Core

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The exteriors and language of The Marshall Building and Uni-versita Luigi Bocconi contrast greatly. Universita Luigi Bocconi shows similarities with the Lima University Campus in that they are both very volumetric, almost brutal structures that play on this concept with the use of natural light. The Marshall Build-ing is a lighter, planar building. Perhaps this difference comes from the aim to attract the public and create a welcoming aesthetic with the Marshall Building.

PROGRAMME

Rehearsal / Rehearsal / Performance Performance Space Space

SITE DIFFERENCES REFLECTED IN DESIGN

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EXTERIORS

The Town House is in a more residential environment in London as opposed to The Marshall Building, which is why it is necessary to heavily engage the community through wide open terraces showing life and vitality in the University. The Marshall Building is in Central London which is not so residential, the wide terraces may almost be seen as a waste in the city centre, where everyone is very busy and may not have time to reflect upon a University Building. 3

Bicycle ParkingBicycle Parking

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SITE DIFFERENCES REFLECTED IN DESIGN

LINCOLN’S INN LINCOLN’S FIELDS INN FIELDS

14. Elevation drawing with heights comparison, Grafton Architects.

University Campus, UTEC Lima Grafton Architects

HANNAH FORDON

13. Proposed Paul Marshall Building facing Lincoln’s Inn Fields Park with site plan.

Comparing the elevation profiles of both buildings, the proposed Paul Marshall Building has a responsive rhythm to the surrounding buildings with both horizontal and vertical profiling, whereas the 1960s building is mainly horizontal in profile with no depth that reacts to sunlight.

Differences to The Marshall Building - Architectural language - Concept - Exterior appearance - Feeling and type of interior spaces - The use of structure

Different to the previous two buildings, the Luigi Bocconi University is situated in the busy Italian city of Milan. The northern edge of the site fronts onto the artery of Viale Bligny, with the clatter of trams, the rush of buses, general traffic, people passing. It addresses the throbbing urban life of Milan, weaves into the mesh of the city. This frontage be-comes the architectural opportunity to have a ‘window’ to Milan, a memorable image to confirm the important cultural contribution that the Bocconi University plays in the life of this city. For this reason, the public space of the aula magna occupies this frontage, asserting a symbolic presence and a register of the prestigious status of the University. In a similar way the entrance hall of the Marshall Building is a well for light. 6

15. Front view render with heights by Grafton Architects.

Gaps between buildings maintained.

Floor 9 Plan - Lima Campus

Similarities to The Marshall Building - Exposure of interior structure - Concrete as a primary building material - Use (University Campus Building)

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JULIAN DJOPO

Enhancing the experience of students, teachers and the public is achieved through the tectonic design, as Farrell and McNamara of Grafton Architects decided the structure to be of tree-like columns. This makes the public space feel bigger and welcoming, emphasising the feeling of a civic space.

Existing buildings elevations and proposed height.

Floor 1 Plan - Lima Campus

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The Paul Marshall Building | Grafton Architects

Progressive Conservation

Considering both buildings use the exposed concrete structure within the interiors, the spaces look and are intended to be experienced very differently. The interior space of The Marshall Building is very open and free which juxtaposes the feeling of the dense concrete. Whereas the volumes and spaces within the University Campus in Lima are very constricted and confined. This implies that the interiors of the Lima campus are more literal and functional than that of the Marshall Building.

Exampled of the restricted and constrained interiors can be seen on all floor plans, but Floor 1 and Floor 9 show these significantly. 2

Interior Image of University Campus, UTEC Lima

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INTERIORS

Entrance Hall of The Marshall Building, LSE

9. Steel connection elements for tree-like structure.

Town House, Kingston University London Grafton Architects

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The Paul Marshall Building | Grafton Architects

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Universita Luigi Bocconi, Milan Grafton Architects

Initial drawing of 2D elements in CAD

The geometry of the structural plates with an “A” section and the composition of the volumes responds to the search of Grafton Architects to create a “man-made cliff”, a topography that is integrated with the surrounding environment. The structure of UTEC Lima is used on the interior and on the exterior to portray the feeling on a ‘man-made cliff’. The material choice of concrete reflects this image too. This contrasts to The Marshall Building where structure is expressed primarily through the interior and is not as exposed on the interior.

Concept development - Grafton Architects

5. Uses of each floor, modified by author.

Thickness added to 2D drawing.

HANNAH FORDON

Site Differences Reflected in Design

University Campus in Lima is situated right on the Peruvian coast.

The unique condition of Lima and its relationship to the Pacific, with cliffs defining the boundary between the city and the sea, was a starting point in the conception of this project. The almost brutalist form represents the cliff edges seen on the site. The UTEC Campus is seen as a cliff edge. These site influences create huge differences in aesthetic. The architectural languages for both projects are completely different, LSE is quite planar whereas the Lima campus is very volumetric. 1

Comparing The Marshall Building to the three chosen precedents highlights how different buildings of the same type can be, despite having the same function.

The buildings chosen are all designed by Grafton Architects and all relate in terms of their use - an educational building as part of a University Campus. The locations of each are different and perhaps this inf uences the differences in design.

Grafton architects expressed bio-mimicry within the building, being structurally integral to the stability of the building. The steel connections and structure were designed and tested by IDEAStatiCa company to see how they behaved under different loads. In order to analyse the connections properly and being a complex structure mimicking to tree branches, the company had to draw the geometries in two dimensions, testing the loads and then adding the thickness at the end.4

Sports/Public Spaces

4. Front view renders by Grafton Architects

HANNAH FORDON

How does the Marshall Building relate to others of its type?

The Paul Marshall Building | Grafton Architects

LSE Marshall BuildingPorous Facade The inverted section where the entrance of The Marshall Building is draws people into the building, but still creates a more formal image and sense by the regimented columns on the third level. 4

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The ethos behind the Town House and Marshall building is quite similar - to provide ‘openness’, and create an open door environment for its users and visitors. The Marshall Building achieves this more from the interior, perhaps making its users feel a sense of inclusiveness. Grafton used exterior colonnades to create the sense of openness even for passers by. 50% of the Town House is open plan, which again creates this atmosphere on the inside.

This approach reflects the uses of the buildings. The Marshall Building is used for Philanthropy and Social Entrepreneurship and the Town House is used primarily for reading, dance and performance - much more fluid and expressive topics as a whole which is shown through the flexibility in design through the colonnades. The Town House has a sense of openness throughout which is conveyed heavily by its structure right from the exterior, whereas the Marshall Building conveys this more from the interior spaces.

The intent of the colonnade structure and the balconies was to create a free environment and attract visitors inside. This is also reflected in the Marshall Building where the exterior s described as being ‘porous’. The Marshall Building does welcome and invite people through the exterior aesthetic, but perhaps more formally then the Town House Campus, the completely open terraces seem even more approachable than the porous facade of the Marshall Building. This concept follows the classical tradition of the “portico”, emphasising a primary frontal relationship with this most public thoroughfare connecting to Kingston Town Centre.5

2

The access to light from above carves out geometric shapes in the ceilings of the auditorium, whereas the Marshall Building is generally planar and only has rectangular forms. In order to make this grand place of exchange they designed the research offices as beams of space, suspended to form a grand canopy which filters light to all levels. The offices form an inhabited roof scape and serve a purpose to the auditorium. This almost creates a ‘cave like’ feel-ing.7

Similarities to The Marshall Building - Concrete as a primary building material - Use (University Campus Building) Differences to The Marshall Building - Architectural language - Concept - Exterior appearance - Feeling and type of interior spaces - The use of structure - Using separate volumes

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References

London-School-of-Economics> [Accessed 22 November 2020]

Yat Hon

Figure. Map of LSE Campus, Science, London, "Campus Map", London School Of Economics And Political Science, 2020 <https:// www.lse.ac.uk/lse-information/campus-map> [Accessed 19 November 2020]

RIBA, 'Grafton Architects to receive Royal Gold Medal for Architecture' (revised October 2019) <https://www.architecture. com/knowledge-and-resources/knowledge-landing-page/graftonarchitects-to-receive-royal-gold-medal-for-architecture> [14 December 2020]

Figure. Interior space of the building / Figure. View of Great Hall, "London School Of Economics - Grafton Architects", Graftonarchitects.Ie, 2020 <https://www.graftonarchitects.ie/LondonSchool-of-Economics> [Accessed 22 November 2020]

Grafton Architects, 'Portfolio'<https://www.graftonarchitects.ie/ Profile-1> [14 December 2020]

Figure. Tree-like structure, Author’s own, 2020.

Wikimedia Commons, 'Villa savoye-livingroom.jpg'(revised September 2018) <https://commons.wikimedia.org/wiki/File:Villa_ savoye-livingroom.jpg> [14 December 2020]

Figure. Construction photo, "London School Of Economics Grafton Architects", Graftonarchitects.Ie, 2020 <https://www. graftonarchitects.ie/London-School-of-Economics> [Accessed 22 November 2020]

ArchDaily, 'Round-up: The Serpentine Pavilion Through the year'(revised September 2005) <https://www.archdaily. com/790106/round-up-the-serpentine-pavilion-through-theyears/576c150be58ecec4ae000007-round-up-the-serpentinepavilion-through-the-years-photo> [14 December 2020] LSE, 'The Marshall Building' <https://info.lse.ac.uk/staff/divisions/ estates-division/lse-estate/development-projects/the-marshallbuilding> [14 December 2020] Bourne Group Ltd, 'The Marshall Building, London, UK'<hhttps:// www.ideastatica.com/case-studies/the-marshall-building-londonuk> [14 December 2020]

Figure. Master plan of the building 2020. Grafton Architects, 44 LINCOLN’S INN Fields The Paul Marshall Building LOCATION. [ebook] Available at: <http://chrome-extension:// ikhdkkncnoglghljlkmcimlnlhkeamad/pdf-viewer/web/viewer. html?file=https%3A%2F%2Finfo.lse.ac.uk%2Fstaff%2Fdivision s%2Festates-division%2FAssets%2FDocuments%2FMarshallBuilding%2FGRAFTON-ARCHITECTS-LSE-Exhibition-location. pdf> [Accessed 18 November 2020].

Figure. Location of the LSE, Science, London, "The Marshall Building", Info.Lse.Ac.Uk, 2020 <https://info.lse.ac.uk/staff/ divisions/estates-division/lse-estate/development-projects/themarshall-building> [Accessed 13 November 2020] Figure. Sketch of context with building 2020. Grafton Architects44 LINCOLN’S INN Fieldsthe Paul Marshall Building LOCATION. [ebook] Available at: <http://chrome-extension:// ikhdkkncnoglghljlkmcimlnlhkeamad/pdf-viewer/web/viewer. html?file=https%3A%2F%2Finfo.lse.ac.uk%2Fstaff%2Fdivision s%2Festates-division%2FAssets%2FDocuments%2FMarshallBuilding%2FGRAFTON-ARCHITECTS-LSE-Exhibition-location. pdf> [Accessed 18 November 2020].

Figure. View from Lincoln's Inn Fields, "London School Of Economics - Grafton Architects", Graftonarchitects.Ie, 2020 <https://www.graftonarchitects.ie/London-School-of-Economics> [Accessed 22 November 2020] Figure. Skyline of the London, Vectors, Royalty, and London Vectors, "London City Skyline Silhouette Vector Image On Vectorstock", Vectorstock, 2020 <https://www.vectorstock.com/ royalty-free-vector/london-city-skyline-silhouette-vector-1477595> [Accessed 14 December 2020]

"London School Of Economics - Grafton Architects", Graftonarchitects.Ie, 2020 <https://www.graftonarchitects.ie/

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4. ArchDaily. 2020. Kingston University Town House / Grafton Architects. [online] Available at: <https://www.archdaily.com/933169/ kignston-university-town-house-grafton-architects> [Accessed 27 November 2020].

Figure 10. CAD Drawings and testing of tectonic connections by IDEAStatiCa. The Marshal Building London. Available at: <https:// www.ideastatica.com/case-studies/the-marshall-building-london-uk > [accessed: 27 November 2020].

5. Graftonarchitects.ie. 2020. Town House, Kingston University London - Grafton Architects. [online] Available at: <https://www. graftonarchitects.ie/Town-House-Kingston-University-London> [Accessed 28 November 2020].

6. Graftonarchitects.ie. 2020. Universita Luigi Bocconi, Milan - Grafton Architects. [online] Available at: <https://www. graftonarchitects.ie/Universita-Luigi-Bocconi-Milan> [Accessed 29 November 2020].

Figure 12. 44 Lincoln’s Inn Fields building facing the park and gardens with plan view. RIBA Competitions, Available at:< https://www. ribacompetitions.com/lse/> [accessed: 27 November 2020].

3 City of Westminster, 44 Lincoln’s Inn Fields, London, WC2A 3PF <https://committees.westminster.gov.uk/ieListDocuments. aspx?CId=167&MID=4390#AI7905 [accessed: 27 November 2020].

Figure 14. Elevation drawing with heights by Grafton Architects.

Available at: <https://info.lse.ac.uk/staff/divisions/estates-division/lseestate/development-projects/the-marshall-building > [accessed: 29 November 2020].

4 IDEAStaticsa, The Paul Marshal Building < https://www. ideastatica.com/case-studies/the-marshall-building-london-uk> [accessed: 27 November 2020].

Figure 15. Front view render with heights by Grafton Architects. .

Available at: <https://info.lse.ac.uk/staff/divisions/estates-division/lseestate/development-projects/the-marshall-building > [accessed: 29 November 2020].

Figure 2. Presentation Boards for Competition by Grafton Architects, Grafton Architects, 44 LINCOLN’S INN FIELDS: The Paul Marshal Building. Available at: <https://info.lse.ac.uk/staff/divisions/estates-division/ lse-estate/development-projects/the-marshall-building > [accessed: 29 November 2020].

Figure. View towards Kingsway / Figure. View towards Kingsway / Figure. View from John Watkin's Plaza / Figure. View from Lincoln's Inn Fields

Figure 8. Order of tree-like structures for each floor by AKT-II. Available at: < https://www.akt-uk.com/projects/lse-marshall-building/ > [accessed: 24 November 2020].

2 City of Westminster, 44 Lincoln’s Inn Fields, London, WC2A 3PF <https://committees.westminster.gov.uk/ieListDocuments. aspx?CId=167&MID=4390#AI7905 [accessed: 27 November 2020].

Figure 1. View of front entrance to Paul Marshal Building, 3PM, LSE The Marshal Building. Available at: < https://www.3pm.uk.com/project/lse-themarshall-building/ > [accessed: 26 November 2020].

3. Graftonarchitects.ie. 2020. Town House, Kingston University London - Grafton Architects. [online] Available at: <https://www. graftonarchitects.ie/Town-House-Kingston-University-London> [Accessed 29 November 2020].

Figure 7. Site-section render by Grafton Architects. Available at: < https://info.lse.ac.uk/staff/divisions/estates-division/lse-estate/ development-projects/the-marshall-building > [accessed: 29 November 2020].

Figure 13. Proposed Paul Marshall Building facing Lincoln’s Inn Fields Park with site plan. Grafton Architects. Available at: <https://info.lse. ac.uk/staff/divisions/estates-division/lse-estate/development-projects/ the-marshall-building > [accessed: 29 November 2020].

8 City of Westminster, 44 Lincoln’s Inn Fields, London, WC2A 3PF <https://committees.westminster.gov.uk/ieListDocuments.aspx?CId=167&MID=4390#AI7905 > [accessed: 27 November 2020].

2. ArchDaily. 2020. Engineering And Technology University - UTEC / Grafton Architects + Shell Arquitectos. [online] Available at: <https://www.archdaily.com/792814/engineering-and-technologyuniversity-utec-grafton-architects-plus-shell-arquitectos> [Accessed 28 November 2020].

Figure 6. View from John Watkins Plaza. Available at: < https://www.aktuk.com/projects/lse-marshall-building/ > [accessed: 24 November 2020].

Figure 11. Elevation profile analysis, edited by author. Available at: <https://www.buildington.co.uk/london-wc2/44-lincoln-39-s-inn-fields/ paul-marshall-building/id/4850 > [accessed: 27 November 2020].

7 City of Westminster, 44 Lincoln’s Inn Fields, London, WC2A 3PF <https://committees.westminster.gov.uk/ieListDocuments. aspx?CId=167&MID=4390#AI7905 > [accessed: 27 November 2020].

1. Archello. 2020. University Campus UTEC Lima | Grafton Architects | Archello. [online] Available at: <https://archello.com/ project/university-campus-utec-lima> [Accessed 29 November 2020].

Figure 5. Uses of each floor, modified by author. Available at <https:// info.lse.ac.uk/staff/divisions/estates-division/lse-estate/developmentprojects/the-marshall-building > [accessed: 29 November 2020].

Julian Djopo

6 Grafton Architects, London School of Economics < https:// www.graftonarchitects.ie/London-School-of-Economics > [accessed 26 November 2020].

Hannah Fordon

Figure 4. Front view renders by Grafton Architects. Available at: < https:// www.graftonarchitects.ie/London-School-of-Economics > [accessed: 24 November 2020].

Figure 9. Steel connection elements for tree-like structure. IDEAStatiCa, The Marshal Building London. Available at: <https://www.ideastatica. com/case-studies/the-marshall-building-london-uk > [accessed: 27 November 2020].

5 AKT-II UK, LSE Marshal Building < https://www.akt-uk.com/ projects/lse-marshall-building/ > [accessed: 24 November 2020].

STUDIO | CURATING THE CITY

Figure 3. Aerial view of Strand conservation area, Metalocus, Shortlisted Proposals: Paul Marshal Building Competition. Available at: < https:// www.metalocus.es/en/news/shortlisted-proposals-paul-marshallbuilding-competition > [accessed: 24 November 2020].

Figure. One of the tree nodes is lifted into place / Figure. Tree two has a steel ring beam in order to create a void in the level four slab, "Marshall Building, London School Of Economics", Www. Steelconstruction.Info, 2020 <https://www.steelconstruction.info/ Marshall_Building,_London_School_of_Economics> [Accessed 21 November 2020]

1 Metalocus, Shortlisted Proposals for the Paul Marshal Building Competition <https://www.metalocus.es/en/news/shortlistedproposals-paul-marshall-building-competition > [accessed: 24 November 2020].

Michael Zhou

6 | THEMATIC CASE STUDY

7. ArchDaily. 2020. Universita Luigi Bocconi / Grafton Architects. [online] Available at: <https://www.archdaily.com/874794/universitaluigi-bocconi-grafton-architects> [Accessed 29 November 2020].

Figure 16. Public access through perspective section, showing function of spaces. Modified by author. Available at: <https://info.lse.ac.uk/staff/ divisions/estates-division/lse-estate/development-projects/the-marshallbuilding > [accessed: 29 November 2020].

Figure 17. Grand Hall interior experience rendering by Grafton architects. . Available at: <https://info.lse.ac.uk/staff/divisions/estatesdivision/lse-estate/development-projects/the-marshall-building > [accessed: 29 November 2020].

Figure 18. Grand Hall floor plan at 1:250 scale, by author. . Available at: <https://info.lse.ac.uk/staff/divisions/estates-division/lse-estate/ development-projects/the-marshall-building > [accessed: 29 November 2020].

Figure 19. Rendering of the front north entrance by Grafton Architects.

Available at: <https://info.lse.ac.uk/staff/divisions/estates-division/lseestate/development-projects/the-marshall-building > [accessed: 29 November 2020].

Figure 20. Interior render by Grafton Architects. . Available at: <https:// www.metalocus.es/en/news/grafton-architects-won-paul-marshallbuilding-competition > [accessed: 26 November 2020].

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STUDIO | CURATING THE CITY

NUAS SMALL TALK LECTURE SERIES Small Talk Lecture Series by the Small Talk team with (NUAS) Newcastle University Architecture Society over 2020 -2021 academic years I was involved in the Small Talk team as the events poster designer and Secretary of NUAS, therefore attended all the Small Talk lecture series each academic year.

CULTURAL BIBLIOGRAPHY

7

We were lucky to have architects such as Karakusevic Carson and Ingrid Petit, excited to talk via online video stream to provide insights into their firms, current projects and future prospects.

My involvement and attendance to the Small Talk lecture series widened my scope and knowledge of the architecture industry whilsts providing some fresh design approaches from other architecture firms.

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7 | CULTURAL BIBLIOGRAPHY

STUDIO | CURATING THE CITY

BUILDING CENTRE WOOD WORK TALKS

OTHER THEMATIC CASE STUDIES INSPIRATION

Online talk series from the Building Centre about constructions with wood and contemporary stone.

Eight Thematic Case Studies from the Framing Celebration.

Attending the contemporary stone architecture for research for the materiality of my design proposal, I ended up following the proceeding Wood Work talks from the Building Centre to gain further insight into how architecture firms approach construction with wood and in varying climates.

From the Framing celebration these are the eight Case Studies which I found Inspirational to influence my design proposal for the Community Centre and Library in Saltaire.

The case study I found most interesting was the Agrocite project from the Weaving in Wallsend studio group, which is a scheme for an ecological strategy that is centred around shared use, civic engagement and urban agriculture with social solidarity. Empowers civic engagement through agricultural shared farming markets.

Figure 32: Gerrit Rietveild Academy from Creative Synergies studio group.

This relates to my proposal aiming to promote civic engagement and public spaces that is focused on the member of community.

Figure 33: Terrassenhaus from a City Ruins studio group.

Figure 34: Fondaco dei Tedeschi from Building Upon Building studio group.

Figure 31: Screenshots of events attended hosted by the Building Centre.

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Figure 35: Porthouse Antwerp from Building upon Building studio group.

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7 | CULTURAL BIBLIOGRAPHY

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48 HOUR FLOOR PLAN BATTLE NONARCHITECURE.EU Competition worked on in a team of 4, where we undertook the challenge to complete a floor plan within 48 hours of the release of a socially and politically complex brief.

We were lucky to be placed finalists under the floor plan name: PICNIC PARLIAMENT: THE ILLUSION OF DEMOCRACY

Figure 36: Suburban Housing from House of Memories studio group.

Figure 37: Granby Four Streets Project from Creative Synergies studio group.

Figure 38: Agrocite from Weaving in Wallsend studio group.

Figure 39: Nantes School of Architecture from Creative Synergies studio group

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FUTURE PUBLIC SPACES NONARCHITECURE.EU Competition

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Figure 1: Saltaire site plan produced during groupwork. 12 Figure 2: Groupwork timeline of Saltaire’s industrial history and development to Arts-led regeneration.

19 Figure 3: Timeline of Saltaire’s Mill Industry, produced during groupwork (Right). 21 Figure 4: Demographic analysis of Saltaire compared to example model villages.

Figure 5: Saltaire site sections produced during groupwork.

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Figure 6: Groupwork heritage conservation concept options in response to critical heritage studies of Saltaire. 25 Figure 7: Groupwork diagrams about the Garden City to Saltaire.

27

Figure 8: Groupwork diagram of Valley Section theory based on Saltaire with other cities.

Figure 9: View from Caroline Street to Site 5, looking North-East

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Figure 10: View from Victoria Road to Site 5, looking North-East toward Salts Mill 48

8

LIST OF FIGURES

Figure 11: View from Caroline Street to Site 5, looking North West

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Figure 12: View from Victoria Road, to Site 5, looking East 48 Figure 13: Saltaire Allotment Gardens by Clare Caulfield 49 Figure 14: Saltaire in Spring by Sven Shaw. 49 Figure 15: Salts Mill Allotments by Nick Tankard.

Figure 17: Salts Mill by Dorothy Burrows.

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Figure 16: Gardens at Saltaire by John Sibson.

Figure 18: Theis Khan Architects

50 50

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Figure 19: Reiulf Ramstad Arkitekten 54 Figure 20: Studio Hollenstein

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Figure 21: ALA Architects 56 Figure 22: Kindergarten from Studio Wok.

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Figure 23: Brentwood School images from Cottrell and Vermeulen Architects. 62 Figure 25: Dundee House by Reich and Hall Architects in D71 Danish Brick. 75 Figure 24: Marziale wall texture from Wienerberger.

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Figure 26: Marziale Brick produce information sheet.

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Figure 27: Courtyard effect diagrams above.

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Figure 28: Summer Day diagram showing passive flows of heat.

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Figure 29: Summer Night diagram showing passive flows of heat.

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Figure 30: Freemens School interior by Hawkins Brawn 134 Figure 31: Screenshots of events attended hosted by the Building Centre. 147 Figure 32: Gerrit Rietveild Academy from Creative Synergies studio group. 148 Figure 33: Terrassenhaus from a City Ruins studio group.

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Figure 34: Fondaco dei Tedeschi from Building Upon Building studio group.

Figure 35: Porthouse Antwerp from Building upon Building studio group.

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Figure 38: Agrocite from Weaving in Wallsend studio group. 149 Figure 39: Nantes School of Architecture from Creative Synergies studio group 149 Figure 36: Suburban Housing from House of Memories studio group. 149 Figure 37: Granby Four Streets Project from Creative Synergies studio group.

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STUDIO | CURATING THE CITY

1. ALA Architects (no date) ‘Helsinki Central Library Oodi – ALA’. Available at: http://ala.fi/work/ helsinki-central-library/ (Accessed: 12 September 2020).

2. Archdaily (no date) Oodi Helsinki Central Library / ALA Architects, ArchDaily. Available at: https://www.archdaily.com/907675/oodi-helsinki-central-library-ala-architects (Accessed: 1 January 2021).

3. Architizer (2019) Green Square Library and Plaza by Studio Hollenstein, Architizer. Available at: https://architizer.com/blog/projects/green-square-library-and-plaza/ (Accessed: 1 June 2021).

4. Building Centre (2021a) Watch Wood Work #05 – Children Village, Brazil, by Gustavo Utrabo, Estúdio Gustavo Utrabo. Available at: https://www.buildingcentre.co.uk/whats_on/events/ wood-work-05-with-gustavo-utrabo (Accessed: 11 March 2021).

5. Building Centre (2021b) Wood Work #03 Clementine Blakemore. Available at: https://www. buildingcentre.co.uk/whats_on/events/wood-work-clementine-blakemore (Accessed: 25 February 2021).

6. Building Centre (2021c) Wood Work #04 Ty Tikari, Tikari Works. Available at: https://www. buildingcentre.co.uk/whats_on/events/wood-work-ty-tikari (Accessed: 4 March 2021).

BIBLIOGRAPHY

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7. Building Centre (no date a) Contemporary stone architecture: The art and science of building in stone webinar. Available at: https://www.buildingcentre.co.uk/whats_on/events/ stone-architecture-roundtable (Accessed: 20 February 2021).

8. Building Centre (no date b) Wood Work #01 with Ingrid Petit, Feilden Fowles. Available at: https://www.buildingcentre.co.uk/whats_on/events/wood-work-ingrid-petit (Accessed: 20 February 2021).

9. Building Centre (no date c) Wood Work #02 with Kirsten Haggart. Available at: https://www. buildingcentre.co.uk/whats_on/events/wood-work-kirsten-haggart (Accessed: 17 February 2021).

10. Clare Caulfield (no date) Saltaire Giclee Prints, Clare Caulfield - UK Artist and Printmaker.

Available at: http://clarecaulfield.co.uk/giclee-saltaire (Accessed: 21 October 2020).

11. Glendinning, M. (no date) ‘Dundee House, Dundee, by Reiach and Hall’, The Architects’ Journal.

Available at: http://www.architectsjournal.co.uk/archive/dundee-house-dundee-by-reiachand-hall (Accessed: 25 February 2021).

12. John Sibson (no date) Yorkshire watercolours – John Sibson. Available at: https://johnsibson. co.uk/reproductions/yorkshire/ (Accessed: 27 October 2020).

13. Jonathan (2015) ‘Brentwood School Bean LRC: Site visit 16.10.15’, Brentwood School Bean LRC, 19 October. Available at: http://brentwoodschoolbeanlrc.blogspot.com/2015/10/site-visit-161015. html (Accessed: 7 May 2021).

14. Nick Tankard (no date) Salts Mill Allotments. Available at: http://nicktankard.co.uk/ (Accessed: 21 October 2020).

15. Studio Hoolenstein (no date) Studio Hollenstein. Available at: https://studiohollenstein.com/ green-square-library-plaza/ (Accessed: 31 May 2021).

16. Studio Wok (no date) Kindergarten in Arzachena, studio wok. Available at: https://www. studiowok.com/project/kindergarten-in-arzachena/ (Accessed: 15 March 2021).

17. Wienerberger (no date) Marziale, United Kingdom. Available at: https://www.wienerberger. co.uk/product-range/bricks/marziale.html (Accessed: 25 February 2021).

18. Wilson, R. (2017) ‘Hawkins\Brown completes engineered timber school swimming pool’, The Architects’ Journal, 12 December. Available at: http://www.architectsjournal.co.uk/buildings/ hawkinsbrown-completes-engineered-timber-school-swimming-pool (Accessed: 25 February 2021).

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