Robert Charles Lloyd Portfolio

PROCESS & TRANSLATION ROBERT CHARLES LLOYD

200687751 - Semester 02 Architecture Portfolio - ARC8052 Remapping the Neo Avant Garde - Stage 5

Contents Part I

Social Context -Thesis Statement pg.4

Part II

Via dei Fori Imperiali - Site Investigation pg.6

Part III

Part IV

Via dei Fori Imperiali - Analysis: Dissociated Elements pg.14 Via dei Fori Imperiali -Response I : Frames, Grids & Re-connection pg.19

Part V

Via dei Fori Imperiali Response II : Volume, Edges & Overlap pg.28

Part VI

Re-Urbanisation -Method for Laying Grid and Volume Over a Fragmented Site pg.38

Part VII Point of Reflection -Analysis of Semester 01 Response pg.42 Part VIII Specific Intervention -Sustainable Spread pg.44 Part IX

Part X

Developing Process -Searching for a language pg.48

Developing a Design Process -Point of Reflection: Precedence and Theory pg.50

Part XI

Design Development -Modes of Representation pg.53

Part XII Design Development -Translation into 3D models pg.99

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Part XIII

Design Development -Model Interconnection Sustainable spread pg.110

Part XV Design Development

-Final Design Semester 02 Translation onto Specific Site pg.113 Part XVI

Design Development -Building Investigation pg.126

Part XVII Design Development -Material pg.133 Part XVIII

Point of Reflection -Analysis of Declaration pg.137

Part XIX Technical Portfolio

pg.142 Part XX Technical Portfolio -Structure pg.143 Part XXI

Part XXII

Technical Portfolio -Environmental pg.150 Technical Portfolio -Cross Discipline Collaboration pg.157

Part XXIII

Point of Reflection -End of Semester 02 pg.159

ARB Criteria GC1 Ability to create architectural designs that satisfy both aesthetic and technical requirements 1.

Prepare and present building design projects of diverse scale, complexity, and type in a variety of contexts, using a range of media, and in response to a brief;

2.

Understand the constructional and structural systems, the environmental strategies and the regulatory requirements that apply to the design and construction of a comprehensive design project;

3.

Develop a conceptual and critical approach to architectural design that integrates and satisfies the aesthetic aspects of a building and the technical requirements of its construction and the needs of the user.

1.

Principles associated with designing optimum visual, thermal and acoustic environments;

2.

Systems for environmental comfort realised within relevant precepts of sustainable design;

3.

Strategies for building services, and ability to integrate these in a design project.

GC2 Adequate knowledge of the histories and theories of architecture and the related arts, technologies and human sciences.

GC10 The necessary design skills to meet building users’ requirements within the constraints imposed by cost factors and building regulations.

1.

The cultural, social and intellectual histories, theories and technologies that influence the design of buildings;

1.

Critically examine the financial factors implied in varying building types, constructional systems, and specification choices, and the impact of these on architectural design;

2.

The influence of history and theory on the spatial, social, and technological aspects of architecture;

2.

Understand the cost control mechanisms which operate during the development of a project;

3.

The application of appropriate theoretical concepts to studio design projects, demonstrating a reflective and critical approach.

3.

Prepare designs that will meet building users’ requirements and comply with UK legislation, appropriate performance standards and health and safety requirements

GC3 Knowledge of the fine arts as an influence on the quality of architectural design 1.

How the theories, practices and technologies of the arts influence architectural design;

2.

The creative application of the fine arts and their relevance and impact on architecture;

3.

The creative application of such work to studio design projects, interms of their conceptualisation and representation

GC4 Adequate knowledge of urban design, planning and the skills involved in the planning process.

1.

Theories of urban design and the planning of communities;

2.

The influence of the design and development of cities, past and present on the contemporary built environment;

3.

Current planning policy and development control legislation, including social, environmental and economic aspects, and the relevance of these to design development.

GC5 Understanding of the relationship between people and buildings, and between buildings and their environment, and the need to relate buildings and the spaces between them to human needs and scale.

1.

The needs and aspirations of building users;

2.

The impact of buildings on the environment, and the precepts of sustainable design;

3.

The way in which buildings fit in to their local context.

GC6 Understanding of the profession of architecture and the role of the architect in society, in particular in preparing briefs that take account of social factors.

1.

The nature of professionalism and the duties and responsibilities of architects to clients, building users, constructors, co-professionals and the wider society;

2.

The role of the architect within the design team and construction industry, recognising the importance of current methods and trends in the construction of the built environment;

3.

The potential impact of building projects on existing and proposed communities.

GC7 Understanding of the methods of investigation and preparation of the brief for a design project.

1.

The need to critically review precedents relevant to the function, organisation and technological strategy of design proposals;

2.

3.

The need to appraise and prepare building briefs of diverse scales and types, to define client and user requirements and their appropriateness to site and context; The contributions of architects and co-professionals to the formulation of the brief, and the methods of investigation used in its preparation.

GC8 Understanding of the structural design, constructional and engineering problems associated with building design.

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GC9 Adequate knowledge of physical problems and technologies and the function of buildings so as to provide them with internal conditions of comfort and protection against the climate.

1.

The investigation, critical appraisal and selection of alternative structural, constructional and material system relevant to architectural design;

2.

Strategies for building construction, and ability to integrate knowledge of structural principles and construction techniques;

3.

The physical properties and characteristics of building materials, components and systems, and the environmental impact of specification choices.

GC11 Adequate knowledge of the industries, organisations, regulations and procedures involved in translating design concepts into buildings and integrating plans into overall planning.

1.

The fundamental legal, professional and statutory responsibilities of the architect, and the organisations, regulations and procedures involved in the negotiation and approval of architectural designs, including land law, development control, building regulations and health and safety legislation;

2.

The professional inter-relationships of individuals and organisations involved in procuring and delivering architectural projects, and how these are defined through contractual and organisational structures;

3.

The basic management theories and business principles related to running both an architect’s practice and architectural projects, recognising current and emerging trends in the construction industry.

ARB Criteria - Key for Revised Work

Work that has been revised following the final review is indicated by this symbol on each relevant page.

Work that has been added following the final review is indicated by this symbol on each relevant page.

Social Context Thesis Statement Part I

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Thesis Statement Social Themes This portfolio started from an investigation of critiques of capitalism and the ideas of social isolation and alienation. Looking at how these ideas have been represented and explored by contemporary philosophers, artists and academics. Highlighting how an argument could be made that this social critique has manifested itself in our current time.

The idea that there could be an underlying force of isolation and alienation that exists within our modern culture. That the issues of the 21st century could ,in part, be a symptom of this unaddressed divisive force. An investigation of the ways that this isolating power may have manifested in social and political space and how this has left lasting physical scars on our built environment.

The Via dei Fori Imperiali is a remnant of the last Fascist ruler of Italy and a lasting physical manifestation of his personal ideology on the city of Rome. The four lane boulevard was to connect the Piazza Venezia to the Colosseum cutting through the ruins of many ancient Roman forums. Overlaying Mussolini’s ideas of a fascist utopia directly onto the crowning achievements of Rome’s past. Collecting the ancient ruins to be used as his political backdrop, framing Rome’s history through a fascist lens.

As a part of Mussolini’s third Rome the Via dei Fori Imperiali was an attempt at the glorification of the national past of Italy but it came at the sacrifice of many current citizens of Rome. For the construction of the Via dei Fori over 40,000m2 of densely populated Rome was destroyed and over 5,000 people displaced from their homes. Replaced by a strip of tarmac and 4 lanes of traffic arguably destroying the very ruins they aimed to celebrate. Creating a physical disconnect between the citizens of Rome, their city centre and their history. A disconnect that still exists today perpetuated by tourism.

This portfolio investigates the Via dei Fori as a physical disconnect left on the city of Rome and an example of how we can lose our connection to history and our cultural fabric due to a misguided ideology of the time.

Personal Design Development Over the course of the year alongside the development of the project and its design there has also been a second element of my work that has emerged both from the studio brief and personal reflection. This has been a development of my own understanding of process. A deepening appreciation of how the methods of representation can help my own personal design and most importantly help in the translation of my design ideas into a realised architecture.

Over the second semester this focus on a satisfying translation has become a key area for me. Causing the project and my work to be under constant reflection of not only whether the project functions as a design but if the design represents a satisfying translation of my idea, concept and vision.

This has resulted practically in an exploration into new methods of production. Focusing on hand drawn and physically modelled designs. Challenging myself to use new and experimental techniques as a generative source but also chosen as a better method of representation of the projects ideas and ideals. This has meant that the portfolio I have produced this semester is very different from the portfolio I expected.

This body of work is focused on the development of my method of translation, reflection on this ongoing development and the dedication to its improvement. In line with the studio brief I have resolved my drawings and explorations into a finalised project both in design and technology. However the purpose of this finalised project is to act as another point of reflection. How has this design been resolved, where does it fall short of a satisfying translation? This is the key focus for my personal development over this semesters work.

The design elements and explorations of semester 01 remain and have been developed as a key parts of the design but the overall focus of the portfolio has shifted in semester 02 to an exploration of translation and representation. While keeping in mind the importance of resolution into a finalised and declared project but engaging with the problem of creating satisfying architecture in both the final declaration and the process it took to reach them.

GC1 GC2 GC4 GC5 GC6 GC7

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For image references ref to pg68

Via dei Fori Imperiali Site Investigation Part II

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Marx’s theory of alienation Social Alienation “The economic system [which is] founded on isolation is a circular production of [that] isolation. The technology is based on isolation, and the technical process isolates in turn. From the automobile to television, all the goods selected by the spectacular system are also its weapons for a constant reinforcement of the conditions of isolation of “lonely crowds.”– Debord

Baudrillard & hyperreality Shared Isolation Enclosed Fantasy

Theoretical Investigations -Rome: A city in Tension

Highlighting Mussolini’s third Rome and the Via dei Fori Imperiali as a lasting physical fragment of an isolating ideological force. Layers of history fragmented across the Via dei Fori both physically and philosophically.

Design developed in response to these themes aiming to connect fragments of a disconnected site through overlapping intervention and the framing of space.

Critiques of capitalism exploring of ideas of social alienation and isolation. Exploring the history of Italy, its ancient and political past and their modern remnants. Discovery of how these theoretical ideas have manifested in physical forms.

Designing an intervention to act as a frame connecting a unity of dissociated elements.

Pacified and embalmed

Public/ Private space Space that IS - Space that is MADE “The first space that IS public, a place where the public gathers because it has a right to the place; the second is a space that is MADE public, a place the public gathers precisely because it doesn’t - a place made public by force” - Vito Acconci (Public space in a private time)

“And like Bluewater, there is nothing about Cabbot Circus that is rooted in the surrounding environment, reminding stoppers that they are actually in Bristol” - Anna Minton GC2 GC3 GC6 GC7

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Site Location Positioned in the centre of Rome the Via dei Fori Imperiali represents how the actions of the past can leave lasting reminders on the urban fabric of our cities.

A lasting example of the removal of a connected city centre in the employment of an ideology.

GC5

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Fragments of a Place -Virtual Site Interaction

Due to the nature of my site visit being virtual the context has been understood in a fragmented way.

Fragments of the experience of a place through google maps, street view, trip advisor and online reviews.

Fragments of its history through literature and fragments of the lasting impressions of the site from people who have been there in person.

This virtual fragmented interaction has been a major part of the understanding of the project and brought emphasis to the ways the site is composed itself of fragments.

Via dei Fori Imperiali GC2 GC6

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Fragmented Experience - Virtual Walk through The site was viewed mainly through google street view. Providing glimpses of the site through the photos and photospheres others have made.

These fragments of other peoples journeys through the site revealed a tourist dominated heavily controlled site. Carved into sections and flanked by fences and the road.

GC2 GC4 GC5

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The Via dei Fori Imperiali The Ruins - The Road

The Via dei Fori exists to create a strip of road connecting the Piazza Venezia to the Colosseum.

As it exists today the site consists mainly of the partially exposed ruins and the four lane road that Mussolini built directly over them concealing the further ruins that exist beneath.

Medium: Hand drawing and Digital Enhancement GC2 GC3 GC4

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The Ruins

Fragmentation Roman Forums in Ruins Textured “The economic clay pieces system influenced [which by the is]materiality founded of onthe isolation ruins. Showing is a circular the location production of theofancient [that] Roman isolation. forums The technology in relation to is the based current on isolation, site. and the technical process isolates in turn. From Medium: the automobile to television, all the goods Clay, selected Handbydrawing the spectacular and Digitalsystem Enhancement are also its weapons for a constant reinforcement of the conditions of isolation of “lonely crowds.”–

GC2 GC3 GC4

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Destroyed Homes Over 5000 citizens of Rome were displaced when their homes were destroyed to create the Via dei Fori Imperiali. The destruction opening a gap within the urban fabric of the city. The disconnect.

Splashed ink painting showing the location of the original homes that were destroyed.

GC2 GC3 GC4

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Medium: Ink, Hand drawing and Digital Enhancement

Via dei Fori Imperiali Analysis: Dissociated Elements Part III

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Disconnect The removal of the homes and urban fabric of the city centre to for the construction the Via dei Fori creates a disconnect. Opening a hole in the city infilled by the confusion of traffic and tourism. Conflicting with the ruins the site is meant to celebrate.

Medium: Physical Modelling and Photography GC1 GC2 GC3 GC4

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Dissociation This collage is a response to the feeling of separation created between the ruins and the observer moving through the site.

Despite the ruins being the reason for the placement of the road, the ruins are set behind fences and interaction is not encouraged.

Disconnection between the people using their city and their culture. Lack of human experience.

GC1 GC2 GC3 GC4

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Medium: Digital Collage

Fragmentation The sites ancient past, its political past and its current use all exist within the Via dei Fori Imperiali simultaneously.

A site consisting of layers, fragments and conflicting elements.

Medium: Ink, Paper Charcoal, CAD drawing and Digital Enhancement GC1 GC2 GC3 GC4

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Existing Site Plan

Disconnect - Dissociation - Fragmentation This collage is a personal response to the site. Acting as a representation of its current conditions. A response to the idea of how the site might be called a Lefebvrian abstract space.

The drawing acting as a method of highlighting the focus of the project. To be developed as the project continues.

Medium: Ink, Card, Paper and Digital Enhancement

GC3 GC4 GC5

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Via dei Fori Imperiali Response I : Frames, Grids & Re-connection Part IV

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Grids, Fames & Collection - Joseph Cornell Study of the work of Joseph Cornell. Looking for methods and patterns in works of collection to form a greater whole.

Leading to the discovery of the use of Grids and Frames.

GC3

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Medium: Hand drawn and Digitally Enhanced For image references ref to pg69 & pg70

Liberation -Open grid

Development of the idea of the grid from a tool for enclosing and separating. To a method of connecting and framing many separate fragments in a more open free flowing grid . A liberal enclosing grid focusing on connecting.

Medium: Hand drawn and digital enhancement GC3 GC4

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Reveal and Conceal -Moving through frames

Further development of the idea of framing.

Following the ideas of Carlo Scarpa Investigating ideas of how to develop a rich experience of traversing the site through how the site is viewed.

Medium: Physical Modelling GC3 GC5

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Transcending History Transcendence comes from the Latin prefix trans-, meaning “beyond,” and the word scandare, meaning “to climb.”

Moving through, around and above history.

Medium: Physical Modelling and Digital Enhancement

GC1 GC3 GC5 GC8

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History and the Everyday GC1 GC3 GC5 GC8

Connecting history across time through open interaction while traversing the site.

Production of space through the framing of history.

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Culture & Human Experience GC1 GC3 GC5 GC8

Reversing the ideas of the ruins as a backdrop and focusing on the history as a catalyst for interaction.

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History Within the Open Grid Intervention aiming to connect the fragments of history and connect them more directly to the human experience through the framing of the open grid.

Medium: Physical Modelling and Digital Enhancement

GC1 GC2 GC3 GC5 GC8

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Developing Proposed Site Plan Re-Connection

Development drawing, ideas of connecting the disconnect.

Medium: Ink,Card,Paper and Digital Enhancement

GC3 GC4 GC5

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Via dei Fori Imperiali Response II : Volume, Edges & Overlap Part V

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Volume, Overlap & Edges - Edward Hopper Study of the work of Edward Hopper. Looking at ideas around people isolated and disconnected from their city.

Leading to the discovery of overlapping volumes and an emphasis on edges.

GC3

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Medium: Hand drawn and Digitally Enhanced For image references ref to pg70

Overlapping Grids & Volumes Scaleless drawing incorporating ideas of additive form, reductive form and the grid.

An exploration of how each element could develop to enhance the other. Incorporating ideas of complexity and contradiction.

Medium: Hand Drawn GC3 GC5

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Volumes Within the Grid Volumes working in unison with the grid.

Volumes creating overlap while still allowing expression of the grid.

Grid acting as the construction method for deploying the volumes across the site.

Medium: Physical Modelling wire cut foam and Wood GC1 GC3 GC5

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Living Upon History Considering the ideas of reconnection, bringing history into the everyday and the site once being the home of over 5000 people. There is a possibility for the deployment of a residential scheme to reclaim and re-urbanise the site.

Re-forming the site to connect it back to the citizens of Rome while reflecting on and incorporating the destruction and cultural fragments of the site’s past.

Medium: Physical Modelling and Digital Enhancement GC4 GC5 GC6 GC8

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Accessing History GC4 GC5 GC6 GC8

Raising the volumes with the grid allows for framing of the ruins while creating access to the spaces above. The grid also reduces the impact of the development at ground level.

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Matrix of Volumes & Grids GC4 GC5 GC6 GC8

The grid and volumes are expressed equally creating a weave of both structure and occupiable space.

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Overlapping Volumes GC4 GC5 GC6 GC8

As explored in the development drawings and models, volumes overlap with each other and the void space around them as well as over the site.

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Layers of History Intervention aiming to overlap with the existing history and provide a new layer of use for the site.

Aiming to re-frame the history to promote interaction that is experienced as the site is used.

Emphasising the contradiction and complexities of the site and incorporating them into an urban scheme.

GC4 GC5 GC6 GC8

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Medium: Physical Modelling and Digital Enhancement

Proposed Site Plan Re-Connection and Overlap

Development drawing, exploring ideas of connecting the disconnect, layering and overlaps.

Medium: Ink, Card, Paper and Digital Enhancement

GC3 GC4 GC5

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Re-Urbanisation Method for Laying Grid and Volume Over a Fragmented Site Part VI

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Considering Scale

-Working from the inside out Further development of the scheme at an urban scale is developed around the idea of the human scale. How the project would be experienced at a human level.

The urban design is developed as a single building, as a matrix of moments. As the building develops over the next semester the urban design will also be brought into higher resolution.

Medium: Physical Modelling and Digital Enhancement GC1 GC3 GC4 GC5 GC6

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Matrix of Moments GC1 GC3 GC4 GC5 GC6

Urban intervention aims to add a new layer to the site facilitating the creation of spaces to frame moments across the site.

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Framing the Human Experience GC1 GC3 GC4 GC5 GC6

The urban design is developed to act as a frame for human experience. To be developed through urban design and building design in collaboration.

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Point of Reflection Analysis of Semester 01 Response Part VII

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Searching for Architectural Language -Key design elements found -Problems with extrusions of Ideas -Missing a higher resolution of design The work over Semester 01 was successful in the development of key areas of the design: - The Frame - Returning the residential homes - Designing at a human scale However the models used to represent these elements were more physical extrusions of those ideas rather than the ideas being embodied within an architectural language.

The design at this point outlines the project at a resolution appropriate for an urban scale. But lacks the detail to provide an architectural language appropriate for the project moving into Semester 02.

This is my key critique with the final resolutions of semester 01 and the beginning of Semester 02 must find a way to increase the resolution of this design while maintaining the key ideas outlined in the first Semester.

GC2 GC3 GC4

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Specific Intervention Sustainable Spread Part VIII

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Point of Inception -Foro Romano

The project programme is focused on the idea of sustainable spread. Sustainability in both material use and economic stability.

The project is designed and detailed to be able to grow as the demand increased. Frame and housing spreading and connecting physically to accommodate more demand. In the hope that material and money would not be wasted.

In this way the design can grow as an echo of the medieval city that was removed. Growing for the individual at a human scale.

Medium: Hand drawing, Mark-making and Digital Enhancement GC2 GC3 GC4

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Sustainable Spread -An ongoing Project

Indicative drawing showing the possible spread and growing complexity of the project.

‘Development that meets the needs of the present without compromising the ability of future generations to meet their needs.”

-Brundtland report (1987) Medium: Hand drawing, Mark-making and Digital Enhancement GC2 GC3 GC4

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Defining Focus Specific Site

For the purpose of the semester the design will focus on one area of the intervention.

Increasing the resolution on this area aiming to understand how this fragment of the design could work. Revealing how the scheme is designed as a whole.

Medium: Hand drawing, Mark-making and Digital Enhancement GC2 GC3 GC4

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Developing Process Searching for a language Part IX

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Dead ends & the lessons they teach -Searching for a language

All drawing up to this point in the development of the project were investigating ideas of volume, frame and occupation. However these investigation all fell short of a form of representation that I felt satisfied the concepts and ideas of the design.

Despite providing lessons and developing the project away from the ‘extrusions‘ of semester 01. For the project to progress in a meaningful way a new design process needed to be developed.

Medium: Hand Drawing GC3

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Developing a Design Process Point of Reflection: Precedence and Theory Part X

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Searching for Inspiration - Functionalism Today (1965) To develop a stronger design process a reorientation towards the purpose of the intervention was needed. The purpose of highlighting and increasing the existing social tensions of the site.

The removal of the medieval city, the displacement of people and the backdrop of the ruins separated from their urban context.

GC2 GC3

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To find a stronger form of representation Adorno’s theory of increasing conflicts was used to help find precedence showing methods of stronger representation.

“Beauty today can have no other measure except the depth to which a work resolves contradictions.

A work must cut through the contradictions and overcome them, not by covering them up, but by pursuing them...

Beauty is either the resultant of force vectors or it is nothing at all. A modified aesthetics would outline its own object with increasing clarity as it would begin to feel more intensely the need to investigate it.”

- Theodor Adorno’s “Functionalism Today” (1965)

- Constants New Babalyon

- Yona Friedman

Production Precedence - Representation

Precedence were gathered that showed methods of representing tension in design.

Designs that were bold and clear in their design intents. As well as the way they were represented either with precision drawing or abstract mark-making.

- Lebbeus Woods

These examples showed methods of production that could be incorporated to develop the design in a new way.

GC2 GC3

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As well as highlighting to me personally how representation can be used to design differently.

- Zvi Hecker

Design Development Modes of Representation Part XI

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Discovering a Process -Method of production

Following the investigations into theory and representation a new method of production emerged.

These abstract mark-making experiments developing the ideas of frame, volumes in space and increasing tensions across the site were the first positive steps in designing a specific intervention.

The following pages show the work in greater detail. A chronological record of the development and refinement of the representation moving towards developing 3d models.

Medium: Ink, Chalk, Pastle, Paint, Pen, Pencil GC1 GC2 GC3

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Frame & Volume in Space Refining the way frame and volume exist in space. How they relate to each other and the structure that supports them.

Medium: Ink, Chalk, Paint & Pastel

GC1 GC2 GC3

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Developing Planes Developing a method of representation to show planes. Specifically drawing inspiration from the work of Lebbeus Woods. Exploring how these planes relate to the frame and how they might be suspended.

Medium: Ink, Chalk, Paint & Pastel GC1 GC2 GC3

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Form & Increased Precision Developing a language of form through more geometric shapes and refined edges. A mix of mark-making & drafting techniques.

Medium: Paint, Pastel, Chalk, Ink, Pencil & Pen

GC1 GC2 GC3

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Clarity through Abstraction Moving to more abstracted mark-making to realise the design concept.

Despite the abstractness of this drawing it directly inspired to following model explorations.

Medium: Ink, Chalk, Paint & Pastel GC1 GC2 GC3

98

Design Development Translation into 3D models Part XII

99

Initial Expression of the Frame -Development of a Language

Following the mark-making drawings the first stage of translation was into a physical model.

This first model explores a translation into 3D space. Exploring the frame and how it could be constructed with structure and planes.

A development of the frame model from semester 01 into a more satisfying translation of an architectural language.

Medium: Physical Modelling and Digital Enhancement GC1 GC2 GC3 GC4 GC5 GC9

100

Tectonics and Expression

Translation of the mark-making drawings into a 3D form starts to develop a method of construction for the design through the construction of the model. Developing tectonics and translation simultaneously.

GC1 GC2 GC3 GC4 GC5 GC9

101

Initial Expression of Volume -Development of a Language

Second model explores an a translation into 3D volume. Exploring planes and frame to create occupiable space.

A development of the Volume model from semester 01 into a more satisfying translation of an architectural language.

Medium: Physical Modelling and Digital Enhancement

GC1 GC2 GC3 GC4 GC5 GC6 GC9

102

Connecting Frame and Volume

The translation of the fame to incorporate volume creates generative moments of how the frame and the planes of the house interact. Creating opportunities for how the frame and volume connect.

103

Development of frame Emphasising the Horizontal -Pathways in the Frame

Further development of the frame model.

Keeping in mind the developed language but aiming to create more occupiable space within the frame.

Medium: Physical Modelling and Digital Enhancement

GC1 GC2 GC3 GC4 GC5 GC9

104

Framing the Human Experience GC1 GC2 GC3 GC4 GC5 GC9

Development of the idea of designing at the human scale. The frame model aiming to interoperate the idea of Matrix of Moments from Semester 01.

105

Development of Frame Point of Connection -Increasing Complexity

Further developing the occupiable frame.

Interoperation of planes onto the structure around the walkways as well as the frame design allowing movement in many directions.

Medium: Physical Modelling and Digital Enhancement

GC1 GC2 GC3 GC4 GC5 GC9

106

Blocking and Revealing GC1 GC2 GC3 GC4 GC5 GC9

The frame incorporating more into its context through the use of Planes. Planes to block, highlight and frame views and moment within the context of the ruins.

107

Development of Larger Volumes -Cluster of homes

Final Volume model incorporating the ideas of the developed frames.

Planes frame and volume all incorporated translating the mark-making drawings into a larger residential volume.

Medium: Physical Modelling and Digital Enhancement

GC1 GC2 GC3 GC4 GC5 GC6 GC9

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Aiming Views

Using the ideas of blocking and framing in the design of the housing cluster. ‘Aiming’ the buildings opening to frame areas of the site.

GC1 GC2 GC3 GC4 GC5 GC6 GC9

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Design Development Model Interconnection Sustainable spread Part XIII

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Design & Tectonics As well as the translation of mark making into 3D space the models have been designed with the idea of sustainable spread.

The method of the integration of frame and structure is designed to allow the separate models to interconnect with each other. Allowing the design to spread across the site more seamlessly.

Medium: Physical Modelling and Digital Enhancement GC1 GC2 GC3

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Interconnection Sustainable Spread The extended structure allows the models to cross over and connect this idea is incorporated into all models. The way these models cross over allows for the production of generative moments where the structure crosses.

Creating moments to investigate with technical design to detail how a structure like this can work at full scale.

Medium: Physical Modelling and Digital Enhancement GC1 GC2 GC3

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Design Development Final Design Semester 02 Translation onto Specific Site Part XV

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Connecting to Context -Generating design

To develop the project further the models had to be incorporated physically into the site.

Investigating the designs interaction with the context.

A physical site model was constructed at 1:100 scale.

Medium: Physical Modelling and Digital Enhancement

GC1 GC2 GC3 GC4 GC5 GC6

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Existing Context -Specific Site

Development into the existing context to show placement of models and how they interconnect and spread across the site.

Medium: Physical Modelling and Digital Enhancement

GC1 GC2 GC3 GC4 GC5 GC6

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Initial Inception -Frame Model

Development into the existing context to show placement of models and how they interconnect and spread across the site.

Medium: Physical Modelling and Digital Enhancement

GC1 GC2 GC3 GC4 GC5 GC6

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Initial Housing volume -Small House

Development into the existing context to show placement of models and how they interconnect and spread across the site.

Medium: Physical Modelling and Digital Enhancement

GC1 GC2 GC3 GC4 GC5 GC6

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Spread of the Frame -Connecting to larger site

Development into the existing context to show placement of models and how they interconnect and spread across the site.

Medium: Physical Modelling and Digital Enhancement

GC1 GC2 GC3 GC4 GC5 GC6

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Spread of the Frame -Connecting to larger site

Development into the existing context to show placement of models and how they interconnect and spread across the site.

Medium: Physical Modelling and Digital Enhancement

GC1 GC2 GC3 GC4 GC5 GC6

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Larger Housing Cluster

-Sustaining larger development Development into the existing context to show placement of models and how they interconnect and spread across the site.

Medium: Physical Modelling and Digital Enhancement

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Accessing History GC1 GC2 GC3 GC4 GC5 GC6 GC9

Development of Semester 01 work: Raising the volumes with the grid allows for framing of the ruins while creating access to the spaces above. The grid also reduces the impact of the development at ground level.

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Matrix of Volumes & Grids GC1 GC2 GC3 GC4 GC5 GC6 GC9

Development of Semester 01 work: The grid and volumes are expressed equally creating a weave of both structure and occupiable space.

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Matrix of Moments GC1 GC2 GC3 GC4 GC5 GC6 GC9

Development of Semester 01 work: Urban intervention aims to add a new layer to the site facilitating the creation of spaces to frame moments across the site.

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Framing the Human Experience GC1 GC2 GC3 GC4 GC5 GC6 GC9

Development of Semester 01 work: The urban design is developed to act as a frame for human experience. To be developed through urban design and building design in collaboration.

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Final Intervention

-Conflict and Embrace Final Placement of the models on the site infill and spread across the site model.

Highlighting generative areas to investigate of how the model and the site connect and conflict.

Medium: Physical Modelling and Digital Enhancement

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Design Development Building Investigation Part XVI

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Section Location Plan

Medium: Hand Drawing and Digital Enhancement

1:100 Long Site Section

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Section Location Plan 1

2

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House Cluster Section Breakdown

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Key 3 Bed House 2 Bed House Studio House 1 2 3 4 5 6 7 8 9 10

Master Bedroom Bedroom Kitchen WC Stair Living room Office Utility Courtyard Balcony

Medium: Hand Drawing and Digital Enhancement

1:100 Long Section - Housing Cluster

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1 8 3

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House Cluster Plan Breakdown

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Key 3 Bed House

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2 Bed House Studio House 1 2 3 4 5 6 7 8 9 10

Master Bedroom Bedroom Kitchen WC Stair Living room Office Utility Courtyard Balcony

Medium: Hand Drawing and Digital Enhancement

1:100 Plan - Housing Cluster

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Section Location Plan 1

Key 1 2 3 4 5 6 7 8 9 10

Master Bedroom Bedroom Kitchen WC Stair Living room Office Utility Courtyard Balcony

Medium: Hand Drawing and Digital Enhancement

1:100 Long Section 01 - Small house

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Section Location Plan

6 10

3

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Key 1 2 3 4 5 6 7 8 9 10

Master Bedroom Bedroom Kitchen WC Stair Living room Office Utility Courtyard Balcony

Medium: Hand Drawing and Digital Enhancement

1:100 Long Section 02 - Small house

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8 4

3 1

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Key 1 2 3 4 5 6 7 8 9 10

Master Bedroom Bedroom Kitchen WC Stair Living room Office Utility Courtyard Balcony

Medium: Hand Drawing and Digital Enhancement

1:100 Plan - Small house

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Design Development Material Part XVII

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View Location Plan

Medium: Hand Drawing and Digital Enhancement

Interior View - Small House Timber Interior

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A

3

Build Ups 1

Plywood interior cladding 12.5mm Timber stud 25x25mm MDF Board 12.5mm Rigid Thermal Insulation 140mm Timber Stud 120x50mm MDF Board 12.5mm Rigid Thermal Insulation 50mm Teak timber boards 16mm Teak timber fins 75x12mm

2

Oak Timber floorboards 12.5mm MDF Board 12.5mm Raised Access Floor Service Zone 55mm OBS Board 12.5mm Rigid Thermal Insulation 120mm OBS Board 12.5mm Rigid Thermal Insulation 140mm MDF Board 12.5mm Teak timber boards 16mm

3

Zinc sheet 0.7mm Separating Layer Polymer Bitumen Membrane MDF Board 12.5mm MDF Board 12.5mm Rigid Thermal Insulation 110mm Rigid Thermal Insulation 35mm Rigid Thermal Insulation 50mm MDF Board 12.5mm Timber Stud 25x25mm Plywood cladding 12.5mm

A

Zinc sheet

B

Aluminium Window

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Structural Timber Beam 400x150mm

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Medium: Hand Drawing and Digital Enhancement

C

1:10 Detail Section & Facade Detail - Housing

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Medium: Hand Drawing and Digital Enhancement

Detail Axo - Frame Structure

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Point of Reflection Analysis of Declaration Part XVIII

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Reflection on the Final Declaration -Value in the process of translations of model to declared design -Translation not fully incorporated ideas from experimentation -Aim to combine elements from both The final declared drawings explain and justify how a realised architecture can be created from such abstract beginnings. However, some elements of form, structure and language discovered in the mark-making and model development is not present in the drawings.

There is a strong difference in the style of representation between the drafted drawings and the earlier explorations. Aiming to meet the technical design requirements of the brief the declared drawings have a precise drawing style that removes some of the character of the models and mark-making explorations. While they do show elements of the design in greater detail the do not incorporate the methods of representation previously discovered.

The main areas for reflection: More complex form: The mark-making and models also present the opportunity to provide a more non liner design and more unusual form than is suggested in the drafted drawings.

Engagement with the context: This is more successful in the model.

Highlighting generative moments where the design can create rich spaces.

This involvement and engagement with the context is not as clearly shown in the drafted drawings.

Due to the time constraints of the semester not all of these areas can be resolved before the final submission. However some of the tension between the mark-making and drafted drawing can be explored. By increasing the tensions between the two in a generative way I can aim to move towards a way of combining the two styles to develop further in my second year.

Medium: Ink, Chalk, Pastel Paint, Pen, Pencil GC1 GC2 GC3

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The Parasite

-Method of production Following the investigations into my own work and representation the idea of a parasitic design process emerged.

A concept of my work developing and changing in response to an invasive design idea. Allowing the more successful areas of my work to develop the rest of my design.

Medium: Ink, Chalk, Pastel Paint, Pen, Pencil GC1 GC2 GC3

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Taking over the Design GC1 GC2 GC3

Parasitic forms inhabiting the spaces between the intervention and the context. Bespoke interventions spreading across the site responding to their specific placement in the context. Creating a greater connection and closer relationship to the surrounding ruins

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Discovering a Process -Method of production

This final drawing of an infected version of the house cluster section represents a further development of my process of representation. Being informed by both the mark-making and drafted drawings.

While not a finalised style it feels like a positive step towards one. I aim to carry this process forward into the second year with all the lessons learned from the first two semesters.

Medium: Ink, Chalk, Pastel Paint, Pen, Pencil GC1 GC2 GC3

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Technical Portfolio Part XIX

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Technical Portfolio Structure Part XX

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3

Build Ups 1

Plywood cladding 12.5mm Timber stud 25x25mm MDF Board 12.5mm Rigid Thermal Insulation 140mm Timber Stud 120x50mm MDF Board 12.5mm Rigid Thermal Insulation 50mm Teak timber boards 16mm Teak timber fins 75x12mm

2

Timber floorboards 12.5mm MDF Board 12.5mm Raised Access Floor Service Zone 55mm OBS Board 12.5mm Rigid Thermal Insulation 120mm OBS Board 12.5mm Rigid Thermal Insulation 140mm MDF Board 12.5mm Teak timber boards 16mm

3

Zinc sheet 0.7mm Separating Layer Polymer Bitumen Membrane MDF Board 12.5mm MDF Board 12.5mm Rigid Thermal Insulation 110mm Rigid Thermal Insulation 35mm Rigid Thermal Insulation 50mm MDF Board 12.5mm Timber Stud 25x25mm Plywood cladding 12.5mm

1

2

Section Location Plan

Medium: Hand Drawing and Digital Enhancement

1:20 Detail Section - Small house

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A

Build Ups 3

1

Plywood interior cladding 12.5mm Timber stud 25x25mm MDF Board 12.5mm Rigid Thermal Insulation 140mm Timber Stud 120x50mm MDF Board 12.5mm Rigid Thermal Insulation 50mm Teak timber boards 16mm Teak timber fins 75x12mm

2

Oak Timber floorboards 12.5mm MDF Board 12.5mm Raised Access Floor Service Zone 55mm OBS Board 12.5mm Rigid Thermal Insulation 120mm OBS Board 12.5mm Rigid Thermal Insulation 140mm MDF Board 12.5mm Teak timber boards 16mm

3

Zinc sheet 0.7mm Separating Layer Polymer Bitumen Membrane MDF Board 12.5mm MDF Board 12.5mm Rigid Thermal Insulation 110mm Rigid Thermal Insulation 35mm Rigid Thermal Insulation 50mm MDF Board 12.5mm Timber Stud 25x25mm Plywood cladding 12.5mm

A

Zinc sheet

B

Aluminium Window

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Structural Timber Beam 400x150mm

A

B A

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2

Medium: Hand Drawing and Digital Enhancement

1:5 Detail Section - Small house C

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Timber Column 400x150mm

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Tensile Wire Cross Bracing

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Steel Connection: Timber Column to Concrete Foundation

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Concrete Pad Foundation

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Steel Connection: Timber Column To Timber Beam

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Handrail

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Timber Beam 400x150mm

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Teak Timber Fin Panelling

4 Medium: Hand Drawing and Digital Enhancement

Detail Axo - Frame Structure 146

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1

Timber Column 400x150mm

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Tensile Wire Cross Bracing

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Steel Connection: Timber Column to Concrete Foundation

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Concrete Pad Foundation

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Steel Connection: Timber Column To Timber Beam

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Handrail

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Timber Beam 400x150mm

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Teak Timber Fin Panelling

Medium: Hand Drawing and Digital Enhancement

1:5 Connection Detail - Beam to Column

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Key 3

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Timber Floor Boards 25mm Timber Studs 50x50mm Timber Studs 50x50mm

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Teak Timber Hand Rail

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Steel Connection

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Steel Handrail Structure 20mm

1:5 Detail Section - Handrail and Floor Build-up

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Key 8

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Timber Column 400x150mm

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Steel Connection: Timber Column to Concrete Foundation

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Concrete Pad Foundation

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Hardcore

Medium: Hand Drawing and Digital Enhancement

1:20 Detail Section - Pad Foundation Detail 148

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Timber Beam 400x150mm

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Steel Connection: Timber Beam to Beam With Aperture of 200mm

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Service Pipe

Structure and services under the housing and throughout the frame exist within the same space.

Tthis connection allows services and beams to cross within the same plane.

Medium: Hand Drawing and Digital Enhancement

1:5 Connection Detail - Service and Beam Interaction

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Technical Portfolio Environmental Part XXI

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Passive Ventilation

-Lowering the Strain on the City To lower the mechanical demands on the city of Rome all the Housing is designed to passively ventilate.

This is achieved through the form-work of the homes allowing for hot rising air to escape through the elevated windows.

Medium: Hand Drawing and Digital Enhancement

Medium: Hand Drawing and Digital Enhancement

Long Section - Ventilation

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Maximise Daylight

-Openings and High Ceilings To allow large amounts of daylight into the interiors of the homes the design has hight ceiling heights. Allowing for large openings to allow in daylight.

However these openings are focused towards East and West to avoid too many south facing windows.

Medium: Hand Drawing and Digital Enhancement Medium: Hand Drawing and Digital Enhancement

Long Section - Lighting Strategy

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Grey Water Strategy -Conserving Water

Rainwater harvesting is incorporated throughout the design for the scheme to re-use greywater.

Water is harvested from rainwater pipes and drain pipes and stored in a main storage tank to be reused as grey water or water for plants.

Medium: Hand Drawing and Digital Enhancement

Medium: Hand Drawing and Digital Enhancement

Long Section - Rainwater Collection

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Foliage Across the Site -Potted Plant Life

Incorporating foliage across the site provides numerous benefits.

Solar shading: Plants can provide moments of shade across while traversing the frame.

Visual Blocking: Plants can provide moments of blocking context across the site. This working in collaboration with the designed panelling as part of the frame.

Natural Habitat: through the inclusion of plant-life they can provide natural habitats for insects and animals promoting wildlife across the site Medium: Hand Drawing and Digital Enhancement

Medium: Hand Drawing and Digital Enhancement

Long Section - Rainwater Collection

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Exposed Servicing

-Design and Functionality The service runs are an integrated part of the frame structure. Being exposed and attaching to the frame.

This allows for ease of access to any service runs across the design.

Medium: Hand Drawing and Digital Enhancement

Medium: Hand Drawing and Digital Enhancement

Long Section - Service Runs

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Hidden Services

-Delineation of Internal Space In contrast to the outside of the design the internals of the homes have their services as hidden as possible. Acting as a delineation of inside to outside.

Service Zones are designed into the floors, walls and ceilings. Allowing for a streamlined internal finish.

Medium: Hand Drawings and Digital Enhancement

1:10 Detail Section - House Service Zones

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Technical Portfolio Cross Discipline Collaboration Part XXII

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Working with an Engineer Over the course of a number of weeks in Semester 02 I worked in a pair with an Engineering student in his third year of Undergraduate, Alex Owen.

We worked together to develop the projects technical elements working on material and structure for the finalised design. This process was also set up to highlight the disconnect between architect and engineer in practice. How the perceived separation of our disciplines is a hindrance to the development of design.

Through mine and Alex’s engagement in the project we moved passed talking about the design from opposing standpoints and worked together developing structure and concept simultaneously.

Both of us providing solutions to problems from both disciplines.

Investigating both of our styles of representation in contrast resolved to be highly generative and useful. Providing information on the benefits of both. Shown here on the right a concept model by Alex and on the left my final drawing.

Overall this process highlighted a better way of cross discipline work and collaboration than I have previously experienced in practice.

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DRAWING BY ALEX OWEN

Point of Reflection End of Semester 02 Part XXIII

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This semester has been engaging and rewarding for me personally. I have enjoyed the challenge of the studio and investigating the ideas that it presented.

Ideas that helped me develop a new approach to understanding design and a better appreciation of architecture as a discipline as well as a practice.

How did you find working remotely this semester?

Covid-19 has had a significant effect on the experience of university for me as a student. Meaning that not only was there the challenge of the increase in the standard of work required for MArch compared to undergrad, but there were also great changes in how this work could be produced. How work could be presented, access to facilities, studio culture and how relationships with tutors and other students could develop was all greatly changed or restricted over the semester.

Due to the changes created by covid the semester also set a demanding pace, timescales were shortened and the required output was high.

However this did present the unique opportunity to develop new modes of working within these restrictions. To respond the different aspects of remote working and find their advantages. To create personally generative method of working and investigations of that work once produced.

Working alone has allowed me to focus more on my own personal designs and thoughts. Having to work in isolation created, for me, a more inward looking focus on design rather than looking at the design that was happening around me. An area of my work that aligned with the ideas of developing individuality within the studio.

What are the strongest aspects of your project and what parts could be improved?

The themes and topics of the studio have been particularly engaging and enlightening. The studio required expansive academic reading and engagement with architectural theory. Spanning philosophy, politics, economic theory as well as architectural theory and history. The academic side of the studio initially felt too vast to grasp in the timescale proposed. However after using the methods and techniques presented through the studio this academic engagement was the key to understanding the questions and problems the brief posed.

This development of architectural theory and its translation into design was a particularly difficult area for me. After developing my technical knowledge over two years in practice. I now wanted to apply these skills to new architectural and artistic ideas that I would aim to develop over the course of my MArch. However the amount of theory the studio required has pushed me farther than I expected.

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Looking at deeper ideas of how architecture can effect our greater society and the philosophical underpinnings of the discipline. Examples of how these idea have been manifested successfully or unsuccessfully by architects of the past. Overall creating a new and much greater appreciation of the complexities and depth of thought architecture has to offer. I feel that this development has become one of the strongest aspects of my portfolio.

A large proportion of my work this semester has been in my design development. particularly in explorations of representation. Investigation of my design ideas through different mediums focusing on hand drawn and handmade representation.

This has been a new method of development for me as previously I have worked mostly digitally in both development and final representation. I feel that the level of my investigation has been a strong element of my portfolio.

I feel that I could achieve a greater engagement with the ruins of the site. Due to the focus of this semester being around representation and translation the context has not been engaged with as deeply. I aim to carry forward the themes and ideas that I have developed over these two semesters into my thesis project.

Focusing on a smaller scale design that will manifest these themes through a deep connection and interaction with its context.

What mark would you give to your own work?

At the final review I was given a grade of X for my design work and A for my technical work. I have addressed the areas highlighted as needing development and advanced the standard of work to a level which I feel has maintained these grades.

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Images on pg52 clockwise starting from top left:

Robert Lloyd