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ACADEMIC PORTFOLIO MArch Newcastle University Degree Show Edition 2020

Lucy Lundberg

CONTACT e: lucylundberg@hotmail.com in: https://www.linkedin.com/in/lucylundberg t: 07875957443

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Thesis

Linked Research

Design 1

Design 2

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Stories Untold

Structural Chronologies of Alpine Architecture

Bridging the Gap

The Puzzle Piece

Engaging Edinburgh Through Narrative

The City as a Playground

The City as a Playground

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STAGE 6 2020

THESIS

Working on a collaborative thesis to investigate a common interest of storytelling in architecture led to a complex intertwining of research, theory and architectural design. Our output is a narrative in itself; a book of fragments and chapters, culminating in a journey of two characters through the proposals.

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STORIES UNTOLD Engaging Edinburgh through Narrative

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THESIS MANIFESTO A book, like a building, has a fabric, tactility and narrative. Stories stir emotion, educate, or transport to another place or time, connecting the narrative and characters to the reader’s own experiences. The telling of stories also gives individuals the power of being understood.

For some, finding a voice and a platform from which to be heard and understood is a frequent struggle.

Our interest in Edinburgh has focused on its extensive literary attributes, history in storytelling, prominent figures, education and festival culture. By investigating the narrative of Edinburgh, its key authors and poets, we have explored how architecture can engage with, and tell the story of, specific people groups in the city.

OUR STANCE | WHY This project began as an open-ended exploration into the roles of place and space in storytelling. The thesis has been honed as we delved deeper into the narrative of Edinburgh, discovering and testing recurring themes which shape the city. To carry out this research, we outlined our own methodology based on literary processes and devices, examining the structure of stories, book-making and expression, leading us to perceive Edinburgh itself as a book.

METHODOLOGY | TOOLS The theory understood from the tools, themes and processes of the literary figures Robert Louis Stevenson, Robert Burns, Walter Scott and Daniel Defoe are manifested in the development of the protagonists, programme and architecture of our concluding proposals. To develop a physical understanding of literature, we studied with professional bookbinders and printmakers, learning to make books as well as understanding the machine-like space they live and work in, which they appropriate with their own narrative. In our everyday working, we have used a writing bureau to organise our work and materials in a similar way to the bookbinder. In summary, literature has been a tool to understand the needs and stories of specific people to create unique and relevant designs.

ARCHITECTURAL APPLICATION | HOW The choice in protagonist groups conclude two complementary strands taken from studying Scottish literature: the psychological qualities and the expression of stories. The programme and designs involve a play between introverted and extroverted spaces and protagonists. They weave memory, perception, imagination and duality through the understanding of the city, while enabling the expression of this narrative by those who are ignored or not understood. One group create and write their own stories, escaping reality in the process, while the other physically express them, finally being heard and understood by those being educated in sign language.

OUTCOME | THE STORY Throughout the thesis, narrative has been explored and used as a methodology to develop our work. Therefore, proposals are presented as a narrative, following two characters through the map of literary Edinburgh where they appropriate and interact with the architectural interventions. Five sites have been identified with proposals attaching parasitically to heritage structures on the Royal Mile. The two journeys are progressions. For the writer; a psychological journey of writing, from memory to reflection, and for the deaf protagonist; from education to expression. The story has been realized as an animation, transporting the viewer from reality, into the writer’s mind and into literary Edinburgh before returning. The intertwining of programmes, heritage and architectural proposals through narrative link initial research with the designs, encapsulating the thesis intent.

Link to animation: https://www.youtube.com/watch?v=VKus65khyis

PROGRAMME | PLOT The themes and authors relate directly to demographics within Edinburgh. The proposals are therefore aimed at providing deaf people who are battling to be heard with a platform and education for others to understand them, as well as writing retreats for young people suffering from loneliness, anxiety and depression shaped by negative effects of social media. The issues faced by our chosen protagonists bridge between the research of historic Edinburgh and present-day. Both can experience isolation and loneliness, emotional states which are proven to be eased by the connections formed when reading fiction and expressing stories.

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PSYCHOLOGICAL QUALITIES

LITERAT

INTERNALISED

NEED FOR ESCAPE TO FICTION Society is in need of constant stimulation from excessive time looking at screens, exacerbating feelings of loneliness, boredom and mental illness.

The proposal aims to, like a book, provide escape, emotionally and physically, removing them from their environment, providing interaction to occupy the mind and scope for the imagination to remove them to somewhere entirely different, through storytelling.

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PROTAGONIST Young people in difficult transitional period of life, suffering from loneliness and mental health issues, struggling to take authorship of themselves, in need of escape from constant online connection.

Architectural m of themes o characters a

INTERCONN PROGRA

TURE

manifestation of author’s and works

NECTING AMMES

PHYSICAL EXPRESSION EXTERNALISED

EXCLUSION OF THE DEAF

PROTAGONIST The Deaf community.

Excluded from Scottish culture, seen and not heard A strong root in Edinburgh but not yet fully acknowledged

For centuries literature was only accessible through oral tradition, therefore excluding the deaf community from aspects of Edinburgh culture, alongside basic education and companionship.

This programme intends to challenge the ingrained society of ignorance and place the deaf community of Edinburgh at the forefront of storytelling.

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Dining/lino cutting space

Book binding desk

Bedroom storage

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BOOK BINDING DRAWER

THE TECTONIC

The appropriation of space in the bookmakers house and the patterns of usage were explored through this 1:20 model within the drawer

If the imagination and pen are a writer’s tools, the bureau is their workshop. Like those of Edinburgh’s literary figures, our bureau has become our own device for making and binding books as well as storing all materials and tools. Throughout the thesis project it is being adapted to display and develop architectural manifestations of our themes, narratives and discoveries.

IMAGINATION

DUALITY

PERCEPTION

LONG-TERM MEMORY

THOUGHT

THE WRITER’S MIND To visualize the cognitive processes important to writing and connecting to stories in a more tangible way, this drawing communicates the mind as an architectural space. The bureau in the center is encodes the memories, perceptions, thoughts and influence of imagination and duality.

ENCODER

OUTPUT 11

THE MAP Following earlier research, Robert Louis Stevenson’s approach of drawing a fictional map to create his story’s setting was adopted.

This map of Edinburgh incorporates areas identified as having geographical, historical, symbolic and literary importance.

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TRON KIRK

CHESSEL’S COURT

JOHN KNOX & MOUBRAY HOUSES

THE HERITAGE SITES DESIGN APPROACH

ST. GILES

SIR BASIL SPENCE STAIRS

Interventions attach parasitically onto heritage structures.

Detailing and materials protects integrity of the heritage with definition and clarity between existing and new.

Five sites are identified on which to set the design proposals. Each site is of heritage interest on the Royal Mile. The writer and deaf protagonists visit 3 each, the central of which, the Storytelling Centre, their journeys intertwine.

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THE ARCHIVE | Tron Kirk To Remember

Representing the long-term memory of the writer, the vaults beneath the South Bridge house artefacts of importance to the city and its people. They inspire the writer, reconnecting them with the past of the place and their own personal memories.

Located at the ‘ruins’ and ‘caves’

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SECTION THROUGH ARCHIVE INTERVENTION IN THE CONTEXT OF THE ROYAL MILE

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1 Existing stone walls

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2 Existing vaulted stone ceiling

3 Existing uneven stone floor surface

4 Framed view to activity below

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Design allows person to sit within the structure increase physical contact with archive

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4 New timber frame structure, partitioning the cavernous volumes into more personal spaces and displaying archive curiosities

5 New smooth-surfaced stone forming transitions between spaces within the heavy rough walls

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Perspective view inside archive ‘cave’

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The area of the archive between the cave and kirk is a transitional space between these two historic sites. The ground level is lowered significantly to mediate the great difference in levels.

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Concrete arches provide partial covering for the urban garden area

Timber frame structures provide display shelves and public seating This transitional space aims to intrigue the public, providing passers by with a space to pause an sit in the urban garden environment, drawing them into the archives.

Steps are constructed from stone to continue the historic materiality

The architectural language further connects the two archive buildings by continuing the arched geometry, seemingly growing from the ‘cave’ and parasitic timber structures from the kirk, as they meld together.

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1 Martin’s Wynd route re-

established as primary route through kirk

2 Raised timber platforms

to protect archaeological importance of foundations

3 Structure at entrance to frame view through kirk upon arrival

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4 New timber frame structures to display archive curiosities, arranged above the historic foundations to appropriate some of their past spacial qualities.

A 200mm gap is left between the new timber platform flooring and the foundations, to further define new fabric from the historic.

Raised timber platforms allow the visitor to walk the same routes as those five Centuries before, while preserving the building fabric.

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The Tron Kirk has recently been adapted to accommodate the Edinburgh World Heritage Exhibition.

Rather than merely educating visitors through posters, this proposal reinstates an experience and understanding of the site as it was before the kirk was built in the 17th Century. The archives continue into the kirk, representing more recent memory and thought. Historic stage sets are exhibited in the old courtyard, to further inspire the writer with stories which have come before.

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THE OLD DEAF SCHOOL | Chessels Court To Learn

The proposed intervention is a temporary structure for the Fringe Festival installed within the arches leading to Chessels Court from the Royal Mile. The intervention educates in Edinburgh’s deaf history, and sign language.

Located at the ‘school’

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KEY | Writer’s use

INTERACTIVE FURNITURE • Documenting deaf history • Vertical panels hide eyes or mouth, obscuring communication and providing a glimpse into life as a deaf citizen • Educates on British sign language

| Public use

VIEW OF INSTALLATION FROM CANNONGATE THROUGH CHESSELS COURT ARCHES

| Deaf education use | Existing building | Proposed building 23

THE STORYTELLING CENTRE To Translate and Inspire

The Storytelling Centre is the hub of our interventions as it is laced with history and material changes, many of them visible. Following Stevenson’s theme of crossing boundaries, the site spreads over the old city wall and is located just inside the old Flodden wall. The area next to John Knox house has changed often, for example accommodating tenements and a church. The building line on the eastern end of this block has been pushed back over the years. Our decision to replace the storytelling centre is a result of examining and assessing design requirements.

Located at the ‘walls’ and ‘gateway’

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PUBLIC & DEAF EDUCATION ENTRANCE The parasitic entrance to The Storytelling centre merges the historic John Knox and Moubray Houses, incorporating their literary heritage in the internal programme. The form of the enlarged entrance is an amalgamation of the adjacent jumbled architecture. The entrance aims to create a prominent feature for deaf education and history on the Royal mile.

KEY | Existing building | Proposed building

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KEY | Writer’s use | Public use | Deaf education use

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| Existing building | Proposed building

A | Deaf education and public entrance B | Reception C | Cafe D | Light pod E | View from writer’s office into reception F | Viewing window from publishers into reception G | Publishing space H | Staircase converted into bookcase I | Deaf education exhibition J | bridge to rehearsal

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PUBLIC & DEAF EDUCATION ENTRANCE

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GROUND FLOOR AXONOMETRIC

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A | Entrance B | Reception to public and deaf education C | Exhibition space on history of deaf Edinburgh D | Deaf Edinburgh E | Rehearsal space F | Street seat with view into rehearsal space G | Translation space H | Steps down to dressing room I | Stage make up room J | Actor’s steps on to stage K | Secondary entrance to stage through public steps L | w.c M | Library nook N | Cafe O | Kitchen P | Public steps on to stage Q | Stage R | Internal courtyard S | External stage 27

A | Deaf education B | Writer’s public library C | Writer’s exhibition D | bridge overlooking core staircase & writer’s exhibition E | Writer’s core staircase F | entrance to writing nook G | Second floor mezzanine overlooking rehearsal H | first floor mezzanine overlooking rehearsal I |viewing platforms built into bookcase J | steps from rehearsal into dressing rooms K | rehearsal L | reception to writers exhibition M | private route behind reception to access stair case N | public street seat with visual access to rehearsal O | reading snug lit from higher window P | alley to back garden

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SECTION THROUGH REHEARSAL SPACE 28

| Proposed building

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D FIRST FLOOR AXONOMETRIC

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A | Core staircase B | Mezzanine overlooking rehearsal space C | Writing nook overlooking rehearsal space D | Publishing office E | Writing snug F | Storyboard bookcase to display stories to rehearsal space G |View to stage H | View to deaf education room I | Writing office J | Writing lounge K | W.C L | Writing library M | Internal garden

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A KEY | Writer’s use | Public use | Deaf education use | Existing building | Proposed building 30

WORKSHOP SECTION

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L A | Storytelling garden B | view from translation area to stage C | auditorium seating D | Translation desks E | view from storyboarding F | view from landing G | view from dressing rooms H | pop up stage props I | internal courtyard for connection to nature

J | entrance to library pod and internal courtyard K | make up prep l | workshop M | writer’s nook N | writer’s lounge O | children’s library P | cafe Q | store cupboard R | cafe S | W.C

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A | Semi-circular seating for visual connection to actors B | tiered stages to allow for adaption between different stories C | auditorium seating D | Translation desks E | steps to stage F | audience enter theatre via the stage in order to experience the platform of the actor G | steps down from cafe H | actors join audience on these steps to create a sense of unity I | writers library pod transects the old and new building, giving a view of all activity J | viewing window from cafe onto stage K | cafe L | kitchen M | writer’s nook

KEY | Writer’s use

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AUDITORIUM SECTION

| Deaf education use | Existing building | Proposed building

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REHEARSAL SPACE AND STORYBOARD DISPLAY

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STORYBOARD AREA LOOKING UP TO SECOND FLOOR MEZZANINE

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1 | FOLD

2 | RAILS

OUT STAGE MECHANISM ON WHEELS

3 | STAGE Hardwood timber flooring (22mm) Timber frame (75 x 50mm) and (150 x 75mm) Plasterboard (12.5mm) Timber beams 150 x 75mm

4 | FLOOR Solid wood flooring 22mm Screed 100m In-situ Concrete 250m Insulation 150mm Hardcore 300mm Pile cap dependent on ground conditions In-situ Retaining wall (150mm)

5 | CONNECTION

6 | RESTRICTIVE

7 | SUSPENDED

8 | MAKE UP ROOM -

WITH NATURE

GAP

TIMBER FLOOR

BUILT IN STORAGE

Solid wood flooring 22mm Rockwool acoustic 50mm Glulam 250 x 90mm battens 22 x 22mm Plasterboard 12.5mm

Timber frame 75 x 50mm Plasterboard (12.5mm) Rigid insulation (160mm) Stainless steel brackets In-situ shuttered reinforced concrete(200mm)

Green roof build up Solid wood flooring 22mm Rockwool acoustic 50mm Glulam 250 x 90mm battens 22 x 22mm Plasterboard 12.5mm

9 | WORKSHOP

10 | RETAINING WALL Solid wood flooring 22mm Screed 100m In-situ Concrete 250m Insulation 150mm Hardcore 300mm Pile cap dependent on ground conditions In-situ Retaining wall (150mm)

1.20 DETAIL DEMONSTRATING POP UP STAGE VIBRATIONS & ACOUSTICS

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THE PLATFORM | St. Giles To Perform

The final destination in the deaf character’s journey is performing, presenting themselves and their forgotten past at the forefront of the Royal Mile.

The site is chosen for its prominence and the Heart of Midlothian’s strong literary connections.

Located at the ‘platform’

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ST GILES PERFORMANCE PLATFORM 35

THE REFLECTION TOWER | Sir Basil Spence Stairs To Reflect

The final destination in the writer character’s journey is reflection. Influenced by Robert Burns’ draw to nature for therapeutic effect and his works, the tower removes the user from the busy High Street, elevating them to view the hills above the rooftops.

Located at the ‘tower’

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Perspective view of parasitic tower in context

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Perspective demonstrating tectonic approach

Section through tower showing parasitic structure on existing fabric 38

There is a transition point between opposing characteristics; old and new as well as urban and natural materials. Where the concrete stair and metal banisters run out they meet juxtaposing timber frame.

Perspective internal view showing view to Arthur’s seat

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[02]

LINKED RESEARCH 2019-2020

During the project a series of themes emerged through investigation. In literature we have read, primary and secondary research, as well as conversations between ourselves and our tutors; Dr. Neil Burford and Dr. Christos Kakalis. They run throughout the project, connected at multiple points by physical work such as the maps, atmospheric drawings and, perhaps most successful in uniting wide-reaching information, the hut profile booklets. A small sample of the work is shown here.

The chapters of the entire report fully conclude elements of investigation, in the appearance of discussions, mappings and, finally, the exhibition, which forms a large part of the submission of this phase of research. The exhibition was carefully designed and curated, with a device component in the form of a map, the catalogue or index provided to understand the overarching findings.

A fundamental conclusion which can be drawn from the research is how the evolution of the alpine tourist demographic is changing the function of the alpine hut, as well as the resulting shift in levels of comfort expected by the visitor. A landscape which was once only visited by few, experienced mountaineers, has now become a touristic destination accessible to the masses. Along with a changing climate, this brings challenges to the forefront of the industry and alpine environment.

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STRUCTURAL CHRONOLOGIES OF ALPINE ARCHITECTURE

Defining ‘Comfort’ in a Sustainable Alpine Future

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ESSAY: SUSTAINABILITY OF THE ALPINE ENVIRONMENT AND TOURIST INDUSTRY To further understand the enquiry of our research into perceptions of comfort in a sustainable alpine future, we read literature which defines the context in which our investigations are partially set; tourism in mountainous regions, the effects of climate change on the industry and the changing demographic of the alpine tourist. Some articles discuss the matters of tourist industries specifically set in the Alps, while others are broader in nature, covering various destinations in both developed and developing countries. They are comparable due to their inclusion of threads of thought and enquiry running throughout.

Mountain Agenda is a group of individuals with ‘professional interests in sustainable mountain development’ set up in advance of the Rio Earth Summit with the aim of progressing ‘the position of mountains on the global environmental agenda’.20 In their ‘Mountains of the world: Tourism and sustainable mountain development. Mountain Agenda’, written in 1999, they describe the world as ‘rapidly urbanizing’21, and, similarly to Sanjay K. Nepal’s view in the article ‘Mountain ecotourism and sustainable development’, that there is a ‘growing international demand for remote areas’,22 suggests tourism of mountainous areas is becoming more attractive as destinations for ‘spiritual renewal’.23 Tourism is defined as ‘the movement of people from their homes to other destinations’ which since the ‘end of the 20th century relies on the combustion of fossil fuels’.24 The Mountain Agenda document examines tourism as both a contributor, due to it being responsible for a significant proportion of transport emissions, and a casualty of global warming, due to the many threats to the mountain landscape. A warming earth endangers biodiversity and natural ecosystems within the mountainous landscape, which in turn impacts the economies which rely on them, including tourism.25 An example of this is the alpine glaciers, which are relevant to our project due to the balance between winter and summer tourism, as well as the functioning of huts themselves, some of which are situated on glaciers and rely on them for water supply. Rising snowlines are of great concern, because of the resulting impact on winter sport tourism, but also due to ‘permafrost melting and endangering installations and access networks as well as the stability of the ground, with loose rocks and scree threatening landslides’.26 This information is directly applicable when considering the sustainability of alpine hut design and construction.

The document includes numerous case studies, covering issues of tourism and sustainability across mountainous regions in both developed and developing countries. The most relevant to our project is that of a village and valley in the Swiss Alps, Grindlewald.

It describes the severe poverty in the area only ‘six to eight generations ago’27, comparing it to the most recent boom in tourism, quoting extreme figures of daily numbers of visitors which are fifty times the number of inhabitants. This effectively demonstrates the impact tourism can have on remote areas once demand is established, services formed, and transport links mobilized. Conflict between local and outsider control of development is described, which is potentially relevant to alpine huts, as, at the moment, the majority seem to be owned by sections, run by individuals or volunteers. It would be interesting to compare the management and atmosphere within the huts if they were to become increasingly commercialized and run like hotel chains.

‘Eco’ is a prefix used increasingly before ‘tourism’ in the advertising of an increasing number of mass tourism destinations.28 The article ‘Mountain ecotourism and sustainable development’ by Sanjay K. Nepal, published in the Mountain Research and Development journal addresses the lack of research and understanding associated with ‘ecotourism’, particularly in mountainous regions. Similarly, to the ‘4L Tourism’ study, later discussed, the true definition, if in fact there is one, of ecotourism is debated.

Acknowledgement is also made for the need of actual ‘evaluation of social, economical or ecological impacts of ecotourism, as it claims that none currently exists’.29 This demonstrates the newness of such a concept, and the unfamiliarity with its theory, true meaning and any impact it has on tourist destinations. It is also suggested that many of the destinations using the term ‘ecotourism’ do not qualify the already debated criteria.30 A study based on field research in the Dolomites, ‘4L Tourism (landscape, leisure, learning and limit): responding to new motivations and expectations of tourists to improve the competitiveness of Alpine destinations in a sustainable way’ investigates the changing face of the alpine tourist and how the industry can acclimatize to them and the challenges they present. Like our research, the study uses the method of questionnaires to gather information. Following the findings of tourism having become a ‘primary source of revenue for many mountain areas’ allowing them to ‘participate directly in the global economy’,31 this 42

study finds that ‘economic and employment-generating benefits stemming from tourism have resulted in relative prosperity for many alpine areas and have had an important impact on models of local development’.32 ‘This has impacted models of local development, which have concentrated on networks and services to allow the tourism, as well as local production of goods for tourist consumption’.33 Two categories of threats were identified; endogenous and exogenous factors, the latter of which includes ‘competition amongst destinations, changing motivations of tourists and the decline of skiing’.34 The study relates these threats to climate change, and, like other literature read for this project, discusses glacial coverage shrinkage. Unlike the other readings however, multiple scientific studies and papers are referenced, one of which, the ‘Prediction of Regional scenarios and Uncertainties for Defining European Climate change risks and Effects (PRUDENCE), predicts a 2050 winter temperature decrease of 2oC, predicting that tourist destinations where skiing is possible will decrease by; Italy 68%, Switzerland 50%, France 20% and Germany/Austria by over 50%’.35 These figures raise a question: what would happen to the alpine regions and their tourism, much of which relies on its natural landscape, ecosystem and annual snowfall, should the glaciers melt away completely and snow coverage fail to be adequate to support winter sports? It could be argued that in such a situation, summer will take over as the primary tourist season, its associated sports’ participation and interest grow, therefore making alpine huts more important and beneficial to the industry.

The study identifies a new segment of tourists, ‘4L tourists’, taking characteristics of both eco and responsible tourism for developed countries, with landscape and natural resources as ‘the main attraction’.36 This group demonstrate ‘a particular sensitivity to the environment and to related natural, historic and cultural issues’,37 deciding this tourist segment to be large and established enough to be considered a market. They may show a keener interest in sustainable motivations and renewable technologies of alpine huts they visit, along with their own carbon footprint on the natural environment as a tourist. It is a group we believe to be likely to engage with the hut profiles we have produced, hopefully being more curious and interested in how alpine huts work and came to exist in such extreme locations.

Increased global mobility allows for tourists to visit many places for short periods of time. An issue raised by Nepal is the need to ‘attract tourists to stay in the mountainous regions for longer, spending their money in the locality, boosting the economy’.38 Though referring to tourism in developing countries, not the Alps, it is arguably relevant for developed regions also, not focusing on the local economy this time, more on making the long travel distances and large emissions from transport worth making the trip. Instead of moving swiftly on to the next destination, a contest of the current consumer society could be aimed for, with visitors staying to enjoy and appreciate what the area has to offer environmentally and culturally. This feeds into the abovementioned motivations for visiting the extreme landscape Alps. Hopefully, the new ‘eco’ and ‘4L tourist’ will take the time to stay in the locations, travelling in a more relaxed way, for a while, instead of rushing to the next. Contradicting this notion, however, is the evolution of the alpine tourist demographic. Huts are being visited by a number of those making only day trips into the mountains before returning to the valley and perhaps onto another destination, unlikely by foot. Alpine huts are strategically situated to encourage longer trips, as they are often strategically positioned on well-established walking routes, such as the Haute Route, allowing the walking from hut to hut, often conquering summits along the way. It could perhaps be argued that increasing comfort would encourage these tourists to stay overnight and continue their stay in the mountains before their return to the valleys. This would, however, rely on a primary motivation of these visitors being active based, as that of the traditional mountaineer, which is perhaps not the case. Nevertheless, this is something that further research could investigate.

The journal article ‘Alpine Summer Tourism: Mountaineers’ Perspective and Consequences for Tourism Strategies in Austria’ is based on a 2005 survey investigating the demographic of those visiting alpine huts and their perception of comfort, targeting only mountaineers and hikers who must have walked or climbed for at least two hours to reach the huts.39 This selection immediately discounts those tourists only journeying using a cable car before returning to the comfort of the valley. Crucially, this study found that ‘mountaineers accept lower comfort levels compared to their everyday life as part of a back-to-the-roots experience’.40 From this, an argument can be formed that the basic comfort level provided by huts is adequate, and, following the statement

that tourism is the movement of people from their homes to a different environment,41 they should maintain this, as these tourists have chosen this destination for its exposed and extreme surroundings, highly contrasting their home, and so, the comfort level of the accommodation should also be as similarly different.

A paper written by Franco Previtali as part of the book, ‘Sustainable Land Management: Learning from the Past for the Future’, is an overall critical account of Alpine tourism and leisure, written from a viewpoint primarily concerned with land management and ecology. Similarly to ‘4L Tourism’, it expresses the threat of climate change to the snowfall in the Alps and its subsequent impact on winter sport tourism. Declaring winter resorts as being a negative impact on the anthroscape,42 this decreasing snowscape is necessitating increased artificial snow production, needing a large water supply and contributing to a shortage of water and worsening of pollution levels in a ‘growing number of high-altitude resorts’.43 Relevant to our investigations into the sustainability and technological systems within identified new, extended or renovated huts, this account also references the ‘disruption of the architectural and cultural heritage’ with buildings ‘lacking the local and traditional style’,44 a view, which though primarily referring to winter and ski infrastructure, could also be relatable to hut architecture.

A concluding factor across many of these pieces of literature implicates the need for carefully considered regulations and codes of conducts within different organisations, ensuring the use and enjoyment of the alpine landscape is not significantly detrimental to its survival. An issue found by the Mountain Agenda concerns the fact that many participants in mountain and trend sports are not necessarily members of official organisation, making it more difficult to hold them accountable to a code of conduct.45 A framework to define limits of touristic development covering strategic, economic and competitive considerations needs to be assured and continuously reviewed.46 Most crucially, perhaps, is the recognition of the need for the tourism industry to be challenged to ‘acknowledge a responsibility to strive for compatibility between tourism and mountain sustainability’.47 20. Mountain Agenda, ‘Mountains of the World: Tourism and Sustainable Mountain Development’, 1999.

21. Mountain Agenda.

22. Nepal, S, ‘Mountain Ecotourism and Sustainable Development’, 2002.

23. Mountain Agenda, ‘Mountains of the World: Tourism and Sustainable Mountain Development’.

24. Mountain Agenda.

25. Mountain Agenda.

26. Mountain Agenda.

27. Mountain Agenda.

28. Nepal, S. 29. Nepal, S. 30. Nepal, S. 31. Mountain Agenda.

32. Franch et al., ‘4L Tourism (Landscape, Leisure, Learning and Limit)’, 2008.

33. Franch et al.

34. Franch et al.

35. Franch et al.

36. Franch et al.

37. Franch et al.

38. Nepal, S. 39. Schauppenlehner, Thomas, Brandenburg, Christiane, and Arnberger, Arne, ‘Alpine Summer Tourism: Mountaineers’ Perspective and Consequences for Tourism Strategies in Austria’, 2007.

40. Schauppenlehner, Thomas, Brandenburg, Christiane, and Arnberger, Arne.

41. Mountain Agenda.

42. Franco Previtali, ‘Mountain Anthroscapes, the Case of the Italian Alps’, 2011.

43. Franco Previtali.

44. Mountain Agenda.

45. Mountain Agenda 46. Franch et al.

47. Mountain Agenda.

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MAPPING

HUT PROFILES

‘Maps… like aerial photographs or paintings, are documents that are not remotely like the land itself; they are flat, unidimensional and densely coded.’51

Specifically designed as a tool for understanding an individual hut, these booklets provide a snapshot of the most important factors for the visitor; journey to the hut, local amenities, hut services and provisions as well as atmospheric and material qualities. They demonstrate qualities of the ten huts chosen from the forty four identified, across the Austrian and Swiss Alps.

Another dimension is needed; topography. With that in mind, we explored several ways of developing this map from its two dimensional form, into something which illustrates much more information about the landscape in which these huts are situated. Our large model serves as a catalogue to connect all of the huts in the study.

It provides visitors of the exhibition with a tool to constantly refer back to, acting as a focal point that congregates all of the data displayed around the room.

The hut profiles each contain diagrammatic maps, denoting the approach to the huts.

These provide the visitor with the most important elements of information required before beginning their journey. To understand atmospheric qualities of the journeys, we drew a series of topography studies, situating the huts within their immediate landscape. They depict the extreme gradients of the mountains and glaciers and illustrate the relationships with the environment.

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51. Corner. J, ‘The Landscape Imagination’, p.136.

An icon graphic depicting a recognisable exterior view was drawn for each of the ten huts chosen to study. This same icon has been used across research material in order to identify the information for each hut with ease, aiding multiple layers of interpretation and understanding to be formed in conjunction. The profiles were designed to fold into pocket-sized A6 booklets, easy to hold and read.

QUESTIONNAIRES In order to gain a broader understanding of ‘comfort’ and the emergence of ‘sustainable comfort,’ in relation to alpine infrastructures, we conducted a series of questionnaires; one for hut owners/ guardians, one for hut visitors and another for the hut architects.

We found we were able to conduct the secondary research ourselves, through the Alpine Club databases, hut websites, alpine manuals, books and other online documents relating to the design and running of the huts. Information was limited and, for the majority of huts, did not provide us with the detailed level of information that the study required. The hut owners/ guardians questionnaire, therefore, became a vital opportunity to fill in the missing gaps and inquire into a more technical level of information. A challenging balance was experienced between creating a questionnaire detailed enough to attain the depth of response required by the study, whilst at the same time not becoming too long or complicated that it would deter the recipients from responding. As a result, the questionnaire was developed several times, before being translated into German and French to then be emailed and posted to the huts. The final version, in English, can be found in appendix 3, along with a copy of the cover letter in appendix 1.

Despite the refining process, the number of completed questionnaires we received was low, with many responding to say they simply did not have enough time due to the busy demands of the summer period. We received one completed hut owner/ guardian questionnaire from the guardian of Bordierhütte (see appendix 5).

The visitor questionnaires were trialled in a pilot study undertaken during the summer of 2018, an investigation more directly concerning the perception of comfort within two sustainable off-grid alpine Huts; Cabane du Velan (1994, 2740m elevation) and Monte Rosa Hut (2014, 2883m elevation). We further refined this questionnaire and expanded it by inviting all 44 of the huts identified in this study to partake. Responses were received from 3 of the huts: Medelserhütte, Chamonna Lischana and Bordierhütte. These, combined with the responses from the 2 huts trialled in the pilot study, have provided the study with a good starting point for analysis. The responses were documented in an excel spreadsheet and then analysed for comparison (see appendix 11). We recieved 24 visitor responses from Medelserhütte, 13 from Chamonna Lischana and 1 from Bordierhütte. Given the time taken to translate, document and analyse each of these, the study currently includes a sample from each in the spreadsheet format, which provide an example of how the study will continue to be conducted for all responses going forward, when hopefully more are received in the coming season.

The response rate was lower than we had hoped for, however, this research is ongoing and we have since resolved ways to hopefully increase participation in the future. During our fieldtrip to Innsbruck we met with the president and vice-president of the Austrian Alpenvereins, who have agreed to help mediate the questionnaires. We reflected that it is more likely huts will get involved with the study if they were approached by such persons, rather than two students from Newcastle University, to whom we are strangers. They also have the advantage of stronger connections and contacts within the alpine community to better facilitate such a study. During our meeting, it was suggested that the project be introduced at the annual symposium event held every February, in Innsbruck. This brings together hut owners, section owners, architects and alpinists alike to one event, which would provide a good opportunity to receive a varied audience response.

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USING THE CATALOGUE

THE MAP The rotating map serves as a catalogue connecting all of the huts, from which further information can be found on the walls through the series of methodologies presented; the drawings, questionnaires, mappings and hut profiles. Revolving within a bespoke hand-made frame, this single piece of wood becomes the index for the surrounding work.

We made this an interactive device in order to better engage those visiting the exhibition, as it takes physical effort and intention from the viewer to gain further understanding of the cataloguing and information found.

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The alpine region focussed on by our study is illustrated in the map rotating map; a topography of immense scale, exposed to the most extreme of weather conditions, where natural and human infrastructure entwine. The forty four huts identified to have been constructed, significantly altered or improved between 1998 and the present day, and which generally sit at elevations between 2500m and 3200m are shown. Each of these are marked on this map. The length of each marker represents the relative elevation of the hut it denotes.

When revolved, the categorisation of the huts is revealed, organised in a way identifiable with their geographical location, shown on the map.

Detailed studies of 10 of these huts have been made, classified by an icon of the hut exterior. These can be read on the wall behind, where drawings depicting the atmospheric and topographical qualities are expressed, in both perspective and plan. These are hung at different levels according to their elevations, so they can be compared more easily.

ATMOSPHERIC AND TOPOGRAPHICAL QUALITIES The process of creating the series of A3 drawings to show the topographical and atmospheric qualities of the hut locations involved strategically positioning views of the hut and its surrounding to show as many important contextual aspects as possible. This is to aid the understanding of the relationships between the huts and their place in the landscape, as well as an emotive depiction of the topographies, some more extreme than others. Comparisons between the hut locations are made easier through the illustration of the topographies and surrounding natural infrastructure such as glaciers and lakes, and human infrastructures like roads. Where accurate view positioning has been possible, nearby huts are also shown.

The perspective and plan elements of the drawings can be read in conjunction, giving greater depth of understanding. The same points are identified on both formats to aid this reading.

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Edelrauthutte The Edelrauthutte sits between two peaks above the village of Lappach.

Beneath the hut lies a resevoir, Neves-Strausee, shown in both the perspective drawing of the topography, and the plan.

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Seethalerhutte The extreme position of the Seethalerhutte in comparison to the ridge, the village of Shildlehen below and the steepness of the topography, is illustrated on the on the drawing. The cable car runs from this village to the station above, where the Dachstein Glacier Skywalk is located, a tourist attraction within walking distance of the hut. The huts proximity to this popular tourist attraction is likely to have an influence on the demographic of visitors to the hut.

Erzehog Johann Hutte It was important to include the Grossglochner peak when setting up this drawing, as this is the highest peak in the Austrian Alps and therefore conquering this summit is likely a key motivation for visitors to this hut. Also included are key locations the hut can be reached from, such as the nearby Studlhutte, the carpark and road seen across the valley.

Showing the lake which sits in the valley gives a greater idea of the natural and topographical qualities of the area. From this drawing the precariousness of the hut’s position becomes more evident, as it sits on the ridge just below the summit.

Olpererhutte The context in which the Olpererhutte is situated appears less extreme than the others in this series, an observation which would not have been made without this drawing. The hut itself however, is positioned in a precarious -looking way, orientated to point directly across the valley, taking advantage of a 49 view over the reservoir below.

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THE EXHIBITION Along with a full report, we congregated all of our research and mappings from this year-long study into an exhibition. It is in the physical work where the nature of our output is more effectively read and understood.

The work is exhibited in a room known simply as ‘the concrete room’, or ‘the bunker’, having an environment very different to that of the rooms in the building surrounding it. Its atmosphere conforms with Dini and Girodo’s description the huts’ lack of ‘any contact or interaction with the outside’ to give a feeling protection.52 The exhibition, in its completeness, becomes a portable archive of research. We envision this to be transportable, taken elsewhere for future exhibitions. It could, for example, be used during the Innsbruck symposium in February, which Georg and Dorris suggested attending to further develop communications for the study going forward. The atmospheric drawing of each hut is hung at a height according to the huts elevations in relation to each other 52. Dini.R, Girodo.S, ‘Shelters in the Night. The Role of Architecture in the Process of Understanding High-Altitude Areas’.

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[03]

STAGE 5 2018 - 2019

DESIGN 1

‘Bridging the Gap’ is an urban intervention considering and addressing the disparities in the Gurtel area of Vienna. The investigation considers local children, the demographic most likely to ignore differences and initiate change whether through innocence or merely a child’s wish to play with another from the far side of the ‘wall’. ‘Play is free, in fact freedom.’ ‘It is when we are free to play and free to choose what we play and who we play with that we can form our strongest relationships’ (Johan Huizinga). What if it wasn’t dangerous to play in the street, climb up the wall, run over the train tracks? What if children were given the freedom to play in the busy Gurtelstrasse, able to break free of the rules and warnings of danger?

Concentrating on the specific demographic of children from the initial stages of the project led me on a very focussed line of enquiry.

The reading I did around this subject supported and informed the investigatory work and concept development.

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BRIDGING THE GAP The City as a Playground

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The City as a Playground Designing for the children of the city, encouraging integration, over and through the perforated ‘wall’.

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Safe, protected, caged... play?

‘Play is dangerous, dabbling with risks, creating, destroying, keeping careful balance between both.’ Miguel Sicart

Play involves creativity and appropriation of a context, in a constant tension between control and chaos, used for expressing and being in the world. Miguel Sicart

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n

The Site Vienna’s 16th District, to the west of the Gurtel, has one of its highest immigrant populations. After reading Koolhaas’ thesis ‘Exodus’, I drew comparisons with our site, seeing the Gurtelstrasse as a ‘wall’ acting as a physical and social barrier between the districts. An in-depth exploration of the Gurtel area confirmed a distinct difference in demographics as well as social class either side of the ‘wall’.

The proposal concept is an event to bring together both sides of the ‘wall’, integrating different social groups through activity. I identified children as being the most successful at participating, playing together while ignoring social backgrounds. Play can also allow interaction regardless of language barriers. In response to the concept of caging children for their safety and protection I developed an idea to temporarily give the children ownership of the Gurtel in their school holidays, part of an event hosted in 2028, an alternative to the Olympic Games, giving children the freedom to experience and learn to manage risk through play.

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CHILDREN’S LOCATIONS

Map showing existing children’s locations in the area,the solid ‘wall’ of the Gurtel and the gap in which the proposal will be located.

Playgrounds School/Kindergarten/Hospital School/Nursery/Children’s Hospital Gurtel ‘Wall’ Gurtel ‘Wall’ Green Space Green Spaces Playground

Concept in Context

Concept Model 1:50

The openness of the frame gives a sense of freedom. A mesh spans the width of the void, sitting two meters below ground level, seemingly floating above the

Exploring height, openness and solid panels.

railway so the children can experience the rush of the moving trains below.

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Elevation - Sense of Freedom

Performance Spaces

Water and Sand Play

Bike and Scooter Park

Interactive Structure - Self Build

Art Panels

Elements of the Frame Multiple programmes take place within the frame expanse.

Each represents a type of play, with different and important developmental qualities for children. For example, sand is considered one of the fundamental materials for play. Sand, along with water, provides the basis for making and sharing.

Areas of the frame are constructed and adapted by the children themselves, giving them the control over their environment and allowing them to learn through making and building.

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West elevation showing intervention placed in the gap in the wall

The Masterplan 59

[04]

STAGE 5 2019

DESIGN 2 This project continues the thesis explored in the earlier ‘Bridging the Gap, the City as a Playground’ project, developing it further to align with the brief of designing for a protagonist in need of care. I chose to design for those children who would find the play structure I had created more challenging, whose behaviours and needs require different provisions for play.

I found a strong and dark connection between Vienna and autism, particularly in children. Engagement with the fundamental differences in an autistic child’s approach to play was key, while addressing issues often found in spacial design. The focus gained from extensive research into the protagonist informed my design at all stages. I have worked hard to incorporate the work undertaken in our technical studios into my design, adapting it to not only be an addition to the design, but an integral part of the programme as part of the puzzle façade.

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THE PUZZLE PIECE The City as a Playground

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The Teatro Oficina, SĂŁo Paulo, Precedent Study This 1:20 model of a section through the building shows the scaffolding structure set onto the solid floor which was cast in plaster. I tested a 1:200 model of the building in the gap sites of our group site model, where it became an extension of the street.

1:20 Structural Model

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Compartmentalisation

Transition Spaces

One-way Circulation

Zoning areas

Recalibrate senses, moving between activities

Minimal distraction

Spacial Volumes

Predictability

Connection to Nature

Large for communal, small for personal

Spaces conforming with routine

Wellbeing, sensory stimuli, thermal comfort

Escape Spaces

Wide Circulation Spaces

Choice of Exits

Respite from over stimulation

Reducing social anxiety

Multiple escapes from communal spaces

Design Considerations for Autistic Spectrum Disorder Spacial issues: Children with ASD can struggle to understand their own body in relation to itself and the environment.

Lack of appreciation for consequences of movement, sometimes not understanding pain, so safety is an issue.

Understanding of spaces per activity - zoning is important so the child understands what is expected of them in each space (eg. not being able to smell food cooking from the living area of an open plan room).

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Viewing Furniture

Child’s Bedroom

2nd Floor

Child’s Bedroom

2nd Floor

Entrance Option

Hideout

Transition

Bathroom Parents’ Bedroom

Child’s Bedroom

Parents’ Bedroom

1st Floor Parents’ Private Garden Balcony

Child’s En-suite

Bathroom Parents’ Private Garden Balcony

1st Floor

Residential Units in Plan and Exploded Axonometric Rooms are separated into single activities with circulation space between so the change in activity is better understood. The layout allows for a circular route between the ground floor rooms, allowing routine.

Transition Kitchen

WC

Transition

Transition Living Room

Living Room

Transition

The pink areas are transition spaces, surrounding a central transition core which is lit with natural light from above. For further clarity there are single steps between the spaces, altering the height of the space slightly and requiring a physical movement between.

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Dining Room

Ground Floor Dining Room Kitchen

Transition

Ground Floor

Summer

The structures are positioned between existing mature trees, with many of the upper floor windows among the height of the tree canopies. In the summer and spring months, deciduous trees provide solar shading, limiting direct sunlight entering the buildings, preventing overheating. In winter, the role is reversed, with the bare branches allowing more direct light into the buildings.

Autumn

Winter

Spring

These sections also demonstrate the qualities of light and atmosphere within a single residential unit. This particular unit is one of those which are sunk 1m beneath ground level, so that the cill of the glazing on the ground floor is only just above ground level, so when a child peers out their eye-line is at ground level, increasing the sense of connection to the nature outside.

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Modular Play Structures The modular play structures plug into the buildings, as well as the nature in which it would be used, with varied arrangements of confined and open spaces. This is to encourage the children to be more open to changing environments while appealing to their puzzlesolving nature.

I worked with the cube shape to appeal to the nature of autistic children craving order and predictability, used here at different scales, each with different sensory and colour properties. Children with Autism Spectrum Disorder often crave sensory stimulation and so fabric wraps between play frames.

I worked with the cube shape to appeal to the nature of autistic children craving order and predictability, used here at different scales, each with different sensory and colour properties. Children with Autism Spectrum Disorder often crave sensory stimulation and so fabric wraps between play frames.

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Above is a quiet workspace for parents, with views over outdoor spaces while their children play.

The sensory blocks are easily movable, and can be used for outdoor and indoor play.

1. Roof Fibre-cement board (black) Battens Counter battens Waterproof membrane Insulation Vapour barrier Cross-laminated timber Plasterboard

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2

2. Facade: Fibre-cement board (black) Battens Counter battens Insulation Waterproof membrane Cross-laminated timber Plasterboard Glazing in the internal portion of the play port can be opened so the child can crawl out into the play structures outside.

The CLT wall becomes part of the play system, as protrusions provide hideout spaces for children internally when escape from the large social space is needed, while becoming seating externally.

Port: Timber frame with plastic cladding attached to plyboard.

Tied for extra support of cantilever as it supports the weight of children climbing through it. The glazing opens to allow this movement between playing inside and outside.

3. Ground Floor: Hardcore Concrete slab and upstand Waterproof membrane Rigid insulation Screed Timber flooring

3

Tell the Tale Detail - Play 1:20

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200x200mm blocks Open unit of kinetic facade system

80mm diameter white plastic pipe, for ball to travel through

Kinetic facade system framing

400x400mm blocks

Frame constructed of black metal rods, circular so that the blocks can roll across them and into place more easily.

The Puzzle Incorporating a kinetic facade system I developed, the proposal involves an interactive facade, combining a shading system with a game, fitting the 5-storey gap between two existing buildings. A puzzle-type activity is something children can interact over, increasing communication when teamwork is required.

The aim is to allow small balls to travel from the top to ground floor. Standard-sized removable blocks with pipes through are placed in the frame, along with triangles, in a way which allows a ball to roll without blockage. To progress to the floor below, a ball must enter the wheel and the wheel turned. The turn motion not only lets the ball drop, but sends an electrical pulse to the kinetic facade system, activating the memoryholding wires of a number of the units, opening them.

The units are left to close slowly themselves.

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Steel frame

800x800mm blocks with holes through, semitransparent plastic faces, allowing light through, coloured for sensory stimuli

Interactive Facade Puzzle Strategy 1:20 This drawing shows in more detail the way the puzzle would be solved, the blocks fitting into the slender open frame, with the ball being able to roll through the pipes, the holes of which located in different places according to the block picked. The coloured light seen through the boxes, layered in front of the moving facade panel, creates a kaleidoscope effect.

1

2

3

1

Active facade panels behind

2

Steel frame structure (not all structure shown, this is a concept drawing exploring the use of the facade system and puzzle)

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Turning wheels, which send electrical pulses to kinetic facade system

Section of Interactive Puzzle Facade This section (originally at 1:50) demonstrates the concept of the facade puzzle in the five storey gap area of the site. It incorporates aspects of the modular and fabric play investigated earlier, as well as the moving facade system I designed along with my technology group. There are areas within this play tower designed for escape, with hideaway holes beneath and behind stairs, as well as quiet reading and time-out spaces.

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Residential triads

Quiet learning zone

Existing residential

Existing wall boundary

Site section A North to south

Mud and sand

Residential triads

Social space/ staff

Residential triads

Yppenheim residential block

Hideout

Gurtelstrasse

Site Section B West to east A

B

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B

A

Site & Floor Plan 71

Integrated Section (originally 1:50) This section was produced as a 3D piece, demonstrating spacial, form and experiential qualities. It shows an inhabited site, with connections between the inhabitants and woodland environment. The trees are shown at different times of the year, some providing solar shading, the winter trees allowing light through in the darker months. The section brings together the modular play development, in-depth design of the residences and atmospheric qualities of the outdoor spaces between.

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C

C

Materiality

Lighting and Atmosphere

Environmental Strategy

Structural Strategy

The section shows the internal CLT dividing walls (balsa wood pieces) in the three residential units which are cut through. The colour palette of materials is simple but strongly contrasting so that the children with Autism Spectrum Disorder can easily read the spacial sequences.

Black and white fibre-cement boarding clads the exteriors of these buildings, with the internal palette consisting of white plaster walls and exposed timber dividing walls.

Being beneath the tree canopy creates a naturally changing experience of atmosphere and lighting. Direct sunlight penetrates through the leaves in the summer, creating interesting shadows, rustling noises in the breeze, and colour changes throughout the seasons, each action providing important sensory stimulus for children with Autism Spectrum Disorder.

The surrounding tree canopies provide solar shading in the months when it is most needed, while also creating a cool, shaded environment in the outside areas of the site. In the winter months, when solar gains are more favourable, the deciduous trees allow more natural light into the buildings. Environmental benefits of using CLT include its relatively low embodied carbon footprint, as well as quick construction time.

The timber used would be sustainably sourced.

Making elements of this section in physical model form shows the structural elements within the residences more successfully. Made with balsa wood pieces, the dividing walls on the ground floor are shown with a thickness and indicate the slot for the sliding doors.

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