Yuen Man Cheng

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Section 1 Illustrated reflective diary

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Architecture related exhibition

I think I understand something about space. I think the job of a sculptor is spatial as much as it is do with form.

Anish Kapoor Among the most influential sculptors of his generation, Anish Kapoor works in a wiide variety of scales and formats, and in a range of media including pigment, stone, stainless steel, resin, wax, earth and silicone. The work of Anish Kapoor give a sense to me about the relationship between people and living environmrnt. It reminds me that an good piece of architecture should consider human habitats and user experience.

Exhibition of Anish Kapoor was held in the Museum of Contemporary Art & Urban planning, ShenZhen, it was organized by Shenzhen Museum of Contemporary Art and Urban Planning , with academic support from the Central Academy of Fine Arts.

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Casestudy of Ty Pawb

Tadao Ando : Endeavors Shanghai was held in Fosun Foundation in Shanghai.

This exhibition is the most comprehensive large-scale retrospective of Tadao Ando's architectural design career sofar in China.The exhibition provides the reproduction of classic architectural works, exquisite architectural models, detailed design manuscripts, calligraphy and seal cutting, as well as a large number of unnique films and travel notes. The panoramic photos shows the legendary life of Tadao Ando. In order to let the auduence have a more intuitive experience of the beauty of the architect's design, the organiser has carefully layout and arranged Ando's models and works according to the light changes and distribution of Fosun Art Centre.

Q1

Q3

Q1

The People’s Square as open space

Q3

How does the case study relate to its environmental / climate crisis context?

Chui Lam Yip In the follow four pages of the environmental / climate crisis part, three aspects - building retrofit design scheme, sustainability and materiality - will be emphased. As we have mentioned in the previous sections that Tŷ Pawb sits beneath a multistorey car park and until 2013, it was home to the People’s Market. Early in design discussions, it was decided the new scheme would not evict the market traders, the remainder of whom had begun to spill out across the whole ground floor. Rather they would be invited back to set up shop side-by-side with the gallery spaces. Tŷ Pawb has gone through a relatively long period of time in redesigning the spaces. The discussion of Wrexham’s Arts & Cultural Hub had been introduced and proposed in 2014. It was finally completed as an innovative hybrid arts centre and market hall in 2018. As Ty Pawb is Overall Winner of AJ Retrofit Award 2019 (as well as winning Best Cultural Building under £5m), entry criteria of the awards will be a reference as the starting point of the analysis.

RETROFIT SCHEME Some redevelopment plans for the Peoples Market had been proposed before Featherstone Young Fig 3.10 retrofit project. In 2014, initial designs of the interior of the hub were released with proposals that the stalls there were incorporated into an arts and cultural hub (Wrexham’s Arts & Cultural Hub) – alongside offices, art spaces and open air spaces. The first sketching (fig 3.11) indicates the flexible studio space, along with this office, gallery space and mobile receptions would take up the bulk of the ground floor. Figure 3.12 offers an aerial view of proposals showing the ground floor space with studio and gallery space replacing any stalls replacing market traders. Figure 3.13 and 3.14 show how the roof / top level of the Peoples Market car park would be adapted for the arts and cultural hub including a small cafe bar, landscape, artist space and an open air cinema. The car park would be divided into an upper and lower terrace in which the lower terrace would consist of artist gardens and performance / screen space, while the upper terrace would provide cafe and seating space.

Fig 3.11

Fig 3.12

Fig 3.13

Fig 3.14

Fig 3.1 Original and New Facades

The People’s Square as workshop/market space

OLD PEOPLE’S MARKET & CAR PARK

Fig 3.3 Sections

Fig 3.2 Plans

Original First Floor

FEATHERSTONE YOUNG RETROFIT PROJECT 2017-18 Original Section

Fig 3.4 The People’s Square as dance room with open curtains allowing people to watch/join

The People’s Square as dance room with closed curtains indicating their might be a private class however you can still see what is happening

New Section

I think this exhibition insipres me a lot in developing my individual project, as the form of Tadao Ando's building such as Church of Light and Chapel on the water, reponds to the natural landscape very well. It give me some idea in thinking the relationship between light and shadow and user experiences.

It’s sad to see the tight-knit community being lost as we are losing traders that have been here since it opened 30 years ago

Car Park

Storage

Arcade

Market Stalls & Shops

Retained Space

Retrofit Space

Tŷ Pawb completed the radical restructure in 2018. An array of facilities is housed within the building: a mix of arts spaces, market trading and food retailers occupy the ground floor, with studios and offices on the first floor (fig 3.15), whilst the original car park remains in use on the upper storeys. A range of other facilities, including a performance space, learning centre, art shop (Siop/Shop), cafes and studios, supported the main art gallery (fig 3.22) and looser exhibition/event spaces. These sit within and around the main market hall (fig 3.20) which is spatially conceived as an extension of Wrexham’s streetscape. Careful choreography of the spaces ensures openness and fluidity. Large cuts in the building’s floors and walls, open up spaces and put all activities on view. The transformative transparent curtains of People’s Square (fig 3.18) which is at the heart of Tŷ Pawb, allow people to use the space for a range of different events. Other activity spaces are shown by photos (fig 3.16 to 3.22) on this page.

Fig 3.16

Original Ground Floor

Car Park Fig 3.4

Fig 3.5

Fig 3.17

Market Stalls & Shops Fig 3.6

RELATIONSHIP TO CONTEXT (PHYSICAL AND SOCIAL) It is one of the town’s three market spaces, located within a multi-storey car park and market hall built in the 1990s. It is embedded in the city centre, making use of current transport infrastructure. The building is an extension to Wrexham’s streetscape with covered squares and streets that re-establish a short cut though the building, linking out of town to town centre.

BAGGY SPACE AND IMPACT ON MARKET TRADERS COLLAGE I explore the use of baggy space with People’s Square, which is at the heart of Ty Pawb. It’s transformative transparent curtains and ability to move furniture around allows people to use this space for a range of different activities and events. For the second collage I focus on the impact of The People’s Market closing had on the market traders that were there for years.

Figure 3.2 and 3.3 depicts the before-and-after plans and sections of Tŷ Pawb. The whole ground floor was previously a space formarket stalls and shops (see fig 3.6 to 3.9) while first floor was car park (see fig 3.3 & 3.4) and storage areas. The retrofit project primarily focused on the ground floor which stalls and shops were placed by diverse spaces for different activities. Car park is retained while storage spaces were redesigned. The retrofit design scheme introduces cuts into the existing precast concrete building fabric, which also creates a double-height space (see fig 3.3) so that natural light is bringing deep into the plan and creating dramatic vertical connections between floors.

Fig 3.7

Fig 3.15

Fig 3.18

Fig 3.19

Fig 3.9

Fig 3.8

Fig 3.20

Fig 3.22

Fig 3.21

Casestudy of Frac Dunkirk TIMELINE OF ARCHITECT’S PROJECTS

A BIOCLIMATIC CONCEPT “Circulation between indoor and outdoor is better than insulation”

FRAC DUNKIRK LACATON AND VASSAL DUNKIRK, FRANCE GROUP 1 SHUJAAT AFZAL EMILY DUCKER ADA DING NATALIA STASIK JACOB BOWELL

Lacaton & Vassal by using their economical construction techniques and the winter-garden approach, build upon the climate using the maximum of the natural resources. Natural climatic controls, such as passive cooling, natural ventilation, and solar heat gain, allow architects’ to create bioclimatic spaces which are not only luxurious but also they eliminate most of the costs associated with installation and operation of mechanical systems. They believe that greenhouse technologies are incredible sustainble solutions which are much better than traditional architectural approaches. Rather than learning from other disciplines how living conditions could be better designed, building regulations force architects to surround themselves with thick walls, small windows, and a maximum amount of insulation (whose greatest beneficiary is clearly the industry supplying the insulation material).

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TYPOLOGY

SIMILAR RE-PURPOSED PRECEDENTS

IMPORTANCE AND VALUE OF EXISTING

EXTRA SPACE, FREEDOM OF USE

“Never demolish, never remove or replace, always add, transform, and reuse!”

DUPLICATION

DIFFERENTIATION

MODUALR

Lacton and Vassal has incredible architectual approach to the importance and value of the existing buildings, as they believe that place has beauties if we are attentive enough to see them. Throughout their creation they prove that every restriction can be positively turned around by reusing, transforming and reinventing what already exists.

Each project requires focusing on accuracy, amiability and attention: to people, to uses, to structures and everything that already exists which allows appreciation of the values which already there. In the architects’ oppinion this is the great opportunity for the sustainable development of the cities.

THROUGH

Therefore, they believed that Halle AP2’s interior needed to be saved because it still had potential. Filling the building wasn’t just senseless, but as Lacaton and Vassal argued: it was unnecessary. So they decided to propose that new structure, ‘‘twin building’’, of the same volume and shape be erected beside the AP2, one specifically designed to the house the required galleries, cinema, offices, educational spaces, and art storage.

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The sketches highlight the number of different ways architects can approach extending or re-purposing existing buildings.

The three examples picked to compare to the case study each embody one of these techniques.

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FRAC Lacaton and Vassal

TATE MODERN Herzog & de Meuron

FONDAZIONE PRADA OMA

THE BALTIC Ellis Williams Architects

Architect: Lacaton and Vassal Location: Dunkirk, France Year built: 1949, re-purposed and re-built 2013 Original Purpose/Function: Shipbuilding Workshop New Purpose/Function: Art Gallery and exhibition Context: Situated by the Harbour Architect’s Aim: Create a catalyst for the new area and to keep the existing halle in its entirety.

Architect: Herzog & de Meuron Location: London, UK Year built: 1940’s, re-purposed 2000, extended 2017 Original Purpose/Function: Power Station New Purpose/Function: Art Gallery Context: Situated by the River Thames Architect’s Aim: Enhance the physical power of the existing building without breaking or diminishing it. Shape the energy in a new and unexpected way.

Architect: OMA Location: Milan, Italy Year built: 1910, re-purposed and extended 2015 Original Purpose/Function: Gin Distillery New Purpose/Function: Gallery/Museum Context: Part of the industrial complex, south-side of Milan Architect’s Aim: To expand the repertoire of spatial typologies in which art can be exhibited.

Architect: Ellis Williams Location: Gateshead, UK Year built: 1950, re-purposed and re-built 2002 Original Purpose/Function: Flour Mill New Purpose/Function: Art Gallery Context: Situated by the River Tyne, Quayside Architect’s Aim: To maintain the building’s idiosyncratic and dominant presence on the river front through maintaining its verticality.

Futhermore, the Halle AP2 makes the FRAC not simply a museum or an archive, but a fully-functional complex the architects identified as a “unique and symbolical object”. The building is not only a visual magnet in the post-industrial landscape of the port area but a presenvation of its raw and industrial atmosphere of the area.

The halle AP2 collage - ‘‘freedom of use’’ Lacton and Vassal’s aim to design an architecture that is not standardized but creative, that challenges conventional answers to free the uses of buildings from artificial constraints. They believe that architecture is the freedom to use a space, to innovate a space, to get beyond mere functionality and provide a kind of liberty in the spaces we create that allows many types of functionality.

The halle AP2 therefore is completely available space to be ‘‘free in use’’ for creativit, which can work either with the FRAC, in extension of its activities, (exceptional temporary exhibitions, creation of large scale works, particular handlings) or independently to welcome public events (concert, fairs, shows, circus, sport, art exhibitions) and which allows work at several scales of regional but also european and international resonance, which consolidates the redevelopment of the port of Dunkerque.

View from the port area

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Casestudy of Carlo Scarpa and castelvecchio

Casestudy of The paul marshell building

Appendix

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

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

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

4. Front view renders by Grafton Architects 19. Rendering of the front north entrance by Grafton Architects.

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

17. Grand Hall interior experience rendering by Grafton architects.

LINCOLN’S INN FIELDS

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

Design Proposal Framing

5. Uses of each floor, modified by author.

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Location

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Pivotal Position

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Context

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The Grand Hall

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North-West Facade

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Materials

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Inside the Building

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Building in the Round

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Academic and Research Spaces

Studio Studio Specific Specific Criteria Criteria 01 |04 Daniel | Otto Mijalski Jaax | page 11

Reference P10&12

Fig.39 Detail drawing of the box by Scarpa

ROUGH TEXTURE SMOOTH TEXTURE

1. View of front entrance to Paul Marshal Building.

Fig.45 Photograph of handrail Fig.37 Photograph of prune stone Sarcophagus

Fig.40 Photograph of floor tiles Fig.47 Section, plan & axonometric drawings of handrail

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

Located near the entrance, Scarpa exhibits an ancient prune stone sarcophagus. He designs a box, in which a complex pattern between rough and polished prune stone cubes are juxtaposed carefully to create a sense of mystery. The drawing

by Scarpa show to what extent he treats the smaller parts of the building with care for detail and craftsman work through material exploration.

The man-made The Scaliger Bridge directly connects stone the Castelvecchio tiles are cut through to reveal the natural to the northern bank of the city. It was built around 1354soil that lies beneath. Not only is there a 1356 by the Scaligero family a means of escape in confrontation between theas fabricated the of a rebellion their rule. The andevent natural but a play against between softtyrannical and fortified bridge remained until12 the late 18th rough surfaces in texturesuntouched and materials.

century when french troops destroyed the tower on the left bank. The bridge was then totally destroyed by the German troops in 1945 and would be reconstructed by the architect Libero Cecchini in 1951. Cecchini would restore the bridge entirely to its former state, without the 1 left tower that was destroyed by Napoleon’s invasion.

Both the bridge and Castelvecchio where built during the same time and are therefore analogous to one another Studio Studio Specific Specific Criteria Criteria 01 |04 Daniel |and Otto Mijalski Jaax | pagelanguage.

10 both in terms of materiality architectural

Fig.38 Photograph of prune stone cubes

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

W A E R of Scaligero bridge in relation with the Castello Vecchio Fig.4TPhotograph

Scarpa was sensitive to materiality and craftsmanship. The Castelvecchio contains the most extensive collection of examples of Scarpas celebrated detailing. Windows, junctions, staircases, handles have all been documented in measured drawings. The detailing and density of design make an undirect criticism of the lack of both in much of twentieth century modernism.14 Moreover, not only is there a richeness in the design of the handrail but the junction with the floor is carefully seperated through a small void, highlighting a sharp contrast between the two elements.

Fig.46 Detailed section of handrail by Scarpa

Fig.48 Photograph of handrail

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E X H I B I T

Studio Specific Criteria | Otto Jaax | Studio Specific Criteria 01 |04 Daniel Mijalski | page 12

12 Fig.49 Photograph of main gallery

2. Presentation Boards for Competition by Grafton Architects.

City of Verona, Italy

Overview | Otto Jaax| page 2

OLD & NEW RELATION 12TH CENTURY

Fig.50 Photograph of St Cecilia

Fig.51 Photograph of St Bartholomew, St Martha & St Catherina

1797-1799

The Scaligeri Family Medival Castle

1923-1926

Napoleon Trops Baracks Austria-Italy Border

Antonio Avena’s Transformation

Fig.41 Photograph of fountain

Goods In

St.Zeno Maggiore

Ponte Scaligero

Arena

St Catherina

Piazza dei Signori

St Cecilia St John

Reception

GRAND HALL

Access to basement

Main Core

PO M

S RT

Grand Hall Space

UT

O

Toilets

H

Main entrances

Refuse

ET

Fig.42 Close up photograph of fountain

Mediavel District of Verona

Sub Station

Commune Wall

Castelovecchio museum

EF SH

Scaligero fortification Comune wall PORTUGAL STREET

18. Grand Hall floor plan at 1:250 scale

When you walk into the gallery you see the rear of St.Cecilia (Fig.48). It is placed carefully to intrigue the observer to find himself in front of the statue. One can then observe St Catherine, her gaze is slightly tileted to the right and illuminated by sidelight (Fig.49). When one comes closer the viewer might realise that her gaze is directed at St.Martha and St Bartholomew (Fig.50). Then, if the observer stands adjacently to St.Bartholomew, he or she may realise that most statues are looking in their direction. Thus, Scarpa gives life to the sculptures he exhibits by manipulating their position in a thetrical composition. Scarpa also places St John and St Zeno above as their gaze is looking down. This allows the statues to interact with the observer when he or she walks through the arch (Fig.51).15 Moreover, Scarpa designs each plinth differently in relation to the sculptures he exhibits.

One of Scarpas most prevelant gesture is the idea of the hand offering something to the observer.

The attention to the exhibitng of the art gives the space a sense of fantasy, as if the sculptures awaken at night and live in the shadow of the museum.

Fig.43 Gallery corridor

Fig.2 Micro aerial view of site

600m

FIE

LD

ST

RE

ET

RE

ST

Grab & Go Café

Service Laneway (covered above)

Access to upper floors

Roman fortification

7. Site section render by Grafton Architects.

20. Interior render by Grafton.

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Fig.6 Verona’s fortification walls layers

Fig.7 Plans of medival Castlevecchio

Fig.8 Napoleon troops barracks as left by Italian Army

CONTRASTING LAYERS OF HISTORY

Aerial view of Strand conservation area.

Cangrande exhibition

Fig.44 Photograph of floating stairs

Growing up in Venice, a city flooded frequently, Scarpa was fond of water. The fountain, lacated in proximity to the entrance sits on a thin surface of water. The fountain itself composed of rough stone seems to extrude slightly from the smooth water surface, as if it had succombed to a flood.

Fig.9 Facade of French barracks (Left) transformed into a musuem (imitation of a gothic palace) Moreover, the apsects of water are not always as literal. The use of polished floor screed which reflect light can be seen as an analogy to water.

The stair that is slightly elevated above the floor appears to be floating seamlessly. The corridor in the main exhibhition rooms contrasts between the roughness of the prune stone slabs and the floor.

A transition appears where the floor casacades Scarpa’s into the perimeter of the heavy prune stone.13

St Martha

St Bartholomew

St Zeno

Bridge Apprach

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Commune Wall

Fig.10 Section discovered by Scarpa

300m

LACATION & VASSAL

Castelvecchio’s outstanding quality is its complex history including 4 main development periods. Carlo Scarpa’s discovery of an old print, which indicated a paved over gate, enforced his idea of changing circulation of the Castelvecchio museum. In results, the excavation of the gate initiated Scarpa’s idea of disentangling different historical layers.2 The architect, acknowledging historical periods and their character, composed a unique experience of the old & new leading to the building’s pivotal point, the sculpture of Cangrande I della Scalaeri.

Fig.11 Scarpa’s ciculation strategy diagram

Casestudy of Agrocite

Creative Synergies Group 3: Question 01: Ehan Halimun Question 02: Ella Freeman Question 03: Xinrui Lin Question 04: Chao Jung Chang Question 05: Anna Toft

QUESTION 3 | ENVIRONMENTAL AND CLIMATE PERFORMANCE

QUESTION 3 | ENVIRONMENTAL AND CLIMATE PERFORMANCE

Xinrui Lin

The changes of the volume in different climates/seasons: Climate zones integrate natural system of thermal control for suitable temperatures.

Xinrui Lin

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During the SUMMER, the panels act as passive cooling mechanisms. Half of the panels can be opened up to allow for cross ventilation, these spaces then can adopts to warmer temperatures. (except auditorium and restrooms)

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During the WINTER, the panels capture the sun’s rays to generate solar heat gain. These programmed space that are heated by radiant panels and exterior climate, will provide a buffer zone to allow the performance of smaller heating system. The temperature will then reach to 10 degree Celsius.

Ruby and Ruby

Passive Solar Heating

Passive Solar Heating

Natural climate control such as passive cooling and crossventilation, eliminates any costs for installation and operation of mechanical cooling system.

This also allow the rooftop to be liberated from its utility ducts (for distribute the conditioned air within define areas), creating even more usable surface area. 22

Cross Ventilation

NIGHT time in Summer - Nocturnal radiative/ ventilative cooling system, allowing cool air flows into the building

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Ruby and Ruby

Notes: Gas radiator produce more heat when compared to electric radiator in the same amount of time.

Since gas is generally cheaper than electricity, a gas radiator has lower operating cost. Electric space radiator are cheaper only when a small space is to be heated at lower temperature settings. 21

Original (Scaligeri’s) Bridge Apprroach

Fig.12 Excavated approach

2

Casestudy of Nantes school of architecture

NANTES SCHOOL OF ARCHITECTURE

Fig.52 Photograph of St John & St Zeno

Studio Specific Criteria 01 | Daniel Mijalski | page 4

1354

Free City of Verona Commune Wall

Fig.1 Macro aerial view of site with historical context

West Core

Site Boundary

D E T A I L

Fig.5 Bird-eye elevation

Fig.3 Photograph of Scaligero bridge materiality

Piazza dei Signori

6. View from John Watkins Plaza

Bicycle Parking

Flexible Teaching Space

Verbal Communication

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

Architect’s identity was kept anonymous.1

Sports/Public Spaces

VISUALITY GROUP | CURATING THE CITY

Rehearsal / Performance Space

Context

Research/Institute

Graphic Communication

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

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

Management/Finance

GRAFTON ARCHITECTS

Public Realm Connection

Teaching and Learning

THE PAUL MARSHALL BUILDING

CARLO SCARPA AND CASTELVECCHIO

JULIAN DJOPO

The Paul Marshall Building | Grafton Architects

JULIAN DJOPO

The Paul Marshall Building | Grafton Architects

Studio Specific Criteria 01 |04 Daniel Mijalski | page 9 Studio Specific Criteria | Otto Jaax | Studio Studio Specific Specific Criteria Criteria 01 |04 Daniel | Otto Mijalski Jaax | page 10

Overview | Otto Jaax| page 3

THEMATIC CASE STUDY

JULIAN DJOPO

The Paul Marshall Building | Grafton Architects

T E X T U R E

Studio Specific Criteria 01 |04 Daniel Mijalski Studio Specific Criteria | Otto Jaax | page 8

Fig.13 Different layers of histroy

Advocacy-Client

Advocacy-Community Activities

Agrocite's clients are Columbus's 84,000 residents, but due to space constraints, they can only offer 60 venues for family use. The architects decided that 40 homes were appropriate because more land meant more difficult management. Their project is very popular. According to the director of R-Urban Studios, they said the waiting list for the project is long and rotating. While waiting for land allocation, residents need to regularly participate in collective life.

Catherine is busy baking cakes for the café. “It fills my free time, and you meet a lot of people. We learn from each other.”

FIG.3 Gardening

Architects said, "It's not just a matter of farming "They hope residents can regard this land as an investment in their lives. And hope they can fully pitch in it.

Gas Radiator

Community Space In community space, they usually hold group activities like market fairs. Residents can trade eggs and vegetables that they harvest at Agrocite.

Electric Radiator

Thermal Stratification SPRING and AUTUMN Upper Ventilation panels are progressively opened so that the interior temperature does not surpass 22 degree Celsius.

Benoît is a local resident.

He said:“You see, here my daughter and I can grow our own vegetables, and we don’t use any pesticides. Organic fruits and vegetables are really expensive, so getting an allotment here has been nice.”

Natural Ventilation

21 Diffen, “Electric Heating vs.

Gas Heating”, 2020 <https://www.diffen. com/difference/Electric_Heating_vs_Gas_ Heating>[Accessed 14 December 2020]

Nocturnal air currents Electric Radiator

FIG.2 Residents' Feedback

Figure 52 - Collages of Climate Performance during Summer

FIG.4 Local Markting

Educational and Cultural Space

Agrocite is an agricultural centre built on a 3,000-square-metre plot in the heart of a social housing complex that includes an experimental micro-farm, community gardens, educational and cultural Spaces.Different areas have different social functions, and here the residents are the masters

Figure 51: Collages of Climate Performance during Winter and Spring/Autumn

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FIG.1vv About 60 families can participate in the programt

QUESTION 3 | ENVIRONMENTAL AND CLIMATE PERFORMANCE QUESTION 01 | UNPROGRAMMED AND PROGRAMMED SPACE

F igure 41

ACROCITÉ - THE AAA

Xinrui Lin Translucent facades are light glazing panels used for the exterior of buildings, protecting the structure from weather damage. Its composition Figure 47: Polycarbonate panel diagram of polycarbonate microcells creates a Figure 48: Polycarbonate panel photo soft, naturally diffused light with a wide range of possible colors, brightnesses, and opacities.18

NANTES SCHOOL OF ARCHITECTURE, NANTES, FRANCE, 2009

BY ARCHITECTS ANNE LACATON AND JEAN-PHILIPPE VASSAL

Ehan Halimun

Figure 42

ACROCITÉ - THE AAA

R-URBAN

ELOISE LITTLER

- a framework centred around ‘civic hubs’ which allow communities to enhance their resilience through a range of interconnected initiatives.

18 "Nantes School Of Architecture / Lacaton & Vassal", Archdaily, 2020 <https://www.archdaily.com/254193/nantes-school-of-architecturelacaton-vassal> [Accessed 11 December 2020]

The sheet of corrugated metal and translucency of polycarbonate panelling plays an essential role in the school, with a basis of low-tech energy strategy. The panels protected intermediate climate by capture solar heat gain and minimize heat loss between the interior, programmed space (classrooms, research facilities, administrative offices), and the exterior.19 19 Figure 45 Figure 43

Figure 44

The basic structure is infinitely adaptable and can resolve to constraints with ease, divided into two types of spaces: • Programmed – a required programme for the competition brief that constitutes to 15,000 m2 (i.e. classrooms, research facilities, admin offices) • Unprogrammed – this type doubles the surface area of the building through the double height enclosed exterior space, terraces, and balconies The unprogrammed nature of the space challenged challenging students to evaluate the potentials of space15. The invitation to re-appropriate the school’s spaces teaches the students to not reduce architecture as just buildings16, emphasizing the experience of producing space, which redefines the standards of architecture school.

Photos by Philippe Ruault

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R u b y a n d R u b y, p . 5 6 R u b y a n d R u b y, p . 5 6

AgroCité atelier d’architecture autogérée

Figure 50: Theses panels modulates the interior lighting

Figure 46: Nantes Site Plan

Architects Lacaton & Vassal’s work is an ideal of the multifaceted and innovative potential of contemporary sustainable architecture, with their use of natural climatic controls, such as passive cooling, natural ventilation, and solar heat gain.17 The site is situated in a rich historical and contemporary context: Area: +/- 5,000 square meters; Location: along the river Loire; Accessiblity: from the city center by foot and bicycle or by public transportation from the suburbs, with eight bridges connecting the mainland to the Île; Neighborhood environment: comprised of wastelands, unbuilt plots, reappropriated warehouses, and new residential developments.

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In Educational and Cultural Space, they usually Organized workshops on gardening and cooking courses. Architects sometimes organized collective Governance sessions with residents to discuss development of Argrocite.

FIG.5 Project Meeting

ELOISE LITTLER

A RESILIENT COMMUNITY In this drawing I have tried to visualise the community aspect of Agrocite. The practice cannot function with out each part - architects, urban planners, residents e.t.c. - all working together harmoniously. Through this shared collaborative process, they are able to create a scheme which revolves around participation and inclusivity. There is no hierarchy, everyone works together to create a resilient city.

NETWORKING

Stevens

Figure 49: Facade of polycarbonate panels

Experimental Micro-farm In the shared garden, people can grow their favorite vegetables here. They can also breed poultry or bees in the backyard of the garden.

R-URBAN NETWORK

• • •

Establishes resilience networks and initiatives in neighbourhoods through a variety of active individuals and local organisations, merged with civic support.

Networks increase the value of resourcefulness, produc es a more even power distribution.

Each hub is flexibly connected to small local networks as well as the larger R-Urban network - enables an open system.

PARTICIPATION • • R-URBAN PARTICIPATION

•

Allows citizens who choose to be involved to participate fully in the implementation of the strategy.

This includes everything from events and training activi ties, to running the hubs.

Citizens become the key agents to innovation and change, generating alternative social and economic or ganisations, collaborative projects and shared spaces, producing new forms of commons.

Prewett Bizley

LOCAL ECOSYSTEMS

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• • R-URBAN LOCAL ECOSYSTEMS

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Generates local ecosystems of existing and new servic es.

Residents are encourages to buy local products, but also make their own products.

The spatial design processes of commons facilitates the hands-on activities of citizens.

Long term aim - development of socio-ecosystems at local, regional and international scales.

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Casestudy of the hill house

THE HILL HOUSE

Preservation Explorations in Additional Works Windemere Jetty Museum employs a form of active conservation in its visitor and site relationship.

It saves George Pattinson’s original collection of boats from their gradual ‘reclamation by the weather and the lake’ after the Windermere Steamboat Museum fell into 2 disrepair. The museum, visitor facilities and conservation workshop stand as a sensitive yet highly celebratory contemporary intervention within the Lake District UNESCO World Heritage Site offering unique visitor engagement through exposed rather than hidden conservation and preservation.

The Filling Station proposed an alternative intervention for a derelict petrol station in London 2012, without erasing the original features,3 Carmody Groarke introduced a necessary sense of place in an area radically transforming to a commercial estate masterplan. Offering diverse cultural opportunities for performances, dining and exhibitions they revealed the necessity of placing users at the forefront of preservation above all else. Significantly, the intervention was temporary, for three years it introduced the importance of the preservation of social and cultural aspects of an area as well as the physical built form.

The artist studio built in Hoxton, though small and simple reveals the risky approach the architects take to preservation.

Reimagining the space already used by the artist, the new addition accommodates the artists missing necessities such as light and privacy whilst critically remaining in the historically rich furniture warehouses the artist favoured.4 Standing as a deliberately contrasting statement against the 19th century graffitied brick below, the stepped aluminium clad boxes challenge the necessity for cautious conservative ‘fitting in’ by revealing the complimentary abilities each can have to the other through contrast.

ENCLOSURE

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RICHARD MEIER - THE MUSEUM OF THE ARA PACIS (2006) Finally, reinvigorating the entrance to the British Film Institute (BFI) Southbank provides the tired and unwelcoming 1950s cinema house built beneath the arches of Waterloo Bridge with the attention necessary for it to fulfil its location’s cultural legacy. It’s backlit style light exterior utilises its dark brutalist bridge for contrasting compliment and further emphasises the original qualities offered by the building - its dark and broody cinema interiors.5 The UK’s largest independent cinema house now celebrates British film and welcomes the visitors it deserves.

Carmody Groarke does however aim to provide a similar atmospheric experience with their enclosure to that within the Hill House itself (fig. 3/4) by making use of natural light - diffusing it through the Steel mesh facade. The intervention does not detract from the previous experience of the house. Meier attempts to use natural light in a similar way, maintaining the use of large glazed windows and skylights seen with the previous enclosure to optimise the experience of the sacrificial site within.

The introduction of solar shades does, however, have the opposite effect at times, leaving harsh shadows across the monument within (fig. 5). This interrupts the visual experience of the monument, some- thing Carmody Groarke prioritised avoiding with their Hill House Intervention.

Fig. 2

The box as a museum provides a highly unique visitor experience exhibiting Mackintosh’s house alternatively.

Walkways lead visitors on a journey of previously unattainable viewpoints, highlighting fine details at chimney pot height and revealing the reality of Mackintosh’s innovative elements to the naked eye. By allowing such an extensive viewing, analysis of Mackintosh’s efforts can occur.

This can hopefully lead to a gre-

Fig. 3

BY SAM FARD, ELEANOR METTHAM, MICHELLE MOK, CATHERINE MCCONNACHE, HANNAH BATHO AND REECE MINOTT

ARA PACIS

OLD ENCLOSURE

MEIER’S MUSEUM

Figure 2 - Following F orm

Figure 3 - Inside H ill H ouse

Figure 5 - Shadows on the monument

Figure 4 - Inside the H ill H ouse box

Figure 6 - T he A ra P acis M useum

DENIZEN WORKS - HILL HOUSE COMPETITION ENTRY

-ater understanding of the values expressed in his work which are of necessity to preserve, as opposed to an obscured view of what is presumed obligatory to restore.

Without such in depth analysis the preservation would of quite possibly followed a visually replicative route as opposed to one which focuses on securing the social and cultural fundamentals the house contributed to.

This active conservation means the public can witness and feel involved within the drying and restoration efforts and become much more attentive toward the house and the conservation effort. In this way, it highlights preservation as a process of care, attention and appreciation throughout rather than a visually restored imitation with little connection to historical or contemporary society and culture.

Figure 1 E nclosures

Unlike the Hill House box, the Museum of the Ara Pacis is a permanent structure. This alters the perception of the intervention. The 15-year planned lifespan of the Hill house box reinforces the theme of utilitarianism, demonstrating to visitors it is a necessity, seemingly admitting the preferable experience of the hill house before its arrival - and along with its other qualities this warms peoples perception. The museum on the other hand represents the progression of architecture in Rome and being permanent, the controversies around the building are intensified. It cancels out the possibility of change and many people don't appreciate this interpretation of the architectural style.

BRIEF

Active Conservation

A concept which Carmody Groarke’s Hill House Box particularly accentuates.6 Rather than hiding the house from view during the expected 15-year conservation period, behind commonplace scaffolding and plastic sheeting, the chained box allows the works to be watched and the house to still be part of the surrounding society and landscape as it always has – an important act of preservation.

Located in Rome, The Museum of the Ara Pacis encloses a heritage site, protecting it from outdoor elements, while providing a visitor centre, much like Carmody Groarke's Hill House Box (fig. 1). Unlike the Hill House box, which is a new intervention, [AD 2011] the Ara Pacis has been enclosed in its current location since 1913, Meier was contracted to redevelop the enclosure in 2006 as the previous structure was in an advanced state of decay. This meant that not only was Meier’s museum in- tended to preserve the physical state of the internal monument, but consider the form and conventions of the previous enclosure and historic structures in wider Rome (fig. 2). [DC 2019] Carmody Groarke on the other hand prioritises function - trying not to emulate the form of Macintosh’s Hill House so as not to detract from its qualities.

[MF AJ 2017] Shortlisted alongside Carmody Groarke in competition for the Hill House visitor centre, Denizen works submitted a scheme that aimed to accomplish the same goal of being “as innovative to the 21st century as Mackintosh’s was to the 20th”, but with a contrasting approach.

HILL HOUSE BOX

[AD 2019] Both schemes looked to address the decaying physical state of the Hill House, Carmody Groarke take an active ap- proach to this providing a breathable facade to protect the house from rain while the reparation process is ongoing. [DW HH] Denizen, on the other hand, aimed to increase excitement and enthusiasm towards visiting the site, this would subsequently increase the financial intake of the centre, passively aiding the repair by helping fund restoration.

Fig. 4

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Visitor experience Images of visitor walkways House at new unexperienced viewpoints see new details Witness the conservation, bring new attention and care for the house than before

This approach meant designing a centre which celebrated Macintosh’s work and his interests.

Denizen were particularly inspired by Mackintosh’s interest in Japanese design and his painting of a fritillaria plant (fig.8). Ultimately this led to a scheme much more driven by form than Carmody Groarke's, although both aimed to aid reparation of Hill House, and both schemes offered new ways to experience the site (fig.7). One of the main contrasts between the two schemes is the consideration of views towards the house and of the relationship with the surrounding landscape. Carmody Groarke looked to avoid interrupting the surrounding environment with the translucent mesh maintaining views of the house.

The structure is imposing, however, and clearly interrupts the former experience. Denizen works, on the other hand,- looked to place their scheme away from the House, up the hill. This made it a part of the experience of walking through the surrounding area and allowed the framing of key views from a distance (fig. 7/10). This also meant from the public roads, views of the house and the surrounding landscape were maintained.

DENIZEN WORKS (PROPOSED)

Figure 7 - S cheme placement and proposed views

Figure 8 - M ackintosh ’s Fritillaria P lant

Figure 9 - D enizen W orks P roposed S cheme

Figure 10 - D enizen W orks P roposed S cheme (internal)

Casestudy of Fondaco dei Tedeschi

Studio Brief

Fondaco dei Tedeschi Venice

Our studio explores the ideas of 'curating' as a method to critically engage a World Heritage Site - Saltire in West Yorkshine. Built in 1851-53, Saltaire was a model village/ town comprising then the largest and most advanced textile mills, with workers housing and communal facilities, all in a coherent planning of townscape and landscape. A culumination of industrial settlement development over a century, and a pioneer of ideas of town planning and the Garden City to come, Saltaire - now a World Heritage Site - commands a pivotal position in the Industrial Age and the forming of ideas that constituted the meaning of being modern -such as welffare society and city planning. Our task, within the studio and with our architectural instruments, is to develop a way of curating the site by contributing a design intervention, with creative ideas and perceptive studies, and a certain theorized agenda.

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“Change is the only constant in life”

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Healthy body & Healthy mind: in an inspiring landscape, Saltaire Sports & Leisure Centre Abstract In a village where social values have fallen away from the ambitions of Titus Salt, this programme seeks to revitalise the intangible heritage focus on health and wellbeing and appreciation for the natural environment. A sports and leisure centre which deliver education programme is a complex for connecting and promoting the concept of healthy mind and body through providinng modern sports facilities and extra spaces for socialising and opportunities to exchange ideas. Salts existing heritage facilities on the site benefit our mental health , which we now understand to go hand to hand. It will work with the architectural theme of academy and healtthy living.

Section 2 Project framing - Site Analysis and background of Saltaire

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Reflection From the project framing, our studio have divided into 5 different groups to develop our site anlysis work including the theme City as Gallery ( Embodied Seeing, Flet Knowledge & Engaged Tourism), Progressive Conservation and Critical Heritage Studies ( History as live , Constructive Memory), Garden City & Landscape Urbanism (Valley Ecology and Sustainable Urban/ Land Form/ Assemblage of Life), Culmination of industrial settlement Design in Mid19th century and task force group for model making. As a group member who belongs to both the City as Gallery and tas force group, I have carried out indepth study of the visual anlysis and the tourist glaze of Salrtaire, especially the Appendix 7, of Saltaire World Heritage Site Management Plan which is a very comprehensive document that present designated views including key local views to the site, key rural backdrops, detractors in the setting of the site.

Futher aspect of the WHS settting are also presented and recorded clearly. The process of reading related articles and site anlysis helps me to understand the historical relationship between the site and surrounding buildings and develop a sense of how the city looks like, especially at a time where I have no chance to get there in person.

As a village which is listed as a heritage site by UNESCO and ranked with the most famous heritage sites in the world and a good place to live, it is important to know about its historical development, future conservation and perservation plan before moving into my own individual project . Project framing helps me to knows more about Saltaire in various aspect and helps me to identify key issues affecting the site and therefore to set up a framwork and try to think aboutt how those issues will be addressed .

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Facing demolition

1980s Saltaire

A period of uncertainty and doubt

Salts Mill was to be considered as “the centerpiece – indeed the raison d’être – of Sir Titus Salt’s world famous model village”. In spite of its significance, there were no definite redevelopment plans when Salts Mill ceased its production in February 1986.

There were already redundant mills all over the country which were becoming derelict and facing demolition. Not every single industrial building could be saved, and those that remained standing would have to be given a new relevant purpose in order to survive.

A 'Ghost Village' A cultural and heritage-led regeneration

In the 1980s, the future of Saltaire’s main mill was uncertain. According to a local journalist, Saltaire seemed to be a “ghost village” in the early 1980s, when the demise of industry was becoming inevitable. The local community and authorities had to start thinking about an alternative economy.

The rebirth of Salts Mill in 1987 is attributable to a visionary called Jonathan Silver. The local entrepreneur who bought the mill embarked on a journey of cultural and heritage-led regeneration, which helped kick-start the revival of the Saltaire conservation area, which was designated in 1971 by focusing on turning Salt's Mill as an art museum for David Hockney's work instead of focusing on the textile past.

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The boundary

Connecting the Tangibles with the Intangibles

Victoria Hall | Dance and Music Keeping the Site intact

Salts Mill | Visual Arts

The World Heritage Site Boundary coincides with the extent of Titus Salt's original development.An intensive programme of sensitive rehabilitation and conservation of the entire complex has meant its attributes: -form and design -materials and substance -function (in terms of a living community)...continue to thrive and express its outstanding universal value

Instead of dwelling on Salts Mill’s past, Silver chose to renew its purpose by inserting contemporary art into this former space of industrial production, which became a place of cultural consumption. The mill would thus have the potential to attract a larger audience than if it had been converted into an industrial museum. However, the original layout of the mill was preserved as much as possible as its vast open space was particularly suited to the opening of an art gallery, which has been exhibiting the works of Bradford-born artist David Hockney since 1987.

Day of Dance - An annual fundraising event for Yorkshire CND. The ever-popular community event features over 30 types of dances over four timeslots throughout the day, with modern crazes paired up with some timeless classics.

Saltaire Live - Since its emergence, it has allowed Saltaire to be a major folk music venue.

It took place back in 2003, and over the years many of the top folk bands, particularly those of the Celtic variety, have appeared at Victoria Hall, including Bellowhead, Dervish, Show of Hands, and Altan.

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The Whole Site | Street Life To celebrate Saltaire's heritage, an annual festival takes place organised by local people to turn this part of the Bradford district into a tourist attraction.

Activities - History Trail 'Shoppers in Saltaire are being urged to turn history detectives to help uncover the stories behind shops in the world heritage site.'

Exhibitions - 'An exhibition of fashion inspired by historic Yorkshire clothing and Bradford’s textile heritage has opened at Salts Mill...'

Workshops - 'Fern Place BD18 4HB: A History of Gin. A talk of around 45 minutes linking the creation of gin to its popularity today.'

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Current progressive conservation works

The potential harm of modern development

Appendix 7 'The immediate surroundings of the World Heritage Site contribute significantly to its visual setting, its ambience and character. The immediate setting has been analysed and divided into a series of zones with distinctive land-use types and building forms shown in appendix 7.

'The immediate surroundings of the World Heritage Site contribute significantly to its visual setting, its ambience and character. The immediate setting has been analysed and divided into a series of zones with distinctive land-use types and building forms shown above.

Disparity Out of the 11 zones, 7 have problems that degrade or can potentially degrade the site's settings. Most of the harm is characterised by modern development that do not respect the site's fabric with its architecture or the lack of care towards replicating the Site's fabric. (Challenge AAP)

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Map 1 | Buildings / Spaces that follow the progressive conservation theory along with what they have done to achieve this

Map 2 | Buildings / Spaces that need more work done to achieve the Progressive Conservation theory

1 Salt's Mill 2 New Mill

9 River Aire 10 Leeds-Liverpool Canal

3 The Dining Room 4 Railway Station

5 Victoria Hall 6 The School

7 Methodist Church 8 The Hospital

11 Congregation Church 12 The houses

13 The Almshouses 14 The Wash House

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Elevation of (potential) restored Factory

Existing Salt's Mill

When reading into critical heritage debates more carefully, we became aware that maintaining heritage has significant limitations and can lead to difficulties in the future. A key point to come of this research is choosing to maintain the intangibles of a space, such as the spirit, atmosphere and history; rather than the tangibles.

School and Church as preserved potential sites amongst a regenerated Mill.

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This map presents issues of physical conservation in more detail, such as the loss of specific details of buildings and vacancy of building which will have to be managed to retain these features to their original standard.

Section of (potential) restored Factory

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Design option 2 Harmonisation between the past, present and future

Design option 1 Embracing its original identity

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

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

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

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

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

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Design option 4 Design option 3 Using the arts to establish a new heritage for Saltaire

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

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

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

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

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

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

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• ••

nature typical of rural environments.

Traffic would move along avenues extending along the radii and concentric boulevards.

At the centre of the city would lay a garden ringed with the civic and cultural complex including theincity During his lifetime Letchworth, Brentham Garden Suburb and Welwyn Garden City were built or near hall, a concert hall, museum, theatre, library, hospital.

London according to Howard’s concept andand many other garden cities inspired T h e by G ahis r dmodel e n Chave i t y since Six broad avenues would radiate from this centre. been builtmain all over the world.

Background

• • Concentric to this urban core would be a residential area, and then, at the outer edge, industry.

• The garden city movement is a method of urban planning in which self-contained communities are surrounded by "greenbelts", containing proportionate areas of residences, industry, and agriculture.

• Traffic would move along avenues extending along the radii and concentric• boulevards.

The idea was initiated in 1898 by Ebenezer Howard Aims • During his lifetime Letchworth, Brentham Garden Suburb and Welwyn Garden City were built in or near Set up • Improve the quality of urban life, which had become marred by overcrowding anda series congestion due tothat would combine urban life with access to • Howard planned of small cities of 32,000 people London according to Howard’s concept and many other garden cities inspired by his model have since nature typical of rural environments. uncontrolled growth • At the centre of the city would lay a garden ringed with the civic and cultural complex including the city been built all over the since world.the Industrial Revolution. hall, a concert hall, museum, theatre, library, and hospital.

ECO-ASSEMBLAGE

• Address the related problems of rural depopulation and the runaway growth ofmain towns and cities • Six broad avenues would radiate from this centre.

• Concentric to this urban core would be a residential area, and then, at the outer edge, industry.

•Aims Capture the primary benefits of a countryside environment and a city environment while avoiding the • Traffic would move along avenues extending along the radii and concentric boulevards.

• During his lifetime Letchworth, Brentham Garden Suburb and Welwyn Garden City were built in or near presented by both.

• disadvantages Improve the quality of urban life, which had become marred by overcrowding and congestion due toother garden cities inspired by his model have since London according to Howard’s concept and many • •

been built all over the world. uncontrolled growth since the Industrial Revolution.

Aims Address the related problems of rural depopulation and the runaway growth of towns and cities • Improve the quality of urban life, which had become marred by overcrowding and congestion due to uncontrolled growth since the Industrial Revolution.

Capture the primary benefits of a countryside environment and a city environment while avoiding the • Address the related problems of rural depopulation and the runaway growth of towns and cities • Capture the primary benefits of a countryside environment and a city environment while avoiding the disadvantages presented by both. disadvantages presented by both.

TRANSPORT LINKS

PREVAILING WINDS (ZONING)

GREEN BELT

ROADS

Excellent transport links between the main citys around.

Zoning allows the prevailing winds to take fumes from the mills away from the residential areas.

The green belt gives locals the ability for lesure and activities.

The main structures are located on the main road which allows the residential roads to be less busy.

A key part to the porcess of milling is water.

Air quality is increased.

The green belt allows views in and out of Saltaire.

Shows the street widths being relatively close to that of the main road.

Air quality is increased.

Notes (1851) Saltaires construction started (1867) Voting was extended to the working class (1870) Urban local authorities were responsible for sanitation wellbeing.

This then lead to an increase in street widths, increase in natural light, air quality, space and less overcrowding.

(1902) Ebenezer Howard (garden cities) -excelent train access -local services -good lives for all classes

The green belt allows space to reduce overcrowding.

KEY Main structures Residential buildings Green land River and canal Main road Residential roads Railway line

(1909) Act for ‘town planning’ in conjunction with the environment (1944) Abercrombe planned for london and its suburbs to be integrated for a better community and services.

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Current debate about the urban planning of Saltaire -The evolution of utopian vision/idealism. Model town vision VS modern town planning -The regeneration/renovation of the historic town infrastructures and rules -The ongoing stewardship of the model settlements and the participation of different stakeholders -The possible dimensions of urban sustainability (e.g. it does not include economic aspect but also other changing circumstances such as aesthetic and building quality, historic significance for revitalization and continuing use)

The way that the issue manifest itself in Saltaire Urban governance manifest itself in Saltaire that even the original economic base is removed from the village, sustainable regeneration of the area save it from dereliction(renovation by private owners, support from government in legalisation, and civil society’s as driving force in site protection) Saltaire manifests itself from Salt’s ideal vision of model village for dealing with rapid urbanisation in the industrial society focusing on well-being.

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Weakness and Strengthen of Saltaire in urban planning

The buildings in Saltaire are based around the Italianate architectural style

Strengths: 1.The retaining of historic elements in form of landscape, views and architectural style in most part of the WHS (only 1% of original site was demolished) 2.The keeping of Salt’s vision in the town’s wellbeing development such as education and building’s function. (mill as digital technology centre, offices in luxury apartment in the New Mill) 3.Silver managed to save the site through a regeneration project that entailed the revival of historic buildings (like the mill and the church), the revitalisation of economic prosperity (through tourism, business),the reawakening of what is possible (through the repurposed Salts Mill) 4. The restrictions in preserving the area has inspired flexible planning (shaping the internal walls for spaces instead taking the entire building down)

Weaknesses: Italianate Architecture Key Characteristics:

1.Limitation of further development possibilities (efficiency of construction, modernisation)

-Normally 2 or 3 stories -Overhanging eaves -Tall, narrow windows (mostly on commercial and public buildings) -Arched or curved tops of windows -An occasional square cupola or tower

2.Restricted choice of materials and architecture style 3.The effects on local community and views due to increased amount of visitors to site (interrupting views with parkings)

Osborne House shares many architectural similarities to the buildings in Saltaire, for example the curved windows, overhanging eaves, and square tower.

Street VS Building height proportion

Recommendations (Framework of Intervention) for now + future?

-Emphasizing on Salt’s vision in the continuing development of the town to promote a healthy and sustainable environment for the community.

Taking inspiration from the vibrant community in the past and exploring creative approaches as breakthroughs to restrictions.

-Re-designing the type and space of economic and social activity to meet demands of the environment and the future.

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Albert Terrace (1851-61) Edward Street (1854) Fanny Street (1854) Herbert Street (1854) William Henry Street (1854) Titus Street (1854) George Street (1854)

Mary Street (1857) Helen Street (1857) Ada Street (1857) Train Station (1856) Congregational Church (1859) Bath and Wash House (1863)

Lower School Street (1868) Upper School Street (1868) Lockwood Street (1868) New Mill (1868) Methodist Chapel (1868) Hospital (1868) The Institute/ Victoria Hall (1871) School (1868) Almshouses (1868)

Salts Mill built (1851-53)

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From thematical site analysis to individual design brief

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Reflection After the project framing, I have start developing my own individual project based on the study that our group generates. I have select a site which is in a distance to the main road of Saltaire and a place where a lot of existing health and well-being facilities sits in its surroundings.

At the very beginning, I have spend a lot of time in thinking how could the building sits on site, as the selected site is quite open, there may have a lot of potential in terms of their position on site. I then start thinking about the size of the programme in the building and how they relates to each other by drawing bubble diagram and try to develop my idea from a 2D format to 3D. My design keep changing every single week because I failed to create connectiion between my building and its context and think about how the landscape infrastructure can be link with my building. However, through testing and advice from my studio tutor, I start finding a way to solve the problem that I have faced and my deesign is being optimized after serval weeks.

Section 3 - Project Testing

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Development of Sports in Saltaire

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I was first insiped by SANNA's in Grace Farm, the design aims to let users to experience Nature, to draw people into this beautiful landscape and to enhance one's experience of nature through all five senses. I quite like the way how the building sit on site, the organic form response to the beautiful context, the walkways, courtyards and glasswrapped volumes that form beneath the roof are remarkably transparent and invite people to engage with the expansive natural surroundings.

So, I first try to design an organic form and test out how can it works on site. However, I found that an organic form didn't fit in the landscape, as the slope of the selected site is gentle, it will not work like the building in Grace Farm. Therefore, I tried to change the massing into' a few boxes'.

After the thematic site analysis, a project brief with clear spatial division is drawn. As many of the outdoor health and well-being facilities, such as tennis court, bowling green, cricket court etc. has aready set up in the surrounding of site 3. Besides providing internal space for sport uses under different weather condition ,the sports & leisure centre is aimed to provided an exhibition space for helding sports-related events.

Therefore the sports hall is designed to be the largest room of the building,

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Bubble diagram showing how different programme links together and the proposed ciculation

I have think about to seperate the rooms of the Sports & Leisure Centre into two parts on both side of the River Aire and linked them with the jogging trail. However, I think it does not work well because the circulation of the building will not be smooth and fluence.

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Landscape design is quite important in this project, therefore I have try to design the external area of the Sports & Leisure Centre.

I have think about the user experience of the courtyard space. For example, benches are placed under vegetation cover, trees can provide shading for people who seats on that area. Bicycle parking are provided for people who access the site by cycling. Ramps are provided which is disability friendly.

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DESIGN PROCESS SUMMARY

After thinking the massing of the building, I start to think about how the jogging trail can link with the Sports & Leisure Centre. The jogging trail is designed to placed where passerby can watch the matches helding at the sports hall on the ground floor and the tennis court on the eastern side.

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Reflection Besides acting as a leisure centre for delivering sports education ,the building is like a landscape infrastructure and bridging system where provide access between the existing site to the Robert's Park on the northen sde because what I have got from the site analysis, I found that there are only limited public access to that particular area, therefore to maximize the use of the sports and leisure centre, the bridging system is designed to connect the either side of River Aire, this helps increasing the popuation flow of that particular area. To connect with the concept of heathy body and healthy mind, it acts more than a bridge, it can be define as a jogging trail or an observation deck.

As my project is more like a landscape infrastructure project, the Sports & Leisure Centre shoud not just sit on the site insensitively. Landscape design and urban planning skills is needed to optimized the user experience. To me, it is quite a big challenge to design such a large scale building sitting on site and think about how to locate the buiding in order to create connectivity between different space. I have to consider where the sitting should be placed, how can disability access to the site etc. I think it is a great opportunities for me to think more about how buildings designed to response the site and how important external design is.

Section 4 - Project Synthesis

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The facade of the Sports & Leisure Centre is cladded by Siberian larch wood which is one of the hardest and the most durable commercial softwood.

A large opening covered with glass is designed to showcase sports games to passerby.

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SECTION BB

1:100

The 3D section below shows the relationship between the sports centre and the context. The jogging trail / observation deck is located right next to the tennis court which allows users to watch the matches as well as the historical landmark of Saltaire such as the Saltaire URC Church and Salts Mill.

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Programme Division Move on to the first floor, it accomodates an exhibition hall for promoting Saltaire sports hall for promoting Saltaire sports history or it can act as a space for sports events promotion etc. A cafe with both indoor and outdoor catering space is on their left. Once they leave the exhibition hall, there will be an outdoor courtyard space or informal breakout space which connect with the jogging trail can also enter to the leisure centre at some point.

When people come into the building from the main entrance, the reception area is located right in front of them, the only staircase is placed at the core of the building, where just next to the entrance. A standard four court sports hall is on the left handside, which is also the biggest programme in this project. The storage room and first-aid is near the reception area and at a centre position of the building because of privacy and convenience. Two multi purpose activity room is located at the edge of the building which people can access by passing through a corridor with large openings framed views of the Leeds and Liverpoool canal. The second entrance is also located at that side for people who access to the site from behind.

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SUMMARY OF THE DESIGN OF THE BUILDING

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The jogging trail extend and connect to the rive bank of the Leeds - Liverpool Canal. The trail is connected with the Sport & Leisure Centre on the upper floor. People using the trail can enter to the building without using either one of the entrance on the ground floor.

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Site design External space is developed with the completion of Saltaire Sports & Leisure Centre. Public space and sitting is designed to provide opportunities for people to rest their feets and to social with others. To optimize the accessibility (included people with disability) of the sports centre ( from the Leeds and Liverpool Canal), ramps and stairs is also provided.

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Human Habitaton

Collage of the footbridge The collage shows the concept of how the footbridge sit on the site and link with the river bank of River Aire and also the Robert's Park.

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Axonometric technical diagram The Sports & Leisure Centre is constructed by CLT structre because of its sustainable value, with this building method, the disadvantage caused to the vegetation cover during construction process will be minimised. Different with steel structure, CLT structure requires fewer foundation.

Axonometric projection showing the structure of double surface spline

Detail of metall bracket Reinforced angle bracket has been especially developed to fix CLT panels on wood or concrete support. It has great versatility and highly perform for horizontal and vertical loads directions.

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Biblography Amatia, Marco, Freestone, Robert, Robertson, Sarah: ““Learning the city”: Patrick Geddes, exhibitions, and communicating planning ideas”, Landscape and Urban Planning,166 (Sept 2017) 27-36, DOI: 10.1016/j.landurbplan.2017.07.007 <PDF> Anish Kapoor (MoCAUP) Burns, Peter, Cathy Palmer & Jo-Anne Lester, ‘Introduction’, in Tourism and Visual City of Bradford MDC, Saltaire World Heritage Site Management Plan 2014 Corner, James, ‘Chapter 1.12, The Agency of Mapping: Speculation, Critique and Invention’, in The Map Reader: Theories of Mapping Practice and Cartographic Representation, eds. Martin Dodge, Ron Kitchin & Chris Perkins, London: John Wiley & Sons, 2011, pp. 89-101. <PDF> Culture, Vol 1, eds. P Burns, C Palmer and J-A Lester, Oxfordshire: CABI, 2010, pp xv-xxi. <PDF> + Table of Contents x 2, Tourism and Visual Culture, Vol 1 and 2, Oxfordshire: CABI, 2010. <PDF> Foster, Hal, ed. Vision and Visuality, Seattle: Bay Press, 1988. [Level 4; 700.1 VIS] Jay, Martin, ‘Scopic Regime of Modernity’, Vision and Visuality, ed. Hal Foster, Seattle: Bay Press, 1988, pp. 3-23.

Heathcott, Joseph, ‘Curating the City: Challenges for Historic Preservation in the Twenty-First Century’, Journal of Planning History, Vol 5, No 1 (Feb 2006) 75-83. <PDF> Medium <https://medium.com/@designforsustainability/design-and-planning-for-peoplein-place-sir-patrick-geddes-18541932-and-the-emergence-of-2efa4886317e> (Accessed 2nd October 2020). <PDF> Moir, James, ‘Seeing the Sites: Tourism as Perceptual Experience’, in Tourism and Visual Culture, Vol 1, eds. P Burns, C Palmer and J-A Lester, Oxfordshire: CABI, 2010, pp 165-169. <PDF> Sage Publications, 1990. [Level 3; 338.4791 URRWinter, Tim & Emma Waterton, ‘Editorial: Critical Heritage Studies’, International Journal of Heritage Studies, Vol 19, No 6 (2013) 529-531. <PDF>

Section 5- Biblography

Tadao Ando: Endeavors, Fosun Foundation Shanghai Wells, Karen, ‘The Material and Visual Cultures of Cities’, Space and Culture, Vol. 10, No. 2 (May 2007) 136-144. <PDF> Urry, John and Jonas Larsen, The Tourist Gaze 3.0, London: Sage, 2011; ‘C1, Theories’ and ‘C7, Vision and Photography’, pp 14-36 and 129-153. <PDF> Urry, John, The Tourist Gaze: Leisure and Travel in Contemporary Societies, London: Young, Robert, ‘“Free cities and regions”—Patrick Geddes’s theory of planning’,Landscape and Urban Planning, 166 (Sept 2017) 27-36, DOI: 10.1016/j.landurbplan.2017.07.007 <PDF> Wahl, Christian, ‘Design and Planning for People in Place: Sir Patrick Geddes (1854-1932) and the Emergence of Ecological Planning, Ecological Design and Bioregionalism’,

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STUDIO 8 CURATING THE CITY GMIT Furniture College Letterfrack, Ireland - O’Donnell + Tuomey Ching Yee Jane Li Jamie Ryan Bone Karolina Lutterova Yuen Man Cheng

Section 6 - Appendix (Case study of GMIT Letterfrack)

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Q1, How does the case study elaborate on its visual, spatial and interactive relationships to its context, landmarks and landscape(s)?

GMIT Furniture College Letterfrack, Ireland O’Donnell + Tuomey Located in Letterfrack, Ireland is the GMIT Furniture college. Letterfrack is a small village located on the West Coast of Ireland with a small popultion.

INTRODUCTION

The Architects were tasked with renovating college to fit better with its surroundings. This is due to the college having a bad repuation for itself as it was seen as non-inviting and did not provide a positive feeling.

T

he GMIT Furniture College, located in Letterfrack, Ireland, is a educational institution for furniture and technology located on a significant landscape of the Letterfrack village. Designed by O’Donnell + Tuomey, it was formerly an industrial school with an unforgettable history. By retain the past elements and progressing towards the future, the new face given to the building has provided improvements and careful considertations on different aspects.

This report will introduce the crucial elements on the site context, history, the architects’ theoretical position while comparing with other practices, investigating how the furniture has transformed the site into an dominant educational resource in the 21st century. Through researching, it also provides a better understanding on our own studio themes of heritage and environmental issues.

A1

With Letterfrack being in such a secluded area, the Architects did not have to give so much consid-

On this page are diagrams showing the topography and lanscape of the site. In the centre is where the campus of the College is located, where massing of the main buildings of the campus have been modelled. As can be seen, when looking west on the site, a backdrop of the lanscape is not visible due. This is due to the landscape levelling off to sea level meeting the coast. When looking East on the site, the hilly landscape is visible and dominates the view of the campus. This is why the eastern view was one of the most important for the Architect as this was the view affecting the site they had to work with the most. This is a similar case with the southern view, but the effect is not as dramatic as the one caused by the East. The northern view again does cause impact the Architects design as the landscape gradually increases in height and does not directly effect the site like the view from the East. This can be seen in the Section and Elevation on in the drawings below.

Below is a West Site Section and an East Site Elevation. These too also show the landscape and context in relation to the site.

The section is cut through two of the buildings on site. The elevation shows how dominant the landscape is on the site and how the new buildings have been shaped to corrospond to this.

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eration for neighbouring landmarks but mainly its relationship to context and the landscape. As the landscape was the main focus, it was important for O’Donnel + Tuomey to provide their project with a strong relationship to this. They did this by firstly designing two new buildings to be added to the site making up two workshops. The remaining buildings were to remain but to be renovated to provide a new aesthetic. A variety of Architectual skills were used to create this new aesthetic which are explored in this section of the booklet.

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The site was close to demolition.

With the site providing such negative opinions and reminiscing on a poor area that was Letterfrack. O’Donnell and Tuomey saw potential in the site. These are both Architects that work well with providing a site with a new aesthetic. When officials came to the conclusion that the site was to remain and not be demolished, rules were set to what could and could not be done to the site. This was to ensure that

A6 West Site Section

the history and heritage of the site was preserved. The Architects worked closely with officials of the area to agree what changes would be done to the site to preserve the history but provide a better aesthetic. O’Donnell and Tuomey had the desire to add new buildings to have something linking directly to the site, as well as adding their own touch. Being a very rural area, it was important to not over-haul the area with modern Architecture that would not fit in. O’Donnell and Tuomey were chosen to undertake this as they had proved to be very good at this type of Architcture before.

East Site Elevation

Gmit Furniture College, O’Donnell + Tuomey

Gmit Furniture College, O’Donnell + Tuomey

Jamie Bone

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Jamie Bone

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As part of the renevations required by the client, there was a proposal for two new buildings to add to the site. This made it easier for the Architects to fit the brief as they could start from fresh. Therefore, they created two matching buildings that almost mirrored the shape of the landscape. they took the varying edges to replicate the varied contours present in the context. This idea is shown by this simple massing diagram, showing the resemblence. Then the image to the right shows this idea in practice.

The newly designed building can be seen at the right side of the image and shows the relevance this shape has to the landscape.

TOWARDS A PROGRESSIVE CONSERVATION AND EMBODIED READING

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‘There had been no intervention on the site for 100 years…We had to find some way of owning it that would protect it for the future.’

A10

The renovations can be seen in parts of the section and elevation drawn. Although not they’ve not been coloured, you are able to see where the Irish Green Oak has been used. As said above, this is done to add more relevance to the site of the surroundings and this is done throughout the site.

The next way the Architect linked the building to the site was its exterior finish. You can see for the rest of the site, the buildings are constructed by brick finished in a light paint. The issue with this is that it does not relate to the surroudning site context. Therefore, O’Donnell and Tuomey created a new aesthetic by using Irish green oak as a finishing material for the exterior of the building, which came with many advantages. Importantly, the colour matched the landscape and the colour of the wood would age and weather in time with the landscape.

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etterfrack was a poor and neglected area until the James and Mary Ellis settled there in 1849 and founded the town as a relief to the horrors visited on the locality during the Famine. Under Ellis’ goverance, the land had became a village with better living condition and vibrant social and educational development. However, when James Ellis’ health failed in 1857, he sold the land to John Hall, an advocate of the Irish Church Mission Society. Later in 1882, the Christian Brothers were asked by the Archbishop of Tuam to establish an industrial school at the site. The school opened in 1887, forming three sides of a square of 50 metres each direction, and was composed of three dormitories, aband room, five classrooms, kitchen, refectory, washroom and laundry.

The institution was built as part of a nationwide program of penal reform, providing skills training and discipline for children from the urban slums. The harshness and cruelty that became endemic in this system of incarceration is one of the social scandals of modern Irish society.

A13

As well as the addition of two new buildings, the remaining site had plans to be renovated, both on the interior and exterior. Although there was little flexibility for the shape of the existing buildings to be changed, the idea was to change the appearance of the facades. By doing this, it allowed users of the college to have a more inviting experience of the site with warmer materials to be used such as wood rather than cold traditional methods such as Brick.

Jamie Bone

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A14

The two images above are taken at different times of the year at different times of the day. They are both great examples of how the new structures react with the landscape, allowing a new and modern building to blend in well with a historic site. This was the Architects full intention.

Gmit Furniture College, O’Donnell + Tuomey

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‘Some buildings have savage histories. Histories that can leave a place in need of a kind of architecture exorcism, a project of redemption. In Letterfrack, life was overshadowed for much of the last century by a repressive industrial school at its heart.’ Since its closure in the 1970s, the village and the institution is being redesigned by the community to secure its future. O’Donnell + Tuomey, the architects who has long connection with Connemara, has look into to the site both practically and emotionally to provide positive conservation of the history in their design and at the same time giving it a modern and forward-looking identity, so that the proposed function and architectural design could combine to transform the outdated 19th century institutional building into an dominant educational resource for the 21st century.

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- Kieran O’Donohue, Director of Connemara West

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CHING YEE JANE LI

CHING YEE JANE LI

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Gmit Furniture College, O’Donnell + Tuomey

The image to the above shows a building on the College campus that has been renovated. The building was pre-exisiting to the site but has been renovated both in and out. Again, Irish Green Oak has been used on the exterior as a means of relating the the building to the surrounding site and context, also shown in the large drawing of the section at the top of this page.

After the reformatory closed in 1974, the Connemara West, a community-owned development organisation in County Galway has bought the site, with an intention to transform the site into a more positive future.

Sheila O’Donnell and John Tuomey, who were appointed to redesign the site, tried to learn more about the landscape forms, textures and colours, and the community’s needs on both practical and emotional aspects. Demolition was an consideration first came up, as the terrible background of the building had to be taken out of the village and be reconstructed, so that its clear and simple spaces could be free from the previous sorrow and allow a more positive and productive future.

However, after a series of public meetings the community thought that the building should be kept, as it was crucial to retain aspects of each different sides of the site’s history.

Nonetheless, the first move was to take away some of the forbidding formality of the school, along with the designs of dramatic view buildings, including the machine hall, furniture restoration hall, library and cafeteria, which are now completed and in use. They formed a second phase of development, a redemptive programme of subtraction for the previous building,

‘We don’t want to leave ghosts in the old building. We have to take the old building with us.’

- Tuomey

In Donnell and Tuomey’s design, the new furniture college for Letterfrack not only created a place for learning, but also a whole context for the story of Letterfrack and its people.

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Fig 1 - A drawing done by Donnell and Tuomey during their visit in Letterfrack, illustrating the view from mountain and their first thoughts of design strategy.

The first noticeable change in the site is the entry into the area. The once rigidly straight path leading from the village to the front door is removed (Fig 2), and the symmetry has been shifted with the axis changing into a curved line in the site, forming a softer, more circuitous approach (Fig 3), the new forecourt upon entry opens up the enclosed form of the courtyard plan, which has effectively helped with changing the atmosphere of at first sight.

On the other hand, the architects were interested in creating aspects of character and atmosphere for buildings in conserving the sense of place and different approaches had been carried out to these senses in the furniture college. They wanted the building to embody the spirit of the endeavor that the people who used the building were involved in, and some of the ways they tried to work with was by considering material, texture and color in buildings. At the same time , the context of Letterfrack had provided a particular opportunity with its significant landscape that the building is situated in.

Besideds, there are also old buildings around the site that have their own character and atmosphere, in order to link and combine them with the new college, the architects not only looked at the forms in the landscape but also at the colors and the textures. For instance, they collected stones and shells on the local beaches, and making them part of the issues to introduce for the definition of the place. They started to work more with materials which are self-colored to relate to the colours and textures of the landscape, for instance a render for the walls of the building which uses the colors of the stones instead of painted, the color comes from sand and the shells are in the aggregate of the concrete as well as the building. Other external materials like Irish green oak andterne coated stainless steel are also used. Having this kind of color and texture has close linkage with the original landscape, it registered the passage of time in that the buildings weather naturally because they’re not painted rand they’re not coated so they change in time (Fig 5).

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CHING YEE JANE LI

CHING YEE JANE LI

YUEN MAN CHENG

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When O’Donnell + Tuomey was selected to represent Ireland at the Venice Architecture Biennale in 2004, they showed the first-phase constructions of the college by installations based on the project. The works they exhibited have great linkage with the current furniture college structural and verbal communication.

The timber structure, the cross-braced frame containing a stairs, the red-ovide steel, the tin shed in the landscape, all these motifs first appeared in the Irish Pavilion.

In response to the theme of Metaporphosis of the biennale, Ireland’s Pavilion was a transformation of the ongoing redevelopment project of the industrial school in the past century, linking with its later incorporation within a community-generated campus, and displaying the story and changes of the institution. The works attempted to tell the story of the past, present and future of the site. From the installation, we can understand the initiative behind the architects’ design for the furniture college, which is not focused only on the architecture of the new Furniture College but also to provide an overview of the history, culture and landscape of Connemara West to provide a progressive conservation of the area.

For instance, the new buildings at Letterfrack stands fofr a reconsideration of the relationship betweeen the former penal institution and the place. Ireland’s Pavilion created elements of the architectural project to introduce characteristics of confinement and release, closed institutions and frameworks for evolution. Principles of form and construction was presented in an abstract form from the built structure of the furniture college, evoking memories of chapels and shrines, lobster pots and the skeletal carcasses of upturned boats.

Open Frame (Fig 7) The timber framed structure of the Machine Hall workshops (Fig 8) was an important principle of building construction in Letterfrack. The Open Frame utilizes similar structural principles, representing an elegant economy, a leaning lattice. In the biennale, the installation of frame is put to work to support three levels of exhibition information (Fig 8); As mentioned by Donnell in Saving Letterfrack, the idea of open frame represents the new buildings, which serves as a deliberate opposition to the Scary House. By calling it the open frame, it means something about the structuring support system that the community project gives in Letterfrack.

Scary House (Fig 9 & 10) A different kind of structure stands in contrast to the Open Frame, displaying a more intimate and complex in respond to the previous form. This smaller building is a representation of the built transformation of the site as an industrial school in the past.

It was made of two layers with one inside the other, offering the character of a lobster pot- it’s easy to get in but it’s not easy to get out, which the architects considered it as a symbolism of the character of the institution. During the construction, the architects had also refered to the form and structure of some early churches in the west of Ireland like the chapel to St. Magdaro. On the other hand, the construction of the frame relates to boat building techniques from the west of ireland for the traditional characters.

Together, these abstract installtion at the exhibition created a forecourt, a point of orientation: the old religious prison as a scary house to be remembered as nightmare of the past with its fearful tilted symmetry, and the open framework of a community college in the wild, opening to endless possibilities, telling the story of an institution transformed.

On the other hand, the tectonic communication of the furniture college has also shows aspects of conserving the history while embracing the future. While demolitation was not carried out for the original site, the architects had worked on various detail aspect to take away the original forbidding formality.

Along with the dramatic view buildingsmachine hall, furniture restoration hall, library and cafeteria- that are now completed and in use, they formulated a second phase of development, a redemptive programme of subtraction for the old building.

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To remove the sorrowful atmosphere of the space while keeping its form, the secretive staircases and gloomy wainscoting were taken out and the mean central porch and the finial crosses were removed, As a symbolic deconstruction, the high windowsills were cut down to floor level so that the building would be as open to its new forecourt and garden and the greeneries as what happened inside it should be opened to the local community.

Donnell and Tuomey also revealed some subtleties of design: a tall rectangular-sectioned chimney rises from boiler houses on the lower level between the two new buildings, to precisely the height of the small chimneys on either end of the old building, and also with same spacing as them, which decentred the formidable symmetry of the old and adjusting it to the new college.

The new library (Fig 14), with a cafeteria below it, was built to take away the gloomy marshalling yard by laying it out up to the glass frontages of the cafeteria as an ‘academic garden’. Besides, Tuomey designed the workshops to lean away from the wind and towards the complex. Leaning towards north allows light to get into the building. Slits of shielded light enters where the roofs change pitch, and internal wall and ceiling lining are sheets of orientated strand board and birchfaced plywood butting together, providing a brighter and warmer space for the interior.

Externally, there are nofascias, soffits and gutters except at the entrances which are protected by short lengths of large, clip-on box guttering, left opened at one end to create a water spout.

At the same time of all these expressive structures, the past character this place is revealed at some point as a conservation of history. For instance the experience of users in the ibrary, where its lid is raised to provide a view at the mountain (Fig 13). Boys who died in the past institution were buried in the hill above, and the design functions as an memorial to the past, letting users past by the remember this place and reflecting its history before moving on.

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Case study in relation to other buildings of its type

YUEN MAN CHENG

RESPONSE TO THE LANDSCAPE AND ENVIRONMENT Centro di Formazione ProfessionaleSSIC / Durisch + Nolli

TIMBER EXPRESSION SSIC centre valley

Lake Maggiore

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The building in relation to its site and surroundings 1.

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Ireland’s Pavilion, Biennale 2004 , VeniceItaly Concepts of ‘Scary House’ and ‘Open Frame’

The centre for vocational training by Durish and Nolli brigs a new function to the tourism dominated area of Lake Maggiore without disrupting its identity and similarly to GMIT furniture college it introduces a different economic model based on knowledge transfer independent from the migration to the area.

The building is built on a site in a valley, which has a very flat character. The building responds by its linearity acting as a membrane beUniform natural light provision tween the rural and urban landscape and its form is very sensitive to the contours of the land. Similarly to the GMIT College it responds to the nature of the undersite by utilising concrete structure for the base of the building since the site is often flooded. Furthermore, position of the building is affected by providing the natural light for the working space. Furthermore it also utilises very distinctive material strategy for the metal cladding, due to which the building appears undisrupBuildings concrete platform as means of flood prevention tive in its context. In terms of sustainability, wood might be a greener alternative, however, the programme of the vocational training centre involves activities related to metal cutting and joinery, which might be a potential risk to fire safety.

O’Donnell and Tuomey / Sandford Park School, Dublin

Drawing from the Exhibition of the Irish Pavilion in the Venice Bienale, where O’Donnel and Tuomey demonstrated and conceptualised their use of timber form as a means of expression, this approach might be characterised as an important feature of the building type in GMIT furniture college. The use of timber in a similar form as in the GMIT furniture college can be observed in other projects of O’Donnell and Tuomey as well. The way they approach the traditional material relating to the context of the site is more expressive producing a more contemporary effect as well as structural capacity. The timber acts as an evocative element that refers to the site context and history of the traditional building, however it is also means of expression of the new challenging form. This approach to the form of the structure can be observed in the Sandford Park School. Other examples of structural timber trusses communicating aesthetic value might be seen in Alvar Aalto’s Säynätsalo Town Hall.

Säynätsalo Town Hall / Alvar Aalto

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GMIT workshop facilities

Karolina Lutterova

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WORKSHOP + TRAINING FACILITY Programme + response

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Building blending in with the landscape

Workshop facilities

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Classrooms

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This case study relates to the programme of the GMIT college. It is a centre for vocational training accommodating metal workshop, woodworking workshop and building technology workshop and classrooms for other teaching activity.

While this building utilises steel beams to support the large span needed over the workshop facility without additional vertical supports (see fig.), GMIT college, in contrast, utilises more complex timber frame construction (see fig.).

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SSIC workshop facilities

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ADDITION + REPURPOSING OF A HISTORICAL BUILDING

PLACE AND MEMORY

Corte Bertesina / Traverso-VighyArchitetti

Blakstad Haffner Arkitekter / Memorial And Learning Centre, Utoya

This case study is a project encompassing environmental, social and agricultural values combining various pr grammes such as an agricultural food processing centre and shop, a bed and breakfast, a visitor’s centre for educational activities and residences. It is also a refurbishment located in a rural area near Viczenza, Italy putting emphasis on the interaction with the landscape as well as historical context.

The choice of this precedent wasinspired by the relation of the repurposing of the old strucutre and creating new functions within it. This reconstruction integrates the new structures more deeply into the original one rather than being a pure addition to the existing building volume (see fig. ). The components used in the addition are mostly cross laminated beams and pannels, forming components inserted into the existing structure. However, the building also works with other materials deeply rooted in the context of the place such as the local stone.

In the reconstruction of the historical building there was also a consideration for the outdoor space in the immediate proximity of the building cultivating the land and preserving the forest which is a nesting ground for a variety of wildlife. The buildings work in the views of the fields and forests. Furthermore there is also a strong emphasis on the space of the coutryar (see fig. ).

Designing with memory.

Re-establishing values of site.

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Integration of the new structural elements in the original structure

Question 1

The building creates a strategy for the re-establishing of a political camp on the island, after the terrorist attacks on Utøya 22 July 2011.

The ambition was to reflect and reinforce values such as commitment, solidarity, diversity and democracy, both through form and function.

This has been done by establishing a small village with small streets, belfry and a town square on the very top of the island. The village consists of many small units that together ad up to a bigger community.

One of the guiding principles of the design that is promoting values of democracy was that violence, threats and hate can only be met by knowledge, debate and tolerance, both as individuals and as a society.

The building deals with a very complicated footprint of the past and preservation of the values. In terms of spatial demonstration of this it Memorial and the rest of the village addresses the new buidlding of the memorial site erected in the place as an isolated lement which differs from the rest of the camp (see fig. ). It accommodates the ruins of the original building that stood in that place on the site. The zone between the 69 inner pillars and outer fence creates a cloister. The outer fencing shields the interior of the preserved part of the building. They filter the entry into the building through a charged spatial sequence. The cloister is open between each pillar in the fence for visibility and transparency. But it is also a fence with direction and reticence and clear entries and exits, one feels trapped in the building’s symbolic constituents. Openings to the outside are constant but placed irregularly, they are difficult to find immediately.

It cold be seen as another way of addressing conservation and reemberance of the past while at the same time liberating the site of the negative stigma and focusing on the meaning of the values. The structure honours the ones lost on 22.7.11. through telling their stories. This memory will forever be part of Utøyas identity, and will be important 21. also for future generations. The design tries to allow them to create The building complex on the site The original building given a new new, positive memories, so that the history of the place can continue. meaning as a memorial

original structure addition courtyard

Buildign addition strategy in GMIT furniture college

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LIST OF FIGURES:

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Corte Bertesina in relation to the surrounding vegetation

original structure addition

A1 - Aerial view of Letterfrack Furniture College. Available at: https://discover.digitalglobe.com/ A2 - General photograph showing the sites new structures on site. Available at: https://odonnell-tuomey.ie/index. php/furniture-college-letterfrack A3 - South facing screenshot of massing site model. By author, Jamie Bone A4 - East facing screenshot of masssing site model. By author, Jamie Bone A5 - Overall screenshot of massing site model. By author, Jamie Bone A6 - West facing site section. By author, Jamie Bone A7 - East facing Elevation. By author, Jamie Bone A8 - Massing drawing showing shape of new buildings in relationship to the landscape. By author, Jamie Bone A9 - Overall site photograph showing site in relation to its surroundings. Available at: https://odonnell-tuomey.ie/ index.php/furniture-college-letterfrack A10 - Photograph showing colour of building in relation to its surroundings: Available at: https://odonnell-tuomey. ie/ index.php/furniture-college-letterfrack A11 - Photograph showing colour of building in relation to its surroundings: Available at: https://odonnell-tuomey. ie/ index.php/furniture-college-letterfrack A12 - Zoomed in section drawing of the site showing facade detail to relate to surrounding context. By author, Jamie Bone A13 - Zoomed in section drawing of the site showing facade detail to relate to surrounding context. By author, Jamie Bone

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A14 - Photograph showing how the facade of the building on site has been designed to reflect and fit into its surroundings. Available at: https://www.architectureattheedge.com/sunday/2017/9/15/gmit-letterfrack A15 - Sketch by Architects O’Donnell + Tuomey shoing their proposed renovations to site. Available at: https:// odonnell-tuomey.ie/index.php/furniture-college-letterfrack Question 2 20.

Fig 1- A drawing of design strategy by O’donnell and Tuomey. Available at: https://odonnell-tuomey.ie/index.php/ furniture-college-letterfrack Fig 2- Former entrance path of the institution. Available at: https://uk-database.net/2012/05/09/st-josephs-industrial-school-letterfrack/ Fig 3- Current entrance path of the furniture college. Available at: https://odonnell-tuomey.ie/index.php/furniture-college-letterfrack Fig 4- A view of the site and landscape. Available at: https://odonnell-tuomey.ie/index.php/furniture-college-letterfrack Fig 5- Drawings of the sense of landscape. Available at: O’Donnell + Tuomey: contemporary crafts, p.39 Fig 6- Exterior materials of the college. Available at: https://odonnell-tuomey.ie/index.php/furniture-college-letterfrack Fig 7- Interior of the machine hall. Available at: https://odonnell-tuomey.ie/index.php/furniture-college-letterfrack Fig 8- Concept of the machine hall. Available at: O’Donnell + Tuomey: contemporary crafts, p.42 Fig 9- The Open Frame model at Venice Architecture Biennale. Available at: https://odonnell-tuomey.ie/index. php?p=irelands-pavilion Fig 10- Concept of the open frame model exhibition. Available at: https://odonnell-tuomey.ie/index.php?p=irelands-pavilion Fig 11- The Scary House model at Venice Architecture Biennale. Available at:https://odonnell-tuomey.ie/index. php?p=irelands-pavilion Fig 12- Drawings of the Scary House structure. Available at: https://odonnell-tuomey.ie/index.php?p=irelands-pavilion Fig 13- A view of the furniture college. Available at: O’Donnell + Tuomey: contemporary crafts, p.41 Fig 14- View from the library to the mountain. Available at: O’Donnell + Tuomey: contemporary crafts, p.42 Fig 15- Library’s lid structure. Available at: https://www.gettyimages.co.uk/photos/letterfrack-furniture-college?phrase=letterfrack%20furniture%20college&sort=best

Buildign addition strategy in Corte Bertesina 23.

17.

24.

original structure addition

22.

Karolina Lutterova

The interaction of the two buildings 18.

Plan of the memorial building

Layering of the building envelope to emphasise the experience of the place

Question 3 p.1 Stella O’donnell+ John Tuomey, https://odonnell-tuomey.ie/team/john-tuomey Initial Sketch of the GMIT Furniture College, https://odonnell-tuomey.ie/furniture-college-letterfrack p.2 Layout of the former industrial school ,http://www.childabusecommission.ie/rpt/01-08.php Letterfrack Industrial School, http://www.childabusecommission.ie/rpt/pdfs/CICA-VOL1-08.PDF New design of the entrance, https://www.gmit.ie/sites/default/files/public/furniture/docs/gmit-letterfrack-newsletter-2019-2020.pdf Comission to inquire into Child Abuse, http://www.childabusecommission.ie/rpt/01-07.php St Joseph’s Industrial School,https://katekelsen.com/2018/03/15/ireland-31-days-31-pictures-day-15-letterfrack/ Initial Sketch of the GMIT Furniture College by O’donnell + Tuomey, https://odonnell-tuomey.ie/furniture-college-letterfrack GMIT Furniture College Letterfrack, https://odonnell-tuomey.ie/index.php/furniture-college-letterfrack p.3 Letterfrack college and its landscape, https://odonnell-tuomey.ie/index.php/furniture-college-letterfrack Leicester University engineering building, https://www.e-architect.com/england/university-leicester-engineering-department Steinberg Heerrmann hat factory at Luckenwalde, https://archinect.com/news/article/132034420/let-j-rgenmayer-h-help-plan-your-nexttrip-to-berlin-with-his-own-travel-tips Collage by author Irish Pavilion, http://odonnell-tuomey.ie/irish-pavilion Sketch of Blackwood Golf Centre, https://odonnell-tuomey.ie/index.php/blackwood-golf-centre Model of GMIT Furniture College Letterfrack,https://odonnell-tuomey.ie/furniture-college-letterfrack p.4 Interior of the machine hall, https://www.gettyimages.hk/%E5%9C%96%E7%89%87/letterfrack-furniture-college?phrase=letterfrack%20 furniture%20college&sort=mostpopular external view of machine hall, https://www.gettyimages.hk/%E5%9C%96%E7%89%87/letterfrack-furniturecollege?phrase=letterfrack%20furniture%20college&sort=mostpopular Plan of the Letterfrack College, https://s3-eu-west-1.amazonaws.com/odonnell-tuomey-static/publications/2002IARLetterfrack.pdf Section of analysis of the machine hall by author Question 4 1. ‘Irelands Pavilion— O’Donnell + Tuomey’ <https://s3-eu-west-1.amazonaws.com/odonnell-tuomey-static/ projects/_w1800/ A093_Irelands_Pavilion_02_Photo.jpg> [accessed 14 December 2020].

2. ‘Irelands Pavilion— O’Donnell + Tuomey’ <https://s3-eu-west-1.amazonaws.com/odonnell-tuomey-static/ projects/_w1800/ A093_Irelands_Pavilion_04_Photo.jpg> [accessed 14 December 2020].

3. ‘Sandford Park School — O’Donnell + Tuomey’ <https://s3-eu-west-1.amazonaws.com/odonnell-tuomey-static/ projects/_ w1800/A153_Sandford_11.jpg> [accessed 14 December 2020].

4. ‘Furniture-College— O’Donnell + Tuomey’ ‘, p. 06 <https://s3-eu-west-1.amazonaws.com/odonnell-tuomey-static/projects/_ w1800/A046_06_Furniture-College_Photograph.jpg> [accessed 14 December 2020].

5. ‘Gallery of AD Classics: Säynätsalo Town Hall / Alvar Aalto - 4’, ArchDaily <https://www.archdaily.com/783392/ ad-classicssaynatsalo-town-hall-alvar-aalto/56de4112e58eced2d4000136-ad-classics-saynatsalo-town-hall-alvar-aaltoimage> [accessed 14 December 2020].

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6. Edited, ‘Gordola’, Google Earth<https://earth.google.com/web/search/gordola+/@46.17347937,8.8913998,202.0 9108449a,27 107.10507968d,35y,0h,0t,0r/data=CigiJgokCb8jJqh4CUtAEXAsb6EF4EpAGdpQf8JQ-vq_Icr8RwxXsAHA> [accessed 14 December 2020].

7. ‘C Durisch+Nolli - Centro Formazione Professionale SSIC’ <https://archeyes.com/wp-content/uploads/2016/01/ Centro-di-Formazione-Professionale-SSIC-Gordola-Durisch-Nolli-04-1.jpg> [accessed 14 December 2020].

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9. ‘Centro Di Formazione Professionale SSIC / Durisch + Nolli’, ArchEyes, 2016’ p. <https://archeyes.com/wp-content/uploads/2016/01/Centro-di-Formazione-Professionale-SSIC-Gordola-Durisch-Nolli-09-1.jpg> [accessed 14 December 2020].

10. ‘Centro Di Formazione Professionale SSIC / Durisch + Nolli, ArchEyes, 2016’ <https://archeyes.com/wp-content/uploads/2016/01/Centro-di-Formazione-Professionale-SSIC-Gordola-Durisch-Nolli-10.jpg> [accessed 14 December 2020].

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13. Edited, ‘2001 – O’Donnell + Tuomey: Letterfrack Furniture College, County Galway – Archiseek – Irish Architecture’ <https://archiseek.com/2002/odonnell-tuomey-letterfrack-furniture-college-county-galway/> [accessed 14 December 2020].

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20. Carlsen,Are, ‘Blakstad Haffner Arkitekter · Memorial and Learning Centre · Divisare’<https://divisare-res.cloudinary.com/ images/c_limit,f_auto,h_2000,q_auto,w_3000/v1485171219/roxcc0hhlvwzgedz2tl7/blakstad-haffner-arkitekter-memorial-and-learning-centre.jpg> [accessed 14 December 2020] 21. Edited site plan,‘Blakstad Haffner Arkitekter · Memorial and Learning Centre · Divisare’ <https://divisare-res. cloudinary. com/images/c_limit,f_auto,h_2000,q_auto,w_3000/v1485171313/gnoelbk9myu2h2y5wslp/blakstad-haffnerarkitekter-memo-rial-and-learning-centre.jpg> [accessed 14 December 2020]

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