Michael Southern // Architecture Portfolio

MICHAEL SOUTHERN 110127381

15 17 ACADEMIC

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ACADEMIC PORTFOLIO MArch, University of Newcastle-upon-Tyne

EXPERIMENTAL ARCHITECTURE DIGITAL ARCHITECTURE PLAN ROTTERDAM THESIS RESEARCH

ACADEMIC PORTFOLIO MICHAEL SOUTHERN 110127381 ARC8060 Newcastle University School of Architecture, Planning & Landscape 2015/2017 MArch

AS MANKIND BECOMES INCREASINGLY GLOBAL IN THE 21ST CENTURY HOW CAN ARCHITECTURE RESPOND TO BOTH PRESERVE AND FURTHER ENABLE THE MULTIPLICITY OF CULTURES WE HAVE DEVELOPED ACROSS THE WORLD? (Central Masters Theme)

- CONTENT 02 CRITICAL REFLECTION 08 PROJECT INTRODUCTIONS 14 SELECTED PRECEDENTS THEMATIC ANALYSIS

INDIVIDUAL DESIGN STUDIO EXPLORATIONS

16 TRANSFERABLE ELEMENTS

64

EXPERIMENTAL ARCHITECTURE

Utilising Architectural Carcasses

94

PLAN Rotterdam

Defamiliarization in Site Mapping Utilising Platforms Communal Living

Professional Practice of Assemblages

Gaudy Architecture

The City as a Platform

116

DIGITAL ARCHITECTURE

144

CHARRETTE WEEK

149 ARB CRITERIA MAPPING & APPENDIXES

Shape Grammars 2015 & 2016

- CRITICAL REFLECTION to the modern-day cosmopolitan culture of the Netherlands I have found examples of the diversity of mankind’s cultural evolution.

This forms my call to action. To not just to preserve theses cultures but to identify ways of further enabling them through architecture at a time where globalisation is putting their individuality at threat.

CALL TO ACTION MASTERS WORK INTRODUCTION

Humanity has been blindly converted into automatons by the virus of techno global capitalism. Waiting idle, we watch on, as globalisation dehumanises us to the point where we will become impotent in a singular global dystopia - a monotonous world of clone towns, and clone individuals.

For me England offers a series of clone towns, where each place I visit has largely the same offering; the same high-streets, the same shops and the same opportunity’s. Throughout my time over the masters’ course I have studied in both England and Australia with site visits to Rotterdam and Venice adding to my personal travels to New Zealand. It is from these visits that I have found beauty and variety in the worlds cultures.

From the Aboriginal Australian foundations in ‘The Dreaming’ and New Zealand’s Maori culture, gruesome stories of Venice’s hidden past through

In exploring my wider masters theme, I have completed three comprehensive design projects. At an urban scale, I studied platforms and Rotterdam, producing an anarchic take-over of OMA’s DeRotterdam building.

From here I studied digital architecture, gaining a completely different perspective on architectural methodology undertaking rule based design through studying shape grammars. This new methodology also enabled me to learn two new software’s in Rhino and Grasshopper of which I have taken through into subsequent projects along with the idea of rule based design which provides an interesting combination when looking at architectural assemblages. For my thesis year I have studied Experimental Architecture developing an architecture of deviation for Newcastle.

[Top: My own mode of communal living during travelling in Australia and New Zealand; Middle: Aboriginal Australian culture; Bottom: DeRotterdam, OMA, Rotterdam].

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Two substantial theoretical essays have helped to formulate my personal stance within architecture. The text ‘A Radical Architecture of Mayhem’ looks to explore my ideas at a wider scale while my essay on ‘Dynamic Community Assemblages’ looks at my stance in a localised context.

citizens with my work looking to design the venues, the architectural offerings of each place. The offerings that are unique to each place, that are dynamic assemblages with unknown potential. Architectures that can liberate us from the current every day.

RELATION TO A WIDER THEORETICAL CONTEXT

Constant’s New Babylon provides a picture of a ludic world where mankind has been liberated from daily work as Homo Ludens, free to roam as world citizens, free to wander through the sectors of New Babylon fully aware of the power they have ‘to act upon the world, to transform it, to recreate it.’

[Nieuwenhuys, 1974]. New Babylon sets a highly influential overarching portrayal of mankind’s potential existence. For me this picture fits in with my views on our increasing global nature and the leisure economy we are in. I feel that this is an amazing aspect of modern life, that we can travel the entirety of the world and nowhere is off limits, but the aspect that is currently in jeopardy in Constant’s picture is the variety of experiences, the reason as world citizens we would devote a life time to moving from place to place experiencing completely new cultures at every junction. This is where I situate my work. I situate myself within the framework of world

My architecture proposes a tactic for breaking the everyday in the context of Newcastle-upon-Tyne through the use of the Gaudy Day, designing an architecture of days unique to its setting. Defamiliarization has been used as both a tool in site analysis and as a methodology in my work acting as a calculated disordering of the senses to allow for deviation from the everyday.

RELATION TO A LOCALISED CONTEXT

Writing on the nature of dynamic community assemblages (Tools for Thinking essay) I situated my study in the Ouseburn region of Newcastle,

[Top: Constant’s New Babylon; Middle: Gaudy Day in the North East pit villages; Bottom: Ouesburn farm].

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an area where I have previously worked at the architecture practice ‘xsite Architecture.’ It is here that I situate my ethics in relation to designing for a localised context. Xsite provides a wide range of projects in the Ouseburn region and strengthened the idea of ‘Ouseburn-y-ness’ through their works, repeatedly turning down the chance to work outside of this region in line with their take on the preservation of place and culture. In a similar nature, I returned from my experimental Architectures studio trip to Venice to go on to develop my project in Newcastle. I believe in the importance of a local architect taking on the responsibility of designing the area in which they live rather than a desktop study producing a building alien to a region.

around an understanding of the social culture. From here I enjoy working in collages as my design brief is developed allowing myself to explore ideas at pace. In engaging with a brief I have worked with a starting point of junctions and details, starting at a micro scale, and using massing rules and timelines taking this set of tactics to see how buildings can develop in line with the understanding from my site analysis. In projecting forward and looking at how societies will form using these tactics I have used precedents of informal architectural anomalies to take apart how developments have formed in the past to root my decisions in real life examples.

Terunobu Fujimori turned from pedagogy to action designing architectures for his hometown. Fujimori uses local materials and constructional methods in creating architectures based around Japanese ritual practices.

The architectures he creates give a real sense of place and encapsulate the cultural context they are situated in while at the same time challenging architectural conventions.

LEARNING FROM FAILINGS

APPROACH TO DESIGN

My approach to design projects begins with an intensive site analysis based

In addressing a complex argument based around mankind’s global nature, with my work stemming from such a personal call to action, I have at many times run into significant failings in my work. On numerous occasions, I have been criticized for straying too far into the realm of Capitalism and Globalisation and getting bogged down with the political rather than architectural.

From these many failings, I feel I have developed a refined methodology for projects of this nature and developed a set of transferable elements, tools that can also be deployed on numerous other projects looking towards the local and cultural preservation. These tools are centralised around small tactics and frameworks; from my masters studies I have found that it is the small tactics that work in this field.

[Top: Flying mud house, Fujimori; Middle: Fujimori working with traditional methods for charring timber; Bottom: Initial thesis collage].

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TRANSFERABLE ELEMENTS (Thematic Analysis) Using defamiliarization in site mapping allows for new understandings of architectural sites and allows for deviation from the everyday in architecture when projecting forward into a design project.

Carcasses act as a tool for opposing the profit driven capitalist architecture. The ultimate example if Torre David. When using an existing framework, the architecture is naturally an assemblage growing to the extents of the carcass and re appropriating the structure with new possibilities.

A platform enables user-defined outcomes and encourages innovative participation. Platforms are indiscriminately accessible and non-prescriptive, but use parameters to facilitate and anticipate action. They evolve through feedback, resulting in connections amongst users and platforms. The use of platforms allows for a set of tactics to be employed that can then be used in the design process.

My work looks to material accumulation to create architectures as living machines and as a methodology for creating architectural assemblages. A key element of my work has been considering the professional practice issues of assemblages.

This element looks to the creation of custom build plots and fundamental parameters in designing a formal framework for informal assemblages.

CONCLUSIONS & MYSELF AS AN ARCHITECT From this body of work and two year exploration into a central theme I hope to take this forward into my career. I hope to become engaged in community activism, working on small scale localised projects embedded in the communities they serve.

My intention is to continue with academic theory and taking this forward into practice while travelling the world experiencing new cultures of which can strengthen my knowledge of cultural preservation at localised scales.

In the overarching view of world citizens my architecture responds by creating an environment where users are not tied to the architecture. Communal living allows for mankind to be freed from architectures and able to participate as and when they choose.

This element looks to draw from personal experiences of living as a nomad through communal living.

[Top: Visual defamiliarization devices; Middle: Torre David; Bottom: Tijd platform for the Rijnhaven].

GA2 // 7 ÂŚ

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- ACADEMIC BIBLIOGRAPHY Lefebvre, H. Stanek, L. (2014). Toward an Architecture of Enjoyment.

Minneapolis: University of Minnesota Press.

Alinsky, S. (1989). Rules for Radicals. New York: Vintage Books.

Awan, N. Schneider, T. and Till, J. (2011). Spatial Agency. Abingdon, Oxon: Routledge.

Lahiji, N. (2016). Can Architecture be an Emancipatory Project? Hants: John Hunt

Bennett, J. (2010). Vibrant Matter. Durham: Duke University Press. ‘‘Bitnation’’ (2017) Bitnation: Governance 2.0: Become a World Citizen. [online] Available at: https://bitnation.co/ [Accessed 22 Jan. 2017].

Nieuwenhuys, K. (1974). New Babylon. [exhibition catalogue]. 1972, Haags Gemeetenmuseum, The Hague.

Kingsnorth, P. (2016). ‘Dark Ecology,’ Orion Magazine [online] Available at: https://orionmagazine.org/article/dark-ecology/ [Accessed 11 Nov. 2016].

Caillois, R. (1961). Man, Play, and Games. New York: Free Press of Glencoe.

Coleman, N. (2014). Architecture and Dissidence: Utopia as Method.

Architecture and Culture, 2(1), pp.44-58.

Rykwert, J. (2000). The Seduction of Place. New York: Pantheon Books.

Schumacher, P. (2016). Keynote Speech: Housing for Everyone.

World Architecture Festival: Berlin. Available at: https://www.dezeen. com/2016/11/17/video-live-stream-patrik-schumacher-keynote-seminarworld-architecture-festival-2016/

Deleuze, G. Guattari, F. (1987). A Thousand Plateaus. Minneapolis: University of Minnesota Press.

Dockray, S. (2013) On Platforms: A Conversation with Sean Dockray. [conference] 9 Nov 2013. Princeton School of Architecture.

Souli, S. (2017). I Became a Citizen of Bitnation, a Blockchain-Powered Virtual Nation. Now What?. [online] Available at: http://motherboard.vice. com/read/bitnation-or-bust [Accessed 18 Jan. 2017].

Freire, P. (1970). Pedagogy of the Oppressed. New York: Continuum.

Harris, J. (2012). Totnes: the town that declared war on global capitalism.

Available at: http://www.theguardian.com/business/2012/aug/15/totneswar-global-capitalism (Accessed: 17 January 2016).

Sullivan, R. (2017). McDonald’s pop-up restaurant in Glebe serving free fries for three days only. [online] Available at: http://www.news.com.au/lifestyle/ food/restaurants-bars/mcdonalds-popup-restaurant-in-glebe-serving-freefries-for-three-days-only/news-story/bf403a7138760e2a32bcad00e6e505e2 [Accessed 20 Jan. 2017].

Harvey, D. (2000). The Insurgent Architect at Work. In: Spaces of Hope.

Berkeley: University of California Press. pp.233-255

Tafuri, M. (1976). Architecture and Utopia. Cambridge, Mass.: MIT Press.

“The League of Pragmatic Optimists”. (2017) League of Pragmatic Optimists. [online] Available at: http:// http://www.leagueofpragmaticoptimists.org/ [Accessed 19 Jan. 2017].

Huizinga, J. (1949). Homo Ludens. Reprint, Kettering: Angelico Press.

Jameson, F. (1994). The Seeds of Time. New York: Columbia University Press.

Lefebvre, H. (1991). The Production of Space. Oxford: Blackwell.

Venturi, R. Scott Brown, D. (1977) Learning From Las Vegas. Cambridge, Mass.: MIT

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- PROJECT INTRODUCTIONS -

8

Stage 6 Thesis

Stage 6 Thesis Research

EXPERIMENTAL ARCHITECTURE

THESIS RESEARCH DOCUMENT

The Gaudy day is an old term from the pit villages of the North East meaning to take a day off for a spontaneous reason. In the context of this projects theoretical background the term Gaudy means to break down the everyday. To disrupt the monotony of the working week and to challenge perceptions of what life must be. Using visual defamiliarization devices to incite a calculated disordering of the senses, this project responds to mankind’s increasingly global nature by providing an architecture of deviation for NewcastleGateshead.

Humanity has been blindly converted into automatons by the virus of techno global capitalism. Waiting idle, we watch on, as globalisation dehumanises us to the point where we will become impotent in a singular global dystopia - a monotonous world of clone towns, and clone individuals.

Gaudy Architecture

A Radical Architecture of Mayhem

Here I propose an agency capable of establishing a multiplicity of alternatives to modern life, an agency encouraging diversity – an agency, that provokes mayhem. In embracing mayhem, with play as a method, we can accept the possibility of failure and emerge from the crippling security global capitalism affords us.

Combining mayhem and play leads towards the idea of ludic realms, where our individual desires and autonomy of sight can emancipate us from the spatial rules capitalism has created, enabling a diverse multiplicity of alternatives to modern life. This text considers mayhem as a method for our individual emancipation.

As an experimental form of cultural preservation this project takes folklore traditions and elements of the contemporary culture to provide an architecture that could only ever exist in this context. The development builds upon the inciting incidents of the Great Flood where the medieval inhabited Tyne bridge was swept away and the Keelmen’s strikes, were the Keelmen campaigned against getting their wages paid in beer.

GA2 // 1 / 2 / 3 / 5 / 6 / 7 ¦ GC1 // 1.1 / 1.2 / 1.3 ¦ GC2 // 2.1 / 2.2 / 2.3 ¦ GC3 // 3.1 / 3.2 / 3.3 ¦ GC4 // 4.1 / 4.2 / 4.3 ¦ GC5 // 5.1 / 5.2 / 5.3 ¦ GC6 // 6.1 / 6.2 / 6.3 ¦ GC7 // 7.1 / 7.2 ¦ GC8 // 8.1 / 8.2 / 8.3 ¦ GC9 // 9.1 / 9.3 ¦ GC10 // 10.1 / 10.3 ¦ GC11 // 11.1 / 11.3 ¦

GA2 // 2 / 4 / 5 ¦ GC2 // 2.1 / 2.2 ¦ GC3 // 3.1 ¦ GC5 // 5.1 ¦ GC6 // 6.1 ¦ GC11 // 11.1 ¦

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Stage 5 Semester 2, USYD

Stage 5 Semester 1

DIGITAL ARCHITECTURE

PLAN Rotterdam

Shape Grammars

The City as Platform

The studio addressed various issues of computational design theories, digital media, digital design techniques, and other factors influencing the development of architectural production using computational tools. This studio allowed me to develop a rule based approach to design projects creating a new methodology for working.

The project takes an element of Indonesian culture, the Lontara Alphabet, to design a computational toolkit for the creation of an Australian consulate in South Sulawesi, Indonesia.

For this studio, the final output is not a building as in a conventional design studio’s approach, the final output is the tool-kit that can be transferred to any site across Indonesia. Work in this studio considered shape grammars and the different ways in which shapes can be seen and manipulated through embedding and schematisation at a 2D level before exploring the 3D and producing a set of massing rules. An intensive material exploration produced a methodology for the parametric fabrication of a material component taking elements of the Australian and Indonesian into the design process.

As a city largely destroyed by the Luftwaffe’s bombings in 1940 Rotterdam is a 70-year-old city, a new city. A city that is still asking the questions at an urban scale of what will the city become. This project looks to go against the view of Rotterdam becoming a global cosmopolitan city and looks to encapsulate the local vernacular evident in the South of the city. At an urban level the project looks to the political stimulus of creating a new municipality of RotterdamZuid (South).

GA2 // 1 / 2 / 3 / 6 / 7 ¦ GC1 // 1.1 / 1.2 / 1.3 ¦ GC2 // 2.1 / 2.2 / 2.3 ¦ GC5 // 5.1 / 5.2 / 5.3 ¦ GC7 // 7.1 / 7.2 ¦ GC8 // 8.1 / 8.2 / 8.3 ¦ GC9 // 9.1 / 9.2 / 9.3 ¦

GA2 // 1 / 2 / 3 / 5 / 6 ¦ GC1 // 1.1 / 1.2 / 1.3 ¦ GC2 // 2.1 / 2.2 / 2.3 ¦ GC3 // 3.3 ¦ GC4 // 4.1 / 4.2 / 4.3 ¦ GC5 // 5.1 / 5.2 / 5.3 ¦ GC6 // 6.1 / 6.2 / 6.3 ¦ GC7 // 7.1 / 7.2 ¦ GC8 // 8.1 / 8.2 / 8.3 ¦ GC10 // 10.1 ¦ GC11 // 11.1 ¦

This proposal takes DeRotterdam, OMA’s landmark development on the banks of the Kop van Zuid at the entrance to the South Rotterdam, and takes its agency into the hands of the local, into the hands of the South and the real Rotterdam. Stemming from research into platforms in architecture this project takes DeRotterdam as a carcass and utilising new construction platforms looks to create an anarchic takeover for the creation of a community interest architecture and the start of a new urban framework for RotterdamZuid.

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Stage 5 Theoretical Essay

Stage 6 Thesis Exploration

Stage 5 Semester 2, USYD

TOOLS FOR THINKING

ARCHITECTURE & CONSTRUCTION

ADVANCED TECHNOLOGY

Is temporary architecture just a vehicle for gentrification or can these architectures stand alone? This essay looks to assess ‘hipster-ism’ and the tactics of the small-scale activist architectures in the extent to which they can refute global takeovers of place. This study takes place in the Ouesburn region of Newcastle-upon-Tyne, an area currently undergoing gentrification and at a key turning point in its cycle with a current increase in external interest.

In exploring the context of professional practice, construction & management in relation to my 6th year thesis this report looks to explore how this project could be realised.

Compiled and presented as an appendix to this portfolio are twenty conventional details of which have been completed on a weekly basis following relevant lectures on each element. Through completing these details I have gained a base knowledge in a wide range of building details from the waterproofing of a basement to roof junctions.

Dynamic Community Assemblages

This essay looks to the Ouesburn’s dynamic assemblages and the local architecture firm, Xsite, to assess the role of the architect in cultural preservation and the current tactics at use.

GA2 // 2 / 4 / 5 ¦ GC2 // 2.1 / 2.2 ¦ GC4 // 4.1 / 4.3 ¦ GC5 // 5.3 ¦ GC6 // 6.1 / 6.2 / 6.3 ¦ GC11// 11.1 ¦

Process & Management

The report outlines the professional practice issues in relation to this development. The report then goes on to look at the nature of professional practice and propose how changes could be made to enable architectural assemblages exploring new trends such as partnering contracts, smart contracts, custom plots and the potential offerings block-chain technology could have for the construction industry.

GA2 // 5 ¦ GC1 // 1.2 / 1.3 ¦ GC6 // 6.1 / 6.2 / 6.3 ¦ GC7 // 7.2 / 7.3 ¦ GC10 // 10.1 / 10.2 / 10.3 ¦ GC11 // 11.1 / 11.2 / 11.3 ¦

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20 Conventional Details

Knowledge gained from the completion of these details was then applied to my own design project.

A full 1:20 perspective section of the final outcome of my Digital Architecture proposal looks to use what has been learnt and creates details fitting in with the design aesthetic of my given design.

GA2 // 3 / 5 ¦ GC1 // 1.2 / 1.3 ¦ GC2 // 2.3 ¦ GC5 // 5.2 ¦ GC8 // 8.1 / 8.2 / 8.3 ¦ GC9 // 9.1 / 9.2 / 9.3 ¦ GC10 // 10.1 ¦ GC11 // 11.1 / 11.3 ¦

Stage 5 Charrette Week

Stage 6 Charrette Week

Stage 5 Semester 2, USYD

SPECTACLE/MATERIAL/RESISTANCE:

ISOLATE/MEDIATE/ANIMATE:

2D PRINT PROCESSES IN DESIGN

Charrette Week - An intensive design week within the school looking to bring all years together within the Architecture Planning and Landscape department. This year’s charrette looked to respond to the brief, ‘Spectacle, Material and Resistance.’

This year’s charrette provided the opportunity for a live build project in combination with the student run brewery ‘Stu Brew’ requiring a portable bar, on a budget within the spatial restraints dictated by the lift they transport it in.

Modern Australia has formed its identity from global influences, it is a truly global country and has welcomed this, taking the best part of cultures to create its own, but on the remnants of its Aboriginal heritage. Throughout this module I have been able to explore Sydney and the idea of localisation. Exploring the context of my every day and presenting this based upon an artistic medium of print rather than an architectural medium. The work looks to display the urban fabric of Sydney showing the chaos and chance encounters of an organic city plan through the random and chance encounters in the medium of screen and block printing using experimental practices in my print technique.

Aural Dynamics

Aural Dynamics takes the combination of the saxophone and recycled timber as a starting point. The timber envelope enables the spectator to produce their own notes in an aural tapestry of which the saxophone responds to creating a symbiotic engagement between space and sound in one enticing vista.

GA2 // 2 / 3 / 6 ¦ GC1 // 1.1 / 1.3 ¦ GC3 // 3.1 / 3.2 ¦ GC8 // 8.2 / 8.3 ¦

Stu Brew

Using recycled timber pallets, we could create a structurally sound carcass of which fitted the briefs requirements. This project provided an opportunity to consider details in a live environment relying upon hand sketch details and overcoming the problems that arose due to the constraints of using recycled materials. The carcass was then dressed again using waste with details that engage in the materials past use.

GA2 // 2 / 3 / 6 ¦ GC1 // 1.1 / 1.3 ¦ GC5 // 5.1 / 5.2 ¦ GC6 // 6.1 / 6.3 ¦ GC7 // 7.1 / 7.2 / 7.3 ¦ GC8 // 8.1 / 8.2 / 8.3 ¦ GC10 // 10.1 / 10.2 / 10.3 ¦

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Contour & Form

GA2 // 2 / 4 ¦ GC2 // 2.1 / 2.2 ¦ GC3 // 3.1 / 3.2 ¦ GC4 // 4.1 / 4.2 ¦

- SELECTED PRECEDENTS -

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- KEY THEORETICAL READINGS -

CONSTANT NIEUWENHUYS

HENRI LEFEBVRE

New Babylon

Architecture of Enjoyment

Selected for the world view of global citizens where architecture serves the function of creating a series of situations for the purpose of reawakening authentic desires with mankind as Homo Ludens.

Lefebvre explores architecture not as a restriction but as a mode of imagination. Of note in this work is the relation to the leisure industry of Spain and Lefebvre’s notion of ‘moments.’

PAOLO FREIRE

JOHAN HUIZINGA

Friere proposes a pedagogy with a new relationship between the oppressed and the oppressor exploring the motivations and desires of mankind as a whole and the extent to which the duality of theory and action can provide our individual emancipation.

Huizinga talks about the importance of visible action in the world and the strength of play as a methodology. He talks on the nature of the music and the plastic arts and the music arts potential to reach the ethereal realms that architecture can’t.

Pedagogy of the Oppressed

Homo Ludens

GA2 // 1 / 4 ¦ GC2 // 2.1 / 2.2 / 2.3 ¦ GC3 // 3.1 ¦ GC7 // 7.1 ¦

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- INFLUENTIAL ARCHITECTS & PRACTICES -

TERUNOBU FUJIMORI

BUREAU SPECTACULAR

Fujimori serves as a great precedent for the preservation and extension of local cultures and practices. His material approach centres around traditional crafts and ritual practices.

Bureau Spectacular offer a wide range of projects imagining new worlds through the methodology of story telling. White elephant explores a multi functional architecture of discourse.

ARCHIGRAM

XSITE ARCHITECTURE

Flying Mud Boat

White Elephant

The Suitaloon, Archigram 8

Ouesburn, Newcastle upon Tyne

Archigram produce machines for living in for the nomad following on from Le Corbusier’s work. A large amount of the projects provide urban scale frameworks where architectural assemblages can then occur.

Xsite Architecture offer a precedent for the ethics of the architect in the community, looking to preserve their immediate surroundings and create a sense of place & community in an emerging region.

GA2 // 1 / 4 ¦ GC2 // 2.1 / 2.2 / 2.3 ¦ GC3 // 3.1 ¦ GC7 // 7.1 ¦

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- INFORMAL ARCHITECTURAL ANOMALIES -

TORRE DAVID

KOWLOON WALLED CITY

Despite its often negative portrayal Torre David acts as a role model for informal communities.

Society has developed in this tower in unique manners such paying more for goods dependent on floor, mopeds as lifts.

The densely populated settlement, organised around its religious yamen, proves to be another great anomaly with its own organisation structure with several of the lower levels never receiving daylight due to the density.

PALAFITOS

CHRISTIANIA

Caracas, Venezuela

Kowloon City, Hong Kong

Chiloe, Chile

Freetown, Copenhagen

Palafitos is an informal development of silt houses responding to local environmental and political factors forcing inhabitants out to the sea.

This autonomous community provides a rare example of an informal development in Western Europe highlighting numerous political issues this raises.

GA2 // 1 / 4 ¦ GC2 // 2.1 / 2.2 / 2.3 ¦ GC3 // 3.1 ¦ GC7 // 7.1 ¦

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- FURTHER ARCHITECTURAL REFERENCES -

ABORIGINAL AUSTRALIA

HIERONYMOUS BOSCH

The Dreaming

The Garden of Earthly Delights

The Dreaming is both a time of creation and an element that still frames life today. The Dreaming stories of creation give unique meanings to places such as the Kangaroo man and the Lizard man.

The artwork of Bosch, in particularly his triptychs, are interpreted here as portraying a fork in the roads used as a tool in site analysis and as a precedent for architectural representation.

PIETER BRUEGEL

PINK & WHITE TERRACES

Bruegel depicts the first painting of the Tower of Babel in response to seeing the crumbling ruins of Rome’s Colosseum. He returned to his home town to address the loss of its Flemish identity.

The pink and white terraces of Rotorua depict the existence of an old community. This community now lives on and gives a great example of communal living responding to a thermal environment.

Tower of Babel

Rotorua, New Zealand

GA2 // 1 / 4 ¦ GC2 // 2.1 / 2.2 / 2.3 ¦ GC3 // 3.1 ¦ GC7 // 7.1 ¦

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- TRANSFERABLE ELEMENTS Thematic Analysis

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- DEFAMILIARISATION IN SITE MAPPING Transferable Element

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- DEFAMILIARIZATION IN SITE MAPPING Transferable Element

In commencing with the three architectural design projects of this course I have begun each time with an intensive site analysis undertaking that has varied greatly in methodology. Despite these variations there has been the consistent theme of defamiliarization. It is this defamiliarization that has been key in allowing me to see new possibilities for sites and understand complex cultural and social climates and represent them in ways that can be reinterpreted and begin to challenge myself in my perceptions of what the site will become.

Corner in which he talks about the nature of site analysis and the particular interest to myself was the abstraction of the physical site form the maps and reinterpretation, this is an element of which I have taken forward from the text.

In approaching site I have become interested in the Aboriginal Australia culture where stories, emerging from the Dreaming, are used to convey why the world is as it is. For instance a particular set of rock are described as being where the Kangaroo man got tired and stopped hopping. A thin peninsular at the coast was made when the Lizard man got too thirsty he collapsed and then rolled out his tongue into the sea to drink the water creating the thin strip of land. It is this alternative reasoning for the physical world that has provoked me to challenge why we view sites in the way we do. To completely remove all preconceptions and create new reasoning for why the site has evolved. This was of particular interest in relation to my site analysis for Dunston Staiths, a timber structure that even with explanation still retains an element of the mystical and unexplained due to its imposing nature on the landscape.

‘‘MAPPING IS A FANTASTIC CULTURAL PROJECT, CREATING AND BUILDING THE WORLD AS MUCH AS MEASURING AND DESCRIBING IT.’’

(James Corner)

Presented on the following pages are my three approaches to defamiliarization in site mapping acting as transferable skills. In transferring this to other projects the key element are the removal of preconceptions and abstraction of the physical site.

A highly influential text in my approach was ‘The Agency of Mapping,’ by James

THE THREE SISTERS

Blue Mountains, Australia

CHARLES MINARD

Napoleon’s Russia Campaign

PERRY KULPER

What may look like a rock formation is transformed through story telling to invoke new meaning in the story of the 3 sisters, set in stone in protection against another tribes witch doctor.

Minard’s mapping abstracts the site over the length of the image and portrays the journey of Napoleons’ disastrous Russia campaign with density of line showing his number of soldiers.

Kulper portrays ‘an architecture of ideas’ through his site analysis using action drawing to uncover the intricate universe of architectural ideas and exploring new possibilities of architectural representation.

GA2 // 1 / 2 / 4 / 7 ¦ GC1 // 1.1 ¦ GC2 // 2.1 / 2.2 / 2.3 ¦ GC3 // 3.1 / 3.2 ¦ GC5 // 5.3 ¦ GC6 // 6.1 / 6.3 ¦ GC7 // 7.1 / 7.2

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Action Drawing

[Above: Front of Triptych, The key that allowed me into the new world; Adjacent page: Defamiliarization devices; Top Left: Initial depiction of the site with new reasoning behind physical elements].

GA2 // 1 / 2 / 4 ¦ GC1 // 1.1 ¦ GC2 // 2.1 / 2.2 ¦ GC3 // 3.1 / 3.2 ¦ GC5 // 5.3 ¦ GC6 // 6.3

EXPERIMENTAL ARCHITECTURE Presented on the following spread is a site analysis triptych acting as . The triptych uses visual de-familiarization devices to remove our past preconceptions, invoking new worlds, and new possibilities.

These defamiliarization devices are shown on the adjacent page in the sets of goggles and visual lenses ranging on a scale of inhabitation to dereliction. The lenses also act as an alea gift.

Through removing preconceptions, I could understand the Staiths in a different manner, with monsters slobbering down from above, hands reaching into the darkness, and the trees that support the Staiths still growing. All of these element relating to the history of the site; the drueling form above signify the activity on top of the Staiths, the lack of activity underneath and the cowering creatures shows the redundancy of the infrastructure in the current day and represented visually.

26

In representing this work precedent was taken from Hieronymous Bosch’s triptych, The Garden of Earthly Delights.’ I read this triptych as having a cover that shows what it is that allowed the artist into the piece, for me it is the photo above taken on site through the lenses. Inside the main central piece acts as a fork in the roads where for Bosch the painting goes to the left with the creation and to the right with hell. For me the paining goes to the left with inhabitation and to the right with dereliction.

[Adjacent Page: Final Mapping; Above: All: Found graffiti and written word from within the Rijnhaven basin. Middle Bottom: ‘Planemy’ meaning flames. Top Right: Psalm 16:8, ‘I keep my eyes always on the Lord, with him at my right hand, I will not be shaken.’]

GA2 // 1 / 2 / 4 ¦ GC1 // 1.1 ¦ GC2 // 2.1 / 2.2 / 2.3 ¦ GC4 // 4.1 ¦ GC5 // 5.1 / 5.2 / 5.3 ¦ GC6 // 6.3 ¦ GC7 // 7.1 / 7.2 / 7.3 ¦ GC8 // 8.1 / 8.2 / 8.3 ¦ GC9 // 9.1 / 9.2 / 9.3 ¦ GC10 // 10.1 / 10.2 / 10.3 ¦ GC11 // 11.1 / 11.2 / 11.3 ¦

PLAN Rotterdam

constitute the theme for the given map. Whether in the form of graffiti, a sticker or in the form of a conversation, words were ever-present within the basin.

The methodology involved formed two parts. Firstly, documenting any found word non-dependent of language or meaning in the form of an image. Secondly, recording any conversations or interactions with people while in the area through voice recordings.

Through translating all the raw data into the English language it became evident the wide range of languages present in the basin.

From Old Chinese to Afrikaans.

In order to map this information I decided to recreate the physical geography of the site into the simple shape of the circle. The circle is representative of the basin as well as a representation of my journey when mapping.

Graphically, water is represented in black. From here the inner

29

most ring of text gives the street names helping to geographically ground the map. The next ring of text gives the names of landmark places helping to orientate the reader. From here coloured rings are used in relation to the key at the bottom to indicate found patterns. Patterns in both the method of representation along with patterns in the meaning of the found words. A subsequent ring of text at the outside provides examples of the words found allowing others to use the data to draw their own conclusions.

䄀氀氀 猀礀猀琀攀洀猀 最漀

䐀椀爀琀

ᤠ​ᤠ 爀攀 氀琀甀 挀甀 椀爀 栀攀 攀 琀 甀洀 攀ᤠ​ᤠ 攀爀 渀猀 挀漀 攀 栀 漀 愀洀 攀 琀 渀 挀 愀瘀 栀 琀椀漀 挀愀 渀猀 椀漀 爀椀 愀琀 渀琀 攀爀 最攀 攀渀 椀猀 最 攀爀 氀攀洀 攀眀 漀戀 ᠠᤠ一 攀 瀀爀 愀氀氀 搀 眀 栀 甀爀 琀 攀 琀 椀

ᠠᤠ吀 琀栀 欀攀 椀猀 攀搀 愀猀 猀栀愀

嘀愀 爀愀瀀 琀漀 挀攀 攀爀 猀琀 漀眀 愀渀 攀琀栀 猀 栀 䤀 樀甀 漀洀 眀 爀 琀漀最

渀漀 爀搀 甀猀 欀

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甀攀

琀漀 猀攀

愀爀 挀栀

昀漀

吀甀 吀甀 ⼀ 夀漀甀 夀漀甀

䠀愀琀爀攀搀⼀倀爀漀琀攀猀琀

䄀爀攀 礀漀甀 愀琀 吀栀攀 䌀愀瀀攀㼀

䰀漀瘀攀⼀刀漀洀愀渀挀攀

䠀甀氀愀 䈀氀甀攀猀

匀琀椀挀欀攀爀猀

唀渀愀瘀愀椀氀椀渀最 䜀爀愀ϻ琀椀

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椀猀 挀漀 爀攀

爀 琀 栀

氀愀

一漀 琀攀渀 猀椀漀渀 倀 攀 爀攀 瘀 渀琀 瀀漀 氀氀甀琀椀漀 渀 䄀挀挀攀 猀猀 漀渀 氀礀 昀 漀爀 䘀攀 䈀 漀琀 爀 礀攀渀漀 栀攀爀 漀爀搀攀 爀猀 䔀洀 瀀琀礀 匀 漀甀 琀栀攀 爀 渀攀 ᠠᤠ 吀栀 爀 攀爀 攀 ᤠ猀 渀漀 ᠠᤠ夀唀 洀椀 倀ᤠ猀 砀琀甀 ⴀ 夀 䤀 渀搀 爀攀ᤠ​ᤠ 漀甀 甀 渀 猀琀爀 最 唀 䌀椀搀 椀愀氀 爀 戀愀 爀攀 攀爀 渀 倀 瘀漀 䌀椀搀 刀甀 氀甀 爀漀 琀 û 攀 渀 椀 漀渀 攀猀猀 爀 渀椀渀 䌀愀 椀漀渀 最 爀 琀 愀氀猀 攀戀 䐀漀 挀栀 愀 ᤠ​ᤠ 攀氀

猀 搀 礀漀

刀漀 爀攀 䤀 挀 甀 愀洀 琀琀攀 漀渀 栀愀 爀搀 愀渀 琀椀渀 瘀攀 愀洀 搀

愀

渀

昀攀 甀爀 渀椀 琀甀 砀㼀 爀攀 椀琀

攀洀 攀渀 琀

攀 氀

30 伀ϻ挀椀愀氀 䄀爀琀 䤀渀猀琀愀氀氀愀琀椀漀渀

䤀 氀漀瘀攀 琀攀挀栀渀漀 䈀椀稀愀爀爀攀 戀愀稀 愀爀

䌀漀渀猀琀爀甀挀琀椀漀渀

夀漀欀漀挀漀

䰀愀渀最甀愀最攀 吀漀瀀椀挀㨀

䰀愀渀最甀愀最攀 刀攀瀀爀攀猀攀渀琀愀琀椀漀渀 䴀攀琀栀漀搀㨀

䜀甀椀氀 琀礀 瀀 攀漀瀀 氀攀 倀爀漀 氀漀甀 最攀 䠀攀愀 爀琀 猀 琀椀挀欀 吀愀欀 攀爀 昀 攀 愀 甀渀 瀀椀挀 䜀愀 琀甀爀 琀栀攀 攀 漀昀 爀椀渀 䘀漀 琀栀攀 最 漀琀戀 戀愀 瀀攀 渀猀 漀瀀 愀氀氀 匀攀 氀攀 愀 挀甀 砀 挀爀漀 氀 琀甀爀 氀洀 夀漀 猀猀 琀 攀 猀 甀 愀 栀攀 猀琀爀攀 倀漀 瀀瀀 攀琀 氀椀挀 爀漀 愀挀 攀 䠀攀 栀 爀愀 琀栀 猀 攀 渀 漀搀 攀

㤀 䠀椀氀氀攀氀愀愀渀 䰀漀挀愀氀 䠀 攀爀漀 匀瀀愀稀礀 匀眀攀攀 琀 猀椀砀琀攀 攀渀 㼀 䔀砀挀甀猀攀 洀攀

攀搀

䐀攀瘀椀氀Ⰰ 眀栀愀琀 挀愀渀 礀漀甀 搀漀㼀 礀漀甀ᤠ瘀攀 愀 氀爀攀愀搀礀 挀愀氀氀

䄀氀攀砀 ☀ 䴀漀渀椀焀甀攀

䘀漀爀攀瘀攀爀 琀漀最攀琀栀攀爀

䄀爀愀戀椀挀 刀攀猀琀愀甀爀愀渀琀

䤀 欀攀攀瀀 洀礀 攀礀攀猀 愀氀眀愀礀猀 漀渀 琀栀

㄀㈀

攀 䰀漀爀搀㨀 倀猀愀氀洀 ㄀㘀㨀㠀

圀愀琀攀爀琀愀砀椀

䬀椀猀猀 琀栀攀 猀欀礀

䌀愀猀琀漀爀 刀漀琀 琀攀 爀搀 愀洀 䠀漀氀氀愀渀 䄀 洀攀爀椀挀愀 䰀椀渀攀 䤀渀 洀攀 洀 ⸀⸀⸀ 漀 爀礀 ⸀⸀⸀伀 昀 琀栀 椀渀最猀⸀⸀ ⸀ ⸀⸀⸀琀漀 挀 漀洀攀 ⸀ 䰀椀渀挀 漀氀渀 㜀㔀琀 栀

䌀漀欀攀 漀爀 攀 愀 戀

漀甀

愀洀 爀搀 琀攀

㄀

㄀㈀㐀

爀

䬀倀一 䌀攀渀琀 攀

䐀攀 刀漀琀琀 攀爀搀愀洀

䘀爀愀渀欀 吀愀愀氀

渀

倀椀攀爀 ㌀

䨀䰀䜀

倀䈀䠀 吀攀挀栀渀攀椀欀

䈀愀挀欀甀瀀

匀甀瀀

堀

愀氀 椀渀 爀洀 琀攀

最 猀攀 椀渀 愀洀 甀椀 愀欀 爀搀 䌀爀 䴀 椀渀最 琀琀攀 渀最 琀礀 爀搀 椀 漀 椀渀椀 䌀 刀 眀愀 攀 昀 攀 搀 漀爀 昀 愀 猀

䌀 最 渀攀 猀椀渀 瀀愀 洀猀 漀甀 䨀愀 攀愀 攀 搀爀 爀攀栀 搀 愀 挀甀 爀 猀 漀 圀 漀 猀攀 挀攀猀 渀眀 愀氀氀礀 愀挀 挀 礀 椀 渀 渀 圀 攀 漀 搀搀 挀 琀爀 爀戀椀 攀氀攀 䘀漀 攀 椀猀 猀椀琀 琀 猀 栀 椀 洀 椀最 吀栀 爀搀愀 爀渀 爀 漀琀琀攀 琀 琀甀 最 刀 䨀甀猀 猀栀椀渀 栀琀

最 猀 氀椀 漀 攀 漀漀渀 甀爀愀最 䌀栀愀 栀琀 洀 搀 挀漀 攀 愀渀 搀渀椀最 栀 漀瘀 䜀 漀漀 椀琀 琀猀 渀 眀 攀 搀 椀爀漀渀洀 氀漀瀀攀 最 攀渀瘀 䐀攀瘀攀 氀椀瘀椀渀 最 攀爀搀愀洀 渀 琀琀 琀椀 漀 爀攀愀 琀氀攀 椀渀 刀 戀瀀搀 挀 ☀ 匀攀愀 漀猀琀漀渀 䈀 最 椀渀 䈀甀椀氀搀 琀漀爀礀 琀攀氀氀猀 愀 猀 甀椀氀搀椀渀最 䔀瘀攀爀礀 戀

䐀漀 最猀 渀 漀 琀 䴀愀 愀 氀氀漀眀 最渀 攀搀 攀琀爀 䰀攀 漀渀 戀 戀 氀漀渀 愀爀 䌀愀 䌀漀 椀瀀椀 渀猀 爀椀渀 琀爀甀 䠀 栀 挀 愀 攀 琀 猀 爀愀猀 椀 漀渀 刀攀 ☀ 猀琀愀 䘀爀攀 搀攀 甀爀愀 攀 瘀

瀀 渀琀 攀 䄀氀 氀漀瀀 攀漀 氀 搀 瀀 攀洀 氀 椀 攀 圀 爀攀 攀渀 昀攀 挀琀 愀渀 琀 猀琀椀 椀漀 琀 琀 瘀愀 渀猀 漀 氀

欀渀 漀眀 洀 琀 刀漀

一漀搀 攀 爀攀 最椀漀 䠀攀爀 渀 刀 漀琀琀攀 愀猀 爀搀愀 䌀漀 洀 渀琀爀 漀氀 倀愀爀 欀椀渀 最 䔀瘀 攀渀 琀猀 䌀漀 渀最 爀攀猀 䔀砀 猀 瀀 䜀愀 漀 氀 䄀渀 氀攀爀椀愀 猀栀 椀 䰀椀欀 洀愀 漀瀀 氀 昀爀 椀渀 猀 椀攀渀 最 眀 搀 栀愀 氀礀 洀 琀 眀 攀愀 攀 琀 搀 搀漀 漀攀 琀漀 猀 渀 攀 漀琀 愀挀 攀砀 栀 漀琀 椀猀琀 栀攀 爀

椀氀氀猀 䬀 洀 漀琀 琀愀 洀 最 瀀 吀愀 椀渀 猀攀 攀氀琀 氀攀愀 䴀 栀 倀 挀 琀 䈀椀 礀 愀洀 爀愀猀 漀瘀攀 渀琀氀 洀 䰀 攀爀搀 䠀攀 甀氀攀 爀搀愀 漀琀琀 甀搀 漀琀琀攀 搀 刀 刀 䘀爀愀 ⸀ 渀 愀 愀 氀氀愀 䐀愀 䠀漀 猀椀洀 䤀渀 Ⰰ 夀攀 猀 栀攀爀 洀攀 攀 攀 匀 愀 氀 猀 Ⰰ 䘀 愀爀 氀攀愀 䈀愀栀 栀 倀 愀爀攀渀 䈀椀琀挀 㔀 圀 ⸀㄀ 㜀 ㈀㤀⸀ 愀猀欀 漀猀猀攀 攀 琀漀 愀猀 愀 瀀 䐀愀爀 㠀㈀ 栀 漀 ㄀㤀 洀 愀 漀渀 ℀℀ 䌀栀 瘀漀氀甀琀椀 琀 琀栀攀洀 漀挀欀猀 愀 琀爀椀愀氀 爀攀 栀爀漀眀 爀 䤀渀搀甀猀 瀀椀搀⸀⸀⸀ 琀 琀甀 猀 愀爀攀 䘀愀挀椀猀琀猀 挀礀挀氀椀猀琀猀 渀琀椀漀渀 琀漀 倀愀礀 愀琀琀攀

琀 琀

栀

椀猀 瀀

爀漀 樀

攀挀

琀⸀⸀ ⸀

[Above: Mental map by inhabitants of the North. Adjacent Page: Top Left: Found Graffiti. Top Right: ‘Southerner.’ Middle Left: ‘Are you at the Cape?’ Middle Right: ‘Access only for Feyenoords.’ Bottom Left: Newcastle Gateshead].

GA2 // 1 / 2 / 4 ¦ GC1 // 1.1 ¦ GC2 // 2.1 / 2.2 / 2.3 ¦ GC5 // 5.3 ¦ GC7 // 7.2

DIGITAL ARCHITECTURE

‘IN BUGINESE, THIS SCRIPT IS CALLED URUPU SULAPA EPPA WHICH MEANS “FOUR-CORNERED LETTERS”, REFERENCING THE BUGIS-MAKASAR BELIEF OF THE FOUR ELEMENTS THAT SHAPED THE UNIVERSE: FIRE, WATER, AIR, AND EARTH.’ (Extract from OMNiglot)

With the building we were to be designing based in Makasssar, capital city of South Sulawesi, Indonesia I became interested in the . This is a script traditionally used for the Bugis, Makassarese, and Mandar languages of Sulawesi in Indonesia.

The script is traditionally written on manuscripts formed from Lontar leafs. It is written left to right with a range of line weights evident. Having been used in Sulawesi since the 17th century this script gives a starting shape to manipulate for the following tasks

31

that is deeply rooted in the culture of our given site. Presented on the adjacent page are 2D tasks looking at embedding and schematisation. Taking the form of the Lontara script as a starting point in the tasks rules were used to manipulate the shape into new possibilities and to control the iterative mechanism according to a certain design language. The generated 2D designs could be looked at in either plan or section creating a series of interesting spaces and connections between elements.

32

- UTILISING ARCHITECTURAL CARCASSES Transferable Element

34

- ARCHITECTURAL CARCASSES Transferable Element

‘‘NOW WE HAVE SQUATTING ON OUR SKYLINE A HULKING GIANT WHO HAS ABANDONED ALL HOPE OF IMAGINING ANOTHER Rotterdam, A DIFFERENT CITY, A CITY JUST FOR YOU.’’

‘‘Dunston Staiths SYMBOLISE A TIME WHEN COAL AND THE RIVER TYNE WERE KEY FACTORS IN THE REGION’S POSITION AS A MAJOR ECONOMIC POWERHOUSE SERVING AS A MONUMENT TO INDUSTRY.’’

From working with my central theme over two years I have found that the most successful tactic in delivering projects opposing the current normality of the everyday is to use architectural carcasses. The use of existing carcasses allows for a framework a new architecture can occupy and grow into in an informal manner in response to a set of defined tactics.

The best example of such tactic is the anarchic takeover of Torre David in Caracas. Torre David is an unfinished skyscraper that was halted due to the Venezuelan banking crisis; The structure was then occupied by locals in response to housing shortages. The use of this buildings as informal housing better serves the local community than its initial office space

proposal. The tower, often negatively portrayed, actually offers a great example of community egangement in the creation of architecture. The society has managed to get services all the way up the tower and create bodegas (convenience stores) along with many other services throughout the tower.

In response to Torre David my work has explored an anarchic takeover of the 2013 DeRotterdam building that equally lacks in relation to the needs of the local Rotterdam South community. My thesis year has explored the use of Dunston Staiths as an architectural carcass using tactics and rule based design studied in digital architecture to create the basis of a new informal community.

(Wouter Vanstipout on DeRotterdam)

Dunston Staiths

(Newcastle Chronicle)

DERotterdam

TORRE DAVID

Dunston, Gateshead

Rotterdam, OMA, 2013

Caracas, Venezuela

Europe’s tallest timber structure was opened in 1893 for the purpose of loading coal onto waiting vessels. The Staiths have been derelict since the 1980’s.

Situated on Wilhelminapier Rem Koolhaas’s landmark £300 million building has received negative reception its relation to the ‘real Rotterdamer.’

Despite its often negative portrayal Torre David acts as a role model for informal communities. The organisation of society here acts as precedent.

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[Above: Render showing inhabitation of Dunston Staiths; Adjacent Page: Historic and current images of Dunston Staiths].

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EXPERIMENTAL ARCHITECTURE opened in 1893, serves as a lasting monument to the heavy industries of the North-East region. The Staiths, the tallest timber structure in Europe, were used to load coal onto initially keelboats to be transported to the larger ships at the coast. Since closing in the 1980’s the Staiths have been left derelict and serve as a dominating reminder of Newcastle’s past.

There have been attempts to rejuvenate the area coming from the Garden Festival and subsequent smaller markets on the structure but in the main it has gone unused resulting in a series of arson attacks seriously jeopardising the structural integrity of this Scheduled Ancient Monument.

Taylor Wimpy Housing has developed a residential scheme at the South bank of the Staiths seemingly leaving the Staiths as being

38

alien to the region. This project looks to take the Staiths as a carcass and design based around the constructional logic of the existing structure. As the tallest timber structure the joints used in the Staiths pose a unique set of tactical opportunities when looking to inhabit and re-purpose this structure. In the glory days of the Staiths there were even two Staiths running parallel giving the precedent of growing the Staiths creating an architectural carcass with unlimited potential for development.

‘‘NOW WE HAVE SQUATTING ON OUR SKYLINE A HULKING GIANT WHO HAS ABANDONED ALL HOPE OF IMAGINING ANOTHER Rotterdam, A DIFFERENT CITY, A CITY JUST FOR YOU.’’ (Wouter Vanstipout on DeRotterdam)

39

[Above: DeRotterdamZuid design seen from the North showing the inhabitation of DeRotterdam; Adjacent Page; Existing images of DeRotterdam].

GA2 // 1 / 3 ¦ GC1 // 1.1 / 1.2 ¦ GC2 // 2.1 / 2.2 ¦ GC4 // 4.1 / 4.2 / 4.3 ¦ GC5 // 5.1 / 5.2 / 5.3 ¦ GC6 // 6.3 ¦ GC8 // 8.3

PLAN Rotterdam - Drawing comparison between Rotterdam and Newcastleupon-Tyne. The Kop van Zuid is to Rotterdam North what Gateshead quayside is to Newcastle. A building situated in South Rotterdam but serving North Rotterdam. This is a conclusion strengthened by the numerous

signs on the skyscrapers of the Kop van Zuid all face the North rather than the South including the ‘n’ sign on DeRotterdam.

DeRotterdam is a building that entirely serves the North yet dominates the South. The mental map shown on the bottom left of the adjacent page shows the areas that politician of Rotterdam knew of the South

40

showing a complete lack of consideration for the South.

Through this analysis of DeRotterdam this project looks to deliver an anarchic takeover converting it into an architectural carcass to be reinterpreted to fulfil the needs of the South in line with a new urban plan for the region based around the idea of platforms in design.

- UTILISING PLATFORMS Transferable Element

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- UTILISING PLATFORMS Transferable Element

‘‘A PLATFORM ENABLES USER-DEFINED OUTCOMES AND ENCOURAGES INNOVATIVE PARTICIPATION. PLATFORMS ARE INDISCRIMINATELY ACCESSIBLE AND NON-PRESCRIPTIVE, BUT USE PARAMETERS TO FACILITATE AND ANTICIPATE ACTION. THEY EVOLVE THROUGH FEEDBACK, RESULTING IN CONNECTIONS AMONGST USERS AND PLATFORMS.’’

market for the Rijnhaven based around a new time-sharing economy.

The use of platforms in design has been a consistent theme in my work.

Platforms have been used for their ability to operate as long-term facilitators in designs, innovatively evolving through feedback. The platforms I have used have been our own designed platform of Tijd and the existing platform of BitNation both operating at urban scales. The work has looked to the layering of platforms to create independent series of platforms co existing in architecture operating around parametric design.

Through using technical sets of tactics in my design projects, platforms have been used to facilitate architectural assemblages as a starting point.

This is a transferable element for these kinds of developments. The use of platforms encourages participation and can really help designing in a localised context.

(Platform Definition)

The above definition comes from a group exploration of the use of platforms in the urban design of cities. Following this definition, we went on to create the platform Tijd, a labour and skill exchange

TIJD

The example of the Brixton Pound provides a great example for the use of platforms in cultural preservation and further enabling the local.

Rijnhaven Platform

Governance, 2.0

BITNATION

BRIXTON POUND

The Tijd platform is the final outcome of a group analysis on platforms and their impact upon architectural designs. A platform for the Rijnhaven.

A block-chain powered platform offering DIY governance with the view of people becoming world citizens with no boundaries between nations.

The Brixton pound is a localised currency boosting the local economy and encouraging independent businesses.

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Brixton, London

[Above Left: Collage depicting BitNation platform and its approach to world citizens; Above Right: Tijd digital platform for the Rijnhaven; Adjacent Page: Construction platform for the Rijnhaven].

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As a collective we designed the platform ‘Tijd.’ A new time sharing economy for the Rijnhaven. This was a multi-layered platform consisting of Abstract, Spatial and Digital Platforms as demonstrated below with my own construction platform added.

ABSTRACT SPATIAL

DIGITAL CONSTRUCTION

The abstract platform is the base layer of the overall platform.

This is the creation of a labour and skill sharing market based around a new time sharing economy. Through this platform residents of the Rijnhaven and surrounding areas are encouraged to advertise their skills and requests new skills. This is a socially based platform aimed at being indiscriminately accessible and non-prescriptive. Through this it is the aim that anyone can participate regardless of their current situation. Tijd will offer social based schemes such as ‘helping the elderly’ or ‘settling

45

new migrants’ with the aim that anyone can undertake these tasks in order the exchange their time for offers such as a nights accommodation or a warm meal. It is this social aspect that makes this platform different to the current Time bank economies such as ‘Echo’ or ‘Gorbals Time Bank’ in Glasgow.

The platform BitNation is used in my thesis work as the enabling platform for Constant’s new Babylon. Acting as a framework for world citizens my project looked to provide the first physical manifestation of what the BitNation platform can offer architecture.

一 伀 䤀 吀 䌀 唀 刀 吀 匀 䌀伀一 䔀匀吀伀 䤀䘀 一 䄀 䴀 刀伀吀

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䠀䔀吀䔀

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椀琀栀

琀椀戀氀攀 眀 漀洀瀀愀 猀琀 戀攀 挀

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46

吀眀漀 漀昀 䠀椀猀琀漀爀椀攀猀 䜀爀攀愀琀 䄀渀 吀漀爀爀攀 䐀攀 䐀愀瘀椀搀Ⰰ 䌀愀爀愀挀愀猀 䄀渀 甀渀椀 渀椀猀栀攀搀 猀欀礀猀挀爀愀瀀攀爀 椀渀 䌀愀爀愀挀愀猀Ⰰ 琀栀攀 挀愀瀀椀琀愀氀 漀昀 嘀攀渀攀稀甀攀氀愀 漀昀 眀栀椀挀栀 猀愀眀 椀琀猀 挀漀渀猀琀爀甀挀琀椀漀渀 栀愀氀琀攀搀 椀渀 ㄀㤀㤀㐀 搀甀攀 琀漀 琀栀攀 戀愀渀欀椀渀最 挀爀椀猀椀猀⸀ 䘀漀氀氀漀眀椀渀最 琀栀椀猀 椀琀 眀愀猀 漀挀挀甀瀀椀攀搀 戀礀 猀焀甀愀琀琀攀爀猀 椀渀 ㈀ 㜀⸀ 䘀爀漀洀 栀攀爀攀 琀栀攀 戀甀椀氀搀椀渀最 栀愀猀 搀攀瘀攀氀漀瀀攀搀 琀 栀爀漀甀最栀 琀栀攀 愀挀琀椀漀渀猀 漀昀 椀琀猀 爀攀猀椀搀攀渀琀猀⸀ 匀攀爀瘀椀挀攀猀 眀攀爀攀 挀漀渀渀攀挀琀攀搀 琀漀 琀栀攀 戀甀椀氀搀椀渀最 愀渀搀 愀 渀攀眀 漀爀搀攀爀 栀愀猀 昀漀爀洀攀搀⸀ 圀椀琀栀 琀栀攀 搀攀瘀攀氀漀瀀洀攀渀琀 最攀琀琀椀渀最 愀 戀愀搀 爀攀瀀甀琀愀琀椀漀渀 椀琀 栀愀猀 猀 椀渀挀攀 戀攀攀攀渀 瀀爀漀瘀攀搀 琀漀 戀攀 愀 最攀琀琀椀渀最 愀 戀愀搀 最爀攀愀琀 攀砀愀洀瀀氀攀 漀昀 挀漀洀洀甀渀椀琀礀 愀爀挀栀椀琀攀挀琀甀爀攀⸀

吀 䬀 漀 栀 琀栀 䤀渀 欀 琀漀

- COMMUNAL LIVING Transferable Element

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- COMMUNAL LIVING Thematic Analysis

In the overarching view of world citizens my architecture responds by creating an environment where users are not tied to the architecture.

Communal living allows for mankind to be freed from architectures and able to participate as and when they choose. This element looks to draw from personal experiences of living as a nomad through communal living.

Communal living has been chosen as a transferable element here for potential in delivering programmatic projects around the concept of cultural preservation. This communal style of life creates a greater sense of community, especially a community acting together for common goods.

When architectural development benefits a collective there is greater impetus in the development than when it is a selfish act. For this reason communal living has plenty to offer architectural assemblages formed through material accumulation.

Depicted on the following pages is how I have introduced communal living into my two design projects, Plan Rotterdam and Experimental Architecture.

The below precedents are more in keeping with the traditional counter cultural view of communal living rather than the many formal communal living ventures occurring in London such as ‘The Collective’ in West London acting as no more that temporary capitalist utopia.

WAIHEKE ISLAND New Zealand

Byron Bay, Australia

ARTS FACTORY

MY COMMUNAL LIVING

Waiheke Island shows a more social form of communal living with older residents looking after and providing for younger less fixed residents of the island.

Arts Factory in Byron Bay is home to a tented village where the informal development centres around communal facilities.

The above is my own experience of communal living depicting my home for 4 months highlighting the extent of what is actually necessary.

GA2 // 1 / 7 ¦ GC1 // 1.1 / 1.2 ¦ GC2 // 2.3 ¦ GC4 // 4.1 / 4.2 ¦ GC5 // 5.1 / 5.2 / 5.3 ¦ GC7 // 7.1

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Australia / New Zealand

ROOFTOP CLUBS 3D Printing

VIEWING PLATFORM

3D printing robots have been printing a metal exoskeleton since the housing crisis.

COMMUNITY GARDE EXISTING RESIDENTIAL CUSTOM BUILDS

VERTICAL FARMING

[Above: As existing typical office floor plan, East Tower].

[Above: Typical floor plan from within the radical commune, showing collective living].

GA2 // 1 ¦ GC1 // 1.1 / 1.2 / 1.3 ¦ GC2 // 2.3 ¦ GC4 // 4.1 / 4.2 ¦ GC5 // 5.1 / 5.2 / 5.3

Vacant Housing Many homes area becoming vacant in the existing apartments of DeRotterdam. People want to locate to the new developments on the outside.

Administration Core Tijd Construction are located at the core of the building. This is in line with the development of the 'Yamen' in the Kowloon walled city.

Housing New home being installed. The bare basics will be fabricated on site in the re-processing floor. It is then down to the occupier to add their narrative to the dwelling

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Regulations With the new municipality of South Rotterdam has come a relaxation of the rules and regulations in buildings.

OBSERVATORY

WASTE

ENS

A NEW RELIGION...?

Circulation With drones now carrying building materials what's to say they can't transport people?

CONVENIENCE STORE

EDUCATION CENTRE

NOTICE BOARD

[Above: Extract from Communal living visual; Adjacent Page: Extract of communal living from section and plan].

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- PROFESSIONAL PRACTICE OF ARCHITECTURAL ASSEMBLAGES Transferable Element

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- PROFESSIONAL PRACTICE OF ARCHITECTURAL ASSEMBLAGES Transferable Element

McFarlane talks about, ‘assemblage as a means of continually thinking the play between the actual and the possible.’ (McFarlane, 2011) This is where I like to start with my take on assemblage theory. That it is a measure of what is possible as much as what you have. In using assemblage theory in my designs I look to provide the base tools for the design as the actual and put the parameters in place so that what is possible is beyond my calculation and requires the use of tools such as rule based design, alea gifts, and defamiliarization devices to determine the extents of what can be achieved.

An essay written during my 5th year looks into Dynamic community

assemblages stating that assemblages are as much about material

accumulation as they are social.

In relation to the transferable elment on this matter I am looking to the material accumulation side of assemblage theory and providing tools for how this theory can bee applied in western developments in the strict legislation of the construction industry.

All three of my projects have looked to material accumulation and dealt with the role of the architect in delivering such assemblages but it is the final thesis project that looks into the professional practice issues that this arises and deals with how this type of architecture can be implemented.

The following page will look to detail these tactics of implementation.

OUESBURN

SUSAN BAY SLUMS

LEBBEUS WOODS

Newcastle’s Ouesburn is a region that is constantly evolving through ‘hipsterism’ with businesses growing over time as community assemblages.

Visited in 2010, the Freetown slums offer a first hand take on a developing countries architectural assemblages and the forward planning involved.

Woods deals with the relation between the city and crisis and of particular interest here is his portrayal of material accumulation through tensions in architecture.

Newcastle-upon-Tyne

Freetown, Sierra Leone

Walls of Change

GA2 // 1 / 3 / 4 / 5 / 7 ¦ GC1 // 1.1 / 1.2 / 1.3 ¦ GC5 // 5.2 / 5.3 ¦ GC6 // 6.1 / 6.2 / 6.3 ¦ GC7 // 7.1 / 7.2 ¦ GC10 // 10.1 / 10.2 / 10.3 ¦ GC11 // 11.1 / 11.2 / 11.3 ¦

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1200mm Column addition NorthSouth-axis

90 degree vertical addition

Rule 1 (R1) Additive

Rule 1 (R1) Additive

Column addition EastWest-axis Rule 2 (R2) Additive

5550mm

Secondary supporting structure Rule 3 (R3) 1D Scaling x 0.5

180 degree horizontal addition Rule 2 (R2) Additive

Rotational transformation

X

Rule 3 (R3) Substitution

Primary structure additional support Rule 4 (R4) Additive

Height increase beam addition Rule 5 (R5) Additive

Addition of thermal buffer Rule 4 (R4) Additive

Wind deflection distortion Rule 5 (R5) Substitution

Floor creation at intermediate support

Scaling for aesthetic detailing

Rule 6 (R6) Additive

2D Scaling x 0.5 (R6) Scaling

[Above Left: Massing Rules; Above Right: Extract from Working Day visual; Adjacent Page: Custom Build fundamental parameters].

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EXPERIMENTAL ARCHITECTURE My thesis proposal puts the people living in the scheme at the core of its development and provides plots for custom builds.

Theoretically the project looks to provide an architectural assemblage showing the amalgamation of recycled materials and peoples individual additions over time. Here I look to demonstrate how the clients unscripted vision can be implemented in practice - with regards to obtaining statutory approvals and the necessary

project management for bottom-up architectures.

The diagram on the adjacent page shows the fundamental parameters for the custom plots and the extents to which can be developed. This project also used block-chain technology as part of its material accumulation in conjunction with the use of smart contracts creating a real time feedback of materials that can create material conflict in the proposal.

The above image portray the working day in this scheme showing

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a material hell and heaven with materials being reclaimed and taken away through smart contracts when either needed elsewhere or when the originally recycled wood has reach the end of its lifespan detected through humidity sensors.

The transferable skills here are the use of custom build plots and fundamental parameters along with the integration of blockchain technology into the in use phase of the proposal. These are elements that can be applied in future projects.

1:100 APPLICATION OF MASSING RULES

1

5

1:100 DESIGN PARAMETERS FOR CUSTOM BUILD PLOTS

1

5

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- INDIVIDUAL DESIGN STUDIO EXPLORATIONS -

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- GAUDY ARCHITECTURE -

Stage 6 Design Thesis - Experimental Architecture

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- GAUDY ARCHITECTURE -

Stage 6 Design Thesis - Experimental Architecture

‘‘GAUDY DAY - IN THE EARLIER DAYS OF MINING, THIS WAS THE NAME GIVEN TO ANY DAY WHICH THE WORKERS MADE INTO A HOLIDAY. IT MIGHT BE THE DAY THE FIRST CUCKOO WAS HEARD, OR THE TURNIPS WERE READY IN THE FIELDS.’’

A starting point of using defamiliarization devices to invoke a calculated disordering of the sense has been taken into the design approach for the project in creating an architecture of deviation for NewcastleGateshead in respond to the cultural identity of the region.

The final output of this project is as much the final images as it the transferable skills and overarching idea. The project looks to use a carcass of the city’s glory days and previous examples of deviation, of living outside of the norm to bring together a contemporary architecture of deviation. An architecture that offers an escape from the everyday.

This escape from the everyday is achieved here through an architecture of days where the architectures masterplan breaks down the week and rebuilds it in an architecture with work, living, desires and rituals all at separate elements.

(R.Samuel, Miners, Quarrymen & Saltworkers)

Looking to respond to my overarching question of, ‘as mankind becomes increasingly global in the 21st century how can architecture respond to both preserve and further enable the multiplicity of cultures we have developed across the world? This project is Gaudy architecture. The term gaudy is used here to signify the breaking of the monotony of the everyday.

As the site for this project Dunston Staiths was selected. The Staiths are a monument to Newcastle’s history in the heavy industries and now lies dormant waiting for a new use.

A site visit to Venice set the scene for the project and helped to form the call to action. In this visit I understood Venice as a museum. Where globalisation had begun to take over and the cultural identity was no longer lived but just observed as it slowly is lost like any part of a museum. This call to action is to make sure Newcastle, my home, doesn’t suffer the same end.

TERUNOBU FUJIMORI

PALAFITOS Chiloe, Chile

Blue Mountains, Australia

Fujimori serves as a great precedent for the preservation and extension of local cultures and practices. His material approach centres around traditional crafts and ritual practices.

Palafitos is an informal development of silt houses responding to local environmental and political factors forcing inhabitants out to the sea.

What may look like a rock formation is transformed through story telling to invoke new meaning in the story of the 3 sisters, set in stone in protection against another tribes witch doctor.

Flying Mud Boat

[Adjacent Page: Gaudy Day in a North East pit village].

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THE THREE SISTERS

[Above: The Great Flood, 1771; Adjacent Page: Map of Medieval Newcastle].

GA2 // 1 / 4 ¦ GC1 // 1.1 ¦ GC2 // 2.1 / 2.2 ¦ GC4 // 4.1 / 4.2 ¦ GC7 // 7.1

INCITING INCIDENTS A narrative hook sets the scene for future encounters. In this proposal the narrative hook takes the form of two exciting incidents: - The Great Flood, 1771: The Tyne used to be crossed by the inhabited medieval Tyne bridge up until 1771 when the bridge was washed away during Newcastle’s Great Flood.

- The Keelmen’s Strikes, 1750: In 1750 Newcastle’s Keelmen went on strike in response to being paid the majority of their wages in beer. The Keelmen were responsible for transporting coal from Dunston Staiths out to larger ships at the coast unable to pass the shallow Tyne.

These inciting incidents set the scene for Newcastle’s history of living outside of the city. The map on the adjacent page highlights

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this further. The map shows the old city wall boundary and the two highlighted examples: the medieval Tyne bridge; and the area of the Sandgate, to the East of the city walls, where the Keelmen once lived.

Taking Dunston Staiths as a carcass and these two inciting incidents sets the framework for this projects and acts as a transferable skill for other similar projects.

[Above: Collage of Newcastle character analysis; Adjacent page: Images of selected folk traditions from the North East region].

GA2 // 1 / 4 ¦ GC1 // 1.1 ¦ GC2 // 2.1 / 2.2 ¦ GC5 // 5.1 / 5.3 ¦ GC7 // 7.2 Newcastle Character Analysis

NEWCASTLE CHARACTER ANALYSIS My understanding of Newcastle is that it is a proudly working class area. Its residents work hard yet never take themselves too seriously. It is a strong sense of community in the area that gets people through the hard work. Work, community and a lighthearted nature are the key themes in my analysis that I have taken forward into subsequent design proposals.

From my site map and use of a calculated disordering of the sense to open up the possibilities of new worlds I became interested in folk traditions as a methodology in my work.

Presented on the adjacent page are images depicting several of the numerous examples I looked into from both historical and contemporary research.

The most prominent examples are the contemporary existence of

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the Tyneside flat and the way in which community was encapsulated in their design. Newcastle’s chares - steep narrow streets running from the quayside to the city - where the buildings were seemingly falling down into the street. Drinking traditions such as the old Scotswood Road pubs and the old beer pant riots for the Kings coronation.

In the current day of interest is the current drinking culture.

[Above: Start Creative’s launch of ‘The Starvationer Boat,’ Worsely, Manchester].

GA2 // 2 / 5 ¦ GC1 // 1.1 / 1.2 / 1.3 ¦ GC2 // 2.1 / 2.2 / 2.3 ¦ GC5 // 5.3 ¦ GC6 // 6.1 / 6.2 / 6.3 ¦ GC7 // 7.1 / 7.2 ¦ GC10 // 10.1 / 10.2 / 10.3 ¦ GC11 // 11.1 / 11.2 / 11.3 ¦

As part of a project in Manchester to inspire and engage local communities with stories of the regions history ‘Start Creative’ organised nine local men to come together to recreate the boat ‘the Starvationer’ once used in the underground canals for Manchester’s coal industry.

The project encouraged locals to take an active interest into local history and traditions. Traditional woodworking skills

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were taught with members of the group now going on to pass these skills onto others through mentoring schemes while also using the skills on further community interest ventures.

This precedent has been used programmatically when looking at the entrance to this new community. The precedent shows cultural preservation and also the enabling of residents to live in a participatory architecture.

[Above: Newcastle Wood Recycling CIC team].

GA2 // 2 / 5 ¦ GC1 // 1.1 / 1.2 / 1.3 ¦ GC2 // 2.1 / 2.2 / 2.3 ¦ GC5 // 5.2 ¦ GC6 // 6.1 / 6.2 / 6.3 ¦ GC7 // 7.1 / 7.2 ¦ GC10 // 10.1 / 10.2 / 10.3 ¦ GC11 // 11.1 / 11.2 / 11.3 ¦

Newcastle Wood Recycling is a not-for-profit community interest organisation set up to: - Collect & Re-use waste timber - Create sustainable jobs and voluntary opportunities for local people.

- Provide affordable reclaimed timber, DIY material, to the community.

They aim to divert as much wood as possible from the waste stream in the North East and in doing so, to create jobs, training and volunteering opportunities to people in the local community.

The company are currently in the process of creating a workshop to begin to create products for sale and encourage woodworking skills.

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This project looks to deliver this new workshop and the place this company at the heart of the programme as the centre for material accumulation.

Waste materials will be brought in by van and Keelboats and then be claimed by residents with a new value of story telling as currency for the recycled wood that has no current economic value.

Stub Tenon Joint

Scarf Joint - Half Lap

Mortise & Tenon Joint

Scarf Joint - Splayed, Tabled & Keyed

All Timbers: Pitch Pine (White Leaded as preservative)

Double Bolted Joint

Double Bolted Support Joint

Bolted Joint

All Columns and Piles: 330 x 330 mm All Diagonals: 150 x 255mm All Longitudinal Members: 150 x 305mm All Longitudinal Bearers: 355 x 355mm All Packs: 180 x 355 x 1065mm

[Above: Existing details of the Staiths junctions; Adjacent Page: Massing Rules for proposed development].

GA2 // 1 / 2 / 3 ¦ GC1 // 1.1 / 1.2 / 1.3 ¦ GC5 // 5.3 ¦ GC8 // 8.1 / 8.2 / 8.3 ¦

RULE BASED DESIGN - MASSING RULES

Dunston Staiths has its own very unique constructional logic. Presented above are typical joints taken from the existing structure. The understanding gained from these details has been taken forward into producing a set of tactics

for dealing with the structure. The massing rules shown on the adjacent page use the understanding of the structure when looking to ‘grow’ future elements on the site.

These rules are used in particular for the creation of football stands and the creation of new frames for the taller dwellings

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the proposed chares as the structural exoskeleton for buildings to inhabit. The set of massing rules acts as the basis for architectural assemblages on the site of which will follow these rules in line with the professional practice issues raised in the thematic analysis section earlier in the portfolio.

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BLUE STONES ENTRANCE

INTERIM HOUSING

SIDE CHARE

COMMUNAL LIVING

Blue stones marked the boundary between Gateshead and Newcastle on the Old Tyne Bridge.

Here the entrance marks the starting point of both the architecture and the programme. Upon entry a resident must create a keel rib as a rite of passage learning both elements of the areas history and the necessary woodworking skills to engage with the architectural assemblage.

While either creating a keel rib upon entry or just on a temporary stay interim housing is used in the form of old Keelboats converted into accommodation.

Living in the boats is reminiscent of the Peedee, the small boy who used to sleep in the hold of the Keelboats.

Side Chare was Newcastle largest commercial chare home to independent businesses. The old Tyne bridge used to be lined with shops at its pedestrian level with the owners living above the units. Here the circulation is based around the chare and existing top of deck level with individual dwellings.

Communal living is used in the development to provide for residents centrally as both a stance on sustainable living and urban gleaning and as a enabling method for world citizens, keeping the ties of residents to a minimum so they are free to leave and travel when they choose to.

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BROAD CHARE

INTOXICATION TOWER

FOOTBALL CATHEDRAL

The chares are broken up by a series of market places such as the flesh market, pullen, cloth and milk market serving as platforms for independent businesses.

The Old Tyne Bridge housed an intoxication tower for the purpose of detaining drunkards and keeping vagabonds out of thee city. This tower has been reinterpreted in the design to encourage drinking. To act as the element of desire in society.

The intoxication tower is based around a series of narrative plots spiralling up the tower for the purpose of reawakening authentic desires and escape form the every day.

At the end of the development is the football cathedral constructed out of the boat ribs made as rites of passage into the Staiths. Housed under the cathedral in crypts is a reliquary acting as the match day pilgrimage.

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GA2 // 1 / 2 ¦ GC1 // 1.1 / 1.2 / 1.3 ¦ GC2 // 2.1 / 2.2 / 2.3 ¦ GC4 // 4.1 ¦ GC5 // 5.3 ¦ GC6 // 6.3

THE WORKING DAY

COMMUNAL LIVING

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THE GAUDY DAY

THE MATCH DAY

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THE WORKING DAY The following days are represented using programmatic mixed perspective visuals inspired by paintings of the Tower of Babel and the works of Bosch in which the ground plane is opened up to depict the paintings programme.

The working day, represented on the adjacent page shows material accumulation as the main theme with material hell and heaven portrayed.

The visual shows the entrance to the society with the rite of entry and interim housing.

GA2 // 1 / 2 / 3 / 5 ¦ GC1 // 1.1 / 1.2 / 1.3 ¦ GC2 // 2.3 ¦ GC3 // 3.3 ¦ GC5 // 5.1 / 5.2 / 5.3 ¦ GC6 // 6.1 / 6.2 / 6.3 ¦ GC8 // 8.1 / 8.2 / 8.3 ¦ GC10 // 10.1 / 10.2 / 10.3 ¦ GC11 // 11.1 / 11.2 / 11.3 ¦

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COMMUNAL LIVING The communal living visual depicts the circulation based around Newcastle’s chares with the series of markets breaking up journeys.

Communal living is depicted with all facilities catered for centrally as an act of sustainability and urban gleaning with independent dwellings and community offerings located at the edges of the visual.

GA2 // 1 / 2 / 3 / 5 ¦ GC1 // 1.1 / 1.2 / 1.3 ¦ GC2 // 2.3 ¦ GC3 // 3.3 ¦ GC5 // 5.1 / 5.2 / 5.3 ¦ GC8 // 8.1 / 8.2 / 8.3

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THE GAUDY DAY The Gaudy day visual represents the day of for the purpose of merrymaking.

Acting as societal desires. The architecture here spirals up the tower in a series of narrative plots allowing for an escape from the everyday in response to the current drinking culture of Newcastle.

The tower is organised vertically with communal acts at the base of the tower moving upwards as the process of intoxication occurs to individual acts of making stories in the series of narrative plots while the process of brewing acts down the tower to the distribution in the public square Sandhill - at the towers base.

GA2 // 1 / 2 / 3 / 5 ¦ GC1 // 1.1 / 1.2 / 1.3 ¦ GC2 // 2.3 ¦ GC3 // 3.3 ¦ GC5 // 5.1 / 5.2 / 5.3 ¦ GC8 // 8.1 / 8.2 / 8.3

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THE MATCH DAY The match day visual depicts the rituals of the development. It shows the rite of entry, football as a governing body of society, and the rights of punishment taken from old drinking punishments such as the ‘Geordie Cloak’ and contemporary elements such as the ‘Sinners cage.’

Housed underneath the football cathedral is a reliquary housed in crypts based around those of St Nicholas’ cathedral.

GA2 // 1 / 2 / 3 / 5 ¦ GC1 // 1.1 / 1.2 / 1.3 ¦ GC2 // 2.3 ¦ GC3 // 3.3 ¦ GC5 // 5.1 / 5.2 / 5.3 ¦ GC8 // 8.1 / 8.2 / 8.3

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[Above: Selected images showing final model].

GA2 // 1 / 2 / 3 ¦ GC1 // 1.1 / 1.3 ¦ GC4 // 4.1 ¦ GC5 // 5.3

88

[Top: Sandhill public square; Middle: Crypts; Bottom: Football Cathedral; Adjacent Page: Narrative plots in Intoxication Tower].

INCITING INCIDENT: In 1699 the Keelmen of Newcastle decided to build the Keelmen’s Hospital.

One penny a tide was paid by each keel’s crew to provide for the sick and aged Keelmen and their families. ~ Blockchain technology provides a decentralised and tamper-proof database which can chronologically and securely record transactions. This technology has numerous potential offerings to the construction industry.

Depicted in this image is the role of blockchain technology in implementing smart contracts in the development. Timber materials are to be tracked, recorded and monitered using microchips and humidity sensors creating the architecture of a living machine. Once a piece of timber is either required elsewhere for a greater purpose or has reached the end of its lifespan the material is taken.

The axonometric detail shows the cladding of materials that can be removed.

BLOCKCHAIN MATERIALS & SMART CONTRACTS

1:50 AXO DETAIL / BLOCKCHAIN MATERIAL

ENT: build the Keelmen’s Hospital. ew to provide for the sick and families.

ed and tamper-proof database d transactions. This technology e construction industry.

in technology in implementing materials are to be tracked, humidity sensors creating the ce of timber is either required ed the end of its lifespan the n.

materials that can be removed.

1:50 AXO DETAIL / BLOCKCHAIN MATERIAL

THE WORKING DAY INCITING INCIDENT In 1699 the Keelmen of Newcastle decided to build the Keelmen’s Hospital. One penny a tide was paid by each keel’s crew to provide for the sick and aged Keelmen and their families.

Block-chain technology provides a decentralised and tamper-proof database which can chronologically and securely record transactions. Depicted in this image

COMMUNAL LIVING INCITING INCIDENT

is the role of block-chain technology in implementing smart contracts in the development. Timber materials are to be tracked, recorded and monitored using microchips and humidity sensors creating the architecture of a living machine. Once a piece of timber is either required elsewhere for a greater purpose or has reached the end of its lifespan the material is taken.

Chares in Newcastle refer to the long, narrow and steep streets from the medieval city for the quick movement from the quayside to the higher city level. The chares became slums and were notorious elements of Newcastle’s history. Many chares were narrow enough a man could touch either side with his arms outstretched.

Chares are in the proposal as the main

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circulation along the 526m Staiths. Coming off from the chares are the entrances to retail spaces and the many markets the chares open up into. Here the massing rules for the Staiths allow for a 5 degree incline in the timber to cater for the appearance of inclining buildings giving the impression of the architecture falling in on you as so many of the chares appeared.

INCITING INCIDENT: The medieval Tyne Bridge housed an intoxication tower. The tower served as the entrance to the city to keep out unwanted characters doubling up as a prison for intoxicated residents.

Amidst the ruins of the bridge after the Great Flood a anchorite cell was found housed in one of the pillars praying for the soul of Roger Thornton. ~ Narrative plots are outlined in the 7 basic plots of Booker, here the inciting incident of the intoxication tower has been reversed to enhance intoxication and take the user on a journey through narratives plots as a means of stimulating stories. The link of creating stories and intoxication looks to readress the current drinking culture of Newcastle and create an architecture that provides a purpose for intoxication.

The Axo detail here depicts the Rebirth,

INTOXICATION TOWER / NARRATIVE PLOTS

AXO DETAIL / REBIRTH

ENT: intoxication tower. The ty to keep out unwanted or intoxicated residents. e Great Flood a anchorite ars praying for the soul of n.

ic plots of Booker, here the ower has been reversed to er on a journey through ating stories. The link of s to readress the current eate an architecture that ntoxication.

s the Rebirth,

AXO DETAIL / REBIRTH

THE GAUDY DAY INCITING INCIDENT The medieval Tyne Bridge housed an intoxication tower. The tower served as the entrance to the city to keep out unwanted characters doubling up as a prison for intoxicated residents. Amidst the ruins of the bridge after the Great Flood a anchorite cell was found housed in one of the pillars praying for the soul of Roger Thornton.

Narrative plots are outlined in the 7 basic

THE MATCH DAY INCITING INCIDENT

plots of Booker, here the inciting incident of the intoxication tower has been reversed to enhance intoxication and take the user on a journey through narratives plots as a means of stimulating stories. The link of creating stories and intoxication looks to readdress the current drinking culture of Newcastle and create an architecture that provides a purpose for intoxication.

Football and sport in Newcastle play a prominent role as a ritual in society. St James’ Park, home of Newcastle United FC come from the name of a chapel and hospital that granted the lease of its land in 1542 for the creation of a football ground, showing that football in Newcastle has always had a spiritual connection.

There is a strong history of the ornate ribs of timber boats being used to create cathedrals using construction techniques such as the hammer beam truss. In this proposal each resident of the development is to create a boat rib as a rite of passage, these boat ribs come together to create a communal cathedral to house rituals.

GA2 // 1 / 2 / 3 / 4 / 5 / 7 ¦ GC1 // 1.1 / 1.2 / 1.3 ¦ GC2 // 2.1 / 2.2 / 2.3 ¦ GC3 // 3.3 ¦ GC5 // 5.3 ¦ GC6 // 6.2 ¦ GC8 // 8.1 / 8.2 / 8.3

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- FUCK YOU Rotterdam: ITS A REVOLUTION Stage 5 / Semester 1 - Plan Rotterdam

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- FUCK YOU Rotterdam: ITS A REVOLUTION Stage 5 / Semester 1 - Plan Rotterdam

The following work presented is my individual intervention into Rotterdam; an anarchic takeover of OMA’s iconic building of DeRotterdam. Koolhaas’ landmark building, opened in 2013 at a cost of 314 M Euros, has failed, seemingly lacking any connection to the real Rotterdamers, an opinion supported by the above quote from Wouter Vantiphout. The building has been criticised for numerous reasons including being ‘a monument to Rotterdam’s rude economic health.’ [O,Wainright]

gentrification from taking over the Rijnhaven basin.

In order to achieve this, the project looks to build upon and become informed by the site analysis already undertaken. It looks to add another layer to the platform build up responding to the question, how can we fundamentally change architecture as a result of the Tijd platform? This new platform will be in the form of a ‘construction manifesto’ – This manifesto forms the brief I have written myself for the project.

This is a visionary project. It looks to give a vision for the future. This vision itself is a platform; in this case a platform for bottom up architecture.

In line with works by Lebbeus Woods, Archigram, Peter Cook and Cedric Price this project looks to give a vision for what Rotterdam could be and strives to inspire bottom up architecture to flourish in the region and halt

STUART FRANKS

In order to project into the future and design the unknown iterations of the same section have been produced at intervals of five years. To predict how this anarchic takeover will manifest itself precedents of ‘two of history’s great anomalies – Torre de David and Kowloon Walled City – will be studied.

Stacked City

ARCHIGRAM

The Suitaloon, Archigram 8

LEBBEUS WOODS

Franks designs a paper architecture for rapid population growth based around the ideas of cross-programming and flexibility in architecture in line with the views of Koolhaas.

Archigram produce machines for living in for the nomad following on from Le Corbusier’s work. A large amount of the projects provide urban scale frameworks where architectural assemblages can then occur.

Woods deals with the relationship between the city and crisis and of particular interest here is his portrayal of material accumulation through tensions in architecture.

GA2 // 1 / 2 / 4 / 7 ¦ GC1 // 1.1 ¦ GC2 // 2.1 / 2.2 / 2.3 ¦ GC4 // 4.1 / 4.2 ¦ GC5 // 5.1 / 5.3 ¦ GC7 // 7.1 / 7.2

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Walls of Change

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愀渀搀 爀愀琀椀瘀攀猀

椀琀栀 䠀 䔀 琀椀戀氀攀 眀 匀匀䤀䈀䰀 挀漀洀瀀愀 挀漀 甀猀琀 戀攀 甀猀琀 戀攀 䄀䌀䌀䔀 最渀 洀 猀椀最渀 洀 攀 搀攀猀椀 䄀吀䔀䰀夀 琀栀攀 搀攀 䤀一 漀昀 渀 渀 漀昀 琀栀 䤀䴀 䌀刀 愀琀攀搀⸀ 椀琀攀爀愀琀椀漀 琀爀甀挀琀攀搀⸀ 椀琀攀爀愀琀椀漀 琀爀甀挀琀攀搀⸀ 䤀匀 栀 栀 攀搀 䐀 䐀 愀琀 愀挀 愀挀 䤀一 攀 攀氀椀洀椀渀 䤀一 攀 攀氀椀洀椀渀 爀攀挀漀渀猀 爀攀挀漀渀猀 戀愀挀欀⸀ 䔀 戀愀挀欀⸀ 䔀 漀 栀 昀攀攀搀 甀挀琀攀搀 愀渀搀 栀 昀攀攀搀 甀挀琀攀搀 愀渀搀 洀甀猀琀 戀 洀甀猀琀 戀 挀愀渀 搀 䌀栀愀爀氀漀椀猀 娀甀椀搀瀀氀攀椀渀 琀爀 琀爀 琀栀爀漀甀最 琀栀爀漀甀最 礀漀甀 䤀樀猀猀攀氀洀漀渀搀攀 琀甀愀氀 瘀漀氀瘀攀 戀攀 搀攀挀漀渀猀 瘀漀氀瘀攀 戀攀 搀攀挀漀渀猀 琀甀愀氀氀礀 攀瘀攀渀 眀椀氀氀 攀 眀椀氀氀 攀 琀漀 琀漀 椀氀 攀瘀攀渀 甀渀琀椀氀 爀攀搀⸀ 猀礀猀琀攀洀 甀猀琀 戀攀 愀戀氀攀 猀礀猀琀攀洀 甀猀琀 戀攀 愀戀氀攀 猀猀 甀渀琀 最甀爀攀搀⸀ 攀 攀 氀攀 最甀 吀栀 吀栀

渀搀 渀搀 氀攀猀猀 䔀 ⼀⼀ 猀礀猀琀攀洀 洀 䔀 ⼀⼀ 猀礀猀琀攀洀 洀 氀攀猀猀 愀 愀渀搀 爀攀挀漀渀 氀攀猀猀 愀 愀渀搀 爀攀挀漀渀 䰀 䰀 䈀 䈀 椀琀栀 椀琀栀 眀 眀 䄀 䄀 栀攀 栀攀 攀 攀 䬀 猀椀漀渀猀⸀ 吀 䌀䬀 攀爀猀椀漀渀猀⸀ 吀 䐀攀 嘀愀渀 䄀 搀 洀漀爀 氀礀 戀攀 爀攀甀猀攀搀 搀 洀漀爀 氀礀 戀攀 爀攀甀猀攀搀 䠀䄀䌀甀猀 䠀 愀渀 愀渀 攀爀 攀 攀 瘀 瘀 漀 洀漀爀 漀渀琀椀渀甀漀甀猀 漀 洀漀爀 漀渀琀椀渀甀漀甀猀 吀眀漀 漀昀 䠀椀猀琀漀爀椀 攀瘀椀漀甀猀 娀甀椀搀 䌀攀渀琀爀攀 搀 搀 瀀爀攀瘀椀漀 瀀爀 琀漀 琀漀 愀爀攀愀⸀ 愀戀椀氀椀琀礀 栀椀挀栀 挀愀渀 挀 愀戀椀氀椀琀礀 栀椀挀栀 挀愀渀 挀 吀栀攀 吀栀攀 漀昀 琀栀攀 漀昀 搀椀琀椀漀渀猀 搀椀琀椀漀渀猀 䤀伀一ᤠ ⼀⼀ 攀爀椀愀氀猀 漀昀 眀 䤀伀一ᤠ ⼀⼀ 攀爀椀愀氀猀 漀昀 眀 吀漀爀爀攀 䐀攀 䐀愀瘀椀搀Ⰰ 䌀愀爀愀挀愀猀 爀愀氀 琀爀愀 爀愀氀 琀爀愀 䰀䤀匀䄀吀 礀挀氀攀搀 洀愀琀 䰀䤀匀䄀吀 礀挀氀攀搀 洀愀琀 攀 挀甀氀琀甀 攀 挀甀氀琀甀 䴀䔀刀 渀䄀漀琀栀椀渀最⸀ 刀攀挀 圀愀愀氀栀愀瘀攀渀 䴀䔀刀 渀䄀漀琀栀椀渀最⸀ 刀攀挀 眀椀琀栀 琀栀 眀椀琀栀 琀栀 䔀 䔀 渀攀 渀攀 䠀 䠀 氀椀 氀椀 倀 倀 䄀渀 甀渀椀 渀椀猀栀攀搀 猀欀礀猀挀爀愀瀀攀爀 椀渀 䌀愀爀愀挀愀猀Ⰰ 琀栀攀 挀愀瀀椀琀愀氀 漀昀 嘀攀渀攀稀甀攀氀愀 ᠠ䔀 琀栀椀渀最 眀椀琀栀 ᠠ䔀 琀栀椀渀最 眀椀琀栀 攀 椀渀 攀 椀渀 䰀漀洀戀愀爀搀椀樀攀渀 愀渀搀 戀 愀渀搀 戀 漀昀 眀栀椀挀栀 猀愀眀 椀琀猀 挀漀渀猀琀爀甀挀琀椀漀渀 栀愀氀琀攀搀 椀渀 ㄀㤀㤀㐀 搀甀攀 琀漀 琀栀攀 爀搀愀洀 爀搀愀洀 攀瘀攀爀礀 攀瘀攀爀礀 刀漀琀琀攀 刀漀琀琀攀 渀搀 琀漀 渀搀 琀漀戀愀渀欀椀渀最 挀爀椀猀椀猀⸀ 䘀漀氀氀漀眀椀渀最 琀栀椀猀 椀琀 眀愀猀 漀挀挀甀瀀椀攀搀 戀礀 猀焀甀愀琀琀攀爀猀 椀渀 ㈀ 㜀⸀ 䘀爀漀洀 栀攀爀攀 琀栀攀 戀甀椀氀搀椀渀最 栀愀猀 搀攀瘀攀氀漀瀀攀搀 琀 栀爀漀甀最栀 琀栀攀 琀 爀攀猀瀀漀 琀 爀攀猀瀀漀 椀猀 洀甀猀 椀猀 洀甀猀 愀挀琀椀漀渀猀 漀昀 椀琀猀 爀攀猀椀搀攀渀琀猀⸀ 匀攀爀瘀椀挀攀猀 眀攀爀攀 挀漀渀渀攀挀琀攀搀 琀漀 琀栀攀 吀栀 吀栀

⼀⼀ ⼀⼀

䠀

䤀樀猀猀攀氀洀漀渀搀攀

䤀䈀䰀䔀

䌀䔀匀匀 䰀夀 䄀䌀 䤀一䄀吀䔀 䤀匀䌀刀䤀䴀 ⸀

刀

䄀 䄀䌀唀䰀

嘀䔀刀一

刀

䄀 䄀䌀唀䰀

嘀䔀刀一

[Above: Design Collages showing the dividing line between municipalities, Relation to Tijd Platform, and new construction platform].

GA2 // 1 / 2 / 3 / 4 / 5 ¦ GC1 // 1.1 / 1.2 / 1.3 ¦ GC2 // 2.1 / 2.2 / 2.3 ¦ GC4 // 4.1 / 4.2 / 4.3 ¦ GC5 // 5.1 / 5.3 ¦ GC7 // 7.1 ¦ GC8 // 8.1 / 8.2 / 8.3

WIDER SCALE POLITICAL MASTERPLAN My mapping exercise, focusing in on the language of the Rijnhaven, through both written and spoken word, led me to explore what I experienced as an anti-North attitude throughout the area. Verhalenhuis Belvedere, a café and gallery dedicated to keeping the history of the Katendrecht area alive, serves as an example of how the South differs in nature to the North. A much quieter place with a real sense of local pride evident through both the people and the businesses. Conducting interviews in.

the region made me aware of the current social problems here.

Gentrification is evident in the area. The wealthy areas of Kop van Zuid - with works by the ‘st-architects’ Koolhaas, Foster, Piano and Siza, home to DeRotterdam - sitting in direct contrast to the historically rich Katendrecht with its old industrial factory units bustling with the creative class.

‘THE NETHERLANDS CURRENTLY HAS THE HIGHEST PROPORTION OF SOCIAL HOUSING IN THE EU AT 36%; AS HIGH AS 50% IN THE CITIES.’

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A 2015 report on Governing Urban Diversity in South Rotterdam reported that many areas in the region were portrayed as being ‘residentially unattractive,’ from the report it was concluded that it was the diversity in the areas of which was drawing in new residents.

The wide range of evidence given here has led to the decision to form a new municipality. The municipality of Rotterdam Zuid – South Rotterdam. In forming this new municipality there is now the chance to make this new municipality respond to the needs of the South, to the needs of the real people of Rotterdam. Maps and plans on the following pages depict the extent of the new Rotterdam Zuid.

戀甀椀氀搀椀渀最 愀渀搀 愀 渀攀眀 漀爀搀攀爀 栀愀猀 昀漀爀洀攀搀⸀ 圀椀琀栀 琀栀攀 搀攀瘀攀氀漀瀀洀攀渀琀 最攀琀琀椀渀最 愀 戀愀搀 爀攀瀀甀琀愀琀椀漀渀 椀琀 栀愀猀 猀 椀渀挀攀 戀攀攀攀渀 瀀爀漀瘀攀搀 琀漀 戀攀 愀 最攀琀琀椀渀最 愀 戀愀搀 最爀攀愀琀 攀砀愀洀瀀氀攀 漀昀 挀漀洀洀甀渀椀琀礀 愀爀挀栀椀琀攀挀琀甀爀攀⸀

刀漀琀琀攀爀搀愀洀 娀甀椀搀 刀漀琀琀攀爀搀愀洀 娀甀椀搀

䴀甀渀椀挀椀瀀愀氀椀琀礀 漀昀 刀漀琀琀攀爀搀愀洀 嬀䄀戀漀瘀攀崀Ⰰ 䴀甀渀椀挀椀瀀愀氀椀琀礀 漀昀 匀漀甀琀栀 刀漀琀琀攀爀搀愀洀 嬀戀攀氀漀眀崀Ⰰ 匀椀琀攀 倀氀愀渀 嬀刀椀最栀琀崀

䴀甀渀椀挀椀瀀愀氀椀琀礀 漀昀 刀漀琀琀攀爀搀愀洀 嬀䄀戀漀瘀攀崀Ⰰ 䴀甀渀椀挀椀瀀愀氀椀琀礀 漀昀 匀漀甀琀栀 刀漀琀琀攀爀搀愀洀 嬀戀攀氀漀眀崀Ⰰ 匀椀琀攀 倀氀愀渀 嬀刀椀最栀琀崀

䐀攀刀漀琀琀攀爀搀愀洀 娀甀椀搀

䐀攀刀漀琀琀攀爀搀愀洀 娀甀椀搀 䬀愀琀攀渀搀爀攀挀栀琀

䄀昀爀椀欀愀愀渀搀攀爀戀甀甀爀琀 伀甀搀ⴀ䤀樀猀猀攀氀洀漀渀搀攀

䬀愀琀攀渀搀爀攀挀栀琀

䄀昀爀椀欀愀愀渀搀攀爀戀甀甀爀琀

䈀氀漀攀洀栀漀昀

伀甀搀ⴀ䤀樀猀猀攀氀洀漀渀搀攀 䈀氀漀攀洀栀漀昀 䌀栀愀爀氀漀椀猀

䌀栀愀爀氀漀椀猀

圀愀愀氀栀愀瘀攀渀

娀甀椀搀瀀氀攀椀渀

娀甀椀搀瀀氀攀椀渀

娀甀椀搀 䌀攀渀琀爀攀

䐀攀 嘀愀渀

娀甀椀搀 䌀攀渀琀爀攀

圀愀愀氀栀愀瘀攀渀

䤀樀猀猀攀氀洀漀渀搀攀

䐀攀 嘀愀渀

䤀樀猀猀攀氀洀漀渀搀攀

䰀漀洀戀愀爀搀椀樀攀渀

䰀漀洀戀愀爀搀椀樀攀渀

98

- TWO OF HISTORIES GREAT ANOMALIES To be able to predict what will happen in this form of anarchic takeover precedents of similar examples have been utilised. These examples have given a basis for a design to be set in 2050. Through analysing how these precedents emerged, how the buildings were governed, how society grew over time and what architectural interventions occurred I have been able to ground my own design.

TORRE DAVID

KOWLOON WALLED CITY

‘‘The improvised home of a community of more than 750 families, living in an extra-legal and tenuous occupation that some have called a vertical slum.’’

The ungoverned, densely populated, anarchic settlement of Kowloon Walled City in Hong Kong. Once a Chinese military base that was transformed into one of the most dense areas of housing following the Japanese occupation of Hong Kong in WW2. The controlling force here was the ‘Triads’ with drug use, prostitution and gambling evident throughout the city. Anarchy reigned here with secret societies. In the centre of the city was a ‘Yamen,’ an administrative core keeping order. The main form of housing in the city came in the form of wooden squatter huts. As a result of this form of construction, and density of dwellings, fires became a major issue.

In 1950 a fire destroyed as many as 2,500 homes.

Caracas, Venezuela

Hong Kong

An unfinished skyscraper in Caracas, the capital of Venezuela of which saw its construction halted in 1994 due to the Venezuelan banking crisis.

In 2007 the building became occupied by squatters as a result of a mass housing shortage in the country. Services were improvised by the residents who managed to get water up to as high as the 22nd floor. With the building having no elevators mopeds were used to gain access to the higher levels. ‘Bodegas’ - local convenience stores - feature throughout the building with prices coherent with the floor of the building they were situated on. Informal dentists can even be found. The space was initially occupied through residents putting up curtains and tents with walls emerging over time. Order was maintained in the building through religion.

Sun light rarely reached the lower levels of the city as such was the density. The city became know for its high rate of unlicensed doctors and dentist operating in Kowloon without any threat of prosecution.

In 1978 the Hong Kong government released plans to demolish Kowloon with this completing in 1993. This case study provides an interesting contrast to that of Torre De David; while Torre de David presents a surprisingly somewhat utopian occupation, Kowloon presents a hectic dystopia.

With the development getting a bad reputation, heightened through its depiction in TV show Homeland, it has since been proved to be a great example of community architecture.

[Adjacent Page Left: Torre David; Right: Kowloon Walled City].

GA2 // 1 / 4 / 5 ¦ GC1 // 1.1 ¦ GC2 // 2.1 / 2.2 / 2.3 ¦ GC4 // 4.2 ¦ GC5 // 5.1 ¦ GC6 // 6.3 ¦ GC7 // 7.2

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SECTION ITERATIONS Development

In order to project into the future and design the unknown, iterations of the same section have been produced at intervals of five years. To predict how this anarchic takeover will manifest itself precedents of Torre de David and Kowloon Walled City have been used.

The following pages deliver this narrative to support the final design spanning from 2020 to 2050.

2020

DERotterdam ZUID BY Rotterdam NORTH

Rotterdam Zuid is in initial Utopia following the launch of the Tijd Platform. Social cohesion and entrepreneurial spirit is flourishing. DeRotterdam looks to capitalise on this initial Utopia.

Through making slight alterations to the buildings; DeRotterdam now increases its appeal to the South.

- The £3.4 M penthouse suite is converted into a viewing gallery for the local people.

- The expensive Hotel is converted into a lively hostel, helping to bring in a new typology of customer more in line with the new ethos of the area.

- The new platform of ‘Tijd Construction’ locates its core operating centre into a floor of existing office space in DeRotterdam - 30% of the existing office accommodation is converted into residential accommodation. The fit out for this is done through Tijd construction ushering in a new type of architecture.

GA2 // 1 / 2 ¦ GC1 // 1.1 / 1.2 / 1.3 ¦ GC2 // 2.3 ¦ GC4 // 4.1 ¦ GC5 // 5.3 ¦ GC6 // 6.1 / 6.2 / 6.3 ¦ GC7 // 7.2

- Local businesses are invited to set up on the ground floor. Despite the high rent, we now see more public ground floor increasing the relation with this building and the local people it seeks to serve.

There is still a lack of equality between the North and South. Despite these promising gestures by the North, all the profits from the building are still consumed by the owners.

Throughout South Rotterdam the forces of globalisation look to capitalise on the initial utopia in the region. Many large scale developments are in planning for the region. Tijd becomes increasingly frustrated and anti-North feeling has spread throughout the South.

101

2030

VERTICAL SLUM

2025

REVOLUTION//GREED Tijd has become a political party in the South with a large following of people frustrated with the Norths greed. With widespread anti-North feeling the area around Kop van Zuid becomes unstable and large scale corporations begin to leave the area in fear.

The new independent municipality of Rotterdam Zuid is in crisis. Having been cut off by the North the South struggles to form all the necessary infrastructure and services.

With DeRotterdam faltering in the current climate a group of radical Tijd supporters storm into the building and take control. The occupation was forceful but all together a peaceful occupation.

DeRotterdam Zuid becomes a vertical slum. With the influx of new residents the area cant cope and informal housing develops in the building. People sleep in the basement, in the open air and in the now unsafe East tower. Despite such poor conditions people still move here believing things can only get better, believing in the promise of a state free from the clutches of Globalisation.

Local authorities then try to remove the radical from the building. The external building fabric of the East tower is left in ruin with gun fights between the Radicals and authorities. This side of the building sees large scale structural damage.

In response to the current situation there is a new impetus on housing. The Tijd construction offices, located in DeRotterdam Zuid once more, begin several new plans to increase the capacity and quality of life in the building:

As a result of recent developments an independent municipality of ‘Rotterdam Zuid’ is formed. Society and Tijd are determined to recreate and expand on the initial utopia from the early days of Tijd.

- A 3D printed exoskeleton is beginning to be printed around DeRotterdam Zuid.

This aims to make the building structurally sound again, offer new circulation to replace the damaged existing services, offer opportunity for new housing on the outside of the building and to make the building look active to the outside.

Despite the lack of services, infrastructure and general despair people are flocking to the new independent municipality. New Immigrants are moving to the area looking to capitalise on the new political system, verging towards a new socialist state with promises of equality and opportunity. At the same time large amounts of the residents of North Rotterdam have moved South.

- New housing typologies are created in-line with the manifesto of 2015. The aim is for new housing that is indiscriminately accessible, hackable and allows diversity to flourish.

- All materials are now to be computerised. This allows information about their location and condition to be recorded and monitored.

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2040

RE-CONSTITUTE

2035

ROBOTIC Following the computerisation of materials several years previously, Tijd has now introduced drones. The drones travel around Rotterdam Zuid reclaiming unused materials. These materials are then brought back to DeRotterdam Zuid where the new processing level is used to reconstitute these old unused materials. This processing level is formed where several floors of car parking accommodation used to be.

Tijd is enjoying its increasing prosperity, the housing crisis is over. People are beginning to reap the benefits of the shared enterprise business of Tijd along with the benefits of the localised economy.

Drone production and new building both increase dramatically. Materials from the original DeRotterdam are beginning to be reclaimed and reconstituted in order to make sense in the context of housing rather than office accommodation. This leads to their now being less density in the middle of the existing structure.

The initial housing crisis has been reduced largely throughout the whole municipality. Attention now turns to transforming the vertical slum into a vertical city. The most radical members of Tijd, of whom started the revolution, move into the East tower, deemed the worst and most damaged area of the building. They look to set an example, if they can form a new society here then so can anyone. Here we see the formation of a self-sufficient commune.

A complete closed loop system is introduced in the commune.

The radical commune still remains far from the current system of Tijd, they want even further developments,they want no currency, shared wealth and strive to conscript others to their commune. They refuse to adhere to the overall development of DeRotterdamZuid and don’t allow drones into their area. Unused materials are left unused here.

Recent years have seen new developments on the outside of the exoskeleton.

These dwellings provide a new appearance to the building. The building now looks true to the diversity of its occupants. This new appearance serves as a beacon of the South to the North showcasing all that is deemed wrong in the North and a constant reminder of the 2025 revolution.

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2050

DERotterdam ZUID 2045

NUCLEUS The radical commune settle their grievances through feeding back into the system of Tijd. The overall scheme becomes more closed loop. As a result the commune allow drones back into their zone. Unused materials here are cleared and re-purposed.

With the issues faced so far being resolved the development of DeRotterdam Zuid is stable for the first time. Initial Utopia has been reached again but there is still a long way to go.

Money is re-invested into the scheme through the following:

The commune reaches Utopia. It has spread its values and now becomes more inward looking. They become increasingly isolated, organising their community in a different manner to the rest of DeRotterdam Zuid.

-Vertical gardens - Leisure facilities

A nucleus is formed. This houses the accommodation for the shared enterprise of tijd Construction. Through locating in the middle of the development there is a bold statement of intent. It is clear that this is a democratic business and the success of feedback is evident.

- New teaching methods - A wide research programme - New healthcare facilities in the building Entrepreneurial spirit if flourishing with the creation of businesses and services re-emerging everywhere. From a new ‘taxi’ service to get to the higher levels of the commune to small convenience stores throughout.

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RADICAL COMMUNE, Adjacent.

ROOFTOP CLUBS

3D Printing

RADICAL COMMUNE

VIEWING PLATFORM

Regulations

NEW BUILD ACCOMMODATION, pg 108.

With the new municipality of South Rotterdam has come a relaxation of the rules and regulations in buildings.

3D printing robots have been printing a metal exoskeleton since the housing crisis.

OBSERVATORY

ROOFTOP CLUBS

VIEWING PLATFORM

3D printing robots have been printing a metal exoskeleton since the housing crisis.

COMMUNITY GARDENS

WASTE

EXISTING RESIDENTIAL

COMMUNITY GARDE

3D Printing

EXISTING RESIDENTIAL

CUSTOM BUILDS

CUSTOM BUILDS

CUSTOM BUILDS A NEW RELIGION...?

Religion as order

Circulation

ADMINISTRATIVE CORE, pg 107.

Through the two case studies its obvious that religion can have a large control over people. Can a modern day religion control a building

With drones now carrying building materials what's to say they can't transport people?

VERTICAL FARMING

CONVENIENCE STORE

Collective Living The radical commune is based around the idea of collective living. Each family group has their own space offering privacy and a place to call their own however cooking, cleaning, relaxing etc. is all communal.

Vacant Housing Many homes area becoming vacant in the existing apartments of DeRotterdam. People want to locate to the new developments on the outside.

Administration Core Tijd Construction are located at the core of the building. This is in line with the development of the 'Yamen' in the Kowloon walled city.

EDUCATION CENTRE Services Following the damage to the East Tower during the revolution new services were needed. These have been added on the outside of the building in an informal manner.

VERTICAL FARMING

Housing New home being installed. The bare basics will be fabricated on site in the re-processing floor. It is then down to the occupier to add their narrative to the dwelling

Notice Board

NOTICE BOARD

Its as easy as a notice board.

This is used to keep control.

Post new opportunities and new rules of society

HOSTEL

TIJD CONSTRUCTION ADMINISTRATION CORE WASTE

Circulation When parts of the existing building were removed and recycled selected parts were left in order to form walkways. These connect the separate elements of the building together and increase connectivity between residents

'TAXI'

TEACHING

The elevation of the new builds meets the vernacular aspect of the building manifesto. The design is based around the traditional Dutch canal houses evident throughout Rotterdam.

RESEARCH

PLINTH LEVELS, Pg 107.

INNOVATION SUITE

In order to get to the higher levels of the commune a new 'taxi' service has been set up using wheelbarrows as transport

1 4

Role of Tijd

Elevation

'Taxi' Point

1 5 LIBRARY Tijd construction offer a range of services from teaching to libraries. With this being a shared enterprise business this decision comes from the people living in South Rotterdam looking to educate people in order to improve the business in the future.

1 3 1 2 1 0

!?!

9 COMMON ROOM Drones

Circulation The once internal circulation finds itself now as a focal point for the new void of which has been created

With a tendency to work in groups you can see the nature of drones.

Swarming the building in activity.

7 COMMUNAL KITCHEN

Circulation

6

New circulation to be provided between the exoskeleton and the existing building fabric.

Both stairs and lifts

5 4 COMMUNAL DINING Platform Here every resident of South Rotterdam is invited to share their opinions any time of day

Amphitheater Raised seating to allow for a variety of events or just to simply observe and listen to what's happening on the Platform

2 LITERAL POLITICAL PLATFORM

1

Re-Constitute Unused materials from around South Rotterdam being reclaimed and brought to DeRotterdamZuid for re-processing

G ROCK CLIMBING

OFFICE / ADVICE

TENNIS

GYM BADMINTON

Input

Vacant Housing Many homes area becoming vacant in the existing apartments of DeRotterdam. People want to locate to the new developments on the outside.

CINEMA

MULTI-FUNCTIONAL LEISURE SPACE

Found material to enter the building here through larger openings in exoskeleton

MATERIAL RE-PROCESSING

Administration Core

COFFEE

CAKES

BAR

SHOES

BUTCHERS BOOKS Cycling The emphasis on transport in the building has changed from cars to cycling. Plenty of bike storage along with an indoor velodrome in order to access it. Greater connections with the ground level also established.

BAKERY

COFFEE

VINTAGE

CLOTHING

Tijd Construction are located at the core of the building. This is in line with the development of the 'Yamen' in the Kowloon walled city.

Output Once materials have been re-processed a final output is made, whether this is sheet material to be exported or new components for the building.

INDEPENDENT COMMERCIAL

LIGHTS

MAGAZINES

DRONES

WASTE

CYCLE / CAR PARKING

[Above: DeRotterdam Section showing location of zoomed in sections on following pages; Adjacent Page: Radical Commune].

Housing New home being installed. The bare basics will be fabricated on site in the re-processing floor. It is then down to the occupier to add their narrative to the dwelling

GA2 // 1 / 2 / 5 ¦ GC1 // 1.1 / 1.2 / 1.3 ¦ GC2 // 2.3 ¦ GC4 // 4.1 ¦ GC5 // 5.1 / 5.3 ¦ GC6 // 6.3

105

Regulations With the new municipality of South Rotterdam has come a relaxation of the rules and regulations in buildings.

OBSERVATORY

WASTE

ENS

A NEW RELIGION...?

Circulation With drones now carrying building materials what's to say they can't transport people?

CONVENIENCE STORE

EDUCATION CENTRE

NOTICE BOARD

buildings.

Circulation When parts of the existing building were removed and recycled selected parts were left in order to form walkways. These connect the separate elements of the building together and increase connectivity between residents

OBSERVATORY

3D Printing 3D printing robots have been printing a metal exoskeleton since the housing crisis.

VIEWING WASTE

COMMUNITY GARDENS

LIBRARY

CUSTOM BUILDS

EXISTIN RESEARCH

CUSTOM

Elevation The elevation of the new builds meets the vernacular aspect of the building manifesto. The design is based around the traditional Dutch canal houses evident throughout Rotterdam.

INNOVATION SU

A NEW RELIGION...?

Religion as order

Circulation

Through the two case studies its obvious that religion can have a large control over people. Can a modern day religion control a building

With drones now carrying building materials what's to say they can't transport people?

VERTICAL FARMING

Circulation New circulation to be provided between the exoskeleton and the existing building fabric.

Both stairs and lifts

CONVENIENCE STORE

Collective Living

Amphitheater Raised seating to allow for a variety of events or just to simply observe and listen to what's happening on the Platform

The radical commune is based around the idea of collective living. Each family group has their own space offering privacy and a place to call their own however cooking, cleaning, relaxing etc. is all communal.

Platform Here every resident of South Rotterdam is invited to share their opinions any time of day

LITE

Re-Constitute

Administration Core

Unused materials from around South Rotterdam being reclaimed and brought to DeRotterdamZuid for re-processing

Tijd Construction are located at the core of the building. This is in line with the development of the 'Yamen' in the Kowloon walled city.

EDUCATION CENTRE Services GYM

Following the damage to the East Tower during the revolution new services were needed. These have been added on the outside of the building in an informal manner.

CINEMA

Input

MULTI-FUNCTIONAL LEISURE SPACE

Found material to enter the building here through larger openings in exoskeleton

Notice Board

NOTICE BOARD

Its as easy as a notice board.

This is used to keep control.

Post new opportunities and new rules of society

HOSTEL

TIJD CONSTRUCTION ADMINISTRATION CORE WASTE

Circulation When parts of the existing building were removed and recycled selected parts were left in order to form walkways. These connect the separate elements of the building together and increase connectivity between residents

'TAXI' COFFEE

CAKES

LIBRARY Role of Tijd Tijd construction offer a range of services from Cycling teaching to libraries. With this The being a sharedon transport in emphasis enterprise this changed from thebusiness building has decision comes the Plenty of bike cars tofrom cycling. people storage living in along Southwith an indoor Rotterdam looking velodrome into order to access educate people in orderconnections to it. Greater with improve the business in the ground level also the future. established.

TEACHING RESEARCH

INNOVATION SUITE

'Taxi' Point

1 5 1 4

In order to get to the higher levels of the commune a new 'taxi' service has been set up using wheelbarrows as transport

BUTCHERS

BOOKS

BAKERY

1 3

COFFEE

VINTAG

1 2 1 0

!?!

9 COMMON ROOM Drones

Circulation The once internal circulation finds itself now as a focal point for the new void of which has been created

[Above Left: Administrative Core; Above Right: Plinth levels; Adjacent Page: New build accommodation].

GA2 // 1 / 2 / 5 ¦ GC1 // 1.1 / 1.2 / 1.3 ¦ GC2 // 2.3 ¦ GC4 // 4.1 ¦ GC5 // 5.1 / 5.3 ¦

With a tendency to work in groups you can see the nature of drones.

Swarming the building in activity.

7 COMMUNAL KITCHEN

6 5 4 COMMUNAL DINING Platform

Amphitheater Raised seating to allow for a variety of events or just to simply observe and listen to what's happening on the Platform

Here every resident of South Rotterdam is invited to share their opinions any time of day

2 LITERAL POLITICAL PLATFORM

1 G ROCK CLIMBING

OFFICE / ADVICE

TENNIS

107 BADMINTON

ROOFTOP CLUBS

G PLATFORM

3D Printing 3D printing robots have been printing a metal exoskeleton since the housing crisis.

COMMUNITY GARDENS

NG RESIDENTIAL

M BUILDS

VERTICAL FARMING

Vacant Housing Many homes area becoming vacant in the existing apartments of DeRotterdam. People want to locate to the new developments on the outside.

Administration Core Tijd Construction are located at the core of the building. This is in line with the development of the 'Yamen' in the Kowloon walled city.

Housing New home being installed. The bare basics will be fabricated on site in the re-processing floor. It is then down to the occupier to add their narrative to the dwelling

Circulation When parts of the existing building were removed and recycled selected parts were left in order to form walkways. These connect the separate elements of the building together and increase connectivity between residents

LIBRARY

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ᠠᤠ吀䄀堀䤀℀㼀℀ᤠ​ᤠ 匀䠀伀倀匀

䤀䄀䰀

倀刀䔀一䔀唀刀 ᠠᤠ䔀一吀刀䔀 匀倀䤀刀䤀吀ᤠ​ᤠ

椀漀渀

䔀搀甀挀愀琀

ᤠ​ᤠ 氀愀琀昀漀洀 ⴀ 䔀愀猀礀 倀 䜀䄀一䤀匀䔀䐀 䈀漀愀爀搀 ᠠᤠ刀䔀ⴀ伀刀 一漀琀椀挀攀

䐀ᤠ​ᤠ

䔀刀䜀䤀匀䔀

ᠠᤠ刀䔀ⴀ䔀一

䔀䐀

ⴀ䌀伀一吀䄀䤀一 ⸀⸀⸀匀䔀䰀䘀 夀 嬀洀漀猀琀氀礀崀 伀䴀䴀唀一䤀吀 䰀 䌀 嘀䔀刀吀䤀䌀䄀

䤀一倀唀吀匀

圀䄀匀吀䔀

漀挀攀猀猀 搀漀眀渀 瀀爀 愀渀搀 琀漀瀀 眀愀礀 瀀爀漀挀攀猀猀 漀眀 昀愀爀 愀 眀攀瘀攀爀 栀 琀琀漀洀 甀瀀 氀愀挀攀⸀ 䠀漀 戀漀琀栀 戀漀 吀栀爀漀甀最栀 椀搀 猀礀猀琀攀洀 椀猀 椀渀 瀀 洀 甀瀀 椀猀 琀栀椀猀㼀 礀戀爀 漀琀琀漀 愀 渀攀眀 栀 氀攀琀攀氀礀 戀 渀最 挀漀洀瀀 漀甀最栀 氀瘀攀猀 琀栀爀 昀爀漀洀 戀攀椀 攀瘀漀 渀搀 氀愀琀昀漀爀洀Ⰰ 漀挀爀愀琀椀挀 愀 渀Ⰰ 愀猀 愀 瀀 攀 椀猀 搀攀洀 猀琀爀甀挀琀椀漀 愀琀甀爀 挀漀渀 吀椀樀搀 漀 椀渀 椀琀猀 渀 搀戀愀挀欀 猀 甀猀攀爀 昀攀攀 甀瀀⸀ 戀漀琀琀漀洀

䬀一伀圀䰀䔀䐀䜀䔀

匀

伀䌀䔀匀匀䔀 䴀ⴀ唀倀 倀刀

䈀伀吀吀伀

匀 伀唀吀倀唀吀

䴀䔀匀 䄀一䐀 䐀 伀唀吀䌀伀 刀ⴀ䐀䔀䘀䤀一䔀 䤀伀一⸀ 䈀䰀䔀匀 唀匀䔀 伀刀䴀 䔀一䄀 䄀吀䤀嘀䔀 倀䄀刀吀䤀䌀䤀倀䄀吀 ᠠᤠ䄀 倀䰀䄀吀䘀 䄀一䐀 䄀䜀䔀匀 䤀一一伀嘀 䌀䔀匀匀䤀䈀䰀䔀 吀䔀 䔀一䌀伀唀刀 吀䰀䔀䰀夀 䄀䌀 刀䤀䴀䤀一䄀一 䔀吀䔀刀匀 吀伀 䘀䄀䌀䤀䰀䤀吀䄀 刀䔀 䤀一䐀䤀匀䌀 刀䄀䴀 䴀匀 䄀 䔀 倀䄀 倀䰀䄀吀䘀伀刀 䔀Ⰰ 䈀唀吀 唀匀 匀䌀刀䤀倀吀䤀嘀 一伀一ⴀ倀刀䔀 䌀吀䤀伀一⸀ 䤀䌀䤀倀䄀吀䔀 䄀 䤀一 䄀一䐀 䄀一吀 匀唀䰀吀䤀一䜀 䈀䄀䌀䬀Ⰰ 刀䔀 䜀䠀 䘀䔀䔀䐀 倀䰀䄀吀䘀伀刀䴀⸀ᤠ​ᤠ 䔀 吀䠀刀伀唀 䔀刀匀 䄀一䐀 吀䠀䔀夀 䔀嘀伀䰀嘀 䄀䴀伀一䜀匀吀 唀匀 伀一匀 䌀伀一一䔀䌀吀䤀

吀䄀䌀吀䤀䌀匀 ⼀⼀ 䐀䤀䄀䜀刀䄀䴀䴀䤀一䜀

[Above: Development processes diagram; Adjacent Page: Bottom-up processes section highlighted].

GA2 // 1 / 2 / 3 / 4 / 5 ¦ GC1 // 1.1 / 1.2 / 1.3 ¦ GC2 // 2.3 ¦ GC5 // 5.1 ¦ GC6 // 6.1 / 6.2 / 6.3 ¦ GC10 // 10.1 / 10.2 / 10.3 ¦ GC11 // 11.1 / 11.2 / 11.3 ¦

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栀爀漀甀最栀

搀甀挀攀搀 琀 渀 椀猀 瀀爀漀 愀氀猀⸀ 吀栀攀猀攀 愀爀攀 漀 琀椀 愀 搀 愀琀攀爀椀 漀洀漀 一攀眀 愀挀挀 猀琀椀琀甀琀椀漀渀 漀昀 洀 攀搀⸀ 漀渀 瘀椀搀 琀栀攀 爀攀ⴀ挀 氀攀洀攀渀琀猀 瀀爀漀 攀 爀愀最攀 琀栀攀 戀愀猀攀 攀渀挀漀甀 瘀攀 挀琀椀瘀攀氀礀 琀椀 爀猀 愀爀攀 愀 甀氀琀甀爀愀氀 渀愀爀爀愀 猀攀 甀 爀攀 攀 挀 䘀爀漀洀 栀 挀攀 琀栀攀椀爀 漀眀渀 眀攀氀氀椀渀最猀⸀ 甀 搀 搀 琀漀 椀渀琀爀漀 猀 琀漀 琀栀攀椀爀 渀攀眀 爀椀攀 栀攀 愀渀搀 猀琀漀 甀猀椀渀最 琀 愀渀搀 昀 琀栀攀 栀漀 攀搀 漀昀 氀椀昀攀 漀 攀 爀攀 瀀爀漀挀攀猀猀 搀 渀 攀 攀 戀 䄀琀 琀栀 愀最愀椀渀 愀氀猀 眀椀氀氀 爀椀 ⸀ 攀 琀攀 椀昀 愀 洀 攀眀 氀 漀琀栀攀爀 渀

渀搀 愀渀 吀䔀刀䤀䄀䰀 䤀一䜀 䴀䄀 䈀唀䤀䰀䐀 倀 伀 伀 䰀 䌀䰀伀匀䔀䐀

℀ᤠ​ᤠ ᠠᤠ吀䄀堀䤀℀㼀 匀䠀伀倀匀

䔀唀刀䤀䄀䰀

倀刀䔀一 ᠠᤠ䔀一吀刀䔀 ᤠ​ᤠ 匀倀䤀刀䤀吀

渀

漀 䔀搀甀挀愀琀椀

琀昀漀洀 䐀ᤠ​ᤠ 愀猀礀 倀氀愀 䜀䄀一䤀匀䔀 漀愀爀搀 ⴀ 䔀 ᠠᤠ刀䔀ⴀ伀刀 一漀琀椀挀攀 䈀

䐀ᤠ​ᤠ

䔀刀䜀䤀匀䔀

ᠠᤠ刀䔀ⴀ䔀一

䐀 一吀䄀䤀一䔀 䔀䰀䘀ⴀ䌀伀 匀 ⸀⸀ 崀⸀ 夀 礀 琀氀 䤀吀 嬀洀漀猀 䴀唀一 䄀䰀 䌀伀䴀 嘀䔀刀吀䤀䌀

䤀一倀唀吀匀

䐀 伀䴀䔀匀 䄀一 䔀䐀 伀唀吀䌀 匀䔀刀ⴀ䐀䔀䘀䤀一 唀 ⸀ 一 䔀匀 䤀伀 䈀䰀 䄀 䄀吀 伀刀䴀 䔀一 倀䄀刀吀䤀䌀䤀倀 ᠠᤠ䄀 倀䰀䄀吀䘀 伀嘀䄀吀䤀嘀䔀

䄀䜀䔀匀 䤀一一 䈀䰀䔀 䄀一䐀 䔀一䌀伀唀刀 䄀䌀䌀䔀匀匀䤀 䄀一吀䰀䔀䰀夀 䰀䤀吀䄀吀䔀 䌀䤀 䤀一 䄀 䴀 䘀 刀䤀 䌀 吀伀 䤀匀 䔀刀匀 匀 䄀刀䔀 䤀一䐀 䄀刀䄀䴀䔀吀 倀䰀䄀吀䘀伀刀䴀 倀吀䤀嘀䔀Ⰰ 䈀唀吀 唀匀䔀 倀 匀䌀刀䤀 ⸀ 一 伀 吀䤀 一伀一ⴀ倀刀䔀 䌀 䌀䤀倀䄀吀䔀 䄀

䄀一䐀 䄀一吀䤀 唀䰀吀䤀一䜀 䤀一 䄀䌀䬀Ⰰ 刀䔀匀 刀䴀⸀ᤠ​ᤠ 伀 䠀 䘀䔀䔀䐀䈀 吀䘀 䜀 唀 䰀䄀 倀 刀伀 䰀嘀䔀 吀䠀 刀匀 䄀一䐀 吀䠀䔀夀 䔀嘀伀 一匀 䄀䴀伀一䜀匀吀 唀匀䔀 吀䤀伀 䌀伀一一䔀䌀

䬀一伀圀䰀䔀䐀䜀䔀

猀猀 愀渀搀 爀 愀眀愀礀 爀 栀漀眀 昀愀 甀瀀 瀀爀漀挀攀 戀漀琀琀漀洀 瀀氀愀挀攀⸀ 䠀漀眀攀瘀攀 琀栀 漀 戀 栀 最 吀栀爀漀甀 琀攀洀 椀猀 椀渀 漀洀 甀瀀 椀猀 琀栀椀猀㼀 礀戀爀椀搀 猀礀猀 漀琀琀 愀 渀攀眀 栀 挀漀洀瀀氀攀琀攀氀礀 戀 最 甀最栀 椀渀 攀 戀 氀瘀攀猀 琀栀爀漀 昀爀漀洀 漀爀洀Ⰰ 攀瘀漀 挀爀愀琀椀挀 愀渀搀 琀昀 氀愀 瀀 愀 攀洀漀 渀Ⰰ 愀猀 猀琀爀甀挀琀椀漀 琀甀爀攀 椀猀 搀 吀椀樀搀 挀漀渀 愀挀欀 猀漀 椀渀 椀琀猀 渀愀 搀戀 甀猀攀爀 昀攀攀 ⸀ 甀瀀 戀漀琀琀漀洀

圀䄀匀吀䔀

匀

䌀䔀匀匀䔀 伀 刀 倀

倀 䴀ⴀ唀 猀猀 䈀伀吀吀伀 渀 瀀爀漀挀攀 琀漀瀀 搀漀眀

吀匀

伀唀吀倀唀

[Adjacent Page: DeRotterdamZuid from the South; Above Top Left: Vernacular Dwellings; Above Bottom Left: Material Re-processing level; Above Right: Interior Visual].

GA2 // 1 / 2 ¦ GC1 // 1.1 / 1.2 / 1.3 ¦ GC4 // 4.1 ¦ GC5 // 5.3

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- DIGITAL ARCHITECTURE Stage 5 /Semester 2 - Shape Grammars

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- SHAPE GRAMMARS This final output of this project, a tool-kit of digital fabrication and massing rules has been produced in response to the brief of creating an Australian consulate in the city of Makassar, South Sulawesi, Indonesia. As a starting point, in vast contrast to my usual site analysis, this project takes the Lontara Alphabet as a singular element of the Sulawesi culture to be taken forward into 2D and 3D design tasks projecting forward into an architectural tool-kit.

‘[This] studio explores theories, media and techniques that involve analogue and digital mediation to create engaging architectural designs in their relationship with the surrounding context. The studio addresses various issues of computational design theories, digital media, digital design techniques, and other factors influencing the development of architectural production using computational tools. The studio prompts critical reflections on design conventions and creates novel design positions.’

[Extract from project brief]

A material component was created using the material of concrete, from the heavy Australian Aboriginal culture and fabric from the traditional crafts of Sulawesi culture. This material component was explored in a parametric manner creating a digitally fabricated element to be used in conjunction with our massing rules. Designs were tested at numerous occasions using the methodology of gift and games. Allea games and dummy materials were used as tactics to again remove myself as the designer from the project and to encourage participation from others of a range of ages, from children to the elderly to help see new possibilities in design.

Digital architecture requires that you remove yourself from the design process to a greater degree than usual. Stiny talks about how ‘memory just gets in the way, limiting the things I’m able to see here and now.’

Having a prior knowledge of the built environment limits the ability to design. By always using precedent we are limited to designs that are not as far reaching as their potential. Throughout this studio I have studied shape grammars to readdress how I perceive shapes and to produce a new methodology for how I manipulate space in the production of new architectures through rule based design.

Benjamin Dillenburger

WOODS BAGOT

RESEARCH PAVILION

A grammar of replacement rules creates a network structure that is adapted by a spring system.

Woods Bagot produce tailored solutions to design proposals using digital architecture as a programmatic tool for the creation of architectures.

Entirely robotically fabricated from carbon and glass fibre composites this precedent explores parametric fabrication methods.

Dynamic Shapegrammars

SuperSpace

[Adjacent Page: Summary of design process from Lontara script of fabricated element].

GA2 // 1 / 4 / 7 ¦ GC1 // 1.1 ¦ GC2 // 2.3 ¦ GC5 // 5.1 ¦ GC7 // 7.1 / 7.2

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ICD/ITKE, 2012

[Adjacent page. Consonants of the Lontara Alphabet].

GA2 // 1 / 2 / 4 ¦ GC1 // 1.1 ¦ GC2 // 2.1 / 2.2 / 2.3 ¦ GC5 // 5.3 ¦ GC7 // 7.1

‘IN BUGINESE, THIS SCRIPT IS CALLED URUPU SULAPA EPPA WHICH MEANS “FOUR-CORNERED LETTERS”, REFERENCING THE BUGIS-MAKASAR BELIEF OF THE FOUR ELEMENTS THAT SHAPED THE UNIVERSE: FIRE, WATER, AIR, AND EARTH.’ (Extract from Wikipedia)

With the building I was to be designing based in Makasssar, capital city of South Sulawesi, Indonesia I became interested in the Lontara alphabet. This is a script traditionally used for the Bugis, Makassarese, and Mandar languages of Sulawesi in Indonesia.

The script is traditionally written on manuscripts formed from Lontar leafs. It is written left to right with a range of line weights evident. Having been used in Sulawesi since the 17th century this script gives a starting shape to manipulate for the following tasks

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that is deeply rooted in the culture of our given site. Presented on the adjacent page are 2D tasks looking at embedding and schematisation. Taking the form of the Lontara script as a starting point in the tasks rules were used to manipulate the shape into new possibilities and to control the iterative mechanism according to a certain design language.

The generated 2D designs could be looked at in either plan or section creating a series of interesting spaces and connections between elements.

4

[Above: Task 2 Embedding and Schematisation].

[Above: Task 3 2D rule based design accounting for way in which the Lontara script is written in thick paints].

GA2 // 1 / 2 / 4 ¦ GC1 // 1.1 ¦ GC2 // 2.1 / 2.2 / 2.3 ¦ GC5 // 5.3 ¦ GC7 // 7.1

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// TASK 3 / PARAMETRIC RULE (3D)

// TASK 3 / PARAMETRIC RULE (3D)

RULE 1 [mirror in x and y axis]

RULE 3 [move along z axis]

RULE [rotation] RULE 1 [mirror in x4and y axis]

RULE 2 [rotation around a point]

RULE 2 [rotation around a point]

RULE 3 [move along z axis]

RULE 3 [move along z axis]

[Above: Alea gift and examples of generated designs; Adjacent Page: 3D rule design iterations and grasshopper script].

GA2 // 1 / 2 / 4 ¦ GC1 // 1.1 ¦ GC5 // 5.3 ¦ GC7 // 7.1

forms of Allea, Agon, Mimicry and Ilinx we were tasked with producing either a game or a gift from our previous work in ‘PLAY AND PLAYFULNESS MUST BE order to generate new designs and new ways of interpreting our UNDERSTOOD AS ESSENTIAL ELEMENTS IN chosen origin.

CREATIVITY AS A WHOLE.’ (I. Singer) Show on the left is our developed allea gift. The term Alea means in this situation to encourage chance incursions. Our rules were in the shape of the game board and the limits of which the vertical At this stage of the project we were encouraged to use the idea of elements offer but other than that everything else was left down to ‘play’ as a way of creating order. From analysing the play forms chance and how the user interprets the given pieces. Three users ALLEA GAME / GIFT - DEFAMILIARIZATION IN DESIGN

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of a range of ages from 14 to over 50 were used to deliver a wide range of interpretations as shown in the video overleaf.

In using this Alea gift we were able to analyse how others use these pieces and we were surprised with how drastically different the results were to how we were interpreting the pieces. In using subjects with little or in the case of the child substantially little knowledge of the built environment we were able to completely remove the architectural view from the design process.

[Above: Left: Digital massing element; Right: Parametric Fabrication cast; Adjacent Page: Top: Ferro-cement precedents; Middle: Ferro-cement experimentation; Bottom: Fabric reinforced concrete].

GA2 // 1 / 2 / 3 / 5 ¦ GC1 // 1.1 / 1.2 / 1.3 ¦ GC2 // 2.1 / 2.2 / 2.3 ¦ GC5 // 5.3 ¦ GC6 // 6.2 ¦ GC7 // 7.1 ¦ GC8 // 8.1 / 8.2 / 8.3

DIGITAL FABRICATION When selecting what materials to focus on in during this next phase of design the fact that this building was to be an Australian consulate in Indonesia.

While the use of the Lontara alphabet addresses the relation to Indonesia we were keen to address the relationship between both Indonesia and Australia. As a result of this we chose to study both fabric and concrete. Fabric, is widely used and manufactures in Indonesia. As well, the Lontara script is traditionally written

on dried lontara, seemingly fabric in their nature.

Concrete was chosen to represent Australia as a more heavy element in contrast to fabric. Aborigines worked a lot with stone, producing stone art as shown on the left. This contrast is hoped to provide an interesting combination of the two cultures.

As experimentation into the relation between these material elements we looking into the process of ferro-cement. Originally used in the construction of boat hulls the material allows for concrete to be fabric in nature and the works of Pierre Luigi Nervi demonstrates its tectonic qualities in architecture. I then went on to look

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at fabric reinforced concrete (FRC) which has the ability to function structurally at as little as 8mm due to the fabric adding the tensile force to the element.

This exploration resulted in the massing element shown above on the left and the parametric making diagram on the above right detailing the parametric construction process of creating these elements. A limitation in the production of these elements was the junction at the end of the fabric. As part of our feedback in using a dummy material we discovered that this would have been dealt with more pragmatically by dipping the end of the fabric in resin to create a joint in the element of which can then be attached to another concrete element or fabric.

RULE 1 (R1)

RULE 2 (R2)

RULE 3 (R3)

RULE 4 (R4)

RULE 5 [Above: (R5)Massing rules 1 - 4].

X

GA2 // 1 / 2 / 3 / 5 / 6 ¦ GC1 // 1.1 / 1.2 / 1.3 ¦ GC5 // 5.3 ¦ GC8 // 8.1 / 8.2 / 8.3

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RULE 4 (R4)

RULE 5 (R5)

X

RULE 6 (R6)

RULE 7 (R7)

RULE 8 (R8)

RULE 9 (R9)Massing rules 5 - 9].

[Above:

GA2 // 1 / 2 / 3 / 5 / 6 ¦ GC1 // 1.1 / 1.2 / 1.3 ¦ GC5 // 5.3 ¦ GC8 // 8.1 / 8.2 / 8.3

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[Above: Design iterations using parametric software; Adjacent page: Mechanism, Seeing & Embedding process].

GA2 // 1 / 2 ÂŚ GC1 // 1.1 / 1.2 / 1.3 ÂŚ GC4 // 4.1 ÂŚ GC5 // 5.3

DIGITAL ITERATIONS

The image on the adjacent page depicts the design process as a whole mapping the mechanism, seeing and embedding process. This image shows how the initial starting shape was manipulated into the final massing element with all the design choices and different modes of seeing that have been undertaken.

This acts as part of the final output for the studio showing the tool-kits making process to be understood in conjunction

with the massing rules and digital fabrication process.

Using the massing rules shown earlier in the digital iteration method we were able to produce massing schemas for this site. The site data was in-putted into the software as a bounding box in order to restrict the pieces to the site.

Shown on the above are two generated designs. The top design looks to use all of the rules with the below design omitting the change in angle in the fabric. Due to being new to this software we were unable

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to develop such a complex script as to allow the pieces to move in every possible angle. Another limitation of our skills was that we were unable to prevent the pieces from overlapping each other. These limitations led to us using massing schemes developed without the change in angle of the fabric but still maintaining this rule as a way of resolving complex junctions at a later stage.

The following pages take you through the full design process from digital iteration to a final design.

GRASSHOPPER ITERATION

‘BRUTE FORCE’ METHOD

Above is the grasshopper digital iteration of which was selected to take forward. This has been limited to the site area and the a relevant height for the massing of the area.

With the massing pieces all overlapping the ‘brute force’ method was used to eradicate any unwanted pieces. While removing pieces all massing rules were maintained.

INTERPRETATION

ADDITION OF FLOOR PLANES

From this massing common planes of fabric were found. Where such occurrences were found these were substituted with a floor plate.

Floor plates were added to all of the massing scheme and in result there became three separate blocks of massing with narrow voids separating them in order to allow for differing level s in the floor plates.

[Above: Design Process].

GA2 // 1 / 2 / 4 / 6 ¦ GC1 // 1.1 / 1.2 / 1.3 ¦ GC2 // 2.3 ¦ GC5 // 5.3

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CIRCULATION CORES

FOUND ELEMENT

Circulation cores were added with respect to the 20m rules for fire safety. These cores were added to allow for direct fire egress from each tower with one central circulation core. The cores are made up from the same elements in a manner of which appeared through the digital iteration.

The element above highlighted in blue was found at this spot in the model. This resembled the side of an auditorium. This design was worked up and then elongated to form and auditorium.

ELEMENT SUBSTITUTION

RESOLVING JUNCTIONS

This new auditorium design was then substituted in the place of the found element creating a dramatic at the moment hovering auditorium over the entrance to the site.

Following this design process there were many unresolved junctions. These were again manually amended in line with the given massing rules.

[Above: Design Process].

GA2 // 1 / 2 / 4 / 6 ¦ GC1 // 1.1 / 1.2 / 1.3 ¦ GC2 // 2.1 / 2.2 / 2.3 ¦ GC3 // 3.1 / 3.2 / 3.3 ¦ GC5 // 5.3

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Basement Floor Plan

First Floor Plan

Third Floor Plan

Ground Floor Plan

Roof Plan

Second Floor Plan

[Above: Design iteration floor plans; Adjacent Page: Interior visual].

GA2 // 1 / 2 ¦ GC1 // 1.1 ¦ GC5 // 5.3 ¦ GC7 // 7.1 / 7.2 / 7.3 ¦ GC8 // 8.1 / 8.2 / 8.3 ¦ GC9 // 9.1 / 9.2 / 9.3 ¦ GC10 // 10.1 /

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[Above: Design iteration sections. Adjacent Page: Rooftop visual].

GA2 // 1 / 2 ¦ GC1 // 1.1 ¦ GC5 // 5.3

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[Above: Initial Scan&Solve tests on primary structure. Left: Forces & Base geometry. Middle: Displacement. Right: Danger Rating]

[Above: Screen-shot from Rhino & Grasshopper script for parametric structural analysis].

GA2 // 1 / 2 / 3 ¦ GC1 // 1.1 / 1.2 / 1.3 ¦ GC2 // 2.3 ¦ GC8 // 8.1 / 8.2 / 8.3

PARAMETRIC ANALYSIS OF PRIMARY STRUCTURE

F=ExA L

F: Force (Imposed and Dead Load) E: Young’s Modulus A: Cross Sectional Area L: Length

Calculation of Total Load: Imposed load: Assuming a maximum occupancy of 1,000 people 80kg x 9.81 m/s = 7.8x105 N Dead Load: Roof Loads: 2,400 kg/m3 x 0.175 m x 1120 m2 x 9.81 m/s = 4.6 x105 N Cladding Loads: Total Cladding area: 9750m2 20% - Concrete: 2,400 kg/m3 x (9750x0.2x0.1) = 468,000 kg 50% - Glazing: 15 kg/m2 x (9750x0.5) = 73,125 kg 30 % - Fibreglass: 1 kg/m2 x (9750x0.3) = 2,935 kg Total Load = 5.8x106 N

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In order to analyse the primary structure of the building parametrically the equations above for Hooke’s Law has been used to determine what the parameters are for the analysis.

The chosen parameters are the cross sectional area of the slab including the level of taper included, along with the length of the slab used.

In principle decreasing the length should help to decrease the applied force while increasing the cross-sectional area will also help to decrease the force.

[Above: Iteration 1 - 600mm floor slabs - Scan&Solve tests on primary structure. Left: Forces & Base geometry. Middle: Displacement. Right: Danger Rating]

[Above: Iteration 2 - Floor slabs from 600mm to 250mm at each end - Scan&Solve tests on primary structure. Left: Forces & Base geometry. Middle: Displacement. Right: Danger Rating]

[Above: Iteration 6 - Length of bottom slab to 34750mm, 10 Columns at 300mm diameter - Scan&Solve tests on primary structure. Left: Forces & Base geometry. Middle: Displacement. Right: Danger Rating]

[Above: Iteration 8 - Rules 4 & 8 used to create structural elements based on area of highest stress - Scan&Solve tests on primary structure. Left: Forces & Base geometry. Middle: Displacement. Right: Danger Rating]

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Temperature

Rain

Wind Speed

Humidity

[Above: Environmental analysis of local context in Sulawesi].

GA2 // 2 / 3 ¦ GC1 // 1.1 / 1.2 / 1.3 ¦ GC8 // 8.1 / 8.2 / 8.3 ¦ GC9 // 9.1 / 9.2 / 9.3

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Solar Analysis On Generated Design

Solar Analysis On Surrounding Site

Wind Speed

Rule 6 - Thermal Buffer

Rule 7 - Wind Direction

Security Material Substitution - Kevlar

[Above: Application of massing rules to design in line with environmental analysis above].

GA2 // 2 / 3 ¦ GC1 // 1.1 / 1.2 / 1.3 ¦ GC8 // 8.1 / 8.2 / 8.3 ¦ GC9 // 9.1 / 9.2 / 9.3

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[Above & Adjacent Page: 1:20 Section through design].

GA2 // 3 ¦ GC1 // 1.1 / 1.2 / 1.3 ¦ GC8 // 8.1 / 8.2 / 8.3 ¦ GC9 // 9.1 / 9.2 / 9.3

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- CHARRETTES 2015 & 2016

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SPECTACLE/MATERIAL/RESISTANCE: Aural Dynamics

StuBrew are a student run brewery operating through Newcastle University.

Acting as the client for this live build charrette we were tasked with delivering a working bar design to be delivered within a budget of £200 and within the time frame of a 4.5 days. The design was further restricted by the size requirements of the lift used to transport the bar from a basement to ground floor level due to storage.

Acting as a leading member of a team made up of first years to sixth years we began by constructing a structural carcass from recycled timber pallets before going on the dress the structure.

This project provided the opportunity to work at pace and to consider detailing in a live environment relying upon hand sketch details. Due to the nature of using recycled materials there were numerous issues that had to be solved as the project progressed. The final bar is still be used by the client following the charrette.

[Adjacent page: Completed bar installation for client StuBrew, Newcastle].

GA2 // 2 / 3 / 6 ¦ GC1 // 1.1 / 1.3 ¦ GC5 // 5.1 / 5.2 ¦ GC6 // 6.1 / 6.3 ¦ GC7 // 7.1 / 7.2 / 7.3 ¦ GC8 // 8.1 / 8.2 / 8.3 ¦ GC10 // 10.1 / 10.2 / 10.3 ¦

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SPECTACLE/MATERIAL/RESISTANCE: Aural Dynamics

Charrette Week - An intensive design week within the school looking to bring all years together within the Architecture Planning and Landscape department.

This years charrette looked to respond to the brief regarding the terms ‘Spectacle, Material and Resistance.’

‘Led jointly by an architect and composer, [this studio] will be an interdisciplinary investigation into the interactions between space and sound. Our studio will engage with both sides of the binary - creating both a space and an aural tapestry that are interdependent and profoundly symbiotic.’ [Extract from project brief] With each group being given a material to focus in on and a musical instrument to respond to we were given, Timber and the saxophone.

We responded to the given brief by developing the installation shown on the left. This timber structure engaged the spectator by providing them the tools to produce their own music: Paper trumpets, xylophones along with other makeshift instruments. The musician was to respond to the notes played by viewers and add his own score above this. The structure provided a vista creating a link between the musician and user at the desired moment. It is this vista that is shown on the left.

[Adjacent page: Final Aural Dynamics installation during performance. Credit - Newcastle University available at https://www.facebook.com/newcastleuniversity/photos/].

GA2 // 2 / 3 / 6 ¦ GC1 // 1.1 / 1.3 ¦ GC3 // 3.1 / 3.2 ¦ GC8 // 8.2 / 8.3 ¦

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- ARB CRITERIA MAPPING -

Foremost Satisfaction of the ARB Criteria GA2 / 1 - Experimental Architecture (Gaudy Architecture), pg 64.

2 - Experimental Architecture (Gaudy Architecture), pg 64.

3 - Digital Architecture (Shape Grammars), pg 116.

4 - Thesis Research Document (A Radical Architecture of Mayhem), As Appendix.

5 - Architecture & Construction: Process & Management (Experimental Architecture), As Appendix.

6 - Charrette Week 2016 (StuBrew), pg 145.

7 - Critical Reflection Essay, pg 2.

GC1 / 1 - Presented Design Studio Projects, pg 64 - 147.

2 - Professional Practice of Architectural Assemblages (Transferable Element), pg 58.

3 - Experimental Architecture (Technical design through inciting incidents), pg 91.

GC2 / 1 - Experimental Architecture (Folk Traditions), pg 70.

2 - Experimental Architecture (Technical design through inciting incidents), pg 91.

3 - Transferable Elements (Thematic Analysis), pg 16.

GC3 / 1 - 2D Print Processes in Design (Contour & Form), Stage 5 Semester 2 Portfolio, As Appendix pg. 79.

2 - Experimental Architecture (Site Map), pg 28.

3 - Experimental Architecture (Programmatic Perspective Visuals), pg 80.

GC4 / 1 - Plan Rotterdam (The City as a Platform), pg 94.

2 - Plan Rotterdam (The City as a Platform), pg 94.

3 - Architecture & Construction: Process & Management (Experimental Architecture), As Appendix.

GC5 / 1 - Experimental Architecture (Gaudy Architecture), pg 64.

2 - Experimental Architecture (Gaudy Architecture), pg 64.

3 - Experimental Architecture (Gaudy Architecture), pg 64.

GC6 / 1 - Architecture & Construction: Process & Management (Experimental Architecture), As Appendix.

2 - Architecture & Construction: Process & Management (Experimental Architecture), As Appendix.

3 - Experimental Architecture (Gaudy Architecture), pg 64.

GC7 / 1 - Selected Precedents, pg 14.

2 - Presented Design Studio Projects, pg 64 - 147.

3 - Architecture & Construction: Process & Management (Experimental Architecture), As Appendix.

GC8 / 1 - Digital Architecture (Digital Fabrication), pg 123.

2 - Experimental Architecture (Massing Rules), pg 74.

3 - Digital Architecture (Digital Fabrication), pg 138, 140.

GC9 / 1 - Digital Architecture (Digital Fabrication), pg 140.

2 - Experimental Architecture (Communal Living Inciting Incident), pg 91.

3 - Digital Architecture (Constructional Section), pg 142.

GC10 / 1 - Architecture & Construction: Process & Management (Experimental Architecture), As Appendix.

2 - Architecture & Construction: Process & Management (Experimental Architecture), As Appendix.

3 - Architecture & Construction: Process & Management (Experimental Architecture), As Appendix.

GC11 / 1 - Architecture & Construction: Process & Management (Experimental Architecture), As Appendix.

2 - Architecture & Construction: Process & Management (Experimental Architecture), As Appendix.

3 - Architecture & Construction: Process & Management (Experimental Architecture), As Appendix.

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- APPENDIX 1: ARB CRITERIA The Graduate Attributes for Part 2

GA2 With regard to meeting the eleven General Criteria at Parts 1 and 2 above, the Part 2 will be awarded to students who have: 1 - ability to generate complex design proposals showing understanding of current architectural issues, originality in the application of subject knowledge and, where appropriate, to test new hypotheses and speculations; 2 - ability to evaluate and apply a comprehensive range of visual, oral and written media to test, analyse, critically appraise and explain design proposals; 3 - ability to evaluate materials, processes and techniques that apply to complex architectural designs and building construction, and to integrate these into practicable design proposals; 4 - critical understanding of how knowledge is advanced through research to produce clear, logically argued and original written work relating to architectural culture, theory and design; 5 - understanding of the context of the architect and the construction industry, including the architect’s role in the processes of procurement and building production, and under legislation; 6 - problem solving skills, professional judgment, and ability to take the initiative and make appropriate decisions in complex and unpredictable circumstances; and 7 - ability to identify individual learning needs and understand the personal responsibility required to prepare for qualification as an architect.

(Extract from ARB, Available at: http://www.arb.org.uk/files/files/ARB_Criteria.pdf)

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- APPENDIX 2: ARB CRITERIA -

The General Criteria at Part 1 and Part 2 GC1 Ability to create architectural designs that satisfy both aesthetic and technical requirements.

The graduate will have the ability to:

GC7 Understanding of the methods of investigation and preparation of the brief for a design project. The graduate will have an understanding of:

1.1 - prepare and present building design projects of diverse scale, complexity, and type in a variety of contexts, using a range of media, and in response to a brief; 1.2 -understand the constructional and structural systems, the environmental strategies and the regulatory requirements that apply to the design and construction of a comprehensive design project; 1.3 - develop a conceptual and critical approach to architectural design that integrates and satisfies the aesthetic aspects of a building and the technical requirements of its construction and the needs of the user.

7.1 - the need to critically review precedents relevant to the function, organisation and technological strategy of design proposals; 7.2 - the need to appraise and prepare building briefs of diverse scales and types, to define client and user requirements and their appropriateness to site and context; 7.3 - the contributions of architects and co-professionals to the formulation of the brief, and the methods of investigation used in its preparation.

GC8 Understanding of the structural design, constructional and engineering problems associated with building design. The graduate will have an understanding of:

GC2 Adequate knowledge of the histories and theories of architecture and the related arts, technologies and human sciences. The graduate will have knowledge of:

8.1 - the investigation, critical appraisal and selection of alternative structural, constructional and material systems relevant to architectural design; 8.2 - strategies for building construction, and ability to integrate knowledge of structural principles and construction techniques; 8.3 - the physical properties and characteristics of building materials, components and systems, and the environmental impact of specification choices.

2.1 - the cultural, social and intellectual histories, theories and technologies that influence the design of buildings; 2.2 - the influence of history and theory on the spatial, social, and technological aspects of architecture; 2.3 - the application of appropriate theoretical concepts to studio design projects, demonstrating a reflective and critical approach.

GC3 Knowledge of the fine arts as an influence on the quality of architectural design. The graduate will have knowledge of:

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

3.1 - how the theories, practices and technologies of the arts influence architectural design; 3.2 - the creative application of the fine arts and their relevance and impact on architecture; 3.3 - the creative application of such work to studio design projects, in terms of their conceptualisation and representation.

9.1 - principles associated with designing optimum visual, thermal and acoustic environments; 9.2 - systems for environmental comfort realised within relevant precepts of sustainable design; 9.3 - strategies for building services, and ability to integrate these in a design project.

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

The graduate will have knowledge of:

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

4.1 - theories of urban design and the planning of communities; 4.2 - the influence of the design and development of cities, past and present on the contemporary built environment; 4.3 - current planning policy and development control legislation, including social, environmental and economic aspects, and the relevance of these to design development.

10.1 - critically examine the financial factors implied in varying building types, constructional systems, and specification choices, and the impact of these on architectural design; 10.2 - understand the cost control mechanisms which operate during the development of a project; 10.3 - prepare designs that will meet building users’ requirements and comply with UK legislation, appropriate performance standards and health and safety requirements.

GC5 Understanding of the relationship between people and buildings, and between buildings and their environment, and the need to relate buildings and the spaces between them to human needs and scale. The graduate will have an understanding of:

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

5.1 - the needs and aspirations of building users; 5.2 - the impact of buildings on the environment, and the precepts of sustainable design; 5.3 - the way in which buildings fit into their local context.

11.1 - the fundamental legal, professional and statutory responsibilities of the architect, and the organisations, regulations and procedures involved in the negotiation and approval of architectural designs, including land law, development control, building regulations and health and safety legislation; 11.2 - the professional inter-relationships of individuals and organisations involved in procuring and delivering architectural projects, and how these are defined through contractual and organisational structures; 11.3 - the basic management theories and business principles related to running both an architect’s practice and architectural projects,

GC6 Understanding of the profession of architecture and the role of the architect in society, in particular in preparing briefs that take account of social factors. The graduate will have an understanding of: 6.1 - the nature of professionalism and the duties and responsibilities of architects to clients, building users, constructors, co-professionals and the wider society; 6.2 - the role of the architect within the design team and construction industry, recognising the importance of current methods and trends in the construction of the built environment; 6.3 - the potential impact of building projects on existing and proposed communities.

(Extract from ARB, Available at: http://www.arb.org.uk/files/files/ARB_Criteria.pdf)

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