Final Year Portfolio (stage 3)

ATRICIA PRAYOGO

ARCHITECTURE JOURNEY ISSUE III

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LIGHT HOLES AT CHURCH AT FIRMINY

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to fulfil the needs of society for places to work and live, not to create a monument to be on the cover of a magazine. Architecture is a part of culture- it is part of how we see ourselves, and part of how we see the world. The unique aspect of architecture is that in its physical incarnation of buildings. The most important architecture as I look back over history are buildings or environments that have done so much more in a variety of ways- be that innovation in building material and construction, or buildings that gotten us to think about our environment in different ways, or just incredibly beautiful buildings that have lifted the human spirit.

Personally, I believe buildings must be functional and a manifestation of their time and culture. Not just seeking to copy the past or manifest nostalgia.

Buildings must be well constructed that serve multiple functions and different people in defined ways. This is what differentiates good architecture from just being any old building. Good architecture is intentioned, serving a purpose that benefits its wider community. I realize that these beliefs might sound somewhat utopian, but truly good architecture has the ability to relate to individuals in a very profound way. That is a quality which cannot be broken down into scientific terms or quantified- but is something we all, as sensitive beings, know when we experience a quality building or a space that somehow goes beyond being functional and is- somehow- very special. This is what I believe architecture could potentially do, something that I am keen to learn and explore.

C O N T E N T S P A G E

The purpose of architecture is to create habitat and

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Studio Introduction Primer Process Primer Model Primer Manifesto

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Case Study Site Declaration Historical Analysis Site Analaysis Programme Declaration

STAGING

Introduction Illustrated Reflective Report

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PRIMER

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INTRODUCTION

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OR HERE

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C O N T E N T S p a g e

Atmospheric Drawing Final Model Photograph Interior Photograph

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Illustrated Cultural Bibliography Appendix Bibliography Summary List of Changes List of Images

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ADDITIONALS

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REFINEMENT

Theory and Concept Design Thinking Through Making Site Plan Programme Plans and Sections

REALISATION

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This year end project, although hypothetical, I designed earnestly.

It doesn’t matter to me if it’s a real project or not, design is practice, and practice is priceless. Design begins with knowing what questions to ask: what is needed? Who will be using it? Which leads to a introspection, which asks much broader questions. Design is first asking a question, and then creatively finding the best answer. The separation of the year end project into phases was useful as made me productive and more accommodating to every small project.

In the sense that I could focus and really analyse the questions I should be asking for each phase (staging, realisation, and refinement).

It is regarded as true that good architecture, small or large scaled, can make a difference in people’s lives. Which is the angle where I have chosen to design from. I really enjoyed how the course setup have made us design simultaneously with integrated technology and professional practice.

To me, architecture is a compound study of everything - the structure, materials, purpose, function, and context of a building.

taking the form of stark cubes, devoid of lavish yet intricate on many levels.

The influential architect is especially celebrated for his innovative ways of arranging interior spaces, in what he called a “Raumplan”, which is German for space-plan. A deceptively simple term, describing the considered scales of its interiors. It was his way of dividing up rooms and spaces based on function, on both horizontal and vertical planes, physically and visually.

Understanding the concept behind Loos’s approach to architecture, design, and society in general has helped shaped my own perception towards modernism architecture. The concepts of Raumplan, I have manifested through the entire design process. A thorough research on each individual programme was necessary for me to do, in order to create a practical and efficient spatial design of the entire building. The difficult part was actually adapting this concept of spatiality on a large-scale architecture. Most, if not

all, Raumplan inspired buildings are small scaled houses and shops. This is partly because Raumplan deals with the intricacies of interior design - an aspect that I believe isn’t embodied in large scale architecture. Through massing, sketching, and reading about spatial design beyond the Theory into Practice submission, I was able to interpret and adapt Raumplan into this civic building design considerably.

Nowadays, architects learn to design buildings within the walls of the studio, and I was no exception. Rarely does any architecture school encourage actual building experience on the construction site, which I think is perhaps one of the major drawbacks of modern-day architectural education. Although not technically hands-on, doing the Integrated Technology report with design simultaneously was a good practice. It wasn’t until I start doing the technical side that I find ways to change things for more efficiency, while sticking true to the design intent. There were many major design alterations that I had to make to accommodate the practicality of engineering.

The most apparent being the foundation design, which I elaborate further in the portfolio. The building design needed some parts of the site to be excavated heavily. The original design was to use a glulam timber frame on top of a typical raft foundation as the primary structures.

I learned that the retaining walls needed to resist the forces was bigger than

Theory into Practice has been the most helpful with organising concepts for the overall design. I did an analytical case study on Adolf Loos (Legacies of Pre-Modernism, 2019). Adolf Loos is perhaps best known for his radical philosophy that “ornament is crime”.

His convictions manifested in houses RAUMPLAN ON DOMESTIC BUILDING

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FOUNDATION WALLS INTEGRATED INTO FACADE DESIGN

Although this wasn’t manifested in my building design, the Professional Practice report did develop my understanding as a professional of the obligations and responsibilities to clients, the architecture profession, and society at large. Doing the report made me realise that architecture isn’t only about what goes into the design. But also how to get the design through a whole new sector of professions- that might make it difficult to get a building actually built. This practice has better prepared me for managing architectural projects in the future, extending my area of competence.

At the beginning and towards the end of first semester, I felt that this yearlong project was inefficient. But my perception progressively changed as we started to tick things off the submissions checklist. And towards the end of the design project, my design felt comprehensive and I was confident enough to present, knowing that I am fully aware of everything that goes on and has gone into my design. This project might just be a manifesto for my distinct style and architectural beliefs.

BUILDING DEVELOPMENT ITERATION SKETCH

This portfolio marks the end of my Part 1 journey. Perhaps this will be the start of a lifetime of a love-hate relationship with architecture in practice. Perhaps not. I have an image of what I want my future career to be like. The kind of architecture I’ve always wanted to pursue since the start was unique, one-off, sustainable residential projects, and it still is. This year end project was unbelievably enjoyable and eye awakening; exploring my interests in interior and landscape design. But it also made me realise that my passion isn’t in big projects. But I wouldn’t know where my career path will be until the time comes. The best way to prepare for tomorrow is to do my best today. I realise that wherever my path will take me, this architecture course has prepared me well.

I’m not talking exclusively about the lectures and tutorials I went to. I’m also talking about the incessant late nights at the studio; squandering around town to find information about anything and everything; getting my priorities straight; finding confidence to be vocal; and ultimately learning to learn. I am so grateful to be at this phase right now, writing this. I am content with this piece I’ve produced, but I am most happy at the amount of effort and work I’ve put into it. This will forever be a proud achievement of mine. Here’s to more achievements and proud moments to come.

R E L E C T I V E R E P O R T

what I had designed for. Because of this, the retaining walls became part of the design aesthetics- party because of practical reasons for structure and the concept of practicality. The expression of structure as a decorative element was a modernist thinking that was utilized in the design process. Also, implementing the UK building regulations did make clear of the building fenestration and circulation, because I had to accommodate fire safety exits, etc., and for the most part, accessibility for the disabled. The very initial main entrance design was a wide staircase that enters into sunken courtyard. I had to change this main element to comply with Part-M regulations. Although irritated at first, the main staircase became a ramp. The ramp, which is now a significant element to the entire building experience, provided more spatial awareness than a stair could ever. The benefits that I gained with doing these two separate subjects together is that I could see the impact of my design decisions right away and change those decisions if needed.

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LEGACIES OF MODERNISM Our studio is about using theory and conceptual ideas as the driving forces in the development and realisation of an architectural project. In the first few weeks, we read multiple manifestos on early European Modernism and Brutalism, from a variety of architects and artists. Each studentw in the studio had to take a stance on modernism, to go for or agaisnt it. As a studio, we learn to develop a spatial awareness of scale, volume, and projection, to push beyond conventional modernist styles and manifesting our own perception of the modern project.

We had a fieldtrip to analyse influencial Le Corbusier buildings in France and our building sites are set in the northeast of UK.

THE “MODULAR GROUP� PHOTO IN LA TOURETTE

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PRIMER MODEL The brief was to translate the spatial qualities of this two dimensional painting into a three dimensional model. In these first few iterations, I played with a reversal of the forms to read possible alternatives of the conventional volumes of the painting.

CONSTRUCTION IN SPACE TIME I by THEO VAN DOESBURG

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SPACE IS UNIVERSAL

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AXO SKETCH OF PRIMER MODEL

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PRIMER MODEL INHABIT SKETCH

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PRIMER FINAL MODEL

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These sketches are conceptual drawings of what it (the model) would be like if it were an actual house.

The cube sized model creates a nice canvas for me to explore the spatial qualities of it. The photograph on the bottom right (left page) felt like a staircase, this was illustrated on the top right drawing (right page).

From this single idea, a whole building configuration was tied together.

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INHABITED MODEL

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WHERE DOES DESIGN BEGIN AND END?

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ARCHITECTURE SHOULD BE RAW, AUTHENTIC, HONEST.

DRAWING COMPOSITE

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To me, this is architecture.

- PRIMER MANIFESTO

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I believe that architecture is best when intended to be flexible and amenable to habits and aspirations of ordinary people, not rigid, universal or monumental. 

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Art is beauty and beauty speaks for itself, not through statements or pretensions.

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Modernism was fundamentally committed to the ordinary, mundane circumstances of contemporary life, to the commonplace. Modern architects did not intend for their designs to be universally appropriate or significant. Nor did they celebrate the exaggerated sculptural building and aesthetics. They suggested that a work of modern architecture would acquire singular meaning in relation to its location and to the lives of those who occupied it.

thoughtfulness of the mundane. Art lies in the ability to satisfy the unthought human needs.

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I believe good architecture is only manifested through a revelation of what it truly means to be human. Architecture can be achieved in the most commonplace of daily activities.

Beauty in architectural design lies in the careful

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Excessive, extravagant, exorbitant, monumental; to me, this is not architecture, it’s politics.

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Traditional architecture is nostalgic Disney World, while modernist architecture is for the present and reflects the job it has to do.

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Le Corbusier’s final building, Sainte Marie de La Tourette, is a Dominican Order monastery, located on a hillside in Lyon, France.

C A S E - S T U D Y

CASE STUDY.

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PASSIVE DESIGN MEASURES

CLIMATE CONTROL FACADE

Couvent de La Tourette is open to the landscape and makes the most of natural light and views. Le Cobusier said that here in the landscape which was so flowing he would not set the building on the ground. Light and airflow is present everywhere and at all times, in a controlled manner.

Le Cobusier’s attitude towards glass facades changed during the 1920s after he realised the overheating problems that came with it. Le Cobusier developed a form of sunbreaker known as the brise soleil. The brise soleil acts as a filter, providing a permeable skin around the building.

These vertical brise soleil were manipulated by Xenakis in a way that it prevents glare and create a musical rythmn. They are spreaded throughout in corridors with large glazing.

VEGETATION

PILOTIS

In accordance to the 5 points of architecture, the building is lifted on pilotis which allows airflow underneath the building and the preservation of existing vegetation and biodiversity.Roof garden; giving back what have been taken. All of the roof area is covered with a thin layer of earth loft. Which helps with isothermic protection and reduce stormwater runoff.

The top two levels; the loggias of the friars’ cells crowning the building form another type of brise-soleil.

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C A S E - S T U D Y

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COMPACTNESS (FORM FACTOR) The building has a simple massing. But it has a lot of recess in the thermal envelope. Unable to calculate form factor, however the building seems relatively inefficient. Considering that glazing takes up more than 50% of the building envelope, which can lead to massive heat loss.

THERMAL MASS Because of the shape and form, the building suffers much heat loss in winter and sometimes excess heat in the summer, eventhough thick concrete is known to have a high thermal mass. Also, there is little heat generated form human activities today, the building need to rely more heavily on radiators compared to when they had 80 residents on site in 1960s.

windows

MECHANICAL HEATING Radiators are 15cm (height) x 10cm (depth), painted gray. Mechanical heating is installed in all rooms except corridors, in small quantities because Le Cobusier said it affects the aesthetics of the space.

PASSIVE COOLING The strategic placing of the building in between lush trees benefits the building in the summer.

The first and foremost natural colling intergration is shade and wind from the surrounding forest.

ENTRY “GATE�

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VENTILATION DOORS Operatable narrow wooden doors are present in many parts of the building’s walls to allow natural airflow for cross ventilation. In spite of Xenakis’s design control over this particular fenestration, the application of the doors are implemented.

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VENTILATION DOOR CLOSED

VENTILATION DOOR OPENED

INSITU CONCRETE

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STRATEGIES OF RIBBON WINDOWS

Ribbon windows is key to Corbusier’s fenestration. By his definition, it is horizontal cuts across entire façades allowing interior spaces to be equally lit. In this building, they keep direct sunlight away from the eyes, and direct light while walking. Not only do these windows allow rooms to be flooded with light. The windows are positioned 140cm high to divert attention from the outsite while walking but they are the perfect height to stop, lean, and view the landscape.

POLYURETHANE SEALANT

DOUBLE GLAZING WITHOUT GAS (15MM)

WINDOW GLAZING The original construction of the building used single glazing which, according to the friars, can sometimes become unbearably cold in the winter and therefore had to rely on heating radiators. In 2006, insulation was improved as all the glazing were renovated into thin double glazing without gas, in order to preserve the fenestration. Thermal bridging is still a big issue because the windows only use a rubber sealant.

FLOWERS, GUNS AND CANNONS Aside from ribbon windows and large glazed facades, Le Cobusier use sky lights concrete flowers to illuminate corridors. Light cannons and machine guns allow light to enter the sanctuary and the sacristy.

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ARTIFICIAL LIGHTING

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Due to heavy reliance on sunlight, artificial light is employed minimally and efficiently only in places that are necessary. After the 2006 renovation, light switch timers were installed, to conserve electricity. In the corridors (65’) and staircases (50’).

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REQUIREMENTS The monks of La Tourette asked for a church and oratory, a chapter room and refrectory, a cloister, a library, lecture rooms and 100 cells. They left the shape and planning of the space to Le Cobusier.

Above all, Le Corbusier was trying here “to give the monks what men today need most.� silence and peace

FIRST FLOOR PLAN

CHANGE OF ACCOMODATION The monks used to be accomodated according to seniority, with novices in the east block and senior in the west. At present, cells on the west wing are reserved for the friars. Each friar has 2 cells instead of 1 : a bedspace and an office. Cells on the east and south is used as a youth hostel and some are used to host people for meditation.

AREAS THAT CAN BE VISITED The common room, the oratory, the refectory, corridors, and the church.

GROUND FLOOR PLAN

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The different spaces are connected by corridors, most apparently by the cross-shaped, partially slanted passage in the central courtyard which focalises in the atrium.

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- The lowest floor provides access to the church, and houses a refectory and chapter house.

- The second floor contains the public entrance with reception rooms and a porter's lodge, as well as study rooms, a library, an oratory, and common rooms.

- The third and fourth floor are dedicated to accommodation.

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The building has a complicated plan, but the majority of its inhabitable spaces are divided across three main levels.

C A S E - S T U D Y

ARRANGEMENT OVERVIEW

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THE RECEPTION ROOMS The entrance to the convent is marked by a free-standing gate, a doorframe without a wall; the height of le modular and twice for the width. A symbolic threshold between profane outside and spiritual

THE LIBRARY inside. The five curved pavillions, unique to the rest of the regular shapes, serve the unique purpose as rooms for guests of the monks to converse.

The study room is adjacent to the library. A place for friars to converse and socialise. Although due to acoustic problems, conversations should be kept at low voices. The library and common room are open to the view of courtyard only. Rectangular panels of concrete create variety in the diaphanous chessboard and a play of shadow within.

THE REFRECTORY The place where the whole monastic community come together for meals.

The refrectory is a festive room of the monastery, which is why he gave it the most light. The undulatory glass presents a view of the hills which ripens the Beaujolais wine they drink.

THE ORATORY A small house of prayer is given a position in the architecture with the importance of private prayer in the life of the Order. This was in addition to a seperate Chapter room.

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MONK’S CELL Each cells contains space only for a table, book shelves, a cupboard and a bed. A loggia leads into the fresh air.

The cells are so arranged that each one has sunshine during the course of the day.

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ENTRY SEQUENCE TO CHURCH

THE CRYPT An altar in the form of a block and table rises from each of the six platforms. The crypt is the innermost domain of the monastery. Here, every morning, a mass is celebrated in silence individually.

Light is constant in the Crypt all day; creating the same atmosphere. It is as though time does not exist.

The Crypt is the only room in the whole building that is not made with reference to the modular man. In this room, it is just one man with one god; and one cannot mathematically define god.

ALTARS IN THE CRYPT

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THE CHURCH

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The church is built on 2 levels. The lower church are a series of altars which the monks celebrate mass silently for themselves every morning.

While the upper church is used for choral services and communal mass. The church hosts a regular mass every sunday and welcomes all the faithful.

The slits above the sitting area are strategically placed to introduce light at the perfect height for reading.

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THE ROOF Originially designed to accomodate the cloister.

Le Cobusier envisioned monks at the prayer walking round and round beneath arches that were supposed to have crowned the building.

But the design was never brought into existence.

Nevertheless, the roof is a place of reflection. It is covered in vegetation to promote spiritual relation.

The perimeter walls were raised 1.83m (in relation to the modular man), so that the landscape views are blocked and the monks are forced to look towards heaven.

ROOF GARDEN

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Architecture is a function of the plan and the section.The entire game consists of these two essential methods – one horizontal, the other vertical – for expressing volume and space. . . .

Polychromy is an architectural technique as powerful as the plan and the section.

Better than that: polychromy is itself an element of the plan and the section.

- Corbusier

Before this trip, I assumed modernism is the exclusive use of white. Perhaps analysing colors were hard as this was a time when there was only black and white photography.

COLOR ANALYSIS OF DIFFERENT LAYERS OF OIL PAINTS IN CORBUSIER’S APARTMENT

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MAISON LA ROCHE

VILLA SAVOYE

CORBUSIER AND COLOR Modernism is usually associated with purism, in both form and color. Yet, the father of modernism was fond of colors. Le Corbusier used colour to make volumes stand out or on the contrary, disappear.

CORBUSIER’S APARTMENT

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THE START There were two site choices for this project; Peterlee and Killingsworth.

Located in the northeast of UK; two completely different towns, but sharing a similar story. Both Peterlee and Killingworth were used for mining and later on built as a “new town� in the 1950-60s. The two towns were constructed in modernist-brutalist style, and the townscapes were inteded as an inspiring vision of modernity.

However, the architectural style and ideology behind it became unpopular with the public and much of their original 1960s developement have been demolished or altered, now just a memory.

In comparison, Killingworth has many isolated modernism icons spreaded throughout the town, which I personally see as mundane.

Peterlee, on the other hand, has an abstract

masterplan that embodies a modernist art. I chose Peterlee as my site because I wanted to work my design into this graphic image of a masterplan.

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PETERLEE: A GLIMPSE INTO THE PAST Peterlee was founded in 1948, a town named after an East Durham man, Peter Lee (1864-1935), in an attractive location on a plateau north of Castle Eden Dene. Built under the New Towns act 1946, the New Town was developed to provide improved housing and environmental conditions for the miners who were living in poor industrial housing in the surrounding mining villages. The town was planned around the concept of a tightly-defined retail and commercial centre with five outlying residential neighborhoods and industrial estates to the north of the town.

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Peterlee has undergone three major development phases, under three different bodies of authority.

The designs by the then-chief architect, Lubetkin, were extremely ambitious and the corporation’s development manager was left in a quandary when his chief architect left. The manager then spotted the constructions that Pasmore was working on while teaching in the University of Durham nearby and thought that an artist’s eye would create a fresh initiative amongst his team of architects.

A virgin plot of land to the south west of the town was allocated to Pasmore, with the sole purpose of devising a new dynamic in the form of the housing and road layout.

DEVELOPMENT PHASES Established in 1948. Began in 1950s 1. Berthold Luberskin: wanted tower blocks - rejected due to geology - resigned as the architect in 1950 2. George Grenfell Barns: was the primary architect after Luberskin; built houses quickly but with poor quality construction (southwest 1-5) 3. Victor Pasmore: an artist later appointed as head of design team for landscaping and housing (Sunny Blunts)

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MAP OF HOUSING AREAS IN PETERLEE

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SUNNY BLUNTS ABSTRACT MASTERPLAN BY PASMORE

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VICTOR PASMORE; THE ARTIST, THE ARCHITECT Pasmore’s work derived from an abstract style, though landscape and architecture were a main reference.

He experimented with relief forms and the layering of materisl, which culminated in generating installations with exhibition qualities. Pasmore was able to consider relationships between spaces, opportunities to occur, and ways in which experienceing the space could be manipulated. This understanding of spatial quality led to his design work within Peterlee, where he was able to explore such possibilities fully.

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Sunny Blunts’s design concept was a total integration of housing and landscape. The compactly clustered houses stood out in constrast to the open landscape.

Typical back gardens were omitted to allow the landscape to permeate between the houses. The buildings and facades of the houses could resemble installations.

The Pavilion structure was minimally decorated with two of Pasmore’s murals, spanned a small lake and connected the separate areas of the development as an integral part of the landscape. Its simplistic integration into the landscape as ‘functional art’ enabled architecture and artist’s vision to combine.

The structure was named in honour of the Apollo Space Programme as a ‘symbol of adventure, hope and optimism’.

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LEGACIES OF PASMORE

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PETERLEE: A GLANCE INTO THE PRESENT Following its designation in 1948, the New Town grew through phased migration from neighbouring colliery and former colliery villages. The decline of the coal industry has stimulated a major obstacle for employment including the development of enterprise zones.

Some of the biggest losers of modernisation have been the old industrial areas, meaning towns that were historically reliant on traditional industries (mining, steel, textiles).

Peterlee went from enjoying close to full employment in the 60s to being blighted by mass unemploymnet through the 80s and beyond. Now the consequences are: labour market neglect, huge skill deficits, and an aging population, resulting in massive waste of human potential.

Peterlee have come to be seen as a leftbehind town, a place where people dont want to work or invest in, or be proud to call home.

Today, the working lives of many Peterlee residents are defined by long commutes and encountering bunch of strangers on the way to the workplace. There was a time, however, when a good number of the town’s labourers had their daily routeines marked by the high pitch of their mill’s shift whistle, the exchange of friendly greetings to their familiar coworkers, and the sight-and sometimesghastly smell-of stem rising from their factory’s chimneys. Peterlee, a once proud centre of economic power now experiencing economic disconnection and detatchment.

PETERLEE CURRENT DEMOGRAPHICS

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THE INHABITANTS Having one of the lowest employability in the country, crime and anti social behaviour inherently exist amongst the youth. The community doesnt seem to support education past grade school.

The lack of skills of the locals make it hard to find jobs and for companies to employ people in and from Peterlee.

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PETERLEE AND KILLINGWORTH COLLAGE

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BUILDING USAGE ANALYSIS

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THE TOWN Dominated by housing, there are only two major ‘leisure’ facilities in town: Castle Dene shopping and an indoor sport centre; none of walking distance from the residential areas.

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PETERLEE CURRENT TOWNSCAPE

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DESIREABLE VIEWS

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PREVAILING WINDS

SITE PLAN ANALYSIS

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CASTLE EDEN DENE

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THE SITE Located adjacent to Oakerside Drive, the site is easily accessed on foot from Sunny Blunts, by car from the main drive, and by bus with the bus stop right across the road.

DESIREABLE VIEWS

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CASTLE EDEN DENE

SOUTH-WESTERN WINDS SITE AXO ANALYSIS

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OAKERSIDE DRIVE

CASTLE EDEN DENE

HEARTS OF OAK

The site is a large heath on a gentle slope, over looking the north parts of Castle Eden Dene. The existing structures on site are a small carpark and a playground.

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STEREOTYPICAL STEREOTYPICAL STEREOTYPICAL STEREOTYPICAL STEREOTYPICAL STEREOTYPICAL STEREOTYPICAL STEREOTYPICAL STEREOTYPICAL SUNNY BLUNTS

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Most of the houses have been altered by their home owners, following technical problems with the flat roofs. Colorful bricks have been replaced with brown ones. The once super modern housing estate can now be placed anywhere in Britain, like another typical British terraced housing.

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APOLLO PAVILLION Criticism and lack of support from the local community led to the Pavilion suffering from neglect and vandalism, rapidly falling into disrepair for years.

Which lead to a general feeling that the structure was an ‘eyesore’ within the development. In it’s early years, the pavillion was so persistently targeted by local juveniles that it became a deeply scarred and unpleaseant environment, almost demolished. Its sole function was a large open air urinal. But since 2011, the Apollo Pavilion has been listed Grade II by English Heritage. It’s a shame, it had to take decades for people to start appreciating its beauty and importance to modernism.

APOLLO PAVILLION IN MEDIA

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LOVED BY ARCHITECTS

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Peterlee was universally applauded by architectural critics but universally hated by its residents. The Apollo Pavilion was designed to be an “architecture and sculpture of purely abstract form through which to walk, on which to linger, and on which to play,” yet it became a breeding ground for anti social behaviour.

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When architects describe their own creations, it seems that they frequently fall into the trap of Pollyanna optimism. Perhaps the kind of architecture that should have been embraced by Pasmore - that could have been more beneficial to the community was multifunctional architecture. Learning from the ideas of Le Corbusier’s “l´unité´habitation”, architecture should aim to solve urban problems, not just creating projects they hope would adapt to the urban space where they are inserted.

PETERLEE COLLAGE

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PETERLEE: A GAZE INTO THE FUTURE The town’s geography and its planned origins have given it benefits as a place to live and a location for business. There are significant major environmental advantages in its relation to Castle Eden Dene, is a growing importance as a destination for visitors, and residents.

The conceptual basis for this project is challenging the notion of a “left-behind� place. A design enterprise reclaiming the forgotten and a celebration through architecture.

The aim of the Peterlee Contemporary Centre of Woodwork is to act as an incentive for young people to stay in Peterlee by building community through a cultural amenity that offers social engagement and vocational training to boost the local economy. The centre serves to benefit the residents of Peterlee and the wider community.

The programme of Peterlee Contemporary Centre for Woodwork, the new civic centre, includes a wood working workshop, coworking spaces, modern library lounge, and a local cafe.

In this project, I have tried to conceive a sensitive relationship to the people, the site, its historical context, and its hidden potential.

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SOCIETY NEEDS A GOOD IMAGE OF ITSELF. THAT IS THE JOB OF THE ARCHITECT - Gropius

CONCEPT SKETCH

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REALISATION.

R E A L I S AT I O N

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PRECEDENT STUDY: RAUMPLAN (theory into practice)

One of Adolf Loos’s greatest legacies is the Raumplan, which is the design of spatial continuum within a building that is realised by a manipulation of elevations and materials. He advocates designing every room around a specific purpose, which offers an alternative to the open-plan design as in most modernist architecture. Recognising the space could be imposed by many layers, or many elements that combine in one feature. And Adolf Loos created space continuity with different levels and so on.

The Raumplan questions the old notion of “void”. He believes that space is an enclosure (Twombly, R., 2005). This means pace was to be the imperative element that dictates the form, as it is where humans reside and spend their most time in, not the exterior.

The circulation of a building was an important architectural element that creates continual movement in space.

He does this by designing in such a way so that storeys merge and spaces could relate to each other; rooms designed close in proximity yet not touching.

The phrase form follows function is often used when discussing the principles of modernism. It asserts that forms should be simplified; that architectural designs should bear no more ornament than is necessary to function.

The ideas of Raumplan have only been applied to domestic or small buildings because of its design complexity. In this design, I have applied Raumplan on a large scale civic building, involving different types of users. Understanding the basic infrastructure of Loos’s design concept have helped me interpret and adapt it to my building design.

The planning method places a great emphasis on the scale and individual rooms. Rooms are seperated by its dynamic elevation, instead of walls. To enter a different space requires a few steps into.

Essentially, making the most of the building volume by planning the spaces freely and not confined to a single storey. The interiors are divided into interconnected multi level spaces and arranged on the basis of their importance.

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BE NOT AFRAID OF BEING CALLED UNFASHIONABLE - Loos

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THE ARCHITECT MUST GET TO KNOW THE PEOPLE WHO WILL LIVE IN THE PLANNED HOUSE. FROM THEIR NEEDS, THE REST INEVITABLY FOLLOWS - Mies

DYNAMIC SECTION OF VILLA MULLER (DIAGRAM FROM THEORY INTO PRACTICE)

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R E A L I S AT I O N DEVELOPMENT OF SECTIONS

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MASSING EXPLORATIONS The cube echoes some of the fundamental components of Loos’s architectural designs. The need for even sunlight distribution resulted in voids of that later become internal courtyards within the building.

The courtyards design have spatially inverted the voids into functional volumes.

MASSING MODELS

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R E A L I S AT I O N PARTI DIAGRAM

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INITIAL IDEAS FOR PROGRAMME

INITIAL IDEAS FOR CONCEPT

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R E A L I S AT I O N

INITIAL MASSING STRATEGIES

MASSING IN CONTEXT WITH SITE

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FORM AND ORIENTATION Smaller buildings are often more energy efficient because they have less space to heat and cool, which lead to the arrangement of four detached buildings.

Some parts of the buildings are sunken into the ground to adhere to the landscape.

Seperated into 4 different buildings with common functions. The simple rectangular facade of the buildings, hide the intricacies and the play of levels.

One must enter and explore inside in order to enjoy the spatial experiences.

ENTER

AND

EXPLORE

INSIDE

ENTER

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INSIDE

ENTER

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INSIDE

ENTER

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ENTER

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ENTER

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INSIDE

P EXPLORE

INSIDE

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AND R

EXPLORE

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ENTER

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ENTER G

ENTER ENTER ENTER ENTER

Y ER

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ENTER AND EXPLORE INSIDE

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R E A L I S AT I O N

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DEVELOPMENT OF PLANS (SEMESTER 2 WEEK 3-4)

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R E A L I S AT I O N DEVELOPMENT OF PLANS (SEMESTER 2 WEEK 4-5)

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STUDY MODEL LOOKING TO CASTLE EDEN DENE (WEST ELEVATION)

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R E A L I S AT I O N STUDY MODEL LOOKING TO HEARTS OF OAK (NORTH ELEVATION)

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THINKING THROUGH MAKING.

THINKING THROUGH MAKING

R E A L I S AT I O N

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CONCEPT SKETCH

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THINKING THROUGH MAKING

R E A L I S AT I O N TTM MODEL

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Making the model, I kept referring back to the primer. My primer model explores space as being universal and an unrestricted element. Being quite playful during the week, the idea of the TTM model challenges the classic interpretation of structure. Two dimensional plane (metal planes) act as the structure holding three dimensional volume (plywood boxes).

Essentially, the boxes are held solely by the positioning of the metal planes, with no additional glue or supports.

PRIMER MODEL

MATERIALITY STUDY Experimenting with different types of wood, this model inspired me to use charred timber for the building envelope.

Not only is it a sentimental tribute to Peterlee’s historical coal mining industry, research shows that charred timber is a naturally robust building material.

Additionally, the balanced combination of wood, metal, and green plant encouraged me to intergrate living plants into inside the building design.

TTM MODEL

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THINKING THROUGH MAKING

R E A L I S AT I O N CHARRING PLYWOOD WITH A HEATGUN

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STRUCTURAL AND MATERIAL

Considering the relationship between using the material and the environment is very important in the design. Initially, the entire structure was of timber frame construction with charred timber cladding, now it is a combination of concrete and timber. As the design progresses, there were things that led me to believe it wasnt rational, which led to this development.

In the early stages, the intention was to backfill the site to create a flat plane (like a blank canvas), but I have learned to integrate nature into the design and embrace the natural terrain. Following this, the foundations were amended with retaining walls.

Loos’s approach to material was to strip back the design of architecture to the fundamental structural characteristics. Which is why these retaining walls were left exposed and became the integrated structure with timber.

ITERATION I

ITERATION II

TIMBER COLUMNS ON FINAL MODEL

FINAL ITERATION

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“... what I want is for people in my rooms to

feel the material around them.

I want it to have its effect on them I want them to be aware of the enclosing room, to feel the material, the wood, to see it, touch it, to perceive it sensually, to sit comfortably and feel the contact between the chair and a large area of their peripheral sense of touch...”

- Loos

ITERATION I

R E A L I S AT I O N

ITERATION II

FINAL ITERATION

WOOD TEXTURED CONCRETE The formwork within which the (exposed parts) concrete walls is cast is “the face of the finish.”

Wood is used to create a more natural texture that counteracts the artificiality of the concrete mixture.

The light that falls on the surface of the walls gets dispersed through the texture, resulting in an intimate atmosphere.

CONCRETE PIGMENTATION AND TEXTURE TESTING

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In Modernism, decoration is not simply replaced by structure, rather

THE STRUCTURE ITSELF BECOMES THE MAJOR DECORATIVE ASPECT. Here, the foundation extend as retaining walls for the excavated ground, and bearing the load of the building, as part of the entire structure. Glulam columns then continue seamlessly as the primary structure.

I found that the benefit of doing design and engineering simultaneously was that it picked up things that didnt seem rational and consistent with modernism principles.

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R E A L I S AT I O N

TECHINCAL SECTION PERSPECTIVE

SUNNY BLUNTS

SHOTTON HALL PRIMARY SCHOOL

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SITE PLAN

0SCALE 1:1000 20 50 100

SUNNY BLUNTS PARK

CASTLE EDEN DENE

CAFE

WAREHOUSE R E A L I S AT I O N

APOLLO PAVILLION

BUS STOP

TOWN COUNCIL

HEARTS OF OAK PUB

POST OFFICE

MCCOLL’S

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ATELIER

TIMBERYARD

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PRECEDENT STUDY: THE BAUHAUS

Published in April of 1919, a manifesto for his new school written by Walter Gropius. It expresses the basic tenets of this new school and its unique goal of bringing architects, artisans and artists together to create a modern working and training community, united by the primacy of architecture and a return to notions of craftsmanship as its guiding ethos.

The term “Bauhaus” was a invented by Gropius himself, a combination of the verb - “to build”, and the noun -“house”.

In this manifesto, architecture is placed in the foreground and declared the most important goal, in which he quotes “the ultimate goal of all art is the building.”

A new humility towards craftsmanship towards doing.

The Bauhaus became a community of expert artists and craftsmen working together for a common cause. The school did not believe in segregation.

Architects and artists teach and learn from one another,

WORKING TOGETHER COLLECTIVELY. There would be “no teachers and pupils” but, rather, “masters, journeymen, and apprentices.”

Eventually, nearly everything used in the Bauhaus was designed and built at the Bauhaus or at its affiliated workshops. People still conflate, under its name, the school and the aesthetic invented there. From the manifesto pamphlet forward, the Bauhaus selfconsciously cultivated itself as a brand, with a vaguely occult-looking logo and a raft of promotional ephemera.

“Art itself cannot be taught, but craftsmanship can”

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According to the Bauhaus manifesto, “any person of good repute, without regard to age or sex,� was considered for admission to the Bauhaus, which picked up a number of progressive trends disrupted by the war.

Gropius envisaged the Bauhaus school as a place of creative argument and debate. He showed a remarkable resilience in the reinvention of himself as an educator, theorist and design philosopher. I see the Bauhaus as a retreat; a place to learn; to find purpose; to reinvent.

BAUHAUS CLASSROOM

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In the same way that the Bauhaus was built on grounds for a more prosperous future for the younger generation, the PCCW is designed to be a social enterprise that would serve as

a place to

cultivate skills of arts and trade, specifically

for the youths of Peterlee.

R E A L I S AT I O N APOLLO PAVILLION IN 1972

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PROGRAMME: THE ATELIER The main programme of the PCCW is a modern, fully-equipped workshop for those who want to make, mend, and learn about wood working. The workshop offers a range of shared spaces, specially designed to accomodate woodworking practice. The workshop is staffed by a technical team of local crafts-masters.

The ATELIER aims to provide a haven for the youths. An environment where apprentices are encouraged to explore their creativity and produce functional objects. Eventually, developing creative expertise that will benefit their future careers.

FIRST YOU HAVE TO LEARN TO DO SOMETHING. THAN YOU CAN GO OUT AND DO IT. - Mies van der Rohe CONCEPTUAL SECTION OF THE ATELIER

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THE TIMBERYARD This project is a progressive development that will be constructed by and used for the people of Peterlee.

A major product to be produced by apprentices in the ATELIER is a small timber cabin. These cabins are planned to be placed within site boundaries, the TIMBERYARD, amidst the trees to be planted by PCCW programs.

The sheds can be rented for both private and commercial use, such as a small office space or studio or even housing. The TIMBERYARD is a collective movement that brings social benefits for the wider community.

Why would you create architecture that be the same forever? When everything and everyone else is everchanging.

The case of Apollo Pavillion made me realise that

R E A L I S AT I O N

architecture has to be worthwhile, at the very least, to survive thrive.

CONCEPT SKETCH OF TIMBERYARD AND THE LANDSCAPE

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SYMBIOTIC RELATIONSHIP A lot of the times architecture can make a great difference to people’s lives, but at the cost of the environment’s.

This project strive to provide what the community is lacking through architecture. While avoiding, as much as possible, to take anything from the natural landscape.

BIOCLIMATIC DESIGN

AIR CIRCULATION

The design integrates an environmentally friendly approach and considers nature resources as part of the design and building use.

PASSIVE ENERGY SCHEME HEADER TANK ENGLISH IVY WC

RAINWATER DOWNPIPES SAND FILTER

OVERFLOW PIPE TO GROUND

IRRIGATION PIPES

TANK WATER FILTER

RAINWATER HARVESTING

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LOCAL TIMBER RESOURCING (material

NEWLY PLANTED TREES (fast growing trees: Dawn

Redwood, Eucalyptus, Silver Birch)

for workshop)

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OVER

REC IMBER

ELECTRICITY & CO2

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SUSTAINABLE BUILDING USAGE

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PROGRAMME: THE WAREHOUSE The WAREHOUSE is a cross programme concept.

Acting as both a retail and working environment.

Unique wood pieces, such as tables and chairs, produced by the ATELIER are displayed for sale in the WAREHOUSE. At the same time, these spaces are rented out for coworking spaces for the residents of Peterlee.

productive use of space that encourages small business and start ups. It becomes a socially active space that generates income. The coworking spaces bring about confidence and a breeding ground for entrepreneurs and start ups.

The town doesnt have many available workplace, and the idea of an office may be daunting. Gallery spaces are also idle and stagnant. With the integration of coworking to a furniture gallery, the space becomes a

BEAUTY IN ARCHITECTURAL DESIGN LIES IN THE CAREFUL THOUGHTFULNESS OF THE MUNDANE

INTERIOR OF THE WAREHOUSE

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PROGRAMME: THE COURTYARD The external courtyard is open to the public yet still feels private because it is enclosed within the four buildings. The COURTYARD functions as a meeting place. To host community events such as outdoor art exhibitions, children’s theater, local concerts.

WEEKEND MARKET Inviting local artists and vendors, bringing excitement and a sense

COMMUNITY

of people of Peterlee.

for the

R E A L I S AT I O N

OUTDOOR CINEMA

CHILDREN’S THEATER

OUTDOOR EXHIBITION

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MULTIPLE COURTYARDS

Exterior and interior courtyards provide these large buildings with a special sense of

SERENITY

and allow nature to become part of the building makeup.

R E A L I S AT I O N

STUDY MODEL

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We climb a ramp little by little, a senstation entirely different from that given by climbing a staircase. Stairs seperate one floor from another;

A RAMP TIES THEM TOGETHER - Corbusier

SECONDARY

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MAIN ENTRANCE

The main circulation is externally expressed and shown off of the facade and within the building. The ramp provides a multiple viewpoints and entrypoints, inviting users from the start to the end, to enter any building or explore the interior without disturbing the users in the inside.

POMPIDOU CENTRE

R E A L I S AT I O N

In the same way the red escalators of the Pompidou Centre creates dynamic movement, this ramp would become an ever changing movement of people, making the building present and active in the courtyard.

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It is organised in plan and section around a main external courtyard, a series of smaller internal courtyards, and a contiguous ramp. The multiple building volumes are linked together inside to outside, one with the other, by the visual connection and physical movement along the ramp.

Each separate building has its own identity, function, and relationship to site and form. The devoid of the existing avenues on site is made purposeful by the close network of the buildings to the surrounding context.

GROUND FLOOR PLAN

0SCALE 1:250

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20

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R E A L I S AT I O N

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FIRST FLOOR PLAN

0SCALE 1:250

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Roof garden is the place where nature “regains its rights,� where the natural elements are the ones to dictate its development.

ROOF PLAN

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R E A L I S AT I O N

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SECTION A-A

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SECTION B-B

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R E A L I S AT I O N

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“DRAWING IS FASTER AND L

FIRST FLOOR

APPRENTICE IN PROCESS OF MAKING HIS TIMBER SHED

START

GROUND FLOOR

START

A COUPLE FROM KILLINGWORTH SHOPPING FOR UNIQUE FURNITURE AT THE WAREHOUSE

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LEAVES LESS ROOM FOR LIES” GRANDPA WANTING TO EXPLORE CASTLE EDEN DENE

TEENAGER FROM SUNNY BLUNTS TAKING A COURSE ON WOODWORKING

R E A L I S AT I O N

START

START

CONCEPTUAL USER SCENARIO INTERACTIONS (OLD PLAN)

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REFINEMENT.

R E F I N E M E N T

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Into the woods: the building is both an entrance and an exit to its landscape. This design project comes out as an open dialogue between the place it inhabits, its inhabitants and its environment.

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R E F I N E M E N T

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Wrapped in strips of timber, the building’s natural reddish-brown tint subtly stands out agasint its charcoal concrete base, balanced with the forest backdrop. As you walk up to the PCCW, glimpses of a lively workplace becomes more visible as the brise soleil change in density.

FOOTPATH FROM SUNNY BLUNTS

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The roof garden is a fundamental mean of bringing nature to the buildings, as well as creating a habitat for wildlife.

ROOF GARDEN

R E F I N E M E N T

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Wood is present in ceilings and many other surfaces of the buildings, emphasising its close connection to the natural setting. Soft sunlight trickles into the workshop through the climbing ivys.

R E F I N E M E N T

INTERIOR PERSPECTIVE OF THE ATELIER

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An uninterupted view of the Castle Eden Dene is framed by the frameless skylight.

VIEWPOINT PERSPECTIVE

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R E F I N E M E N T WEEKEND MARKET AT COURYARD

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The Peterlee Contemporary Centre for Woodwork captures its local environment while exposing its inner self ever so slightly to the outside. Its elevations are laid out as a series of vertical lines that mimics and proclaim the forestry landscape. Humble outsite, rich inside.

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R E F I N E M E N T

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The monolithic form of the building rises out of the ground like a new discovery. The modest black concrete brings out the texture of the bright timber skin. Visually balanced.

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R E F I N E M E N T

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FINAL MODEL 1:200

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Each separate building has its own idendity, function, and relationship to site and form. The devoid of the existing avenues on site is made purposeful by the close network of the buildings to the surrounding context.

R E F I N E M E N T

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“THE BUILDING SHOULD BE DUMB OUTSIDE AND ONLY REVEAL WEALTH INSIDE”

R E F I N E M E N T

- Loos

RECEPTION BUILDING

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Wood is present in ceilings and many other surfaces of the buildings, emphasising its close

CONNECTION to the

natural setting. The timber structure provides an organic feel that echoes the building’s sustainable ethos.

R E F I N E M E N T

ATELIER

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The vertical brise soleil flush the interior spaces with soft patterns of the

FOREST.

WAREHOUSE

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R E F I N E M E N T

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“OUR EYES ARE MADE TO SEE FORMS IN LIGHT: LIGHT AND SHADE REVEAL THESE FORMS” - Corbusier

1:20 DETAIL MODEL

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R E F I N E M E N T

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your art is not about how many people like your work your art is about if your heart likes your work if your soul likes your work it’s about how honest you are with yourself and you must never trade honesty for relatability.

- Rupi Kaur

.

R E F I N E M E N T

FIN

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PERMACULTURE COURSE I am passionate about eco-designing and sustainability and this is the area that I wish to specialise in. I took a summer course on permaculture design course and a natural building construction.

Stayed on an off-grid area in Thailand, to learn about alternative sustainable architecture and lifestyle. It was an intensive 3 week course learning about compressed earth blocks, adobe earthbag construction, even farming . It was a once in a lifetime expereience and I am eternally grateful that I had this opportunity, that most people wouldnt get.

FORMING AND DYRING EARTH BRICKS

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BUILDING A HOUSE FROM SUPER ADOBE EARTH BAG

bibliography

A D D I T I O N A L S

cultural

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TRAVEL AND PHOTOGRAPHY

A D D I T I O N A L S

bibliography

These are my unedited photographs from my personal travel collection.

cultural

I dont consider myself a photographer nor do I think I am a good one. To me, photography is an art of observation. It’s about finding something interesting in an ordinary place. As well as finding balanced composition in an ever changing environment. Photography is a way to capture what you want to convey, a skill I believe is absolutely beneficial for an architect.

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APPENDIX.

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CHARETTE WEEK

This project was an exploration of recycled architecture. The group created a mini city of used cardboard boxes of all sorts, shapes, and size to create an urban cityscape.

A P P E N D I X

PRIMER BRIEF

MANIFESTO

“Pick a piece of two-dimensional modern art which implies three-dimentions and therefore architecture as your starting point. Specifically, you will choose one of Theo van Doesburg and Cornelis van Eesteren’s De Stijl counterconstruction axonometrics and use it to generate three 10cm x 10cm study models. Your task is to capture in physical models what is being expressed in these drawings/ paintings on paper spatially. Each of your study models will demonstrate a variaton on what is to be found in the original counter-construction.”

From our initial discussions and readings as a studio, it has emerged that as individuals, we have varied opinions on the theory and aesthetic of modernist architecture, its success, and its relevance in today’s society. As did the trailblazers of the early modernist groups, we feel the best way to move forward is by the fostering of our individual visions; influenced by our theoretical readings, an understanding of the world around us and to some extent, personal taste. By developing our own personal manifestos in response to the Primer tasks, we present a continuum of reactions; establishing an environment in which conflictions produce opportunities to push us to the limits of our critical rigour.

20 x20

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Taking one line from each individual’s personal manifesto, we have created a collage of manifestos, indicating some of the themes the studio will be exploring further.

1924- Theo van Doesburg Construction in Space Time I 20 by 20 spatial explorations

SPATIAL LANGUAGES Planes: are one of the simplest architectural elements that can create spaces. No architectural planes can stand alone; they always intersect other planes. One wall meets two other walls, the floor, and the ceiling, and a facade wall meets the ground, the roof, and two other walls. The total composition of one plane must be harmonised with the composition of other planes to create a three-dimensional whole.

Grid: a regular framework of reference lines to which the dimensions of major structural components of the plan of a building are fixed. It was first used by the Greeks as an expression of social order and rationality.

Then in the Machine Age, grids were used as means of coordinating the dimensions of a building and the elements which are built and assembled in a factory leaving little room for adjustment on site. Although in Modernism, the grid became means of allowing freedom in the organization in space.

Volume: is a defining characteristic of architecture. It is the one quality that distinguishes it from sculpture, painting, and the other arts. Volume is what makes architecture, but this does not mean that more volume is better architecture. Big spaces have the potential to inspire, but without the added element of human scale, they can be intimidating or, worse, banal. Volume is simply space. Architecture — almost by definition — is the enclosure of space.

Architecture should start from nature because nature provides the infinite possible variations of light, temperature, and noise. Modernism somehow becomes a new standard for capital city but the buildings might only provide a unique appearance

circulation and interaction for the users. With all the colours available to us, to paint

with terrible

your walls white is an insult. Beauty in architectural design lies in the careful

thoughtfulness of

the mundane. An aesthetic which will not fail like those previous, yet where both form and function coexist in harmony, both with equal weighting in a design’s realization. Architecture is gradually turning away from the arbitrary and picturesque, the capricious and

constructs a form, evolving into a geometrical composition for a purely functional space.

‘Exploring the infinity ‘and ‘it is what is inside

that counts’. Art and architecture should have a close relationship to each other but they should not be emerged, as in architecture, ‘form follows function’. Whilst fore-forming the body as a social unit has brought necessary change to our design

in this modern period where form is followed by function, the strive for beauty is deceived by profits,

uniqueness

is replaced by

generic.

There should be no boundary in architecture.

Architecture of modernist era has a strong political language to it and idea expression. Art in any of its

form is a true form of political expression and

manifestation.

key sentences of manifestos

Inspired by the cross disciplinary course of the Bauhaus program, our Primer exhibition set up models to show, with our manifesto wall, and a LOM t-shirt merchandise stand.

It is inspiring to see the growth and development of each individual model. We all started with the same starting point, which was a 2D De Stjil painting by Theo Van Doesburg, which we then turned into a 3D abstract volumetric model, and transformed back into completely distinct 2D composite drawings, that are radically unlike our original 2D paintings.

disorderly, and is turning towards constructive

above form. Architecture finds itself in every bricks, tiles, sculpture, book and painting. Function should be capital and bold. Art may seem to be lost

THE PRIMER EXHIBITION

In an attempt to explore new spaces and atmospheres we used a combination of artistic expression and architectural tools such plan, section, and elevation, and elements of various human scales, to turn our 20x20 exploration model into an inhabited composite drawing.

necessity and mathematical order.

The correlation between modern architecture and art lies in the same principle of following a grid that

practice, it’s mechanization has come at the inexplicably detrimental erasure of its multiplicities. I urge you to consider an architecture that holds function

10 by 10 spatial explorations

COMPOSITE DRAWINGS

NEXT STEP

[STAGING]

The brief challenges us to consider what a civic building for the 21st century would look like. Politically contextualised, considering the impact of reduction to social provision and the welfare state, we are required to draw from our readings of the sites at Killingworth and Peterlee to develop appropriate responses to task of realising this.

Requires us to propose a series of thematic spaces, the brief dictates a focus on either a single primary use or a series of disparate uses coming together to produce a complimentary mix. We shall be expected to develop our approach in line with our chosen site and exploration of theoretical ideas. Our personal manifestos will lead us to declarations on a social and political standpoint, considering how a building might address the concerns of user groups, ownership, management and realisation.

More specifically we are required to address the criteria of providing: •Spaces which facilitate the access to and sharing of information •Spaces for production or knowledge production •A public programme: gallery/exhibition space or commercial space •External public space •Space for gathering or performance

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A P P E N D I X

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BIBLIOGRAPHY

SUMMARY LIST OF CHANGES

Bell, D., 2011. The Irritation of Architecture. Journal of Architectural Education, 64(2), pp.113-126.

Page 20: Drawing composite

Bradley, B.H., 1995. Industrial Modernism: Architecture and Ideology. Journal of the Society of Architectural Historians, 54(4), pp.508-510.

Page 40: Peterlee and Kilingworth collage

Colomina, B., 1990. Intimacy and Spectacle: The Interiors of Adolf Loos. AA Files, (20), pp.5-15.

Colomina, B., Loos, A. and Corbusier, L., 1996. Privacy and publicity: modern architecture as mass media (p. 73). Cambridge, MA: mit Press.

Page 45: Map of housing areas in Peterlee Page 52: Site plan analysis

Fishman, R., 1982. Urban Utopias in the Twentieth Century: Ebenezer Howard, Frank Lloyd Wright, and Le Corbusier. MIT Press.

Page 53: Landslide risks

FurjĂĄn, H., 2003. Dressing down: Adolf loos and the politics of ornament. The Journal of Architecture, 8(1), pp.115-130.

Page 54: Site axo analysis

Gravagnuolo, B., 1995. Adolf Loos: theory and works. Art Data.

Page 56: Panoramic view of site context

Page 114: Section A-A Page 116: Section B-B

Page 59: Peterlee housing typology

Jara, C., 1995. Adolf Loos’s Raumplan Theory. Journal of Architectural Education, 48(3), pp.185-201.

Page 73: Parti diagram

Johnson, D.L. and Langmead, D., 2013. Makers of 20th-Century Modern Architecture: A Bio-Critical Sourcebook. Routledge.

Page 77: Diagrams

Loos, A., 1998. Ornament and crime: Selected essays. Ariadne Press.

Page 80: Study model west elevation

Pevsner, N., 2005. Pioneers of modern design: from William Morris to Walter Gropius.

Yale University Press.

Page 81: Study model north elevation Page 88: Iterations 1-3

Rosa, J., 1996. Adolf Loos Architecture 1903-1932. The Monacelli Press, NY

Page 89: Iterations 1-3

Tournikiotis, P., 2002. Adolf Loos. Princeton Architectural Press.

Twombly, R., 2005. Raumplan: Adolf Loos, Frank Lloyd Wright, residential space, and modernity. Annual of Psychoanalysis, 33, pp.191-205. van der Rohe, L.M. and Puente, M., 2008. Conversations with Mies van der Rohe.

Princeton Architectural Press.

Page 124: Footpath from Sunny Blunts drawing Page 132: Inhabited perspective

Risselada, M., Loos, A., Corbusier, L. and van de Beek, J., 2008. Raumplan Versus Plan Libre: Adolf Loos [and] Le Corbusier. 010 Publishers.

Schulze, F. and Windhorst, E., 2012. Mies van der Rohe: A critical biography. University of Chicago Press.

Page 108: Ground floor plan

Page 112: Roof plan

Hanks, D.A., Wright, F.L. and Gallery, R., 1999. The Decorative Designs of Frank Lloyd Wright. Courier Corporation.

Maciuika, J.V., 2000. Adolf Loos and the aphoristic style: Rhetorical practice in early twentieth-century design criticism. Design Issues, 16(2), pp.75-86.]

Page 102: Interior of the Warehouse

Page 110: First floor plan

Dennis, J.M. and Wenneker, L.B., 1965. Ornamentation and the organic architecture of Frank Lloyd Wright. Art Journal, 25(1), pp.2-14.

Gropius, W., 1919. Bauhaus manifesto and program.

Page 100: Air circulation diagram and Passive energy scheme

Page 90: Technical section perspective Page 92: Site plan Page 99: Concept sketch of Timberyard and the landscape

155

LIST OF ILLUSTRATIONS Page 10: Construction in Space Time 1 by Theo Van Doesburg, 1924

Page 61: Apollo Pavillion by Chris Guy, 2015 [online image] <https:// gidsey.com/2015/01/peterlee/>

Page 20: LOM photograph by Kenny Tam, 2018 Page 69: Green marbel n/a Page 30: Dominican Order symbol [online image] <https://en.wikipedia.org/wiki/ Dominican_Order> Page 32: The Library by Oliver Martin-Gambier [online image] <http://whc.unesco. org/en/documents/140726> Page 32: The Refrectory by Oliver Martin-Gambier [online image] <http://whc. unesco.org/en/documents/140726>

Page 89: Concerte Pigmentation by Attilio Panzeri 2017[online image] <https://www.archdaily.com/874264/crafting-color-attilio-panzerisblack-concrete/594bbfffb22e3898a7000500-crafting-color-attiliopanzeris-black-concrete-photo> Page 94: Bauhaus Manifesto by Walter Gropius Page 95: Bauhaus pictures by Vito Sugianto, 2018

Page 35: The Roof n/a Page 96: Bauhaus pictures by Vito Sugianto, 2018 Page 36: Color analysis of different layers of oil paints by Antoine Mercusot, 2018 [online image] <https://www.lescouleurs.ch/en/journal/posts/studio-apartment-lecorbusier-experiments-of-architectural-colour-theory/>

Page 97: Apollo Pavilion in 1972 n/a Page 107: Pompidou Centre by Kenny Tam, 2018

Page 37: Maison la Roche by Oliver Martin-Gambier, 2016 [online image] <https:// www.dezeen.com/2016/08/05/maison-la-roche-jeanneret-le-corbusier-parisresidence-france-house-villa/> Page 37: Corbusierâ&#x20AC;&#x2122;s apartment by Oliver Martin-Gambier, 2018 [online image] <https://www.lescouleurs.ch/en/journal/posts/studio-apartment-le-corbusierexperiments-of-architectural-colour-theory/> Page 43: Sunny Blunts in 1960-70S by Amber Film & Photography [online image] <https://www.amber-online.com/visual-culture/modern-urban-housing-peterlee/> Page 46: Sunny Blunts Masterplan by Victor Pasmore

Page 58: Stereotypical Sunny Blunts by Chris Guy, 2015 [online image] <https:// gidsey.com/2015/01/peterlee/> Page 60: Apollo Pavilion in media N/A

A P P E N D I X

Page 51: Peterlee Townscape by Chris Guy, 2015 [online image] <https://gidsey. com/2015/01/peterlee/>