Part 2 Architecture - HJB by HJ-B

HARVEY JAMES-BULL

PART TWO

* Projects developed as a group, for the purpose of this portfolio I have displayed a selection of my contribution.

all projects available to be seen in full upon request

Contents.

Pg. 03

// Curriculum Vitae University Projects.

Pg. 05

Pg. 18

Pg. 25

Pg. 27

Pg. 35

// Architectural Design

TECTONICS - DESIGNING FOR MUSICIANS

// Architectural Design LINES IN THE LANDSCAPE

// Structural Design THE BRIDGE

// Product Design GLITCH - THE SOLAR DINING ECOSYSTEM // Publication THE WATCHED

Pg. 40

Pg. 46

// HB ARCHITECTS - SELECTION OF WORKS

// BBC MUSIC STUDIOS - EAST BANK LONDON

Having completed my Part One Architectural journey I have now begun my 2nd Masters degree - MArch at Central Saint Martins. I have been shaping my interest in curating public spaces focused on driving human community interactions and communal experiences. Beyond Architecture I am a keen musician and have given concerts as part of a Jazz Band as well as performing as a DJ to over 5000 people at venues like La Folie Douce in Val D’isere and festivals.

Over time I would be keen to explore the intersect of my passions for Architecture and Music through the design of shared spaces to bring people together through performative spaces.

In late 2019, I completed a 2-week expedition in Nepal climbing to Annapurna Basecamp, a challenge I thoroughly enjoyed. I have been fortunate to be able to travel from a young age and have had opportunities to sail transatlantic yachts alongside winter sports in some amazing parts of the world, places that I hope will be available for generations to come. Which has driven me to carefully consider climate impacts and place them at the heart of my future design decisions, with emphasis on materiality life cycles and ecological sourcing project.

MArch: Architecture Part 2

Central Saint Martins, UAL

Harvey James-Bull

Professional Experience

// Part 1 Architectural Assistant

2024 - Ongoing

// RIBA Career Development Courses

Designing For Climate Emergency

RIBA: Net Zero Carbon Course

2024 - Ongoing

RIBA: What Sound Can Do For Your Designs

Fee Negotiation: Skills For Resilient Business

// Full UK Driving License

Alongside my course at Edinburgh university I attended a nine month placement as a Part One Architectural Assistant and was later invited to return for a further six months prior to beginning my Part 2. I took part in a number of projects varying from luxury housing developments through to large scale multi-million Pound commercial developments, working alongside clients like Aston Villa FC, Maggies Centres and Youth Zone Centres as well as bespoke and highly personal designs. This gave me a deeper understanding of the real life constraints Architects have to combat, while broadening my understanding of real world design. Additional experience included social media and marketing production, alongside planning authority submissions.

HB Architects, Rugby Warwickshire

// Deputy Venue Transport Manager

Extended Project Qualification – A

Birmingham 2022, Commonwealth Games

// Student Internship Placement

In preparation for my part one Architecture course, I joined the BBC workplace team and Flanagan Lawrence Architects working on the new East London Arts and Concert Venue at the Olympic Park. Providing me valuable insight to the workings of the communications between primary stakeholders and an Architect. As well as acoustic design and some of the logistical challenges this project posed.

BBC Workplace, East London Arts Venue

// Promotions & Events Organiser

Since COVID restrictions eased I used my experience as a DJ and musician to host a series of events for students. Promoting nights through a series of social media campaigns, at multiple student campuses in Edinburgh, our events regularly sold out Edinburgh venues with ticket sales between 500-700 units.

Dubbed, Edinburgh

Operating and co-ordinating customer events for hundreds of families, customer care liaison as well as evening bar work

I worked in the managerial preparations for the Birmingham Commonwealth Games Villages, organising all personnel transport logistics, spanning multiple sites over the Midlands. I undertook liaising with significant stakeholders such as City Councils, Universities and Third party service providers as well as managing the additional challenge of maintaining its carbon neutral status. This provided first hand experience into the complexities of operating largescale events. Warwick Castle, Warwick - Seasonal

Limehouse Marina, Berth E02, 46 Goodhart Place, London, E14 8EG Cover Letter

Primary Address:

Alternate Address:

8 Bilton Road, Rugby, Warwickshire CV22 7AB,

To Whom It May Concern,

I would like to take a moment to introduce myself. I have recently completed my Architecture Part 1 qualification as part of an MA(hons) in Architecture at Edinburgh University, with a high 2:1, and am now attending UAL, Central Saint Martins to continue on with my MArch Architecture Part 2 course. I am looking for a part time architectural assistant role to supplement my on going studies, with the aim of moving to a full time position from June continuing through the summer as an industry placement period.

In conjunction with my studies, despite having no family connections to Architecture, I secured offers of two Architectural Assistant placements: the first with John Simpson Architects London, the second with HB-Architects in Warwickshire. I opted to join HB Architects, holders of contracts with a variety of major commercial partners, such as Aston VillaFC, Maggie’s Centres and The US Embassy.

Working primarily on mid to high-end residential designs, alongside early hospital and commercial property schematics. I gained extensive amount of industry experience liaising with Engineers, Clients, Interior Designers and Developers also generating the associated RIBA PEDR’s. Addiitonally, I was given the responsibility of photographing, documenting and uploading images to my practices social media pages and several thousand followers.

Outside of academia, I’m a keen musician, both a pianist and jazz trumpeter and have performed in orchestral concerts and cocktail events. I now produce and DJ, having been played on BBC Radio1 & Planet Radio (Italy). I’ve had the opportunity to showcase my talent across Europe and the privilege of performing at events with audiences exceeding 5000 people, most recently opening the Ski season in Val D’isere.

By blending my love for music with architectural design has created a unique interest in event space design as well as an interest into the acoustic qualities that make these venues successful, ultimately effecting their usability. With the hope in the future of designing adaptive entertainment venues with a specific focus on reutilising existing theatres & concert halls into modern, dynamic communal spaces.

I am currently looking for additional part time work to support my studies further, and would greatly appriciate any work avaliable to improve my interests within this field.

Many Thanks,

Harvey James-Bull MA(hons) Architectue Part OneHarveyjamesbull@me.com +44 7548114222

Harvey James-Bull

Part Two Architectural Student

TECTONICS

16 Weeks - MA (Hons)

Site.

Site A is located from the two story car park at the rear of Cable Wynd House (accessed via Henderson Street) through the under-croft to the adjacent redbrick wall on Cable Wynd. Towering over the front of the site is Cable Wynd House, commonly known as the Banana Flats. Constructed in the early 1960s the banana flats embody brutalism, with a prefabricated concrete aggregate exterior with heavily extenuated horizontal and vertical lines. The 212 dwellings are currently partially occupied by low income housing.

Leith itself is known for its industrial maritime architectural themes reflected in the warehousing and docks along the waterfront. Additionally, its diverse architectural landscape includes Georgian and Victorian town houses, along with modern developments, contributing to its unique characteristics

3. 4. 1. 2.

Initial Concept.

Unit 4 Stance:

Our designed buildings aspire to more than mere structures; they seek to become integral elements of the fabric of Leith life. By fostering patterns of use that uplift the community, they contribute to the well-being and vitality of the area. Furthermore, these buildings serve as beacons of local pride, enhancing the aesthetic and functional aspects of the street scape. In doing so, they weave themselves into the very essence of Leith, enriching its past, present, and future.

Personal Understanding:

This building aims to bring together local musical tallent from the surrounding area of leith. Due to the large number of tennement flats and apartments in Edinburgh often there is not a suitable location for people to grow and learn. The structure will house a number of acoustically isolated spaces alongside, a bar and storage space for educational equiptment. Additionally the building will house approximately 2-3 apartments of housing dedicated to local or traveling musicians.

Scheme.

The proposed initiative encompasses a community music center supplemented with apartments specifically designed for musicians. The ground floor is designed to accommodate a bar, a practice room, and provides access to the main recital room. Notably, both the practice and recital rooms are constructed using a unique configuration of suspended laminated timber “eggs.” These egg-shaped structures are acoustically isolated by being hung from a series of springs, effectively minimizing vibrations transmitted to the building’s structure.

The apartments situated on the upper floors are equipped with individual isolated practice rooms, ensuring an optimal environment for musicians to rehearse without disturbance. Structurally, the public spaces are supported by concrete columns and a waffle slab system, while the upper floors feature a lightweight glulam lattice framework. The exterior façade combines concrete sandwich panelling with timberclad walls, blending durability with aesthetic appeal.

Given the environmental concerns associated with the embodied carbon in concrete, the design prioritises future adaptability through a strictly regulated interior layout and a sustainable solution to structural materials. The interior spaces are conceived with adaptability in mind, featuring a regular and repeated window pattern to facilitate future internal modifications. Additionally, the interior layouts adhere to a strict grid organizational structure, allowing for flexible use and efficient spatial planning.

1:200 Massing Model

Public Programming

The ground and first floor are primarily for public usage, hosting the main auditorium, rehearsal room, bar and specialist recording studios. This proposal has been designed with focus on acoustically isolated spaces reducing the impact on the surrounding residential accommodation. By placing the publicly louder locations like the bar further away from Cable Wynd House and the auditorium in the basement, it helps reduce any noise bleed. This unique building use aims to be community gathering point within Leith.

Illustrative ground floor plan (not to scale)

Illustrative

Residential Programming

This music center hosts three apartments aimed directly at musicians, each apartment contains a minimum of one bedroom, lifestyle room, bathroom, an acoustically isolated practice room and direct access to a large external terrace.

The acoustic isolation technique employed in this context relies on the principle of the lightweight “box in box” method. This involves the implementation of spring acoustic hangers and rubber wall pads strategically placed within the structure to absorb vibrations before they reach the outer shell and structural components. Additionally, the walls are filled with acoustic insulation blankets to further bolster sound isolation capabilities.

Technical Section & Elevation

All sound rays from the point audio is made is channeled as parallel rays then reflected back in woulds. Two parabolic forms can be used to project sound between focus points with greater efficiency.

An ellipse with has two focus points. Sound projected in all direction from one focus point will travel to the other in an erratic nature. Due to this nature ellipses are certainly to be avoided for most acoustical purposes. Creating a loud environment with an uncomfortable level of reverberation.

Often it can be desirable to distribute sound wave in opposing directions lowering volume and reverb. If a designer decides that some curved surface is desirable, then the elliptical effect can be overcome by covering the curved surface with anti-focusing surfaces and opposing directional panels.

This proposed shell encapsulates the key characteristics of the parabolic form ensuring sound alway travels between the two central focus points. Due to the requirement of an elongated shape, flattened sides in a cylindrical form help to ensure sound waves are projected and reflected in a parallel motion.

Acoustic Control.

Sectional diagram of hung egg (not to scale). Full scale drawing at rear of document

Similarly to the practice spaces, the auditorium uses the ‘box in box’ method. Exterior surfaces to be made out of laminate timber and a rigid acoustic insulation casing, centred with a 100mm cavity and rubber isolation pads. To stop vibrations reaching the structure large industrial hangers carry the weight of the suspended egg.

Auditorium

Construction Phases.

ASSEMBLY STAGE 1

Once excavation of the existing concrete slab has occurred and approximately 3m deep of earth from the datum, concrete strip foundations can be dug, moulds constructed and poured. Often this occurs during the latter winter months, as this is less labour intensive and is weather resistant. During this period prefabricated glulam timber and concrete sandwich panels is constructed off-site and stored prior to construction.

ASSEMBLY STAGE 2

At this stage the concrete core and concrete structural columns are collected from an off-site storage facility and brought on-site to be constructed. Crane are used to lift columns and walls into place, these are guided using ropes and bolted in place. The core provides a steadfast anchor point for the later construction phases to build around. Temporary structures are often constructed by construction workers to aid this process. While this stage is largely not weather Dependant, this process can be undertaken during winter months, as long as strip foundations have been under the correct curing process.

ASSEMBLY STAGE 3

Stage 3 puts in place the concrete waffle paneled flooring, holding the columns and core in place. Additionally the lower CLT floor plates area added provided access for construction workers. Using the crane prefabricated concrete sandwich panels are lowered into place and bolted together using the sandwich panels internal locking system. This provides a fast and simple construction process.

ASSEMBLY STAGE 4

Providing a framework for the upper floor plates, the glulam timber structure is bolted in place. First the steel brackets are bolted to the concrete waffled slab then the glulam structure is bolted to the bracket. This process should be undertaken during the summer months, to avoid any damage from bad weather to the timber structure.

ASSEMBLY STAGE 5

The remaining CLT floor plates are now put in place and concrete sandwich panels are bolted in place.

ASSEMBLY STAGE 6

The roof layer and windows are now applied, sealing the construction. Focus now moves to the internal walls and fit out. Preparations are now underway for handover and be taken into use as a community music center.

ECONOMIST

PLAZA (precedent study) SITE

PROPOSAL BAY

RIBA PART I ARCHITECTURE ASSISTANT

PROJECT 4 - LINES IN THE LANDSCAPE

12 Weeks - Year 3

12 Weeks - MA(Hons)

*Group Project

Acetate Model Photos

This exhibition into nature and a hedgerow became the basis for the upcoming design. Using the themes of Xray, Decay and concealed. I produced this 3 dimensional acetate model in to further investigate the how nature and the man-made interact.

This model gave a unique perspective of the hedgrow, the spaces inbetween branches, the density of varying plants, and how the hedgerow leaned and grew around the man-made barbwire fence 30

Hedgerow Exhibition.

Concept.

The building is characterized by a thin central space, the ‘constant’, emulating the earlier exploration of the constant of the barbed wire which characterizes the Eastern side of our hedgerow. Its framework is inspired by Zumthor’s Witches Memorial, also emulating the long thin branch structures of a hedgerow.

The central space is ‘hidden’ between the preservation spaces, with gaps formed before them, reflecting the Western side of the Hedgerow in which we explored hidden spaces and how a hedgerow could be occupied internally. It also represents the constrained path that winds between our explored hedgerow.

Our building has a contrasting heavy, stereotomic side, and a light tectonic side. This contrast was set up to represent the contrast between the two sides of our original observed hedgerow and split up the preservation spaces based on their required features. The heavy side is buried into the ground on a slope to accommodate the cold store, smoking room, pickling, and salting room, all of which require cool, less ventilated spaces. The light side is elevated on stilts to give the air and sun drying room access to prevailing winds and light.

A focus on what a hedge represents in folklore led us consider its function and location. We explored the concept of the ‘hedge-witch’, ‘witches’ that lived on the fringe of the village, who practiced traditional Pagan beliefs. The building will be located on the edge of a forest, the barrier between the town and the wild. It will provide a service to them by practicing local and traditional food preservation techniques, each space with its own ‘hedge-witch’, a specific expert on the preservation, that will perform the process and educate the public.

The idea of the ‘edge’, the barrier between the wild and town represents the light and dark, the buried and exposed, a concept inspired by our exploration of the occupation of the hedgerow itself.

The building will be a community food store, providing an opportunity for local business, and individuals to preserve and store food for periods of time. Customers will check-in food at the entrance, then directed by the receptionist to the required preservation space. The customers will then be greeted by an expert at the entrance to the preservation threshold, who will then undergo the preservation process.

Elevations.

These elevations are created using the original CAD files on Rhino 7 then using the adobe suite to carefully layer textures and filters over the original drawing, ensuring that it remains directly to scale (originally at 1:100, scaled down to 1:250)

Darkroom Photography of our model as a mode of exploration

PROJECT 3 - STRUCTURAL BRIDGE DESIGN

8 Weeks - MA(hons)

The project aims to design a structurally stable steel bridge that enhances urban connectivity. The bridge should seamlessly integrate with the urban landscape, ensuring both functional efficiency and aesthetic appeal. The primary goal is to create a durable and resilient structure capable of withstanding various loads, including pedestrian and vehicular traffic, while adhering to safety standards and considering potential environmental challenges.

Key considerations include the meticulous selection of high-quality steel materials, incorporating corrosionresistant coatings to extend the bridge’s lifespan. The design must prioritize ease of maintenance and sustainability, integrating energy-efficient lighting and exploring the use of recycled materials where applicable. Safety features such as guardrails and non-slip surfaces are essential elements, ensuring the well-being of users.

This project calls for innovative structural design that utilizes state-of-the-art engineering principles, considering load distribution, dynamic forces, and potential seismic activity. The aesthetic integration of the bridge should complement the surrounding environment, contributing positively to the urban fabric.

The proposal included comprehensive design drawings, structural analysis, material specifications, aesthetic renderings, sustainability considerations. The successful design will not only serve as a functional infrastructure element but also stand as an iconic symbol of urban connectivity.

Connectivity.

The high strength wire joins at an adjustable anchorage point, this provides a screw type tightening point, allowing for tension on the wire to manually adjusted throughout the construction. Similarly, to the top anchorage the cylindrical steel unit then fixes via a snug-tight bolting system to a steel plate.

The steel plate attaches directly though the concrete deck to the steel lon-gitudinal stiffening girders, located directly under the concrete deck. This process spreads the load of the deck, reducing the likelihood of failure within the concrete. The deck itself is placed directly on top of the longitudinal stiffening girders.

Modeling Construction.

THE SOLAR DINING EXPERIENCE

12 Weeks - PART II MArch

Substations of Interest

POWERING TOWER HAMLETS IN AUDIO

This project focuses on three main substations: Ontario Way, Castor Lane and Bidders Street. Each varies significantly in size and therefore it can be assumed provides a different level of service

Ontario Way Substation

51.507057, -0.026789

I chose to produce an audio walk that focuses directly on the individual sounds identifiable from materiality, nature and machinery within each substation. Each QR Code links to singular part of the walk, that is identified via a What 3 Words location.

51.508122, -0.017641 51.519768, 0.003257

At each substation a number of architectural and audio similarities can be identified including a redbrick Victorian exterior and low emitting hums with mechanical banging sounds. This study aims to bring awareness to some of the hidden (to the consumer) effects of where

The video on the left depicts Tower Hamlets local housing and residential streets, power resourcing from localised smaller substations. Finally bursting into colour/ explosion and lights flicking off as Tower Hamlets future energy deficit

The video linked in the QR Code has been currated in response to the research completed on Canary Wharf & Tower Hamlets residential electrial usage and to display the energy divide disparty. It is intended to be viewed as one consecuative video but in a split perspective.

Each video uses a series of clips and

Split Perspec

The video on the right depicts Canary Wharf and its domineering architecture, power resourcing from localised expansive substations. Finally bursting into colour/ explosion and lights flicking off as Tower Hamlets future

Introducing The Solar Dining Ecosystem

The Solar Dining Ecosystem, this dining system utilises reused home material to grow your vegetables at home through the power of hyroponics and a circular energy system. The light produced by the UV lighting provides energy for photosythesis and creates power via the photovoltic cells in tern powering the UV light, resulting in free circular energy.

Collating Thoughts

In order to situate the project within the site and raising community awareness, I produced an advertising billboard. This depicts the table using a photogrametry model of the table in a modern family home with a logo describing the ecosystem.

A QR code links to a survey site called Mentimeter, this provides passers by a singular word feedback opportunity. Mentimeter collates each word creating a word thought cloud, every time a word is used multiple times it becomes bigger in the cloud. This produces a fast initial thought response feedback diagram.

WORLD

Meet Leila...

I was fortunate to meet Laila, an elderly resident of The Lansbury Estate while pinning up my manifesto and advertisement bill board on an estate wall. Laila came and asked questions about what I was showing, initially complaining thinking it was graffiti.

During the interaction Leila invited me back to her apartment and let me take a photogrametry study of her living space. Leila lives in a two bedroom contemporary apartments with access to a balcony. This photogrametry model in conjunction with a mixture of 3D scans and high accuracy photogrametry of the tables components allows for a 3D visualisation of the table functioning in its place.

Energy Routing

The table uses a circular energy approach to powering the UV light, by ensuring light normally wasted is resutilised back into self-powering. The PV Panel then outputs a Direct Current through to the inverter, a inverters converts the power to Alternating Current which can be processed to power the UV light, and the process repeats. At the same time the UV light is providing energy through photosynthesis allowing the plants to grow.

The Pamphlet

Construction Guide

£443,232 In food bills saved per annum 43,776 In energy saved per annum

£108,827 at 24.8 January 2025 price cap, Exclusively at The Landsbury Estate

70% Assumed uptake in The Solar Dining

64 Saves per year in energy costings.

An Architecture Students Walked Experience Through Canary Wharf

I begin my walk at the edge of The Thames, inhaling the faint trace of briny air that once swirled around laden cargo ships, long replaced by the sleek financial fortress of metal, glass and concrete. The jagged skyline of Canary Wharf silhouettes in the early morning light, reflecting a pale glow onto the rippling surface of the Thames. As a current architecture student, I can’t help but feel a surge of awe at the precision that shapes these grand domineering structural forms. It is as if a colossal stage has been set, orchestrated by engineers and architects who’ve pushed the boundaries of design to craft this futuristic and imposing landscape. My initial awe gives way to subtle disquiet, a soft knot in my

stomach that tightens with every step. I notice the silent eyes perched on corners and rooftops, rows of surveillance cameras capturing real time footage of the unsuspecting passersby. As the pale morning light plays across the water’s surface, that quiet awareness of being watched creeps in: an almost tangible presence reminding me that this place for all its openness exists under careful controlled observation. And with every step down the embankment toward the heart of Canary Wharf, I carry both a lingering sense of reverence for the built environment and the growing unease about the powers (seen and unseen) that define it.

I pause and turn to look back across water, and I can’t help thinking about how so many of these immaculate plazas aren’t actually public at all. My Architecture studies have made me acutely aware of how London has shifted towards Privately Owned Public Spaces, what guardian editor Chris Michael has called “pseudo-public spaces” (Micheal, 2017) and I realise every step I make from now on is permitted by corporate regulations rather than local authority bylaws. Even here at the waters edge there’s a subtle tension in the air that’s hard to miss. The neatly manicured flowerbeds, spotless walkways and rows of designer benches exude a welcoming, luxurious ambiance, yet I am conscious private security can ask me to leave at any moment, no reason needed, just a breach of some obscure rule I don’t even know exists. I recall other parts of the city where similar undercurrents exist, Granary Square springs to mind: a place with fountains and open spaces, seemingly made for everyone but owned by Argent. I remember the headlines of gatherings or protests deemed

‘inappropriate’ were swiftly broken up or ‘required special permission’ rarely to be approved. The veneer of openness crumbles the second it confronts any activity perceived as outside the developers script.

Heading down West India Avenue, I find myself remembering how this entire zone was once filled with the bustle of west india docks, ships loading and unloading an endless supply of cargo, workers calling out orders and a sense of raw commerce fueling London’s economy. Today, everything seems transformed, smoothed over by uniform paving and crisp lines. The history of industrial grit sanded, refined and replaced with pristine walkways lined by manicured trees. Though undeniably beautiful, it strikes me as somewhat antiseptic, a curated environment where spontaneity is reduced to a mere hush under the hum of daily business. Even here local vehicles are reduced tracked monitored through a one in one out gating system controlling access, it’s impossible not to notice the

quiet choreography of security guards pacing their designated sectors.

I think back to my readings on how “local councils, strapped for cash, often rely on developers’’ (Mortimer, 2024) investments to create these spaces. But that arrangement means the rules are set behind closed doors, with profit-driven aims dictating what is and isn’t permissible. If I were to start distributing flyer’s about a local cause, would that be tolerated? Or would I be gently ushered off the premises to ensure the ’ambiance’ remains undisturbed? Walking under the looming towers, I feel a pang of frustration at how easily these spaces masquerade as public land while quietly restricting the freedoms we associate with civic life. Back in what is considered genuine public spaces, like Trafalgar square or outside city libraries, one can expect rules guided by democratic oversight. But in

these pseudo-public spaces, the authority isn’t the local governments or community at large, it’s a sole private entity. Here, activism and a voice is discouraged, even a gathering of friends playing music might be quickly shut down to retain the owners projected views. I’ve read about protest being stifled in these kinds of spaces. In some cases, protesters were told they could not use placards or sound, or told to stand in designated ‘free speech zones’, ironic given the very nature of free speech. This sort of sanitation is precisely what troubles me. Yes these developments bring gleaming facility’s but at what cost? The essence of public life, the spontaneity, the diversity, the small eccentricities that make a city feel alive, seems diluted, replaced by a homogenised environment that’s hostile to anything that doesn’t fit the glossy brochures.

As I continue along, I feel the weight of privately owned

public spaces pressing down on me. Despite the official-sounding ‘public’ the reality of these spaces hits me every time I catch sight of the ubiquitous “no photography allowed without permission” signage. The text suggests that commercial filming is prohibited without prior permission, yet another reminder that ownership dictates usage. I can’t help but connect this to wider concerns about how marginalised communities must feel in such curated environments. If you don’t look the “right” way or act the “right” way, it seems you’ll be moved along, made invisible ore dissuaded from returning.,

These wide open plazas and pedestrian routes may appear welcoming by they operate under the hidden scrutiny of corporate policy’s and watchful eyes I see the cameras in subtle corners, tucked beneath the neatly angled eaves or perched on the slender lampposts. Their faceless gaze seems to track me raising questions about

who truly owns these public realms and what they expect from those who traverse them.

It has become impossible to ignore how prolific security has become in Canary Wharf, not just the polite guard at the entrance, but an entire army of over six hundred security personnel and more than two hundred CCTV cameras at the DLR station alone. The effect is palpable: a tightly regulated zone constructed under the guise of public safety but ultimately governed by corporate rules. My reflections drift back to research on Jon Coaffee and Pete Fussey, who discuss the concept of “security driven resilience” the logic that more cameras, more fences, and more uniformed patrols equals a safer city (Coaffee & Fussey, 2015). Indeed, as I pass by a small security outpost (its tinted windows hiding who might be inside) I wonder if i’ve already been flagged on some private feed. It reminds me of stories I’ve heard from acquaintances who

were quietly approached by guards for simply snapping photos of shiny facades. I notice yet another sign reminding visitors that all ‘suspicious activity’ will be reported. It strikes me how this environment can feel not just over monitored but also vaguely hostile, particularly if you don’t conform to the expected image of affluence. This is precisely what urban commentator and local MP Emma Dent Coad points out when they warn that regenerations projects often marginalise those who don’t fit neatly into corporate landscape (Booth, 2017). The cameras and patrols seem designed to filter out ‘undesirable’ behaviors or appearances, creating a fortress like mentality. Standing there, the discrepancy is glaring: behind the glass and polished brass, people in expensive suits hurry by with minimal concern while a cluster of security watch intently for anyone lingering.

And so, the tension forms a backdrop to everything, weaving an unspoken question through my mind at what point does protection become oppression? The UK Governments’ “Surveillance Camera Code of Practice” (UK Gov, 2015) discusses the potential benefits of CCTV: deterring crime, aiding in investigations, promoting a sense of safety but now here in Canary Wharf, I can’t help but sense that we’ve crossed an invisible threshold. These cameras aren’t just for combating theft or vandalism; they’re also a tool of social control. In a space that is privately owned yet ostensible open to the public accountability mechanisms become murky at best. If I felt

my privacy was violated or wanted to challenge how my data and image was used, who would I even turn to?

My studies push me to think about how this tightly controlled environment impacts inclusivity. Under the lens of Cyberfeminism, as advocated by thinkers like Donna Haraway, it is clear that surveillance practices rarely take into account the nuanced experiences of women, non-binary individuals or marginalised groups. The “male-gaze” can lurk behind more than just a camera lens; it resides in the code of conduct that determines who is deemed “suspicious”. As I recall from oxford universities ‘Reconfigure: Feminist Action Research in Cyber Security’ these systems often fail to protect against subtler, more insidious threats (such as harassment or gender based violence) prioritising a broad impersonal notion of security over individual wellbeing (Slupska et al., 2021).

Walking through a construction corridor prior to the South Colonnade, my mind goes to the question of data. The ‘Global Network on Extremism and Technology’ has highlighted the rise of biometric systems that can capture

facial or behavioural information. In a place as heavily monitored as Canary Wharf, are such tools quietly in operation, scanning faces and aggregating profiles behind closed doors? If so, who has oversight? This lack of transparency is precisely what GenderIT emphasises when they warn about power imbalance created by opaque daa processing. If I wanted to know how long my footage was stored, or who had access to my face on file, would I even be able to find out?

Crossing onto South Colonnade almost at the heart of Canary Wharf now, the atmosphere becomes even more refined. Towering columns, polished stone surfaces and glass walls create a sense of imposing grandeur. As an architecture student, I realise the

Who’swatching?

DoIneedtoleave?

Amiallowedhere?Wheredoesmyfacego?

Who’slistening?

appeal of this carefully orchestrated uniformity, an almost modernist dedication to form and function that has shaped Canary Wharfs identity. Yet there’s a distinctly controlled quality as through every step is permitted only so long as it aligns with some unwritten code of corporate propriety, it feels like a real world enactment of these cyberfeminism critiques, underneath that glossy finish lies a deeply gendered and class based dynamic.

Here at the top of the steps to Eden Dock, I take a moment to consider how this model of “secured space” is no longer isolated; it’s a trend spreading across London with many privately owned public spaces adopting similar tactics. The thick chain of unregulated CCTV cameras and the imposing presence of security staff risk undermining the very essence of what it means to share a civic environment. Thinking about Donna Haraways’ Civilian centric approach, I’m reminded

that true security should be about elevating people, protecting them without curtailing their freedoms of right to exist unobserved. In the end, I stand here quietly aware of the eyes upon me, caught between the shimmering façade of finance and the drone of surveillance that underpins it all. Each passing security guard eyes me with a polite but knowing glance and I can’t help recalling the considerable parallels between walking through this space and what I’d image of a police interview suite; four thick concrete walls, a pristine mirrored panel on one through a series of suited officers’ study my every move, every decision. A small surveillance camera with a red dotted light flicker in the top corner just out of sight from the natural gaze, yet another indicator of the unknown infinite number of eyes witnessing my every breath.

Descending the steps that lead toward Eden Dock and Canary Wharf Tube

station, the sensation of being watch intensifies further. There’s something about the geometry of these tiered stairs, how they funnel pedestrians into predictable lines of movement, that makes it easier to monitor us. I notice CCTV domes discreetly placed at regular intervals, each one reflecting the sunlight as if winking back at me. Its’ not just the cameras; there are also subtle forms of personal surveillance.

From the corners of my eye, I see employees in tailored suits casting quick glances, perhaps noticing anyone who might appear out of place. Occasionally, a security guard with pause near an entrance, arms folded, scanning for singes of suspicious untoward behaviour.

This environment cultivates a strange duality in me: one hand I’m inspired by the engineering marvels that surround me, each skyscraper an emblem of meticulous planning and innovation.

On the other hand, my skin prickles that I’m only tolerated here, so long as I abide by the unstated rules of the space. The notion that this is all private property masquerading as public realm is inescapable. I think of the tall towers overhead, One Canada Squares iconic pyramid roof, the HSBC building’s unwavering slab looming like silent sentinels over the labyrinth below. Standing now at last outside the Canary Wharf Tube entrance, the bright signage guiding commuters underground, I pause to reflect on how different this place must have felt decades ago. From a booming maritime hub to a global financial center, Canary Wharf has reinvented itself with architectural flair and ruthless efficiency. Yet a landscape that feels as if it belongs to corporations more than to those that operate within it. Even as a local resident, I sense my status here as conditional.

I close my eyes for a brief moment, letting the

breeze carry the quite hum of escalators and distant conversations. In the reflection of spotless glass, I see myself dwarfed by towers that proclaim a certain brand of opulence. The parallel to a police interview suite lingers in my mind: the mirrored glass, the intangible observer behind the sheen, the unwavering, ever watching camera lens. As I take a final glance at the crowd, realise we are all subjects in this meticulously organised realm, each step choreographed against a backdrop of corporate design. And through I admire the architecture for its technical brilliance, I can’t help but leave with that familiar tension between fascination and unease, acutely aware than every move I’ve made has been recorded, scrutinised, and approved by those unseen eyes that hold the real power.

“It’s no mistake that established media demean what is in many cases the one platform to which marginalised women have access. You’ve been told to watch us but not engage: the very definition of surveillance”

Legacy Russel, Glitch Feminism: A Manifesto

Denotes outline of existing elevation

A23/05/23General Design Updated

revisiondatedescription drwchk

The Old Telephone Exchange, 32-42 Albert Street, Rugby, Warwickshire, CV21 2SA info@hb-architects.co.uk www.hb-architects.co.uk 01788 576137

Residential Development 72 Lime Tree Avenue, Bilton, Rugby, Warwickshire, CV22 7QT

HB ARCHITECTS - SELECTION OF WORK

9 Months - 2023 & 6 Months - 2024

Date

Proposed Elevations HJB 05/18/23

Planning Issue 08222-HBA-DR-A-107 082:22 Talbot DC

Residential Property.

HB Architects were appointed by a private client to design, refurbish and extend there family home as well as a feasibility proposal including a number of additional properties on the site. Prior to joining the project the proposal had received a negative response to four additional properties from a planning pre-application.

Since, the clients have expressed they would like to retry with two larger properties, however, have stated that they are searching for an external developer to help fund the project. Therefore would only need processional help up until stage 3 and a planning application has been completed, unless external finance has become available. The project us currently at design stage 2. The existing property will extend to approximately 350sqm. The new units are intended similar in size and spec, with a budget of £2,000,000.

Project Tasks.

Working alongside the project architect, I Used 3D Imagery taken at a recent site visit in adobe reCAPTCHA and topographic maps to create a series of existing plans, elevations and existing site maps.

Having previously had a negative response to a pre-application for the build of 4 small properties and a renovation on the site. My focus was on 2 larger properties and a renovation of the existing property. Under guidance from the project architect my role is to produce a concept scheme for the main property and site plans including access routes for the proposed new builds.

After a meeting between the project architect and the client, I prepared a series of plans and elevations and a BIM model within Revit and assisted in the alterations to materiality, internal and external design from the comments from the client and assistance from the project architect.

Small Apartment Development.

A small private developer appointed HB Architects to carry out a small development consisting of 12 apartments, approx. 9000sqm with a budget of £2,000,000. The client had two previously accepted applications however in order to keep within new national minimum space standards would like to adjust the design, reducing the development to 10 units and increasing the overall footprint to that of the previously existing property as well as adjusting some exterior materiality. HB Architects followed the Traditional Procurement Route from the initial scheme, the project is currently at design stage 3, as the client is a regular developer it is likely the client will complete stages 5-8 with a private builder apart from HB Architects.

Project Tasks.

I Assisted in the changes made to previously approved planning application to put forward a material amendment application. Using Revit internal plans were revised to reduce the number of apartments from 12 to 10 units in line with client requirements. With assistance from the project architect floor and roof height adjustments were made to improve how the building is located on site. As per client requirements exterior materiality changes were also needed. Using AutoCAD I created new site and roof plans that were in line with the updated scheme, these included a series of new bin stores and cycle parking. I then created visuals using adobe photoshop of the project elevations, and updating all revised drawings for the material amendment planning application.

I worked in conjunction with the project architect to complete this. It provided an insight to his particular skillset and taught me additional tips to improve my BIM and CAD skills. Following the clients agreement to the scheme, I then developed an initial planning statement to describe the narrative of the project,

Previously Approved South Elevation

Large Apartment Development.

HB Architects has been appointed by Fosse Precision LTD to produce a scheme and evaluate a site for the feasibility of a block of apartment’s. The site must host 50 units (a mixture of one and two bed dwellings) and the required parking spaces by Coventry city planning. The site is located in an industrial area of Coventry, just outside the defined city centre. The client has an approximate budget of £4,000,000. The project is awaiting response from the client about the feasibility drawings produced.

Project Tasks.

Under direction of the project architect, I developed two feasibility schemes for the site. It quickly became clear that a significant number of car parking spaces would be required as the project is situated just outside the city centre. Using the Coventry City Councils guidance documentation, ‘connected car and cycle standards’ 84 car park spaces are required for the number of dwellings. In order to avoid the project becoming too high and restricting the skyline, 2/3rds of the carparking allowance needed to be located beneath the ground on the slopping site.

I produced a series of site plans, layout plans and standardised units plans for the two schemes. Each took into account meeting the minimum national space standards as well as sun paths to ensure each dwelling was comfortable. These drawings have been submitted to the client, as a feasibility development opportunity for the site.

BBC MUSIC STUDIOS - EAST BANK

1 Month - 2019

Project Details.

The BBC East Bank recording and rehearsal studio will host live and recorded music sessions for Radio 1, 6 Music, Radio 2 and Radio 3. BBC concerts and orchestras is now set to move to its new home in Stratford, London in 2025.

BBC East Bank recording and rehearsal studio will host live and recorded music sessions for Radio 1, 6 Music, Radio 2 and Radio 3. BBC concerts and orchestras is now to move to its new home in Stratford, London in 2025.

The BBC’s purpose-built studio allows creative and musical teams to work more flexibly, collaboratively and efficiently, bringing innovative, world-class music productions to audiences around the world. It will also enable the BBC to work with communities to deliver trans formative music experiences. Queen Elizabeth Olympic Park is transforming into a £1.1 billion cultural powerhouse. Inspired by the South Bank, the new East Bank district will be a treasure trove of cultural institutions and attractions.

BBC’s purpose-built studio allows creative and musical teams work more flexibly, collaboratively and efficiently, bringing innovative, world-class music productions to audiences around world. It will also enable the BBC to work with communities deliver transformative music experiences. Queen Elizabeth Olympic Park is transforming into a £1.1 billion cultural powerhouse. Inspired by the South Bank, the new East Bank district will a treasure trove of cultural institutions and attractions.

Learning Points.

My time at the BBC Property Development Department taught me how the communication lines between an architect and a client operates while managing a clients expectations.

While approaching from the clients point of view I got the opportunity to view the discussions between varying differing stakeholders to ensure the building design meets their requirements while managing any additional challenges.

time at the BBC Property Development Department taught me how the communication lines between an architect a client operates while managing a clients expectations.

This project specifically showed me the importance of acoustic design and how this can impact a users experience of a space, especially within the music industry.

While approaching from the clients point of view , I got the opportunity to view the discussions between varying differing stakeholders to ensure the building design meets their requirements while managing any additional challenges.

project specifically showed me the importance of acoustic design and how this can impact a users experience of a space, especially within the music industry.

Stratford, London Waterfront - Cultural heroshot image by Allies & Morrison Image

Challenges.

Challenges include managing the sound pressure levels of 16 acoustically isolated spaces with the presence of an estate road running directly underneath the site, taking the V10 HGV diesel engines just meters away from the BBC symphony orchestra is natural light in the larger studio spaces, to help improve well being and the ease of reading music which in itself posed another acoustic challenge on top of the standing acoustic difficulties

Challenges.

Challenges include managing the sound pressure levels of 16 acoustically isolated spaces with the presence of an estate road running directly underneath the site, taking the V10 HGV diesel engines just metres away from the BBC symphony orchestra is natural light in the larger studio spaces, to help improve well being and the ease of reading music which in itself posed another acoustic challenge on top of the standing acoustic difficulties

Solutions.

Sound creates sound pressure waves that flow through the air, upon impact with a solid surface these transform into vibrations. The movement of sound between spaces can be minimised by voids, stiff construction materials. The experts and Flanagan Laurence and Buro Hapold used the box in box method to try isolate acoustically isolated spaces from building foundations with the only connection between internal and external spaces are through springs (these are compressive so do not transfer vibrations easily).

Solutions.

Burohappold EngineeringAcoustic engineering solutions

Burohappold Engineering - Acoustic engineering solutions

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