Between the A12 and the River Lea

BETWEEN THE A12 AND THE RIVER LEA

an exposition of academic speculations beyond 2012

Hackney Wick

Fish Island

BETWEEN THE A12 AND THE RIVER LEA an exposition of academic speculations beyond 2012

Along the edge of the main Olympic site in the east end, a zone of transformation can be found between the A12 and the Lea River, taking in Hackney Wick, the Lee Navigation and Old Ford Lock. Over the past year the area has been a place of significant academic enquiry by students in London and further afield. The exposition showcases the coincidental diversity of thought and endeavor by the next generation of architects, designers and writers in time for the London Architecture Festival 2012.

Organiser: Colin Priest Participants: Architectural Association, Bartlett School of Architecture, Cambridge School of Architecture, Canterbury School of Architecture @UCA, Chelsea College of Art and Design, Greenwich University, Kingston University, Oxford Brookes University, Royal College of Art, South Bank University, Sheffield University, University of East London, University of Westminster.

Overview The prospect of urban change and the everyday negotiation of regeneration can be uniquely witnessed in Hackney Wick. Cut off by the infrastructural margins of the A12 highway, the Lea River and the Greenway, the area has become a peripheral periphery – a working island within the boundary of an event island. Significant as an influential creative urban community on the edge of Olympic transformation, it is simultaneously a curiously solitary place on the brink of irreversible change. From a fuddled urban past of fish smokeries, out-of-the-way industrial complexes and extensive consultation processes, residents await an urban renaissance and immanent initiation of legacy. As a resident the transformation of the place has been most apparent in the disruption to everyday street life and the binary consolidation of its diverse communities. So began twitter.com/t_wickers – an extraordinary and eventful online record of public realm investment. It was on these regular check up walks I bumped into a number of former students coincidentally assigned the area as a theoretical site for study. With further enquiry and word of mouth a further eleven design studios were found – all unknown to each other.

Percolating over the coming months a plan emerged to organise a rare exposition of sorts showcasing the work undertaken by all these different institutions in time for the London Festival of Architecture 2012. Contributing as an exposition, tabled dossiers and drawings open to the public, to a larger local discussion about how the next generation of architects and designers see this critical landscape.

The designated area of enquiry sits vaguely between the Lea River inside the heart of the new Olympic site and the A12, taking in Three Mills to the south and Mabley Green to the north. Inside this area the transformation and stasis of urban renewal can be found and perhaps a motivating force for the breadth of inquisition.

As this critical landscape paces towards legacy, the speed of change necessitates a sense of immediacy to enquiry, decisive opinion and representation of ideas for an alternative future. Where academe offers a space for speculation and imagination, potentials emerge that may contribute to how one envisages participation beyond the recognised status quo.

Across the spectrum of experience, from year one to post-graduate study and discipline, film to architecture comes a larger challenge, how will the particular characteristics of this landscape remain and evolve?

Supporters: Studio Columba

Blueprint Magazine article about the exposition: 60

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AS THE RESULT OF A CHANCE ENCOUNTER WITH DESIGN STUDENTS STUDYING THE IMPACT OF THE OLYMPICS ON THE UNIQUE AREA OF HACKNEY WICK, COLIN PRIEST HAS ORGANISED THEIR WORK INTO AN EXPOSITION TO COINCIDE WITH THE LONDON FESTIVAL OF ARCHITECTURE

The prospect of urban change and the everyday negotiation of regeneration can be uniquely witnessed in Hackney Wick right now. Cut off by the infrastructural margins of the A12, the Lea River and the Greenway path, the area has become a peripheral periphery, a working island nevertheless.

Significant as an influential creative urban community on the edge of Olympic transformation, it is simultaneously a curiously solitary place on the brink of irreversible change. From a confused urban melting pot of historic fish smokeries, out-of-the-way industrial complexes and, most recently, extensive consultation processes, residents await an urban renaissance and imminent initiation of legacy. As a resident of the area, I witnessed

that the transformation was most apparent to me in the disruption of everyday street life. So I began roaming the area and recording these events on twitter.com/t_ wickers – an eventful online record of public-realm investment.

It was on these regular check-up walks that I bumped into a number of students coincidentally assigned the area as a theoretical site for study in their various degree courses. Eventually I discovered 12 design student groups working in the area, all unknown to each other. A plan then emerged to organise an exposition of sorts to showcase the group’s various work in time for the 2012 London Festival of Architecture. It includes dossiers and drawings from the student groups and the public, and contributes to a

larger local discussion about how the next generation of designers sees this landscape.

The area of enquiry sits vaguely between the Lea River inside the Olympic site and the A12, taking in Three Mills to the south and Mabley Green to the north. In this area the transformation and stasis of urban renewal, and perhaps a motivating force for the breadth of inquisition, can be found. What follows is a brief precis of the work, which now froms part of the exposition.

Constructing an ecology Before the Olympics the landscape was marked as brownfield and labelled as purposeless. In any city context this is debatable, but not many can dispute that the area has now been replenished with

wildlife and recreation. Project ADS5, led

by Jon Goodbun, Kenny Kinugasa-Tsui and Justin CK Lau at the Royal College of Art, explored the construct of an ecology in an investigation that considered the near-future, non-linear environments of material production and socio-spatial events to uncover radical forms of breathing architectures.

Water lines The guiding threads of the area are its water lines, with the Lea Navigation and Hertford Union Canal both cutting through its habitable space. Like Hackney Wick, the River Lea as an entity is difficult to pin down, as the pyscho-geographic lines determine a sense of self-discovery of the

Right: Bicycle Power Station by Julia Kubisty, First Year Studio 1.3, Kingston University Below: The Library as Extended Footnote The Book and the Contextualisation of Art

by Adam Walls, Studio 1, Cambridge University Below right: James Barber, Year 2, Canterbury School of Architecture

Above: RIBA East by Sam Rose, Diploma Unit 9, University of East London Left: Bathhouse Tower by Jack Wates, ADS5, RCA

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62 banks and streets. The short film Wanderlust down the Lea, by Veronika Albrandt and Katharina Violeta Dressel from the degree course photography and contemporary media practice at University of Westminster, testifies to a natural condition of perpetual transformation. But these lines simultaneously divide and offer an opportunity to reimagine connection and the adaptation of the existing fabric.

Stage 2 at the University for the Creative Arts at Canterbury, led by Pedro Castelo, Adam Hiles, Kristina Kotov, Matt Shaw/Rhys Jones and Gabor Stark, looked at the many linking bridges over the A12, Old Ford Lock, White Post Lane and Hackney Wick Overland station. It engaged with the particular environmental and social issues, to propose a different shelter providing a skin for each bridge.

Kingston University addressed the Olympic legacy with an examination of the character of Hackney Wick and how the distinctive, everyday elements of the neighbourhood could inform the design

of a proposed bicycle workshop, diner or community arts space to reaffirm a sense of place.

Negotiating the many islanded communities and the possibility of a constitutional ideal, Diploma Unit 9 at University of East London, led by Robert Thum, investigated the legitimacy of educational building programmes for the civic city as an activator for this postindustrial urban context. Meanwhile, strengthening civic proximity to a shared contextual culture of work and play was considered by Studios 1-3, in the University of Cambridge’s Department of Architecture, led by Miraj Ahmed, Dingle Price, Nikolai Delvendahl, Eric Marin, Bobby Open and Stephen Smith. Students evaluated the commonly found ‘factory and yard’ typology and the insertion of a library, public baths or a centre for furniture making in response to the anticipated increase in population.

a number of public-realm improvements, including the installation of place-specific art works by Martino Gamper, Rowan Durrant and Francis Upritchard, among others, to enhance the urban realm and improve connectivity across the site for key routes to the Olympic Park. Alongside the nodal public realm improvements by MUF art/ architecture, the area has an imperative spirit, examined by Studio 15: Laboratory of Spatial Self-organisation, led by Sam Vardy from the University of Sheffield. It studied the political and social tactic to reclaim personal and collective involvement in detached processes to configure selforganising assemblages of spatial practice.

This form of creative making inspired the Wick Session, organised with publicworks and held at Sugarhouse Studios.

It can be witnessed across the area and is particularly evident near the new White Building, recently renovated by David Kohn into a temporary theatre space. This project looked into the creation of temporary scenography for the theatre by FdA interior

To the north In the past year Hackney Wick has had

design, led by Tomris Tangaz, at Chelsea College of Art and Design.

Hackney Wick’s loose urban grain has supported a particular freedom for its artistic communities, notably Hackney Wicked. It has a resilient attitude towards change, and allows overlooked communities of various backgrounds a place to articulate. Taking this as a starting point, students from U9 at Bartlett School of Architecture, led by Max Dewdney and Chee-Kit Lai, imagined an afterlife for these agents in the area.

To the south The extent of transformation is significant around Stratford High Street and the Bow Flyover interchange, with pending planning applications for new housing developments.

Students on the housing & urbanism MA/ MArch at the Architectural Association linked this to the larger Lea Valley development for a focus of study, highlighting the need for macro- and micro-scale thinking to organise a dynamic and responsive spatial conversation. Landscapes of mPOWERments,

by Unit 6, led by Cordula Weisser and Rahesh Ram at Greenwich University, propose such alternatives.

The remaining fabric and its agents in this area offered an opportunity to a sensitive critique from Unit F, of Oxford Brookes University School of Architecture, led by Bruno Silvestre and Christina Godikse, surveyed the urban topography. Working in collaboration with Assemble Studio they subsequently proposed a number of urban landscapes, largely formed by the topography of infrastructure. Here issues of temporality were raised by catalysing the impact of the Olympic legacy on the fabric of the postindustrial city.

In parallel, the Diploma Unit 2 and MA urban design team, led by Christoph Hadrys at University of East London, explored ways in which architectural interventions can mediate a synergetic urban life and relate to particularities of open land, and proposed acupunctural intersections.

As this critical landscape heads towards legacy, the speed of change necessitates

a sense of immediacy for enquiry, decisive opinion and the representation of ideas for an alternative future. Where academia offers a space for speculation and imagination, potentials emerge that may contribute to how one envisages participation beyond the recognised status quo. Across the spectrum of experience, from year one to post-graduate study and discipline, film to architecture, comes a larger challenge: how will the particular characteristics of this landscape remain and evolve?

The exposition runs until 8 July and is hosted by Sugarhouse Studios. sugarhouseestudios.co.uk, with the generous support of Assemble CIC at Sugarhouse Studios, Blueprint Magazine, and London Legacy Development Corporation.

Colin Priest is course leader for BA interior and spatial design at Chelsea College of Art and Design and founder of Studio Columba, an interdisciplinary art and design practice. studiocolumba.com

Right: An Atlas of Erasure

by Jonathan Millard, Studio 15, University of Sheffield Below: Dionysus at The Yard by Ola Kanczura, Interior and Spatial Design,Chelsea College of Art and Design

Above right: Hackney Wick Archive – Future Pasts by Petya Nikolova, Unit 6, Greenwich University

Above: Stratford Boathouse by Tom Wildbore, Unit F, Oxford Brookes University

Right: The Floating Horse Fair of Hackney Wick,

by Sophie Richards, Bartlett UCL

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Photographs from opening night at Sugarhouse Studios on Wednesday 25th june 2012 photos: Marcel Croxson

Architectural Association MA / MARCH Housing & Urbanism Tutors: Jorge Fiori, Hugo Hinsley, Lawrence Barth, Nicholas Bullock, Kathryn Firth, Dominic Papa, Elena Pascolo, Alex Warnock-Smith, Elad Eisenstein Students: 2009/10: Vanessa Espaillat, Efthalia Lestou, Lisa Woo, Daniela Djourkova, Dung Phan, Jong In Park, Zainab Alireza, Nicola La Noce, Ankita Agrawal, Malay Deshmukh, Bekim Ramku, Denny Husin, Denise Vilela, Saba Rostamkhani, Yanping Liang, Kalliopi Tsiota, Jerome Picard, Sarah Melsens, Bhavana Kumar, Shan Li, Bayu Riyadi, Mariia Pashenko, Chalita Karwattanagul. 2010-11: Husna Ahmed, Nii An, Marianela Castro De La Borda, Florian Dirschedl, Courtney Erwin, Olivia Fontanetti, Angela Jeng, Yaniv Lenman, Julia Malysheva, Chantal Martinelli, Aida Mofakham, Nurit Moscovici, Gaurang Nabar, Anagha Patil, Mithila Satam, Lucie Senesiova, Yo Han Shin, Philipp Stumhofer, Pornpan Thaveelertnithi, William Wehbe, Olga Yatsyuk. 2011-12: Supriya Gandhi, Maria Lambeth Vicent, Juan Felipe Lopez Hechem, Sidharth Malik, Sheeba Shetty, Sepehr Zhand,Juliana Ribeiro Muniz,John Nathan Foust,Monica Arzoz Canalizo, Devika Deshmukh,Emilie Bechet,Mariana Cardenal Alonso-Allende,Katsushi Goto, Bhushan Joshi, Miqdad Mahadwala,Enrique Mascort del Pozo, Shawn Meyers,Elena Ozherelyeva,Ajinkya Ravindra Pawar,Anke Wetzel,Jorge Sanchez Herrera,Melissa Abou Karam,Anne Hanrahan, Yukyeong Je, Hemalatha Mallabadi Channabasappa,Carlos Nunez Davila, Lea Olsson, Ruozhu Tang, Mabel Zertuche, Kanaka Thakker,Konstantinn Seufert The Housing and Urbanism Programme applies architecture to the challenges of contemporary urban strategies. Today’s metropolitan regions show tremendous diversity and complexity, with significant global shifts in the patterns of urban growth and decline.

Architecture has a central role to play in this dynamic context, in developing far-reaching strategies and generating novel urban clusters. The programme focuses on important changes in the contemporary urban condition and investigates how architectural intelligence helps us to understand and respond to these trends.

London’s Lower Lea Valley raises the question of the urban intensification of the periphery. Located east of the centre, and with the new high-speed rail infrastructure at Stratford and the Olympics site to the north, and London’s Canary Wharf financial services centre to the south, the area nevertheless exhibits the typical challenges of a former industrial zone at the edge of a metropolis. Can new spatial and use patterns, and fresh approaches to urban policy, guide us toward a strategy for a polycentric city-region? This work explores several key issues in the urbanism of the knowledge economy, from the proliferation of the creative industries, to the re-establishment of links between manufacturing and highervalue services, to re-thinking the multi-layered mobility infrastructure that runs down the valley. Other aspects of the productive city emerge around questions of the value of informal and irregular activity and the problems of marginalization. Still another theme coalesces around issues of density, intensity and urban mix, and changing patterns of working and living. In each of these themes we have sought crossovers between social, economic, and architectural reasoning Three groups over four years have focused on different arguments and concepts for change, with different choices of sites within the area, and with different spatial investigations.

Bartlett School of Architecture Unit 9 (BSc) Tutors: Max Dewdney + Chee-Kit Lai info@theMobileStudio.co.uk Students: Year 2:Caitlin Abbott, Tahora Azizy, Benjamin Beach, Finbarr Fallon, Pavel Kosyrev, Vasilis Marcon Ilchuk. Year 3: Gary Edwards, Sarah Edwards, Ivie Egonmwan, Sandy Lee, Jamie Lilley, Rachel Pickford, Sophie Richards

Blinding Light, Spectacle at the Edge of London Spectacle has particular resonance in understanding the image of London in 2012: an incongruous mix of Olympic excitement and fears of civic disorder in the wake of fierce summer rioting. Both events are spectacular albeit in very different and extreme ways. The Olympics produce highly controlled media images whilst the riots presented a spontaneous scene of urban violence and disorder. This year Unit 9 investigated the 'Architecture of Spectacle' by studying London and Beijing, both cities famous for pomp and pageantry in epic proportions. We are interested in the juxtaposition of pre-Olympic London, and its imagined legacy, and the reality of Beijing post-Olympics.

Project 1 – Imagined Afterlife Imagined Afterlife is to design a small building for a client body or community who you consider have been overlooked or under-represented in the 2012 Olympics, a group who have either been displaced by the developments of the Olympic Village, or excluded from the master-plan. The site of the proposals are located between Hackney Wick and Hackney Marshes, an area that has been included in the Mayor of London's proposed boundary for the Olympic Park Legacy Corporation. The proposal will form part of the larger master plan for this area with 'significant potential for regeneration and growth'.

With thanks to: Abi Abdolwahabi, Crystal Bennes, Johan Berglund, Charlie de Bono, Anna Hart, Professor Jonathan Hill, Hilary Jackson, Laurence Kavanagh, Guan Lee, Duncan McLeod, Hilary Powell, Dr Sophia Pssara, Rahesh Ram, Dr Peg Rawes, Matt Springett, Patrick Weber, Nick Willson.

London, UK Unit Nine 2011-12, BSc Hons Architecture

Copyright of quoted archive articles and images belong to original author(s) / publication(s) as indicated.

The Bartlett School of Architecture - Unit9 © June 2012.

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Hackney Wick Monitor (architectural device)

By Gary Edwards

The Bartlett, Faculty of the Built Environment, University College London

Hackney Wick

London, UK

Copyright of quoted archive articles and images belong to original author(s) / publication(s) as indicated.

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Blinding Light

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Hackney Wick Community Kitchen

By Sarah Edwards

The Bartlett, Faculty of the Built Environment, University College London

Hackney Wick

Hackney Wick

Copyright of quoted archive articles and images belong to original author(s) / publication(s) as indicated.

The Bartlett School of Architecture - Unit9 © June 2012.

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By Benjamin Beach

Memory as Revenge

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By Vasilis Marcou Ilchuk

The Bartlett, Faculty of the Built Environment, University College London

London, UK

11 of 12

Unit Nine 2011-12, BSc Hons Architecture

London, UK

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London, UK Unit Nine 2011-12, BSc Hons Architecture

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The Bartlett, Faculty of the Built Environment, University College London

Hackney Wick

Wallis Road Pop-Up Mall

Unit Nine 2011-12, BSc Hons Architecture

Bouquet Garden for the London Olympics

The Bartlett, Faculty of the Built Environment, University College London

Hackney Wick

Copyright of quoted archive articles and images belong to original author(s) / publication(s) as indicated.

The Bartlett School of Architecture - Unit9 © June 2012.

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Centre for the Third Generation

By Qiuling Guan

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Copyright of quoted archive articles and images belong to original author(s) / publication(s) as indicated.

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Lea Valley Canal Jazz Club

By Ivie Egonmwan

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The Bartlett, Faculty of the Built Environment, University College London

Hackney Wick

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London, UK Unit Nine 2011-12, BSc Hons Architecture

Micro-Distillery & Gin Bar

By Finbarr Fallon

The Bartlett, Faculty of the Built Environment, University College London

Hackney Wick

London, UK

London, UK

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Copyright of quoted archive articles and images belong to original author(s) / publication(s) as indicated.

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Hackney Wick The Bartlett, Faculty of the Built Environment, University College London

The Floating Horse Fair of Hackney Wick

By Sophie Richards

Unit Nine 2011-12, BSc Hons Architecture

Virtual Persuasion

By Jamie Lilley

The Bartlett, Faculty of the Built Environment, University College London

Hackney Wick

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Samuel Green Between the A12 and the River Lea, University of Cambridge

City and Flexibility For the library’s role as a beacon of the community to be meaningful, it needs to become a long-term Àxture that remains involved with the changing life of its surrounding environment. This project emphasises Áexibility as a key consideration of the public space to produce a building that maintains a constant symbolic presence even as it adapts to the changing needs of the evolving community over the next 50 years

Between the A12 and the River Lea University of Cambridge Department of Architecture Year two - 2012 Between the A12 and the River Lea, University of Cambridge

Students

year 2

1

Sam Green (exhibiting student) Alisa Matjuka Lara Orska Andrew Percival James Rogers Araminta Sainsbury SoÀa Singler Chloe Spiby Loh Sohanna Srinnivasan (exhibiting student) Steve Sze Sonia Tong Adam Walls (exhibiting student) Oliver Young

Studio one

Between the A12 and the River Lea, University of Cambridge

Tutors Miraj Ahmed Dingle Price

Between the A12 and the River Lea, University of Cambridge

The Every day and the Extraordinary; Library / Workshop Studio 1 explored, the architectural potential in the relation between the quotidian and the contemplative world of the imagination through two urban ‘types’; the workshop and the library. The design challenge has been to work with the existing local typologies of ‘factory and yard’ and introduce a second typology that does not exist locally; the library. The nearest library is located in Central Hackney. There is a need for local libraries to provide education for young and old. The development buzzwords such as ‘Olympic legacy’ have the effect of sanitising a context of richly layered topography, material, typology and culture that is inherent in the area. The proposition for the Workshop, the Yard and the Library should explore the phenomenological relationships that can happen when exploring the dialogue between the visceral working environment of the workshop and the quiet haven of the library. A building of both ‘making’ and dissemination of information we ask how these might be evaluated in relation to shared activity as embedded within the architecture of the ‘local’ factory and the library.

After a group survey and analysis of Hackney Wick, students selected a yard site for a small intervention exploring the everyday activities that happen and extraordinary events that could happen in such spaces. Propositions explored how the yards might maintain their existing working functions and how new temporal activities might be introduced. Speculations included projects such as a chicken farm, elevated allotments, theatre, viewing tower, cafes, playspaces etc. These projects allowed students to explore notions of dual use and hybrid programme.

The Library/Workshop – to be sites on Stour St, or Swan Wharf – required the students to explore the programme in relation to the area but also the narrative and spatial potential between the two activities. Students reinvented the brief addressing different user groups and possibilities for library and workshop. Each programme is undergoing changing technology and methodologies. Projects addressed the local communities, such as the industrial, the artists and the residents of the area in different ways.

Between the A12 and the River Lea, University of Cambridge

Building and Beacon Particular consideration was given to the current regeneration of the surrounding area. The centrality of project’s location makes it an ideal focus point for this new phase of the community life. The vision is of a building that acts as a beacon for Fish Island, whose striking composition attracts people from all around the developing surroundings and displays the area’s dedication to investing in knowledge. The hope is to create an iconic building that people are proud to use and that will assume as key a place in community consciousness as it does in the skyline.

Motivated by a desire to reinvigorate the concept of the library and keep up with rapid technological developments in the knowledge industry, this project privileges digital media as the primary mode of information exchange.

The contemporary library is understood as a theatre of knowledge; an open information campus that celebrates and stages new ways of learning and responds to the call for spatial environments that facilitate emerging forms of information engagement.

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Adam Walls Between the A12 and the River Lea, University of Cambridge

Between the A12 and the River Lea, University of Cambridge

2000 Yellow Bricks

16000 Yellow Bricks

500 Blue Bricks

2000 Red Bricks

Room and Permeability The ambition is for the library to serve as a community centre. Because its location guarantees passing footfall its facade must be attractive and inclusive. Notions of permeability and visibility were crucial in creating a learning space that is seen to interact with the social life of the area.

Cutting, Recycling and Bricolage

Between the A12 and the River Lea, University of Cambridge

Detail and Character It was my ambition that the project should locate itself by and make reference to the industrial history of Fish Island. An awareness of the danger of this striking, modern building being perceived as an alien or insensitive implantation motivates my desire to materially integrate it into the community. The permanent structure makes respectful allusions to a former greatness and sets a precedent for development within Fish Island, while the design promotes bold visions for the future. The contextually grounded library becomes a place that people can develop a sense of loyalty to and ownership over.

The gallery in the library

Between the A12 and the River Lea, University of Cambridge

Between the A12 and the River Lea, University of Cambridge

Sohanna Srinivasan Between the A12 and the River Lea, University of Cambridge

Initial response to the site was to address the disparate communities and explore a program that integrated the artistic and residential communities both visually and through the concept of the tower rising from the workshop.

The towers contain program while the ‘space-inbetween’ is not Àxed and can be adapted for many different uses.

The Atrium space workshop advertises Fish Island’s creative industry through the exposure to the street- it is a place for the artists as well as for the community where artists can teach their craft/organise activities; especially during Hackney Wicked festival where large community driven installations can be made.

Between the A12 and the River Lea, University of Cambridge

Between the A12 and the River Lea, University of Cambridge

Between the A12 and the River Lea, University of Cambridge

Students

year 2

2

Studio two

Felix Faire Seb Harrison Matthew Greorowski (exhibiting student) Zahra Haider Tom Hamilton Joe Hibbert (exhibiting student) Rebecca Howe Stephen Messiah Dominic Murray-Vaughan Rachel Roberts (exhibiting student) Nimesha Paramanage Heather Rouse Fiona Stewart Emma Woodward

Tutors Nikolai Delvendahl Eric Martin

Between the A12 and the River Lea, University of Cambridge

Industrial Sanctuaries; Bath House

Between the A12 and the River Lea, University of Cambridge

This year the Studio continued the process of understanding the current discourses and attitudes towards the gradual transformation of disused Victorian Infrastructure in London into public spaces. In the last two years we have looked at the way railway buildings have been demolished in favour of development and new transport infrastructure around the Brick Lane area, which subsequently informed the decision to study London’s canal network and the shift it has seen from backyard infrastructure to a space for leisure.

This year the focus was on Hackney Wick and Fish Island, areas that sit adjacent to the Olympic Park and therefore at the midst of a signiÀcant urban transformation, which will be directly inÁuenced by the wider scale redevelopment planned for East London. As well as being home to a varied constituency, the area also contains a valuable industrial built heritage from the late 19th and early 20th centuries.

The central idea was to explore a series urban and architectural strategies to bring together different demographic groups that are present in the area: permanent residents, artists and industries. The speciÀc projects developed through the year were a pop-up green space and a public bath house, to explore the potential of both temporary and permanent interventions within the large quantum of unused buildings and yards in the area that seem to be in a limbo until the legacy plans are set in motion.

Ever since their introduction in Victorian times, public baths have served an important communal role as meeting spaces, in addition to being a places for cleansing and physical well-being. As societies have changed with private bathing facilities becoming more available, there has been a decline in public baths. Hackney Wick’s old Public Baths at Eastway were converted into a local community centre, which closed in 2009.

The materiality expresses the two contrasting entities of the library and the workspace, the process of creation and the act of learning, the industrial and the new wealth of the Olympics. The gold celebrates the program of the library/ lecture theatre and viewing terrace.

Exploring the more permanent aspects of community life and work in the area, the bath house projects sought to establish a cultural and physical response to the needs of the existing and future inhabitants of the area. The work was articulated by studying historical references starting with the Roman Thermae and covering other bathing traditions such as the Turkish Hammam, the Japanese Onsen and the Finnish Sauna, to develop a sequence of spatial experiences with varying levels of natural light, temperature and humidity.

Between the A12 and the River Lea, University of Cambridge

Between the A12 and the River Lea, University of Cambridge

Studio two, Fish Island Postcards

Joe Hibbert Between the A12 and the River Lea, University of Cambridge

Joe Hibbert

9

Hackney Wick Rail Station 12

13

11

5

8

7

6

Between the A12 and the River Lea, University of Cambridge

3 2

1

4 10

Victoria Park & Tower Hamlets

1 Bath House 2 Stour Space cafe & studios 3 Allotment pontoons 4 Allotment produce market shop 5 Canoe storage 6 Grass 7 Gallery/shop 8 River Lee Navigation 9 Foot bridge 10 Olympic stadium

Site plan 1:500 Project 1 + 2 Fish Island South & Old Ford Locks

11 Vehicle bridge (open 2013) 12 Olympic Legacy residential development (2015) 13 Omega Works residential block

Between Betwee en the A12 e 12 and the he River Lea, Un h University of Cambridge Camb bridge b

Project 2 A series of pools connected to each other by the experience of scale and interaction between them. Enclosed within a fabric allowing a level of transparency and density, maintaining privacy and modesty; not revealing all at once.

Between the A12 and the River Lea, University of Cambridge

Between the A12 and the River Lea, University of Cambridge

The bath house stands as a beacon of Fish Island, as a way Ànding tool and a marker.

A landmark tower, seen with steam rising from the roof top pool and the central servicing ‘chinmey’

Views to the Olympic Park and stadia are afforded by the open top roof pool.

Between the A12 and the River Lea, University of Cambridge

By re-directing the road layout around the site, a new public space is created in front of the building, enclosed by the Stour Cafe and units available for future use. The public space steps down to the canal and the Áoating allotments (project 1) creating activity around the building.

Between the A12 and the River Lea, University of Cambridge

Matthew Gregorowski Between the A12 and the River Lea, University of Cambridge

Project 1 Scent memory towers

Between the A12 and the River Lea, University of Cambridge

The bathhouse is a series of carved out spaces that use pure forms to create a powerful atmosphere.

The cast elements of the steam bath (sphere), cold bath (trapezoid) and changing rooms are placed within the stable block and frame building of the Swan Wharf site, deÀning how the rest of the building is set around them. Beneath the cold bath is long warm bath, with columns piercing the water to create a series of interstitial spaces. At ground level a cafe activates a newly created public square, with terraced steps looking onto the canal. The project looks to create a very private experience within a public building, avoiding the typical treatment of the bathhouse as an excuse for pampering; rather it attempts to create a space for contemplation.

Between the A12 and the River Lea, University of Cambridge

Between the A12 and the River Lea, University of Cambridge

Between the A12 and the River Lea, University of Cambridge

Project 2 The idea of communal bathing in the nude is somewhat alien to modern British culture, with almost all bathhouse precedents coming from different countries and eras.

A key concern of the project was to view the bathhouse not as an extravagant luxury but as means to satisfying a fundamental need within a public context. Yet the act of cleaning oneself is a private act, not viewed as an experience you can share with people you do not know. I saw the bathhouse as something of a sacred space, analogous to a church, where one could partake in this private activity as part of a larger congregation. I therefore sought to create a series of spaces that could allow for private moments in a large space.

Between the A12 and the River Lea, University of Cambridge

Rachel Roberts Between the A12 and the River Lea, University of Cambridge

Project 1 Street fruit and vegetable growing Àelds.

Between the A12 and the River Lea, University of Cambridge

Between the A12 and the River Lea, University of Cambridge

Between the A12 and the River Lea, University of Cambridge

Project 2 A new public bath house designed to celebrate the role of water in the world through the ritual of bathing. It is inspired by the water cycle with a sequence of baths that vary in light, temperature and scale to create a sensory journey. Natural daylight is used as a dynamic force in opposition to the static water which forms an unbroken surface which one is always in contact with. The baths are protected from the outside by thick masonry walls and a small courtyard creates a sheltered public space that marks the main entrance.

Between the A12 and the River Lea, University of Cambridge

Between the A12 and the River Lea, University of Cambridge

Main bath

Medium bath

Between the A12 and the River Lea, University of Cambridge

Between the A12 and the River Lea, University of Cambridge

Students

year 2

3

Studio three

Naomi Black Josh Bristow Yoanne Chan Song Yun Eng Will Haynes Eva Johnson Max Martin Lucy NorÀeld Liùsaidh Macdonald Laurence Neal Joe Smith Yeshe Verhagen Frances Williams Will Woodhead

Tutors Bobby Open Stephen Smith

Between the A12 and the River Lea, University of Cambridge

Making and Exchange; Workshop / Craft School Plans for the ongoing regeneration of Fish Island focus on housing with a cultural / creative emphasis based on the current proliferation of artist’s studios. However, the ‘island’ has a history of Oil Works, Print Makers, Dye Makers, and other industrial processes. The canal is the artery that provided the means for the delivery of raw materials that were then prepared, processed and packed: products ranging from pickles to peanuts. The canal-side timber yards would have had constant trafÀc to and from the docks. As recently as the 1950s, up to 300 barges per tide – two tides per day – moved goods to and from the Thames along the Lea Navigation via Fish Island. These traces are manifest most obviously in the historic warehouses that set the street scale, buildings which have been reinvented and adapted over the years to suit differing demands. Most recently, live-work units and artist’s studios have dominated, with residents reworking the interior spaces for storage, work and everyday life. The buildings have a robustness that allows these changes to happen. Drawing on the area’s industrial pedigree, the studio concentrated on creating venues for making and exchange, offering points of focus for the community. Within the context of the project briefs and the questions of legacy and adaptability raised by Fish Island and the Olympic Park, the studio explored the ability of a building to absorb and withstand change, while still remaining rooted in its place.

The Àrst project was a response to questions raised by the short-term event and longer-term legacy demands of the Olympic site. The title Market-Place could be understood as a place for the exchange of goods, services or ideas: essentially a point of interaction or gathering. There was a choice of three briefs: a bookshop, cycle repair shop / store, and a nursery (of the plant kind).

Project 2 involved the design of a centre for furniture making, considered as the heart of the local community; a place where people can meet, share ideas and learn new skills. It drew on the deep culture of making that has formed the foundation of Fish Island, and on the presence of small industrial and warehouse units that house woodworking and joinery workshops on Fish Island and in Hackney Wick, and which offer opportunities for future employment or start-up. A series of internal and external public, exhibition, meeting and teaching spaces related to three primary workshops: for working raw materials (wood, metal, plastic…); assembling components (gluing, screwing, welding…); and Ànishing (oiling, spraying, polishing, upholstering…).

Between the A12 and the River Lea, University of Cambridge Between the A12 and the River Lea, University of Cambridge

Song Yun Between the A12 and the River Lea, University of Cambridge

The project is to become a workshop that invites furniture makers/collectives for a period of residency where they would create unique collections for sale/exhibition in the main showroom and also collaborate with the larger artist community of Àsh island on sculptures/street furniture/public art installations that could be exhibited on an allocated piece of land just outside the workshop that fronts the canal.

Between the A12 and the River Lea, University of Cambridge

Joshua Bristow Between the A12 and the River Lea, University of Cambridge

Lucy Northfield Between the A12 and the River Lea, University of Cambridge

The design takes the form of an L shape that crosses the river and links the two areas of Àsh island. The main activity of my building takes place in the public spaces at either end linked by the pedestrian bridge and along the public street front of the new routed road system.

Between the A12 and the River Lea, University of Cambridge

Between the A12 and the River Lea, University of Cambridge

Between the A12 and the River Lea, University of Cambridge

Between the A12 and the River Lea, University of Cambridge

Between the A12 and the River Lea, University of Cambridge

Between the A12 and the River Lea, University of Cambridge

EDITED BY KRISTINA KOTOV & ADAM HILES CANTERBURY SCHOOL OF ARCHITECTURE UNIVERSITY FOR THE CREATIVE ARTS

AL NG THE LYMPIC FR NTIER

Along The Olympic Frontier A Dossier Of Design Work by Stage 2 BA(Hons) Architecture at UCA Canterbury with additional pieces by Guest Contributors.

Edited by Kristina Kotov & Adam Hiles Graphics & Layout by Adam Hiles

STUDENTS & STAFF STAGE 2, BA (HONS) ARCHITECTURE CANTERBURY SCHOOL OF ARCHITECTURE UNIVERSITY FOR THE CREATIVE ARTS

______________________ STUDIO LEADERS Pedro Castelo, Adam Hiles, Kristina Kotov, Rhys Jones, Matt Shaw, Gabor Stark STUDENTS Glory Augusto, Thomas Boshell, Anna Berkman, James Barber, Marcus Boyle, Matthew Buckley, Binevs Cengiz, Alex Bones, Rosa Carbo Mascarell, Michael Chambers, Asif Cocker, Nichelle Channer, Zoe Fuller, Winston Cheuk, Margarete Czapp, Owen Darby, Joseph Heaton, Eliza Del Carmen, Stephen Cubitt, Costandinos Demetris, Kurt Gander-Howe, Cia Helenius, Nesimi Elgin, Rowena Davis, Alfie Edwards, Jiri Hanzlik, Christopher Humphrey, Liliana Giagmouridou, Liam Fish, Richard Fleming, Daniel Kelly, Samuel Lowe, Fern Harrison, Laura Francis, Emma Jarvis, William Mayes, Paresh Parmar, John Kang, Enzo Guida, Angeliki Manta, Francesco Messina, Anamika Puri, Andrea Kleanthous, Joshua Hunt, Effrosyni Dimitkrraopoulou, Apostolos Mouzakopoulos, Olakitan Soremekum, Thomas Parker, Olympia Katsarou, Kristina Labahn, Roseanne Scott, Lucy Summers, John Qerimi, Negin Aminy Raouf, Elizabeth Porter, William Sway, Xin Tu, David Ryan, Jake Read, Nathan Rawlings, Zuoqian Wan, Charles Weston Smith, Sahar Sheikhi, Paraskevi Theodosopoulou, Cameron Wilson, Philip Whitesmith, Melissa Wishart, Eliana Socratous, Nuran Yelcin, Ajay Sihra, Alexander Yashi, Matthew Woodcock James Barber Site Model, Old Ford Lock

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CRITICS With thanks to Allan Atlee, John Bell, Hocine Bougdah, JJ Brophy, Krista Evans, Don Kwaku, Oliver Froome-Lewis, Carsten Jungfer, Andy McFee, Rob Nice, Carla Novak, Liana Psarologaki, Lara Rettondini, Chloe Street and Ellen Ward

Canterbury School of Architecture @UCA CSA_Stage 2 Tutors: Pedro Castelo, Adam Hiles, Kristina Kotov, Matt Shaw/Rhys Jones, Gabor Stark

Our project brief set 5 bridges/links as a selection of sites for the Hackney Wick design project: both walking bridges from the West over the A12, Old Ford Lock, White Post Lane & Hackney Wick Overland zone/bridge. A peripheral zone between Victoria Park and the Olympic site, students were to engage with the environmental and social issues to engage with a bridge or bridging link, via various technologies to speculate on a sheltering skin, a 1:1 prototype of their proposal was a requirement.

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<<<< FEB 2012 STAGE 2 DESCENDS ON THE OLYMPIC PARK iii

CONTENTS ______________________

The Olympic Frontier (A Grand Tour): Map Guide

05

Site A Walkway Over A12 (Top)

Kristina Kotov

Paresh Parmar Winston Cheuk Charles Weston Smith Cia Helenius Michael Chambers Melissa Wishart

13

Site B Walkway Over A12 (Bottom)

Owen Darby Daniel Kelly Magaret Czapp Thomas Boshall

17

Psychogeographers Claim There Is Still Beauty In Urban Decay

Charles Holland

19

Site C Greenway Walking Bridge

25

Site D Old Ford Lock Gates

Liam Fish Joshua Hunt Sam Lowe James Barber Min Kang Nathan Rawlings Negin Aminy Raouf Olympia Katsarou Cameron Wilson David Ryan Elizabeth Porter

Wouldn’t It Be Nice...?

35

Site E White Post Lane Bridge

Effrosyni-Dymitria Mikropoulou Angeliki Manta Roseanne Scott William Mayes Kurt Gander Howe

Lucy Jones

41

Site F Hackney Wick Station

Binevs Cengiz Andrea Kleanthous Sahar Sheikhi Xin Tu Zuoqian Wang

45

Staff & Contributor Bios

iv

33

View along Lea Navigation Canal to Olympic Stadium

Project Introduction

04

1

01

TOUR GUIDE: Colin Priest

4

3

2

1

Steven Connor, ‘Michel Serres’s Mileux’ Paper given at ABRALIC (Brazilian Association for Comparative Literature) conference on ‘Mediations’, Belo Horizonte, July 23-26 2002. http://www.stevenconnor.com/milieux/ ‘this could be for instance a protective function, but could also refer to an energy-generating function, or to light generating or informationproviding surfaces. Out of this, a classification structure for surfaces divided into categories of Nano, Energy, Light, Climate and Information could be deduced as a next step.’ (Klooster, Thorsten & Klussman Heike; Surfaces, Membranes and Boundaries, Block Issue 2 Façade, 2011) ‘a change of focus from the appearance of a material to the performance of surfaces: ‘As structural, chemical and computational properties are integrated at nano-, micro-, and macro- scales, even the most traditional material might become more dynamic…increasingly allowing designers to determine behavior in advance, rather than simply taking it into account.’ Ibid.

Zaera-Polo, Alejandro, 2011, The Politics of the Envelope. In Block; Issue 2 Façade, Block Publ.

PROJECT BRIEF BACKGROUND: At UCA Canterbury School of Architecture, BA level briefs are written as an overview for the whole year cohort; sites are introduced, project aims and outcomes described as an umbrella spread open. Studio Leaders are encouraged to devise their own strategies to guide the students along their own interests as much as possible.

PROJECT DURATION: 5 weeks

VICTORIA PARK was designated a public park in the 19th century as an open green space for the people of the East End hence its local nickname ‘People’s Park’ or Vikkie Park. It is an important link in the Lea Valley green corridor starting at the Thames River at Limehouse, via Mile End Park through Hackney Marshes. A corridor that links the marshes and canal system whose locks assist boats to adjust to topographical changes through to West London and the Thames at Limehouse (south) and north towards Manchester and beyond.

FISH ISLAND, HACKNEY WICK is a district which straddles two East End Boroughs of London: Hackney & Tower Hamlets situated in a flood plain (Lea River) eased and industrialized via canals and motorways in the 19th century. It is a western fringe of the Olympic site. In its industrialized history, various science led technologies in this area were tested and claiming invention in the area, clay and geological substrates were excavated. Synthetic plastics, natural polymers, textiles, dyestuffs industry, an oil distillery, confectionary, paper mill, dry cleaning etc were developed as chemists, scientists and academics were hired by various companies to research and eventually manufacture readymade products and processes. The first London Sewers were placed in a straight line from Beckton to London which now is part of the raised level Capital Ring Greenway Path which cuts through the southern zone of Fish Island.

5 sites were chosen, a grand tour prepared, a tour guide secured, the date was set for the 1st Feb 2012. 70 students migrated from Canterbury to meet at St John’s Parish churchyard, Stratford at 10:30.

The second component of this brief was a selection of links (bridges, locks, train stations etc), which at the time (Feb2011) were operational, were once main arteries allowing access to Hackney Wick/Fish Island or were relatively clearly documented as possible arteries present and future (under construction) to enable questionable ‘public’ access to and from the Olympic site; part of a larger network of infrastructures (overland trains, canal systems, walking/cycling routes, etc).The focus of this brief is the fabrication, detail, technologies of a sheltering skin for each location. A 1:1 prototype was a requirement for submission.

In recent discourse on surface and membrane, the functionalization2 of surfaces (performance) or ‘technologisation’ of materials3 has been theorized to engage ‘not just with territorial, environmental and representational role (of the envelope) but a political (and social) one too…the building envelope is possibly the oldest and most primitive architectural element. It materializes the separation of the inside and outside, natural and artificial and it demarcates private property and land ownership (one of the most primitive political acts’4

This brief introduces our second years to the discourse of the ‘face’ of architecture. ‘With the statement about the house as second skin extending our sensory system, Michel Serres has expressed the idea of the envelope or shell of a building as a significant synthetic extension to our bodies, that aids us in relating to our surroundings. Here, concepts of the membrane and the surface stand for its openness, while concepts of the boundary stand for its closure. In fact the permeability of the shell is an essential measure of the relationship to the environment.’1

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KRISTINA KOTOV STAGE 2 CONVENOR CANTERBURY SCHOOL OF ARCHITECTURE UNIVERSITY FOR THE CREATIVE ARTS

ALONG THE OLYMPIC FRONTIER (AKA: HOW THE HELL DO YOU GET THERE?)

2

Melissa Wishart // Tutor: Kristina Kotov

Charles Weston Smith // Tutor: Kristina Kotov

Charles Weston Smith // Tutor: Kristina Kotov

Charles Weston Smith // Tutor: Kristina Kotov

A1

Cia Helenius // Tutor: Kristina Kotov

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R OVE P) O T 2( 8 Charles Weston Smith // Tutor: Kristina Kotov

Michael Chambers // Tutor: Gabor Stark

s: euk ers h ent n Ch amb Smit d Stu insto el Ch ston W icha s We us t M arle leni shar Ch a He a Wi mar Ci eliss Par M resh Pa

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Winston Cheuk // Tutor: Gabor Stark

Winston Cheuk // Tutor: Gabor Stark

S LK WA

Cia Helenius // Tutor: Kristina Kotov

Winston Cheuk // Tutor: Gabor Stark

AY

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A E IT Winston Cheuk // Tutor: Gabor Stark

Y WA

4

A1

Iain Sinclair

AY

R E V O OM T T O 2 (B )

s: y ent arb y d D Stuwen Kell app l O aniel e Cz shel D aggi s Bo M oma Th 16 Thomas Boshell // Tutor: Pedro Castelo

LKW Thomas Boshell // Tutor: Pedro Castelo

S WA

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Margaret Czapp // Tutor: Pedro Castelo

Margaret Czapp // Tutor: Pedro Castelo

B E IT AY

12

15

Paresh Parmar // Tutor: Kristina Kotov

Margaret Czapp // Tutor: Pedro Castelo

Daniel Kelly // Tutor: Adam Hiles

Paresh Parmar // Tutor: Kristina Kotov

Owen Darby // Tutor: Adam Hiles

Owen Darby // Tutor: Adam Hiles

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Melissa Wishart // Tutor: Kristina Kotov

Melissa Wishart // Tutor: Kristina Kotov

Melissa Wishart // Tutor: Kristina Kotov

* This post’s title is a reference to The Onion’s recent and very funny headline: Artists Announce They Have Found All The Beauty They Can In Urban Decay.

Sinclair’s vision ultimately suggests an ever tinier and more myopic introversion, a celebrating of the incidental, peripheral, neglected and marginal to the point where you can’t see anything else or do anything else ever again.

He’s right to rail against the class cleansing inherent in regeneration projects (although other people like Patrick Wright and Owen Hatherley have done this much better and with less sentimentality), but it’s hard to get away from his own bourgeoisie conceits and fusty contraryism. Whatever, his eyeor-ish traipsing around East London made me look forward much more to the 100 metres.

But buildings always replace other things. They are always about destruction as well as construction and we celebrate ones now that must have appeared insensitive behemoths when they were completed. As an architect it is difficult to share Sinclair’s deep but affected cynicism about new building. Sure, much of it is shit but then again, most of the buildings in the Olympic Park aren’t. A couple (Hopkins’ Velodrome and Zaha Hadid’s Aquatic Centre) even look genuinely beautiful. And if you can’t build a new urban park in a place like Stratford, where can you?

The hiking of rents in the area on the back of the games is shameful for sure, but it is more symptomatic of wider problems in the capital to do with the woeful lack of affordable housing.

Instead he offers an aestheticised vision of semi-dereliction. At one point during his film he pointed to a breakers yard and declared it as good as a Joseph Beuys artwork. This is the urban hipster version of shabby chic, an effete observation that recalls the British painters of Saint Ives patronising (in every sense) Alfred Wallis. At other points he wanders around expressing exasperation at builder’s hoardings causing him some minor inconvenience or rails at the cleaning up of the boating lake in Victoria Park. But these seem like the gripes of the terminal misanthrope, a Victor Meldrew-ish exasperation of life at its most petty and a hopeless railing against any form of change. It’s hard when knocking Sinclair not to come across as some vapid boosterist and one can sympathise with his visceral dislike of the language (and a lot of the effects) of regeneration, but he also has that hopeless, miserable English disease of thinking the worst of everything. The Olympics will be a disaster, he seems to say, simply because everything is.

Like Marvin the Paranoid Android wandering the Hackney Marshes, he suggests that all new building is pointless, all attempts at planning doomed and any development always the product of base venality.

Lately he’s been popping up all over the place, proselytising against the London Olympics, or promoting his latest book Ghost Milk, depending on which side of the divide you’re on. He has been in The Observer newspaper sparring with former Secretary of State for Culture, Media and Sport Tessa Jowell about the supposed ‘legacy’ of the games and he recently produced a short film for BBC2’s Newsnight. This film showed Sinclair at both his best and worst. There are many reasons to be sceptical and even downright hostile to the games - the tyrannical and absurd security measures, the treatment of river boat dwellers on the River Lea and the loss of allotments, natural habitats and open space amongst them. Sinclair is right to point these things out, but there are other arguments to be made about the economic and political effect of the games and Sinclair isn’t really making them.

Iain Sinclair divides people. To be honest, he divides me. I’m a big fan of some of his books, Downriver most specifically, but London Orbital and bits of Lights Out For The Territory too. His work undoubtedly has a degree of cultural importance. He has documented spaces and places, processes of urban change and renewal that might otherwise have gone ignored. He’s also guilty though of self-aggrandisement, self-parody, cronyism (endless vainglorious cameos from tediously eccentric friends) and, worst of all perhaps, a certain fetishisation of urban decay. Like a modern day aristocrat on the Grand Tour, Sinclair seeks out poverty and destitution and turns it into some aesthetic tableau. Rusty factory units are his romantic ruins and tramps huddled below underpasses his ruddy faced yokels.

______________________

CHARLES HOLLAND DIRECTOR OF FAT [FASHION ARCHITECTURE TASTE]

*PSYCHOGEOGRAPHERS CLAIM THERE IS STILL BEAUTY IN URBAN DECAY

18

21

Liam Fish // Tutor: Gabor Stark

Liam Fish // Tutor: Gabor Stark

22

Sam Lowe // Tutor: Kristina Kotov

Liam Fish // Tutor: Gabor Stark

Liam Fish // Tutor: Gabor Stark

24

Liam Fish // Tutor: Gabor Stark

Liam Fish // Tutor: Gabor Stark

AY W I ALK E GRE NW

Joshua Hunt // Tutor: Gabor Stark

E Joshua Hunt // Tutor: Gabor Stark

NG DG I R B 23

SIT

OC L D Sam Lowe // Tutor: Kristina Kotov

Sam Lowe // Tutor: Kristina Kotov

C E AY

s: ent ish t d Stuam F Hun Li shua owe Jo m L Sa

SIT D E

ES T A KG

s: r ent arbe d s B u St es ang wling f Jamin K Ra aou M than Ryan ny R ou Na avid Ami atsar n D gin ia K ilso r Ne lymp on W orte O mer th P rker Ca izabe s Pa El oma Th OL OR DF DL

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Negin Aminy Raouf // Tutor: Gabor Stark

Negin Aminy Raouf // Tutor: Gabor Stark

David Ryan // Tutors: Matt Shaw & Rhys Jones

Thomas Porter // Tutor: Matt Shaw & Rhys Jones

29

Thomas Porter // Tutor: Matt Shaw & Rhys Jones

Elizabeth Porter // Tutor: Pedro Castelo

Nathan Rawlings // Tutor: Pedro Castelo

31

Min Kang // Tutors: Matt Shaw & Rhys Jones

Elizabeth Porter // Tutor: Pedro Castelo

28

Min Kang // Tutors: Matt Shaw & Rhys Jones

Min Kang // Tutors: Matt Shaw & Rhys Jones

James Barber // Tutors: Matt Shaw & Rhys Jones

30

James Barber // Tutors: Matt Shaw & Rhys Jones

James Barber // Tutors: Matt Shaw & Rhys Jones

Cameron Wilson // Tutor: Pedro Castelo

Cameron Wilson // Tutor: Pedro Castelo

27

Olympia Katsarou // Tutor: Gabor Stark

Olympia Katsarou // Tutor: Gabor Stark

James Barber // Tutors: Matt Shaw & Rhys Jones

This is where our project comes in. Two of our collective, Warmbaby, recently moved to San Francisco and responded to a call for artists from a local group of curators. Our approach was to feed the curiosity of what is behind the boarded up spaces. Blank facades make you wonder; what is behind there? That then made us wonder, what *could be* behind there? We set out to ask the local community and interested tourists, to suspend reality and imagine the kind of spaces that they would like to be behind these boards. Their suggestions and feedback would then inform small models viewed through a spy hole from the street. Giving people an opportunity to imagine what this area could be like, not in an urban planning ‘big idea’ kind of way, but in small and curious ways.

In the past few years the city of San Francisco and other interested bodies have attempted a new kind of regeneration; addressing the area’s problems from many different angles in long-term smaller steps - avoiding the ‘big unified plan.’ One of these was to give big tax breaks to companies with offices in the area, this has seen companies such as Burning Man and Twitter move in. Other steps include addressing public safety and encouraging a variety of housing. Another is to encourage community based arts projects, and to create a ‘Mid-Market Arts District’. The cheap rents in the area have allowed artists to flourish here over the past twenty years or so, and investing and encouraging these groups has been largely successful with projects such as ‘Art in Storefronts’ (putting a cellist in the opticians for example) and the opening of small community galleries and studios, as well as theatres and dance companies. It is seen as important to nurture this area naturally, and allow the communities and projects that are there to develop in their own way, without ultimately gentrifying it and pushing out those who have lived there for years.

Mid Market Street is a thoroughfare through the heart of San Francisco, for 5 or 6 blocks in each direction it has fallen steadily into disrepair and crime over the past 80 years. In the 1920s, teeming with theatres and electric street cars, it was renowned as one of the great streets in the world. After the theatres declined in popularity and closed, various attempts were made at saving it through large-scale ‘beautification’ projects, which had the opposite effect. The Embarcadero Freeway compounded Mid Market’s troubles in the 50s, and the late 60s saw the city closing the street to traffic for 6 years to build the underground Bay Area Rapid Transportation system (BART), resulting in many shop closures. Its proximity to the high crime Tenderloin Area has resulted in a desolate, seedy and often dangerous area.

The scope for interaction is twofold; we ask visitors to this site, and locals on the street what they imagine could be behind these boards and we build some of their ideas into the models. Then locals and passers by look into the holes and imagine what could be there, and start to consider the hidden spaces and possibilities of their city.

Passers-by spy through the peep holes and see small models depicting fantasy ideas from local residents, shop or office workers. These fantastical little models sit behind the boarding, in the unseen spaces. The aim of the Market Street peep boxes is not to imitate realism, but to give a chance for the locals to imagine what could be in these private spaces. The glass lens (spy hole) as a device allows the participant to suspend reality as they peer through, imagining that they are really looking into a private fantasy world.

“Wouldn’t It Be Nice…” is a public arts installation for the Mid Market Art Project in San Francisco that asks people to engage with the city and wonder what could go into the empty buildings and lots on Market Street by inserting peep holes into the boarded up walls that reveal glimpses into fantastical worlds contained within peepbox models.

The piece was installed in the boarded up spaces on Market street, San Francisco in April 2012 and it is hoped it will be installed in London as part of the London Festival of Architecture 2012.

We would like to bring our peep box models over to London after their run in Mid Market Street. We want to recreate the peculiar, but familiar, fantasies of the San Franciscans in a London Street to share Mid Market’s story and to contribute to ‘The Playful City.’

The story of the site is all too familiar in American and English cities, where the out of town shopping malls and cinemas pull the life out of the centre of town. San Francisco’s engaging creative response is working, but it has a long way to go, and the level of participation from the local community is staggering. A framework has been created in which any interested party has support to create their own project and improve the area in a small way.

This is an inspiration for many high streets in ailing cities and towns across the US and the UK.

We built 4 boxes, each one responding to one or two suggestions from the public. The boxes were first installed in a gallery in the San Francisco Arts Institute one week (16-21 April 2012) prior to installation in the busy UN plaza, Mid Market Street (29 April-30 May 2012). We are hoping they will add, in their small peculiar way, to the re-imagining of the area as an Arts District. The aim of them is not to imitate reality, but to encourage thought and reaction to unconsidered possibilities for the area, and give locals a chance to visualise their ideas in-situ. It also reinforces the notion that planning for cities does not have to be top-down sensible and dogmatic, but it can be user-led, strange and adventurous instead. Something that the decline and the slow regeneration of Mid Market Street exemplifies.

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LUCY JONES WARMBABY DESIGN COLLABORATIVE

WOULDN’T IT BE NICE...?

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Roseanne Scott // Tutor: Adam Hiles

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Angeliki Manta // Tutor: Pedro Castelo

Roseanne Scott // Tutor: Adam Hiles

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tra s: Dimi t n d e ni- u Stu rosy poulo anta ff E ikro ki M cott M geli ne S ayes owe An sean M er H Ro illiam and W rt G Ku William Mayes // Tutor: Adam Hiles

ITE

Y

ON I T STA K WIC

William Mayes // Tutor: Adam Hiles

William Mayes // Tutor: Adam Hiles

WH

Kurt Gander Howe // Tutor: Adam Hiles

Kurt Gander Howe // Tutor: Adam Hiles

Effrosyni Dymitria Mikropoulou // Tutor: Pedro Castelo

Roseanne Scott // Tutor: Adam Hiles

GE D I BR E LAN T OS

William Mayes // Tutor: Adam Hiles

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SIT

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Roseanne Scott // Tutor: Adam Hiles

E E POS

S F E IT

us s: iz ent Ceng antho d u St nevs a Kle hi Bi dre Sheik An har ang Sa n Tu n W Xi oqia Zu W NEY K C HA

44 Zuoqian Wang // Tutor: Adam Hiles

Xin Tu // Tutor: Kristina Kotov

Xin Tu // Tutor: Kristina Kotov

Xin Tu // Tutor: Kristina Kotov

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Sahar Sheikhi // Tutors: Matt Shaw & Rhys Jones

Andrea Kleanthous // Tutors: Matt Shaw & Rhys Jones

Binevs Cengiz // Tutor: Adam Hiles

Binevs Cengiz // Tutor: Adam Hiles

GABOR STARK studied architecture at the Technical University in Berlin and at the Mackintosh School of Architecture in Glasgow. In 2000 he set up his own practice tx - büro für temporäre architektur in Berlin. The practice works on theoretical and realization projects focusing on temporal and programmatic aspects of urban transformation processes. The office has successfully participated in international design competitions and has worked on research projects commissioned by the Senate for Urban Development in Berlin and by the German Federal Ministry of Traffic, Building and Urban Development.

Gabor taught architecture and urban design as an assistant professor in Berlin before he joined the Canterbury School of Architecture, University for the Creative Arts in 2007.

MATT SHAW is an artist, architect and educator with a digital preoccupation and a passion for making. His work is driven by speculative use of digital technologies and continuous process of material experimentation. He is co-founder of ScanLAB Projects, leading experts in large scale 3D scanning, working for an international list of clients including The BBC, The Science Museum and Greenpeace International. He currently teaches second year Architectural Design at the University for Creative Arts, Canterbury and is Visiting Lecturer at the Bartlett School of Architecture. Current building projects include The Rope House @ Secret Garden Party, a design and fabrication collaboration with Rosie Jackson, Rhys Jones and students from UCA

KRISTINA KOTOV is the Stage 2 Arch Convener at CSA. She studied at University of Illinois-Chicago, and the AA. She also teaches MA Interior & Spatial Design at UAL-Chelsea, as well as working collaboratively on small architectural projects. Since 2005 she has run the LT Ranch Project Space in Lithuania, a space for summer schools and residencies. Her art & research practice is in film: demolitions, dismantling and migratory spatial and textual language, duration and place-making.

RHYS JONES is a practising architect at Jestico+Whiles in London. Rhys has experience of working on a wide range of projects, but currently works primarily in the education and hospitality sectors. He is a Design Tutor on the degree course at the University of Creative Arts, Canterbury and is a visiting critic at the Bartlett School of Architecture and UWE. Rhys is involved in a range of arts/architecture projects, most recently The Rope House; a Pavilion building designed in collaboration alongside Matt Shaw for Secret Productions

LUCY JONES is an architect working in London. She is part of design collective Warmbaby who build installation and artworks in sites from the English countryside to the Nevada desert. Her personal research interests include the exploration of visceral space, of film space, utopia, the relevance of physicality inspatial experience and the societal impact of the destruction of architecture. Lucy teaches first year architecture at University for the Creative Arts, Canterbury.

CHARLES HOLLAND is an architect, writer and teacher. He is a director of the London based practice FAT and a Diploma Studio Tutor at the University of the Creative Arts, Canterbury. He writes about architecture and design for a number of magazines including Icon, RIBA Journal and Building Design and blogs at www.fantasticjournal.blogspot.com

ADAM HILES graduated with Distinction from Canterbury School of Architecture, UCA in 2011. Adam’s work explores the latent socio-political tectonics of ‘narrative infrastructure’ - a departure from the notion of infrastructure as a mere pragmatic element that organises territories. He is also interested in alternative ways of mapping the ways that individuals are manipulated by the urban realm, and using these to develop phenomenological architecture. His work has been twice nominated for different RIBA awards and twice exhibited at the Royal Academy of Art. He also been featured in London’s Dreamspace Gallery, the Folkestone Triennial and numerous other exhibitions across London and the South-East. Adam has worked in practice in London and Canterbury and is currently a Second Year Studio Tutor at Canterbury School of Architecture, UCA

PEDRO CASTELO is a London-based architect, lecturer, curator, and filmmaker. He graduated from the School of Architecture of the University of Porto in 2000, and holds an MA in the Histories and Theories of Architecture from the Architectural Association (2004). Since his graduation he has worked as an architect in practices in Portugal and the UK including David Chipperfield and Allies & Morisson. His doctorate research, undertaken at the London Consortium, supported by the FCT Foundation for Science and Technology, explores the role of independent Portuguese architectural magazines from the 1950s and 1960s in shaping Portuguese built environment, and more broadly, culture, at that time and beyond. Castelo has been teaching at UCA Canterbury since 2008.

ALLAN ATLEE is Associate Dean of Architecture and Design at the University for the Creative Arts. He is a founding member of the design co-operative GLAS, which undertook community based design consultancy; art projects; agit-prop works; exhibitions and educational workshops. He has curated and designed a number of architectural exhibitions, including ‘LANDFORMS: Contemporary Scottish Architecture’ shown at the Venice Architecture Biennale 2004 www.glaspaper.com

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BIOS

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FDA Interior Design Chelsea College of Art and Design Tutor: Tutors: Melissa Appleton, CheeKit Lai, Tomris Tangaz In collaboration with the Yard Theatre & Jay Miller's production of the Bacchae Students: Lidiane Garcia, Simonas Mitkevicius, Serena Grassano, Jeremy Richard, Emily Lambert, Katie Bills, Asari Inameti, Qianyi Lin, Dongzi Yang, Aleksandra Kanczura The Theatrical Wasteland All across the land, redundant theatre sets gather dust in dark backstage rooms. After the performance, they are abandoned, broken up and forgotten. The Yard Theatre in Hackney Wick, near to the site of the 2012 Olympic Games, emabraces the temporal and changing nature of theatre and performance spaces. The Yard occupies an abandoned warehouse space and has been designed using reclaimed local materials by Practice Architecture.

The client for this live brief, The Yard Theatre and its artistic director, Jay Miller, requires an exciting new stage set and performance space for a production and modern interpretation of The Bacchae by Euripides.

Embracing the temporary nature of performance, the challenge to design a space that celebrates its seemly, use and disassembly over a matter of just days and weeks.

‘Web’ diagrams Studies with intersection of lines to establish the CONTROL points on stage.

Control Point 1

Control Point 2

Control Point 3

Control Point 4

Control Point 5

Control Point 6

Control Point 7

Greenwich University Unit 6/ BA Tutors: Cordula Weisesr, Rahesh Ram cordula@wag-architecture.co.uk/ c.weisser@gre.ac.uk Students: Bilkan Ali, Sonam Dahya, Haroulla Georgiou, Mark Hodges, Abdel Khogali, Dinesh Kutowara, Petya Nikolova, Thelam Mannion, Anna Mikonnen, Gamze Ozevlat, Daniel Silva, Tassos Tsertikidis, Amar Vara Landscapes of EmPOWERments Social enterprise and architectural ecologies Site: Hackney Wick. An exciting area on the fringes of the Olympic Park, earmarked for imminent regeneration. It has established light industrial uses and a long established artists, artisans and small manufatcurers community.

A new AAP (Area Action Plan), currently under consulation within the adjoining Councils, envisages a new town square around the station. This site has provided the main focus of our investigations. Students have developed their own masterplan for this (albeit small) area and proposed buildings with programmes they seem fit; resulting in a new Hub for a post-neoliberal city fragment.

Proposals react to, and provide social, economical and architectural alternatives for the recent developments across the Park - namely Stratford International and Westfields.

Bilkan Ali

Anna Mikkonen

Gamze Ozvelat

Daniel Silva

Mark Hodges

Petya Nikolova

Kingston University Year One Tutors: Christoph Leuder, David Lawrence, David Knight, Helen Goodwin, Mario Pilla

The Olympic Legacy This year the school is addressing The Olympic Legacy. Addressing the issue of Legacy, after the sports spectacle has passed, through exploring how we can help daily life in the city.

Hackney Wick is a city quarter at the North-eastern edge of the Olympic Park, separated by the ‘Hackney Cut’, a navigation channel of the River Lea. Hackney Wick’s southern edge is bounded by the Hereford Union Canal, and its western and northern edges by the A12.

By investigating the character of Hackney Wick; the distinctive elements of the neighbourhood which create a sense of place. We then analysed the proposed activity, the manufacture, repair and sale of bicycles, food and community art space . Finally bringing site and activity together in an architectural proposal responding to the everyday life of the site.

Cycle Stop in Fish Island Kingston University First Year BA Architecture Studio 1.3

Julia Kubisty

Simon Dean

Julia Kubisty

Simon Dean

Wick Session No:05 ‘Picking up the pieces’ brought together makers and cultural producers from the Hackney Wick area which explore issues around, recycling, reuse, and the collective production of public situations. The session alongside the academic exposition Between the A12 and Lea River, featured projects and practitioners which draw from the physical, cultural and creative resources of Hackney Wick and its proximity to produce inventive solutions. Highlighting ways of working and thinking which encourage a hands on approach to making with results ranging from stools to temporary cultural spaces and everything in between. Speakers gave a short introduction to their work followed by an open conversation.

Speakers included: Bruce Ingram Neil Mcdonald Martino Gamper Takeshi Hayatsu Assemble public works The session was part of the exposition Between the A12 and Lea River organised by Colin Priest and will be hosted by the Wick Curiosity shop, supported by public works and r-urban and Wick on Wheels.

Slides from a presentation given by Kingston University architecture tutor, Takeshi Hajatsu at the Wick Session held at Sugarhouse Studios on Tuesday 3rd July 2012.

Oxford Brookes University BA Unit F Tutors: Bruno Silvestre & Christina Godiksen bruno@bs-architecture.co.uk , cg@cg-architecture.com

Students: Zineb Benslimane, Matthew Betts, Hester Buck, Matthew Gibbs, Huda Jaber, Roshan Jayatissa, Ales Kacin, Vaagisha Kapur, Ara Ko, Jennifer Macro, Plamena Momcheva, Konstantinos Papaoikonomou, Ben Pollock, Tom Reynolds, Ava Richardson, Yoana Spasova, Susanne Stavseng, Guinevere Stephens, Rena Tsangari, Hallam Tucker, Helena Tunbridge, Christopher Wejchert, Thomas Wildbore, Elizabeth Witney, Grace Kee Weung Wong Topographies and Times Our journey started with surveying the urban topography (section / photographic essay and film), knowledge firstly materialized in a live project in collaboration with Assemble Studio – a temporary cultural venue in Sugarhouse Lane. Subsequently, the complexity of the main project (production, exchange, dwelling) is largely due to the topographical conditions of each of the three sites situated in the corners of Sugarhouse Island. These three sites sample the urban nature of Stratford, an urban landscape largely formed by the topography of infrastructure, where issues of temporality are raised by the catalyzing impact of the Olympic legacy on the fabric of the postindustrial city.

Collaborators: Assemble Studio With thanks to: Assemble Studio, Land Prop

Gro Arch

P03. Stratford Phase I - Sugarhouse Lane | Group Work + Individual Work Following early studies about the urban topography of Stratford, the unit developed a collaborative project with Assemble Studio CIC, based in Sugarhouse Lane, on the south side of Stratford High Street. The architecture recently built by Assemble - the Cineroleum in Clerkenwell and the Folly for a Flyover in Hackney Wick - set the architectural framework and the agenda for this project, in terms of subjects and issues debated within the studio and taken into consideration in the design work. Debate, already initiated, on issues of urban topography and temporality as well as aspects of materiality, [LJ[VUPJZ HUK JVUZ[Y\J[PVU TL[OVKZ ^LYL PU[LUZPÄLK [OYV\NOV\[ [OL JVSSHIVYH[PVU ^P[O (ZZLTISL The purpose of the project was to set up design stategies to extend - in time, use and space - an existing programme ZL[ V\[ MVY [OL ZP[L I` (ZZLTISL ;OL HPT ^HZ [V [YHUZMVYT [OL ZP[L PU[V [OL JVSSLJ[P]L»Z OVTL HUK H YLZV\YJL VWLU [V [OL SVJHS W\ISPJ *VUZPKLYH[PVU ^HZ HSZV NP]LU [V [OL PU[LNYH[PVU VM UL^ \ZLZ HUK HJ[P]P[PLZ PU[V (ZZLTISL»Z WYVWVZLK programme of a workshop and studio space, performance/screening space, cafe, storage and other ancillary facilities.

0U NYV\WZ ^L ^VYRLK HZ H KLZPNU [LHT PU HU HYJOP[LJ[\YHS WYHJ[PJL 6UJL [OL WHY[Z VM [OL WYVQLJ[ OHZ ILLU PKLU[PÄLK HUK design work delegated, each student developed an element of the design individually, however in permenant dialogue with the other elements of the team. It was crucial that the individual parts of the group project formed a consistent architectural intervention as a whole.

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;OL JVUJLW[ ILOPUK V\Y WYVWVZHS PZ IHZLK VU THUPW\SH[PVU VM ]PL^Z YL]PL^PUN [OL WV[LU[PHS VM L_PZ[PUN I\PSKPUNZ HUK YLSH[PUN [OLPY M\UJ[PVU [V SHJHS necessities whilst in the same time attracting the urban movement to Sugar House Lane. We also tried to review the potential of present-day theatre amids our 21st century livingand we are thereby offering the site four main structures. ;OL ÄYZ[ PZ IHZLK PU [OL JVYYPKVY I\PSKPUN [OH[ ^PSS IL YLKLZPNULK [V HSSV^ HY[PZ[Z HUK Z[\KLU[Z [V L_VLYPTLU[ ^P[O TH[LYPHSZ HUK WYVK\JL ZV\UK ;OL JVYYPKLVY I\PSKPUN HSZV H[[LTW[Z [V L_HTPUL [OL WV[LU[PHS VM ZV\UK HYJOP]L ;OL ZLJVUK Z[Y\J[\YL PZ H[[HJOLK [V [OL MHJHKL VM [OL JVYYPKVY I\PSKPUN facing to the courtyard and allows for seating arrangement for the site. The third structure is the folly high up placed in different parts of the site and that offer multiple views across canary wharf and down on the courtyard stage. The fourth project is one that offers Sugar House Lane a local bakery HUK ]HYPV\Z V[OLY WYVK\J[Z [OH[ HYL IHRLK VU ZP[L K\L [V [OL L_PZ[HUJL VM [OL MVYTLY PUK\Z[YPHS JOPTUL`

Group Three | Zineb Benslimane, Ales Kacin, Helena Tunbridge, Elizabeth Witney Fictions and Narratives

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Closed Space

Closed Space

Open Space

Generic Entrance

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05

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Architecture and city as composition

6\Y WYVWVZP[PVU MVY :\NHYOV\ZL 3HUL ^HZ [V I\PSK H ÅL_PISL SPNO[^LPNO[ HUK HKHW[HISL ZVJPHS ]LU\L >L KLJPKLK H Z[YVUN SVJHS WYLZLUJL VM T\ZPJHS Z[\KLU[Z HUK [OL ÄST PUK\Z[Y` ^V\SK ^HYYHU[ HU L_[LUZPVU [V [OL L_PZ[PUN JHML HUK JPULTH WYVWVZHS [V MHJPSP[H[L a space for the perfoming arts. Accessible for amateurs or professionals. The courtyard space and the surrounding buildings already have a shape that suggests a stage and a seating area, possesing very positive inherent acoustic qualities. The proposal comprises [OYLL WHY[Z [OL Z[HNL [OL ZLH[PUN HUK [OL HSSL` HJJLZZ YV\[L ^OPJO ^P[O P[Z ZPNUPÄJHU[ ^PK[O WYV]PKLK HU VWWVY[\UP[` MVY H ]HYPHISL JPYJ\SH[PVU ZWHJL [V TH_PTPZL [OL \ZLHISL HYLH VM [OL ZP[L (SS ^HSSZ ^V\SK IL I\PS[ \ZPUN H YLHKPS` H]HPSHISL HUK YLJ`JSHISL TH[LYPHS! wooden pallets. Almost all the planned walls would be moveable, some sliding, some detachable. The alleyway would contain a series of large swinging and folding doors built from construction site hoarding which would serve to partition the space when necessary. The result is a structure than will cater for a diverse range of activities and performances; plays, gigs, recitals, rehearsals, lectures.

Group One | Susanne Stavseng, Guinevere Stephens, Tom Wildbore

Ticketing

Cloak Room

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Reception Area

Reception Area

Personal Entrance

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04

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Gallery

Gallery

Gallery

Gallery

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01. overview site plan 02. section through existing warehouse and proposed seating and stage area 03. plans showing deconstructable stage 04. plans showing adaptable alleyway 05. model of seating

Set extension

Backstage

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01. overview site plan 02. plans, sections, elevations of folly 03. elevation of proposal in alleyway 04. sketch of bakery 05. plan and section of bakery

Isolate alleyway from theatre

Backstage Area/ Set storage

Backstage Area/ Set storage

Completely Open

Completely Open

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02

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stage area

bisto + viewing point

exhibition space + seating area

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library

6\Y MVJ\Z ^HZ VU [OL PKLH VM ºYLHZZLTISL [OL WYL L_PZ[PUN» PU VYKLY [V JVTWSLTLU[ [OL J\YYLU[ HLZ[OL[PJ ILH\[` VM [OL ZP[L 6\Y KLZPNU L[OVZ ^HZ [V YL\ZL YLJVUZ[Y\J[ [OLU YLHZZLTISL VIQLJ[Z MV\UK PU [OL ULHY ]PJPUP[` PU VYKLY [V JYLH[L H UL^ M\UJ[PVU ,_HTWSLZ VM \ZL ILPUN [YHMÄJ JVULZ \ZLK HZ a light installation, pallets for seating, scaffold tubes from the demolished building used o create steel frame structures for our proposals, corrugated pvc for cladding, fence rail, boundary fence panels used as a new uniform dimensions for a surface. Finally, a shipping container was used to house a library in the foundry building. This design menthodology led us to create a multipurpose space for Sugarhouse Lane. The aim of the proposal on the large scale is for Sugarhouse Lane to become a bultural interchange for Stratford, improving access links between the future new communities which ^PSS MVSSV^ WVZ[ VS`TWPJZ ;OL ZWHJL PZ JVTWVZLK VM HU L_OPIP[PVU ZWHJL HUK SPIYHY` H ZOLS[LYLK T\ZPJ Z[HNL HUK HU LSL]H[LK IPZ[YV HIV]L [OL JVYYPKVY I\PSKPUN ^OPJO ^PSS NP]L WHUVYHTPJ ]PL^Z VM [OPZ [YHUZP[PVUHS LU]PYVUTLU[ )` YLHZZLTISPUN [OL WYL L_PZ[PUN ^L HYL JYLH[PUN HU LU]PYVUTLU[ ^OPJO HSYLHK` L_PZ[Z PU ZVTL MVYT 6\Y PU[LU[PVU PZ UV[ VUL VM JOHUNL I\[ TVYL VM H Z`TWH[OL[PJ L]VS\[PVU

Group Four | Rosham Jayatissa, Konstantinos Papaoikonumou, Tom Reynolds Aesthetics and morphologies of control

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In this project we wanted to create an event made by its users for its users to which visitors can contribute something and feel a sense of authorship after they leave. The live library is a project involving the participation of its visitors. The space evolves throughout the duration of the event. Small marks made by the users constitute the make-up of a series of books that inhabit a modest bookshelf running through the three main areas of the site. Visitors enter the site and collect a blank book from the shelf. Following the bookshelf round towards the courtyard, the user enters the foundry I\PSKPUN ^OLYL [OL` ZP[ MVY HZ SVUN HZ [OL` ^PZO ^OPSZ[ HKKPUN [OLPY JVU[YPI\[PVU [OL IVVR ;OPZ IVVR PZ [OLU JVU[YPI\[LK [V [OL NYV^PUN SPIYHY` PU [OL ÄUHS ‘display’ area. Here the user can pick up any book and utilise the seating area whilst enjoying looking at the marks of previous visitors or continue into [OL L_PZ[PUN I\PSKPUN ;OPZ [OYLL WHY[ WYVJLZZ HSSV^Z MVY H I\PSK \W VM IVVRZ PU ºKPZWSH`» ZPT\S[HULV\Z [V H KLJYLHZL PU ºJVSSLJ[PVU» ]PH \ZLY PU[LYHJ[PVU [OH[ [HRLZ WSHJLZ PU ºWYVK\J[PVU» ;OL IVVRZOLSM PZ [OL YPIIVU [OH[ IPUKZ [OL [OYLL ZWHJLZ [VNL[OLY 0[ PZ MVYTLK [OYV\NO [OL QVPUPUN VM ZP_[` ZP_ KVTLZ[PJ shelves. The shelf has been designed to be easily assembled by anybody with universal instructions. This allows for a community build which is in line with our concept of user authorship.

Group Two | Matthew Gibbs, Jennifer Macro, Ava Richardson Scale of detail vs Urban Scale

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lobby

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library

fence footing stairs

library

seating area with pallet chairs

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bistro

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reading area

01. masterplan of proposal 02. model of alleyway 03. model of courtyard stage 04. long section through alleyway 05. south elevation of coridoor building 06. long section through library

01. wall mount detail + collection shelf perspective 02. ceiling suspension detail + production shelf perspecive ÅVVY TV\U[ KL[HPS KPZWSH` ZOLSM WLYZWLJ[P]L 04. plan of proposal 05. section through display seating 06. collection shelf sections showing the decrease of books over time + perspective view of the collection shelft in context of the alleyway from the high street 07. internal views of production within the foundry building

contrainer

steel frame

piazza

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The aim was to elevate visitors up off the ground plane to a position which they can view their surrounding community and urban typography. By providing small spaces in which conversations between community members and visitors can happen, the hope is to build the strength of the Z\YYV\UKPUN JVTT\UP[` [OYV\NO [OLZL JVU]LYZH[PVUZ ,HJO ZWHJL MYHTLZ H ZWLJPÄJ ]PL^ Z\JO HZ [OL UL^S` JVUZ[Y\J[LK YLZPKLU[PHS ISVJRZ [OL under construction area and the chimney in the courtyard. Each of these views across the rooftop topography will hopefully inform the conversations IL[^LLU Z[YHUNLYZ ^P[OPU LHJO PUKP]PK\HS ZWHJL ( Z[HNL PZ HSZV I\PS[ PU[V [OL ZJHMMVSKPUN THZZ [OH[ PZ PU Q\_[HWVZP[PVU ^P[O [OL J\YYLU[ Z[Y\J[\YLZ ;OPZ will provide and out door multifunctional area for community performances as well as the possibility of night time out door cinema screenings. Elevated above this stage is a promenade which the small spaces form chaotic nodes of scaffolding at its tips.

Group Seven | Hester Buck, Ben Pollock, Yoanna Spasova The canal, Greenway & Fish Island

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Our proposal for Sugar House was primarily geared towards supporting Assemble CIC’s plan for the interior of Sugar House as well as responding to the OPLC’s desire to regenerate certain areas and communities in East London through cultural and creative activities. Abandoned or disused pallets from the surrounding industrial area could be salvaged and used as easels/canvases in an event entitled ‘Paint Your Pallet’ which would take place in the Sugar House courtyard. Families from the community could come and take part in this activity designed to spark new relationships and unite the JVTT\UP[` 7HSSL[Z ^V\SK HSZV IL \ZLK PU [OL JV\Y[`HYK [V JYLH[L ZLH[PUN PU[YPN\PUN WH[[LYUZ VU [OL ÅVVY [V KPYLJ[ WLVWSL HUK IPJ`JSL WHYRPUN 6UJL painted the pallets would be mounted onto the Sugar House façade, creating a community mosaic in time for Assemble CIC’s theatre/café opening.

Group Five | Ara Ko, Plamena Momcheva, Chris Wejchert Infrastructure, Noise, Pollution

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01. overview of proposal ^HSS Ä_PUN KL[HPS 03. perspective view of alley 04. pallet painting 05. view of proposal from startford high street

01. masterplan of proposal 02. section 03. night view from stratford high street 04. day view from high street 05. model of viewing platform 06. elevation of alley 07. section of viewing platform 08. model of viewing platform

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Community Garden Based on the community based work that Assemble have produced in the past, the design focuses on creating a Community Garden. The design is split into three parts, collecting, transporting and cultivating rain water to aid the walled garden located in the Folley Building, run by local residents. The project has been designed thus: Collecting Rainwater- Grace Weung, Transporting Water- Huda Jaber, Walled Garden- Matthew Betts. ¸0 ILSPL]L [OH[ [OL ÄYZ[ TLTVY` VM ^OH[ `V\ ZLL PZ X\P[L PTWVY[HU[ +\YPUN T` ÄYZ[]PZP[ [V [OL ZP[L 0 OHK H YLHSS` SVUN ^HSR YLHJOPUN Z\NHYOV\ZL SHUL ;OL ÄYZ[ PTWYLZZPVU VM SV^LY ZR`SPUL PU [OL [OYLL TPSSZ IHJR `HYK MHZJPUH[LK TL 0[ PZ ILJH\ZL VM [OL ]HZ[ KL]LSVWTLU[ VM [OL JP[` ILJH\ZL VM [OL VS`Tpic games. From the skyline, you are able to notice the temporarity of the time related to sugarhouse lane and also the changes of day and night.

0UZ[HU[S` 0 KLJPKLK [OPZ ^PSS IL T` KLZPNU [OLTL MVY [OPZ WYVQLJ[ ;V OPNOSPNO[ [OL PKLH VM MYHTPUN [OL ZR` PZ H KPMÄJ\S[ [HZR 0 ^HU[ WLVWSL [V Z[VW [OLPY pace and start notice this moment of sky which I felt was quite important. It is not just about looking at the sky but also about seeing the temporality of space in relation to time. My design developed into a frame that was a platform to view the sky while harvesting water from the roof. - Grace W ;OL ÅV^ VM ^H[LY PZ SHYNLS` KLWLUKLU[ VU NYH]P[` )` YLS`PUN VU [OL ]VS\TL VM ^H[LY NYH]P[` HUK WVZP[PVU VM H WP]V[ [OL KPZWLYZHS VM ^H[LY JHU IL JVU[YVSSLK 0U [OL KLZPNU 0 OH]L MVJ\ZLK VU L_WSVP[PUN [OPZ Z`Z[LT ZV [OH[ ^H[LY OHZ ILJVTL [OL MLH[\YL [OL JVU[YVSSPUN MVYJL PU [OL ^H[LYMHSS VM H mechanised system. At night, the system lights up, so that only the water can be focused on, thus creating a mechanical landscape in the day, and H ÅVH[PUN SHUKZJHWL H[ UPNO[ )` JYLH[PUN [OPZ Z`Z[LT ^H[LY ^PSS IL [YHUZWVY[LK MYVT [OL JVSSLJ[PVU WVPU[Z [V [OL MV\UKY` I\PSKPUN (U VYNHUPJ MVYJL MVY H mechanical landscape. - Huda Jaber The connecting yards behind the sugarhouse were once a waterway known as the Three Mills Back River. London Thames Gateway’s land use and design brief proposes a pedestrian route to follow that of the canal. I decided to design a new connection through the foundry building, creating a ^HSSLK JVTT\UP[` NHYKLU ^OLYL WLVWSL JV\SK YLÅLJ[ \WVU [OL WHZ[ P OH]L KLZPNULK HU LSL]H[LK ^HSR^H` [OYV\NO [OL KLYLSPJ[PVU ^OLYL OHUNPUN WVJRL[Z VM ]LNL[H[PVU ^PSS LUSP]LU HUK JVU[YHZ[ ^P[O [OL L_PZ[PUN ZP[L 4H[[OL^ )L[[Z

Group eight | Matthew Betts, Huda Jaber, Grace Wong Nature as city, city as nature

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;OL HTIP[PVU MVY Z\NHYOV\ZL SHUL ^HZ [V JYLH[L H WLYMVYTHUJL L_OPIP[PVU ZWHJL [OH[ HSSV^LK MVY [OL NYV^[O VM `V\UN WLVWSL HUK [HSLU[ VM [OL HYLH ;OL WYVQLJ[ ^HZ ZWSP[ PU[V [OYLL ZLWHYH[L WHY[Z [V HJJVTTVKH[L HU LU[YHUJL L_OPIP[PVU ZWHJL H WLYMVYTHUJL HYLH HUK H ZLH[PUN ]PL^PUN WSH[MVYT ;OL HSSL`^H` OHZ ILLU PU[YVK\JLK HZ HU L_OPIP[PVU ZWHJL PU ^OPJO ]PZP[VYZ LU[LY Z\NHYOV\ZL SHUL 0U[LUKLK [V YLÅLJ[ [OL JVTWSL_P[` VM [OL Z\YYV\UKPUN area recorded during site analysis. Several ideas followed that introduced a small temporary space that was easily adaptable to suit the artworks of show. It developed into timber pieces that can fold or unfold, creating many different temporary spaces. A performance area would be introduced PU[V [OL JV\Y[`HYK MVSSV^PUN [OL [YLUK VM [HSLU[ PU[YVK\JPUN H Z[HNL MVY SVJHS WLYMVYTLYZ 0UZWPYLK I` 9HZT\Z :]PUNLS»Z L_WLYPTLU[HS HUHSVNV\Z TV]PUN Z[Y\J[\YL RPULJ[PZ HUK TV]LTLU[ ^LYL L_WLYPTLU[LK ^P[O ;OL Z[HNL KL]LSVWLK PU[V H T\S[P SL]LS WLYMVYTHUJL WSH[MVYT [OH[ ^LYL JVUULJ[LK by mechanical means. Lastly the installation of a viewing platform/seating area was to bring the project together and unify the dissipated parts of the project. Taking advantage of the foundry building located at the back of the courtyard, a seating area is proposed that encroaches onto the roof. Achieved through benches hung from wire supports using the incline of the roof, cinema style rows are available for viewers to watch the performance. The platform also acts as a seating area throughout the day due to its lack of domination in the courtyard, which will be used as a car WHYR K\YPUN X\P[L WLYPVKZ ;OL PU[LY]LU[PVU VMMLYZ ]PL^Z [V [OL Z\YYV\UKPUN [VWVNYHWO` HZ P[ PZ LSL]H[LK HIV]L PTTLKPH[L JVU[L_[ YLHJOPUN V\[ IL`VUK its immediate use. The whole installation would be created using recycled materials that are readily available, from cardboard tubes to scaffolding WSHURZ )\PSKPUN TL[OVKZ ^V\SK IL LHZPS` \UKLYZ[HUKHISL [V HJOPL]L TH_PT\T V\[W\[ MVY [OL [LTWVYHY` Z[Y\J[\YLZ ;OL PUZ[HSSH[PVU OHZ [OL PU[LU[PVU [V appreciate and grow talent in the community through giving performers a platform on which to begin.

Group Six | Vaagisha Kapur, Rena Tsangari, Hallam Tucker Time, Tempo, Rhythm and Movement

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01. masterplan of proposal 02. section of whole proposal 03. internal view of water transportation 04. exploded perspective of water transportation 05. materiality study 06. conceptual visual of water transportation

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01. plan of whole proposal 02. elevation of foundry building WLYZWLJ[P]L ]PL^ VM HSSL` ^OPSZ[ PU \ZL I` [YHMÄJ 04. perspective view of alley whilst exhibition is on 05. site relative to canary wharf 06. foundry building model 07. foundry building model 08. detail 09. perspective view of foundry building

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P05. Stratford Phase II - Three Mills Island | Individual Work ;OL ÄUHS WYVQLJ[ VM [OL `LHY ZV\NO[ [V IYPUN [VNL[OLY HSS [OL SLZZVUZ SLHYU[ MYVT :[YH[MV Quarry project in Portugal. Key issues involved addressing the temporal nature of the anticipating the Olympic legacy in the area.

The brief is very similar to the Quarry project, requiring: A place of production & exchange; a building and a public space comprising the foll

England London Three Mills Island, Statford lat : 51.5422° N long : 0.0033° W Climate : 2°c - 22°c

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a. Production, part temporary/part permanent, for transient uses, the dominant use.

The production spaces accommodate a range of activities related to the manufactur culture or knowledge. b. Exchange, permanent building, dominant use + external space for exchange of s The exchange space(s) at different times of the week, of the day, or simultaneously, events of exchange. Likewise this can be exchange/consumption of goods or excha c. Dwelling, permanent, non-dominant use.

The dwelling spaces are intended as an ancillary/supporting use. Any type of dwellin ILK IYLHRMHZ[ ZTHSS OV[LS Z[\KLU[ YLZPKLUJL HY[PZ[Z» Z[\KPVZ YLZPKLUJL JHYL [HRLY d. Belvedere and/or bridge, integrated or separated from the building. ;OL ILS]LKLYL WSHJL VM PUKP]PK\HS JVU[LTWSH[PVU BV\[^HYKZD PZ [OL YL]LYZL JVUKP[PVU [ L_JOHUNL H WSHJL VM JVSSLJ[P]L JVU]LYNLUJL BPU^HYKZD 42

:[YH[MVYK LHYSPLY PU [OL `LHY HUK MYVT [OL of the site, the post-industrial situation and

he following:

use. facture of goods or production of arts,

e of similar scale. ously, accommodate a number of different exchange of ideas/place of debate

dwelling is considered, such as residential, [HRLY L[J

S I TE | 123

1 2 3 Each student had the choice of one of three sites located on Three Miills Island:

Site 1 – 1 sugarhouse Lane Edge condition – High Street, Three Mills Wall River, Sugar House Lane Existing condition within – decaying/derelict industrial buildings, awaits development Urban Context – surrounded by high rise residential, low rise residential and light industrial premises.

Potential to relate to Pudding Mill Lane DLR Site 2 – Three Mills Lane Edge condition – junction of River Lea with Three Mills Wall River.

Existing condition within – car parking at the end of Three Mills Lane + 4 to 8 storey residential building in peninsula <YIHU *VU[L_[ ¶ IL[^LLU ( HUK ;LZJV»Z JHY WHYR HUK ;OYLL 4PSSZ .YLLU Three Mills lane has controlled access, no public access to site. :P[L ¶ 4LLZVU»Z >OHYM Edge condition – A12/Blackwall Tunnel Northern Approach, A11/Stratford High Street, bisected by River Lea between River Lea. Surrounded by multiple levels of viaduct, tunnel, water, bridges and tow paths Existing Condition within – Empty plot Urban Context - major local junction, infrastructure, industrial & residential

KP[PVU [V [OL WSHJL VM 44

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:[YH[MVYK L_PZ[Z HZ H ZLYPLZ VM PZSHUK JVTT\UP[PLZ PU H ZLH VM YVHKZ PZVSH[LK I` [OL PUMYHZ[Y\J[\YL ;OL I\PSKPUN HJ[Z HZ H J`JSL WH[O JYLH[PUN H SPUR between Stratford High Street and Bowe; it enables the cyclist to bye-pass a roundabout that has seen a series of fatal crashes in the last year. Bike ^VYRZOVWZ ZLY]L [OL WHZZPUN [YHMÄJ VM IPRLZ [OYV\NO [OPZ SL]LS ;OL JSVPZ[LY MVYT VM T` I\PSKPUN IV[O LUNHNLZ HUK VIZJ\YLZ P[Z JVU[L_[Z! P[ ISVJRZ V\[ [OL ^VYSK HYV\UK OV^L]LY HSZV JOHUULSZ [OL PU[LYUHS TV]LTLU[ VM WLVWSL [OYV\NO P[Z ^PUNZ ;OL [VW ÅVVYZ VM T` I\PSKPUN HJ[Z HZ H TV[LS WYV]PKPUN L_[YH HJJVTTVKH[PVU MVY [OL 6S`TWPJZ HUK [OL Z\IZLX\LU[ MHJPSP[PLZ P[ ^PSS WYV]PKL KYH^PUN I\ZPULZZ MYVT [OL HKQHJLU[ TV[VY^H` ;OL SV^LY SL]LSZ VM [OL I\PSKPUN HYL ÅL_PISL ZWHJL [OH[ JHU IL OPYLK I` SVJHS YL[HPS I\ZPULZZ [V [HRL HK]HU[HNL VM [OL WHZZPUN [YHMÄJ ( SL]LS VM [OL I\PSKPUN PZ KLZPNULK HZ ÅL_PISL MHJ[VY` ZWHJL HJRUV^SLKNPUN :[YH[MVYK»Z industrial past and providing for its changeable future. Arches and vaulted corridors dominate the facade of the building, acting as both arcade and bridge, navigating the different levels of the site. The hierarchy of arches speaks of the activity behind, deriving their size and proportion from the needs of the users.

hester buck | II

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The Algae Industrial and Urban Village consists of three main buildings as part of a four element composition to the overall scheme. Adjacent to the /PNO :[YLL[ PU :[YH[MVYK HUK HZ WHY[ VM [OL 6S`TWPJ 0ZSHUK ;OL 9LÄULY` Z[HUKZ HZ HU 0UK\Z[YPHS \UP[ MVY [OL WYVK\J[PVU VM (SNHL )PVM\LS [OH[ PZ J\S[P]H[LK with the absorption of atmospheric CO2. The outer mechanisms integrated within the steel structure of the building help cleanse the air from CO2 ^OPSZ[ [YHUZMVYTPUN [OL NHZ PU[V SPX\PK JHYIVUH[L HUK YLSLHZPUN [OL SPX\PK PU[V [OL ]LY[PJHS [YHUZWHYLU[ HSNHL IPVYLHJ[VYZ ;OL 9LÄULY` JV\SK WYVK\JL enough fuel for the residents of the nearby accomodation and an addition 100 cars from the site. The second unit is an accomodation unit whereby [OL HWHY[TLU[Z HYL H[[HJOLK [V H JLU[YHS Z[LLS HUK NSHZZ Z[Y\J[\YL [OH[ KLZJLUKZ PU[V [OL (SNHL WVUK ^OPJO YLTHPUZ PU WYV_PTP[` [V [OL IPVYLHJ[VYZ MYVT [OL JLU[YHS HUK PUK\Z[YPHS WVUK [OH[ JVUULJ[Z HSS [OYLL LSLTLU[Z ;OL MVYT VM [OL (JJVTVKH[PVU PZ KLZPNULK HZ Z\JO [V HSSV^ MVY H TH_PTHS UH[\YHS SPNO[ HUK Z\U L_WVZ\YL K\YPUN [OL KH` ;V [OL MHY SLM[ L_PZ[Z H JVTTLYJPHS \UP[ [OH[ ^V\SK M\UJ[PVU HZ H WYVTV[PVUHS I\PSKPUN [V [OL ILULÄJPHS LMMLJ[Z VM HSNHL WSHU[ 0U [OL NYV\UK ÅVVY L_PZ[ H YLZ[H\YHU[ HU L_JOHUNL \UP[ MVY ]PZP[VYZ HUK H SV\UNL ^P[O H [OLH[YL JVUMLYLUJL YVVT ^OLYL JV\SK IL WV[LU[PHSS` OLSK JVUMLYLUJLZ HIV\[ [OL U\TLYV\Z [`WL VM (SNHL WSHU[Z OPNO PU SPWPKZ HUK ZJPLU[PZ[Z HUK YLZLHYJOLYZ ^P[O Z\MÄJPLU[ Z\WWVY[ MYVT KPMMLYLU[ VYNHUPaH[PVUZ JHU L_WSVP[ [OLZL WSHU[Z [V THRL TV]LTLU[ ^P[OPU SVUKVU NYLLULY HUK JOLHWLY -YVT [OL YLJLW[PVU HYLH VM [OL JVTTLYJPHS I\PSKPUN ^L JHU HZJLUK [OYV\NO LSL]H[VY VY Z[HPYZ [V H ZWHJL VM ZOVWZ HUK TVYL L_OPIP[PVU :WHJL (SS (SNHL IHZLK (Z [OL SVJH[PVU VM [OL ZP[L PZ PU ,UNSHUK»Z most reknown Industrial areas - Stratford- The scheme of the project as a whole was an intent to, not only bring back the positive aspect of the good HUK ILULÄJPHS 0UK\Z[Y` I\[ Z[YLZZ [OL PTWVY[HUJL VM TLYNPUN PUK\Z[Y` ^P[O UH[\YL HUK OLHS[O` HUK UH[\YHS SP]PUN ;OL ZP[L HSZV ILULÄ[LK MYVT ILPUN ULHY different elements that add to the dynamism and smooth operation of the project. The River Lea was not only a good source of water to the project but also a good spot to conduct research on the type of Algae most suitable to grow in London. The other element near the site of the project was an automotive Car Repair Workshop where locals can go and have access to the necessary transformation in order to be able to use Algae Biofuel.

zineb benslimane | III 02

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01. concept montage - site 02. concept montage - transport 03. plan 04. section 05. concept model ÄUHS TVKLS

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01. plan of proposal 02. concept sketch 03. concept plan 04. detail

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Objects form epicenters for lines - Focusing on the recent deaths of two cyclists on Bow roundabout I wanted to make a project the proposed to make the the roundabout into a cycle hub. A place that would bridge boundaries and reconnect the lands separated by macro infrastructure. Sky^H`Z ^V\SK SPUR [VNL[OLY HYLHZ VM WYVK\J[PVU L_JOHUNL HUK K^LSSPUN I` JYLH[PUN HU LSL]H[LK JVTT\UP[` HIV]L [OL I\Z` KHUNLYV\Z YVHKZ ILSV^

matthew gibbs | III

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The Dane Concert Hall and Rehearsal Centre - Sited between Sugar House Lane and the A11 in Stratford, The Dane Concert Hall and Rehearsal *LU[YL PZ H YLÅLJ[PVU VM [OL HSYLHK` L_PZ[PUN [OLH[YPJHS NYV\WZ VU :\NHY /V\ZL 3HUL )V^ -PST :[\KPVZ )YP[PZO (JHKLT` VM 5L^ 4\ZPJ 4PSS :[\KPVZ L[J ;OL *LU[YL ^VYRZ PU HJJVYKHUJL ^P[O T\ZPJPHUZ (Z H T\ZPJPHU PUJYLHZLZ PU [HSLU[ HUK JVUÄKLUJL [OLPY L_WVZ\YL [V HU H\KPLUJL HZ ^LSS as space increases, leading them from small practice rooms to a Concert Hall. The Centre acts as a bridge between local residents and working theatrical groups so that they interact with each other as musicians and then as an audience.

huda jaber | III

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01. interior perspective ZLJVUK ÅVVY WSHU [OPYK ÅVVY WSHU 04. concept model 05. section

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The industrial archetype is becoming more of a rarity as compulsory purchase forces industry away. This transitional environment has attracted many artists and designers due to its rapid and unique change. The small number of former industrial units that remain are now occupied by a number of art and design groups. It is from this stance that I choose to create an art production house to build up a network of creative industries that can add a J\S[\YHS LSLTLU[ [V [OL UL^ YLZPKLU[Z HUK M\[\YL [V\YPZ[Z VM :[YH[MVYK ;OL WYVWVZHS HPTZ [V IL VWLU MVY [OL 6S`TWPJZ PU VYKLY [V L_JOHUNL PUMVYTH[PVU PU [OL MVYT VM HY[ L_OPIP[PVUZ Z[HNL WYVK\J[PVUZ HUK HY[ JSHZZLZ MVY [OL SVJHS JVTT\UP[` 3VJHS HY[PZ[Z ^PSS WYVK\JL L_OPIP[ HUK YLZPKL PU [OL I\PSKPUN ZV that they build more of a cohesive relationship between the art and their relation to the local area.

The site is in a former industrial hub of London that has been designated as an urban rejuvenation area by the Olympic Park Legacy Company.

The arrival of the Olympics to the local area has seen construction of mass commercial housing projects being implemented to meet the predicted demand. This dramatic transition from former industry to mass commercial residencies is having dramatic effects upon the character of Stratford.

tom reynolds | III

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*YHM[Z HUK (Y[ 0UJ\IH[VY ;OL ZP[L OHZ ILLU HUHS`aLK HZ H YV\NO WSHJL VM HIHUKVULK PUK\Z[YPHS I\PSKPUNZ SVHKLK I` OLH]` [YHMÄJ (U HWWYVWYPH[L program for this site in my opinion was production, but I also wanted to provide a site with a friendly look and transform it into a protective shelter.

With this in mind I thought of the assembly at Stratford, a topic in my previous project – due to an increased land value the producers at Stratford will OH]L [V SLH]L [OLPY J\YYLU[ ^VYRWSHJL HUK ÄUK H UL^ OVTL My suggestion for the given site was therefore an Art and Craft incubator (perhaps even built and supported by a nearby located company Ikea).

The idea of such an incubator is a support of an innovative design and creative ideas, as well as providing basic conditions for architects, designers, engineers and artists to start their own practice.

The idea of the form is a circular introverted protection shelter which on its inside provides a place for various interactions.

(Z H WSHJL MVY ^VYR [OL I\PSKPUN JVUZPZ[Z VM ^VYRZOVWZ PU [OL \UKLYNYV\UK JVUULJ[LK [V [OL YP]LY MVY [OL ILZ[ [YHUZWVY[ ÅV^ 7YVK\J[PVU PZ UV[ hidden; the idea was that it is partially open to the public in order to increase people’s interests or just as an advertisement itself.

A special notion is given to the continuity of spaces and possible movements through the building – vertical or circular. The three vertical communication paths are turned into a different direction and in this way provide a different view of the city.

ales kacin | III

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01. exterior perspective 02. exterior walkway 03. interior perspective 04. skyline sketch 05. topography sketch 06. contextual relations

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01. project sketch 02. site sketch with intervention 03. perspective within intervention 04. plan

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;OPZ WYVQLJ[ HPTLK [V KLZPNU H WYVK\J[PVU L_JOHUNL K^LSSPUN IYPKNL HUK ILS]LKLYL WYVWVZHS PU [OL \YIHU SHUKZJHWL VM :[YH[MVYK ;OL WYVWVZHS»Z aim was to be a focal point for the area and be a visual vertical link between the disconnected levels of movement. ;OL RL` LSLTLU[Z VM [OL WYVWVZHS ^LYL MHZOPVU KLZPNU Z[\KPVZ HISL [V OV\ZL SP]L PU KLZPNULYZ HU L_OPIP[PVU ZWHJL VMÄJLZ MVY L_JOHUNL PUKVVY HUK V\[KVVY JH[^HSR HYLH M\UJ[PVUPUN HZ HSZV IV[O H IYPKNL HUK ILS]LKLYL HUK ÄUHSS` H W\ISPJ WSHaH ;OL M\UJ[PVU VM [OL WYVWVZHS PZ H MHZOPVU OV\ZL LUJVTWHZZPUN [OL WYVJLZZ VM KLZPNU MYVT JVUJLW[ [V THU\MHJ[\YL HUK L_JOHUNL ;HRPUN PUZWPYH[PVU from the fashion world, the concept to adorn a building within a dress was born. The idea of dressing a building is much more than simply an HLZ[OL[PJ JOVPJL HZ [OL HJ[ VM KYLZZPUN [OL I\PSKPUN HSS\KLZ [V [OL PKLH VM [OL I\PSKPUN \UKLYULH[O ILJVTPUN [OL IVK` HUK [OL L_WSVYH[PVU HUK relationship between these two elements, and the habitable space in between them was a key factor is the design process.

rosham jayatissa | II

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;OL ZLUZLZ MVYT [OL NH[L^H` IL[^LLU PUULY L_WLYPLUJL WLYZVUHS [V LHJO VM \Z HUK [OL V\[LY ^VYSK 7HY[PJ\SHY ZP[\H[PVUZ ULLK WHY[PJ\SHY IHSHUJPUN qualities. Amidst unduly strong nature forces, ordered forms assert our human-ness; where urban stresses are intense, softer surroundings help us YLSH_ HUK KL Z[YLZZ 0U]HZPVU Z[PT\SH[LZ KLUZP[` VM L_WLYPLUJL HUK WYLZZ\YL VU WLYZVUHS ZWHJL M\LS H YLHJ[P]L ULLK MVY NYLH[LY ZWHJPV\ZULZZ JSHT light, privacy and greenery.

“The body and mind are as a jerkin and its lining, rumple the one and you rumple the other.” [Lawernce Sterne 1759]

Triangular island in post-industrial Stratford, junction between River Lea to the southwest and Three Mills Wall River on the east, the most inspirational aspect being its calmness. A site ideal for a Holistic Wellness Centre to nurture the production of knowledge a peaceful retreat far from the responsibilities, the stress and the social monotony of everyday life. It would be a tranquil and sublime space to reach a state of “nirvana” for an PUKP]PK\HS ZWPYP[\HS L_WLYPLUJL

vaagisha kapur | III

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01. experience sketch 02. exterior perspective 03. interior perspective

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The Spiral Allotments - Inspired by the lack of greenery and abundance of grey infrastructure. There are 12 year waiting lists for allotments in Stratford.

The building provides homes for 8 farmers, they have an allotment space on the spiral ramp, a market stall for the year round farmers market and an individual roof garden. The spiral allotments provide the community with locally grown food. They give local youths the opportunity to develop a new understanding and stronger connection to the production and growth of food we need.

jennifer macro | II

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Strata Development Model - Stratford’s urban topography has been built up through time incorporating many different layers and Z[YH[H»Z VM KL]LSVWTLU[ ,HJO UL^ SH`LY VM KL]LSVWTLU[ OHZ YLWSHJLK [OL WYLL_PZ[PUN JVUKP[PVU YLTV]PUN JVU[L_[ HUK OLYP[HNL VM the surrounding area. My project focussed on this current trend and Stratford’s heritage of production and industry. This current layer of urban topography is being lost to new residential developments insensitive to the current topographical condition. My proposal LTILKZ [OL KPZHWWLHYPUN PUK\Z[Y` VM NSHZZ ISV^PUN ^OPSL I\PSKPUN VU [VW H UL^ Z[YH[H VM K^LSSPUNZ Ä[ MVY Z[ JLU[\Y` SP]PUN 0U IL[^LLU [OL [^V PZ H UL^ SH`LY VM W\ISPJ ZWHJL JVUULJ[PUN Z\YYV\UKPUN ÅV^Z VM WLKLZ[YPHUZ HUK WYV]PKPUN H UL^ WYVTLUHKL [V SVVR V]LY [OL roof top topography. A new model of development for Stratford.

ben pollock | III

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;OL I\Z` Q\UJ[PVU JVTWVZLK VM [OL YVHK Å`V]LY HUK JHUHS PTWSPLZ H JVUZPKLYH[PVU MVY [OL KPMMLYLU[ [`WLZ VM ZJHSLZ VM ZWLLK" [OL WLKLZ[YPHU [OL car and the boat. ‘The Billboard Building’ addresses the scale of the car with its three dynamic façades; giving the users the freedom to create a commercial haven or abstract the idea of advertisement to create a statement.The forth façade simply responds to the canal’s slower pace with a regular composition which is accented by the pedestrian gantry bridges which cross the canal.

plamena momcheva | II

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>OH[ 0 SLHYULK MVYT [OL ÄLSK[YPW HUK [OL WYVQLJ[Z PU 7VY[\NHS PZ [V HWWYLJPH[L LHJO [PTL [OL ZP[L HUK [Y` [V MVSSV^ P[ 9L[\YUPUN MYVT [OL 8\HYY` [V Stratford my intentions are more focused according to our Unit Agenda, with the topography. My concept is to compose a new topography.

This year we had with our Unit the time to investigate and study Stratford and discover its intense industrial character, an environment that encouraged us to urban photography subjects. Everyday life and development of the area is a limitless fountain of inspiration which prompted me to design an Academy of Photography with a gallery blended with public spaces that will inspire people to learn the art of Photography or as visitors for the gallery or just use the created public space giving subjects to the students. ;OL WYVNYHTTL VM [OL (JHKLT` VM 7OV[VNYHWO` HJJVYKPUN [V [OL IYPLM WYVK\J[PVU HUK L_JOHUNL WYVWVZHS PZ! An academy of Photography, a Gallery, accommodation for visitors, which can be used as well as studios for photoshoot or work, sales store for the Gallery and Academy, cafe and cafeteria, a footbridge, open public spaces.

Photo Academy and Gallery with footbridge, view tower, courtyard and public space.

konstantinos papaoikonumou | III 02

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01. internal perspective 02. internal perspective 03. external courtyard 04. external perspective in context 05. proposal in context of stratford high street

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0 Z[HY[LK [OPZ WYVQLJ[ ^P[O HU HUHS`ZPZ VM [OL Z\YYV\UKPUN JVU[L_[ VM [OL ZP[L )` ZLWLYH[PUN P[ PU[V P[Z ]HYPV\Z JVUZ[P[\LU[Z VM SHUK \ZL [HRPUN PU[V JVUZPKLYH[PVU [OL ZWHJLZ KLÄULK I` [OL IYPLM BHYLHZ VM WYVK\J[PVU L_JOHUNL HUK K^LSSPUND 0 ILJHTL H^HYL VM [OL SHUK [OH[ MHSSZ PU[V UVUL VM [OLZL categories - the inbetween space. It was the users of this space, those who are forced to make it their home, that became the primary anticipated user of my proposal. The homeless can often be considered outcast from society as they do not typically occupy the dwellings, places of production HUK WSHJLZ VM L_JOHUNL [OH[ KLÄUL [OL JP[` 0[ ^HZ T` PU[LU[PVU [V KLZPNU H YLZWVUZL [V [OPZ JVUKP[PVU MVY :[YH[MVYK OVTLSLZZ PUOHIP[HU[Z 0U VYKLY [V HPK [OLPY YLPU[LNYH[PVU PU[V [OL JP[`»Z I\PSKPUNZ 0 KLZPNULK H ºTPJYVJVZT» VM [OL JP[` ^P[OPU ^OPJO YLZPKLU[Z HYL WYV]PKLK ^P[O H K^LSSPUN PU L_JOHUNL MVY [OLPY WHY[PJPWH[PVU PU HU VJJ\WH[PVU VM WYVK\J[PVU 0U LMMLJ[ [OL` ^VYR PU VYKLY [V K^LSS HUK K^LSS PU VYKLY [V ^VYR ;OPZ L_JOHUNL VM K^LSSPUN HUK WYVK\J[PVU between the private realm and the public realm informed the development of the proposal. Private dwelling sits along the canal edge of the site whilst a public restaurant lines the High Street/Sugarhouse Lane edge. A greenhouse, run by the residents, sits on top of the restaurant and provides a WLYJLU[HNL VM P[Z MVVK ^P[O [OL YLZ[ JVTPUN MYVT V[OLY ZP[LZ HSVUN [OL SLH ]HSSL` UH]PNH[PVU KLSP]LYLK I` IVH[ [V [OL OVTLSLZZ L_JOHUNL JLU[YL

ava richardson | III

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Accommodating the window shops and markets orientated along High Street, it revives the meaning of ‘High Street’, a generally RUV^U ZOVWWPUN Z[YLL[ (KKP[PVUHSS` [OL L_[LYUHS MHYT ZWHJL JYLH[LZ H UV]LS SHUKZJHWL HUK [OL NYLLU OV\ZL WSHU[PUN ^P[O O`KYVWVUPJ systems by using water from the river immediately beside the site. The system produces fresh food and serves the restaurant and markets space. These contents promote the participation of a local community surrounding Sugarhouse lane, the residents in the HJJVTTVKH[PVU HUK WYV]PKLZ H UH[\YHS L_WLYPLUJL PU HU \YIHU JVU[L_[ ;OVY\NO ^HSRPUN [OL WH[O V]LYSVVRPUN [OL ]LNL[H[PVU HUK I` appreciating a landscape view.

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ara ko | II

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ÄYZ[ ÅVVY WSHU PU JVU[L_[ 02. stratford high street elevation 03. three mills wall canal elevation 04. exploded isometric - restaurant and greenhouse building 05. exploded isometric - welcome centre and accomodation building

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01. systematic diagram 02. site plan

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The Lavender Greenhouse works as a screen, blocking the view to the surrounding infrastructure and adding greenery to Stratford

My proposal is a vertical lavender greenhouse, which produces essential oil to be used in massage oil and other products.

The products will be used in the Health and Well-Being Centre on the other side of River Lea. The buildings are connected with a bridge.

susanne stavseng | II

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yoanna spasova | III

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01. sketch plan 02. interior ÄUHS TVKLS PU[LYPVY 04. model in context

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A view to change: The Stratford area is in the process of change. With this, new views are forming. The Sugarhouse lane site captures views in four directions. The building’s form is based around these views in an attempt to frame and capture them. Using the precedent of Herzog de Meuron’s Vitra house lead rise to an investigation into terraces, which are common to the area, and how a stereotypical form could be altered and pivoted around points to form a new structure.

helena tunbridge | II

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rena tsangari | III

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01. plan 02. sugarhouse lane elevation 03. section

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01. perspective drawing in context 02. contextual layered drawing 03. section in context 04. perspective

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The brief for this project was invoked through negative conclusions realised in the site analysis. Three mills island is in danger of loosing its heritage, P[Z ]LYUHJ\SHY HUK P[Z PKLU[P[` [OYV\NO JVYWVYH[L [HRLV]LYZ HUK WYVÄ[ KYP]LU KL]LSVWTLU[ (U HYJOP]L ^HZ YLHSPZLK HZ H TL[OVK [V WYLZLY]L [OL HYLH [OYV\NO WYVK\J[PVU HUK L_JOHUNL VM RUV^SLKNL SP[LYH[\YL HUK TH[LYPHS J\S[\YL ^P[O K^LSSPUNZ MVY [OVZL TVZ[ WYVTPULU[ PU [OL J`JSL ;OL HYJOP]L ^V\SK JVU[HPU SH`LYZ VM [PTL [OH[ ^HZ JLU[YHS [V L]LY` HJ[P]P[` ^P[OPU [OL Z\YYV\UKPUN Z[Y\J[\YL WS\Z SH`LYZ VM KLW[O HUK L_WYLZZPVU [V H ^PKLY JVU[L_[ Dwellings centred around the archive would be essential to the ongoing cycle housing writers, artists and historians; with the intention of adding to the archive to create a honest memory of the area. Visitors would be able to journey through the archive and use the project as a resource informing [OL JVTT\UP[` HUK YLPUZ[H[PUN HU PKLU[P[` [V [OL HYLH ;OL Z\YYV\UKPUN Z[Y\J[\YL THUHNLZ [OL [^V JVUÅPJ[PUN H_PZ [OL H HUK [OYLL TPSSZ YP]LY HZ P[ ULNV[PH[LZ [OYLZOVSKZ HUK SH`LYZ \WVU LU[YHUJL [V [OL HYJOP[LJ[\YL 4VU\TLU[HSP[` PU [OL HYJOP[LJ[\YL JVTWL[LZ ^P[O [OL L_PZ[PUN KL]LSVWTLU[Z HUK creates a platform in which the archive can become a statement, glorifying the origin and locality.

hallam tucker | II

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;OL HPT VM [OL WYVQLJ[ PZ [V IYPUN PUOHIP[HU[Z MYVT :[YH[MVYK PU[V H JVTT\UHS J\S[\YHS HY[PZ[PJ ZVJPHS WSHJL ^OPSL LTWOHZPaPUN [OL X\HSP[PLZ VM [OL L_PZ[PUN site. The project offers to create a Performing Arts Centre, structurally designed to enhance the acoustic qualities of the spaces, with a range of ZWHJLZ TLYNPUN ^P[O HY[PÄJPHS HUK UH[\YHS HZWLJ[Z VM [OL ZP[L )YLHRPUN [OL IV\UKHYPLZ VM ZWHJLZ [V LUHISL [OL M\ZPVU VM HJ[Z ZV\UK HUK TV]LTLU[ 0UKVVY HUK V\[KVVY ZJLUL ^PSS HSSV^ WLVWSL [V LUQV` KHUJL [OLH[YL HUK L_WLYPTLU[HS WLYMVYTHUJLZ 9LOLHYZHS ZWHJLZ Z[\KPV HUK YLZPKLUJL MVY WLYMVYTLY ^PSS IL WYV]PKLK HZ ^LSS HZ L_OPIP[PVU ZWHJLZ ILS]LKLYL HUK ZV\UK WH]PSPVUZ H[[YHJ[PUN W\ISPJ K\YPUN KH`[PTL HZ ^LSS HZ UPNO[ [PTL :V\UK created with water and wind will be used as an interaction for the outdoor site but also for performances. Kinetic and tensegrity concept will be used HZ Z[Y\J[\YHS HUK PU[LYHJ[P]L W\YWVZLZ ;OL I\PSKPUN HPTZ [V IL Z\Z[HPUHIS` LMÄJPLU[ \ZPUN ^PUK HUK ^H[LY [V JYLH[L LULYN` I\[ HSZV MVY ^H[LY Z\WWS` and heating systems. The aim to merge nature, sound, and movement within the site will produce a harmonious and social place for people to L_WLYPLUJL PU[LYHJ[ HUK LUQV` HUV[OLY ZPKL VM :[YH[MVYK

guinevere stephens | III

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ÄUHS TVKLS HYJOP]L 02. development model - dwellings ÄUHS TVKLS TVU\TLU[HSP[` 04. - 05. dwelling - light & mass 06. journey to the belvedere 07. trimmed section 08. plan - relation to the 2 axis

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grace wong | III

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1. balcony 2. semi-permanent dwelling unit tower 3. dwelling unit access 4. the local shop 5. ‘The Boatbuilder’s Arms’ 6. boat lift 1 7. boat lift 2 8. boat lift 3 9. canal 10. Stratford High Street 11. ‘aerial towpath’ 12. ‘aerial towpath’ 13. services access for boats 14. servicing 15. boat lift mechanisms 16. industrial sheds 17. residential terracing 18. high rise residential

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If an environment is to survive in the ruthlessly and relentlessly developing modern city then it must have relevance to the new situation. The canals ^LYL I\PS[ HZ H TVKLYU LMÄJPLU[ PUMYHZ[Y\J[\YL [V M\LS HUK MLLK [OL PUK\Z[YPHS YL]VS\[PVU /V^L]LY [OH[ ZP[\H[PVU OHZ SVUN WHZZLK HUK ZPUJL [OL Z there is little or no use of the canals for freight. Nowadays there is a growing popularity in the houseboat business and the tourist industry.

The Stratford Boathouse, through implementing an advanced structure, as was once commonplace on the canals, provides alternative living for UHYYV^IVH[ V^ULYZ 9L[HPUPUN [OL WVW\SHY JOHYHJ[LYPZ[PJZ VM [OL JHUHS" [OL [V^WH[O HUK ÅL_PIPSP[` VM SP]PUN [OL UL^ MHJPSP[` JYLH[LZ H KLUZL NYLLU JVTT\UP[` PU [OL OLHY[ VM [OL L_WHUKPUN JP[` The scale and permeability of the introduced structure acts as a showcase for the narrowboat community and provides an infrastructural hub, linking road level and canal level, reintegrating the canals with the city and ensuring their place in the future of Stratford.

tom wildbore | III

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elizabeth witney | II

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Dystopia 2025 - I found it hard to foresee any successful intervention at the Bow Roundabout site given its hostile landscape devoted to vehicles YH[OLY [OHU WLVWSL 0[ PZ MVY [OPZ YLHZVU [OH[ 0 WYVWVZLK H K`Z[VWPH MVY [OL `LHY ^OLU P[ PZ L_WLJ[LK [OL ]VS\TL VM [YHMÄJ ^PSS OH]L PUJYLHZLK by 40% and population by over 10% in East London. The dystopia is one where buildings would have to be raised above the ground condition, LZZLU[PHSS` ZP[[PUN VU SLNZ ^OPJO ^V\SK ZLY]L HZ ]LY[PJHS HJJLZZ WYV]PKPUN MVY WLVWSL KLZWLYH[LS` Z[Y\NNSPUN [V ÄUK ZWHJL [V PUOHIP[ [OL V]LYS` KLUZL and hostile ground condition. The demand for this architectural intervention at Bow Roundabout would cause it to propagate and tear through the landscape like an aqueduct above routes of hostile ground conditions (motorways, railways, industrial areas) where its roof would become a means for ‘utopian’ pedestrian and cyclists transport.

chris wejchert | II

Royal College of Art ADS5 Tutors: Jon Goodbun, Kenny Kinugasa-Tsui, Justin C.K. Lau Students: Aisyah Ajib, Clio Capeille, Joseph Deane, Diana Elia, William Fisher, Chang-Yeob Lee, Jack Wates, Rain Wu Urban Metabolics: new materialisms and the timing of space The question of materiality has re-emerged in both philosophical and architectural debate in recent years. ADS5 explores what is at stake in these questions, in relation to the ecological, political, technological and aesthetic challenges and possibilities facing architectural practice today. Grounding ourselves at Hackney Wick, adjacent to the Olympic Site, we design experiments with temporality, initiating in Prigogine and Stengers memorable phrase, 'a study of the timing of space'. Working across a range of scales – the metabolism of the city, the processes of material production, building construction and use, and socio-spatial event – we suggest that a study of the timing of space might open up new ways to approach ‘the environmental question’ beyond more conventional ‘sustainable design’ approaches.

There is a welcome diversity to the work within the studio – reflecting no doubt the complexity and contradictions of architectural and urban conditions more broadly. A range of near-future scenarios are currently being explored, and research preoccupations include hands-on making combined with digital techniques, design activism and urban policy, material processes and the potential to imagine alternative futures.

London Southbank University Y3 Tutors: Andrew Dawes / Paul Davies / Michael Evans / Alex Graef / Stefan Lengen / Wynne Leung

Students: Maliona Adisi, Felix Amiss, Joseph Bacon, Cinzia Barberini, Martin Downes, Kimon Fakidis, Francesca Heathcote-Sapey, Laura Kuhakoski, Monika Jociute, Josh Letherbarow, Maksim Letvenenko, Jenny Lyon, Alkaios Michailis, Sylivia Plumridge, Vernon Roberts

Hybrids, cross breeding, grafting, Y3 at Southbank University was tasked with producing building projects by cross breeding and hybridising self-generated programmatic interests with a series of specific building briefs resulting from an exercise in collective masterplanning.

Students started out by assuming the role of clients to specify a series of public eventsbasede building briefs for sites around the Hackney Wick, before slipping back into their roles as architects and masterplanners to generate large scale visions for the area and locating them along a post-olympic timeline.

Subsequently, they generated hybrid briefs for sites of their choice, taking into account speculative ‘sitting tenants’ in the form of found or inherited building specifications from the earlier exercises. The result are hybridized,cross programmed insertions into widely varying scenarios for the Hackney Wick, yet drawing upon a collective programmatic notion.

University of Sheffield Studio 15 Tutor: Sam Vardy s.vardy@sheffield.ac.uk Students: Samantha Gill, Adam Hinton, Nick Hunter, Sigrid Muller, Linh Quang-Vinh, Christopher Carthy, Jenny Greenwood, Marianne Howard, Daniel Walder, Reena Gaikwad, Aurelija Dogru, Ying Zhao Laboratory of Spatial Self-organisation “There is no alternative – the future is self-organised” (raqs media collective) “...architecture in the making...” (Stalker) Studio 15 establishes a collective space of experimentation, inquiry and production. The studio focuses on how architecture is made through practices, and specifically how the practices self-organisation might inform the practices of architecture and urbanism.

Self-organisation is a political and social tactic to reclaim personal and collective involvement in processes from which citizens are usually removed. Selforganisation is concerned with the creation of new spaces that are not defined by the dominant social relations that are imposed by late-capitalism, by developing innovative approaches towards group dynamics, alternate economies, modes of organising, autonomy, the commons, recycling, collaboration and exchange.

Through an investigation of existing networks of production and activity and potential self-organised practices we will reconsider the role of the architect and the role of design. Ambitious individual design proposals are developed for self-organising and autopoietic assemblages and within these systems the spatial and material implications of self-organised processes are considered to produce designs at a range of scales that consider what other architectures are suggested by proposing a different set of spatial practices.

With thanks to: Mark Saunders, Spectacle Andreas Lang, Public Works Performance Space Satwinder Samra, University of Sheffield Carolyn Butterworth, University of Sheffield

contents:

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By contr ey Wick - and in how we want ibuting to this want to seE our lives our neigh blog we bourhoOd here wilL alL to be.’ feEl as improve day if we have a say htTp:/ /hackneywi ck.blogspo t.com

7. There is large scrap metal and car repair trade based in Hackney Wick. It is an exemplar of the informal, subsistence living and working within the area. Where wilL these move to when land rents are increased and the area is redeveloped?

8. Leabank Sq Square quare is a self-organised ed d c comMunity group. They run a garden unit. They are pro-active in their comMunity gar rden n and recycling ng g uni atTempts to stand sta and up against gai ins n t the Olympic PlanNing Authority and their planNing dictatorial p pl lanNing la anN nNi moves. SeE htTp://leabanksquare.blogspot.com/ htTp://leabanksquare.blogspo runNing for more. ore e. T They y outreach to other residents in Hackney Wick, r such programMes suc pr ch as guerRilLa gardening.

7.

nk in Leaba who lives Lea River rful everyone It is for gardens, wonde t.com/ Square. blogspo great square.

Leabank bours, leabank site of t!’ ng neigh htTp:// the blog the amazicomMunity spiri ‘This is chat about best to .. the Square of alL..

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FelLowship, Trowbridge Senior population io on (C (ComMunity of Reconciliation and FelLowsh and Gainsborough Primary Cit Citizens ti Club and the Eton Manor Boys Club - Old Boys ), a enquired as to whether we SchoOl plays an important part in the comMunity. When we e could take a loOk inside the ComMunity Centre, we were told that it is in fact rarely used.

9. A diversity y of f comM comMunities live in Hackney Wick; the there is an active elderly

‘The re is here a real , youn there are sense of g comM Iris stufF people.

A lot h TravelLe unity arou like of peop that.’ rs, nd le are West Afri here.[.. .] Ther now comi can e is ng in comMunit a big who are ies, dive Asia interest n comM rsity of peop unit ed in le the Artsies, a TerR y Stew , musi lot of art, c, and H.W. ComM unity Cent re

CurRently police, security guards and construction workers can b be e seEn waiting to catch a train at Hackney Wick Station. Later, they er, t h wilL be joined by the service stafF required for the Ol Olympics and its legacy.

6. Hackney ey Wick W Wi is home to over 600 artist studios. This is the highest number of ar artists per capita in the world. These artists have a strong history o of f resistance and rebelLion to the Capitalist society surRounding them in i London. Banksy started out here. The remaining question is how long on wilL the artists be able to cling to their studio’s in the face ce of rapid gentrification? Rents are already increasing and landlords are only giving out short tenancy nd l agreEments with h an a eye to selL for regeneration.

him: were alL around WarRing tribes motorway He was not alone.tinkers in a camp under the residence. [...] sites, roving prophets in toOk up permanent to lesS desirable ranters, levelLers, ‘Stevie Dola facing eviction day saints and sinNers, latTer fixed travelLers Rose Red Empire biker gangs, Hackney, that bridge, Mad Max Iain Sinclair, Mercedes...’ bulLetproOf

travelLers have moved to Hackney Wick after being displaced from the Olympic Site. TravelLers are nomadic - they do not own their own land. They have found employment in the scrap metal trade that exists in and around Hackney Wick.

3. There are 3 travelLer sites in and around Hackney Wick. Many

y Hackne The ion. n. greE enerat s, of reg tures lesSd for age built face pas lan ncil the in the eit in on that the couagainst ction m, alb living d and ed evi se the ked up t many was sol who facto re-hou y had beEn land galows bac they kep ty lLers] as the s, the Wick where te bun kney ear [trave ponsibilithe move deaf t they concrehad before ic Hac res y on ins was ymp the tin y aga -Ol ‘It nt felL e in d the l had aled ce, Pre Counci ers apPe ir argume y now liv m the lan Lovela The nt. The cry fro rick TravelLurbed. pme Pat far undist s develo.] It’s a thi [.. them bridge rail .’ horses

5. The Olympics have brought a new demographic to Hackney Wick.

Wick, and there are a number of squatTed properties within the vicinity.

4. HomelesS people live under the bridges around Hackney

Hackney Wick is home to a diverse range of comMunities; East Africans, GreEks, Irish TravelLers. The area can be characterised by subsistence living and acCepting of alternative practices. This however, is under threat from rapid gentrification and top down, capitalist led regeneration of the area due to the proximity to London Olympics 2012.

A Snapshot of the People of Hackney Wick

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After the olympics is over the residents of Manor Road allotments will be relocated to 2 seperate sites at the morth and south parts of the site.

Millfield Depot Site 1 of 3 providing 8 Pitches at

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Olympi 2012

Wallis Road Site 3 of 3 providing

c Park Homerton Marshes Site 2 of 3 providing

Waterden Cresent Home to 20 families of Irish travllers for 13 years. The community will be split and moved to 3 sites around the Millfield road depot, currently a waste disposal dump and recycling centre.

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Manor Road Allotments

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Packway Cresent 15 pitches for the relocation of Clays Lane. The new site called Parkway Crescent, is on a traffic island surrounded by main roads and with two pubs nearby. Although residents are trying to get used to it, they are unsure of the long term future and have decided to pursue the option of a move back to a more suitable location in the Olympic park.

Clays Lane Travellers Site has been moved due to the olympics.

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With youth unemployment at a record high, the work of charities such as The Prince’s Trust and Fairbridge is more o relevant than ever. We are keen to combine our efforts to ensure young people are given as much support as possible att this crucial time.

Intake of children for a module in Land based studies. Start the creation of an urban allotment and craft learning to promote the the traveller’s presents in Hackney Wick

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The community gardens will be places on the canal barges. This gives them 24 hour access to locally fresh fruit and vegatables.

Gardens

In case of further displacement all growing will take place on canal barges and caravans. These will be able to move with the travelling and growing community of Hackney Wick and not be distroyed if soil contamination spreads and moving becomes unavoidable.

The travelling comunity to be taught on the job learning, integrating them back into the local community, learning self respect and respect for others along with skills that can be used in the local area and

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SHORT SECTION DD 1:20

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1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18

Access

White Post Lane

PROPOSED SCENARIO [post 2012]:

Everett House

White Post Lane

11

12

13

8mm Corten Steel plate Steel section [galvanised] Thermal insulation & vapour barrier Steel I-beam Suspended timber floor with underfloor heating and acoustic insulation Double glazed sliding panel Cement screed with underfloor heating Hanging bracket 10mm steel frame Double glazing Glare protection screen Suspended folded steel plate [ramp] Movable steel panel with inset micro louver array Counterweight Steel grate Existing warehouse structure Existing corrugated roof Timber bench [concrete inset]

5

16

STRATEGY DIAGRAM SHOWING POTENTIAL MARGINAL SPACE INHABITATION

Hackney Wick Rail Station

[50 STUDIO SPACES]

5

9

This often subversive inhabitation of the marginal or liminal spaces will be attained through physical manipulations of the existing physical environment as well as the manipulation of existing codes that currently regulate spatial production [see tactics for claiming space]. I am also proposing that the remaining artist community will actively seek to benefit from the increased footfall as a result of the Olympic site development and new station link both as a means of generating income and positively engaging with this new transient community of visitors.

I have engineered this scenario in order to explore the alternate means by which the artist community may retain a presence [and perhaps even thrive] in the area in the wake of the inevitable rising rent prices, speculative development and a failing Olympic legacy plan. I am proposing a scenario in which, after having been displaced from their existing live work environments [see above] in favour of more lucrative office rental and apartment living opportunities, the remaining artists begin to actively lay claim to spaces that have otherwise remained unoccupied. These inhabitations then form a network of mutually beneficial spaces facilitating the continuation of the process of art production and consumption.

THROUGH APPENDED STUDIO, GALLERY/WALKWAY, EXISTING WAREHOUSE & INTERNAL STUDIOS

14

12

9

Hackney Wick Rail Station

EXISTING CONDITION

Fig.04

Hackney Cut

5

5

Hackney Cut

10

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15

LONDON 2012 OLYMPIC SITE

building

power,

Hertford Union Canal

services:

LEECHING The use of adjacent water, data etc.

DUPLICATING The claiming of space through the duplication of existing built elements such as walls, rooves and floors. The interstitial spaces created in this way can offer moments of concealment and solice.

CONCEALING [BEHIND CLOSED DOORS] A form of subversive space claiming. space is occupied [perhaps without explicit permission] out of lines of sight, unnoticed and undisturbed.

TEMPORARY Permission can be sought to erect temporary accomodation - on marginal / unused sites, negotiated short term, minimal rent / ceded land. No substantial foundations/ groundwork [movable / adaptable].

Hertford Union Canal

White Post Lane Studios

APPENDING [GUESTING]: The claiming of adjacent space relent on existing built elements as host. The term host is used in a structural sense but could also imply the ‘explotation of existing architectural elements such as means of access and lighting,

17

Olympic GATE 14

LONDON 2012 OLYMPIC SITE

OPENING: The removal [complete, partial or temporary] of existing boundaries, creating new thresholds and moments of interface between inside and out [artist and visitor].

White Post Lane

Message board

Station link - public access [proposed]

URBAN INFRASTRUCTURE

CARVING: The claiming of space through the partial removal of existing built elements: ie, sections of floor, wall and roof. [or below ground]

TACTICS FOR CLAIMING SPACE

Queens Yard

Queens Yard

Mother Studios

Studio space

Guest room

Live in facilities

Food preperation / on site cafe

WC / Showers

Gallery space

ARTIST SPACES

[150 + STUDIO SPACES]

EXISTING CONDITION: I am primarily focusing on the area between Hackney Wick Rail Station and the Hertford Union canal [see fig.04]. This area plays host to three of the larger buildings currently occupied by the artist community, namely Mother studios + the elevator gallery, Everett House [live work studios] and the White post lane studios + Schwartz gallery. This area of Hackney Wick is also set to become a primary means of accessing the Olympic Park [via gate 14] from the station and as such presents a primary location for speculative development. There currently exists a plan to create a more direct link between the station and white post lane to the south leading to gate 14. This connection will therefore become part of any future proposals.

THE VISITOR_

The contained and intimate nature of the engagement, enforced by the narrow configuration of the booth space and the close proximity of artist and subject through the wall, offers the opportunity for conversation and the spreading of local news and gossip regarding future activities and events.

This proposal represents one of a series of site interventions that set out to explore possible moments of encounter between the artist community and the stranger. This particular proposal investigates the moment of interaction between just one artist and one stranger. The booth serves as a space wherein the stranger may have his or her portrait drawn by an artist in exchange for a small fee. This encounter, therefore, offers the Stanger the opportunity to participate in a minor form of cultural production whilst simultaneously generating a small income for the artist. In this sense the booth can be defined as a type of shop in as much as it facilitates the sale of a material commodity, i.e. the drawn portrait, as well as an exchange of both time and skill.

A PORTRAIT BUSKER’S BOOTH_

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2_ A narrow step serves as the sole physical interjection into the street and this minor negotiation of level begins to physically engage the visitor with the experience.

1_ The booth is positioned adjacent to the existing white post lane studios. The street is addressed directly by means of a single narrow door that is left ajar whilst the booth is active – a passive means of generating intrigue and enticing the active explorer.

3_ As the initial threshold is crossed a motion sensor triggers a bell, alerting the artist to the presence of the visitor, activiating the encounter.

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Social-Political Assemblage

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Level +2 +6.0m Domestic Bedroom

Level +3 +8.0m Codesign Print Shop +8.0m Writing Booths (upper) +9.0m Screen Workshop

Level -2 -9.0m Large-run Print Hall

Level -1 -5.0m Paper Recycling Platform

Level 0 +0.0m Street Level -1.4 Self Help Community Print Space DACE ROAD

Groups running local campaigns that require posters, leaflets and other print production.

Local community groups

Local activists and campaigning groups from the Lea Valley who need print material to advance their campaigns

Campaigners for greater equality

Political groups seeking greater equality and social justice in the Lea Valley region.

East London’s political radicals

Printmaking customers & collaborators

Passersby from local area and visitors to Olympic Park using public route through paper recycling realm

Users of public route

Other radical and commercial printmaking groups in East London

Other printmaking groups

Commercial printers within ‘Printers Paradise’ cluster | Need recycling service | Need paper sales

Hackney Wick printers

Neighbouring Local authority | Recycling contract for social housing estate domestic paper waste | Sale of newsprint for newsletters

Recycling Department, London Borough of Hackney

Neighbouring Local authority | Recycling contract for council paper waste | Paper sales

Waste Department, London Borough of Tower Hamlets

Neighbouring Local authority | Recycling contract for domestic paper waste | Sales of recycled newsprint for newsletters

Recycling & Waste, London Borough of Newham

THE PROJECT’S SOCIAL-POLITICAL ASSEMBLAGE IS THE SYSTEM OF ORGANISATION BETWEEN THE ACTORS, AGENTS AND AUDIENCES OF THE COMMUNITY PAPER RECYCLING (CPR) CO-OPERATIVE (THE ‘PRODUCTIVE FRONT’) AND ITS POLITICAL PRINTMAKERS (THE ‘RADICAL BACK’). THE STAKEHOLDERS MOSTLY ORIGINATE IN THE LEA VALLEY AND SEEK SURVIVAL.

Level +1 +3.0m Domestic Living Room & Bedroom +2.5m Public Route +1.5m Writing Booths (lower) +5.5m Political Gathering Space

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Paper Recycling Retraining Space

Perspectival Section BB of key interdependencies Scale 1:50

Printmakers’ Domestic Refuge

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-9.0m

DACE ROAD

Print customers

Print customers

Print collaborators & customers

audience

informal observation & education

paper recycling client & paper customer

paper recycling client & paper customer

Contract for paper recycling

Contract for paper recycling

Contract for paper recycling

audience

Greg

1. directors

Susan

+

1977- | Common ownership worker co-op of radical designers | Screen print; digital

Calverts Press

1980- | Workers’ co-op of CND & NUM propaganda | Screen print & badges

Writing Booth

Writing Booth

FISH ISLAND’S URBAN TISSUE HAS SUFFERED FROM OVERBEARING ZONING AND WAVES OF RAPID CHANGE. THE SCHEME HEALS AN URBAN BLOCK BY REINSTATING A TERRACED FRONTAGE- THIS TYPOLOGY LINED THE SITE BEFORE INDUSTRIALISATION. BEYOND THE CONVENTIONAL FRONT, PRINT COLLABORATORS ARE TAKEN THROUGH A SEQUENCE OF INCREASINGLY UNORDINARY SPACES WHERE ‘ZONE BOUNDARIES’ ARE LOWERED. A STRONG VISUAL LINK CONNECTS DOMESTIC BEDROOMS TO SUSPENDED WRITING BOOTHS; THE SELF HELP COMMUNITY PRINT SPACE TEMPORALLY EXPANDS INTO THE INDUSTRIAL DE-INKING SPACE DURING OUT-OF-HOURS.

An Unordinary Domestic-Artistic -Political-Industrial Arrangement

Self Help Community Print Space

Bedroom

All resident and non-resident members of collectives eligible for CPR co-operative membership, and therefore hold member voting rights

See Red Women’s Workshop 1974- | Women’s collective of feminist campaigning printmakers | Screen print

Paupers’ Press

board give leadership and make decisions on issues affecting project’s survival through one director one vote system at board meetings

Fly Press

members vote on all operational decision affecting CPR, using a one member one vote system at regular meetings

2. members

x3

3 directors from radical media realm

70s- | Anarchist & community press for radical newsprint | Digital & screen print

Docklands Poster Project 1981- | Community group challenging private development | Billboards

Blackrose Press

Kitchen

x3

3 directors from community paper recycling realm

Resident Radical Printmaking Collectives

(Quadroprint)

Community Paper Recycling (CPR)

Paul O’Neill

Simon Community Paper Recycling (CPR)

Board of Directors

(Hidden Print Studio)

1980s- | Anarchist co-operative with democratic structure | Screen print

RADICAL BACK

Living Room

Bedroom

Derek

Courses help the unemployed back into work by providing specialist skills and general work experience.

De-inking Space

Public Route

Codesign Print Shop

1970- | Feminist printing collective with ‘no hierarchy’ | Screen print & offset litho

Women in Print

2011- | Posters related to the Occupy Movement | Screen print & digital

Occuprint

Paper Making Retrainees

The co-operative’s social remit involves running courses in paper making for unemployed people from the three neighbouring boroughs.

Every person attending a paper-making training course is eligible for CPR co-operative membership

Paper recycling staff are made aware of the printmaking activities at the site when the printmaking membership indicates that it has confidence in them.

Community Paper Recycling (CPR)

Stack effect ventilation

The invitations are made based on a commitment to campaigning printmaking with ambitions for greater equality and social justice in East London.

CPR’s Board of Directors invite eight of East London’s most prolific political printmaking groups to take up a permanent residency in the project’s domestic refuges.

East London’s radical political printmaking collectives are returning to physical space and the printed page due to increasing internet censorship.

Invited to return to physical space/production

the location of printmaking activities in secret

The group is searching for survival. It will begin to make invitations to East London’s radical printmakers to settle in the Fish Island refuges, as well initiating district-scale paper recycling processes.

The group form the board of directors for Community Paper Recycling (CPR), a common interest community co-operative that will include both recycling and printmaking members.

A group of six besieged actors from paper recycling and radical media are brought together by me as architect and network instigator.

Co-operative instigated by architect

The social remit is realised through retraining courses in paper making open to unemployed people in the neighbouring boroughs.

The economic remit is to generate revenue, both to expand the recycling activities and support the printmakers.

CPR’s Productive Front of Paper Recycling has economic, environmental and social remits.

Economic and social remit

Recycled paper store

CPR is a community of interest co-operative of paper recyclers led by a board of six directors. A clandestine group of radical political printmakerstake take refuge within the co-operative and the architecture, forging interdependencies between the two realms.

Paper Recycling Staff

Community Paper Recycling (CPR)

(Spectacle Media)

Loading Bay

Every member of CPR staff is eligible for co-operative membership. Printmakers who staff the recycling processes may only hold one membership.

The paper recycling staff are either employees of CPR who are specialists in the industrial and hand-made paper-making processes, or radical printmakers who are staffing the recycling centre interdependently.

Mark Saunders

States of Interdependence

Printmakers’ Link

THE PROJECT IS CONCEPTUALISED AS A SERIES OF INTERDEPENDENCIES BETWEEN THE TWO PROGRAMME ELEMENTS OF PAPER RECYCLING AND RADICAL PRINTMAKING, AS WELL AS TO EXTERNAL ACTORS. INTERDEPENDENCIES ARE MECHANISMS OF MUTUAL SUPPORT BETWEEN CO-OPERATING AGENTS. BOTH ACTIVITIES BENEFIT FROM THEIR INTER-LINKING SOCIAL-POLITICAL, ENVIRONMENTAL AND ARCHITECTONIC DEPENDENCIES.

PRODUCTIVE FRONT

Terraced Frontage

members

board

£

£

£

£

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Shared Courtyard

Hand Paper Making Space

val rvi Su

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East London Community Recycling Partnership

and workers’

Calverts

See Red Womens’ Workshop

Public Route

Lea Valley

Quadroprint

Women in Print

Fish Island

The Hidden Print Studio

Hackney Wick

Propaganda store

Screen Workshop

Former locations of the project’s key agents

rights since 1980

print

s area ion in Dockland regenerat

of

Lon

to equality through screen

CND campaign

Printmakers’ Stair (See Detail Section DD)

s in

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al

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Occuprint

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pai t cam

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ed commun ity media

Establish

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Passive ventilation driver

Large-run Print Hall

ups

Large Run Print Hall

gro

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vism

Existing red brick chimney c.1889

acti

Printmakers’ Domestic Refuge

bat tled

Printmakers’ Domestic Refuge

Responsibility for Responsibility for

Pressure drives passive ventilation of political gathering space and paper making platform below

inist

Prevailing SW wind enters plywood wind catcher

long -run ning

Existing transitional structured buildings from Wick Lane Rubber Works (c.1889)

loc

al

Public route Protestors & Radicals Local Activists & Campaigners

Material

Community Groups & Unions

em pow er

new spa per s tha t em

on... residen cy based take up Invitat ions to

Moveme nt posters

n of Occupy

productio Prolific

fem

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Environmental Non -hie rarc hica l stru ctur e and

External ins tiga ting

kers er tma pap prin the ical m Rad to staffreal g help clin recy

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Social-Political His

Resources

Large Run Print Hall

Paper Recycling Platform

Poster Project

Olympics Site

Paupers’ Press

Screen Workshop

Fly Press

Blackrose Press

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-5.0m Paper Recycling Platform

-1.0m Paper Loading Bay

+3.0m Printmakers’ interstitial link from existing to new Public paper recycling viewing route

+5.5m Political Gathering Space in tower void

+5.5m Screen workshop in attic space above recycling hall

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-9.0m Large-run Print Hall

Printmakers’ Stair Section DD Scale 1:20

-5.0m Large-run Print Control Room

-1.4m Fire Escape to Courtyard

+5.5m Political Gathering Space Codesign Printspace

+8.0m Political Gathering Space Balcony

+9.0m Screen-making Workshop Writing Booths

Ink Store

Informal Print Gallery

Printmakers’ Journey from Attic to Cellar THE PRINTMAKING PROCESS IS ARRANGED ALONG A VERTICAL JOURNEY FROM THE ATTIC TO THE CELLAR. THIS BACHELARDIAN ROUTE CONNECTS THE PRINTMAKING SPACES; FROM THE TIMBER WRITING BOOTHS IN THE ROOF SPACE TO THE LARGE-RUN UNDERCROFT PRINT HALL. A SERIES OF DEVICES IN THE STAIR CORE, SUCH AS THE PRINT LIBRARY AND PRINTING PLATE CACHE, ARE ENGAGED WITH. THE ARCHITECTURAL LANGUAGE EXTRAPOLATES THE CONCEPT OF (DIS)HONESTY BY REPEATEDLY REVEALING STRUCTURAL DISHONESTIES IN THE STAIR.

Printing Plate Cache

Print Library

Printing Screens Store

- to enable the construction of new affordable dwellings on Bream Street Community Land Trust land

- to prevent the ‘blank canvas’ of new development by encouraging social interaction through communal living

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East london community Land Trust & Build Store

Material Re-appropriation

- to re-appropriate temporary Olympic materials to create a lasting legacy that benefits East London

Community Buildstore

- to establish a spearheading self-build centre to propagate and encourage of self-provided housing

- to demonstrate the capability of self-build housing on Community Land Trust land as an effective system for delivering affordable and sustainable urban housing

East London Community Build Store

Building Collective

Transitional Co-housing

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1:25 Detail Section AA

A

A

250mm steel I-bream steel guide bolts, cast into concrete foundation new concrete strip foundation

single skin brick work outer leaf 250mm steel I-bream aerated concrete blockwork (sat inside steel ange)

the living space shared between smaller households encourages socialising and promotes the bene ts of communal living - one large living space rather than two small ones - enabling households to cohabit and allowing the Bream Street housing to work at greater density

the exposed surface nishes encourage residents to co-operatively re-appropriate their collective living enviornments

60mm sinusoidal pro le bre cement cladding timber batons damp proof membrane 150mm rockwool insulation 100mm cross laminated timber panel

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This Th is is made possible by the site’s increased density, enabled by the mechanism of collective le living engendered in the Build Store’s transitional cohousing.

The Community Land Trust’s ownership model Th del creates much mu ambiguity over the definition of community, when not all the members of the community defi ommunity are eligible forr a home hom on the site. The Bream Street CLT counters this by creating new w communit communityy amenities, en in the form of two new connections to the canal, a public boulevard and square a with play facilities for anyone in the local area.

The responsibility for the upkeep of the shared Th d ga gardens rests with the surrounding surrounding households, seholds, facilitating community community co-operation co-operation.

E h house Each hou or flat fl has h access too one off two private shared h d gardens. d These Th spaces are ar secure and an visible from the individual dividual homes, and th thus are a safe place for children n to play, compensating ompensating for the lack ack k of public space in Hackn aackney Wick.

The Bream Street Community Land L d Trust’s T ’ Common C mo H House is a private ammenity, shared between the residents. The Common House’s use completion - the final phase of the Bream Street CLT’s construction - enables th the CLT to become a distinct entity from the Build Store.

The new orangery housed inside the existing steel frame is a communal asset. The activity of maintaining this shared ammenity becomes a social enabler, encouraging group co-operation.

private shared living space

felt roo ng 18mm WBP plywood 120-200mm rigid insulation to falls 146mm cross laminated timber

100mm polished concrete screed 120mm rigid insulation 500mm reinforced concrete slab

large material and component racking

private shared kitchen and circulation

sheltered shared entrance

the build store's reprocessed materials store enables both the construction of the housing on the new Bream Street Community Land Trust, and other East London residents hoping to self-build rather than buying a home

the industrial activity in the live/work plinth enables the creation of both the transitional cohousing at Swan Wharf and the future creation of homes on the Bream Street Community Land Trust

industrial access route

distribution bay

communal avenue

2.7

medium material stores

forklift bay

brick paving, reclaimed from existing south facade sand lled joints 25mm sand bed 100mm course gravel aggregate water proof membrance 500mm concrete slab steel guide bolts, cast into concrete 50mm rubber acoustic pad bespoke steel I-section, 100mm x 300mm 632mm UB steel section

sheltered shared entrance

private master bedroom

1

small component stores

private kitchen

The sitee is pedestrianised d save for the car club parking park spaces. Th The shared h d ownership owner h of transport tran reduces the impact of cars on the site’s landscaping, ing, and frees up up mor more o space for public ammenity.

Each E h household h h ld has h their h own private exte externall space. The Th h houses uses all ll have h a smal small ll private garden which serves as an acoustic gard tic and privacy buffer, buffer while the flats all have ha balconies with h views to the canal or gardens.

aluminium roof ashing 60mm sinusoidal pro le bre cement cladding aluminium box gutter 30mm rough sawn timber 50mm rigid insulation 100mm cross laminated timber panel linseed oil nish

This process creates a more diverse housing stock, with a range of different lifestyles Th accomodated across the site.

W hen designing their homes, the residents are free to choose the degree ee to w which they share accomodation with their neighbours. Some adopt a very ery libe liberal approach to cohabitation, sharing most of their accommodation, some are more conservative choosing to share only a portion of their living space, while others thers choose cho to only use the communal facilities of the Common House.

brick paving, reclaimed from existing south facade sand lled joints 25mm sand bed 100mm course gravel aggregate water proof membrance 500mm concrete slab

18mm translucent polycarbonate sheet 80mm steel box section

communal avenue links both single storey ats and two storey houses - the narrow gauge causes more frequent encounters with neighbours, encouraging neighbourly interaction

Bream ea S eam Street Community n ty Land Trustt

East London Community Build Store

Shared utility spaces enable the individual homes to be reduced in size, increasing the habitable density and allowing more people to live in the Build Store’s transtional cohousing.

Communal living, cooking and eating spaces enable cohousing - a new model for collective living. The cohousing model encourages people to share social activities and chores, creating a more sociable and sustainable neighbourhood.

1

the retention of much of the existing structure allows a housing for the industrial processes to form quickly, enabling a more rapid construction of the housing

shared courtyard

private second bedroom

1.8

The single storey flats on the south side are for small households - singles, couples and small families. They share a central core of accomodation, with more private spaces moved to the edge of the plan.

450mm existing brickwork, english bonded existing concrete strip foundation new concrete underpinning

50mm precast concrete paving slab 50mm sand bed 100mm rigid insulation 500mm reinforced concrete slab 350mm x 250mm in-situ cast concrete padstone 450mm existing brickwork, english bonded

shared courtyard acts as social catalyst, with the kitchens of both of the adjoining homes opening into it - allows space for children to play under supervision of either family

3mm extruded galvanized zinc pro le window reveal aluminium ashing 350mm existing brick wall, english bonded 12mm steel C-section lintel 100mm rigid insulation recessed alumiumium window frame 8mm single glazing panel birch window sil

3mm extruded galvanized zinc pro le window reveal aluminium ashing timber window frame 24mm double glazing panel birch window sill

60mm sinusoidal pro le bre cement cladding timber batons 150mm rockwool insulation 100mm cross laminated timber panel linseed oil nish

Key

The two-storey houses on the north Th th h si sside d are ffor large l families.The amilies.The lies.The houses share a central courtyard, a pla place for children to play and adults adults to ssocialise. Th The soft division sion between w the home homes allow w the famili families to share the he benefits of cohabitatio cohabitati n, whilst still having havi private h homes.

Private External Space

The single storey flats on the south side are for small households - singles, couples and small families. They share a central core of accomodation, with more private spaces moved to the edge of the plan.

fig.1

fig.4 : Assembly of the various kinds of slabs to form double, triple height spaces and to create an ambiance as an when required.

fig.3 : Time-line of squatting the frame and how the structures become from temporary to permanent.

fig.2 : Site Planning - Design Strategies

fig.1 : Formulation of structural system for the artist community.

Exisitng Artist community in Hackney Wick called ‘Performance space studio’ is the client since it targets the same approach with its liberal manifesto and belonging.

The site Swan Wharf ‘s extended warehouse falls in the heritage conservation area. The concept is not to impose a structure or a mass on the community.

Considering the brutal concrete frame of the warehouse, the artist themselves would squat the frame where they could built their own built form for dwelling and studio space. By providing temporary and mobile modules like moving dismantable slabs and walls, the artist community would adapt and re- arrange according to the functions and requirements they would seek to self organise. The materials that they use would be re-cyceld ones to cut down the cost and have a sustainabe approach.

The approach to sustain the artist community even after gentrification and regeneration hits the place and the rents increase. Creating a collective interaction within the community, to withstand the development and form a strong structure of economic, political, cultural which helps to self-organise them.With this structural system they would be constantly creating to sustain their living and evolve a social environment.

reena_gaikwad@hotmail.com

5HHQD < *DLNZDG 0$$'

artists movement Artistssquatting squatting movement

Changing identities Changing Identities

fig.2

Spatial use

Spatial use

fig.4

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University of East London Diploma Unit 2 www.diploma-unit2.blogspot.com Tutor: Christoph Hadrys c.hadrys@uel.ac.uk Students: 4th Year: Stavroula Antoniou, Michalis Christodoulou, Tolulope Esho, Hana Rizvanolli, Savvas Tillyros. 5th Year: Matthew Collins, Anna Demetriou, Ursula Markiewicz, Lina Matagi, Leila Mortimer, Matthew Rust, Athina Sallam, Miles Weber Open Land This year, we focused on the theme of Open Land, exploring ways in which architectural interventions can mediate between urban contexts and diverse landscape conditions. The main sites of interest and student projects were located along Open Land in East London, stretching from the Lea Valley to Barking Creek.

To name just a few conditions, the area is subject to some of the most diverse inner urban wildlife, highly deprived neighbourhoods, but also some of the most intensive urban developments in Europe. East London‘s urban areas are changing and they transform adjacent landscapes in an ongoing process. In many cases, the interrelationship between build form and Open Land has yet to be defined. This poses interesting social, spatial and environmental questions. As an example within the area of interest, the 2012 Olympic designs address an interdependence of urban space and Open Land. Here, intensive urban developments embrace the Olympic Park. In our work, we asked questions beyond the Olympic event.

For the main design project, we investigated how building proposals can be part of a synergetic urban life and relate to particularities of Open Land. This set the tone for interventions in a range of interrelated scales, from urban through to building and detail scales.

With thanks to: Christopher Alexander, Koldobika Albistegui-Sojo, James Barrett, Peter Dagger, Stephanie Poynts, Raphael Lee, Darren Lee, Uwe Schmidt-Hess, Stephanie Schultze-Westrum, Kevin Widger, John Worthington, Renee Tobe (Subject Director, UEL Architecture), John Worthington (Architect and Urbanist)

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Lower Lea Valley Drawing by Savvas Tillyros

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Site investigations carefully addressed existing qualities of 2SHQ /DQG DGMDFHQW XUEDQ FRPPXQLWLHV DQG PRVW LPSRUWDQWO\ boundary conditions inbetween. We researched potential needs and opportunities to open room for imagination.

Richard Sennett (2008)

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Sandy McCreery (2007)

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Student Hank Hendriksen Year 5

Location Hackney Marsh

Project Title/ Function Bath and Renaturation

7KH SURMHFW LV WZR IROG E\ SURSRVLQJ D QHZ UH QDWXUDWHG ODQGVFDSH on the site and a bath that plays a crucial part in the re-naturation process and for local communities.

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The bath structure has a concrete foundation that is an imprint of the various bath formation on the ground. The upper walls and URRI VWUXFWXUH LV PDGH RI WLPEHU D PDWHULDO XVHG LQ VORZ EDWKLQJ environments.

&XUUHQWO\ WKH PDLQ VLWH RI LQWHUHVW LV D VWRUDJH VLWH IRU LQGXVWULDO machinery. The very location of the site separates three important DUHDV RI WKH /HD 9DOOH\ DQG FRQVWLWXWHV D VHYHUH JDS ZLWKLQ WKH /HD 9DOOH\¶V GLVWLQFW KDELWDW $GMDFHQW WR WKH VLWH DUH IRUPHU ZDWHUZRUNV WKDW VHW DQ H[DPSOH RI UHQDWXUDWLRQ )XUWKHUPRUH existing sport facilities attract a variety of people to the area already. This is especially important as local communities show very high levels of deprivation.

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re-naturation and bath

Greenspaces and Waterways Waterscape Leila Mortimer

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Student Jaspal Chana Year 5

Location Mabley Green and Wick Field

Project Title/ Function Woodland and Timber School Youth Centre Tree Nursery

Hackney Wick Images Previous Page Savvas Tillyros

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Student Tolulope Esho Year 4

Location Hackney Wick Station

Project Title Cycling Hostel and Shop Cafe

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A public pathway system connects these two facilities through the woodland.

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woodland school and tree nursery

Perspective within the man-made Woodland

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Project Plan Tree Nursery and Woodland School

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in Relation to Hackney Wick sections

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Student Savvas Tillyros Year 4

Location Hackney Wick Fish Island

Project Title/ Function Technical School and Accommodation

7KH EXLOGLQJ GLYHUVL¿HV DQ H[SHULHQFH RI SXEOLF VSDFHV DQG frames vistas and life.

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The public path enhances existing routes and proposes short cuts WKURXJK GLVXVHG ODQG DQG VLWHV 7KLV URXWH ZRXOG FRQQHFW +DFNQH\ :LFN 6WDWLRQ ZLWK WKH *UHHQZD\ LQ D YHU\ GLUHFW ZD\ )XUWKHUPRUH DQG DV +DFNQH\ :LFN ODFNV D VHQVH RI FOHDU SXEOLF VSDFH LW ZRXOG act as central place.

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technical school & accommodation

Proposal Sections

Hackney Wick ,PDJH 1H[W 3DJH Savvas Tillyros

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Student Michalis Christodolou Year 4

Location *UHHQZD\ +DFNQH\ :LFN

The residential towers have a sculptural appearance and continue a landscape of vegetation into the vertical. Flats have balconies or shared landings that allow plantations. The towers have a durable FRQFUHWH VNLQ DOORZLQJ SODQWDWLRQ WR FOLPE DQG WDNH RYHU

%HVLGH SXEOLF FLUFXODWLRQ DQG FRQQHFWLRQV WKH ZRUNVSDFH URRIWRS is also the base for elevated private allotments and residential towers. Observing the city from this elevated point of view gives the opportunity to experience the cityscape in a different ways.

Cityscape and landscape merge into a continous experience of openess.

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Student Stavroula Antoniou Year 4

Location Sugar House Lane

Project Title/ Function Market and Hotel

7KH PDUNHW LV VSDWLDOO\ RUJDQLVHG LQ DQ LQWHUWZLQHG PDQQHU ZLWK the hotel above. A series of courtyards and lightwells allow light deep into the building and a complex interrelationship of both OHYHOV 7KH VNLQ RI WKH EXLOGLQJ XVHV WUDGLWLRQDO JUHHQ WLOHV WKDW can be found on many pubs and underground stations in London.

7KH LQVLGH RI WKH PDUNHW LV ZKLWH WLOHG 7KH KRWHO SDUW LV LQ WLPEHU responding more to domestic scales.

7KH KRWHO LV DERYH WKH PDUNHW DQG KDV D VHULHV RI VPDOO PDLVRQHWWH EHG URRPV ZLWK EDWK DQG VWXG\ EHORZ DQG VOHHSLQJ above. The windows are orientated in such a way that small vistas appear horizontally and vertically.

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All buildings are either reused or carefully inserted into the H[LVWLQJ FRQWH[W FUHDWLQJ QHZ VSDWLDO VLWXDWLRQV DQG RSSRUWXQLWLHV IRU 6XJDU +RXVH /DQH 7KHLU FRQ¿JXUDWLRQ SDUWLFXODUO\ H[SDQGV RQ a typology of small alleyways that exist on this island.

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market and hotel

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Student Matthew Collins Year 5

Location Bow Interchange

Project Title/ Function +RXVLQJ DQG 0L[HG 8VH

A community centre and commercial units frame the main public spaces to bring a vibrant street scene.

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housing and mixed use

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Student Lina Matagi Year 5

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7KH SDUN LV VHW XS WR HQFRXUDJH DQ LQWHU FXOWXUDO GLDORJXH IRU all people by creating very little exclusive and more inclusive WHUULWRULHV ,W LV RSHQ WR DOO DOORZLQJ FDUHIXOO\ FRQGXFWHG VSLULWXDO SUDFWLFH DV ZHOO DV FDVXDO XVH OLNH RQH ZRXOG ¿QG LQ SDUNV The site is left open and wilderness is encouraged to grow around buildings and pathways. The vegetation will slow the site GRZQ JLYLQJ LW D VHQVH RI VWLOOQHVV ZLWKLQ WKH IDVW FLW\ DURXQG LW µFRLQFLGHQWLD RSSRVLWRUXP¶

The different buildings include a new and slowly expandable PRVTXHV WKDW FDQ JURZ ZLWK WKH FRPPXQLW\¶V DYDLODEOH PHDQV )XUWKHU EXLOGLQJV DUH D FHUHPRQLDO VSDFH FHOHEUDWLRQ KDOO FRQWHPSODWLRQ LVODQG FUHPDWRULXP DQG FHPHWHU\ 0RVW EXLOGLQJV DUH VLPSOH EULFN VWUXFWXUHV WKDW VLW OLNH REMHFWV LQ WKH ODQGVFDSH 1HYHUWKHOHVV HDFK RI WKHP LV SRVLWLRQHG LQ D VWUDWHJLF DQG FDUHIXO manner to one another. This allows them to be used in a logic and sensible way.

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7KH VLWH LV ORFDWHG LQ WKH /RZHU /HD 9DOOH\ RQ D ODUJH IRUPHU industrial site between Mill Meads and West Ham station.

Currently the site is largely empty with the exception of a temporary mosque.

journey of life

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Student Urszula Markiewicz-Sagar Year 5

Location 0LOO 0HDGV :HVW +DP 6WDWLRQ

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7KH ODQGVFDSH LV SDUW RI WKLV VWUDWHJ\ RI µJURZLQJ FLW\¶ ,W LV LQWHJUDO part of soil remediation and re-naturation as well as greywater and organic waste recycling.

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7KH SURMHFW LV ORFDWHG LQ WKH /RZHU /HD 9DOOH\ RQ D ODUJH IRUPHU industrial site between Mill Meads and West Ham station. The proposal and development addresses diverse users with a focus RQ ÀH[LELOLW\ DQG D SURGXFWLYH ODQGVFDSH

live work community

Pedestrian and Car Access

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Previous Pages Images by Miles Weber

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Previous Page A12 - Lea River Images by Miles Weber

Student Miles Weber Year 5

Location %RZ /RFNV %URPOH\ E\ %RZ

Project Title/ Function +RXVLQJ &Uèche and other Community Facilites Public Park

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Student Leila Mortimer Year 5

Location 0LOO 0HDGV :HVW +DP 6WDWLRQ

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The western side of the building is made of gently varying KDQGPDGH EULFNV ,W LV UREXVW DQG NLQNV DURXQG DQ H[LVWLQJ WKRXJK GLVXVHG SXE 7KH NLQN SURYLGHV QHZ WHUULWRU\ DQG D JUHHQ streetscape of vegetation.

7KH SDUN ZLOO EH VKHOWHUHG IURP WKH QRLV\ $ E\ D EXLOGLQJ that follows the western and northern perimeters of the site.

The building is a collection of housing units interacting with the open land through a faceted and transparent eastern facade.

7KH JURXQG ÀRRU SURMHFWV LQWR WKH VFUXEODQG DQG IDFLOLWDWHV WKH LQWHUDFWLRQ RI SHRSOH WKURXJK WKH SURYLVLRQ RI FRPPXQDO IDFLOLWLHV OLNH D FUqFKH

3DUW RI WKH SURSRVDO LV D SXEOLF SDUN QH[W WR WKH FDQDO SURYLGLQJ the community with open land that they do not currently have.

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housing, crèche and park

The whole design is conceived of as an extension of the ODQGVFDSH JUDGXDWLQJ LQ KHLJKW WR ZRUN ZLWK WKH H[LVWLQJ µJUHHQ YDOOH\¶ DURXQG WKH ZDWHUZD\V 2YHU WLPH WKH WHUUDFHV DQG JDUGHQV of the dwellings will be cultivated and the timber slowly weather blending into the landscape.

(DFK XUEDQ EORFN LV FOHDUO\ GH¿QHG WRZDUGV SXEOLF VSDFH :LWKLQ HDFK EORFN WKH IRUP FRQVWLWXWHV D PDW EXLOGLQJ W\SRORJ\ DQG EUHDNV LQWR VPDOOHU SLHFHV DOORZLQJ OLIH WR XQIROG LQ GLIIHUHQW ZD\V

7KH SURSRVDO DLPV WRZDUGV IDPLOLHV DQG FUHDWHV D VDIH HQYLURQPHQW IRU FKLOGUHQ ZLWKLQ WKH FLW\ LQWLPDWHO\ FRQQHFWHG WR nature and the wider community.

7KH VFKHPH SURYLGHV D QHZ UHVLGHQWLDO TXDUWHU ZLWK VXSSRUWLQJ VKRSV DQG LQWHJUDWHV SODQV IRU D QHZ PRVTXH RQ WKH VLWH 7KH urban and building design is informed by the line to Mecca and existing angled site boundaries.

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living landscape

Previous Pages Site Photography and Proposal Images Leila Mortimer

Urban Block Model

Urban Block/ Mat Building Movements and Flat-typologies

Proposal Plan

3URSRVHG 3HGHVWULDQ &DUV DQG Greenspaces

7KH EXLOGLQJV¶ EULFN IDFDGH DQG IRUPV DOORZ D FDOPQHVV IRU QHZ dynamics.

3URSRVDO &RQWH[W

The building to the north-east contains student residences that can be used as a hotel during study free times in summer. The building to the north-west contains a commercial hotel.

Right Pages Proposal Model Plan

7KH PDLQ EXLOGLQJ LV ORFDWHG DORQJ WKH 7KDPHV HPEDQNPHQW ,W FRQWDLQV WKH GDQFH VFKRRO DFUREDWLFV DQG DXGLWRULXP DV ZHOO DV D FRPPHUFLDO J\P OLEUDU\ DQG UHVWDXUDQW 7KH EXLOGLQJ ZHDYHV WKHVH IXQFWLRQV WRJHWKHU FUHDWLQJ XQLTXH VSDWLDO DQG VRFLDO synergies and qualities.

3UHYLRXV DQG 1H[W 3DJHV Images Anna Dimetriou

Student Anna Dimetriou Year 5

Location 2UFKDUG :KDUI /HDPRXWK

Project Title/ Function UEL Dance School and AcroEDWLFV $XGLWRULXP *\P DQG /LEUDU\ 5HVWDXUDQW 6WXGHQW $FFRPPRGDWLRQ DQG +RWHO 3XEOLF Park and Path

7KH PDLQ EXLOG LQWHUYHQWLRQV FRQVLVW RI WKUHH SHULPHWHU EORFN VKDSHG EXLOGLQJV 7KH EXLOGLQJV DFW LQ GLIIHUHQW ZD\V OLNH ¿OWHUV WR WKH RXWVLGH LQ DQG LQVLGH RXW 2Q RQH VLGH WKH\ SURWHFW DJDLQVW strong winds and give a sense of stillness within. On the other VLGH WKH\ DUH GHVLJQHG LQ VXFK D ZD\ WKDW WKH\ DOORZ GLIIHUHQW vistas out into the open context. )XUWKHUPRUH WKH\ RUJDQLVH SXEOLF DQG SULYDWH WHUULWRULHV DQG JXLGH public pedestrian movement in a sensible manner.

All buildings have a series of smaller courtyards within their SHULPHWHU 7KHVH FRXUW\DUGV DFW DV OLJKWZHOOV DOORZ KRUL]RQWDO vistas and organise vertical circulation. The buildings read by themselves.

3DUW RI WKH SURSRVDO LV WR H[SDQG RQ D SXEOLF SDUN DQG QDWXUH UHVHUYH WR WKH :HVW )XUWKHUPRUH D QHZ SXEOLF IRRWSDWK DQG Lea River Bridge will connect to Canning Town Station and the SURSRVHG )DW :DON E\ WK 6WXGLR

7KH VLWH LV RQ D SHQLQVXOD VOLJKWO\ GLI¿FXOW WR DFFHVV 1HYHUWKHOHVV WKH ORFDWLRQ RIIHUV YHU\ XQLTXH TXDOLWLHV DQG possibilities.

The site is located on Orchard Wharf between a nature reserve at (DVW ,QGLD 'RFN %DVLQ DQG WKH /HDPRXWK RSHQLQJ VRXWK WRZDUGV the Thames. The proposal speculates about a possible expansion of the UEL dance school that is currently next to the site and acrobatics.

uel dance school & accommodation

University of East London Diploma Unit 9 Tutor: Robert Thum R.p.thum@uel.ac.uk Students: 4th Year: Hongjin Kim , Masayuki Yusada, Chris Georgiades William O'Brien, Seyi Marvin Shodunke, Kaan Alpagut, Viktoria Psychoula James Cattle, Anna Charlotte Masilge, Hannah Jane Taylor, Seyi Marvin Shodunke, Dean Williams, Liam Wood 5th Year: Christopher Allen, Anna Yancheva Apostolova, Farah Hamid, Abul Mahdi, Jamie McKenzie, Tomonori Ogata, Samuel Rose, Georgios Yiannakis Voniatis, Arianna Wellons closed/open The unit investigated Higher Education as a programme for the civic city. The university’s autonomy -as it was formulated by the founding fathers of the modern civic university- is inextricably linked to the idea of the public sphere. In turn the public sphere is a precondition for the Kantian emancipated / enlightened subject - a subject that has the ability to think for itself -to scrutinize as independently as possible different points of view.

Our modern concept of public space or public sphere as principles mark the highpoint of this development - coinciding with the development of a metropolitan lifestyle, ‘the public’ versus ‘the private’, critique, literature (new forms such as the novel), literary saloons and cafes, the press and other public fora.

This interdependent relationship establishes the university as a public institution: interwoven and engaged in the process of social and individual emancipation. As an institution the university bears practical, social, ethical, and political responsibility for society. The unit investigated educational building programmes as constitutional ideals for the civic city as well as a concrete activator for a post industrial urban context.

In a number of research project the unit traced the history of universities, from differing ideas of universities to competing forms and conditions. We will look at concrete examples from the earliest to the most recent. In particular we will investigate its relation to the city.

With thanks to: Marcus Andren, Alex Scott-Whitby, Harald Trapp, Martin West

38

Building Programme: Bench Workshop Machine Workshop Wood Workshop Classrooms Drawing Room Library Exhibition 2I¿FHV Administration Cafeteria Timber Storage External Covered Crafts Area

Footprint: 1,860 sq m

Client: TRADA (Timber Research and Development Association)

Level 5

Abul Hasan Mahdi

P100-113

P92-99

P74-91

34

06 - Three Mills Film School

05 - Urban Agriculture Research Facility

04 - UN-Habitat Architecture School 11 - East London Practice College

P176-185

The school will be located in Sugar House Lane in the fragmented area of the Lower Lea Valley. The Lea Valley is a fragmented piece of London that has been cut off into pieces by rail, road and water infrastructure.

Sugar House Lane with its old works, warehouses and yards is one the rare survivors of the industrial past in the Lower Lea Valley. The Valley was full of enterprises along the river corridor, which supported London’s economic growth from the eighteenth century onwards. This is a unique place that still survives and no other place like this can be found within the borough of Newham.

The project aims is to bring together vocational students studying carpentry and academic research students in a building which offers space for education and provides for better social cohesion between the two different student groups. To promote and develop a sustainable construction training model that will improve the life chances of local UHVLGHQWV E\ GHYHORSLQJ WKHLU VNLOOV NQRZOHGJH DQG FRQÀGHQFH

The client for the project is TRADA (Timber Research and Development Association) who is an internationally recognised centre of excellence RQ WKH VSHFLÀFDWLRQ DQG XVH RI WLPEHU DQG ZRRG SURGXFWV 7KH VFKRRO will provide vocational courses for carpenters, cabinet makers, framers alongside timber research students. The proposal also includes a library and a cafeteria open to the public.

As tuition fees start to rise and universities undergo marketisation, the boundary between vocational and academic teaching will soon become blurred as universities will slowly turn into a consumer and supplier relationship. Students will be trained and educated with the main aim of employability, very similar to how a vocational education is delivered.

Interlocking the vocational & the academic

P122-143

P114-121

P156-175

08 - British Institutes of Technology

07 - RADA East

10 - Institute for Architectural Education and Collective Urbanism studies

Lea Valley School of Carpentry & Timber Research

P62-73

P48-61

P38-47

03 - East London Industrial & Mixed Media Printing College

02 - Educational Centre for Architecture and the Built Environment

01 - Lea Valley School of Carpentry & Timber Research

P144-155

09 - RIBA east

35

39

40

The form of the building plays with the connotation of a pitched roof and the vernacular architecture of the site and gives it a modern twist. The ‘light chimneys’ made of brick sits well within the designated conservation area.

Currently there is a conservation area marked out mostly to the north of the site, with buildings, yards and chimneys of note located within this zone.

The footprint of the proposed School of Carpentry blends into the existing grain by re-creating narrow passages and yards that exist in the post industrial site. This creates a special sequence of spaces that play a very important part to the character of Sugar House Lane.

Sugar House Lane is located south of the Olympic Stadium and the south half of the site is occupied by the Three Mills Films Studio. Remaining buildings on the site are still in use by the creative and industrial industry, however many of these buildings are in poor conditions due to neglect.

Sequence of interlocking squares

44

The light chimneys bring light into the workshops and use stack ventilation to cool the spaces down. Each chimney has a direct relationship to the programme underneath. Hot air within the chimney is drawn out by the openable skylight, which also creates a slight vacuum which draws lower cooler air into the space. During winter the WKLFN PDVRQU\ ZDOOV DQG Á RRUV absorb the suns heat and aids in heating the building.

The form of the ‘light chimneys’ have been carved to avoid overshadowing by stepping and sloping the roofs away from existing openings around the surrounding context.

Light chimneys

10.

42

Sequence of assembly

4.

1.

2.

1. Machine workshop 2. Classroom 3. Library 4. Plant room & tool repair 5. Classroom 6. External covered area 7. Entrance foyer 8. Bench workshop 9. Roof terrace 10. Hunts Lane 11. Sugar House Lane

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Squares are interlocked to create a sequence of connected spaces, that can be used for showcasing work, holding events and places for relaxing and socialising for students, creative professionals and the public.

Neglected yards are stitched together and transformed into squares and public spaces that can be used by the small community of educational and creative industry on Sugar House Lane.

By re-opening Hunts Lane and creating a sequence of interlocking squares it will reactivate the neglected yards and improve connection between Hunts Lane and Sugar House Lane.

Reactivating neglected yards

8000

41

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1:50 sectional model

47

153 385

1:200 site model

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52

conceptual diagram: creating new links by fragmenting and displacing spaces

Ecclesall Wood

Therefore the closest association is with D VSUHDG SDYLOOLRQ V\VWHP ,Q D WLJKW urban site such displacement is restricted but still possible. Therefore applying this logic the (GXFDWLRQ &HQWUH VHSDUDWHV activities in different volumes that are displaced along linear corridors, which contain all the services and circulation.

A live project requires students to constantly move from their studios to the construction site and back again. Therefore in its core the live project is a series of activities that are fragmented and also displaced in space.

Live Projects : Research

48

Below: Entrance to the School Opposite: Sitting in the context (model)

Area: 8600 m 2

Footprint: 2900 m 2

Programme: Woodworking and Metalworking Workshops, Studios, Library, Lecture Theatre, Exhibition Area, $GPLQ DQG 6WDII 2I¿FHV ([WHUQDO &RQstruction Areas and Viewing Platforms

Level 5

Anna Apostolova

l Road

Ecclessa

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Construction on Site

Concept Work and Research In Studio

diagram implemented in the project

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Sheffield City Centre

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The Education Centre for Architecture and the Built Environment in Fish Island explores an educational programme in its dual character DV FRQWDLQLQJ ERWK JHQHUDO SXEOLF DQG VXEMHFW VSHFLÀF IXQFWLRQV $V such the project acts as a bridge between the mixed-use conservation area to the north of the Greenway and the light industrial land to the south. In this way education establishments move away from the idea of isolated and contained campuses and back into their original integrated presence in the city.

In a more immediate context the programme aims to respond to the Olympic Games regeneration process. The impact of the Games in London is divided into three phases: 1. Construction of the venues 2.

The Games 3. The Legacy. Phase 1 is the most intensive process, which creates the biggest urban impact – businesses and communities are relocated to free land for the new Olympic Park, new satellite industries arrive to support the construction, but they too will leave once the venues are completed. The project suggests using a school focused on architecture and the built environment as a way to retain these new industries (concrete mixing, steelworks, timber yards) and integrate them in the longer regeneration process, while also allowing for the experience gained during the large scale construction of the Olympic venues to be utilized in training students and workers.

The linear organization of the programme is inspired by its nature. The school is focused on Live Projects education. Live Projects happen in different places in the city with a common hub (the studio) and can be seen as fragmented activities, displaced along the city lines.

This abstract idea is manifested in the use of a clear structural and functional strategy where linear solid load-bearing volumes (containing services) act as main lines and light framed spaces (holding activities) are displaced along them . The changing role of education is provided IRU ZLWK WKH ÁH[LELOLW\ DQG PRGXODULW\ RI VWUXFWXUH ZKHUH WKH IUDPHG spaces can be changed or taken away completely if necessary.

7KH FRQWUDVW EHWZHHQ VWULFWO\ FRQÀQHG DQG GRXEOH KHLJKW IUHH VSDFHV creates an interesting tension in the interior along with clear thresholds that help students juxtapose the effect of using different materials and construction techniques.

The linearity also addresses the strong presence of the Greenway and allows the school to form active fronts to both the important public path and also to the less recongized but equally important crossing of routes from the overpass over A12 and the underpass near Victoria Park on the opposite side of the plot.

Linear Architecture/ Fragmentation and Displacement

Educational Centre for Architecture and the Built Environment

04. Activity Spaces arranged and sized according to function.

01. Programme placed on site in parallel to the main public path: The Greenway

phase 1

50

05. Activity Spacee’ required volumes assessed and thus roofs are formed.

06. (opposite) Activities affected by noise placed underground.

£ As the Olympics approach, rents get higher and local communities move to cheaper places Satelite Industries leave the area as they are no longer needed

53

03. The “free” activity spaces are displaced along the cores exploring possible connections.

Opposite: 1:200 model showing the linear load bearing elements and the framed activity spaces. The school is also divided in its “public” and ³VSHFL¿ F´ IXQFWLRQ ,Q WKLV ZD\ LI RQH of the two functions looses importance in the area, the relative buildings can be dismantled and the remaining continued along the liner “service” corridors.

Above: Diagram of the movement of people, businesses and resources during the Olympic Games

Point at which the project intervenes in the process

Businesses Relocated from the area, in order to vacate land

2007 Construction of the Olympic Stadium begins

New satelite industries arrive to support the construction of the park

2005: London chosen to host the Olympic Games in 2012

02. Services and circulation separated into linear “cores” and the remaining acticvity spaces are free to “move”

49

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phase 2

27.07- 12.08 Olympic Games 31.08 -08.09 Paralympic Games

£££

New Communities move into the area as residential units are constructed: The “Yuppie Dromes”

phase 3

£

Students’ Life Projects use available pockets of land in the area to construct affordable housing and keep the

Reuse the already established industries for the long term regeneration projects

Legacy Masterplan 2012 onwards

Fish Island Mid

Fish Island North

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Left: Axonometric of the project elements Opposite: Site plan

Fish Island South

Fish Island East

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The project occupies a narrow strip on the side of the Greenway (3) between the Olympic Stadium (1) and Victoria Park (2).

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Library View

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Members of the Public

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South Elevation: meeting point people coming from overpass (A12) and the underpass near Victoria Park

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Below: Technical Section The building consists of two structural systems: loadbearing walls (precast concrete twin panels) and steel frame (steel universal columns and main frame trusses). The frame volumes are “plugged” onto the load bearing cores with the use of steel brackets. Therefore if changes are necessary, the columns can be released from the brackets and the buildings can be dismantled. ,Q WKLV ZD\ LQ WKH IXWXUH LI WKH function of any of the activity rooms (framed volumes) changes or becomes obsolete, it will be easy to accommodate that change in the structure. ,Q DGGLWLRQ DOO WKH HOHPHQWV WKDW DUH used in the building are modular.

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The studio enjoys large clear span and north lighting(which exposes the structure of the space as well). The walls, are made of the concrete panels and provide suitable surface for the students to use for pinning up drawings, hanging models, projections. The concrete also has good sound insulation properties and it acoustically separates the studio from the surrounding workshops.

The concrete panels forwork is also UHXVHG IRU UDLVHG XS ÀRRULQJ WR XVH IRU running the electrical cables so that there are enough power sockets for the students. The wood also forms sitting area that is warm and contrasts the general robustsness of the space.

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Opposite: View of the middle studio

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61

The clear structural solution is also intended with educational purpose. As a school for Architecture and the Built Environment, the project exposes the construction methods of the buildings clearly so they can be used as an example in the teaching.

Furthermore, the close proximity of two different structural systems allows the students to compare the overall feeling and comfort level in spaces made of GLIIHUHQW PDWHULDOV ,W FDQ EH REVHUYHG how the concrete facade protects the building from the south sun, while the double heights and long spans of the steel frame accommodate for large cranes and prototypes and teach a lesson in scale.

X6

Maintenance Staff

62

68

Building Programme: Printmaking Workshops Studios Library/Archive Exhibition Galleries Auditorium Lecture/Seminar rooms Material Shop Press Repair Centre

Footprint: 7164 m2

Level 5

Arianna Wellons

The project explores these issues by creating an isntitution that re-grounds the origins of the educational environment through the craftmanship of the printed word and image and re-instituting the connection with the public space of the city.

With the invention of the press, printmaking completely revolutionized WKH ZRUOG RI FRPPXQLFDWLRQ HQDEOLQJ IRU WKH ÀUVW WLPH PDVV HGXFDWLRQ allowing it to be readily accessible to all. Not only through book but also through the power of the printed image, prinmaking has played a key role in mass comunication in public protest and marches maintaining a strong connection with the social and civic environment of the public city and the spces provided for it.

7KH SURJUDPPH GHULYHV IURP UHÁHFWLRQV RQ WKH FXUUHQW HGXFDWLRQ system and the need for craftsmanship in an ever changing educational environment where the mediums of education itself have so dramatically evolved with new technologies changing the way public education is acquired and perceived causing it to lose the connection to the social and civic centre that was so deeply rooted in its development as a free public education system.

The project is a vocational College for Traditional and Contemporary printmaking and industrial pritnmaking and publishing. It aims at offering VWXGHQWV HGXFDWLRQ DQG SURIHVVLRQDO WUDLQLQJ LQ WKH ÀHOG RI SULQWPDNLQJ through an understanding and hands-on rapproach in the historical process of printmaking from it origins through to its contemporary use.

Addressing both the area’s industrial printamking history and the current growing local artist’s community of Fish Island, the project aims at providing D ORFDO UHVHDUFK DQG IDFLOLW\ FHQWUH IRU ORFDO SURIHVVLRQDOV LQ WKH ÀHOG DV ZHOO as a specialized educational facility for students interesetd in the various printmaking methods and mediums, a centre that provides knowledge and training in a technology, that is at the centre of literary and intellectual knowledge.

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College of Industrial and Mixed Media Printmaking

urban plot

public route landscape

programmatic components

programmatic yards

2

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64

area located at the convergence of 4 boroughs

The yard becomes the focal point of the building becoming an intermediate between the interior programme and the exterior landscape allowing for tinteraction between the various users establishing a connection to the streetscpe and its activity.

The building’s shape derives from the study of the existing idustrial yarda and the relationship between the spaces in and betwene the yards and the streetscape as wll as the level of activity and inetraction happening as a result of this sequence of spaces.

Thesis Book: College of Industrial and Mixed Media Printmaking

63

The project is located in East London, an area of London characterized by a varied social and urban grain where the industrial past of the city converts into a new up-and-coming area overcome by UHJHQHUDWLRQ )LVK ,VOQG ¿QGV LWVHOI DW WKH convergence point between these different areas, each wth their own unique characteristics yet detached from one another.

Tha site offers the possibility to form a conection between these urban areas renitting the urban fabric together where it was reviously fragmented .The project acts as a beacon for the area and point of convergence between these very different urban scenario

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69

above: long section through programmatic yards displaying the sequence of spaces and their relation to one another

Fsh island is located between 3 very dirrernt urban scenarios: hackney ZLFN UHVLGHQWLDO ¿VK LVODQG VRXWK LQdustrial and the olympic park, urban regeneration

The site is located at the edge of the island where the canal bridges over to the olympic park and where the green way intersects with industrial lonodn

70

a

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The circualtion acts as a dialogue betwen the ineterior and exterior of the building as well as subdividing the the internal spaces which are perceived as one continuous space yet are puntuated by these ‘circualtion corridors’ that also act as tha main ventilation, colling and heatin system for the building.

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Yard Components:

65

exterior workshop yard

Each component responds to its ‘edges’ differently by the way in which they sit on the ground or the way they stand in relation to the street, creating a building conceived as one single entity whose envelope wraps around the steetscape yet which holds various sub-components and sections.

The concept for the building evolved from the subdivision of different ‘educational blocks’ forming the 4 different components of the campus each adapting and reacting to one anotehr as well as to the surrounding context.

66

The routes begin to merge and mould into the different programmes creating inbetween spaces, the /activity yards’ mimicking the existing yard pattern of the industrial foot print of the area and maintaining its characteristic.

7ZR PDLQ URXWHV DUH LGHQWL¿ HG WR FURVV WKH VLWH DQG UHFQQHFW ¿ VK LVODQG WR LWV QHLJKERULQJ 2O\P pic site whcih has formed a barrier rather than a point oof connection and onterchange.

The strategy for the project is to reform a connection between the programme and the urban landscape in order to reactivate the streetscape and creating cross site movement and activity in order for the campus itself to be a point of convergence for different users in the area.

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left: interior view of circulation screens

71

above: section through entrance tower

routes ‘mould’ into programmatic spaces GH¿ QLQLQJ WKH EXLOGLQJ¶V perimeter

routes open onto the street allowing open public access to campus

routes fold into programmatic spaces

cross-site routes

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76

International Sports Campus London Borough of Newham 1.5 Miles from site

2/<03,& 3$5.

Site Area: 13,455 m 2

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a building envelope b streel frame structure c concrete double height panel d 4x6 span glazed backing panel e GF 2x3m workshop glazing f upper level steel mesh panels g double height concrete studio wall h GF workshop steel mesh openings

right: exploded axonometric diagram of the envelope

left opposite: detail of circulation corridor connection the workshops and studios

above: interior view of upper level studio

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Reduction in architects services since 2008

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Left: Glass is used for transparency at entrances to the university, increasing visual permeability upon building approaches.

Top: 1:200 model

Opposite page: Site concept and design progression

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The project is a humanitarian architecture school specializing in ZRUOGZLGH GHYHORSPHQW DQG GLVDVWHU UHOLHI ,W LV DIÀ OOLDWHG ZLWK 81 +DELWDW WKH 81 DJHQF\ IRU KXPDQ VHWWOHPHQWV DQG LW LV ORFDWHG ZLWKLQ WKH SRVW industrial context of East London.

7KH DXJPHQWHG EULHI GHULYHG IURP WKH 5,%$ )XWXUHV WH[W WKDW H[SORUHG WKH IXWXUH UROH RI DUFKLWHFWV ZKDW PLJKW ZH FDOO RXUVHOYHV LQ \HDUV WLPH" :LOO DQ DUFKLWHFWXUH VFKRRO VWLOO EH FDOOHG DQ ¶DUFKLWHFWXUH VFKRRO· RU ZLOO LW EH VRPHWKLQJ FRPSOHWHO\ GLIIHUHQW" 7ZR RI WKH NH\ IDFWV IURP WKLV WH[W WKDW LQIRUPHG WKH EULHI ZHUH WKHUH KDV EHHQ D UHGXFWLRQ LQ DUFKLWHFWV VHUYLFHV VLQFH ZKLOVW DW WKH VDPH WLPH WKH ZRUOG SRSXODWLRQ ZLOO ULVH E\ LQ WKH QH[W \HDUV RI ZKLFK ZLOO OLYH LQ XUEDQ DUHDV 0RUH SHRSOH PRUH FLWLHV PRUH FRQVWUXFWLRQ The aim of the school is to investigate the consequences of architecture UDWKHU WKDQ DUFKLWHFWXUH WKH SUDJPDWLF FUHDWLYLW\ UHTXLUHG RI LW·V OLYH SURMHFWV ZLOO DWWHPSW WR EULGJH WKH JDS EHWZHHQ ZKDW LV OHDUQW IURP WKH SURIHVVLRQDO KDQGERRN DQG ZKDW DFWXDOO\ KDSSHQV RQ VLWH 7KH XQLYHUVLW\ ZLOO JHQHUDWH HQJDJLQJ WRSLFV DQG SURJUDPV WKDW DUH PXWXDOO\ EHQHÀ FLDO FRPSOHPHQWLQJ ERWK DFDGHPLF SULRULWLHV DQG GLVDVWHU relief.

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Building Programme: Studios Workshop Digital Fabrication Exhibition Crit Space Auditorium Lecture Seminar 7XWRU 2I¿ FHV Administration Library Private Study Computing Earthquake Simulation Rainstorm Simulation Visitor Accommodation Cafeteria Lounge

Footprint: 7,620 m 2

Client: UN-Habitat

Level 5

Chris Allen

A heterogeneous environment that promotes sociability over segregation

UN-Habitat Architecture School

5

1

6

2

Pigmented concrete panels use the slag from the copper production as aggregate in the concrete, changing the appearance and physical properties of the mixture. Greater mechanical performance (including compressive strength) and increased durability arise from simply recycling this copper by-product, giving it a black speckling appearance.

Copper By-Product

7

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c. visibility of the roofscape from satellite images and aeroplanes

b. sight lines of the building from the À \RYHU

a. sight lines of the building as a pedestrian

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7KH Á \RYHU DOVR FUHDWHV D unique point of perception. With PRUH WUDIÀ F WKDQ IRRWIDOO SDVVLQJ WKH VLWH FXUUHQWO\ WKH HOHYDWHG YLHZ IURP WKH Á \RYHU EHFRPHV SULPDU\ YLVXDO FRQQHFWLRQ EHWZHHQ WKH JHQHUDO SXEOLF DQG WKH XQLYHUVLW\ 7KLV PDNHV WKH roof an important element of the SURMHFW DV LW HIIHFWLYHO\ EHFRPHV WKH ¶LPDJH· RI WKH XQLYHUVLW\

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1. Apertures through the university 2. Arriving at the university 3. Nolli Plan 4. New Connections 5. External views of the building

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Ground Floor Plan & Diagrams

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1. Auditorium 2. Main courtyard 3. Main courtyard 4. Studio 5.Earthquake simulation room 6. Circulation/social space

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Accommodation Lobby Information Lobby Covered Walkway Research Lab. Student Study Lobby Library Research Greenhouse Auditorium Lobby Auditorium Kitchen Cafe Greenhouses Services

Ground Floor Plan

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B. The perforated copper screen is ¿ [HG WR D VWHHO VXEVWUXFWXUH PDGH XS of vertical and horizontal carriers.

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A. Deep roof lights punctuate the ULEEHG FRQFUHWH VODE DQG À RRG QDWXUDO light into the studios enclosed beneath, they also provide a relief for natural ventilation, drawing warm air out through the stack effect.

Private Room, Public Knowledge

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E. The foundations supporting the structure are deep pile foundations, suitable for London clay.

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AQUAPONICS

city as building

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A + B1 + A

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Accommodation

1

Designed for the Food and Agriculture Organisation (FAO) the project encompasses a research facility for the investigation of different urban growing techniques. The ambition of the project was to respond to the civic city by using the typology of the “building as city” to organise the programme as part of the city edge. The initial nature of the programme poses the question “how can growing space be organised within built programme?” Investigating how buildings can accomodate both solid and void spaces lead the development of the project through the analysis of courtyard systems, which also play an important role in the existing site fabric of Fish Island.

7KH )$2 LV D QHXWUDO IRUXP DIÀ OLDWHG ZLWK WKH 81 :RUOG )RRG Programme, focused on improving food security, agriculture production, and levels of nutrition. The organisation is present in over 130 countries, with headquarters based in Rome, and acts as a source of knowledge and information publishing numerous research papers each year and organising conferences and summits. Working primarily in developing countries, the FAO also runs schemes in developed countries such as the food crisis iniative. In recent years the FAO has received considerable criticism for being overly bureaucratic, too conservative and slow to adapt, and non transparent. In the current economic and political climate how food is produced, where it is produced and how we use valuable urban space is a critical issue. How do the technological advances in science impact the world of food research? What role can the FAO play in all of this?

Investigating the building as city in a post industrial landscape.

Architectural Strategy 1. Programme block located towards the North end of the site, freeing up Southern ground for growing.

2. In order to unify the individual blocks, walkways are inserted into the plan. This move also emphasises an East to West connectivity, which is currently lacking on the site.

3. Increasing the growing space by taking advantage of the stepped building heights and South facing facades through the insertion of active facade greenhouses.

4. Activating the roofscape by including roof access of some buildings as use for growing and for the location of plant room/services for the laboratory buildings.

5. Greenhouses run East to West ensuring that the longer envelope faces South.

6. Reacting with the edge. The cafe and seating areas are located on the road side to create a relationship with the street. At this stage peripheral courtyards and courtyards within the building similar to the exisiting logic of the site, start to become apparent.

7. A linear landscape of allotments, seating areas and public concourse unify the overall layout and empahsise the linearity of the building.

PROGRAMME: Research Labs Accommodation Student Labs Research Walkway Auditorium Cafe Library Allotments

FOOTPRINT: 6450m 2

CLIENT: FAO

Level 5

Farah Hamid

Urban Agriculture Research Facility

3

Auditorium Research Labs.

Accommodation 2I¿ FHV Library Cafe Allotments and Greenhouses

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AEROPONICS

The project comprises of 2 different types of building. These are organised LQ GLIIHUHQW FRQ¿ JXUDWLRQV ZLWKLQ WKH plan to achieve different spatial and programmtic qualities.

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HYDROPONICS

The brief for the building allows the design to accommodate traditional growing needs as well as producing more unconventional spaces for growing. Although some of these spaces are not ideal, this is similar to the landscape that food research projects could encounter in the city. So by creating a variety of different spaces, the building embraces the diversity of the project and that of the city. Below are 4 different research and growing techiniques ideal for urban food production; aquaponics, alloments, aeroponics and hydroponics.

Building Elemennts A programme blocks B1 greenhouses and walkways B2 adapting the greenhouse B3 active facades

1 2 3 4 5 6 7

ALLOTMENTS

building as city

93

The initial concept for the building was working with the idea of “building as city” and looking at how courtyards and allotments can be used to organise growing space within built programme.

The linearity of the design developed through consideration of the sun path, and what would be the best organisation in plan in order to get sunlight as deep into the plan as possible. The linearity also allows for east to west connectivity, an aspect which was lacking in Fish Island.

104

Ground Floor Plan

N

99

The positioning of the different elements within the plan creates different conditions for growing. Some areas are open and light, whereas other mimic the PRUH GLI¿ FXOW QDWXUH RI IRRG SURGXFWLRQ in the city.

First Floor Plan

100

Programme: Film School

Secondary Floor Area: 12500m2

School Floor Area: 13250m2

Client: 3 Mills Studios

Level 5

Georgios Yiannakis Voniatis

105

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The building uses local geometry and building trajectories in the creation of its exterior form as to visually link and relate to the existing studio EXLOGLQJV DV ZHOO DV WR WKH LQGXVWULDO EXLOGLQJV WR WKH :HVW RI /HH 9DOOH\ &DQDO

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Sugar House Lane is located within Lower Lee Valley to the South of the 2012 Olympic venues.

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Within reside companies which provide everything from recording VWXGLRV VWDJH SURGXFWLRQ FDWHULQJ VHUYLFHV HTXLSPHQW OHQGLQJ VHUYLFHV OLJKWLQJ VHUYLFHV DQ DFWLQJ VFKRRO HWF 7KH VHUYLFHV WKH 0HGLD Village provides are lent out to third parties who would like to record a ÀOP RU 79 HSLVRGH ZLWKLQ WKH IDFLOLWLHV

Cinematic Orchestration and Architectural Trajectories

Three Mills Studios Film School

106

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Secondary grid created from trajectory curves

Site directionality / Site penetrating views

The areas that are now black have been pushed in one to two of the site grids.

Then both layers took the closest site curve and follow it to create the buildings East and West edges

Visual Relationships

7ZR FROOLGLQJ UHFWDQJOHV ZLWK DQ RYHUDOO VL]H WR ¿ W DOO WKH SURJUDPV ZHUH placed on site and their edges were tapered to comply with the edges of the trajectory curves.

The rectangles have been devised to provide individual modules for each of the programs within the building by the means of the trajectory curves.

Creating horizontal atrium and light wells

Local site grid

103

Trajectory curves used to subdivide the building, initial building form.

Trajectories curves from borders of all building visible from site

8

9

112

1 - Concrete tiles 2 - Screeding 3UHIDEULFDWHG FRQFUHWH À RRU VODEV 4 - Metal plate 5 - Connection to roof 6 - IBeams 7 - Fins %HDPV WR KROG ¿ QV &RQQHFWLRQ WR ¿ QV 10 - Metal connection plate 11 - Ventilation pipe 12 - Ventilation holder 13 - Lower ventilation duct 14 - Connection to duct 15 - Water Pipe 16 - Lighting 17 - Upper ventilation duct

Key

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Floor plate detail

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107

The West / Canal facing side of the building follows the trajectory of the canal allowing for a continuous pathway along its edge. The building’s facade waivers in height by the subdivisions created to mimic the montaging effect.

This corridor has multiple seating areas as well as semi-internal spaces covered just by louvers. Multiple entrances into the build are placed along this pathway, allowing for both access to the building and crossing to the other side. At the end of this corridor is a green area to the south planted with trees. There are WZR YLHZLQJ SODWIRUP RQ WKH ¿ UVW À RRU facing out towards the West.

West / Canal - Pathway

Atmospheric / Technical Section - 1:50

Moving Mechanical Louvre System

108

The main entrance is located at the centre point of this building. This creates an external central crossing between the building dock and the A11 High Street.

The main hall is a fully glazed envelope allowing for direct views across the building yard and the Lower Lea Valley Canal. To the south this main entrance is the fully glazed main ramp allowing IRU DFFHVV WR WKH ¿UVW ÀRRU

Main Entrance - East

113

2012 Olympic Village. Largely privitised by the Three Mills Film Studios

114

Programme : Research Staff Design Workshops Testing Prototyping Wardrobe Performance Storage

Location : Sugar House Lane Stratford London

300 sqm 240 sqm 600 sqm 1300 sqm 240 sqm 60 sqm 120 sqm 640 sqm 370 sqm

interaction as a form of regeneration.

address the liminal space between public and private, encouraging public

Through the use of a conceptual theatre curtain the scheme hopes to

public realm.

aiming to bridge the gap between the privatisation of education and the

provides public facilities for aspiring actors and artists in the community

construction. As well as teaching private vocational cources the school

art focusing on the vocational skills of scenic & costume design and

RADA EAST is an East London branch of the Royal Academy of dramatic

as set construction or costume design.

currently no vocational training or facilities for backstage elements such

Sugar house lane has companies for dramatic arts however there is

on productions concerning relevant and sometimes controversial topics.

In Newham, ammateur dramatic groups work within the urban community

growth in East London.

industrial space Sugarhouse Lane provides an ideal opportunity for

it is unaccessible and uninviting to the public. With 24,683sqm of vacant

Sugarhouse Lane is as post-industrial area located South of the London

Scenic Construction & Costume Design

Level 4

Scenic Liminality

RADA East

Hannah Taylor

110

All furniture within the room is left aligned as to allow an unobstructed view towards 3 Mills Studios.

The room is split into three sectors, WKH ¿UVW LV FDVXDO FRQWDLQLQJ D VHDWLQJ area with a large screen and a book/dvd OLEUDU\ &DWHULQJ WR ZDWFKLQJ D ¿OP LQ small groups or screens in tutorials as well as allowing for an area for reading within the directors suite. The central area consists of a metal pinup board and the workstations. Six work stations are spaced as to allow for students to work on there projects.

Finally towards the windows is the seminar / meeting area. Providing 6 tables that can be split apart for individual meetings or placed together for seminars where the projects come in use.

115

111

The building contains multiple corridors of which some are clear crossings to the studios to the east. Due to the deep span light wells provide natural light to the centre of the corridor and the classrooms to the North.

West to East - Crossing

Classroom

The ceiling of the main corridor replicates the aesthetic of the facade as to allow for a visual differentiation from other areas spread out throughout the FRUULGRU 7KH ZDOO ¿ QLVK RQ VHFRQGDU\ areas follow a different aesthetic as to increase the differentiation. Between every volume is a light well core allowing for natural light to penetrate within the building from the centre and both sides. At the end of the corridor is the recording studio which has two windows [studio / control room] as to allow views within when possible.

109

First Floor - Circulation / Seating Area

0DLQ DFFHVV WR WKH ¿ UVW À RRU LV DFFRPPRGDWHG ZLWKLQ D JOD]HG UDPS ZLWK GLUHFW DFFHVV from the west [Lea Valley Canal] and from the central double height entrance hall. The QH[W WZR FHQWUDO YROXPHV WR WKH VRXWK DUH JOD]HG DV WR DOORZ IRU OLJKW WR À RZ LQ WKURXJK the light wells. The corridor is in the centre of the building and therefore is periodically lit by the same light wells. Allowing for moments where light can be controlled and othHUV ZKHUH VXQOLJKW SURYLGHV LOOXPLQDWLRQ 7KH OD\HU XSRQ OD\HU RI ¿ OWHUHG JODVV WKURXJK UHÀ HFWLRQV DOORZV IRU WKH ¿ OP WHFKQLTXH ZDUSLQJ RI SHUVSHFWLYH WR EH UHSUHVHQWHG within the main access area and ramp.

Ground Floor - Circulation

The projects location on the Lea Valley Canal opens up a previously neglected waterfront to the public with the trajectory between the waterfront and Sugar house lane drawing people in as an attempt to re-energise the area. A footbridge connection is formed between the site and the residential area to the East. breaking the current disconnection between the public and Sugarhouse Lane.

Top : 1:200 Model Right : Waterfront

116

Industrial 83,000 sqm

Vacant 24,683 sqm

The site is currently isolated by the surrounding canals and the A11 to the north. With the building typology being mainly building merchants and SULYDWH ¿ OPLQJ DFFRPRGDWLRQ WKH VLWH LV FXUUHQWO\ XQDFFHVLEOH WR WKH SXEOLF and lacks any need for regeneration. The scheme aims to encourage public interaction through the use of an educational programme which engages a public audience.

Live - Work 22,000 sqm

Sugarhouse Lane is located in the London Borough of Newham on the border of Tower Hamlets. The home of the London 2012 Olympic Village, Newham was previously in the UK’s top 1% of deprived areas and is currently undergoing a number of regeneration programmes.

121

Public

Private

$GPLQ 6WDӽ

Scenic Construction Workshop 750 sqm

7HDFKLQJ 6WDӽ

Storage 370sqm

Technicians

Performance 450-800 sqm

122

Programme: Applied Research

Client: British Government, British Institutes of Technology, Private Consortia

Floor Area: 18,000 sq. m

Level 5

Jamie Ross McKenzie

Design Studio 600 sqm

Research Library 450 sqm

The interaction of the public and private elements is neogiated by the theatrical curtain wall. In front of the curtain are the Front of House elements such as the theatre and research library. The backstage areas such as the scenic construction workshop and the theatre changing rooms are concealed behind the curtain wall.

Through the initial manipulation of spaces, programmatic elements where located to form physical and visual links. For example the design studio provides and visual link into the scenic construction workshop.

7KH SURMHFWV SURJUDPPH RI VFHQLF FRQVWUXFWLRQ DQG FRVWXPH GHVLJQ UHTXLUHG YHU\ VSHFL¿ F VSDFHV 7KHUH area (sqm) and facilities was determined through a series of precedent studies.

Programme and Users

Costume Student

School Visitors & Public Users

117

118

What Britain needs is a new system of education which unlocks the SRWHQWLDO IRU WKH VSHFLDOLVW FUHDWLYLW\ WKDW ,·YH GHVFULEHG KLWKHUWR DQG ZKDW better place to put this than Stratford where the focus of marketing Britain ZLOO EH SODFHG WKLV \HDU DQG WKH REVHVVLYH VFUXWLQ\ RI WKH ¶OHJDF\· ZLOO

However, the skills needed for this revolution in technology are few and far between. Education is being rendered vulgar by the terrible disease of more and more students attending pointless university courses aimed to provide jobs in the prevalent service and public sectors. Pure, unapplied academic courses, especially the sciences, have fallen out of favour.

But these in turn do not arrive at a creative conclusion, delivering their VWXGHQWV WR HPSOR\PHQW LQ UHVHDUFK RU WHDFKLQJ 7KLV LV ÀQH EXW VFLHQFH is neither use nor ornament to society unless it can be applied.

%\ QR PHDQV ZRXOG LW EH ZLVH WR WU\ DQG UHLJQLWH %ULWDLQ·V PDQXIDFWXULQJ past. Heavy industry is best left to people that can provide it much more FKHDSO\ DQG HIÀFLHQWO\ VXFK DV &KLQD DQG HYHU JURZLQJO\ ,QGLD DQG Brazil. However, Britain does have an ignored but proud history of innovation, creativity, arts, literature. How Britain can advance and rely less RQ ÀQDQFLDO VHUYLFHV LV WR EHFRPH DQ LGHD VWRUH D NQRZOHGJH HFRQRP\ This would, of course, be, in itself, a service sector, but of a different, slightly more rewarding nature.

,W JRHV ZLWKRXW VD\LQJ WKDW WKH ÀQDO FU\VWDOOLVDWLRQ RI WKH GDQJHUV RI VXFK D VHWWOHPHQW RFFXUUHG GXULQJ WKH FXUUHQW ÀQDQFLDO FULVLV %XW WKHUH LV another danger. The reason why institutions such as banks present themselves with such a faceless, corporate identity is because they deliver no hard product. That twinned with risk aversion further erodes identity.

Make this prevalent in the economic activity of a nation and couple it with various failed social and political experiments, and you create severe apathy, the like of which rears its ugly head in the form of events such as the English Riots.

%ULWDLQ·V GHFOLQH LQ PDQXIDFWXULQJ KDV OHIW LWV HFRQRP\ ZLWK D KHDY\ emphasis on the service sector. Likewise, unsustainable public spending KDV FUHDWHG D YDVWO\ RYHU LQÁDWHG SXEOLF VHFWRU $SDUW IURP VRPH H[FHStions, Britain generally works in the private service sector or in a sector that provides for the private service sector, such as construction, retail, or hospitality, or for the public sector that is provided for in tax and services by the private sector.

Integrity and Defence

British Institutes of Technology

Scenic Student

Ticket Paying Theatre Guests

Once entering the building the circulation is dictated by the design process of the scenic construction and costume design. The process begins with the research library where the theatrical curtain is initially formed and evolves.

Forming an inhabited space the curtain expands to act as circulation above the main theatre.

Bottom : Ground Floor Plan Left : Entrance View

120

123

The vertical pattern of the facade mimicks that of a real curtain where the regularity of the lines depicts whether the elements it is concealing are public or private. The smaller the interval between the vertical lines the more private the object of concealment.

For example the changing rooms have very small intervals between the lines, whereas the library has larger spaces inbetween.

Top : Long Section Right : Section through liminal space

124

6

Services

0

Destribution

d

Assembly

D

Design

a

A Knowledge Economy

IDEAS

Parts

Hospitality & Others

Finance

d

D j

0

Apple no longer manufactures its products, these are produced, in parts, across Asia and assembled in China.

Apple prides itself on its design, not manufacture, proudly declaring ‘Designed in California’. The manufacturing process is bastardised from the design, and Apple markets itself not as electronics manufacturers, but as electronic innovators.

Apple

Britain currently has a one sided approach to it’s place in the global market, WKDW RI SURYLGLQJ PDLQO\ ¿QDQFLDO services. This could be made less one VLGHG QRW E\ D VXSHU¿FLDOO\ UHLJQLWHG manufacturing sector, but by harnessing the creative potential of our citizens, and selling ideas to the world.

Britain

Research on Behalf of or with other Institutions

Contracted Research

Private Enterprise

3 months practical research

Stratford City Campus

(eq. MSc) 4 years

BIT Advanced Diploma

Other BIT Campuses

3-6 months practical research

BIT Diploma (eq. BSc) 3 years

BIT Basic Vocational Cert. (eq. 2 A-Levels/Foundation degree) 1 year

British Institutes of Technology - Campus at Stratford City

BIT Diploma of Proficiency

6 months practical research

6 years

125

The campus at Stratford City would be where students spend a portion of their course, depending on the level, focusing on the applied side of innovative technology.

These would offer highly specialised TXDOL¿FDWLRQV ZKLFK ZRXOG GLIIHU WR standard bachelor and masters degrees, but would be equivalent under the Bologna Agreement.)

The would be, in part, funded by private industry, under contracts to research and develop. Some of this would also be on behalf of other institutions. Donations would also be welcomingly given by and received from private companies KRSLQJ WR EHQH¿W IURP D KHDYLO\ VNLOOHG and knowledgeable jobs market.

In general, these new institutions would be highly specialised in nature and placed near to existing industries or in areas suffering from declines in industry since the 1980s to stimulate their local economies.

In order to prepare ourselves for this, there must be a focus on education which, for the mostpart, will return to the ‘Binary Divide’ system of universities and polytechnics. These new institutions would be called ‘British Institutes of Technology’(BITs for short).

119

Users enter the building directly into the theatre. When a performance is not being undertaken an unbroken view is formed from the main entrance through WKH WKHDWUH VWDJH À\ WRZHU DQG LQWR WKH construction workshops, reinforcing the educational core behind the scheme.

During a performance an acoustic screen is used to enclose the space providing a more formal theatre space.

Top : Section through Entrance Left : Model

New

Bond Villain Lair

Lemmings Bashing

Ground

Teratoma

Trajectories

Sugar House Lane, in Stratford, is surrounded by another forgotten form of transport that could be utilised is that of the canals, which before railways were the UK’s lifelines. These also allow for PRUH GLI¿FXOW JRRGV WR EH WUDQVSRUWHG more safely than by road or rail. They also form a moat to control access to only three points to the whole of Sugar House Island, important for the sensitive nature of the research at the new campus.

All of these are connected via infrastructure to such a degree that they merge to become one area, one interior (See above). Stratford is currently one of the best connected areas in London.

1. The growing ‘Tech City’, East London’s own silicon valley.

7KH &LW\ RI /RQGRQ D ZRUOG ¿QDQFLDO centre.

3. Canary Wharf, an extension of the City of London.

Along with Stratford’s competitive QDWXUH FRPHV WKH EHQH¿WV RI LW EHLQJ surrounded by important areas of other market-dominant areas of industry. The most important are:

East London Connections

130

Demolishing for the sake of building again is a pointless waste. It attempts to re-write the histories of our cities; redraw their topologies to make them kinder, friendlier, sterile. It is the architectural equivalent of burning books. This does not necessitate refurbishment on a large scale, however. If we all approached our existing, derelict, crumbling envelopes, scattered around the city like old crisp packets, as the new ground conditions, part of the geography, waiting to be torn inside, we would have an abundance of space and opportunity. This was necessary for this project, (a campus of applied research) in order to maintain academic integrity, but it could be applied in many ways, and it’s fun.

Klaustra Hotel

Existing

The Envelope as the Ground

126

Sugar House Lane: Controlled Access

Infrustructure to Connect - Infrustructure to Defend

Infectious Organisms

The relation of the grid to the cores, and the behaviour of the grid.

Flesh and Bone

To provide and take away. To transport. Concrete cores.

Artery

Mesh boxes within grid. To contain and store.

Vaccuole

128

A scale of industrial materials was implemented, from the elephantine FRQFUHWH WR WKH ¿OLJUHH PHVK 7KHVH weren’t the only materials, but formed WKH ÀHVK DQG ERQH RI ZKDW ZDV WR EH WKH new structure.

131

In order to apply the materials with the repetitions mentioned hitherto, it had to be established what the function of these would be. Different rules were applied in a similar way to organic organs, tissues and organelles.

Longitudinal Section

127

Roof plan Location: South Sugar House Island

The real beauty, however is how it is unintentional.

Like geological forms that form naturally, or plant forms or animals habitats, there is a certain satisfaction and beauty in repeating industrial elements. The machine age has perfected this with mass production, allowing for even more perfect, symmetrical forms.

Rangiersbahnhof, Zurich

“Constant repetition carries conviction.”

x 100

x 100

132

9

Ground

Grid

Concrete

Existing Shell

Mesh

Sheet Metals

Glass

1. Main Hall 2. Alpha Assembly 3. Bravo Assembly 4. Charlie Assembly 5. Gallery 6. Admin

Ground Floor

The Beauty of Industry: Repeating Elements

11

6

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7. Entrance/Reception 8. Alpha Accommodation 9. Bravo Accommodation 10. Charlie Accommodation 11. Chapel/Safespace 12. Wind Tunnel

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Never-meeting programmes

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Goods and people are separated except for the assembly area. A wind tunnel, the compass point of the whole campus, is also provided. The whore structure feeds from this as the most central core.

Goods can be transported by water or road and arrive on the east side. People arrive via a discrete entrance on the north.

The campus is designed to contain three different groups of people working on three projects simultaneously but never quite meeting, designated as Alpha, Bravo and Charlie. The mangling of materials shown opposite organises itself in such a way that a large space is created for each group where the assembly of plane fuselages, turbines, cars, whatever the group is applying knowledge to is carried out.

Alpha, Bravo, Charlie

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4

3

7 6

1. Library 2. Alpha Seminar/Lecture 3. Bravo Seminar/Lecture 4. Charlie Seminar/Lecture 5. Charlie Social 6. Alpha Social

Basement

People

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7. Bravo Social

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Alpha

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Dispersion

Goods

Charlie

Bravo

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Welded

Alpha Section

75mm HSS

200mm HSS

Cantilevering I Beams

139

The structural property of the steel grid is ambiguous. If offers support for ancillary services and the likes of computer servers, lights, etc as well as the skylights. It is more an exercise in GH¿ QLQJ VSDFH E\ GHQVLW\ 7KH PHVK boxes above will be supported by Cantilevering I-Beams, hidden within its À RRU DQG ORVW ZLWKLQ WKH JULG V\VWHP

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‘Naked Model’ of Alpha.

140

Steel channels are used to collect UDLQZDWHU )LUHSURR¿ QJ LV LPSOHPHQWHG to protect against any potential disaster in the assembly hall. A space of 700mm between the mesh and the glass curtain wall is provided for glass cleaning.

Where studio meets existing roof.

Sprayed concrete is used to preserve the feel of an excavated ground.

Where seminar meets existing ground.

Technical Problems are posed by the joining of the old and new namely:

Where Existing Meets New

135

Only the Seminar areas and studios are climate controlled. The main assembly hall is essentially semi-external, with shelter, not climate, being most essential, and with typical clothing worn, as well as heat from machines, etc, rendering it unnecessary.

23o

Machine Area

The assembly hall is generally arranged by the infection of the roof space with studio space and light wells, with grids and cores surrounding it. Seminar spaces are in the ground.

mbly Hall Assem

Service Core

Thermal Control.

Studios and Labs

General Arrangement.

Seminar/Lecture boxes

The Grid - Tissue for an Internal Structure

134

Cranes

Area Alpha

Skylights are scattered following the grid system, infecting the existing roof.

These follow a simple design.

Excavated Seminar Area

New Ground over seminar area

141

Glazing sits atop supports, supported by the grid. Dark sheet metal is used for solar gain, acting as solar radiators.

Roof Scape

Mesh Seminar ‘Boxes’

142

From the inside, the existing is unrecognisable, relevant only in its provision of shelter.

7KH JULG SURYLGHV VSDFLDO GH¿QLWLRQ which the unconventional system lacks in being devoid of standard wall, ceiling and roof elements.

Like the bond villain lair, what is going on outside is kept from the public, academic integrity is preserved, but hints are made.

The result is a large space for assembly, well accessed and viewed from other parts of Alpha.

Axo of Alpha

Concrete Lecture ‘Box’

Mesh ‘Studio’ Box

138

External Render.

Internal Render of Alpha Assembly Hall.

137

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Alpha- Ground Floor Plan

0 60 50 40 30 20 10 190 180 170 160 1600

0 60 50 40 30 20 10 190 180 170 160

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1. Dock 2. Courtyard Spraying/ Painting Space 3. Heavy Works 4. Assembly 5. Light Works

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To mediate the deep plots, the project creates a spatial complexity that is derived from the monastic and cloistered buildings of Italy. The rhythm created by structure, sub-structure and light, is re-created through the building to create an engaging spatial sequence.

By utilising the intellectual assets that RIBA currently have stored in a Fulham lock-up, the project creates accessible archive towers that root into the post-industrial yards of Sugar House Lane. These are linked by events programmes such as studios, lectures and exhibition that reactivate the inactive street front that is typical of post-industrial areas.

5,%$ HDVW ORRNV DW WKH GHFHQWUDOLVDWLRQ RI WKH 5,%$ DQG UHGHÀQLQJ LW from a conservative institute to a creative hub. The building acts as a catalyst to regenerate a post-industrial archipelago with the existing factories transformed for creative industries. This places the RIBA at the heart of a new creative community. The building takes over empty yards to provide a creative hub, opening the RIBA’s previously inaccessible archive, promoting events and festivals and affordable studios for startup architectural practices. This creative hub offers the platform for the recreation of the architectural community.

The architectural community has suffered from the implementation of the free market which has turned a predominantly public profession, private.

The RIBA HQ at Portland place mirrors this transition which now acts as D JORULÀHG HYHQWV YHQXH RSSRVHG WR QXUWXULQJ DUFKLWHFWXUDO FUHDWLYLW\

Recreating the architectural community

148

7KH YLVXDO IRU WKH HQWUDQFH W\SL¿HV WKH use of these devices in the building.

7KH VRI¿W FRQWUDFWV WR FRQWDLQ WKH VSDFH between the entrance and the lecture theatre and circulation. The circulation to the left, is expressed through the lighting that draws visitors through the building. The structure between the circulation and the lecture theatre creates a separation in this plane, but ZKHQ FORVH WKH ÀRZ EHWZHHQ WKH VSDFHV is easy between the columns. Beyond WKHLU LQKHUHQW IXQFWLRQDOLW\ WKH VRI¿W and columns are manipulated to provide a rhythm through spaces.

The building utilises a spatial sequence to mitigate the deep impermeable plot, that epitomises the post-industrial urban grain. The devices used take precedent from the study of the courtyard typologies of early universities in Italy, which have a similar condition of deep plot and impermeability. In these typologies the devices of structure, threshold, light and volume are used to create an engaging spatial experience.

The images show the use of these devices in creating a sequence and sense of rhythm through the building. The diagrams show the use of thresholds in the sequence to differentiate spaces and give a sense of transition.

www.samrose.eu

Building Programme: Archive towers Studios Exhibition Lecture space Informal presentations Meeting rooms Workshops

Floor Area: 6,250 m 2

Footprint: 2,550 m 2

Client: RIBA

Level 5

Sam Rose

RIBA east

145

First Floor Plan

149

Ground Floor Plan

146

£

RIBA east RIBA east located in an area of creative activity will create a complimentary community of creative industries that

150

1. Circulation route 2. Folded mesh bookshelf and seat 3. Study/ Future expansion 4. Bookcases 5. Rooftop study 6. Services zone

2052. Expansion into study zones

2032. All in use as collection grows

2012. Two thirds in use at opening

Designed to be 2/3 full on completion, WKH VWRUDJH FDQ ¿ OO ZLWK WLPH DQG GHQ sify as more acquisitions are made.

The archives towers store the intellectual assets of the RIBA currently in storage in a warehouse in Fulham.

The continuous surface rises from the VWXGLRV DW ¿ UVW À RRU OHYHO WR FUHDWH DQ accessible archive that can be utilised in day to day study and practice.

Existing RIBA archives

RIBA HQ in Portland place has become D JORUL¿ HG ZHGGLQJ YHQXH WXUQLQJ RYHU P LQ SUR¿ W WKLV ZLOO IXQG WKH PRUH outward looking institution.

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Regeneration by Tabula Rasa

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Developers will primarily be concerned with their investment and not the social, creative vision.

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1HZKDP FRXQFLO KDV GH¿ QHG Sugar House Lane as an area for creative industries as a new creative hub for East London

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The existing factories on site are perfect for creative industries with North light DQG UREXVW À H[LEOH LQWHULRUV 5,%$ east will act as a catalyst for renovating these existing buildings as studios for a new creative community with the RIBA at its’ heart.

Instead of Newham councils development plan of tabula Rasa, the project proposes development by renovation of existing structures. The catalyst for this renovation is an established creative institution which can decentralise its intellectual assets as a creative resource for a new creative community.

2.

Regeneration by renovation

RIBA need to decentralise to regain its relevance by being more outward looking profession

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EAAE memberships Distrubution

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Programme: Studios Project Room Library Lecture Theatre Gallery Archive Workshop Classroom Administration Researcher Laboratory Printing Laboratory Conference Room Bar Bookshop Restaurant Visitor Accommodation

Footprint: 4000 sqm

Client: European Architecture Students Assembly European Association for Architectural Education

Location: London, United Kingdom

Level 5

Tomonori Ogata

152

Existing RIBA study space

RIBA east studios are aimed at start-up architectural practices and young noncommercial practices. To ensure that studios are kept at an affordable level, the rent will be subsidised by RIBA to maintain affordability. As a charity the RIBA is perfectly placed to offer this, in the same model as the Bow arts council who own the Sugar House building which is leased at affordable, subsidised rates. With RIBA east studios and the adjacent buildings offering affordable studios, the region will continue to offer affordable studios giving a stability to the creativity community.

£

RENT £/ft

EASA workshop between 1981 and 2011

London’s Ethnic Distribution in 2010

58%

Once and for all, the atmosphere of public realm has been under pressure of Neo-Liberalism logic and endless security paranoia. Hence, generosity of public education and urban space are less likely to occur in such climate. Perhaps, it is a last resort to strive for openness in Architecture so as to keep various qualities of space in which different activities by different kinds of people can happen along with each other.

The essence of the project is upon a question regarding Architecture and Urbanisms in recent years, following the Unit 9 agenda, closed/ RSHQ ,W LV ZKHQ DUFKLWHFWV QHHG WR ÀQG D ZD\ WR VXUYLYH DQG WR DVN what architecture/architect is to be in the future. Sustainability may be the right answer to it for now, yet sustainability is after all based on FRVW HIÀFLHQF\ ZKLFK HDVLO\ IDOOV LQWR WKH ORJLF RI SURÀW LQ UHJHQHUDWLRQ Furthermore, what if the economy of the western world booms once again in the near future? Or what if oil and metals become even cheaper? Budget is an ultimate limit for building design and economy does effect on architecture. However, the essence of architecture is not commodity of its value but radical use of space where people live, study and socialise with others. In doing so, architecture should include optimum openness towards the city.

The Institute proposed is to be an educational hub of architecture in Europe for interdisciplinary researches and workshop-based teaching in architectural realm. It provides the optimum uses of ground along with educational events for better interactions not only among membership students, researchers and schools but also between the institute and the public realm.

Interwoven Openness in Architecture and Education

151

The archive towers become the image of the institution, opening up it’s archive to the community. The expanded VWHHO SUR¿ OH DOORZV YLHZV LQ GXULQJ WKH day and at night, act as a lantern. This is consistent with the four main approaches from the high street, both directions of Sugar House Lane and the canal.

By using a galvanised steel, the material gains an aesthetic detail of the zinc spangle, rethinking an existing industrial material in an industrial context. This also ages so that when built the material announces the new with D JORVV\ JOHDPLQJ ¿ QLVK EXW ZLWKLQ D few months the material will become matte and weathered as the building begins to sit back into its context.

7KH PDWHULDOLW\ IXO¿ OV D SDUDGR[ RI WKH chimneys desire to open up the storage to the public, whilst protecting it. The expanded mesh gives a sawtooth section that allows views into the chimneys from ground level, but protect the internal from direct sunlight.

2002

2004

Affordable Studios in east London

Commercial Studios in east London

RIBA east studios

2006

£

2008

2010

2012

RIBA east studios rental cost

157

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When not in use as a lecture theatre or large exhibition, which is 90% of occupancy, the space can be appropriated by the building users. By arranging a few seats small intimate meetings, CPDs, dates, online research on the IUHH ZL¿ MRE KXQWLQJ LQWHUYLHZV WHDP workshops etc. can all take place in the lecture theatre. A space normally used very little becomes the social hub of the space building.

In RIBA east the emphasis is on creatLQJ D ÀH[LEOH OHFWXUH VSDFH 'XULQJ D lecture the audience member is handed a lightweight aluminium tube chair with a leather seat. This is then plugged in to a location of their choice. This also means that a smaller intimate lecture can be achieved with the movable curtain containing the space.

Existing RIBA lecture space

1. Bookshop/ Binder/ Printer 2. Workshop 3. Exhibition 4. Cafe

Ground Floor;

5. Cores 6. Columns

Structure;

Studio; 7. Meeting rooms 5,%$ RI¿ FHV 9. Long-term studios 10. Short-term studios

11. Concrete shear wall 12. Glazing

Skin;

13. Drawing archive 14. Model archive 15. Special archive 16. Book archive

Archive Towers;

17. Expanded galvanised steel 18. Galvanised steel louvres

Environmental Envelope;

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154

The internal void is formed by mesh that folds to form chairs and bookcases, with the folds forming lateral rigidity.

The section through the archive tower shows the envelope opening to provide views up into the archive whilst protecting from direct sunlight exposure. The archive towers act environmentally as chimneys to drive a stack ventilation, up the central void. The air intake is from the reservoir of fresh air formed by the envelope.

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Current urban grain on site

158

Site map

Satellite photo

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Projected urban grain on site

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Prominent site axis

Building Design Process

Intermediate Landscape Strips

1. Olympic stadium 2. Stratford Station 3. Sugar house lane 4. Three Mills Studio 5. Lea Navigation 6. Limehouse Cut

Bird’s eye view

163

164

10. Printing Laboratory

9. Workshop

8. Class room

7. Courtyard

6. Mooring point

5. Reception

4. Open Lecture deck

3. Lecture Theatre

2. Gallery

1. Civic Park

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2

159

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Ground level plan

Class room

Lecture theatre

Lecture theatre at a public event

168

5. Common Space

4. Executive accommodation

3. Common space

2. Kitchen room

1. Visitor accommodation

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Accommodation level plan

5. Researcher Laboratory

2I¿FH

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2. Archive room

1. Conference room

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Shared space in accommodation

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Studio

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Programme: Studios Workshops Exhibition Lecture theatre Library Reading Classrooms Seminar CAD lab 7XWRU 2I¿FHV Administration Cafeteria Accommodation

Footiprint: 3,200 m 2

Level 4

Viktoria Psychoula

172

Conference room

The programme reflects on three main issues. Firstly the fact that architecture students are not “work-ready” after graduating due to the current risk-free architectural education. Secondly, the rising need for vocations, especially in East London because of all the Olympics regeneration and development projects. Finally the negative regeneration aspects that have caused prices in the borrough of Newham to rise and forced residents to move out.

The project - “linking pedagogies” - proposes a building that will accommodate an alternative academic environment where architecture students and vocational trainees work together for the realisation of projects within the grounds of Sugar House Lane and its regeneration. The use of courtyards or “agoras” functioning as the principal interaction points alongside with the strong physical and visual links within the building, act as means of achieving the proposed programmatic link between the two different educational models.

The area of Sugar House Lane epitomises the state of the east of London in current times. A, once, highly active area is now an urban quarter in waiting with a plethora of neglected warehouses and a strong industrial character. The sense of abandonment and the abundancy of open land, make this particular area ideal for regeneration and the consequent expansion of London towards the East.

Linking Pedagogies

East London Practice College

Archive room

5. restaurant

4. workshop

3. bar

2. archive room

1. conference room

West elevation

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2 3

Workshop

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sugar house lane

borrough of Newham

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With the closure of the docks in the 1970s Sugar House Lane, as most of East London, fell into decay as factories closed and inhabitants moved away. A few remaining light industries, alongside with a pleothora of abandoned warehouses, are the only remaining elements illustrating the area’s active past. This largely forgotten archipelago combines many essential values in an area such as: robust yet adaptable old buildings, big amount of open space and two stretches RI ZDWHU IURQW 7KH DUHD LV DOVR EHQH¿ WHG E\ public transport and the close proximity to the Olympics site and Stratford Village.

olympic developments

173

1:30 section model

site $ GHHS LQGXVWULDO SORW WKDW EHQH¿ WV from the immediate access from sugar house lane on one side and the tranquility of the canal on the other.

Close to the main road yet far enough from the noise pollution with uninterrupted views to the area’s important remains such as the Sugar House and the chimneys.

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Technical section drawing

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Top: Concept Development Middle: Roof Plan Bottom: Roof Development

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building courtyard

- open (building courtyard) - semi-open (intellectual courtyard) - enclosed (within front volume)

Three main courtyard typologies are observed within the proposal:

The linkage of the different pedagogies is emphasised in the courtyards. The size of the courtyards is such as to allow the school activities to be tranferred outside anytime. They are the “agoras” of the proposal where students meet, tutorials and open lectures take place, structures are being built and there’s an intense exchange of knowledge and ideas.

Agoras

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184

Bottom: Detailed Section facing North

The building is treated as a single brick volume out of which two smaller volumes are extracted forming the courtyards.The surrounding courtyard facades’ materiality of concrete panels expresses the importance of them as main interaction areas from where the regeneration of Sugar House Lane will be initiated.

7KH WZR PDWHULDOV VSHFL¿HG DUH /RQGRQ VWRFN EULFN GXH WR LWV OLQNV to the site’s heritage and prefabricated concrete panels for a more contemporary approach.

Sitting within a conservation area the proposal aims to respect the industrial heritage while introducing more modern methods of construction in order to provide a variety of construction techniques to inspire the students in their work.

Materiality

long section facing South 181

intellectual courtyard

182

Top: East Elevation Bottom: Ground Floor Plan

In order to create a link between the re-cativised waterfront and Sugar House Lane, the North elevation is stepped back from the adjacent buildings. That way a trajectory is formed allowing pedestrian circulation within the area.

Being of a construction nature the school requires frequent loading and unloading activity, most of which happens inside or around the workshop spaces. Taking into consideration the existing large stretch of waterfront and the inactive nature of it, the proposal aims to re-energise the canal as a means of material transportation. The workshops are located adjacent to the canal side optimising the delivery process via a specialised gantry system.

The gantry system penetrates through the workshop spaces and creates an immediate link between the building courtyard and the canal allowing bulky loads to be transferred easily.

Active Waterfront

Opposite page: Top Left: View from the CAD lab to the front volume Top Right: View from the studios to the lecture theatre Bottom: First Floor Plan

The front volume of the proposal accommodates the theoretical elements of the programme. These elements include spaces like classrooms, seminar rooms, reading spaces and generally spaces that require more privacy while in use. In order to achieve the desired overall linkage of pedagogies and maintain each space’s privacy the elements are divided by split levels and glass walls. The spaces are arranged alongside a continuous ramp that spirals upwards and are all overlooking the internal courtyard.

This page: Top: Exploded proposal & Circulation Route Bottom: Enclosed Courtyard (front volume)

The programmatic linkage is also expressed through the numerous visual links within the building. The open plan arrangement allows views from one space to the other enhancing the sense of mutual learning.

Visual Links

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re-activated waterfront new trajectory gantry system

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University of East London MA Urban Design www.ma-ud.blogspot.com Tutor: Christoph Hadrys c.hadrys@uel.ac.uk Students: Ana Denise Teixeira (former students working directly on Sugar House Lane with interesting work: Zaher El Afiouni, Yemin Yin) Open Land This year, we focused on the theme of Open Land, exploring ways in which urban scale interventions can mediate between urban contexts and diverse landscape conditions. The main sites of interest and student projects were located along Open Land in East London, stretching from the Lea Valley to Barking Creek.

To name just a few conditions, the area is subject to some of the most diverse inner urban wildlife, highly deprived neighbourhoods, but also some of the most intensive urban developments in Europe. East London‘s urban areas are changing and they transform adjacent landscapes in an ongoing process. In many cases, the interrelationship between build form and Open Land has yet to be defined. This poses interesting social, spatial and environmental questions. As an example within the area of interest, the 2012 Olympic designs address an interdependence of urban space and Open Land. Here, intensive urban developments embrace the Olympic Park. In our work, we asked questions beyond the Olympic event.

For the main urban design project, we investigated how proposals can be part of a synergetic urban life and relate to particularities of Open Land. This set the tone for interventions in a range of interrelated scales, from urban through to building scales.

Collaborators: Uwe Schmidt-Hess With thanks to: Christopher Alexander (Architect, Urbanist and Mathematician) David Buck and the MA Landscape Design students Tony Fretton (Architect) Roland Karthaus (Urbanist and Professional Studies at UEL) John Lock (UEL Olympics) Renee Tobe (Subject Director, UEL Architecture) John Worthington (Architect and Urbanist)

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Green Spaces

Figure Ground Lea Valley

Next Pages Sugar House Lane, Three Mills Images by MA UD Theory Student Matthew Collins

Roads and Transportation All Drawings Khulood Nasaif

Existing and Proposed (Red) Foot Path

overlapping grains

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Project Title/ Function Urban Design, Mixed Use, Housing and Light Industry Location Sugar House Lane Student =DKHU (O $¿RXQL

Existing and Proposal in Context

“How do you read architecture within the will to deliver an art composition?“ “As John Turner says housing is a process it’s not an object.

Accordingly, if we modify the process, we are also modifying the meaning of the object. Housing was always a process, it was not something to be seen only through the eyes of composition, it was not primarily a formal composition...it was dynamic.“ =DKHU (O $¿RXQL LQ FRQYHUVDWLRQ ZLWK 5RGULJR 3HUH] GH $UFH

Study of Existing Housing Grain Adjacent to Sugar House Island

Study Existing Industrial Grain on Sugar House Island

Experimental Model Unfolding Vistas Proposed Public Space

Movement and Axis

Proposed Typology of Overlapping Grains Axonometric, Framework Movements Lightscape and Rules

Proposed Urban Envelope Tool Focus Points, Mountain and Valley, Urban Grid Proposed Sections and Urban Envelope Experimental Model Urban Envelope and Protected Chimneys (Later Inverted)

Next Page Sugar House Lane Model UEL Diploma Unit 2, 2009

upper ground

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Project Title/ Function Urban Design, Mixed Use, Housing and Light Industry Upper Ground Park Location Sugar House Lane Student Yemin Yin

Site Area in Context

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Urban Block Design and Rules

Development Timeline Perspective Level Change Existing and Proposed Sections

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Project Title/ Function Urban Design, Mixed Use, Housing Location Lea Mouth, Canning Town Student Khulood Nasaif

Site Area in Context

Proposal Plan, Sections and Perspective

Proposed Urban Block Rules Site, Underlying Design Aspects

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