Thomas Rowntree - UCL MArch Architecture Application Portfolio

Application portfolio UCL - The Bartlett Architecture MArch (ARB/RIBA Part 2) This application portfolio contains my final year work of my Ba(Hons) Architecture degree: Design Exploration – Design Portfolio 1 Design Resolution – Design Portfolio 2 Critical Context: Critical Study in Architecture – Extended essay

01

contents. start up menu page 03 - 05 page 06 - 12 page 13 - 34 page 35 page 36 page 37 - 38 page 39 - 40

01.

02.

03.

04.

05.

06.

07.

profile & cv sequence sequel riba & aj student dissertation the hideout work in practice

01.

profile & cv My name is Thomas Rowntree. I graduated from the Ba(Hons) Architecture programme at the Birmingham School of Architecture and Design. I received a: First Class Honours Degree RIBA Bronze Medal Nomination AJ Ba(Hons) Student Prize Award Nomination My work experience includes: Part 1 Architectural Assistant – EPR Architects, London, UK (September 2020 – September 2021) Architectural Assistant – Leonard Design Architects, Nottingham, UK (June – September 2018) Architectural Assistant – Rayner Davies Architects, Nottingham, UK (January 2019) Assistant Landscape Designer – Aqua Roc Landscaping, Nottingham, UK (Part time 2016 – 2019) YouTube & Podcast Host – Self-employed (June 2017 – present)

03

Thomas Rowntree - Self-employed @tomrowstudios Tomrowstudio is a brand that showcases the ‘behind the scenes’ and lifestyle of a practicing architect. It aims to create a home for students and creatives to relate, seek advice and benefit from a community. The studio continues my exploration with the crossover of film and architecture through my work and storytelling.

I am a Host and Producer of my own podcast called ‘The Student Podcast’ which allows me to have extensive conversations about creative topics with guests across the discipline. I use video as a platform to showcase my persoanllity, share experience and highlight my passion for design.

the student podcast I am the host and producer of my own podcast, The Student Podcast. This podcast is the home for creatives and students across the globe to seek advise and relatable content.

I created the podcast to further my studio and expand my brand into the podcast space. I am a big advocate of podcasts and the value that they bring across formal and informal conversations. The Student Podcast is a guest-based podcast which includes interviews with people across the profession and at different stages of their practice. Interviews including Ba(Hons) Architecture graduates and current students, a graphic communication graduate, a YouTuber and videographer and editor, a MArch Architecture graduate, Head of design and more.

05

02.

the sequence the brief [actions] the studio

The project began with the studio collecting data and diagramming all existing vacant lots within Digbeth. This allowed us to produce a matrix display of Digbeth’s terrain vague and further helped us coordinate the individual site we seek to explore. Moving forward, we discussed the use of photography and its importance in helping us understand the site.

Photography particularly helped us understand the urban realm through photomontage and inventive juxtaposition of forms. Conversely, with its ability to frame and ‘edit’ the urban conditions - resulting in a disconnect of image from reality. Methods of investigation included mapping, utilizing graphic, physical and time-based registers in order to understand the site in greater detail.

This studio is designed to encourage the exploration of a new generation of creative spatial design process. We aim to discover new tools and methods to employ on our social and physical infrastructure.

1.0

FILM THEORY. GILLES DELEUZE Gilles Deleuze is a French writer and philosopher who wrote the two books ‘Cinema 1: The Movement Image’ and ‘Cinema 2: The Time Image’ known famously as the cinema books. In Deleuze’s view, movement and time are the two essential components that come from cinema and aims to encourage people to look at movement as something we assemble with. His basic concepts of cinema break down into the frame, shot and montage and incites the viewer to fuse with these elements in perceptual thought.

Film allows us to see movement outside of our bodies which was previously contained and Deleuze discusses that when we watch a fighter (for example) our mind gets so caught up in the action that it begins to carry on the narrative after the film has stopped. The rhythm subconsciously taking control of our thought process causes the movement to continue in our minds and creates a need for the motion to be finished. Seeing movement and its flow that is then disrupted causes the mind to want a return of that movement and so Deleuze’s discussions indicates that motion in film once started, causes our mind to carry on with the flow of the movement and so on a biological level, movement in film causes us to transform and follow this flow. The form and content work in unison and in Deleuze’s view, light could be more important than the story and creates even more significance.

07

FILM & MOVEMENT BERNARD TSCHUMI Bernard Tschumi is an award-winning Swiss-French architect and widely known for proving that architecture isn’t simply about space and form, but also about event, action and what happens in space.

‘Red Is Not a Color & The Manhattan Transcripts’ Throughout his books ‘Red Is Not a Color & The Manhattan Transcripts‘ he discusses his belief that there is no architecture without events, actions or activity. His architectural process follows this exploration and he breaks down action into 3 components, the event, plan and movement. This allows his buildings to respond to this and so intensifying the activities that occur within them. Quoted by Bernard, “The question becomes whether one can organise architectural drawings as a movement sequence” (Tschumi, 2012)

Sergei Eisenstein, 1910

The Manhattan Transcripts process

1.0

MOVEMENT IN THE URBAN EVENT Following my research and my great interest in film and film production, The Sequence aimed to question the movement on the site and the urban events that take place. I employed a rule that I would monitor the movement within a frame and film, that will allow me to break movement down into individual key-frames and events.

This investigation aimed to further Bernard Tschumi’s beliefs that ‘architecture is not simply about space and form, but also event, action and what happens in space’ and questioned the sequence of these actions and events. Further using the theory from Gilles Deleuze, we can understand the significance of the movement and flow in film and the impact on the human mind. By breaking the information down into individual key-frames, I could analyse the events in detail and assess the sequences that take place.

09

08:00

08:00

08:30

08:30

09:00

09:00

09:30

09:30 10:00

10:00 10:30

10:30

11:00 11:00

MAPPING MOVEMENT

11:30 11:30

12:00 12:30

EVERY 30 MINUTES, 8:00AM - 8:00PM, 12 HOURS NORTH, SOUTH, EAST, WEST

13:00 13:30

14:00 14:30 15:00

Vehicles

15:30

People

16:00 16:30 17:00

17:30 18:00 18:30

12:00 12:30 13:00 13:30

14:00 14:30 15:00 15:30 16:00 16:30 17:00 17:30 18:00 18:30

19:00

19:00

19:30

19:30

20:00

20:00

1.0

SPEED, DIRECTION, TIME

11

00;00;12;12

00;00;16;16

00;00;20;20

00;00;25;00

00;01;02;12

00;01;06;16

00;01;10;20

00;01;15;00

00;00;29;04

00;01;19;04

00;00;33;08

00;01;23;08

00;00;37;12

00;01;27;12

00;00;41;16

00;01;31;16

00;00;45;20

00;01;35;20

00;00;50;00

00;01;40;00

00;00;54;04

00;01;44;04

00;00;58;08

00;01;48;08

00;00;00;05

00;00;00;07

00;00;00;09

00;00;00;29

00;00;01;01

00;00;01;03

00;00;00;11

00;00;01;05

00;00;00;13

00;00;01;07

00;00;00;15

00;00;00;17

00;00;00;19

00;00;01;09

00;00;01;11

00;00;01;13

00;00;00;21

00;00;01;15

00;00;00;23

00;00;01;17

00;00;00;25

00;00;00;27

00;00;01;19

00;00;01;21

1.0

13 00

03.

the sequel The two-part series begins with the Sequence that explores and analyses movement in Digbeth, Birmingham and continues research in film theory by monitoring speed, direction and time through film and key-framing. The Sequel resolves fields of movement exploration in response to the social challenge and stigma towards ex-convicts. Grounded by design exploration, the thesis investigates how we can use film framing and sequences of spaces to speed up or slow down the rate at which ex-convicts reform.

A metaphorical timeline anchors the construct in forming a monument that tells the story of the ex-convict in their first 12 months of rehabilitation. The building utilises my exploration to create a journey that widens, narrows, diverts, meanders, opens, and closes in demonstrating the confusing path ex-convicts take in adjusting to society. An intricate sequence and module formation creates slits that portrays contrast between light and dark with concrete acting as a canvas to add to the internal experience; emphasising the dark mental and physical journey ex-convicts take. Using film as a critical method of graphic communication, the thesis is a unique film experience into the life of those oppressed by society.

2.0

the backlighting The first layer of backlighting comes in Diller Scofidio. Diller Scofidio describe the cut and the hinge and its impact on their projects. They describe the hinge as a rotation of action from one fixed point and the instrument of paradox. A surface hinge that can rotate from plan to elevation and a tool to translate drawings 90 degrees around an axis.

my reponse.

In response to the issue of reoffending within the first 12 months, my thesis aims to create a monument that tells the story and experience of the ex-convicts first 12 months after leaving prison.

The monument will be a metaphor of their journey back into society illustrating to the community the challenges and issues they face. It will incorporate elements of existing fabrics and working environments to highlight the integration between the ex-convicts and existing society. Though they face struggles, they have the choice of breaking the cycle.

15

the slow house.

lebbeus woods

The slow house by Diller Scofidio’s formed from a Sequences of spaces follow the curve created by a hinge and sets up a series of camera films.

The hinge, allows for a melodic sequence of spaces to be created and plays with exposure by fluctuating between reality fiction.

“A deeper level of construction fuses the new and the old” (Woods, 1993)

2.0

17

forming the sequence As the sequence began to form, the meandering pathways and diversion exploration began to develop. The buidlings acts as a corriodor (timeline) that events take place along the way. The level changes add a greater level of interaction with the existing buildings and creates different moments for views.

The series of openings give people the choice of which space they want to enter to interact with the wider community.

2.0

19

speed time direction [framing]

framing To reintroduce my exploration [the sequence], using my timeline as an anchor, the frames collected from my speed study are used to form a faรงade that adds a level of interaction with the street and responds to the movement on my site. The frames placed along the timeline forms a lighting method and a change in internal atmosphere.

2.0

the story of the convict 12 months, the timeline

the sequel plan 1:200

0-1 months

The timeline begins at the west side of the building. The entrance has been designed to the width and height of a prison cell to indicate that this is the moment they leave their cell and begin their rehabilitaion journey.

2-5 months

A series of spaces to describe their journey back into society. Ramps and stairs aim to change speed and direction and diversions provide choice. A series of changes through these spaces emphasise the confusing and emotional journey they begin in reform. There are views into the existing building to provide moments of integration and education of the current society.

6

2-5

6 months

The mid point of the journey provides a room of mirrors to reflect on themselves and their journey of rehabilitation so far.

21

0-1

7-9 months

12

10-11

7-9

After they have reflected on their journey so far, they are now deep enough to begin to make their own choices. The following spaces provide a series of openings to give people the choice of what space they want to move in and provides further integration with the surrounding society These openings emphasise the choice that ex-convicts have in continuing their rehabilitation process or re-offending.

10-11 months

Once they have made the choice to continue their journey, they move through a second existing building that contains a different type of working environment. Views into these spaces provide moments of education about the existing society before they finish their journey.

As they move through this existing buildings, there is a drastic level change to provide greater views into the surrounding environment and adding a feeling of being on top.

12 months

To finish their journey, the building ramps down to the exit to force people to move faster through the final spaces to describe the momentum they build in finishing their rehabilitaion. These final spaces are the widest throughout the journey.

2.0

Though the brick and concrete visually oppose one another, the structure of the existing building is supported by the sequel. This aims to continue my resolution in generating a space of rehabilitation for ex convicts and their connection with the existing society.

fusing fabrics At the point of intersection between my proposal and the existing building, the detail shows the importance of integration between the two fabrics.

23

frame by frame

description the sequel frame 15

integration with second working environment level change

The sequel is communicated as a film experience. 20 movement sections, still frames that describe the journey of the convict and the direct response to the movement on the site.

Each section of the building is formed from the movement exploration of the sequence.

5

2.0

description the sequel frame 4

description

diversion underground seating

the sequel frame 5

0.3

00 25

0

5

10m

sequel reaches existing fabric

As the sequence begins to form, views into existing the meandering pathways and internal fusion diversion exploration begin to level diverion to upper develop. The buidlings acts as a corriodor (timeline) that events take place along the way.

The level changes add a greater level of interaction with the existing buildings and creates different moments for views.

0.3 1:20 At the point of intersection between my proposal and the existing building, the detail shows the importance of integration between the two fabrics.

0.4

0.5

Though the brick and concrete visually oppose one another, the structure of the existing building is supported by the sequel. The block work of the existing external wall is supported by the structural concrete and the existing concrete floor slabs also rests upon the concrete structure that my building provides.

This aims to continue my resolution in generating a space of rehabilitation for ex convicts and their connection with the existing society.

2.0

0.4

00 27

0.5

0.4.1

iso project

1 2

1. Existing brickwork 2. 150mm insulation 3. Existing concrete blockwork 4. Guttering and halfen brick support 5. Concrete cladding 6. Insulation 7. 200mm structural concrete

3 4 5 6 7 2.0

in situ concrete modules

29

2.0

the sequel extending into surrounding landscape

1

31

2

3

4

5

6 7 8 9

movement benches The benches that are a part of the landscaping and internal experience have been designed to match the frame that it is situated alongside. The pendulum swing of the leg at the corresponding frame has been used to form the benches from elevation and plan. The exploded diagram shows the formation of the benches and the use of the frame.

frame 1

1. Bespoke concrete bench 2. Cypress tree for dramatic entrance 3. Small patches of green 4. Bespoke concrete benches 5. Public hard landscaping 6. Row of cyrpress trees

7. More private soft landscaping 8. Quieter benches 9. Water that runs underneath building

2.0

post-production visuals The post-production visuals showcase the internal atmosphere created by the in situ concrete panels and the lighting system that forms contrast between light and dark. Between the months 0-6, a sequence of dark and meandering spaces describe the confusing journey ex-convicts embark in their first 12 months of rehabilitation. Level changes, ramps and diversions provide the choice of how fast people want to move through the spaces.

Between the months 6-12 slits between the modules widen. A sequence of openings allows for access into the surrounding environment and greater sunlight to pass into the spaces. These more lit and open spaces describe the ex-convicts opportunity to further integrate with the society as their rehabilitation continues. The contrast between the existing brick and concrete monument is visually obvious in these visuals..

33

2.0

04.

RIBA Bronze Medal & AJ Ba(Hons) Student Prize Award Nominations

35

05.

ap dissertation In which ways is design responding to senior housing and the effects of imbalanced aging of the population? introduction Whether we like it or not, we are growing older and so are the cities that we live in. In discussing architecture and its ability to adapt to social, economic, technological and political change it is vital to include demographic advancements in the conversation. The demographic transition debate starts in understanding that the improvements in living conditions, availability of effective treatments and medical technology, has influenced a decline in mortality, resulting in longer life expectancy and an increase in older adults since the 1800s. This has seen the population of older adults to rise at an unprecedented rate and stats show that by 2050, there will be more people aged over 65 than children under 15. Figure 1 demonstrates the percentage change of people aged 60 or over from 1980 to 2020 and the estimated change leading to 2050.

This rate of growth relies on the development of policymakers and architects to design houses and spaces that reflect these demographic changes. For a long period of time, seniors have been a minority in modern architecture which has put the elderly in a position of suffering with social isolation and loneliness. This conversation has recently changed, and the design of new spaces could reintroduce the elderly as active citizens to create community driven spaces and allow for the elderly to feel connected to the modern society. As designers, we can account for the bio-medical health and social care in urban design to introduce older people as active citizens rather than excluding an age group that is vastly increasing. The question lies in whether the city can keep up and adapt parallel to the health and social needs of our growing elderly population.

06.

the hideout

Level 5 LIVE project studio competition - WINNER ‘Designing for Children’ was a 3 week LIVE project which briefed us to re-design a tree house for children aged between 18 months and 4 years old for a Children’s Nursery located in Birmingham. This was also a competition that if we won, we had the task of going on site and building it. We won the competition and built ‘The Hideout’.

The Hideout, a contemporary treehouse designed to provide a fun yet educational play structure. Its main functions include a slide, a climbing net, a blackboard and a small crawling space. It focuses on a child’s journey through the space and how it will benefit their different learning types, including visual, physical and logical. It’s a simple timber structure with plywood internal faces and timber batons to create a jagged facade that children can hide behind.

Our design was favored due to its affordability, effective use of materials and construction method. We progressed to project manage the build over the course of three days.

37

07.

work in practice My work experience includes:

London, United Kingdom

Architectural Assistant – Leonard Design Architects, Nottingham, UK (June – September 2018)

EPR Architects is an award-winning practice with a well-established reputation for quality architecture, masterplanning and interior design thanks to our extensive experience delivering an array of building typologies across workplace, lifestyle and leisure sectors.

Architectural Assistant – Rayner Davies Architects, Nottingham, UK (January 2019)

I am working on a super prime residential project in Mayfair, London in a team of 25 people.

Assistant Landscape Designer – Aqua Roc Landscaping, Nottingham, UK (Part time 2016 – 2019)

My work includes: - I have worked across 3 different teams to help produce drawings packages for client submissions.

- Extensive Revit modelling across a wide range of packages and scales.

- Reviewing and revising sheets in response to client feedback.

- Producing diagrams to aid explanation in client meetings.

- I have responsibility over drawing packages which I update in response to internal and external discussions.

Part 1 Architectural Assistant – EPR Architects, London, UK (September 2020 – September 2021)

39

EPR Architects

Leonard Design Architects Nottingham, United Kingdom

Leonard Design Architects have offices located in London, Nottingham, Sydney, Kuala Lumpur and Berlin.

Their projects range across hospitality, leisure, masterplanning, office, residential, detail, interiors, healthcare, mixed-use, transport and public realm. The practice has international recognition due to its diverse client intel and their offices around the world.

During my 3 month experience at Leonard Design Architects, I worked across 12+ projects alongside senior architects.

My work included: - Revit modelling for across 3 projects - Lumion renders and promotional video presentations for clients - Attending site visits to see different project stages - Working across a wide range of projects and teams - Producing final AutoCAD drawing packages for submissions - Contacting the client and responding to their feedback - Attending team and client meetings