Unit J Yearbook 2016/17

Artefact|Crafted Artefact|Crafted 16|17 16|17

Unit J 16|17

Artefact|Crafted Tutors: Declan Molloy & Nina Shen-Poblete with

Megan Groth Year 3: James Barrell, Ralph Berryman, Calum Bluck, Daria Ciobanu-Enescu, William Flindall, Thomas Linzey, Sergiu Moscaliuc, Olivia Neale, Joseph Williams, Jack Young Year 2: Tom Baldwin, Delfina Couceiro, Andrew Kazaryan, Chan Yang (Rolly) Hsiao, Matilda Jeans, Cindy Laryea, Yide Lim, Kieran Lishman, Keith Lyons, Lilyana Popova, Niclas Preiss, Niketa Ranjan, Fairuz Razak

Structural Tutor: Geoff Morrow (Structure Mode) Guest Critics: Eddie Blake (Sam Jacob Studio), Colin Smith, Maria Knutsson-Hall, David Shanks, Thomas Randall-Page

This book was edited by James Barrell and Olivia Neale

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a culture of making

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Architectural studios traditionally approach design from a top down approach which reduces occupation and interaction in space to abstractions serving functions such as ‘living’ or ‘dining’. This approach negates spatial and atmospheric qualities and ignores interaction between users. Unit J designs through the creation of individual components in a system (prototype, drawing, assemblage and site) which vary in scale from the human at 1:1 to the urban at 1:500. The amalgamation of these components constructs a larger collage of formations until a complete assemblage emerges. This bottom up approach yields unexpected forms, materiality, atmospheres and modes of inhabiting space.

This year Unit J investigated craft and the craft of architecture. Merging traditional techniques and the digital defining a new role for the craftsperson in the 21st century.

Resulting projects varied from a nautical craft community to a concrete seamstress, cinematographers to stone masons.

“there is far greater scope for skill and craftsmanship than in any previous society” Robert Blauner

Unit J

The Craft of Architecture

Surveyors of the Fabric

Marseille

Our visit to Marseille will leave us with poignant memories.

The city is unlike many, it is a group of people divided by ethnicity and political opinion juxtaposed onto an assemblage of contemporary and historic architecture. It can be read as a tapestry of the craft and trades upon which the city is built. The city is rooted in craft, however as time has progressed this craft is disappearing, slowly being replaced by the bland globalised version of society we live in today. The pacification of Marseille has inspired us to rebel, using our own craft to create forms.

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“Le Panier [Marseille Old Town] has become a legendary location, the diseased old heart of the city where all manner of evil might take place, while at the same time it is also a source of sentimental memories, of a lost city full of immigrant families.”

Marseille Mix - William Firebrace

“Marseille isn’t a city for tourists. There’s nothing to see. Its beauty can’t be photographed. It can only be shared. It’s a place where you have to take sides, be passionately for or against. Only then can you see what there is to see. And you realize, too late, that you’re in the middle of a tragedy. An ancient tragedy in which the hero is death. In Marseilles, even to lose you have to know how to fight.”

Jean-Claude Izzo

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Unit Briefs

Project 01

ARTEFACT

Students were asked to visit the Pitt Rivers Museum and select an Artefact from the collection.

‘Evidence’ of the artefact’s craft aesthetic was selected for surface quality, material and making process, in order to understand its’ cultural significance. They then produced a contemporary artefact at a scale of 1:1 through a series of studio based tutorials and workshops, exploring today’s traditional techniques. All aspects of the project were carefully documented through drawings and physical making to inform the basis of their architectural enclosure in Project 02.

Project 02

CRAFTED

Students were asked to consider ‘Crafted’ within the context of a specific corner site at Calvin Street, Brick Lane, London. The work developed from their initial research and design investigations of ‘Artefact’. They were then asked to design an architectural enclosure to exhibit both the artefact for viewing and the craft worker who produced it. We went to visit the John Soane Museum in London as precedent for exhibiting such Artefacts.

Project 03

LIVE/WORK

Accommodating the new craftsperson Students were asked to design a unique and tailored architectural work-home to accommodate the new craftsperson within a selected site in Marseille, that addressed the complexities of the new craftsperson’s brief within social, cultural, climatic and urban contexts. Projects addressed a range of scales from 1:1, 1:20 and 1:100 by means of drawing, physical making and digital fabrication.

Unit J 16|17 Artefact|Crafted

Sketches of Marseille, drawn by Yide Lim

Artefact - Resin Experimentation

Unit J 16|17

TOM BALDWIN YEAR 2 07510525118

15084176@brookes.ac.uk

THE DIGITAL RESTORATION OF MARSEILLE The building houses two digital conservationists who have moved to the district of Le Panier, in the city of Marseille, to restore the people’s art. The building is a series of temporary pods that provide workplaces for different processes required to replicate and restore a painting. Artwork from the city is conserved for the future and works are put on display for the public to enjoy. The craftspeople also digitalise and record the city using photogrammetry, creating a permanent record of the city, conserving it for subsequent generations. The building is built above a public space, therefore to accommodate to this the workshop can be deconstructed once the conservationists retire or decide to conserve a new area. The facade responds to the domestic views from the surrounding context, creating privacy through a system of louvres.

Throughout the year I have explored different ways of representing a surface by experimenting with a variety of materials and digital casting methods. This process of investigation derived the form and aesthetic of the final proposal.

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Atmospheric journey through building

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First floor plan

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Section through accommodation space

Short section through workspace and public realm

Detail model of workspace pod

Material experimentation laser cutting and casting

1:20 Construction Axonometric

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Drawing exploring materiality and construction detailing

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Detail drawing showing construction and interaction between craft and the public realm

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Wall Construction - Painted Weatherboard Cladding, 45x45mm timber batons, Damp-proof Membrane, 12mm plywood, 150mm Timber Stud Wall with Rockwool Flexible Insulation, 45x45mm Timber Batons, 2x12 plywood finished with Danish Oil

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External Structure - Fabric Formed Steel Reinforced Concrete Columns

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Ground Construction - Hardcore, Sand Blinding, Dampproof Membrane, EPS Insulation, Steel Reinforced Concrete Slab, 1000mm Raised timber floor, Treated Solid Wood Floor

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Ventilation Duct - Galvanised Steel Mesh attached to 5mm Steel Reinforcing bars, sprayed with concrete (trowel finish) tied to a steel frame

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Roof Construction - 500mm Cross Laminated Timber Rafters, 12mm Plywood, EPS Insulation, Damp-proof Membrane, Standing Seam Zinc Roof, Lead Flashing

YEAR 3

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JAMES BARRELL jamesdbarrell@gmail.com behance.net/jamesdbarrb695

THE CONCRETE SAILMAKER In the late 20th century psychoanalyst Jacques Lacan recognised that in an age of massproduction and overconsumption, peoples desire “is the desire of the ’Other’” , the other being the ‘superior’ to oneself. This has lead to the gradual death of the bespoke craft as people move towards the generic, globalised objects found in shopping malls around the world. Architecture is much the same, starchitects dominate the global stage constructing Foster’s and Hadid’s in most major international cities.

My proposal reintroduces a regional and crafted approach to the architecture of Marseille. It draws on a material palette that reflects and reinvents the local vernacular while introducing novel construction techniques that repurpose the craft of sailmaking. Sails become fabric formwork for structural columns and bespoke architectural elements.

Through an iterative process of model making and experimentation, fabric formwork is used to generate forms which in turn create atmospheric and fluid lighting conditions enriching human experience and causing chance encounters. This architecture engages with the sailmaker family and the public realm, trying to re-engage the city with the crafts from which it is built upon.

The proposal is part of a wider scheme, working with two other students to rejuvenate and reconnect the city with a forgotten part of the waterfront through the creation of a nautical craft community.

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Fabric formwork - casting in tension

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Internal Views - Exhibition Spaces Internal Views - Exhibition Spaces guiding light in exhibition spaces guiding light in exhibition spaces

Workshop 1. Sail Loft 2. Ventilation Shaft 3. Bifold Doors 4. Main Entrance 5. Courtyard 6. General Workshop 7. Material Store 8. Design Studio 9. Courtyard Garden 10. WC 11. Kitchenette 12. Bin Store 13. Suppliers Entrance 14. Services Space Private Housing 15. Access Staircase

Scale 1:50

Section AA

Section BB

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Viewing Platform Exhibition Space Viewing Platform into into Exhibition Space The brighter of pottery draws The brighter lightlight of pottery spacespace draws visitors to viewing the viewing platform. visitors to the platform.

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Exhibition Space Exhibition Space Cracks of light emanate around the bricked Cracks of light emanate from from around the bricked up arches up arches

Top: ground floor plan - exploring the relationship between craft and the public realm Below left: groundscape sketch - designing public spaces that provide opportunities for interaction Right: interior perspectives exploring liquid light

Section BB

1:200

Public Realm 16. External Exhibition Space 17. Light Void 18. Flexible Seating Platform 19. Auditorium Seating Area 20. Viewing Platform 21. Sun Tunnel 22. Sailmakers Pier 23. Built in Bench 24. Private Mooring 25. Water Level Seating Area 26. Ramp 27. Cafe (within existing building) 28. Community Hub (within existing building) 29. Boat Builders and Accommodation 30. Market Square 31. Waterside

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Bottom left: model photograph - light and its interaction with surface Bottom right: sketch model - exploring blades of light created by clerestory windows Below: section showing interaction and views from the sail loft to the sea

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Section of final proposal

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RALPH BERRYMAN YEAR 3

The project aims to provide open and adaptable workspaces for a resin glass artist and an ecologist, their family living space and an experiential route to improve access on site. To raise the profile of the south side of Marseille’s Port, the scheme creates a changing light show projected from the craftsperson’s workshop which acts as a register of the level of pollutants through the site. The construction taps into existing tourist route on the site and, whilst providing much needed public infrastructure and a community icon, increases the revenue through the area as a whole by increasing tourist access. The technology of the building engages with local government schemes by combating the areas high pollution levels, maintaining the ports aquatic ecology and maximising biodiversity in public green spaces. Specific plant species will be used to combat the areas high levels of pollution.

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Exploded axo of final proposal

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Top: First floor plan Left: Artefact - layers of light through resin Right: 1:20 techtonic model

Top: Contextual Section exploring the relationship between site and the city Bottom: Sectional Perspective

Unit J 16|17 Artefact|Crafted Sectional perspective of final proposal

Unit J 16|17

CALUM BLUCK YEAR 3

CENTRE D’ART DE LA RUE My final project for the year features a street art workshop for French stencil graffiti artist Blek le Rat as well as the local street art community. Due to my sites location within the densely populated Le Panier region of Marseille, my project focuses on three main views as you circulate around the site. Through Razzle Dazzle inspired cladding and lighting techniques the street art centre alters in appearance due to both the observers point of view and the positioning of the sun throughout the day. The design also respects the importance of the limited public space in the area and so promotes an integrated style of living with the surrounding environment so that living facilities within the structure are minimal.

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Final artefact

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Top: Exploded axonometric exploring layers of materials in construction Bottom: Section through workshop and accommodation space

Sectional models exploring journeys through a cave like artists studio

Exploded axonometric of final proposal

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DARIA CIOBANU-ENESCU YEAR 3 +40729050187 daria.enescu94@gmail.com www.dariaenescu.carbonmade.com

THE CINEMATIC CITY The Cinematic City performs as an ‘event’ building that engages the Fort SaintJean area of Marseille in a collective cinematic experience of the city, through the medium of Xavier Dolan’s symbolic cinematography. The essence of the project is to initiate the public in a visual journey using cinematic elements such as movement, frame and sequence for defining the architectural qualities of the space. The relationship between light and dark represents the central focus of the project, leading to the development of a skin layer that inhabits and wraps around the main structure, generating a particular interior environment dominated by darkness. The skin acts as a canvas for projecting images and also as a device for framing the distinctive views of the Marseille’s old port.

The Cinematic City introduces the concept of ‘architecture noir’ by using light, material and surface as cinematic elements in the design of a dynamic space that initiates the audience in a poetic and visual experience of Marseille, through the medium of film.

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Final model interior

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Right: Render of final proposal Below: Section of final proposal

THE CINEMATIC CITY

VERSAL SECTION SCALE 1:100

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Left: Renders of final model Below: Final artefact photo

Unit J 16|17 Artefact|Crafted Model photo of final proposal

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DELFINA COUCEIRO YEAR 2 07534077315 delfinacouceiro@hotmail.co.uk

The aim of this project is to regenerate a forgotten corner the old town of Marseille, Le Panier. The aim was to incorporate my craftsperson to adapt to the culture of Le Panier. The site is situated between the main road, Rue du Panier and Rue Des Cordelles. There are certain restrictions to the site but I was hoping to bring some livelihood to that corner, as well as responding to the challenging responsibilities of creating a private and public space in a small space. For that reason I have chosen Manyoly as my craftsperson, local painter and well known in her community. The concept behind the design was to incorporate the traditional culture of Marseille combining with a more modern approach of Japanese minimalist houses. Throughout the design process my main focus was to bring maximum natural light to all spaces as well as making them feel more spacious in such limited spaces.

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Ground Floor Plan

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Top: Semester two section - investigating threshold Above + Right : Semester one model photographs of exhibition space

Model investigations of light and shadow

Unit J 16|17 Artefact|Crafted Section through craft workshop and desalination plant

Unit J 16|17

WILLIAM FLINDALL YEAR 3 willflindall@gmail.com instagram: wsf_art

This year I studied the art of steam bending, testing and developing a language through physical modelling and drawing. This language has been used to develop a series of interesting and intricate spaces for interaction. Steam bent timber provided the opportunity to create shelter and bend light into spaces My starting point was a traditional Alaskan Snow Shoe which had a steam bent frame.

From this I created an artefact that was formed around the basic elements of the snowshoe. This was thoroughly developed throughout the year to develop an unscaled, clad timber model which I used as a basis for roof design, spatial understanding and controlling light.

My final project I joined with James Barrell and Tom Linzey to create a craft community in Marseille where sailing boats were taken about and built back together through a group process created in the community.

I created a Steam Bending Yacht Builder as part of the community which worked together with the other crafts, James’s sailmaker and Tom’s boat breaker. From site analysis and development of my previous work, I decided that the steam bending aspect would best be suited to be used for the roof. The architecture of the yacht builders could be a demonstration of the craft, creating a visible landmark.

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Steam bending prototype

Unit J 16|17 Artefact|Crafted

Top: Sketch exploring spatial requirements Middle: Section exploring light and how that creates moments of interaction Bottom: Models exploring cast forms and light

1:50 Section - Public

Top: sectional model exploring the relationship between roofscape and groundscape Bottom: detail axonometric

Unit J 16|17 Artefact|Crafted Model photo exploring light and shadow

Unit J 16|17

CHAN YANG (ROLLY) HSIAO YEAR 2 07478561428 rollyhsiao@gmail.com

This project aim to investigate the architectural atmospheres created by materiality, light and shadows. The project sits in the heart of East London, Brick Lane, where is known for its freedom of creativity and craft. This project serves two clients, which are both artists in different fields. The concept of the design is to create a collaboration between two artists yet to address the issue of privacy between the two clients, as well as the issue of surrounding neighbours.

The method that was used to deal with the privacy issue is a grid system, where surrounding views will be one direction and the building will intersect with the surround though interrupt, within the building, each client will also have a different viewing grid system to avoid the privacy issue. Last but not least, the voids between spaces are the act of blurring the divisions between private and public. A concept that deals with surrounding, privacy, atmosphere, materials, texture, light and shadow.

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External perspective of final proposal

Unit J 16|17 Artefact|Crafted Long Section of final proposal

Left: Artefact Below: Interior view of final proposal

Final artefact photos

Unit J 16|17

MATILDA JEANS YEAR 2 07912698357 matildajeans@live.co.uk

This project aims to create a combined living and working space for a tarot card reader in Marseille. It is situated at the end of Rue du Panier, where it meets Rue du Petit Puits, in a small square which is frequently used for socialising by the local people. The project provides a space where the tarot reader can run both private readings and group workshops, as well as private living space for her. Many of the design concepts have come from the Artefact project from the first semester, with a lot of the ideas being aimed at creating changing impressions of the space as a person moves through it. The project also aims to cause minimal disruption to the public spaces around it, by maintaining the open area below it which is currently used for extra seating by a cafe opposite the site.

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External perspective of final proposal

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Above: Section of final proposal Right: Distorting corridor

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CONFIGURATION 2: GROUP WORKSHOP

Initial massing collage

Plans and sections for tarot card reader’s live/work space

Unit J 16|17 Artefact|Crafted Short section investigating lighting and interaction

Unit J 16|17

YIDE LIM YEAR 2 07491938548 limyide93@gmail.com

This project aims to revive the streets of Le Panier in Marseille. Bringing back the livelihood and the culture of craftsmen into the old city of Marseille. The site chosen for this project is between two converging streets, Rue de la Charite and Rue du Petit Puits, a underused public plaza. The proposal for the plaza is to configure the public space into a more inviting and exciting space as well as a private dwelling/workshop for the craftsmen that I have chosen who is Mickael Koska, a local furniture/lighting designer. The concept behind the design was based on geometries from his works and geometries that I have explored in the first semester project, Artefact. As well as taking the conditions of the site into consideration and the needs of addressing the use of a public space.

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Short section investigating lighting and interaction

Unit J 16|17 Artefact|Crafted

Above: Plan of final proposal Right: Render looking up into the light well Right below: Final artefact image

Left: Section of final proposal Below: Final model photographs

Unit J 16|17 Artefact|Crafted Cast concrete Frankentexture

Unit J 16|17

THOMAS LINZEY YEAR 3

THE BOAT BREAKER AND THE HOUSE MAKER Integrated within a large masterplan to rejoin the Marseille seafront is the craft community; a tri-part project with a Boat Maker, Sail Maker and my contribution, the Boat Beaker and the House Maker. It was a combined aim to rejuvenate the area by crafting social spaces for the public to use between our buildings whilst preserving the maritime history of the site by restarting the traditional crafts associated with the making of Marseille.

The Boat Breaker and the House Maker use parts of deconstructed wooden boats to make bespoke houses for crafts people. The architecture of the buildings incorporate three languages: the language of the sea – represented by the waves of the cladding, the maritime history of the site – the curvature of hull ribs are taken as they are and used to inform beams within the house structure, and The Frankentexture – a process I developed which uses textures taken from the site to graft fluid formwork for casting in-situ concrete.

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Latex staircase

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Right: Iteration sketches Below: Plan and section of final proposal

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7 ARTIFICIAL TIDE POOL 8 LIVING AREA 9 INFINITY POOL 10 COURTYARD 11 BATHROOM 12 LIBRARY 13 DINNING ROOM

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Process of latex to concrete textures

1:1 photograph of floor tile in final proposal

Concrete cast textures

Artefact experiments

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KIERAN LISHMAN YEAR 2

The site for my project was located on Calvin Street in Shoreditch. The concept was to create a work space for Val Hunt, a creative recycling artist, who’s tin can ‘Carmen Miranda’ headpiece was the basis for my own woven artefact. The project consists of three buildings, a workshop, a storage area and bathroom facilities. Lighting experiments from my own artefact became the base from which a plan was dictated and buildings’ forms were decided.

By creating a pavilion style building, the concrete first floor never touches the wooden structures and therefore a separation is formed between two elements of this workspace. This also allows public access at all times,whereby any visitor is able to access the first floor by either the grand spiral staircase to the centre, or the smaller, sheltered ramp to the west of the site. Hunt’s previous work will be displayed in specially designed cabinets, scattering the walkways, whilst the buildings themselves having viewing windows above for those interested, in order to look down on the crafts person at work.

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Lighting Experiments

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Weaving Plan Model

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Lighting and shadow experiments

1:50 Section

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SERGIU MOSCALIUC YEAR 3 +40722272995 sergiu.moscaliuc10@gmail.com www.sergiumoscaliuc.carbonmade.com

LAYERS IN THE NET My final proposal enables residents and visitors of Marseille to immerse themselves into the sculptures of Janet Echelman and unfold new ways of experiencing her work. Based on the sculptural characteristics of the site, the project creates a topographic dialogue between its elements, from aerial vantage points on Fort Saint-Jean, to a gallery which enhances the performance of the surrounding sea. The project draws inspiration from Marseille’s cultural industrial heritage as one of the most important ports in Europe. The netting used for the sculptures adds an element of tension where it replaces handrails and walls while regulating light and views. Public and private experiences are strongly connected to the surroundings, in which the sculpture ties together dramatic level differences and environmental diversity into a unitary piece.

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Translucency model

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ctional Perspective

Bottom: Section sketch exploring lighting Left: Sectional detail drawing Right: Net drawing

Bottom left: Translucency model Bottom right: Final artefact Below: Final model photo

Unit J 16|17 Artefact|Crafted Final model with shutter facade

Unit J 16|17

OLIVIA NEALE YEAR 3 07903659212 olivia.neale@hotmail.com

Within the heart of Le Panier, the old town of Marseille a fisherman, Pierre and his wife, Marie settle. They chose a corner plot facing out towards a public square, throwing them straight into the vibrant lifestyle of Marseille. Pierre and Marie’s house grew, just like they have grown, around one another and around their likes and dislikes. Including Pierre’s love for fishing and cooking and Marie’s hatred for the smell of fish and the belief that they don’t need a kitchen. They utilised the public square by organising large community meals where Pierre cooked his famous Marseille Bouillabaisse. Marie positions her letterpressing workshop at the top of the building to maximise working under natural light. Their live and work space reflects the surrounding buildings by using the shutters and creating a louvre system. My narrative driven project grew within the food, art and crafts culture of the city.

This year I have focused on the craft of letterpressing and the specific grid systems of the letterpressers drawers, which gave me my architectural language. My artefact project grew from my love of colour and pattern and this has been continued through to the end.

SECTION A 1:50

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Pierre and Marie’s live/work space with public square

KEY PLAN 1:500

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THE ORIGINAL PEOPLE WHO SETTLED IN MARSEILLE

and created shade in well-protected places

they built pragmatic, small-windowed houses of stone or brick

these

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Right: collage expressing the original people that lived in Marseille Below: Sections through both living and working spaces Bottom: Ground floor plan showing public square

houses

were sui ted

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e of Mar sei

lle

and laid out narrow winding streets to avoid the blasts of mistral wind

only those who came much later found nature charming and built for the sun and the sea

Final artefact photos exploring pattern and light through cut and etched acrylic cards

Above: Final model of Pierre and Marie’s home Right: Shadows created by shutter facade on ground

Unit J 16|17 Artefact|Crafted Plan and section of final proposal

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LILYANA POPOVA YEAR 2 15085318@brookes.ac.uk

The project’s aim was to design a living space and a workspace for a craftsperson. My client is a young female chef and her two daughters. The site for the project is Rue du Panier in the old town of Marseille – an area with a vibrant artistic atmosphere housing many craft workshop and galleries.

Final artefact photo

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Artefact

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YEAR 2 niclas.preiss@gmail.com

Within the urban fabric of Marseille, mosaic maker Charlotte Couraleau found her place working with the community of Le Panier, Marseille’s ‘Old Town’.

The area has played an important role in Marseille since it’s beginnings, originally hosting the main market for citizens of the city. In WW2, Le Panier was affected quite badly and began to suffer from crime and poverty.

In recent years, the city has tried to revitalise Le Panier with an initiative of planting flowers in the alleys to improve appearance in the hopes of attracting tourists and artists with some success. Now, with fellow artists and community groups, Charlotte creates large mosaic panels which are applied to the walls of neglected and abandoned buildings in Le Panier to create a new facade in the hope of revitalising the neighbourhood. The workshop serves as a gathering point and workshop for all groups involved in the process, as well as a home to Charlotte when she isn’t working on the mosaics.

Mosaic Artist at Work

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NICLAS PREISS

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Sketches of Marseille

Interior and exterior perspectives of final proposal

Site Plan

Top floor and ground floor plan

Section

Unit J 16|17 Artefact|Crafted Parasitic construction model

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JOEY WILLIAMS YEAR 3

Anna is pioneering in the city with the adaptation of her skills as a seamstress. The husband a local builder helps construct the form work to her requirements. She has found her voice in this new venture and the couple set about constructing there own work shop and home on one of the many disused plots in the neighbourhood with a mixture of recycled construction materials from derelict sites and fabric formed columns.

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The Concrete Seamstress

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Right: Early experimentation model Long image: Fabric formed test models Below: Sketches of narrative, initial massing model and first semester final model

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Below: Narrative sketches and plan of final proposal Bottom: Section of final propsal

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Unit J 16|17 Artefact|Crafted Crafting the bathtime experience

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JACK YOUNG YEAR 3 jackyoung003@gmail.com https://www.linkedin.com/in/young-jack/

With the devastation after the Second World War, the automobile swept through the debris, taking much of the harbour front views, dividing the area surrounding Fort Entrecasteaux. My proposition aims to unite the areas divided by the streams of traffic and the naturally dramatic topography making pedestrian passage impossible, whilst also relinking the divided communities.

This provides a platform from which to combat pollution and visually mark its infection of the city.

Drawing inspiration from Marseilles fishing heritage and the vibrancy of the craft community both in the fort and Le Panier, a school occupies the lower level, using education to integrate the least fortunate in Marseille with their communities. Situating the digital fabrication school under the pathway makes it possible to view the education of the apprentices and the craft of making, both in progress below and in completion in the housing modules above the walkway.

Artefact|Crafted

Artefact photo of lazer cut accetate in the form of coral septa

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Models exploring the translation of natural forms to architecture

Section of final proposal

Top: Interior perspective of final proposal Middle: Plan of final proposal

Artefact|Crafted 16|17

UNIT J persists in believing that the processes used to manipulate material can both inspire and manifest an architectural pursuit.

Though material processes are necessary to construct buildings, much of our work is devoted to ways in which these processes can carry and intensify architectural ideas.

This book was edited by James Barrell and Olivia Neale