W. MACKEY STAGE 3
B.A ARCHITECTURAL STUDIES SESSION 2013/2014
Both projects this year expanded the scope of my design process in very different ways. Can Ricart presented the challenge of working with an existing structure as well as a city in another country. Both of these things I had not encountered before. I had to question what an authentic response to an existing structure would be. Is it bad to create an imagined past by restoring the structure? Does altering an existing structure perhaps better display its history by the juxtaposition of old and new? The project also required a consideration context on a range of scales, from the micro tectonics of the existing structure, to the macro grid of the city. The project therefore developed my ability to work between different scales and design a coherent response. Overall I was fairly satisfied with my design. I felt I managed to come up with a strong concept that worked well on each scale. The feedback suggested that the drawings and model did not communicate my design as strongly as they could have. This is something I have tried to address in the portfolio. Pleasure beach encouraged a very different kind of response. The process for this project was very different, focusing on the development of a narrative through the medium of collage. This was an exciting way of dealing with the unusual context of a town that exists in an edge condition. By producing a collage each week the project really developed my graphic skills and encouraged me to look at different ways of representing architecture. It also made me consider how architecture can facilitate the pursuit of pleasure. I was pleased with the ambition and style of my response however my final drawings did not manage to communicate my scheme with enough believability. I have worked hard to address this in the portfolio by creating a sectional line drawing that expresses the concept, function, tectonics, and structure of my design in much greater detail. Reflecting on these two projects its clear that communication in the drawings I have produced for final crits needs to be improved. However I feel I have been strong in both projects at producing a good overall strategy and intellectual response to the brief.
INFERNO DANCE STUDIOS DESIGN
24 PARC STRATA TECHNICAL STUDY
PARC STRATA DESIGN
PROFESSIONAL PRACTICE AND MANAGEMENT
PRINCIPLES AND THEORIES OF ARCHITECTURE
POLITICAL ROLE OF PERFROMANCE SPACES DISSERTATION
INFERNO DANCE STUDIOS Rem Koolhauus in his book Delirious New York defines a resort as ‘a place offering contrast’. He goes on to describe how Coney Island remained relevant as a resort where it could no longer provide a respite from artificial metropolis with nature. It had to mutate and turn itself into the ‘total opposite of nature’ to become its ‘own super natural’. The project looks to exaggerate Blackpools identity to the ‘super natural’ to rediscover its relevance as a resort and a place of contrast. Seeing the tower as central to the identity of Blackpool the design process sought to deconstruct it and re imagine it in a supernatural form taking inspiration from Dantes Inferno: a book where the protagonist has his own tour of the super natural. Firstly the disconnect between the tower and its ballroom was removed. Creating 9 dance floors that scaled up through the tower each with a dance and atmosphere corresponds to a level of the inferno. Next the structure was re arranged so that each limb of the tower follows the footsteps of a waltz (a popular dance in the ballroom). This creates a form that dances itself as one moves around it. Finally the tower was suspended from the ground to help define its otherworldliness.
This floor is a Belly dancing studio. Due to the chest movement and the use of weights to train.
‘Here I saw people more than elsewhere many, and from one side to the other rolling weights by force of chest’
Level 4 Canto VII
This level recreates the atmosphere with a confined hot space. The dance is a tango due to its fiery connotations.
‘here are the heresiarchs with their followers of every sect, and the tombs are much more laden than thou thinkest. Like with like is buried here and the monuments are more and less hot’
Level 6 Canto XI
This level is divided into many different circles. This is the level for the ballroom where most dances commonly revolve in a circle.
In this level of the inferno souls are submerged in the Styx. The dance for this level is synchronized swimming.
‘We crossed the circle to the other bank, above a fount that boils and pours down through a cleft that proceeds from it. The water was far darker than perse; and we, in company with dusky waves, entered down through a strange way. A marsh it makes that is named Styx’
Level 5 Canto VII
Treelike walls with the hot bare interior. Water trickles through the walls from above. The dance for this level is capoeira, as it is a dance that includes fighting.
‘I say that we had reached a plain from which its bed removeth every plant. The woeful wood is garland around it, even as a to that’
‘We set forward through a wood that was marked with no path. Not green leaves but of a dusky color, not smooths bows but knotty and gnarled, no fruits were there but thorns with poison.’
‘But fix thine eyes below, for the river of blood is near, in which boils whoso doth harm to others by violence.’
Level 7 Cantos XII XIII XIV
The deepest circle of hell is frozen. This level will therefore be an ice rink.
‘I turned and saw before me, and under my feet, a lake which through frost had semblance of glass and not water’
On this level fans blow a strong wind throught the room. The room studio for pole dancing due to its lustful nature.
‘I had come to a place mute of all light, the bellows as the sea does in a tempest, if it be combated by opposing winds. The infernal hurricane that never rests carries the spirits along its rapine; whirling and smiting it molests them’
Level 2 Canto V
described translate into seven limbo bars.
This level of the building is designed based on the castle described with seven sides, a meadow inside and the pool of water at its base. It is designed around the limbo dance which has its tradition in being performed at wakes and is symbolic of an emergence or life after death this therefore sets an appropriate tone for the building. The seven thresholds
‘We came to the foot of a noble castle, seven times circled by high walls, defended round by a fair streamlet. This we passed as if hard ground; through seven gates I entered with these sages; we came to a meadow of fresh verdure.’
Level 1 Canto IV
can water from the pool pour down here?
This level is for Line Dancing due to it treating the body in a similar way (sightless and heedless) and its connotations with water (river dance).
here gluttons lie here sightless and heedless of their neighbours, symbolizing the cold, selfish, and empty sensuality of their lives.
‘I am in the third circle, that of rain eternal, accursed, cold and heavy.’
Level 3 Canto VI
DEVELOPMENT Process work can be seen at: Blackpoolpleasureseeker.tumblr.com
PARC STRATA straâ€˘ta 1. a layer of material, naturally or artificially formed, often formed one upon another. 2. layer; level: an allegory with many strata of meaning.
The abandoned industrial area of Poblenou barcelona is undergoing regeneration. Parc Strata takes Leisure facailities for local residents, and touristic cultural areas, and layers them on top of each other encoraging unlikely interations. The inevitable mutation of each layer does not destroy the structure therefore allowing the building to continue to be a social condenser. The cultrual program revolves around the theatre company La Machine
BARCELONA GROWS WITHIN AN IMPOSED GRID.
GROWTH OF CAN RICART VISABLE IN MATERIAL STRIPS
THEATRE COMPANY LA MACHINE PROVIDE THE MAIN CULTURAL ATTRACTION AT THE PARK. THIS NEW BUILDING RESPONDS TO THE AESTHETIC OF THE PARK STRIPS BY THE NEW BUILDING BEING VISABLE AS A STRIP ABOVE THE OLD.
THEMED GARDEN: ART
THEMED GARDEN: METALWORK
CHILDRENS PLAY AREA THEMED GARDEN: CHEMICAL
SKATEPARK THEMED GARDEN: FABRIC
THIS SYSTEM OF LONG THIN STRIPS OF SPACE. ALLOWS FOR THE INDEPENDANT DEVELOPMENT OF EACH STRIP AND ENCORAGES UNLIKELY SOCIAL INTERATIONS BETWEEN JUXTAPOSED STRIPS
THE ORGANISEATION OF THE BUILDING FOLLOWS THE STRIP PRICIPLE BY PROVIDING A CHANGE IN EXPERIENCE AS PEOPLE MOVE THROUGH DIFFERENT LAYERS OF THE BUILDING
THEATRE COMPANY LA MACHINE PROVIDE THE MAIN CULTURAL ATTRACTION AT THE PARK. THIS NEW BUILDING RESPONDS TO THE AESTHETIC OF THE PARK STRIPS BY THE NEW BUILDING BEING VISABLE AS A STRIP ABOVE THE OLD.
model BALCONIES . FILTRATION . PASSAGEWAYS VIEWS . AXIAL CONFLICT . LAYERS OF TIME . PERMIABILITY .
TECHNICAL ARC 3013
existing with excavation and demoltion
Steel structure supports the floating element
addition of concrete reinforcement
Panels cover and hide structural elements. The clean metal addition appears to float. Subtle supports are visible in the drawing
steel plate coverening steel warren truss
reinforced concrete cast into existing existing brick insulation
The detail looks closely at how the structural build up suggested ealier works at smaller scale.
CONSTRUCTION REDUCTION, REUSE, AND RECYCLING In seeing the building fabric as a palimpsest, its value is in the layering of material as a truthful historical document. This lead to design decisions that framed the fabric and juxtaposed materials against it to reveal its qualities. Historically material has been added to the walls so they can fulfill changing needs of the site as a structure and building envelope. Being true to the buildings history it seemed relevant to augment and re use its walls as part of the structure and building envelope. This therefore reduces the amount of new material required to make a new building and reduces the amount of waste of old valuable material. Material that cannot be reused (such as the brick that from the demolished part of the building) can be recycled as aggregate for the concrete. This could give an interesting texture. It is also nice that material doesnâ€™t leave the site but is re imagined on the canvas of the wall. New build elements are mostly simple and rectilinear in form. This means it is possible to standardize elements. It also reduces waste that would come from cutting cladding to fit a more complex shape. The design also considers its own obsolescence. The steel frame and panels are easily removable as they are just bolted onto the concrete. Steel is also an easily recyclable material. The concrete reinforcement provides a kind of framework that should make the building cheaper and easier to re interpret in the future.
Mid-year practical experience during Part 1 studies
Blackpool is a town that encompasses many edge conditions. Most obviously the topographical, where land meets sea. But also social edge conditions, of a deprived and shrinking population, and aspects of society that can only exist outside of its centre, away from the normal and everyday.
These aspects include the exaggeration of the theme park, the isolation of the sanitarium, the unreturnable debauchery of the ‘wild night out’.
General Information Dates of Experience
27/01/2014 – 14/03/2014
This project is an exploration of the relationship between architecture and pleasure seeking. Its method is a study in exaggeration to achieve clarity.
Stage 1 Newcastle
Architecture for an exaggerated form of pleasure is intended to re generate the town by re imaging it as a popular destination for pleasure seeking that it once was. IN my project this takes the form of a dance school
Category of Experience Experience Level Location School of Architecture/ Monitoring Institution
Week 1 - Two Souvenir Objects Week 2 - An elaborated Souvenir, along with a collage of it situated in Blackpool. Week 3 – One further elaborated Souvenir, and a refined collage of it situated in Blackpool. Also a Photograph of the souvenir held in a Hand.
John Kamara firstname.lastname@example.org 0191 2228619 Newcastle University
Professional Studies Advisor PSA’s Email PSA’s Phone No Placement Provider Placement Address
OPENING- RIBA PLAN OF WORK STAGE 0, 1 and 2
DEVELOPMENT- RIBA PLAN OF WORK STAGE 2 and 3 Week 4 – Three axonometric drawings of the souvenir in context. Week 5 – One Detailed Model of the souvenir in context. Week 6 - One elaborated Souvenir. Two Collages of the souvenir in context. Consolidation of the development phase.
Placement Phone No Placement Website Student’s Phone No Student’s Email Brief Description of Placement Provider
ELABORATION- RIBA PLAN OF WORK STAGE 2 and 3 Week 7 – Plan and section of the proposal on site.
Graduation Project Pleasure Beach Studio
James Craig and Matt Ozga-Lawn Tutor
Employment Mentor Mentor’s Profession Membership of Professional Bodies Registration Number Mentor’s Email Mentor’s Phone No
Work Stages 0 Strategic Definition
Hours as participant 30
Hours as observer 5
1 Preparation & Brief
2 Concept Design 3 Developed Design 4 Technical Design 5 Construction 6 Handover and Close Out 7 In Use Totals
100 20 0 0 0 0 250
15 5 0 0 0 0 40
Name 110138169 Work Stages (2013) – summary of hours from all projects
Project Details Project Name
Hours as Participant 0 Strategic Definition 30
Hours as Observer
1 Preparation & Brief 2 Concept Design 3 Developed Design
15 15 5
140 140 25
100 100 20
Name: 4 Technical Design 5 Construction 6 Handover and Close Out 7 In Use Totals
Reflective Experience Summary
Task performance and learning during this period of experience 40
Activities – non-project related Task
During this period I feel I have improved my design process by learning how to develop a design narrative through the medium of collage. This has been a new valuable skill that helps with concept design (stage 2 RIBA plan of work). So far my collage work has been well received by my tutors and the concept design has strengthened and is starting to become more developed. My collage work has also improved technical skills such as Photoshop and hand drawing.
Office Management Portfolio Development
General Course lectures Extra Curricular Architectural Learning
Computer Skills improvement Totals
Portfolio Interview with Matt Ozga Lawn, Developing Portfolio Content and Layout, Improvement of work from Previous Can Ricart Project. Attended NANAS CV workshop, Improved Layout and content of CV Architectural Forensics Lecture by Eyal Wiezman, Reading Rem Koolhauus’ Delirious New york, Britons Who Built Series BBC4, Reading Of Funamblist – an architectural Blog Began to learn Adobe Illustrator
Personal development & role performance evaluation Working through the medium of collage has enabled me to get a broader understanding of the design process by studying the works of other architects who work with collage such as Archigram, Wellington Reiter, Tom Ngo and Stasus to name a few. This project has a much more flexible brief, meaning that I have been able to understand and learn more about the brief making process (parts 0 and 1 in the RIBA plan of work). It has made me understand questions such as why a building should be built.
Aims for next period of experience In my next period of experience I wish to continue to develop the skills I have done so far. I will be entering stage 3 and 4 of the plan of work (developed design and technical design). I hope to be able to develop my drafting skills and combine them with some of my new collage skills in producing plans and sections.
Further skills needed and actions to take to achieve aims. I aim to learn BIM software to help develop the design and produce technical details.
Additional student comments, support required from placement provider
I confirm that I have worked in the above office between the dates stated and that the description of project details, tasks undertaken and learning achieved is accurate. Signature:
PLANNING PERMISSION REPORT
For a new dance school in Blackpool
It is required that you specify the materials that will be used in throughout the building for roof windows doors etc. As my building is in a conservation area there will be particular scrutiny applied to the materials used to construct it. These materials must compliment those in the pre existing buildings in the area. Building in a conservation area therefore will determine this aesthetic element of my design; affecting the cost, and potentially the method of construction of the building.
For most development planning approval is needed. This includes new development, as well as alterations to existing buildings, and change of use, but excludes some minor works covered under the town and county planning (general permitted development) order no 1995. Without planning permission development is illegal.
This process allows the local authority to control of the use, siting and appearance of buildings. Allowing the quality of various areas and conservation areas not to be compromised. Development involving listed buildings requires additional consent.
Applications are made to the local authorities development control office. In the case of my building this is Blackpool Council.
How vehicles park on the site must also be specified. If there is no parking it must be suggested where users of the building could park nearby.
A description of how the buildings drainage works. If it connects to an existing system this connection must be shown. Assessment of Flood Risk:
My project is currently at stage 3 of the RIBA plan of work (Developed design). The plan of work identifies planning application to typically be made around this stage. Therefore I have the necessary information to discuss the planning process in relation to the outcome of my project.
Buildings require a flood risk assessment to judge the effect of flooding on the development. After checking the environment agency’s flood map it appears that my site is not in a flood zone therefore risk is minimal. There will not have to be any change in the design to deal with this risk.
Before making the application it is recommended to seek pre application advice from the council. There is a charge for this service but can stop unnecessary delays in the planning process.
Biodiversity and Geological Conservation:
The application process now can take place online via Planning Portal. This is a government website that somewhat streamlines the planning process. It helps to ensure the correct forms are filled in and drawings produced for the application to be valid. It also allows one to check the status of their application.
Where a development proposal is likely to significantly affect features of biodiversity or geological conservation interest, it will be necessary to submit with the application sufficient information on what those effects are, in order for the local authority to determine it. As my site has previously been developed it is very unlikely there is anything to conserve so these factors will not affect my development. Existing Use: Simply stating the existing use of the land. This addresses issues of the land being contaminated from previous use.
The full application required for my building must cover the following issues:
Trees and Hedges:
Pedestrian and Vehicle Access, Roads and Rights of Way:
States the whether there are existing tree’s or hedges on or adjacent to the site. If these might be compromised in some way a tree survey will have to be completed. There are no trees or hedges on my site so this shouldn’t be a problem.
It is required to state what highways access routes and rights of way are interrupted or augmented by the building, even if this only happens during in the construction phase. As my site doesn’t run across any of these it shouldn’t be an issue. Waste Storage and Collection Waste storage must be located on the plans. The location must make it easy for the council to collect. Materials:
Proposed use: This deals with the type of development (residential, industrial, commercial etc), the employment this development may create, and the opening hours of the building. As my building will include a performance venue it may well be noisy late at night. This is a problem given its proximity to a hotel. This will mean there will have to be special consideration in the design as to soundproofing, and where people enter and exit the building.
Design and Access statement: Design and Access Statement - needs to explain and justify the following : Amount of development and how it is distributed around the site Use to which the development will be put Layout of buildings, routes and spaces Scale of buildings (height, width and length) in relation to their surroundings Appearance : external form of building - architecture, materials, decoration, lighting etc Landscaping of private and public spaces with the site Access to the development (not internal within building ) : equal and convenient access for all people.
Drawings Much of this explanation is aided by a series of compulsory drawings. For my building this would have to include. location plan detailed plans showing the proposed development within its site boundaries, existing and proposed floor layouts and elevational plans drawn to metric scale. Finally Ownership Certificates and Agricultural Land Declaration must be included with the application. If all required information has been provided and is correct. The application will be validated. This process normally takes around five days. After this all applications are made available for public inspection and are subject to consultation for a minimum of 21 days. After consideration of the issues the application is put forward for determination by either delegated powers (a planning officer) or in more contentious cases it is determined by planning committee.
EMPATHATIC THEATRE OF PRODUCTION
My dissertation investigates performance spaces, and how their architecture influences and expresses how democratic they are as institutions. Architectures such as proscenium theatres create divisions between different sections of the audience as well as the performers. The architecture also provides an opulent platform matching the spectacle of the wealth of its richer patrons. This stratification aids in the creation of social alienation. Of course this is not the case for all performance spaces. Performance in its essence can give us the chance to step outside of ourselves and experience empathy and critical judgment of a situation. Because of this performance can be a tool for democracy. The earliest examples of this are in Ancient Athens. Where theatre and democracy originated and enjoyed a symbiotic relationship. Theatres there were unifying spaces that helped cast audience members as active participants in a collective ritual, in contrast to the alienating experience in the proscenium. Bertolt Brecht also envisaged a kind of theatre with a unified relationship between performers and audience. Deices such as direct address intended to shock the audience out of their sedate consumption of performance and promoted therefore an active and critical judgment. The piece attempts through the medium of an architectural assemblage a radical proposal of democratization, utilizing the active participation of audience members. In an area of consumption (the high street) products are alienated from their processes of creation. Producer is socially and spatially alienated from consumer. A parasitic theatre aims to relive this antagonism. This spatial juxtaposition is inevitably shocking in a society that has so clearly divided production and consumption and therefore it forces a reaction, and a judgment. Based on thoughts by Philosopher Roman Krznaric. Audience members will be invited to experience making clothes in factory conditions along with other performers. This participation in production has the potential to create a deep empathy with those making the products. Therefore questioning the nature of our consumerism. It is not that most of the audience arenâ€™t aware of this process, but that there is a necessary emotional distance and participation for feelings of empathy and therefore the desire for change to be created.
This particular drawing shows the imperceptible numbers of souls in hell and how they essentially blend into one mass. (see image C) This idea recurs regularly in the book and is described here:
‘Here sighs and cries and shrieks of lamentation echoed throughout the starless air of Hell; at first these sounds resounding (risonavan) made me weep: tongues confused, a language strained in anguish with cadences of anger, shrill outcries and raucous groans that joined with sounds of hands, raising a whirling storm (tumulto) that turns itself forever through that air of endless black, like grains of sand swirling when a whirlwind blows. (III.22-30)
The 1911 film of the inferno by Francesco Bertolini and Adolfo Padovan draws particular influence from these images by Gustav Dore. My piece takes clips from this film and maps them into a sectional format, similar to that of the Botechelli painting. It uses the same structure of stacked levels as the painting; placing these scenes one on top the other. Finally the Blackpool tower shapes the form of this stack. The combination of these methods of representation creates the conceptual basis for my graduation project: the key idea of the project being a progression of distinct atmospheres within a tower.
PRINCIPLES AND THEORIES In an effort to create an otherworldly experience, my graduation project uses the programmatic structure, and poetic descriptions from Dante’s Inferno to create a dance school with nine studios that have corresponding atmospheres to the different levels of the inferno. Along with reading the inferno I became very interested in the many attempts at visual representations of it seeing as ultimately I would be creating my own in this project. Perhaps one of the more powerful representations of the Inferno is this map by Botechelli. (See image B)
William Mackey 110138169
As the text conveys such a clear idea of overall physical structure and form of the Inferno, this sectional map provides a visual summary of the entire book. To be able to condense the narrative of a whole book into one drawing makes a very powerful image. This drawing therefore shows the clear possibilities of translating the inferno into a kind of architecture. One of the other prominent illustrators of the inferno is Gustav Dore, he produced scenes from the inferno that addressed the text in more of an atmospheric way than Botechelli.
Due to the simultaneous viewing of the clips, and their atmospheric qualities, the piece is not a neat ordered diagram like the Botechelli, but becomes something far more chaotic. Projecting different qualities of the inferno like those expressed in Dore’s image, onto this larger scale, such as his expression of a ‘tumulto’ of souls. These qualities of mass movement are important as they provide a basis for considering different types of dance’s that may occur on each level. The final thing that was important to convey in this piece was the idea of the building being a complete other world. This is achieved by it simply not obeying the physical rules of this world. So it floats in the sky unaffected by gravity and the wind. Because of the buildings relationship with the sky the style of the image was influenced by STASUS’ doomers ball project where a black and white building is set against an intensely coloured sky. When considering the medium I was going to use for the piece, I decided in the collage based studio of pleasure beach it would be exciting to explore the possibilities of collage further by incorperating a dimension of movement. This takes inspiration from artist Nathaniel Whitcomb. My Piece can be viewed at this address: