Becontree Urban Room Integrated Design Studies Diary by zimmie.sutcliffe

Integrated Design Study Diary 2019/20 AR7026

Unit 14 Pierre & Pereen Dâ&#x20AC;&#x2122;Avoine Barking & Dagenham Zimmie Sutcliffe 18015382

Contents

Abstract The Becontree urban room & centenary festival A civic playground to mark 100 years of the Council Estate

Semester 1

Semester 2

3 - Abstract

88 - 117 - Inventing the brief

4 - 7 - Diary of events

Becontree Centenary Festival

8 - 11 - Introduction

Interim Portfolio submission

Unit 14

Green Infrastructure

Reflections on 4th year

118 - 150 - Site Investigations

14 - 51 - Oral Histories & Mapping

Land Ownership & permeability

Mapping out a site

Great Streets

The miniature

IDS Presentations

The Urban Room

Masterplan development Coronavirus: Workign from home

53 - 61 - Unit Trip: Romney Marsh Church studies

151 - 169 - Concept development Circus, tents & town shows

62 - 85 - The node: Enchanting place Pop up cinema

Developing a form Terraces, towers & tents 172 - 185 - Creating an Urban Room Structures & materiality Exposed steel & colour Ceramics & roof lights 186 - 187 - Appendix

My thesis project responds to the issue of estate regeneration through a study of one of Europe’s largest & oldest; the Becontree estate in Barking & Dagenham. The centenary of this estate in 2021 allows us to take stock of the notion of mass housing, what it meant in 1921 & what it means today. Perhaps more importantly, it allows us to consider the role of infrastructure within mass housing; civic, transport, commercial. Set in the heart of the estate this project aims to deliver a space free for all to engage with and chart the development of their local area through a museum of urban planning, or “urban room” and to challenge the notion of a museum as a place of learning & history, but one also of play, noise, urban life. Working again in Barking & Dagenham, this year Unit 14 expanded its focus from the River Roding to the borough as a whole, with a theme of trade and exchange running through much of the work of the unit. Situated on the fringes of London, simultaneously part of the capital & part of Essex, or part of neither depending on whom you ask, the borough is in a huge state of flux. Having long been considered a London backwater & having experienced turbulent economic, social & political changes in the last 20 years, Barking & Dagenham is now a key London growth opportunity area, strategically located in the Thames Gateway with strong connection to both London & continental Europe. Add to this a proposal to build over 50,000 new homes and potentially increase the population by a third in the next 20 years and it is clear to see the only constant in Barking & Dagenham right now is change. This diary charts the course of the unit’s studies across the year, as well as my own personal developments that formed the basis of my thesis project. Semester 1 focused largely on research & investigation into the borough and wider architectural themes through a series of smaller design briefs, with semester 2 concentrating on the development of each students individual brief and subsequent project response to the studies in the first term. Over the course of the year a wide range of local protagonists have been involved from Tamara Horbacka, Cultural Policy and Commissioning Manager at Barking & Dagenham Council, Karen Rushton, senior archivist at Valence House, and Pat Hayes, Managing Director of Be First. It has been a pleasure to work in the borough again & I hope you find this document enlightening.

Diary of Events - Semester 1 = Tutorial = Unit meeting/group discussion = Crit/pin up = Unit visit = Study trip = Unit talk/lecture = Other unit activity = External talk/lecture/exhibition = Other Date:

Event:

Date:

Event:

Week 1 - 30.09.19 Unit meeting @ Barking Town Hall with Pierre. Visit to River Mill Lofts with Tamara

Th 03.10.19 - 1-5pm

Week 2 - 07.10.19 Unit meeting @ The Cass with Pierre & Tamara - choosing walking routes on big map

M 07.10.19 - 2.30-6pm

Week 3 - 14.10.19

Week 8 - 18.11.19 Mark Leckey: O’ Magic Power of Bleakness - exhibition visit @ Tate Britain

T 19.11.19 - 3-5pm

Barney Hughes talk - Unit 14 & 7 projects

Th 21.11.19 - 4-5pm

David Roy talk - work of James Gorst Architects

Th 21.11.19 - 5-6pm

Exercise 3 brief issued: Enchanting Place

Su 24.11.19

Exercise 1 brief issued: Oral History: narratives of exchange

M 14.10.19

Unit visit to V&A miniatures gallery

M 14.10.19 - 2-6pm

Week 9 - 25.11.19

Visit to The White House & Kingsley Hall with Ella Hall

W 16.10.19 - 12-2pm

Crit - Exercise 2: Crit - Visit to Romney Marsh

M 25.11.19 - 10am-6pm

Pin up: Exercise 1: Oral History: narratives of exchange

Th 17.10.19 - 2-6.30pm

Making a living week: IDS Drawing Gym with George Fereday

Th 28.11.19 - 10am-1pm

FormGivers lecture - Maich Swift

F 18.10.19 - 6.30pm

Imprint Publishing fair - Event @ The Building Centre

Su 01.12.19 - 2-4pm

Hand Held to Super Scale: Building with Ceramics - exhibition visit @ The Building Centre

Su 01.12.19 - 4-5pm

Week 4 - 21.10.19 Setting up River Mill Lofts space with Pereen Valence House visit Everyone. Everyday community supper RIBA visit - Festival of Learning: Climate Emergency/ LÁSZLÓ MOHOLY-NAGY IN BRITAIN: BETWEEN THE NEW VISION AND THE NEW BAUHAUS

F 25.10.19 - 10am-2pm

Week 10 - 02.12.19

F 25.10.19 - 2-4pm

Tutorial

Th 05.12.19 - 10-11am

F 25.10.19 - 5.30-7.30pm

FormGivers lecture - Lilitt Bollinger Studio

F 06.12.19 - 6.30pm

S 26.10.19

Week 5 - 28.10.19

Week 11 - 09.12.19 Tutorial

M 09.12.19 - 5-6pm

Unit meeting - miniatures in progress, River Mill Lofts fit out

M 28.10.19 - 2-6pm

Crit - Exercise 3: Enchanting Place

M 16.12.19 - 10am-6pm

Kaori Homma - Romney marsh church art talk

Th 31.10.19 - 12-1pm

Exercise 5 brief issued: Inventing the Brief

T 17.12.19

Week 6 - 04.11.19 Alex Scragg talk - Essex marginal landscapes

M 04.11.19 - 12-2pm

Fred Gatley ceramics workshop

M 04.11.19 - 2-4pm

Housing Development Seminar @ GLA

T 05.11.19 - 10am-12pm

CNC Routing Workshop with Matthew Dart

Th 07.11.19 - 2-2.45pm

End of Semester 1 - 16.12.19

Week 7 - 11.11.19 Exercise 2 brief issued: Visit to Romney Marsh

M 11.11.19

Tutorials & unit trip discussion

M 11.11.19 - 2-6pm

Crit: Exercise 1: Oral History: narratives of exchange

Th 14.11.19 - 10am-6pm

Unit trip to Romney Marsh

F 15.11.19 - M 18.11.19

Diary of Events - Semester 2 = Tutorial = Unit meeting/group discussion = Crit/pin up = Unit visit = Study trip = Unit talk/lecture = Other unit activity = External talk/lecture/exhibition = Other Event:

Date:

Event:

Date:

T 07.01.20 - 12-1pm

IDS presentation preparation with James Payne

Th 05.03.20 - 11.30am

Week 12 - 06.01.20 Tutorial @ Durham Yard

Week 21 - 09.03.20

Week 13 - 13.01.20 Crit - Exercise 5: Inventing the Brief

M 13.01.20 - 10am-6pm

Tutorial with Pierre

M 09.03.20 - 5pm

Doug Hodgson & Tom Lewith lecture - Modern methods of construction, modular housing

Th 16.01.20 - 5-6pm

IDS interim presentation

Th 12.03.20 - 2pm

Week 22 - 16.03.20

Week 14 - 20.01.20 Tutorial @ Durham Yard

M 20.01.20 - 5.30-7.30pm

Crit - Proposal Development - Cancelled/digital submission

M 16.03.20 - 10am-5pm

Interim portfolio submission

Th 23.01.20 - 5pm

Crit feedback issued

W 18. 03.20 - 7pm

Swarm: Artists Respond to the Pollinator Crisis exhibition @ Vestry House

Su 26.01.20 - 1-2pm

Play Well exhibition @ Wellcome Collection

Su 26.01.20 - 3-5pm

University closed due to Coronavirus

F 20.03.20

Week 23 - 23.03.20

Week 15 - 27.01.20 Th 30.01.20 - 1-3pm

Architect at Work exhibition @ Truman Brewery Week 16 - 03.02.20 Unit meeting & feedback @ The Cass with Pierre

M 03.02.20 - 11.45am -1pm

Individual feedback & tutorial with Pierre

M 03.02.20 - 3-4pm

IDS lectures: Matthew Barnett-Howland & Nick Newman

Th 06.02.20 - 10am-12pm

Phone tutorial with Pierre

M 23.03.20 - 10.20am

Online tutorial with Pierre & Pereen

Th 26.03.20 - 4pm

Week 24 - 30.03.20 Online tutorial with Pierre

Th 02.04.20 - 4pm

Week 25 - 06.04.20 Online tutorial with Pierre

Week 17 - 10.02.20 Unit meeting - Celebration Week

M 10.02.20 - 1pm

Week 26 - 13.04.20

Tutorial with Pierre & Pereen

M 10.02.20 - 2pm

Online tutorial with Pierre

Rosie Harvey lecture - Community Land Trusts

Th 13.02.20 - 2pm

Week 18 - 17.02.20 Unit meeting - Celebration Week run through

M 17.02.20 - 1pm

Celebration Week presentations

Th 20.02.20 - 10am - 5pm

F 10.04.20 - 11am

Th 16.04.20 - 12pm

Week 27 - 20.04.20 Lecture with Dean Hawkes

Th 23.04.20 - 1pm

Crit

F 24.04.20 - 10am - 5pm

Week 28 - 27.04.20 Structural design seminars with Stephen Foster

Week 19 - 24.02.20 M 24.02.20 - 12pm

Tutorial with Pierre & Pereen Week 20 - 02.03.20

M 02.03.20 - 3.40pm

Tutorial with Pierre & Pereen

Th 30.04.20 - 10am

Week 29 - 04.05.20 Miraj Ahmed lecture on drawing

M 04.05.20 - 12pm

Drawing workshop

M 04.05.20 - 2pm

Market Day - M 30.09.19

Unit 14 Students

Having studied in Unit 14 last year and thoroughly enjoyed it I chose to stick with the Unit for my final year, feeling it would give me the best chance to deliver my best work as the agenda of the Unit aligns very well with the architecture I am interested in and want to work in post part 2. The Unit introduction is shown below.

Anjali Bhatia - 5th year Atta Ahmed - 4th year Beth Mcleod - 4th year Celia Tam - 4th year Fathil Kummayapurath - 4th year Harouth Arthur Mekhjian - 5th year Ilir Kabashi - 5th year Jessica Pearce - 5th year Karina Papianaite - 4th year Laura Pascu - 5th year Melika Kaveh Baghbahadorani - 4th year Soroush Haghighat - 5th year Zimmie Sutcliffe - 5th year

Fig 2, LBBD location in greater London

Unit 14 Guests Tamara Horbacka Karen Rushton Kaori Homma Alex Scragg Fred Gatley Matthew Dart Barney Hughes David Roy Doug Hodgson Tom Lewith Ros Diamond Tony Swannell Matthew Barac Nate Kolbe Jon Lopez Joseph Henry Fran Williams Rosie Hervey

Fig 1, Unit introduction

Introduction - Reflections on 4th year

In many ways this year is a continuation of the work I produced last year, also as a member of Unit 14. The themes and approach of the unit have remained largely constant, with a slight change in focus geographically and in ambition. This year the area of investigation has expanded from the River Roding to the entirety of the borough of Barking & Dagenham, with a more precise focus on themes of exchange. To the right can be seen the final Unit exhibition with the large scale River Roding model as the centrepiece. Each student contributed a piece to this model and the Roding was very much a focus throughout the year, with most students work interacting with the river at some point. Unit 14 is a largely research focused studio with a broad remit that touches not only on architecture but issues of the political, social, economic & cultural as well as anthropological and ethnographic research. This breadth of interest can make the studio quite challenging, with a lot to juggle at once, but produces work of real depth, ambition and quality.

Fig 3, Unit 14 River Roding model, 2018-19

I found my introduction to Unit 14, and postgraduate life in general, quite difficult last year as I struggled with the amount of work required and the high standard expected. However, this challenging experience, and my ability to make it through, has made me a much stronger thinker, designer and architect. There were some truly exceptional students in the unit last year which I found intimidating at the time but seeing the way they work, the commitment they put into each task and their faith in the process helped me greatly in understanding the demands of postgraduate architecture and unit 14 specifically.

Fig 4, East Street market

Fig 5, Final masterplan - 4th year project

My work last year focused on the East Street Market in Barking town centre. A somewhat unremarkable economic activity contained within it great insight into the lives of people in the borough, allowing me to gain a strong understanding of the specific qualities of this place. The market was a hub of diversity, social gathering and economic self sufficiency, three things that make Barking & Dagenham such a vibrant place. It was these qualities that interested me and that I explored throughout the year, first through my miniature depicting the market scene and on into my proposition for a more permanent market hall that leveraged tertiary education and economic activity to unlock a large public realm improvement scheme on Abbey Green. I was happy with my project last year, but felt the first half of my year was weak in comparison, limiting the ultimate potential of my proposal. This feeling of unfinished business is one of the reasons I chose to return to unit 14, as I feel I can produce some great work in this studio with the advantage of the lessons I learned last year. Fig 6, Final proposal - 4th year project

10m

20m

Chapter 1: Oral History: Narratives of exchange miniature, mapping and ethnographic investigations

W/C: 30.09.19

Similar to the previous year, the first brief issued was focused on ethnographic studies & mapping. The insights gleaned from this research was then to be collated and represented in a miniature drawing. Below the brief describes the intended methodology of study as well as the aims and limitations of the research.

Unit meeting @ Barking Town Hall, visit to River Mill Lofts - 03.10.19 - 1pm Attendees: Pierre D’Avoine, Tamara Horbacka, unit 14 students

Fig 8, Barking Town Hall Square

Fig 9, River Mill Lofts

Use a variety of methods & media

This is an ongoing task throughout the year, not isolated

Don’t try to cover everything, be focused and work with intent

The first meeting of the year took place on the first Thursday after market day as we gathered in Barking town centre, outside the Town Hall, shown above. A casual introduction, we met Pierre and our fellow students over coffee and discussed the aims of Unit 14, the agenda for the year and a brief outline of the way the Unit works. Following this Tamara Horbacka, Cultural Policy and Commissioning Manager at Barking & Dagenham Council, joined us as we took a look at River Mill Lofts to discuss its potential use throughout the upcoming year. This space was given to the Unit on a temporary basis at the end of the previous academic year to host our end of year show and display the River Roding site model to the public. This year there are plans for this to become an ‘Urban Room’ as defined in the Farrell Review. Tamara talked us through her vision for the space and Pierre talked about how one of the themes and exercises for the year would be the curating and documenting of this space for unit activities, which would be undertaken as a group. Following this meeting a few of the students, including myself, walked through the town centre as a first site investigation.

Striking the right balance here will be key

Fig 7, Exercise 1 brief

W/C: 07.10.19 Unit meeting @ The Cass - choosing walking routes on large scale printed map - 07.10.19 - 2.30pm

First site walk - 08.10.19 - 10am

Attendees: Pierre Dâ&#x20AC;&#x2122;Avoine, Pereen Dâ&#x20AC;&#x2122;Avoine, Tamara Horbacka, unit 14 students

Attendees: Zimmie Sutcliffe, Soroush Haghighat

Following the initial meeting in Barking the Unit met back at The Cass the following Monday to begin the task of positioning ourselves in the Borough. Whereas last year we were focused just on the River Roding, this year we are looking at the entire borough so devising a strategy to divide it up into study areas was more challenging.

Once each student had picked a route to investigate in the borough, we set about recording our initial impressions of these locales. Myself and Soroush, a fellow 5th year, paired up as our chosen routes overlapped in places so we could combine and compare observations. The series of images on the next two pages show the key qualities evident on my chosen route from Dagenham Dock station to Chadwell Heath station.

In the end we used a series of existing nodes identified by Pierre & Pereen as places of interest to base our study areas around. Students expressed an interest in a specific node/s based on initial research and from there we sketched our own routes to walk, as shown above right.

Firstly, the industrial nature of Dagenham Dock that flows into the endless housing of the Becontree estate with its unusual car parking system; half pavement, half road, informal and adhoc. Two areas I noted to investigate further were the Becontree shared entrance arch and pockets of unused green space dotted around the estate.

From these loosely defined study areas we were then left to devise our own strategies for documenting these in pairs, with some light rules for consistency in methodology across pairs.

Fig 10, map of Barking & Dagenham

Fig 11, assigning walking routes

Fig 12-16, initial site walk

Walking Route map Dagenham Dock to Chadwell Heath

Chadwell heath station

Dagenham Dock station

Fig 17-22, initial site walk

Fig 23, walking route (green) and study zone (orange)

Key text: An Attempt at Exhausting a Place in paris, Georges Perec

Ian Nairn & the Townscape movement

As part of wider reading around ethnography and methods of recording place we were encouraged to read An Attempt at Exhausting a Place in Paris by Georges Perec. I found this text to be extremely engaging, funny and illuminating. I had never read a text so banal in many ways, yet arresting in its depiction of the every day - a topic not much covered, at least not in a truly ‘every day’ fashion.

Ian Nairn was a writer and architectural critic who wrote a series of influential articles in national newspaper as well as books critiquing London and Paris. He coined the term “subtopia” to describe banal suburbs and critique poor urban planning. He was a prominent figure in the townscape movement, which railed against “Ribbon development, sprawl and inner city decay.” (Architectural Review). Nairn is a big influence on me and my thinking about public space, as are figures in the wider townscape movement such as Gordon Cullen and Jane Jacobs. With respect to my project this year, Nairn’s relevance is first in his critique of banal, sprawling suburban developments, of which Becontree was one of the first. Secondly, his advocacy for variety, sensitivity and the specifics of place in urban design are key in my approach.

What Perec notes in his days simply observing Saint-Sulpice Square in Paris is that most of the time not much of interest happens, hardly a riveting topic for a book. Yet, in posing the question ‘What happens when nothing happens’ Perec opens up a conversation not frequently discused about the every day and our desire to find meaning in the normal or unremarkable.

The excerpt to the bottom right highlights the very dry nature of Perec’s writing; it really is simply a documentation of everything that happens over one day in one place - and most of it is what you would expect. However, as the book goes on, Perec begins to embelish his observations, even against his desire to merely document, revealing a mild boredom or frustration at the leck of action.

Fig 26, Nairn Across Britain on BBC Iplayer

Fig 24, book cover

During the book, regular events such as buses passing begin to take on added significance due to their frequency and repetition. There is not much else to ponder so Perec and the reader start to focus in more detail on that which would almost certainly normally pass them by. I found this text quite remarkable and in the subsequent weeks I employed the ‘Perec method’ of simply sitting and observing - in many ways this was more effective for uncovering interesting nuggets of information than my more directed attempts at finding it. By letting a place simply be the every day takes on a new significance and you see a place for what it truly is, not merely the extremes of what it is. This text, and the way it was written in such a committed, systematic fashion really shaped the way I went about gathering data for my intial research.

Fig 25, sample extract

Fig 27, Map of Nairn’s travels across Britain

Fig 28, Example ot “one size fits all” developments

Visit to The White House & Kingsley Hall with Ella Hall - 16.10.19 - 12pm

Unit visit to V&A miniatures gallery - 14.10.19 - 2pm

Attendees: Zimmie Sutcliffe, Ella Hall

Attendees: Pierre D’Avoine, unit 14 students

Z.S: I’m an architecture student at The Cass and we are doing a project in barking & Dagenham this year so I just wanted to know a little bit about The White House and the role community organisations like this play in the borough

After my initial site walk I began work on my mapping and ethnographic studies, reading Perec as an aid to methodology. I walked the route and its environs again two more times over the following week and arranged to speak to Ella Hall at The White House. The White House is a community arts space, partially funded by Create London, that offers workshops and classes for local people as well as residencies for artists.

E.H: Ok yeah, so The White House is a space set up by Create London that houses artists and provides work spaces for local artists. We also programme events and workshops for local residents in the community. We have two bedrooms up stairs for resident artists, a kitchen in the back as well as spaces for meetings, group workshops etc. Z.S: Are the events you run specifically aimed at local residents or anyone who wants to come? E.H: Most of the people who come to our workshops, like our painting workshop, are very local, like a 5 to 10 minute walk away, but we also get people from across the borough coming along and even people from further afield, for example we have quite a lot of people coming to our events from Stratford, but mostly I would say it tends to be local people yes. A lot of the work we do is aimed at local artists and residents to give them opportunities that are accessible to them.

In conjunction with our documentation of the borough through mapping, photographic surveys & transcribed conversation pieces, the first few weeks of term were geared towards developing our miniatures. The Indian miniature is a non perspectival, narrative based form of graphic representation used to communicate stories, rituals and messages, not simply a real-to-life depiction of a place or event. We produced miniatures in the unit last year and I struggled with this narrative based form of drawing, finding it too open ended to the point of confusion. We visited the Indian and Persian miniature galleries at the V&A to study these drawings; their composition, use of colour, scale, text etc. and I came away with a much better understanding of the role of narrative in these works, how the drawing is thematic, placing emphasis on that which is significant, not merely in the foreground or large in size.

Z.S: Do you have links to other community centres or similar initiatives in the borough, or do you work more independently? Also, are there attempts to connect up institutions like this across the borough to form a kind of network of community spaces? E.H: Yes, we work with local groups, we find that a lot of the people who are regulars at our events also are involved with other similar projects across the borough, for example we have a few people at our poetry circle meetings who volunteer at Kingsley Hall so we work with other places as it’s usually a good way to find people interested in our programme. Have you heard of Everyone, Everyday?...No, so they are an organisation that is involved in trying to improve community cohesion, they have 3 shops I think, there’s one on Martin’s Corner, just on the corner of the junction at the end of Valence Avenue before you turn left towards Kingsley Hall, you should go speak to them, they do really great work with local people helping them to initiate their own projects, develop their ideas for businesses, programming community events, things like that.

Fig 29, The White House

Z.S: Ok great, thanks. I was interested in coming along to one of your events anyway to see how they work and potentially speak to people there so that would be good. I have found people are not particularly responsive when I try and talk to them on the street, for example, I was just on Chitty’s Lane trying to find the blue plaque marking the first houses completed on the Becontree estate and I noticed an interesting entrance porch that I photographed, and a lady came out of her house and said “Can I help you?” in a slightly accusatory way. I explained why I was there and taking the photograph and she was quite chatty after that and filled in a survey actually, which was good, but I have noticed some resistance from people. Like I’ve seen a lot of “no leaflets” signs on letterboxes and CCTV warnings on people’s houses, suggesting they don’t really want to be bothered by strangers.

Fig 32, Indian miniature drawing @ V&A

Fig 33, visiting the V&A

Z.S: I read that you have this building for 25 years, is that correct? and how does the funding for this space and projects you run work? E.H: Yes, so this project was set up by Create London around 3 years ago and we have a 25 year lease on the property. We have a few sources of funding including Arts Council England and Barking & Dagenham Council. A lot of our support comes from the Paul Hamlyn Foundation, but we are funded from a variety of sources.

Ella Hall, Cultural Engagement Office @ The White House Fig 30, sketch of Ella Hall

Fig 31, transcript of interview with Ella Hall

Photographing unused green spaces

Green space mapping exercise

Site walks - 08.10.19 - present

Documenting every unused green space on the Becontree Estate

1:3750 @ A4

Following the visit to the V&A I really began to think more about my miniature, focusing my attention on this and away from my mapping and ethnographic interviews. From my site walk and conversations with people I ascertained a lack of engagement with community services and public space from residents of the Becontree.

One notable manifestation of this is the numerous small pockets of grass seemingly unused, and of uncertain ownership - does it belong to the house/s closest to it, is it a garden or public space? I found that this is all council owned land suffering from poor maintenance, fuelled by a lack of funds but also lack of obvious use and engagement from local people. I felt it important to photograph each one of these spaces to create a catalogue that I could map out.

Fig 39, location in borough

Borough location map 1:100,000 @ A1

Fig 34-38, green space on the Becontree

Fig 40, green space map

23 Unused green spaces along walking route

Developing the miniature

Playing with composition

Experimenting with narrative & layout

Anchoring the foreground with a detailed depiction of a key conversation

The first major task of the year was to produce a miniature drawing, much like last year, to bring together the various threads of our initial research into a narrative drawing. To begin this process I wrote down the events, themes and locations I wanted to depict in my miniature and began to develop a hierarchy for these. I wanted to focus on Valence Avenue as it was the predominant focus of much of my research whilst investigating a range of scales. As such I began to sketch out vignettes of important encounters, such as the conversation I had with a resident on Chittyâ&#x20AC;&#x2122;s Lane. I also began to test ideas for layouts working around the idea of Valence Avenue as the focal point with zoomed in depictions of important places, people and events arranged around this focal point.

Fig 41, initial sketch of a conversation

Fig 43, draft of miniature

Fig 42, first draft layout of miniature

Using Valence Avenue as a focal point Layering terracing, roads, green spaces behind foregroud scene

Fig 44, development draft of miniature

Pin up: Exercise 1: Oral History: narratives of exchange - 17.10.19 - 2pm

FormGivers lecture - Maich Swift - 18.10.19 - 6.30pm

Attendees: Pierre D’Avoine, Pereen D’Avoine, unit 14 students

Attendees: Zimmie Sutcliffe

The first chance to gain feedback on our initial studies was at the first unit pin up on 17th October. Not a formal crit, this was a group discussion around work in progress, attended by Pierre & Pereen. I presented a monitor presentation of my photographic studies and interviews with residents, which was generally well received. Pierre noted the themes I touched on had potential but needed more forensic study, particularly through drawings. I also presented some A1 maps showing the routes I had walked, building uses, transport links and Barking’s links to wider Europe, aimed at the theme of exchange. Again, feedback was that the maps were generally strong but required a little more clarity and development.

‘Dear all PIN UP It was a very enjoyable afternoon yesterday. Thank you for your presentations and the discussions. There is so much to work with given the explorations you are undertaking. We suggest that it would be helpful to bear in mind the way that Harouth in particular has managed to organise his research in progress, into an impressive and coherent presentation using the monitor. There were also some excellent table top presentations including photographs, and interesting to hear about the interviews you are initiating. Please keep going on all fronts and aim to put together a draft of your miniature for a unit discussion/pin up on Monday 28 October. Please think about the content, composition, narrative, personal involvement and colour. This is work in progress but important to put pen to paper. Please bring references that you are using.’ Fig 45, Pierre’s feedback

FormGivers is a lecture series hosted at The Cass that showcases young practices across Europe who are making their first projects. It provides a platform for exciting new practices to discuss their processes and methods and I attended a number of these last year. The first one I attended this year was delivered by Ted Swift from Maich Swift Architects. Shown right and below is the Potemkin Theatre, the winning entry for Antepavilion 2019 that references theatre backdrops with its chequered green facade. As in the previous year, I found it incredibly useful to hear from architects themselves how they work, with the method often being more interesting for my education than the final works. I am keen to make more of these free events this year to enhance my engagement with contemporary architectural practice.

Fig 47, Potemkin Theatre, Regent’s Canal, London

Fig 46, building use map =Residential terraced

=Residential other

=Commercial

=Civic

=Education

=Health

Building typologies 1:10,000 @ A1

=Industrial

=Community

=Rail infrastructure

=Office

Fig 48, Potemkin Theatre structural axonometric

Fig 49, Sevenoaks Wildlife Reserve visitor centre model

N 0

500m

1km

W/C: 21.10.19 Setting up River Mill Lofts space with Pereen - 25.10.19 - 10am

Valence House visit - 25.10.19 - 2pm

Attendees: Pereen D’Avoine, Tamara Horbacka, unit 14 students

Attendees: Pierre D’Avoine, Pereen D’Avoine, Karen Rushton, unit 14 students

Following the first group pin up the unit met up at River Mill Lofts in Barking to begin work on Exercise 4: the Urban Room. Work form the previous year, including the River Roding model had been exhibited there over the summer but the exhibition needed expanding as our use of the space would become more permanent.

Following the work at River Mill Lofts, we headed to Valence House Museum for an introduction to the Local Studies Archive. Having been in the unit last year, I was already familiar with the archive but many students were not. The archive is a great resource, with hundreds of original maps and documents dating back hundreds of years, many of which are not available, even in digital form, anywhere else.

As a group we conducted a measured survey of the space, something that would be useful for later survey work in exercise 2. We had to curate the space and organise the work ourselves with each person taking on a specific role - again, a useful precursor to other group work. Alongside the survey we picked out a selection of drawings from the previous year to display on the walls, re printed some things and drew the space in CAD as a base for future exhibition layouts.

Karen Rushton, the borough archivist, gave an introduction into the extent of the collection, how it is organised and what is allowed to be viewed, copied etc. Following the introduction I stayed for a few hours to look through documentation of the Becontree Estate, finding a number of valuable things such as original house plans and the Tenants Handbook shown to the right. Fig 50, survey sketch

Fig 51, assembling the exhibition

Fig 52, assembling the exhibition

Fig 53, Becontree Tenants Handbook

Fig 54, visiting Valence House

Fig 55, Studying archive material

Key location: Valence House Museum & Archive

Throughout the development of my project and across the year one of the key places in my research has been Valence House, set within the Becontree estate. The Valence House complex is home to a museum of the borough, a library, cafe & large park, making it a hub of the community. It is also home to the borough archive & local studies centre which has records dating back centuries and covering every aspect of life in the borough. I have conducted hours of research in this space as it is an invaluable resource giving access to files, photographs, meetings & maps that arenâ&#x20AC;&#x2122;t available anywhere else. Crucially, the content housed here really allows you to gain an insight into the lived experience of borough residents past and present, adding a layer of depth and richness to research that is necessary to understand a place.

The archive was particularly key in developing my knowledge of the Becontree Estate, with original maps, tenants handbooks, budget lists and resident interviews available to help me study the development of the estate over time. The work of Verity Jane Keefe in partnership with Valence House produced the Everyday Futures booklets which I consulted extensively in my Becontree estate research. This series focuses on the municipal history of the borough through public services, council housing and more. In these booklets I learned about the Dagenham Film Club which inspired my demountable cinema node project and has continued on into my final proposal along Valence Avenue. Further to this Valence House features heavily in my festival proposal with the intention that the existing complex of buildings would host some workshops and events during the festival. Fig 56, Entrance to Valence House Park

Fig 58, Karen Rushton, Borough archivist

Extent of Valence Park complex Valence House Archive & Local Studies Centre Valence House Museum Valence House Library

Fig 57, Valence House Park location map, 1:2500 @ A4

Fig 59, 60, Documents found when visiting Valence House Archive - original map of the Becontree Estate & land use breakdown

06/02/2020

London Metropolitan University - Students Mail - Celebration Pot Luck Supper

Everyone. Everyday community supper - 25.10.19 - 5.30pm

Zimmie Sutcliffe <zis0043@my.londonmet.ac.uk>

Celebration Pot Luck Supper

Attendees: Zimmie Sutcliffe, Illir Kabashi, Fathil Kummayapurath (unit 14), Bryony Lawless 5 messages

Zimmie Sutcliffe <zis0043@my.londonmet.ac.uk> 21 October 2019 at 15:26 To: AJ@weareeveryone.org Cc: Pierre d'Avoine Architects <pierre@davoine.net>, pereen d'avoine <pereen@russianforfish.com>

As part of my investigations into ‘hidden’ culture in the borough (hidden culture meaning cultural or community resources that operate seemingly underground, with many people unaware of its existence) I arranged to attend a free community supper aimed at improving community cohesion with a simple strategy of inviting people to share food and their experiences. I had identified Everyone.Everyday as a key cultural voice in the borough and wanted to speak to its staff and users, which I did at this supper and was later depicted in my miniature.

Festival of Learning: Climate Emergency/Laszlo Moholy-Nagy In Britain exhibition - 26.10.19 - 12pm Attendees: Zimmie Sutcliffe My research into the Becontree Estate had led me to become interested in the disused patches of green space commonly found in the area, as alluded to previously. I was also interested in the dominance of the car, with each household seemingly owning at least 1, usually more. I began to look into issues such as re-wilding and the ongoing climate crisis and how architects can respond to these.

Hi AJ, My name is Zimmie Sutcliffe, I'm a postgraduate architecture student at London Met. Myself and my colleagues in Unit 14 at The Cass are doing research in Barking & Dagenham. I spoke to your colleague Ade at your Porters Avenue shop about the organisation this morning and I am interested in attending the supper this Friday at the warehouse to see the space and possibly speak to people about Everyone.Everyday and life in the borough more generally. I am not a resident of the borough but as I would like to attend for academic/research purposes, would that be ok? In terms of the information I gather, it won't be used outside of my university work and I will of course let 06/02/2020 London University - Students Mail - to Celebration Pot down/recorded. Luck Supper people at the event know my purpose andMetropolitan ask their permission for things be written Unit 14 is run by Pierre and Pereen D'Avoine and we worked in the Borough last year with Tamara t 00 Cultural 44 (0)7905 740961 Horbacka, Policy and Commissioning Manager at LBBD council. As a unit we are currently attempting mail@davoine.net toeconduct interviews with residents of the borough both in the form of a written questionnaire and through speaking www.davoine.net tow people on the street, in parks, at markets etc to build up a picture of life in the borough and identify areas were architecture could build upon and enhance this. I have been personally looking into community venues in the borough and think the supper on Friday would be a great opportunity to learn more about your work. [Quoted text hidden]

Kind regards,

Zimmie Sutcliffe <zis0043@my.londonmet.ac.uk> 22 October 2019 at 11:48 To: AJ@weareeveryone.org Cc: Ade@weareeveryone.org, Pierre d'Avoine Architects <pierre@davoine.net>, pereen d'avoine Pierre d'Avoine Architects <pierre@davoine.net> 22 October 2019 at 08:10 <pereen@russianforfish.com> To: Zimmie Sutcliffe <ZIS0043@my.londonmet.ac.uk> Cc: Hi Pereen AJ, d'Avoine <pereen@studioda.london>, Pierre d'Avoine <pierre@studioda.london> Please find attached the Unit 14 introduction outlining the work we are doing in the borough. regards, HiKind Zimmie Zimmie

Thanks for copying us in. [Quoted text hidden] This sounds good opportunity. 742-Final,like Unita14 (19-20)expanded Intro.pdf 3068K

Maybe follow up with the Unit 14 introduction so that AJ may see what we are doing. AJ Haastrup <aj@weareeveryone.org> 22 October 2019 at 12:02 I hope there is a positive response. To: Zimmie Sutcliffe <zis0043@my.londonmet.ac.uk> Cc: Ade Yusuff <Ade@weareeveryone.org>, Pierre d'Avoine Architects <pierre@davoine.net>, pereen d'avoine Please keep us informed. <pereen@russianforfish.com> Hey Zimmie, Best wishes

As part of this I visited the Festival of Learning: Climate Emergency exhibition at the RIBA. Although a fairly simple introduction to the issue, the exhibition included a timber structure workshop, some of the results from which can be seen below. The exhibition highlighted current innovations in product design and easy DIY ways to be more sustainable on an individual level such as making your own self-watering plant hanger from old plastic bottles. Whilst fairly rudimentary, it got me thinking about low cost construction strategies that are accessible to laypeople.

All sounds good and look forward to meeting you and hearing more :)

Fig 65, Extinction Rebellion have highlighted the climate crisis issue

Pierre and Pereen [Quoted text hidden]

Fig 61, Everyone. Everyday supper

-Pierre d'Avoine Architects AJ Haast Unit 16 Designer Project 5 We Durham Yard Everyday are Everyone tel:07719327202 Teesdale Street Watch our latest video London E2 6QF

Fig 62, email exchange with Everyone. Everyday

https://mail.google.com/mail/u/1?ik=8076ed604b&view=pt&search=all&permthid=thread-a%3Ar6974891037586230102&simpl=msg-a%3Ar29163…

Zimmie Sutcliffe <zis0043@my.londonmet.ac.uk> To: Ilk0052@my.londonmet.ac.uk [Quoted text hidden]

WE MAKE OUR CITY

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24 October 2019 at 14:35

https://mail.google.com/mail/u/1?ik=8076ed604b&view=pt&search=all&permthid=thread-a%3Ar6974891037586230102&simpl=msg-a%3Ar29163…

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47 THAMES ROAD

Autumn Programme: 22 October - 14 December Festival: Saturday 30 November Come along to share your ideas and talents! Something amazing is happening in the heart of Barking and Dagenham. Thousands of people from all backgrounds are coming together to make their neighbourhoods friendly, beautiful and productive. People are planting trees - making it possible for people to play in their streets safely. They are making things last longer by reusing, re-purposing and composting. They are sharing community meals and livelihood in collaborative teams. We Make Our City Autumn Programme and Festival is a celebration of this inspiring spirit. In these pages you will ﬁnd 130 projects and more than 300 events that you can come along to in the next couple of months - created by your neighbours! Take a look inside and discover things that will inspire you!

Fig 63, people arriving

Fig 64, We Make Our City brochure

Fig 66, timber models produced in workshop

Fig 67, timber models produced in workshop

W/C: 28.10.19 Unit meeting - miniatures in progress, River Mill Lofts fit out - 28.10.19 - 2pm Attendees: Pierre Dâ&#x20AC;&#x2122;Avoine, Pereen Dâ&#x20AC;&#x2122;Avoine, unit 14 students

As some time had passed since the first pin up on 17th October the unit convened again for individual tutorials focusing on our miniatures and to discuss the ongoing fit out of River Mill Lofts. It was concluded the space at River Mill Lofts needed a few more hours of work to arrange the second half of the space as construction company Waites had now moved out of their half of the space. My tutorial went well as Pierre agreed with me that my miniature was developing well for the first crit on 14th November. I had spent a lot of time on it, working through several iterations and thinking deeply about the underpinning narrative that binds the drawing together. I presented my latest draft which Pierre received well, only noting that I needed to also keep up my work on the mapping and oral history elements of the brief as well as the miniature as the crit would cover all three elements of our studies.

Fig 68, notes from tutorial - 28.10.19

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Internal Layout Plan 1:50 Fig 69, River Mill Lofts proposed urban room layout plan, 1:100 @ A4. by Celia Tam

The Urban Room concept

“Every town and city without an architecture and built environment centre should have an “urban room” where the past, present and future of that place can be inspected. Virtually every city in China has one, in Japan they are a mix of display and meeting places, and there are successful examples closer to home like the Cork Vision Centre. These “Place Spaces” should have a physical or virtual model, produced in collaboration with local technical colleges or universities, and they should be funded jointly by the public and private sector, not owned exclusively by one or the other. Urban rooms should be connected to and supported by the regional branches of the PLACE institutions and agencies and could be branded with the name of that place (“Place Space: Sheffield” or “Place Space: Reading”, for example).” Farrell Review, 2013

Urban Rooms are common in Asia, usually in the form of Urban Planning Museums, allowing citizens to engage with and track the past, present & future of their city, as seen below. Terry Farrell and Peter Murray are two notable advocates of Urban Rooms in the UK and my research into their work has led me to propose an urban room for Barking & Dagenham in my thesis project. The idea of a living museum, a space to exhibit and showcase a place appeals greatly to me - so many other facets of life are represented through galleries and museums yet the very places we dwell in are not. Providing a free space with no agenda seems to be a great civic act in of itself.

Fig 70, Urban Room functions diagram

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Fig 73, Peter Murray, Chairman of New London Architecture

Fig 74, 1:2000 interactive scale model at NLA headquarters

Fig 75, The model shows existing (grey) & new (white) developments

Fig 76, Large scale model at Beijing Planning Exhibition Hall

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Internal Layout Plan 1:50

Exterior Elevation 1:50 Fig 71, 72, Urban room in Sheffield & River Mill Lofts proposed urban room elevation, 1:100 @ A4 (drawn by Celia Tam)

W/C: 04.11.19 Kaori Homma - Romney marsh church art talk - 31.10.19 - 12pm

Alec Scrag talk - Essex marginal landscapes - 04.11.19 - 12pm

Attendees: Kaori Homma, Pierre D’Avoine, unit 14 students

Attendees: Alex Scragg, Pierre D’Avoine, unit 14 students

Following individual progress checks on Monday, a week of talks and workshops began, arranged by Pierre. First was Kaori Homma, who came to speak to us about her work which touches on themes of the elemental & ephemeral through the use of fire. Specifically she talked about her work for Art in Romney Marsh where she displayed a series of images of the marsh created by painting with a clear lemon wash which when lightly burned reveals the image charred onto paper. The work is originally hidden, with fire bringing it to life. Kaori’s response to the marsh was fascinating and her methods opened up new ways of thinking about documenting it.

Following Kaori, Alec Scragg came to talk to us about his Masters project in the Essex landscape. A former student of Pierre’s, they now collaborate on projects investigating land use and ownership - themes Alec explored in his thesis project. The drawings Alec showed, particularly his maps were beautiful, with multiple layers of information shown without losing clarity. This made me reflect on my own mapping work and how I could enhance it to a level similar to Alec’s. I also found it interesting that Alec’s thesis contained very little designing of buildings, instead focusing heavily on master-planning, re-organising a landscape and challenging paradigms of ownership, individualism and suburbia. Fig 81, Alec presenting

Fig 77, notes from Kaori Homma lecture

Fig82 communication through mapping

Fig 78, Kaori presenting

Fig 80, Alec’s final thesis proposal

Fig 79, Kaori’s work for Art in Romney Marsh

Fig 83, notes on Alec’s lecture

Fred Gatley ceramics workshop - 04.11.19 - 2pm

Housing Development Seminar @ GLA - 05.11.19 - 10am

Attendees: Fred Gatley, Unit 14 students

Attendees: Ellie Howard, Jonathan Schiffers, Carmel Keren, Shona Scales, unit 14 students

With the upcoming brief to design a node in mind, Pierre arranged a ceramics workshop with Fred Gatley to show us the basics of casting and working with ceramics. The node project was intended to be realised in plaster or ceramic, hence this specific workshop.

We were invited by Joseph Henry & Ellie Howard to a seminar at City Hall by the GLA on housing development. Joseph is a former student of Pierre’s and Ellie tutors in Unit 15, both work at the GLA. The talk was wide ranging with a range of speakers from different policy makers, stakeholders and protagonists working in housing offering a diverse range of insights into the complexity of delivering high quality, affordable housing in London. My notes below relay the key topics covered, with the conversation on infrastructure in relation to driving development of particular interest to me and something I hope to comment on in my thesis work.

The introduction itself was quite fast paced, covering a range of techniques in a short period, with the aim of showing what is and isn’t possible with this medium rather than making us experts in one particular technique. I found the class extremely useful as I have not worked with plaster or ceramic much, often because of a lack of knowledge causing me to shy away. Fig 84, Fred Gatley teaching students

Fig 89, seminar at City Hall

Fig 86, Fred’s ceramic work

Fig 85, Ground floor ceramics workshop

Fig 87, learning the basics of ceramics

Fig 88, notes taken in seminar

Fig 90, further notes on infrastructure & growth

Zimmie Sutcliffe <zis0043@my.londonmet.ac.uk>

Unit 14 - Programme for next week 1 message

Pierre d'Avoine <pierre@studioda.london> 1 November 2019 at 12:35 To: "EAM0094@my.londonmet.ac.uk" <EAM0094@my.londonmet.ac.uk>, Harouth Mekhjian <ham1007@my.londonmet.ac.uk>, "JEP0352@my.londonmet.ac.uk Pearce" <JEP0352@my.londonmet.ac.uk>, Zimmie Sutcliffe <ZIS0043@my.londonmet.ac.uk>, "ilk0052@my.londonmet.ac.uk Kabashi" <ilk0052@my.londonmet.ac.uk>, "anb0987@my.londonmet.ac.uk" <anb0987@my.londonmet.ac.uk>, "ata0257@my.londonmet.ac.uk" <ata0257@my.londonmet.ac.uk>, "kap0561@my.londonmet.ac.uk Papianaite" <kap0561@my.londonmet.ac.uk>, Soroush Haghighat <soh0244@my.londonmet.ac.uk>, "lap0366@my.londonmet.ac.uk Pascu" <lap0366@my.londonmet.ac.uk>, "set0247@my.londonmet.ac.uk" <set0247@my.londonmet.ac.uk>, "mek0353@my.londonmet.ac.uk Kavehbaghbahadorani" <mek0353@my.londonmet.ac.uk>, "fak0688@my.londonmet.ac.uk Kummayapurath" <fak0688@my.londonmet.ac.uk> Cc: "pereen@russianforfish.com d'Avoine" <pereen@russianforfish.com>, Pierre D'Avoine <p.davoine@londonmet.ac.uk>

CNC Routing Workshop with Matthew Dart - 07.11.19 - 2pm Attendees: Matthew Dart, unit 14 students

Up next was a CNC/routing workshop with Matthew Dart, technician at The Cass. This gave an introduction to the CNC process; itâ&#x20AC;&#x2122;s possibilities, limitations, compatibility with different softwares etc. Again, this was with our node projects in mind and producing high quality models for them.

Dear all We have quite a full week of events arranged next week as follows: MONDAY 4 NOVEMBER 12pm - 2pm Alec Scragg lecture on Essex marginal landscapes In the unit space Please arrange for a monitor to be available 2pm - 4.30pm Ceramics workshop with Fred Gatley TUESDAY 5 NOVEMBER

The session was informative in terms of how to book the CNC machine,what materials to work with etc and I have some CNC experience from helping with the River Roding model from last year. The image below shows a CAD drawing produced for routing with the standard timber sizes overlaid.

10am - 12pm Housing development seminar organised by Ellie Howard and Joseph Henry at GLA City Hall A series of quick fire micro-lectures covering the basics of funding partnerships, housing design guidance, S106/CIL and how they can be used creatively, community engagement in the planning process, and circular economy approaches. This will be followed by an open discussion where students are encouraged to ask as many questions as they like! Attending are CSM Studio 02, which Joseph and Ellie teach together, and Cass unit 15. THURSDAY 7 NOVEMBER 10am - 1pm

Tutorials in unit space

2pm - 2.45pm CNC Routing worshop with Matthew Dart, CMG-12a (Celia, Zimmie, Harouth, Jessica, Beth, Fathil, Atta) 2.45pm - 3.30pm CNC Routing workshop with Matthew Dart, CMG-12a (Anji, Soroush, Laura, Melika, Ilir, Karina) We hope this works for everyone. Have a good weekend. Best wishes Pierre and Pereen Pierre d'Avoine BSc [HONS] DipARCH ARB RIBA Founding Director https://mail.google.com/mail/u/1?ik=8076ed604b&view=pt&search=all&permthid=thread-f%3A1649002934835441699&simpl=msg-f%3A1649002â&#x20AC;Ś

Fig 91, scheduling email from Pierre & Pereen

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Fig 92, preparing a file for CNC routing - adapted from drawing by Oliver Riviere

W/C: 11.11.19 Tutorials & unit trip discussion - 11.11.19 - 2-6pm

Exercise 2 brief issued: Visit to Romney Marsh - 11.11.19

Attendees: Pierre D’Avoine, unit 14 students Following a week of seminars and workshops, attention turned to the unit study trip to Romney Marsh in Kent. The destination was chosen as the marsh landscape has similarities to the marsh landscape of Barking & Dagenham. In addition, being the location of the former Cinque Ports the site has historic significance in the area of trade and exchange.

Atta & Celia - St Thomas a Becket, Fairfield and St Augustine, Brookland (1,2)

The unit sat down to discuss the logistics of the trip, and more importantly to divide the 14 churches on the marsh amongst ourselves. It was decided we would operate in pairs and cover two churches each, then choosing one to focus on once the surveying had been carried out.

Fathil & Laura - All Saints, Burmarsh & St Peter and St Paul, Dymchurch (9,10)

Jess & Karina - St Dunstan, Snargate and St Eanswith, Brenzett (3,4) Soroush & Zimmie - St George, Ivychurch and St Augustine, Snave (5,6) Anjali & Illir - St Peter & St Paul, Newchurch and St Mary the Virgin, St Mary in the Marsh (7,8)

Beth, Harough & Melika - St Nicholas, New Romney, St Clement, Old Romney, and All Saints, Lydd (11, 12,13) Final pairs and churches to survey

10. All Saints BURMARSH 8. St Peter & St Paul NEWCHURCH

7. St Augustine SNAVE

11. St Peter and St Paul DYMCHURCH

4. St Dunstan SNARGATE

5. St Eanswith BRENZETT

9. St Mary the Virgin ST MARY IN THE MARSH

6. St George IVYCHURCH

2. St Thomas Becket FAIRFIELD 3. St Augustine BROOKLAND

13. St Clement OLD ROMNEY

How will this work? the marsh land in Dagenham is mostly built upon

12. St Nicholas NEW ROMNEY

1. St Mary EAST GULDEFORD

Interesting in terms of trade and themes of exchange

14. All Saints LYDD

How the natural can greatly affect economic and social issues

Fig 93, Exercise 2 brief

Fig 94, location of all churches, courtesy of Pierre & Pereen D’Avoine

Final miniature

Crit: Exercise 1: Oral History: narratives of exchange - 14.11.19 - 10am-6pm Attendees: Pierre D’Avoine, Pereen D’Avoine, Tamara Horbacka, Colin O’Sullivan, unit 14 students

Critics

Before departing for Romney marsh, there was the small matter of a crit to get through, taking place the day before we left. All of our oral histories, mapping and miniature work would be displayed, with critics from Barking Council, architects and members of The Cass.

Tamara Horbacka

Tony Swannell

LBBD Cultural Policy Director: & Commissioning Tony Swannell Manager Architects

Colin O’Sullivan Senior Lecturer and 1st year coordinator BA Architecture

The feedback to my work was generally positive with an overall critique that it lacked refinement in areas, particularly how drawings and maps are presented but that the bones of what I was researching had lots of potential to deliver a rich thesis project. The critics particularly enjoyed my study of green spaces on the Becontree Estate but urged a more thorough documentation of it. Fig 95, Tamara Horbacka Fig 96, Tony Swannell Fig 97, Colin O’Sullivan

Fig 98, map of European ports shown at crit

Fig 99, Becontree blue plaque

Fig 100, Entrance to 46 Chitty’s Lane, as shown in miniature

Fig101, notes from crit

Fig102, final miniature

Unit trip to Romney Marsh - 15.11.19 - 18.11.19 Attendees: Pierre D’Avoine, Pereen D’Avoine, unit 14 students The morning after the crit (Friday 15th November) we travelled from London to Romney Marsh to conduct our study of the historic churches there, with the intention of surveying them in depth and exploring the marsh landscape over a 4 day weekend. The full itinerary for the trip is shown on the following page. Having missed the unit trip last year I was determined to make the most of this one and played an active role in sourcing accommodation and travel. West Hythe

Hamstreet

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9 7

Burmarsh

Newchurch 6 10 Appledore

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1 Fairfield

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Ivychurch

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Old Romney

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Camber

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Rye Harbour

Denge Beach

Fig 103, map of Romney Marsh Churches, 1:100,000 @ A4

Unit trip to Romney Marsh - 15.11.19 - 18.11.19

Day 1: Friday 15th November 2019

Day 2: Saturday 16th November 2019

Itinerary

Documenting our churches in pairs, I was again paired with Soroush. We worked well together and decided it was best to both survey each church as it would be much quicker than taking one each and we could both develop a personal insight towards each church. I brought my laser measurer with me and Soroush his DSLR so I focused more on measuring and Soroush on photography as all resources would be shared between us. St. George Ivy Church was first and we were extremely lucky to gain access to the roof, observing the old clock machinery. As the Church is currently undergoing extensive renovation we were lucky to find a plan of the building already drawn in an information guide.

Day 1: Friday 15th November 8am - meet at Pereen’s house 9am - 12pm - drive to Romney Marsh 12pm - 5pm - Explore Rye & Dungeness 5pm - Arrive at Airbnb and unpack 8pm - Group evening meal

Fig108, Meeting Frank, the bell ringer

Day 2: Saturday 16th November 10am - drive to first church in pairs 10am - 12pm - survey first church in pairs

Fig 104, Marsh landscape in Rye

12pm - 1pm - Lunch, drive to second church 1pm - 3pm - survey second church in pairs 3pm - 4pm - return to airbnb 7pm - Group evening meal Day 3: Sunday 17th November 10am - 12pm - Drive to first church in pairs to finish surveying Fig 109, View of marsh landscape from the Church parapet

12pm - 1pm - drive to second church in pairs to finish surveying 1pm - 2pm - lunch 2pm - 5pm - Drive to Dungeness, visit to power station and Derek Jarman’s cottage

Fig 105, Dungeness lighthouse & power station

5pm - 6pm - drive back to airbnb 6pm - 8pm - pack for return journey 8pm -Group evening meal Day 4: Monday 18th November 10am - 1pm - Drive to all 13 churches, stopping off at each one as a group. Everyone can see everyone else’s church 1pm - 2pm - lunch 2pm - 4pm - drive back to London

Fig106, Airbnb overlooking marsh landscape Fig 107, St.George Ivy Church entrance

Fig110, Extensive rennovation work internally

Unit trip to Romney Marsh - 15.11.19 - 18.11.19

Day 3: Sunday 17th November 2019

Day 4: Monday 18th November 2019 After surveying both churches on Saturday we then returned on Sunday to cover and areas we had missed and to focus in on specific areas we had become interested in, in my case the grave stones at both churches. The final day of the trip was spent touring all 13 churches in order so each student could spend some time in every church and see the vast range of interiors and exteriors, including the spectacular All Saints in Lydd and the distorted, Disney-esque St. Clement’s Church in Old Romney, where Derek Jarman is now buried. We also managed to visit Dungeness and Rye on the trip to gain further insight into this remarkable landscape.

Fig115, Exploring the marsh landscape

Fig 111, Extensive buttressing agains the shifting marsh ground

Fig 112, Amazing roof structure in the chapel

Fig 113, Approach, including the bell tower

Fig 116, All Saints, Lydd

Fig 117, St Peter & St Paul, Newchurch

Fig 1118, St Clement’s Church, Old Romney

Fig 119, St Thomas à Becket, Fairfield

Fig 114, Looking East to the Chancel, font in the fore-

Recording the Romney Marsh Churches

Fig 120, St. Augustineâ&#x20AC;&#x2122;s Church, Snave - Church yard plan

Fig 121, St. Augustineâ&#x20AC;&#x2122;s Church, Snave - Sectional elevation AA

1:250 @ A4

1:100 @ A4

Chapel

Chancel

Nave

Recording the Romney Marsh Churches

Fig 122, St. Augustine’s Church, Snave - Sectional elevation BB

Sample of grave study

1:100 @ A4

One aspect of the churches I found interesting were the headstones in the church yard. I was intrigued by their individuality, drawing parallels to the individuality on the Becontree Estate derived from extensive house modifications over the years. I also found the way they had weathered interesting, decaying alongside the church structure. I undertook a comprehensive study of these headstones, photographing each one at both churches and producing a booklet for St.Augustine’s showing a photograph and CAD drawing of every individual headstone. This then informed my node project later.

Fig 123-130, headstones at St. Augustine’s

W/C: 18.11.19 Mark Leckey: O’ Magic Power of Bleakness - exhibition visit @ Tate Britain - 19.11.19 - 3-5pm Attendees: Zimmie Sutcliffe

On returning from the unit trip to Romney Marsh our attention turned to documenting them and cultivating ideas for the next brief which had been alluded to by Pierre & Pereen but not issued formally.

The exhibition heavily informed my initial thoughts around the node we had been asked to develop to enchant a place in Barking and Dagenham. As yet undefined in scope, my initial responses, shown below, where fairly abstract and metaphorical, incorporating a number of themes.

I attended an exhibition at the Tate Britain of Turner Prize winning artists Mark Leckey, someone I have admired for some time. Conversations in the unit had moved towards the ephemeral and ‘eery’ in light of visiting Romney Marsh and Leckey’s work often incorporates themes of nostalgia and place.

Leckey’s use of video in many of his works alongside physical pieces of structure inspired a design of mock gravestones arranged in a ‘stone circle’ fashion, often found at prehistoric sites of ritual.

I thought the focus in his work on memory, youth and how experience is tied to time and place would be relevant to the embryonic unit discussions around the temporal and otherworldly. I was also interested in the use of physical models and set pieces in the exhibition, particularly the large scale reproduction of a motorway bridge as the setting from which to observe Leckey’s video pieces reflecting on childhood and pop culture.

These stones would have archival video pieces of the borough projected on to them, commenting on place, how areas evolve over time and the accuracy and usefulness of nostalgia when thinking of propositions for the future. Fig 134, Mark Leckey - Dream English Kid

Entrance arch based on the Becontree arch found commonly on the estate. Underneath, a symbolic font sits atop the steps

Fig 131-133, Mark Leckey - O’ Magic Power of Bleakness

Seating with projectors housed inside

Fig 135, Initial concept drawing for my node

‘Gravestones’ with video projected on to the front

Barney Hughes talk - Unit 14 & 7 projects - 21.11.19 - 4-5pm

David Roy talk - work of James Gorst Architects - 21.11.19 - 5-6pm

Attendees: Barney Hughes, David Roy, Pierre D’Avoine, Pereen D’Avoine, unit 14 students

Attendees: David Roy, Barney Hughes, Pierre D’Avoine, Pereen D’Avoine, unit 14 students

A former student at The Cass who studied under Pierre and David Grandorge, Barney Hughes came to give a talk on his 2 postgraduate projects. Firstly he discussed his incredible recreation of San Lorenzo Church in Turin in which the church was modelled in vacuum formed plastic supported by a timber scaffold in an extremely clever re-imagining of a historic structure.

Following on from Barney’s talk was David Roy, a director at James Gorst Architects who studied with Pereen. He came to discuss the work of the practice, particularly focusing on materiality.

David discussed a number of projects, consistently emphasising the importance of a strong client relationship and how the practice embraces this relationship to achieve the maximum creative freedom. Despite a huge variety in the projects shown, one constant thread was a value of high quality, sometimes decadent, materials that formed the identity of a project, often one or two materials ran through the entire scheme consistently. I found some of the schemes a little gregarious but the quality of them was undeniable and David’s comments on conviction of design intent really struck home.

Barney then talked about his thesis project with Pierre in which he commented on density in rural settings. What I took from his project was the simplicity of presentation, particularly large maps that communicated very clearly the important parts of the scheme. Some of Barney’s freehand sketches were also exceptional yet produced quickly, allowing him to cover a lot of ideas and iterations and refine them. Fig 136, Barney’s ‘un dense’ thesis project

Fig 139, David Roy, director at James Gorst Architects

Fig 137, notes from Barney Highes’ talk

Fig 138, Barney’s model of San Lorenzo Church in Turin

Fig 140, Image for a temple in Hampshire proposed by the firm

Fig 141, bathroom for a house in Eaton Square

Enchanting Place: Initial node development

Exercise 3 brief issued: Enchanting Place - 24.11.19

In response to the brief issued opposite I went away to work up and refine my initial ideas relating to Romney Marsh. At first I struggled with too many ideas and references, trying to fit them all into one object. After a period of thought I began to discern the key themes I wanted to reflect in my node, namely, a form of video projection that recalls the vibrant civic past of Becontree as embodied in institutions such as the Dagenham Film Club and references the nostalgic feelings evoked in Mark Leckeyâ&#x20AC;&#x2122;s work. I wanted to combine this medium with references to the individuality found in the faĂ§ades of the once uniform terraces of the estate. Fig 143, Averbury stone circle plan

Understand the spirit of the marsh, its unique qualities Could found obejcts be incorporated into my design?

Fig 144, Members of Dagenham Film Club, circa 1960

Fig 145, Individuality expressed on a headstone

Fig 146, Video projection to communicate memory

Fig 147, Individuality expressed in house modifications

How to make something powerful from simple means? Make piece? Fig 142, Exercise 3 brief

symbolic

W/C: 25.11.19 Crit - Exercise 2: Visit to Romney Marsh - 25.11.19 - 10am-6pm Attendees: Tony Swannell, Ros Diamond, Tamara Horbacka, Pierre D’Avoine, Pereen D’Avoine, unit 14 students

Critics

The second full crit of the year took place on 25th November and was focused on the unit trip and our documentation of the churches of Romney Marsh. In attendance were Tony Swannell, Tamara Horbacka and Rosamund Diamond, director of Diamond Architects. I presented my work in progress for my church study in the form of A2 survey drawings and booklets of photographs.

Tamara Horbacka

Tony Swannell

LBBD Cultural Policy Director: & Commissioning Tony Swannell Manager Architects

Ros Diamond

05/02/2020

London Metropolitan University - Students Mail - Romney Marsh Churches study

Director: Diamond Architects

Zimmie Sutcliffe <zis0043@my.londonmet.ac.uk>

Romney Marsh Churches study

The general feedback was that my drawings needed work, particularly the plan which was overloaded with detail and a refinement of lineweights across the board. My photographs were better received, being praised for their composition and eye for detail. The critics particularly enjoyed my study of the gravestones, believing it was a good foundation for developing my node project.

1 message

Fig 148, Tamara Horbacka

Fig 149, Tony Swannell

Fig 150, Diamond Architects

Pierre d'Avoine Architects <pierre@davoine.net> 8 December 2019 at 19:07 To: "EAM0094@my.londonmet.ac.uk" <EAM0094@my.londonmet.ac.uk>, Harouth Mekhjian <ham1007@my.londonmet.ac.uk>, "JEP0352@my.londonmet.ac.uk Pearce" <JEP0352@my.londonmet.ac.uk>, Zimmie Sutcliffe <ZIS0043@my.londonmet.ac.uk>, "ilk0052@my.londonmet.ac.uk Kabashi" <ilk0052@my.londonmet.ac.uk>, anb0987@my.londonmet.ac.uk, "ata0257@my.londonmet.ac.uk Ahmed" <ata0257@my.londonmet.ac.uk>, "kap0561@my.londonmet.ac.uk Papianaite" <kap0561@my.londonmet.ac.uk>, Soroush Haghighat <soh0244@my.londonmet.ac.uk>, "lap0366@my.londonmet.ac.uk Pascu" <lap0366@my.londonmet.ac.uk>, "set0247@my.londonmet.ac.uk" <set0247@my.londonmet.ac.uk>, "mek0353@my.londonmet.ac.uk Kavehbaghbahadorani" <mek0353@my.londonmet.ac.uk>, "fak0688@my.londonmet.ac.uk Kummayapurath" <fak0688@my.londonmet.ac.uk> Cc: "pereen@studioda.london d'Avoine" <pereen@studioda.london>, Pierre d'Avoine <pierre@studioda.london> Fig 153, Pereen’s notes from the crit

Dear all It was good to see some of the work you have been doing on the Romney marsh churches mainly by 5th years last Thursday. It has made us consider that there should be more regularity in the form of drawing so we can make it a comparative study. With this in mind we suggest that there should be a basic set of black line on white ground drawings by each of you including location/ setting plan, church plan/ sections/ elevations where these are available, measured survey fragments including relevant parts of your church including the fonts. an iso or axo of the roof structure.

Scan of sketches for work to present at the crit from sketchbook

We are concerned that you should refine your drawings and the layout of each sheet including text, north point and scale bar. If you have already done drawings using texture, tone and colour then these may also be included. A shared location map/ drawing of the Romney Marsh churches was discussed. This is a great idea. 40

It would also be very good to make shared elevational and sectional drawings of all the churches at the same scale. Regards Pierre and Pereen

Fig 151, Prepatory sketches for the crit

Fig 152, sample of work presented at the crit

Fig 154, reflections on the crit from Pierre & Pereen

Pierre d'Avoine Architects Unit 16 5 Durham Yard Teesdale Street London

Making a living week: IDS Drawing Gym with George Fereday - 28.11.19 - 10am-1pm

Imprint Publishing fair - Event @ The Building Centre - 01.12.19 - 2-4pm

Attendees: Trevor Flynn, George Fereday, 4th & 5th year M.Arch & MA students

Attendees: Zimmie Sutcliffe

Following the crit things were very busy as I was trying to update my Romney Marsh study to incorporate the changes suggested by the critics whilst developing a response to the now issued node brief, all whilst continuing the development of the ongoing oral histories brief and looking towards developing my thesis.

I hold a strong interest in creative subjects outside of architecture such as digital art, graphic design and textiles so try to attend as many exhibitions and events as possible to broaden my range of design influences. One such event was Imprint Publishing Fair at The Building Centre, billed as â&#x20AC;&#x2DC;A new space for art, architecture and publishing, Imprint will be the first fair of its kind in the UK, showcasing a broad and international selection of contemporary publishing. From photobooks to zines, pamphlets to comics, Imprint will explore the diverse ways people are using printed matter to think and talk about cities. Taking place at the Building Centre, Imprint will also comprise of a public programme of workshops, performances, talks and screenings.â&#x20AC;&#x2122;

In the midst of this I was attempting to keep on top of my IDS diary and engage with external activities relevant to my studio. I attended the Drawing Gym with George Fereday & Trevor Flynn to learn about different representation techniques and improve my drawing, particularly free hand sketching. I found the Drawing Gym very helpful regarding free hand sketching, with one of my efforts shown to the right. 3d sketching is something I can struggle with, especially finding the balance between detail, accuracy and speed, often producing either extremely fast but inaccurate sketches or highly detailed, presentation worthy drawings over a long period so learning how to produce high quality 3d drawings relatively quickly was extremely useful and something I will apply to my thesis project and beyond.

Drawing Gymnasium with DrawingAtWork Ltd.

CCG-02 (Wash Houses) Thursday 28th November 10:00 - 17:00

Fig 156 Poster for Imprint Publishing Fair

Essential skills for: ATA, IDS, Studio & Employability. The Cass Drawing Gym is a x1 day intensive programme to help students improve their sketching and visualisation skills. The exercises have been specially tailored to your ATA & IDS briefs.

Fig 157, Pamphlet purchased from the fair

Attendance is essential.

Fig 158, Pamphlet purchased from the fair

Fig 155, Poster for IDS Drawing Gym

Fig 159, Range of literature available at the fair

Hand Held to Super Scale: Building with Ceramics @ The Building Centre - 01.12.19 - 4-5pm Attendees: Zimmie Sutcliffe

Also on display at The Building Centre in December was ‘Hand Held to Super Scale: Building with Ceramics’, an exhibition about the diverse use of ceramics in contemporary architecture. This exhibition was something I was interested in for a while due to its focus on materiality and detail in architecture, two of my strongest passions. However, it was also particularly relevant due to Pierre’s desire for our node projects to be conceived in plaster or ceramic. The exhibition showcased a wide range of projects and techniques including research into 3d printing and piping clay by Material Architecture Lab, shown to the right. Below are two of my highlights from the exhibit, firstly, Fielden Fowles’ Homerton College dining hall project that uses faience cladding to achieve a spectacular mottled effect on a large scale, and secondly, the tessellating cups by Fettle Studio, shown below right. These cups encapsulate the theme of the exhibition, operating at a range of scales from a small individual object up to a complex array of colour and pattern at a larger scale. I found the range of effects and techniques on show very inspiring and opened my mind to think wider about the possibilities for my node project, both at 1:1 scale and display model scale.

Fig 163-164, NLA information on Barking & Dagenham

Above is a map of Barking & Dagenham that forms part of a permanent NLA exhibition at The Building Centre exploring the characteristics of each London borough. Each borough has a similar map that looks at areas of green space, strategic employment & regeneration, highlighting the individual opportunities available in each borough as well as the common issues facing London as a whole. The maps also communicate information about population and forecast growth, showing the trends in London for population growth, population movement and home building. Much of this information I was already aware of from my investigations into Barking & Dagenham but it was useful to see a concise summary of key growth areas in comparison to other boroughs and London as a whole. Both Imprint and the ceramics exhibition were incredibly informative and I plan to carry some of the things I discovered here through into my node project. The sheer array of colour and pattern shown in the ceramics exhibition is something I want to explore in my node to see what is possible in ceramic and what this unique material can offer. Larger issues of dwelling and the city as highlighted at Imprint are more relevant to my wider thesis looking at what are the critical elements to open up the city to as many actors as possible. Fig 165, Ceramic tiles on display

Fig 160-162, Range of ceramic products and techniques on display

W/C: 02.12.19 Tutorial @ The Cass - 05.12.19 - 10-11am Attendees: Zimmie Sutcliffe, Harouth Arthur Mekhjian,Pierre Dâ&#x20AC;&#x2122;Avoine Following the busy schedule since the last crit it was important to have an individual tutorial to discuss the progress of my node project and explore its possibilities. Trying to balance the many threads of work to be completed meant that my work into creating my node was fairly fragmented, with lots of sources of inspiration but a lack of a coherent narrative. For this tutorial I presented exerts from my sketchbook and a document of references. Pierre felt that whilst the references and initial thrust of the design had great potential it was too general and scrappy, which was reflected in the sketches I had done. He made it clear I needed to pick a specific site and draw this site to scale and in detail to be able to develop my design with any authority. Some of the sketches I presented are shown across the following two pages. Fig 166, Sketches exploring a site along my walking route

Fig 167, Sketches exploring all the elements from Romney Marsh that interested me

Fig 168, Key text: Derek Jarmanâ&#x20AC;&#x2122;s Garden

Fig 169, My chosen site - unused green space on Becontree Estate

Fig 170, Sketches linking elements of interest in Romney Marsh with elements of interest in barking & Dagenham

Post tutorial: Re-working the node

After my tutorial with Pierre I decided to re-evaluate my node design to work out what was necessary and should be kept and what could be re-worked or removed as it contained a number of sometimes confused references and elements. Through further research, particularly a visit to Valence House Archive, I discovered the existence of a Film Society in the borough previously and decided this, along with my references to Mark Leckey was the basis of the scheme and the video element should be retained. However, I decided to re examine the form this would take in line with Pierre’s comments about understanding the specifics of the site and began to look at mobile cinemas that provide a temporary, possibly demountable, place to take shelter and observe short films with the aim of linking this to the former Film Society in the borough that thrived in the 1960s. Fig 171, Sketches developing stone circle concept

Fig 172, Sketches looking at fusing the Becontree entrance arch with elements from Romney Marsh

Fig 173, pamphlet for Dagenham Film Club

Fig 174, Mobile cinema at Dagenham Town Show

Fig 175, ‘Smallest Cinema in the World’, Annika Eriksson

Fig 176, ‘Stairway Cinema’, Oh.No.Sumo

W/C: 09.12.19 FormGivers lecture - Lilitt Bollinger Studio - 06.12.19 - 6.30pm

Tutorial @ The Cass - 09.12.19 - 5-6pm

Attendees: Zimmie Sutcliffe

Attendees: Zimmie Sutcliffe, Pierre Dâ&#x20AC;&#x2122;Avoine

The second FormGivers lecture I attended this year was Lilitt Bollinger Studio from Switzerland, who I was unaware of before this lecture. They discussed a number of projects including the two shown here and I found their insights very informative. They work a lot with conversions of existing buildings and the way they seek to retain existing features is admirable, as is their strong appreciation of craft and workmanship. I particularly enjoyed the use of colour and exposed materials in their work, along with their philosophy of adaptive re use. Through attending some of these lectures I have realised I need to take a more pro active and concerted interest in new practices, trends,conversations in the industry and generally be more up to date with publications, lectures etc.

Following my discussion with Pierre 4 days earlier I sat down with him again to talk about the changes I had made to my node design in the interim. Following his advice, I presented scale drawings of my site with my initial node design placed within it as opposed to rough, out of context sketches. This allowed a more meaningful discussion of the practicalities and possibilities of my scheme.

Fig 177, House - Obstalden, Switzerland - Lilitt Bollinger Studio

Pierre liked the set piece based on the Becontree arch with steps and a font underneath that gave access over railings to the site but was less keen on the video projection element, arguing the practicalities of weather, maintenance etc were too complex to allow it to work well. I however, felt that the video projection was the essence of the node and the arch entrance more of a ceremonial piece so decided to keep the video element but re-work it in a more robust, practical way.

Fig 179, Notes from tutorial with Pierre

Fig 180, Scale plan of my site with my node proposition placed within

Fig 178, Live work house - Nuglar, Switzerland - Lilitt Bollinger Studio

W/C: 16.12.19 Crit - Exercise 3: Enchanting Place - 16.12.19 - 10am-6pm Attendees: Tamara Horbacka, Tony Swannell, Jon Lopez, Pierre D’Avoine, Pereen D’Avoine, unit 14 students Critics

The final crit of the semester was originally scheduled to take place on the final Thursday of term (12th December) but was rescheduled in response to conflicting scheduling for students with other modules and the sheer back log of work to catch up on for semester 1. Unfortunately I had already scheduled to go away on the 15th/16th as I believed term would be over and I subsequently became ill so wouldn’t have been able to attend the crit in any event.

Tamara Horbacka

Tony Swannell

LBBD Cultural Policy Director: & Commissioning Tony Swannell Manager Architects

As I wasn’t in attendance for this crit I have chosen to summarise the work I had intended to show on the original date and highlight some general feedback given to the unit as a whole from the critics, including Jon Lopez of OMMX for the first time.

Jon Lopez Director: OMMX

21/02/2020

London Metropolitan University - Students Mail - Tony's feedback notes

Zimmie Sutcliffe <zis0043@my.londonmet.ac.uk>

Fig 181, Tamara Horbacka

Fig 182, Tony Swannell

Fig 183, Jon Lopez

Tony's feedback notes 1 message

Pierre d'Avoine Architects <pierre@davoine.net> 22 December 2019 at 11:59 To: "EAM0094@my.londonmet.ac.uk" <EAM0094@my.londonmet.ac.uk>, Harouth Mekhjian <ham1007@my.londonmet.ac.uk>, "JEP0352@my.londonmet.ac.uk Pearce" <JEP0352@my.londonmet.ac.uk>, Zimmie Sutcliffe <ZIS0043@my.londonmet.ac.uk>, "ilk0052@my.londonmet.ac.uk Kabashi" <ilk0052@my.londonmet.ac.uk>, "anb0987@my.londonmet.ac.uk Bhatia" <anb0987@my.londonmet.ac.uk>, "ata0257@my.londonmet.ac.uk Ahmed" <ata0257@my.londonmet.ac.uk>, "kap0561@my.londonmet.ac.uk Papianaite" <kap0561@my.londonmet.ac.uk>, Soroush Haghighat <soh0244@my.londonmet.ac.uk>, "lap0366@my.londonmet.ac.uk Pascu" <lap0366@my.londonmet.ac.uk>, "set0247@my.londonmet.ac.uk Tam" <set0247@my.londonmet.ac.uk>, "mek0353@my.londonmet.ac.uk Kavehbaghbahadorani" <mek0353@my.londonmet.ac.uk>, "fak0688@my.londonmet.ac.uk Kummayapurath" <fak0688@my.londonmet.ac.uk> Cc: Tony Swannell <tony@tonyswannellarchitects.co.uk>, Horbacka Tamara <Tamara.Horbacka@lbbd.gov.uk>, Pereen Fig 186,<pereen@studioda.london>, Mobile Cinema node foldingPierre structure process, 1:75 @ A4 d'Avoine d'Avoine <pierre@studioda.london>

Dear all Tony e mailed us some notes following the crit last Monday 16 December as follows: I thought the interim jury showed a rich diversity of potential issues raised by the pieces as broader readings Fig 184, Mobile Cinema node plan, 1:75 @ A4

of the Barking topography and social culture. But at the stage presented seemed to be short cutting the processes of observation [ both objective and subjective ] and imagining and therefore the more open ended, archaic and strategic meaning of inventing the propositions. Too concerned with the designed object rather than the essence of ideas they represented. Lots of the narratives, once teased out, were strong with a lot of mileage but as is always at this stage [ designing isn’t easy ] the wood from the trees was not clear. I do believe that each individual should see their own proposal as part of the whole studio understanding. As a collection of civic / urban adjustments they will be very strong. Hopefully you will invite me to see this part of the years work again for It will be interesting for me to see how they transform after Monday’s discussions. We think these are apposite and encouraging. Please reflect on Tony's comments when evolving your proposals. Best wishes Pierre and Pereen Fig 187, Tony Swannell crit feedback notes

Fig 185, Mobile Cinema node cross sections, 1:75 @ A4

studioDA

https://mail.google.com/mail/u/1?ik=8076ed604b&view=pt&search=all&permthid=thread-f%3A1653621084546309856&simpl=msg-f%3A1653621…

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Exercise 3: Enchanting Place - Final node design

Exercise 5 brief issued: Inventing the Brief - 17.12.19

In preparation for the final crit I worked hard on finalising my node design, at least to a draft stage and the drawings on the following pages show this first draft stage of my mobile cinema.

Foundation for thesis project

Remember to link everything back to unit themes, especially exchange

Implies a focus outside of just architecture, to speculate on wider issues

Concise document that acts as a summary to term 1 and introduction to term 2

Fig 188, Brief for Exercise 5: Inventing the Brief

Fig 189-190, Mobile Cinema node, long sections

Fig 191, Mobile Cinema node, structural plan

End of semester 1: Reflections

Exercise 5: Inventing the Brief

Having reached the end of semester 1, the half way point of the year, it feels appropriate to reflect on the many pieces of work I have completed in the previous 3 months, as well as looking at what could have been improved in that time and moving forward into semester 2.

Having only just been issued, it is difficult to reflect too much on this but I am familiar with the format as it is something we did in the unit last year. Semester 1 was full of many smaller briefs, with sometimes apparently unrelated purposes so bringing these together into a coherent thesis narrative will be a challenge. But I have strong thoughts about working in the Becontree Estate where my walks and research have been focused and pursuing an agenda that tackles the issue of leftover green spaces in this area, potentially linking to wider environmental issues and policy.

Exercise 1: Oral Histories, Narratives of Exchange: Having been in the unit last year I found this brief familiar, although the scope of what we were asked to investigate was expanded to the entire borough. I feel that as this brief is ongoing throughout the year there is still plenty left to work on but I am happy with what I have documented so far, particularly through my miniature. Compared to last year my miniature is exponentially better and I feel it brings together a range of themes with depth to explore in my thesis.

Looking Ahead to Semester 2 Over Christmas it will be important to take a break as semester 1 was pretty intense whilst not losing too much momentum . The briefing document is a nice route into semester 2 as it switches the focus straight to our thesis projects. Balancing studio with other modules, particularly in January will be key as once you fall behind it is very hard to catch up but I am happy with my work from semester 1 and feel I have a solid base of work from which to develop a strong thesis and portfolio.

Exercise 2: Romney Marsh This exercise marked a departure from last year and at first I struggled to understand the relevance of surveying historic churches in Kent to the issues faced in Barking & Dagenham. However, I thoroughly enjoyed the field trip and subsequent drawing of the churches; there is something very satisfying in the act of observing and drawing in detail, free from larger narratives. This exercise really helped refine my drawing skills and over time I began to tease themes out of the studies that could be applied to my node and thesis work in Barking. Exercise 3: Enchanting Place Again, this exercise was different to anything we attempted last year and again, it was refreshing to step away from the intense research focus of exercise 1 for a while and become focused on one object. Sometimes it can be easy to forget that at the end of the day architects are designers and this is a skill that always needs practising. I found this task difficult at first, confused by too many references and attempting to make a â&#x20AC;&#x2DC;perfectâ&#x20AC;&#x2122; object when no such thing exists but as I focused on the fundamentals of my design I believe I developed a truly interesting proposal that both speaks to the research conducted in Exercises 1 & 2 whilst also pointing to the future and my thesis proposal. Exercise 4: Urban Room This exercise fell under the radar somewhat, not being given a brief in its own right until brief 5 was issued. As a group activity it is also quite difficult to develop a personal response to this and its role in the unit seems unclear at this stage. However, the concept of the Urban Room is an exciting one and I have thoughts about how I can incorporate this into my thesis document moving forward. Fig 192, Mobile Cinema node, exploded structural axo

Fig 193-194, Mobile Cinema node, axos with and without fabric skin

Becontree Centenary Festival proposal

Christmas break: Inventing a brief

- Tackle the lack of north-south transport connectivity across the borough that stifles engagement in the local economy & encouraging people to look west to Stratford for their shopping & east to Southend for their leisure

The Christmas break gave us 3 weeks to reflect on semester 1 & work on our briefing documents, ready for tutorials at the beginning of January and a crit in mid January. The briefing document is something we did last year and a crucial exercise in developing a thesis. I was pleased with my performance in semester 1 but I had worked extremely hard so was pretty exhausted going into Christmas. On top of this I was struggling with some mental health issues which affected me last year particularly badly. As a result I found it difficult to get going with my briefing document despite it being one of my strongest pieces in 4th year. As shown in the brief a few pages ago the purpose of the briefing document is to challenge us to think about all aspects of our main projects from the outset and how they can reflect the stated unit aims. It also gives us an opportunity to begin together the many strands of work produced in semester 1 in an exercise not often performed in architectural practice. I began by devising a list of aims for my project, shown to the right.

- Re kindle the original vision of clean air, open spaces & public health that the estate was built on in a form fit for 21st century suburbia - Provide green infrastructure that tackles the climate crisis whilst boosting the local economy, public health and community cohesion - Address the lack of commercial and industrial space on the estate that contributes to people leaving the borough for work, shopping & leisure - Engage residents & promote a greener way of life, particularly regarding car use

Dagenham Town Show ran for 60 years between 19522012, when it came to an end due to lack of funding from central government cuts. It is one of a range of examples of civic pride in the borough, contrasting with its current public image. It took place in Central Park in Dagenham and showcased a range of local services, activities & entertainment. This celebration may have been based around family fun but it shows a great pride in displaying the best of the borough, from its public libraries to a history of horticulture. Local societies, including the hugely popular film club, which inspired my pop up cinema node project, erected stands to show off their work & attract new members, and the public were certainly enthusiastic. My proposal looks to the centenary of the Becontree Estate in 2021 and aims to celebrate this through a civic fair on Valence Avenue, in part to launch the wider retail and transport scheme proposed. Fig 197, Civic pride on the Becontree displayed through gardening competitions

Fig 196, Site location within the borough

Fig 195, Proposed site - map with green spaces, 1:20,000 @ A4

Fig 198-201, Archival photographs of Dagenham Town Show

Semester 2: W/C: 06.01.20 Post tutorial - preparing for the crit

Tutorial @ Durham Yard - 07.01.20 - 1-2pm Attendees: Zimmie Sutcliffe, Pierre Dâ&#x20AC;&#x2122;Avoine My first tutorial after the Christmas break with Pierre took place in his office and focused on developing my briefing document to present at the crit the following week. My briefing document still felt pretty undercooked which Pierre agreed with but I did present a piece of mapping I had made (shown below) to show the lack of alternative uses other than residential in the area, a cornerstone of my proposal in that it justifies my focus on commercial, transport & civic infrastructure.

Chadwell Heath station Elizabeth line

Residential

Retail

Education

I worked hard to update and finish my briefing document before the crit despite struggling with some issues outside of university. Crucially, I made the diagram below to analyse how much space I had to work with on Valence Avenue itself, having chosen to focus my project around it. Very long & thin it is a challenging site, unlike many I have worked with before but also with ample opportunity due to its size and lack of current use. I used the precedent of Vauban in my briefing document as an example of the green infrastructure agenda I was pursuing. It features a central boulevard with grassy central reservation, much like Valence Avenue, and the precedent of a green tramway was exciting as evidence of what public transport provision can deliver. Vauban is an exemplar in increasing public transport & cycle use through its clever, hierarchical system of roads and streets which I was keen to emulate on my site.

Area grass verge - 1872m2 Area inc. carriageway - 3107m2 Area inc. carriageway & footpath 4096m2

Area grass verge - 2777m2 Area inc. carriageway - 4594m2 Area inc. carriageway & footpath 6036m2

Total area grass verge - 14157m2 Total area grass inc. carriageway - 23853m2 Total area inc. carriageway & footpath 31829m2 Grass

Road

Area grass verge - 2890m2 Area inc. carriageway - 4822m2 Area inc. carriageway & footpath 6923m2

Footpath

verge

Transport infrastructure

Area grass verge - 1841m2 Area inc. carriageway - 3090m2 Area inc. carriageway & footpath 4042m2

Community

Area grass verge - 1198m2 Area inc. carriageway - 2028m2 Area inc. carriageway & footpath 2653m2

Health

Area grass verge - 3579m2 Area inc. carriageway - 6212m2 Area inc. carriageway & footpath 8079m2

Industrial

Ward boundary

Dagenham Heathway station District line

Fig 203, Building use site plan - 1:20,000 @ A4

Fig 202, Building use site plan - 1:20,000 @

Approx: 1 mile

W/C: 13.01.20 Crit - Exercise 5: Inventing the Brief - 13.01.20 - 10am-6pm Attendees: Nate Kolbe, Tony Swannell, Jon Lopez, Matthew Barac, Ros Diamond, unit 14 students Vauban in Freiburg is a widely referenced model of green regeneration hailed for its dramatic reduction of car use and resistance to gentrification. Key things I wish to learn from this development are:

For the crit on Monday 13th January I was in attendance but did not present. I struggle with extreme anxiety around speaking to groups of people so crits are a constant battle for me. I have seeked counselling through the university but still have issues. I am happy I attended to see the work of the unit and at least be in the crit environment again, with the aim of presenting again at the next one. I sent my crit presentation to Pierre & Pereen to review privately, the content of which was mainly my updated briefing document. At this point I was still developing my brief and was a little behind with it, struggling to develop any specifics for my thesis. However, I did include some historic information about Valence Avenue, including its former use as a temporary railway used to transport materials with which to build the estate, shown to the right. I had also begun looking into ways of surveying the street to document its physical character, typological distribution & permeability etc. with Jane Clossick’s study into Tottenham High Road forEconomy? |Fig Cass Cities: Where is Tottenham’s 316 208, Becontree Estate temporary Railway on Valence Avenue Cass Cities a strong influence for me.

- The use of a hierarchical combination grid for laying out streets, using ‘filtered permeability’ to make car use more difficult and therefore encourage use of other forms of transport over time - Incorporation of public transit through the middle of a residential area with minimal physical infrastructure - Its approach to sustainability through the use of combined heat and power plants, pv - The ability to change entrenched patterns of behaviour through investment, incentives & self policing measures, as opposed to heavy handed regulations

Fig 204, Vauban from above

62.5

125

250

Meters 500

375

Critics

Nate Kolbe

Food retail Sociable food and drink services Non-food retail Medical and social services Physical services and production Non-physical services Institutional, religion and education Office and warehouse (no public) Vacant Residential

Fig 205, Vauban site plan

Tony Swannell

Jon Lopez

Course Leader, Pro- Director: fessional Diploma in Tony Swannell Architecture at The Architects Cass

Director: OMMX

Fig 209, Nate Kolbe

Fig 210, Tony Swannell

Fig 211, Jon Lopez

Ros Diamond

Matthew Barac

Director: Diamond Research Leader for Architecture at Architects The Cass

Legend TH_Boundary

Categories_main Fig 212, map continued overleaf Diamond Architects Fig 206, Grass tramway along central reservation

Fig 207, Transport usage in Vauban

Fig 214, Map from “Where is Tottenham’s Economy?” report by Cass Cities

Guest critics for crit Monday 13th January

Fig 213, Category_1 Matthew Barac 1 2 3 4 5 6 7

Doug Hodgson & Tom Lewith lecture - Modern methods of construction - 16.01.20 - 5-6pm

Post crit reflections

Attendees: Doug Hodgson, Tom Lewith, Pierre D’Avoine, Pereen D’Avoine, unit 14 students Obviously, not presenting at the crit makes it difficult to reflect too much on my own presentation, though I do feel the work I sent to Pierre & Pereen was unfinished and didn’t communicate my thesis intentions clearly enough. Luckily, the briefing document is an ongoing process so will be refined and updated in due course. I feel the bones of my project are good and the scope is certainly there to deliver a strong project that addresses a number of issues. However, it has been difficult to filter all of my ideas into a concise, clear proposal, which is the next step. In addition, attending the crit it was clear to see the other students in Unit 14 were at different stages developing their thesis documents too, with some already very refined with some beautiful work to illustrate this, whereas others were still in the “big ideas” stage and needed further work. It was certainly helpful to see other people’s work and get some inspiration.

“Dear all, Thank you to all who attended. It was an enjoyable day and hopefully some stimulating discussion and suggestions for taking your proposals forward. Getting going at this time of the year is sometimes difficult. Please persevere with evolving your thesis. All of them have great scope and potential. We are attaching Pereen’s notes. Beth we will send you yours in the next day. We look forward to seeing you on Thursday afternoon around 4pm for a general catch-up. Please try and make it and to attend Doug and Tom’s lecture at 5pm. Best wishes

Doug & Tom from TDO Architecture came in to give a talk about their practice and modern methods of construction & it was one of my favourite talks of the year so far for a variety of reasons. Firstly, I am interested in modular and off site construction and have worked on projects using this type of construction before & secondly the talk Tom & Doug gave felt very relatable as they both graduated in the last 10 years and have set up a young practice, something I aim to do in the near future. Their FAB House project in North Shields was particularly illuminating, even though it is a project I am familiar with. The way Tom & Doug described their approach to creating visual depth and variety within a modular system was interesting, as was their use of “heavy” materials to counter the feeling of flimsiness sometimes associated with modular construction. Hearing first hand the process and thinking behind the details was very beneficial.

Fig 217, Tom & Doug in the TDO office

Pierre” Fig 215, Transcript of Pierre’s crit follow up email

CASS UNIT 14 CRIT _ 13th January 2020 GENERAL:  There is a difference to what is presented on screen to what is prepared for the book. Engage with the media. o The screen should be presenting a series of pages that communicate your architecture.  The A13 is not a motorway – it's an A road.  You need to take the drawings more seriously. o Be more ruthless in what you turn off.  If you are interested in gardens – draw gardens. o The drawings should take an attitude, show what you are interested in. o How do you engage the architect and the lay person? o Drawings often need to be redrawn – or storyboarded out. o The opportunity to enjoy ‘making’ the drawing is important.  “Box of broadcast” – login through the library.  Ordinary Streets Projects – Suzanne Hall [City, Street and Citizen]  LSE – Booth Maps  Please don’t forget the first terms work and your observations. Much of this is not represented in the briefing document. o You need to articulate how this research has informed what you are doing now. o Use all your work critically.  There is a lot of looking in detail at a ‘site’, but forgetting the larger picture and the specificity of site.  It may not be the programme that is the main driver at this stage but looking at it in the abstract too. But be precise.  Be careful about precedents at this stage and how you present them.  Where were your miniatures? – you could have been zooming in on parts of these to illustrate a point. o These miniatures developed from pre-occupations you already had. How do these develop this? Lopez, Nate Tony Swannell, FigJon 216, Pereen’s general critKolbe, feedback for the group

Pierre + Pereen

Harouth | Technotopia  Would be useful to show access points to90 The Strip on a larger site map. o How many entry points are there? o How are they linked within The Strip.

Fig 218, FAB House modular housing

Fig 219, Window detailing on Old Church Street project

Fig 220, “Free detailing” exposed ceiling downstand beams in FAB House

Fig 221, Notes from Tom & Doug’s talk

W/C: 20.01.20 Tutorial @ Durham Yard - 20.01.20 - 5.30-7.30pm

Interim portfolio submission - 23.01.20

Attendees: Zimmie Sutcliffe, Anjali Bhatia, Pierre D’Avoine

Attendees: Zimmie Sutcliffe

Following the crit my attention turned to compiling my interim portfolio for submission on Thursday 23rd January, which while not graded, is an important milestone in consolidating the year’s work so far and getting feedback on it. Myself and Anji had a tutorial with Pierre to run through our draft portfolio layouts which he was very positive about. I tried to schedule my portfolio clearly and keep the content as minimal as possible in the name of clarity. My main concern was my portfolio may be a little top heavy, with much more refined content for exercises 1-3 and less so for 4 & 5 so I tried to update these as much as possible in the short time frame.

For my final interim portfolio submission I tried to refine the content down to communicate the development of my work as concisely as possible, focusing heavily on the readability and narrative sequence when choosing which pieces to include and in what order. On the advice of Pierre I broke the portfolio up into sections, one for each brief issued in semester 1, as shown below. Doing this gave structure to my layout and within this I tried to include a title page for each brief that set the scene and then balance development work/text that is crucial in explaining my process with final pieces which are visually the most impressive and show how each brief was resolved. I was very happy with the content, structure, quality and size of my submission, feeling it gave a concise but clear display of my work, doing justice to my efforts.

My interim submission last year was not very good so I was determined to improve this year and showcase my work as best I could, with more refined lineweights and simpler, less cluttered presentation. Pierre emphasised the importance of narrative in the portfolio & diversity of methods to show clearly the story and breadth of our studies, which I tried to incorporate.

AR7P25-AR7P24 - Design Thesis Fig 222, Tutorial notes - 20.01.20

St. Augustine’s Church, Snave

Unit 14 - Pierre & Pereen D’Avoine

Exercise 3: Enchanting Place

Zimmie Sutcliffe - 5th year - 18015382 “We would like you to design and make a plaster casting of an urban node within your Barking and Dagenham network, as a way of enchanting the place(s) with which you are becoming familiar. As with Malevich’s arkhitektons they may be both monumental and/ or ornamental, figurative and/ or abstract.Your proposals may be modest in scale but potent in the way they charge the locale with new energy to create focal points within often prosaic surroundings. The pieces may also be conceived and made as fired ceramic or porcelain oblects, but always with an indication of context in the work. Size and scale to be discussed as a unit and agreed collectively. The fonts you have studied in the Romney Marsh churches should also be an influence on your work in relation to form as well as their ritual function as vessels containing water.” Exercise 3 brief, Pierre & Pereen D’Avoine

Model photo

Contents p.2-7 - Exercise 1: Oral History: narratives of exchange incl Miniature, mapping and Ethnographic Investigations

Marsh land on which the church sits

p. 8-12 - Exercise 2: Romney Marsh Churches and their Settings

Signs of decay - cracks, lichen, sinking graves

p.13-18 - Exercise 3: Enchanting Place p.19-21 - Exercise 4: Urban Room p.22-27 - Exercise 5: Inventing the Brief Buttressing to give stability in the marsh land

Video installation, O’ Magic Power of Bleakness @ Tate Britain Mark Leckey

3 different sizes, shapes of arch, all aligned off centre

Fig 223, Drafting interim portfolio pages

Fig 224, Final interim portfolio contents & page layouts

Interim portfolio submission: Exercise 1

Behind Closed Doors: A miniature study of Becontree estate My response to these initial walks and conversations was through the miniature drawing, shown in full on the next page.

Behind Closed Doors: A miniature study of Becontree estate

Below shows the three key observations interrogated by the miniature; a conversation with a resident highlighting a dis-

connect between residents and theirtolocal dis-empowering effects of thethe number of cars on streets, & in thefull on the next page. My response thesecommunity, initial walksthe and conversations was through miniature drawing, shown unseen pockets of vibrant in this of traffic & endless terraces. Belowculture showshidden the three key landscape observations interrogated by the miniature; a conversation with a resident highlighting a disconnect between residents and their local community, the dis-empowering effects of the number of cars on streets, & the unseen pockets of vibrant culture hidden in this landscape of traffic & endless terraces.

The famous Becontree double entrance on Chitty’s Lane

Miniature depiction of the conversation I had at this front door

The famous Becontree double entrance on Chitty’s Lane

Miniature depiction of the conversation I had at this front door

Cars streaming up and down Valence Avenue in my miniature

“Car city” - How “homes fir for heroes” became streets fit for parking “Car city” - How “homes fir for heroes” became streets fit for parking

Cars streaming up and down Valence Avenue in my miniature

My visit to Valence House and the community activity hidden inside

Vibrant community supper held by Everyone. Everyday Vibrant community supper held by Everyone. Everyday

My visit to Valence House and the community activity hidden inside

Fig 225, Final interim portfolio Exercise 1

Interim portfolio submission: Exercise 2

Interim portfolio submission: Exercise 3

Exercise 2: Romney Marsh Churches

Exercise 3: Enchanting Place

Understanding the site

“As mentioned in the expanded introduction issued at the start of the academic year, the unit will make a short visit to Romney Marsh study its churches and the marsh terrain in which they are situated. We will make comparisons with the marsh landscape of the Thames at Barking and Dagenham. Romney Marsh is located on the south coast in the counties of Kent and East Sussex. It covers 260 square km and is a significant wetland. We would like you to study the hydraulic landscape and the history of reclamation that has taken place over the centuries.

West Hythe

The marsh sits within a coastal stretch that includes Hastings, New Romney, Hythe, Dover and Sandwich. This group of coastal towns formed the Confederation of Cinque Ports originally set up in the 13th century for military and trading purposes but now entirely ceremonial. We would like you to research the Cinque Ports and the trading role they played prior to their decline in the Elizabethan period. A major reason for their decline was the way the coastal edge has drastically changed owing to tidal erosion and silting up of rivers causing towns such as New Romney, once a port of great importance to lose its emi-

“We would like you to design and make a plaster casting of an urban node within your Barking and Dagenham network, as a way of enchanting the place(s) with which you are becoming familiar. As with Malevich’s arkhitektons they may be both monumental and/ or ornamental, figurative

nence. New Romney is now over two kilometres from the seafront.” (Exercise 2 brief, Pierre & Pereen D’Avoine)

Hamstreet

Kenardington Warehorne

9 7

Burmarsh

Newchurch

and/or abstract. Your proposals may be modest in scale but potent in the way they charge the locale with new energy to create focal points within often prosaic surroundings.

With the brief to enchant a place I thought hard about siting my node

The pieces may also be conceived and made as fired ceramic or porcelain objects, but always with an indication of context in the work. Size and scale to be discussed as a unit and agreed collectively.

acteristics.

The fonts you have studied in the Romney Marsh churches should also be an influence on your work in relation to form as well as their ritual function as vessels containing water.”

I chose one of the unused green spaces I had been looking at in Exer-

Exercise 3 brief, Pierre & Pereen D’Avoine

same qualities so what makes one of them special? In the end I chose the triangle of land situated on the corner of the junction of Parsloes Avenue

intervention. I felt it should be somewhere I have studied previously that I had knowledge of and be strategic in its practical and metaphorical char-

cise 1, in order to test out the feasibility of reviving some of these areas. Picking a specific one of these was quite tricky as they share many of the

6 10 Appledore

ROMNEY MARSH

SNAVE

Fairfield

many of the traits of these spaces that interested me, both good and bad. The challenges with this site are numerous, mainly the volume from adja-

Brenzett

high street, thus has high visibility to the public. I also felt it represented

Dymchurch

3 Snargate

& Heathway. I chose this space as it is the first one I encountered on my initial walks and has strategic positioning near Heathway station and the

cent traffic, litter and debris, unkempt grass, obstructive railings; generally poor public realm and access. However, many of the other green spaces face similar challenges, which probably contributes to their state of emp-

5 St Mary in the Marsh

Ivychurch

St Mary’s Bay

tiness. If my node project could achieve any level of success and public engagement in this space, I felt confident it could be replicated at most of the other similar spaces.

2 Brookland 12

The site is depicted below. Public access is allowed through the gate on the right of the first image, which informed the orientation of my scheme.

New Romney 11

Old Romney

The Becontree entrance arch to the right is an iconic feature of the estate and inspired the form of my node.

Littlestone-on-sea

WALLAND MARSH Marsh land on which the church sits

Greatstone-on-sea

Signs of decay - cracks, lichen, sinking graves

Romney Sands

13 Lydd

Lydd-on-sea

DENGE MARSH

Camber

Barking & Dagenham Film Club meeting, 1959

Dungeness

Rye Harbour

Denge Beach

Extent of the site at Parsloes Avenue 1. St Thomas a Becket - Fairfield 2. Church of St Augustine - Brookland 3. St Dunstan’s Church - Snargate 4. St Eanswith’s Church - Brenzett 5. St George’s Church - Ivychurch 6. St Augustine’s Church - Snave 7. St Peter & St Paul’s Church - Newchurch

8. St Mary the Virgin Church - St Mary in the Marsh

Church location

A road

9. All Saints Church - Burmarsh 10. St Peter & St Paul’s Church - Dymchurch 11. St Nicholas Church - New Romney

Church surveyed

River/stream

Minor road

Railway line

12. St Clement Church - Old Romney 13. All Saints Church - Lydd

B road

Romney Marsh Site Plan Buttressing to give stability in the marsh land

Video installation, O’ Magic Power of Bleakness @ Tate Britain Mark Leckey

3 different sizes, shapes of arch, all aligned off centre 1:50,000 @ A2

Fig 226, Final interim portfolio Exercise 2

Pop-In, Pop-Out, Pop-Up collapsible cinema, Venice Omri Revesz, 2017

Traffic and physical obstructions to the site

Fig 227, Final interim portfolio Exercise 3

Interim portfolio submission: Exercise 4

Interim portfolio submission: Exercise 5

Surveying River Mill Lofts

Exercise 5: Inventing the brief

Courtesy of LBBD Council, namely Tamara Horbacka, we were lucky enough to be granted access to a new space in Barking, near Town Quay Wharf & Abbey Green. This space was used to display work from unit 14 last year, with more extensive plans for exhibiting work and hosting lectures this year. It is also intended that this space act as a base for unit 14 students in the borough to work from.

I have chosen to locate my design project on the stretch of unused green space on Valence Avenue, approximately between Chadwell Heath station in the north and the junction with Wood Lane & Parsloes Avenue to the south.

Area grass verge - 1872m2 Area inc. carriageway - 3107m2 Area inc. carriageway & footpath - 4096m2

The diagram below shows the current configuration of this area, with a central reservation of grass approximately 6 metres wide flanked on either side by a dual carriageway approximately 5 metres wide and then a footpath approximately 4 metres wide. This arrangement continues for just over a mile, almost continuously.

In order to turn this vision into reality we had to survey the space as a group, draw it to scale & mount an exhibition of work from last years unit 14 students. This is an ongoing process, documented in the following pages, with the ultimate aim of River Mill Lofts becoming an Urban Room for Barking. All surveying, drawn and photographic, was carried out as a group. Individual drawings are credited.

To the right I have broken this mile down into the individual sections of grass and detailed their areas as stand alone pieces of land, with the road included and then with the footpath included as well to illustrate how much space is available to me depending on what strategy I choose to follow. The total areas for all the individual stretches of grass are detailed below.

Area grass verge - 2777m2 Area inc. carriageway - 4594m2 Area inc. carriageway & footpath - 6036m2

Location plan, 1:5000 @ A2

Total area grass verge - 14157m2 Total area grass inc. carriageway - 23853m2 1204

3150

310

150 280

3840

2890

Total area inc. carriageway & footpath - 31829m2

260

330

3150

1204

310

3840

150 280

2890

260

330

2200

Grass verge

Road

Area grass verge - 2890m2 Area inc. carriageway - 4822m2 Area inc. carriageway & footpath - 6923m2

Footpath

Residential

Community

Retail

Health

Education

Industrial

Transport infrastructure

Ward boundary

Kingsley Hall Church & Community Centre

Everyone. Everyday community shop

Valence House library, museum & archive

The White House arts organisation

4390 2200

3280

300

72000

Approx 1 mile

Unit 14 curating an exhibition of the previous yearâ&#x20AC;&#x2122;s work

4390 2160 300 3280

72000 3500

2160

Area grass verge - 1841m2 Area inc. carriageway - 3090m2 Area inc. carriageway & footpath - 4042m2

3500 4230 100

930 4230 100

Area grass verge - 1198m2 Area inc. carriageway - 2028m2 Area inc. carriageway & footpath - 2653m2

410

930

410

Internal Layout Plan 1:50 River Mill Lofts proposed layout, 1:50 @ A2 (By Celia Tam)

Internal Layout Plan 1:50 Area grass verge - 3579m2 Area inc. carriageway - 6212m2 Area inc. carriageway & footpath - 8079m2 Walking route building use map, 1:15,000 @ A2

Exterior Elevation 1:50

For my thesis project I have chosen to locate myself in the area I have been studying all year, the stretch between Dagenham Heathway and Chadwell Heath stations, namely the stretch of unused green space along Valence Avenue. The map above shows this area whilst the close up version overleaf shows the building use along this stretch in more detail.

Exterior Elevation 1:50

River Mill Lofts elevation AA, 1:50 @ A2 (By Celia Tam)

Fig 228, Final interim portfolio Exercise 4

Fig 229, Final interim portfolio Exercise 5

100

101

102

103

W/C: 27.01.20

W/C: 03.02.20

Architect at Work exhibition @ Truman Brewery - 30.01.20 - 1-3pm

Unit meeting & feedback @ The Cass with Pierre - 03.02.20 - 11.45am-1pm

Attendees: Zimmie Sutcliffe

Attendees: Pierre Dâ&#x20AC;&#x2122;Avoine, unit 14 students

On the recommendation of James Payne, senior lecturer at The Cass I attended the Architect at Work exhibit at the Truman Brewery. An annual trade fair that showcases the best architectural products & suppliers in one place, this years show was on the theme of nature & how architecture & design intersect with it. On show were over 200 innovative products for architects to browse & discuss with the inventors/suppliers, some of which are shown below. Among the products I viewed were a stone manufactured from recycled sea shells and vegan chocolate made to look like terrazzo. In addition there was a programme of lectures & discussions with leading practitioners in the construction industry and the RIBA pop up bookshop. It was very enlightening to visit this fair as I had never been to something similar & the world of products & suppliers is not something I am overly familiar with so it was good to gain some insight into this.

Following the interim portfolio submission Pierre gathered us together for a meeting to discuss feedback both individually and as a group. Firstly he gave general feedback which was very mixed with strong concerns about the standard of drawing across the board and a lack of critical reflection to tell the story of the work. As a unit we were fairly unhappy with this response but it was a fair critique.

Fig 230, Product description for stone made from recycled seashells

Individual feedback followed and this was surprisingly much more positive for myself. I had encountered some difficulties with anxiety and problems outside of uni over the previous month so Pierre was pleasantly surprised at the quality of my submission. We talked through the portfolio page by page and Pierre was enthusiastic about my church drawings, interview transcripts and explanatory text in particular which I was very pleased about as I had made a concerted effort to structure & layout the portfolio with care and thought.

Fig 233-234, Sketchbook notes for group (top right) & individual (bottom)

Fig 231-232, Innovative material samples - Architect at Work exhibition

104

105

Individual feedback & tutorial with Pierre - 03.02.20 - 3-4pm

Interim portfolio feedback reflections

Attendees: Zimmie Sutcliffe, Pierre Dâ&#x20AC;&#x2122;Avoine

As part of our individual feedback sessions we all had short tutorials as well. Due to my focus on the interim portfolio my thesis work progression had been fairly slow but I did present some site analysis work to Pierre, including the 3d photographs of Valence Avenue below. The main focus of my work over the previous week had been around building a 3d site model in Revit and drawing accurate plans and sections to use as a base context from which to work. Pierre understood the lack of propositional work due to the other more immediate tasks occupying my time but he did like the 3d images I presented as they form part of a strong collection of site information documenting its scale & character. We agreed I would present some sectional studies of Valence Avenue at my next tutorial so we could begin discussing proposals.

I was very happy with my interim portfolio feedback, particularly compared to the previous year. Pierre was extremely positive about the portfolio in general, particularly exercises 1-3, with praise for my ethnographic mapping and interviews. However, my briefing document needed work, as did my documentation of the Urban Room in Barking. Furthermore, there were smaller adjustments such as editing line weights on some drawings and altering page layouts. Below is an example of some of the refinements I undertook immediately following the feedback, with the bigger changes being something I will have to fit in across the remainder of the year alongside developing my thesis.

Reduced lineweights, particularly for parts in elevation/ background Re-drawing wall section Removal of section crosses on timber beams

Correcting section line at ground floor connection

Internal Sectional Elevation BB 1:50 @ A2

Fig 235-236, Tutorial images of Valence Avenue at different scales - 03.02.20

106

Fig 237, Before & after of edited church drawing, post portfolio feedback

107

Key text: Mayor of London Green Infrastructure Report

The mayor’s green infrastructure report was a key text in developing my approach to public space & landscaping is The Mayor of London’s Green Infrastructure Report which provides guidance on designing, maintaining and protecting green spaces, with the aim of London becoming the world’s first National Park City. Of particular relevance to my project is the information on funding and maintenance models for green space currently being used by borough councils, as well as data on areas of deficiency in access to public open spaces such as parks and gardens.

LO N D O N E N V I R O N M E N T S T R AT E G Y

123

Chapter 5: Green infrastructure

Green Space Ownership & Maintenance Strategies

One of the key issues in determining the success of public realm and green space initiatives is the proper planning of ownership, funding & maintenance. In the Mayor’s Green Infrastructure Report a number of ownership models currently in use by local authorities are described. This is not an exhaustive list but gives an insight into possible strategies for funding and maintaining open spaces. The first method, shown overleaf is a less formal arrangement where local residents can get involved with their local parks with less commitment and responsibility. This lack of liability does limit their influence though. Residents can form a “Friends of Parks” group, less formally constituted than a Residents Association which allows them to assist the council in maintaining local parks through their time, skills and local knowledge. The local authority still controls all funding, decision making and is responsible for maintenance but can encourage local residents to play a part in their community through training, advice etc. This method is likely the easiest of the three to implement, requiring less commitment from residents and less risk on the part of the Council. The second method, also shown overleaf, is similar to the first in that the local authority devolves power to a formally constituted organisation. However, in this instance the group isn’t a Residents Association but a Co-Operative or Social Enterprise. This means it is organised more like a business and can hire people with expertise but local residents get a say in operations through electing the board, AGM’s etc. It is easier for a social enterprise to procure additional funding, expertise & plan events as they have full time workers dedicated to this but as they are not for profit any additional revenue generated is fed back into the parks themselves. In this model the Council retains ownership of the parks and provides some capital funding but the day to day management of the parks and much decision making is devolved to the Co-Operative/social enterprise who act in the interests of local residents.

Fig 238, Mayor of London Green Infrastructure Report

These are just two of the potential methods and each has advantages and disadvantages. The next step is to take a strategic decision for Barking & Dagenham that works best in their context. I suspect a Friends of Parks style system may work best in the short term, allowing residents to get involved with less commitment, with a view to potentially procuring a co-operative or social enterprise to take control of certain spaces in the long term.

M Pa

Local Authority

Friends of Parks group

Friends of Parks groups supplement work done by council maintenance teams

Fig 240, Friends of Parks maintenance model

Mode Parks

M En

Local Authority

Council sources local social enterprises Council retains ownsership of the park and to take on manage- provides capital funding ment of parks Social Enterprise/Co-Operative Most Co-Operatives have a board directly elected by local members Social enterprises, as not-for-profit businesses, can seek additional captial funding from a range of sources The social enterprise or co-operative is responsible for maintenance of the park, hiring people etc and any additional money is put back into the park, no profits are made Fig 241, Co-operative maintenance model

Fig 239, Access to public open space map, 1:25,000 @ A4

108

Council provides support such as training and advice to local groups

Council owns and funds maintenance of parks

109

Key text: All London Green Grid no.3

Granite specials

1000

RAISED UNCONTROLLED

CROSSING Key text: The Barking Code

TRAFFIC ISLAND

'Spacer' if Island is wider than 2000mm 'spacer' to be added

min. 2000mm

half stagger 600mm x 300mm granite paving

Paving to return by min. 1000mm to meet different pattern / direction / material

CORNER

600

1000

1000m m min.

R= 600

to be a multiple of 300m m

900mm x 100mm wide granite sets

min. 2000mm 2400mm min. 1250mm min.

Stainless steel slot drain ��

� ��

��

Manhole cove

�� 600

300mm

1000

min. 2000mm

LBBD

to be a multiple of 300m m

00°

with Design for London Prepared by muf architecture/art

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Plan

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Fig 246, The Barking Code - LBBD/muf architecture/art

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Fig 244, Principles of The Barking Code

��

Bollard 140mm diameter placed in 156mm core-drilled hole centered in longitudinal joint

450

min 450mm

45.

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1000

lin

600mm x 300mm half stagger granite paving

used if water cannot drain naturally over kerb.

min. 2000mm

TRAFFIC ISLAND

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to be kept free of street furniture

1000m m min.

Kerb to be radiused at every change of direction

Cover filled w

Galvanized s

800mm min.

600

400mm x 400mm at crossing point Dropped granite kerb

1800

to be a multiple of 300m m

�

Strategic Context This map illustrates the development context for Area 3 ALGG network. Information has been collected from the Unitary Development Plans of Havering and Redbridge, the Open Space Strategy andPaving to return by min. landscape framework of Barking and Dagenham. 1000mm to meet The Environment Agency’s recommendations for riverdifferent pattern / direction / material restoration are also mapped. Within the Thames Chase, Beam and Ingrebourne area the direct relationship with the Green Arc Study area, the South Essex Green Grid and the extension of the Thames Chase Community Forest into Essex to the north and east reveals the potential to merge the All London Green Grid projects with other ongoing initiatives. Granite paving The map also identifies strategic and local connections 600mm x 300mm LAYBYCut line across the framework area that will create new links Red tactile paving between existing and proposed open spaces.

Granite specials

300mm granite kerb Ashphalt

600

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Fig 242, All London Green Grid for Thames Chase, Beam & Ingrebourne

Area Strategy – Strategic Context

The Barking Code for the Public Realm and how it should half stagger 600mm x 300mbe m applied granite paving 2008-2012

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1000

Paving to return by min. 1000mm to meet different pattern / direction / material

The Barking Code is a document I consulted widely last year when designing a public realm scheme in Barking town centre and I have returned to it this year, though in a slightly different way. The code was developed by LBBD council and muf architecture/art to provide a guide for the planning of public spaces in the borough. The code encompasses everything from material palette to lightingTdesign RAFFand IC sustainability ISLAND approach. Whilst I find the guide too prescriptive in parts and don’t believe in following it to a tee, it is a very useful docu600mm x 300mm half ment to refer back to forstany aggerpublic granite realm paving design decisions. As my project encompasses a large aspect of public realm Footwaytool inlet o nlyme. to be design the code is an important for

1000

Thames Chase, Beam & Ingrebourne Area framework

300mm

1000mm min.

All London Green Grid

1000m m min.

Paving to return by min. 1000mm to meet

“The All London Green Grid has been diffdeveloped erent pattern /to provide direction / material a strategic interlinked network of high quality green infraGranite paving structure and open spaces that connect 600mmwith x 300town mm centre’s, public transport nodes, the countryside Graniin te kthe erb urban fringe, 00mm x 900-1200mm the Thames and major employment 3loand ng residential areas.” (All London Green Grid). This document has been important in developing my understanding of green infrastructure and applying it to my site in Dagenham. The document contains several strategic maps of the area showing all existing green spaces, existing open space projects currently under way and planned works to connect them as well as individual profiles of each project. This catalogue of public green space in the CORNER borough has been extremely useful in identifying the types of Kerb to be radiused at public space currently under-provisioned around every cmy hangsite. e of direction

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Green Open Spaces Town Centres Strategic Employment Land

min. 2000mm

Bicycle stands

Tree pit

800mm min.

min. 2000mm

to be kept free of street furniture

Plan

Bollard Recessed manhole cover se

Dropped granite kerb 1200

00°

min 450mm

STREET FURNITURE Sheffield Bicycle stS anE d T IN PAVING

Tree

page247, 43 The Barking Code for the Public Realm 2008-2012 Fig Examples of recommended Granite kerbdetailing

111 450

e in ut l C

lin

l ut

lin

45.

400mm x 400mm at crossing point Dropped granite kerb

Lighting column

Fig 245, The Barking Code in action including the Barking

1800

400mm x 400mm at crossing

UNCC ut O lineNTROLLED Granite paving 600mm x 300mm CROSSING 110 Red tactile paving

00° 45.

Fig 243, Map showing green spaces, land use and connections

Existing/new street furniture

If less than 150mm then Gure anm ite contin ospaaicvisnegtts to grani3 te00kexrb600 x 200mm Granite kerb 300 x 1200 x 200mm Street furniture: lighting columns

Granite paving 600mm x 300mm

y9ellow tactile paving

Manhole cover

Granite paving to be replaced with 40 x 40mm silver grey mosaic granite setts around street furniture

London Cycle Network - Existing Cut line

Sheffield Stainless steel slot dBriaciyncle stand

Street furniture: cycle stands

Tree Granite kerb 300 x 1200 x 200mm

Strategic (Regional) Walking Routes London Cycle Network - Proposed

600mm x 300mm half stagger granite paving

Principles

Strategic Housing Land Availability

Map derived from GiGL data 2011 - © Crown Copyright and database right 2011. Ordnance Survey 100032216.

Section

450

Foraontw aypa invleintgonly to be G ite u0 s0 edx i6 fw ca ot 3 00atxer20 0nmnm drain naturally over kerb. Granite kerb 300 x 1200 x 200mm

1200

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1800

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page 4

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Red tactile paving 400mm x 400mm at crossing point DrIoN ppS ed granite kerb DRA

300mm

Granite paving 600mm x 300mm

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Kerb to be radiused at every change of direction Granite paving 600mm x 300mm

600mm x 300mm half stagger granite paving

to be kept free of street furniture

Galvanized steel rec

300 x 1200 x 200mm

Bollard 140mm diameter placed in 156mm core-drilled Tree pit hole centered in longitudinal joint

IDS lectures: Matthew Barnett-Howland - 06.02.20 - 10am-11am

IDS lecture: Nick Newman - 06.02.20 - 11am-12pm

Attendees: Matthew Barnett-Howland, James Payne, Zimmie Sutcliffe, 5th year architecture students

Attendees: Nick Newman, James Payne, Zimmie Sutcliffe, 5th year architecture students

The first of a series of technical IDS lectures was given by Matthew Barnett-Howland who designed the cork house which won multiple RIBA awards. Constructed almost entirely from cork, the building is carbon negative upon completion. The cork is made entirely from waste produced by other cork industries and the building itself can be fully re-used or recycled. This project delivers an incredibly high level of sustainability & its approach to whole life carbon usage is pioneering. Matthew talked about this project, including its construction technique which allows it to be constructed by hand and disassembled easily. It was amazing to gain insight from an architect at the forefront of truly sustainable design & construction.

Immediately following Matthew was a talk from Nick Newman of Studio Bark, focusing on the work of the practice and their U-Build modular self build system. Another practice at the forefront of sustainable thinking, the U-Build system aims to open up the process of making buildings to everyone, requiring only a mallet, drill & bolts to construct. The boxes that make up the system are constructed from long life OSB, spruce or birch and insulated with sheepâ&#x20AC;&#x2122;s wool. The system is devised to be long lasting & adaptable, allowing re-use instead of waste when a users needs change. The off site CNC manufacturing process also reduces wastage, with a circular economy approach to whole process, making this an extremely sustainable, adaptable & accessible system.

Fig 248, Matthew Barnett Howland, CSK Architects

Fig 254, Nick Newman, Studio Bark

Fig 250, Cork House front elevation

Fig 252, U-Build modular system - axonometric diagram

Fig 249, Structural system axonometric

Fig 251, Cork house internal material palette

112

Fig 253, Garden studio created using U-Build system

Fig 255, U-Build instruction manual

113

W/C: 10.02.20 Unit meeting Celebration Week - 10.02.20 Programme for -next week - M 10 and Th 13 February-

Zimmie Sutcliffe <zis0043@my.londonmet.ac.uk>

Tutorial with Pierre & Pereen - 10.02.20 - 2pm

1pm

3 messages

Attendees: Pierre D’Avoine, unit 14 students

Attendees: Zimmie Sutcliffe, Melika Kaveh Baghbahadorani, Pierre D’Avoine, Pereen D’Avoine

with 5th years taking on most of the responsibility so I wasn’t sure exactly what to expect. In the meeting we decided on a broad outline for our response, what work to be included and tasks to each student. We split into three teams; Dear assigned all gatherers to collect and collate information from everyone It was good to meet you all during the last week and provide detailed feedback on your interim portfolio submission. As discussed there is into presentation, draughts-people new drawings lots ofascope with your work and also lots of scopetoformake improvement. &Atedit existing ones, & presenters to prepare a speech that fits this stage we would like you to think flexibly around the agendas you are interested in and also spend time working on your drawing skills and methods of representation - dn'tand forgetto about the miniature. with the visual presentation deliver this speech. I was assigned thetherole of thesis gatherer & Illir. As mentioned design shouldalongside reflect issuesLaura, raised inBeth the Term 1 exercises. The work you did last term should be highly relevant Fig 256, Poster for Celebration Week 2020to

Immediately following the group meeting myself & Melika had tutorials. Due to the preparations for celebration week & submissions for my option module & interim portfolio I hadn’t had much time to focus on developing my project. The main piece of work I had produced for this tutorial was a mapping of local bus routes, primarily along Valence Avenue. The purpose of this was to analyse the public transport provision in the area as my briefing document included a proposal for a tram route along my site. To justify the need for this I would have to prove the current provision was lacking. Pierre & Pereen liked the mapping but urged me to study some streets with similar characteristics and draw my site in greater detail at a range of scales and perspectives. I felt my progress had stalled somewhat following the interim portfolio submission but mapping such as this is vital in understanding my site and this kind of groundwork needs to be laid.

Pierre d'Avoine <pierre@studioda.london> 8 February 2020 at 14:13 To: "EAM0094@my.londonmet.ac.uk" <EAM0094@my.londonmet.ac.uk>, Harouth Mekhjian <ham1007@my.londonmet.ac.uk>, "JEP0352@my.londonmet.ac.uk Pearce" <JEP0352@my.londonmet.ac.uk>, Zimmie Sutcliffe <ZIS0043@my.londonmet.ac.uk>, "ilk0052@my.londonmet.ac.uk Kabashi" <ilk0052@my.londonmet.ac.uk>, "anb0987@my.londonmet.ac.uk Bhatia" <anb0987@my.londonmet.ac.uk>, "ata0257@my.londonmet.ac.uk <ata0257@my.londonmet.ac.uk>, "kap0561@my.londonmet.ac.uk With celebration week presentations scheduledAhmed" for ThursPapianaite" <kap0561@my.londonmet.ac.uk>, Soroush Haghighat <soh0244@my.londonmet.ac.uk>, "lap0366@my.londonmet.ac.uk Pascu" day 20th February we met as a unit to discuss preparations <lap0366@my.londonmet.ac.uk>, "set0247@my.londonmet.ac.uk Tam" <set0247@my.londonmet.ac.uk>, "mek0353@my.londonmet.ac.uk Kavehbaghbahadorani" "fak0688@my.londonmet.ac.uk Kummayapurath" <fak0688@my.londonmet.ac.uk> for this. Last year <mek0353@my.londonmet.ac.uk>, I wasn’t very involved in celebration week Cc: Pereen d'Avoine <pereen@studioda.london>, Pierre d'Avoine <Pierre@studioda.london>

the way you are thinking about your design thesis.

However we expect a considerable degree of multi-tasking and that you find a way to work up Term 1 exercises while mainly focussing on your design thesis. Here is the programme for next week.

E ac h unit w ill hav e one 1220 x 2000m m p an el t o dis play a c ur at ion of w or k t hat is r epr es ent at iv e of t he unit out put . T his is an ex ample lay out :

MONDAY 10 FEBRUARY 1.00 Unit meeting to discuss preparation for Celebration Week 1.30 Harouth and Melika 2.50 Calia and Soroush 4.10 Jess and Laura 5.30 Ilir and Anji THURSDAY 13 FEBRUARY 9.40 10.20 11.40

Zimmie Atta and Fathil Beth and Karina

1.00 Rosie Hervey lecture (to be confirmed) Please come to your tutorial with an update of your briefing document including: Design thesis statement How does it relate to the unit programme - landscape, piublic realm, exchange How does it relate to to essay subject Readings that are informing you work Analysis of precedents - not just photographs of buildings Detailed site study - accurate plans and long site sections at a range of scales Site photographs Initial design ideas - conceptual drawings and sketches/ notations

P le a s e s e t up your u n it p a n e l between 6pm-8pm on We d n e s d a y e v e n in g (20.02.19)

We hope you are enjoying your weekend. Best wishes Pierre and Pereen Pierre d'Avoine BSc [HONS] DipARCH ARB RIBA

Metropolitan Architecture Student Society

Founding Director studioDA

Fig 257, Scheduling email from Pierre & Pereen

Fig 258, Celebration Week presentation board design by MASS

Fig 259, Tutorial notes - 10.02.20

KEY 62 bus route 364 bus route 128, 150 bus route 368 bus route 173, 174, 175 bus route Bus stop

Fig 260, alence Avenue & surroundings bus routes map, nts

114

115

Rosie Hervey lecture - Community Land Trusts - 13.02.20 - 2pm Attendees: Rosie Hervey, Pierre D’Avoine, Pereen D’Avoine, unit 14 students

On Thursday 13th February we were lucky enough to hear a talk from Rosie Hervey about her work into community land trusts. Rosie is an undergraduate tutor at both The Cass and Oxford Brookes University as well as an architect at Studio Weave. “Rosie studied architecture at Nottingham University and London Metropolitan University, completing her diploma thesis on the provision of inner city housing for the elderly. Prior to joining Studio Weave, Rosie worked for the public realm consultancy Publica and for the Arcola Theatre on the development of their sustainability programme. In her spare time Rosie is a volunteer for the intergenerational arts charity Magic Me, and the international development organisation Engineers without Borders, organising a programme of workshops and talks on sustainable technologies within the built environment.” Studio Weave, 2020 Fig 261, Rosie Hervey

Rosie’s talk centred on community land trusts, particularly her research into how they operate in Sweden & Switzerland. I found her talk thoroughly engaging as alternate forms of housing delivery is something I am very much interested in having studied baugruppe’s last year and written essays on co-operative housing and Stirling Prize winner Goldsmith Street. Rosie explained how national and local policy in other countries encourages co-operative housing, for example publicly owned land in Zurich cannot be sold to private developers without first being offered to a co-op. Also revealing were the conversations she had with residents of these co-op schemes who said the need for regular discussion over the use of communal space had really strengthened use of these areas.

Fig 263, Notes from Rosie Hervey talk - 13.02.20

Rosie also touched on her thesis project that looked at almshouses, as described on The Cass website “Rosie...focused her diploma thesis ‘the 21st century Almshouse’, on the issues and opportunities surrounding growing old in the city, investigating the role of intergenerational communities within city centres. This research alongside her experience of working on intergenerational arts projects for charities such as Magic Me and Age Exchange, has founded a lengthy preoccupation with the importance of participatory urbanism and intergenerational interaction.” (London Met, 2018). I found Rosie’s insights around informal care networks, how to visually represent interviews and data collection, and focus on improving policy to include greater emphasis on non quantifiable measures such as “small acts of compassion” particularly illuminating as these are all things I hold an interest in but haven’t researched in great detail. Fig 262, Living Together in New Cross: A collaboration between Oxford Brookes University Unit E & Community Assets for Society & Housing

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Fig 264, Example of communal spaces in co-operative housing - Marmalade Lane co-housing, Cambridge

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W/C: 17.02.20

W/C: 24.02.20

Celebration Week presentations - 20.02.20 - 10am-5pm

Tutorial with Pierre & Pereen - 17.02.20 - 12pm

Attendees: Cass architecture students, architecture tutors & staff The unit did a great job putting together the presentation for celebration week and I think everyone was proud of the quality of work we had produced as a group to this point. In my role as a gatherer I played a limited role in the celebration week effort but I, like every member of the unit, contributed something to the group effort. The celebration week presentations themselves were all impressive and it was good to see the work of other units as a source of inspiration and comparison. However, I must confess I am not a massive fan of events like this, predominantly due to their timing. January and February are two of the busiest months in the calendar with interim portfolio and option module submissions alongside the usual workload so to add a further task on top that carries no graded element seems to me unnecessary but I felt compelled to take part out of respect for my fellow unit members. Fig 265, Jess, Beth & Harouth delivering Unit 14â&#x20AC;&#x2122;s presentation

I was scheduled to have a tutorial on Monday 24th February but had been feeling unwell over the weekend so was unable to attend. I sent Pierre & Pereen my updated work via email instead. The following pages document the work I sent via PDF and shows the progress I had made on a number of fronts, making up for the slower pace of the preceding weeks. I felt it very important to gain a comprehensive understanding of my site from a range of perspectives before progressing on to propositional drawings in order to give my architectural moves a richness & brevity they may otherwise lack. The main documentation of my site over this period was through comprehensive photographic studies in the form of collage elevations of the mile long road to show the uniformity of scale, material & rhythm (shown below), and photographs looking up and down the avenue every 20 metres to document how little it changes along its length. These studies were extremely Valence Site Elevations useful Avenue in helping me understand the possibilities of my site in greater detail and allowed me to talk confidently of its character in tutorials and crits.

Looking Looking EastEast

Looking Looking WestWest

Fig 266, Unit 14 presentation board including miniatures & church studies

Fig 267, Unit 14 miniatures, node models and information booklets

118

Fig 268, Site elevation collages, nts

119

120

121

122

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Direction of travel

Systematic Site Photo Study

To better understand the character of my site along Valence Avenue I conducted a systematic photographing exercise inspired somewhat by the systematic observational method of Georges Perec in Attempting to Exhaust a Place in Paris. I undertook a walk from the beginning of Valence Avenue at its junction with Wood Lane and walked down its centre until the junction with Becontree Avenue. Every 20 strides (approximately 20 metres) I stopped and took a photograph facing forwards, then left, then backwards, then right. The left and right photographs have been compiled into collaged elevation studies separately. The forward and backward facing photographs from each point are documented in this booklet, giving a systematic and sequenced display of the first half of Valence Avenue. The method I used is explained below, with a red line indicating a stopping point every 20 metres, a thicker red line indicating every 100 metres and the red arrow showing the direction faced when taking the corresponding photograph. None of the images have been digitally enhance or modified, they appear how they appeared right after they were taken. This is to try and maintain a depiction as true to life as possible.

Key

Every 20 metres Every 100 metres

Location of current photographs

A Direction of photographs A & B B

Fig 269, Site map, 1:1000 @ A4

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125

B 126

Fig 270-273, Sitephotos, Valence Avenue

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IDS presentation preparation with James Payne - 05.03.20 - 11.30am Attendees: Unit 8, 9,12,14,15 students, James Payne

My illness unfortunately continued, meaning I missed an IDS preparation meeting chaired by James Payne for the upcoming IDS presentations on 12th March. I was struggling at this time, not just with illness but with getting on top of the workload, so missing out on this was disappointing. Luckily, James uploaded a guidance document for the presentations, shown below. I did speak to Pierre briefly in my previous tutorial and he recommended writing s script and to time myself speaking beforehand, both of which I did. I made extensive notes beforehand and was confident my work met the cultural and professional context elements well. I was less confident about the environmental and structural elements due to my project being in its infancy but I took this as an opportunity to formalise my ideas around these for my own benefit.

IDS Guidance Note, Interim Presentations and Design Precis For the interim presentation cover as much as possible of the four key areas of the syllabus but pick out the most relevant criteria driving the development of your design. The Interim Presentation is an intermediate step between the developing design thesis described in the diary and the resolved design report. The interim presentation is a 15 minute presentation and feedback pin-up. The format for this presentation is that of a crit. Powerpoint presentations are admissable - but please note - they limit the scope for commenting/sketching on work in progress. Please keep your presentation to 10 minutes to allow 5 minutes for feedback. The presentation should be focussed on your Ă&#x17E;nal project, which you intend to be the subject of your IDS report. The interim presentation should anticipate the structured professional report on your project according to the IDS syllabus. The presentation is marked by each panel, and constitutes 5% of the overall mark of the module. At this early stage in the development of some unitĂ&#x2022;s proposals, the emphasis may not be on detailed resolution but on an approach to constructing a coherent design thesis that demonstrates the interaction of the following four areas: A. Cultural Context and Communication B. professional context C.

environment and sustainability

construction, materials and structures

To further structure the discussion, please complete and submit 4 A4s with a maximum 250 word description of your strategy for tackling each of these 4 areas of the syllabus. At this stage they may be a list of possible approaches and an idea of how this will affect the development of your project rather than a resolved proposal. Each sheet may contain a small illustrative diagram(s) if it helps to make the point clearer. Please give this 4 page document, stapled together, to the panel with your name and unit clearly marked at the top. Sketch models and drawings may be used at this stage to demonstrate exploration and understanding of these areas of the syllabus. In some ways the interim presentation encompasses some of the wider explorations of the diary and the much more precise and resolved presentation of the project in the report. As the cultural context element of unit work is already well established in the Ă&#x17E;rst term and presented in celebration week crits, students should use the interim presentation to now focus their attention towards the more technical aspects of the syllabus before the Easter break. Fig 274, IDS presentation guidance from James Payne, 11.03.20

Fig 275-278, IDS preparation notes & script planning, 10.03.20

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129

W/C: 09.03.20 Tutorial with Pierre - 09.03.20 - 5pm Attendees: Zimmie Sutcliffe, Pierre D’Avoine After being ill for my two previous tutorials I hadn’t seen Pierre or Pereen for feedback for a couple of weeks. Subsequently, at this tutorial I had quite a lot to catch them up on. Firstly, I had spent a while collecting land ownership data in and around my site to determine the extent of publicly owned land I could make use of. This is shown to the right and Pierre was very enthusiastic about my proposal to remove some council owned homes to create more porosity across Valence Avenue. The second major piece of work I had produced was a comparison of Valence Avenue with Princes Road in Liverpool to highlight the lack of non residential buildings on my site and how the 3/4 storey buildings of Princes Road created a much stronger sense of enclosure than on Valence Avenue. This study allowed me to justify some of my more audacious plans for remodelling the site. Again, Pierre was very supportive of this and liked the work.

Moa t

Moat

Fig 279, Tutorial notes - 09.03.20

Scale 1:2500 Projection: British National Grid

Fig 280-281, Nimbus maps land ownership screenshots showing parcels of land owned by LBBD

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Council owned land (including house, front/back garden)

New festival site created

Potential new link zone between streets

Existing site for hosting festival

Fig 282, Land ownership map with proposed home removals and festival sites - 1:1250 @ A4

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Key text: Great Streets - Allan B. Jacobs

Following the development of my briefing document and beginning to develop a strategy towards remodelling Valence Avenue a foundational text was Allan B. Jacob’s 1993 book “Great Streets” in which he profiles several of the world’s most famous and best loved streets to try and distill the common characteristics that define their greatness. Although every street is different, there are some rules that can be extrapolated, such as the spacing of trees, ratio of building heights to street width & variety of building façades. The book also breaks down in great detail all the lessons Jacobs has learned from years studying great streets, culminating in a rough guide on designing a great street. The methods of analysis and drawings I found very insightful and formed a big part of my approach to analysing Valence Avenue in its existing and proposed conditions.

Fig 284, Great Streets by Allan B. Jacobs

0.9m 5.2m

11m

5.5m 1.5m 4.3m

28.3m

Fig 285, Las Ramblas cross section 1, nts

2.44m

10m

13.7m

4.6m 1.5m

32.3m

Fig 283, Las Ramblas plan, nts

Fig 286, Las Ramblas cross section 2, nts

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Fig 287-290, Sketchbook analysis & notes of Great Streets

133

Applying the lessons of Great Streets

Applying the lessons from Great Streets, particularly the relationship of street width to building and tree heights was very important in me understanding the issues with Valence Avenue and how to begin solving them. Below are two comparative cross sections of similar UK streets; Princes Road in Liverpool, and Valence Avenue. From these you can see that while the two share a similar layout; dual carriageways and a footpath either side of a central reservation, there are key differences, namely the more mature trees and taller buildings of Princes Road that give it a greater sense of enclosure.

5.10m

7.69m

Fig 291, Valence Avenue, Dagenham - cross section, 1:250 @ A4

7.45m

5.18m

5.70m

6.40m

4.38m

7.40m

7.69m

45.51m

9.25m

15.10m

10.23m

2.50m

6.60m

18.10m

7.70m

2.50m

8.95m

15.10m

56.58m Fig 292, Princes Road, Liverpool - cross section, 1:250 @ A4

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135

CL O SE SO N AR RI

ST RE ET

CL O SE

KI N G

ST RE ET

CA IR N

GR AN B

ST RE ET

ST RE ET UC IE D

ST RE ET

VOELAS STREET

LOSE

Valence Avenue: 752m Princes Road: 766m

Religious building

RE ET

HENSHAWE ROAD

Community building Public green space Health building 0.5 miles

Pedestrian only access

L ROAD IS

Pedestrian & vehicle access RN CO

AGNES GARDENS

AR OB H

SL R PA

BONHAM ROAD

3 NUE REE AVE BECONT

Education building

L AL W

VALENCE WOOD ROAD

MARGERY ROAD

CUS

BONHAM ROAD

HIGH PARK STREET

Vehicle & pedestrian access points: 12 Pedestrian only access points: 9

500m

Fig 294, Valence Avenue, Barking & Dagenham

VALENCE AVENUE

SHIPTON CLOSE

NE ROAD

BUS HWAY

Vehicle & pedestrian access points: 11 Pedestrian only access points: 1

NE WOOD LA

ROAD

NEVILLE GARDENS

BUSHGROVE

1: Harman House Counselling Centre 2: Lifeline Community Project 3: Valence Medical Centre 4: Dagenham Ummah Welfare Trust 5: Everyone. Everyday Community shop 6: Kingsley Hall Community Centre

4 BUSHGROV E ROAD

SEABROOK ROAD

Groveway

VALENCE AVENUE

NEVILLE ROAD

136

EA ST EE T TR S O U TH S

NORTH HILL STREET

MADELAINE STREET

WYNNSTAY STREET

FERNHILL DRIVE

13: Granby Workshop 14: The New Life International Mission 15: Somali Community 16: Princes Park Health Centre 17: Princes park 18: Little Angels Nursery And Pre-school

CIR

100m

CA IR NS

CLARIBEL STREET

PO M SE

CL O

ST R

TH A CK ER A Y

CL OS E TA C E

BE RK LE Y

7: Crawford House College 8: Love Assembly 9: Princes Park Methodist Church & Centre 10: La Manne Cachée Church (Evangelical and pentecostal Church) 11: Methodist Youth Centre 12: Somali Welfare

KELVIN GROVE

FR ET

HILLABY CLOSE

VRONHILL CLOSE

ST RE ET

CL O SE

CR ES CE N T

PIMHILL CLOSE

N O LD

W ES T

BACK KELVIN GROVE

LOUDON GROVE CELTIC STREET

UPPER WARWICK STREET

UPPER HILL STREET

CL O SE

GWENT STREET

POMFRET STREET

AV EN UE

RI AL TO

D GIBSON ROA

ST RE ET

1: St Margaret’s Church 2: The Kuumba Imani Millenium Centre 3: Life Changers Empowering Centre 4: Princes Road Synagogue 5: Merseyside Deaf Centre and Social Club - Ibo Community Centre 6: Welsh Presbyterian Church

PRINCES ROAD

TE GA

CA RT ER

AL EX

BONHAM GARDENS

PRINCES AVENUE

S CE IN PR

GIBSON ROAD

In many ways, this is what makes Princes Road special; not its physical or spatial characteristics as a street, nor the quality of its buildings, as much as its role as a connector, knitting the surrounding fabric together, offering a meeting place, providing views into other streets, other neighbourhoods, housing places of congregation. This is what Valence Avenue lacks in my opinion as it shares many of the physical characteristics of Princes Road without having the same atmosphere. As a result, my project aims to improve the permeability along Valence Avenue, connecting it to existing institutions such as Valence House, and locate new civic spaces along it to further encourage participation from across the surrounding area. This could take many forms including placing new civic spaces along the central reservation, new pedestrian and cycle ways to improve access, potentially even the removal of a small number of existing properties to create new access routes to neighbouring streets.

PRINCES ROAD

ST RE ET

Finally, the permeability of the street adds much to its atmosphere. In total there are 21 access points on to the street from adjoining streets, with 9 being pedestrian access only, placing less prominence on vehicular movement other than that which is passing through. This street formation allows people living nearby or visiting to make a visual connection to the street at many points, in turn encouraging them to enter on to it. In comparison, Valence Avenue has only 12 access points across a similar length, with only 1 being exclusively for pedestrians. This is significant in making the street feel closed off, with little visual connection from surrounding streets and encouraging passage along and through rather than across and lingering. This makes Valence Avenue feel more like a bypass, a place simply to allow passage from point A to B, not a place to be in its own right.

CROXTETH ROAD

ALEXANDRA TERRACE

ST RE ET

PRINCES AVENUE

PRINCES ROAD

EM ER SO N

GA TE

ST R

ST RE ET

CL O SE EL UN D AR

ST RE ET

N OR TH BR O OK

BE AC O N SF IE LD

EV ER SL EY

ST RE ET

H AT HE RL EY

EE T

H AR RO W BY

SELBORNE STREET

PR IN CE S

ST RE ET

ST RE ET H AM PT ON UP PE R

W AY

RA V

137

PO RT ER S

PA RK

M UL G

VALENCE

Firstly, the layout of the central reservation, whilst rundown, is far superior, with gas lamps in the style of the originals, dedicated paths for walking, benches and mature trees on either side. It feels like this area is designed to be walked along whereas on Valence Avenue it feels like merely a separation between two carriageways. Activating this area on Valence Avenue will go a long way to encouraging people to come to and use the space. Secondly, whilst still being predominantly residential, there are many more community & religious buildings as well as public green space and educational facilities, giving the area a much stronger civic sense and variety. This mix of uses also attracts a mix of people to the area for a mix of purposes, giving a vibrancy and reason to linger to the street lacking on Valence Avenue. However, Valence Avenue is well placed, with several existing civic institutions nearby, including Kingsley Hall Church & Community Centre, Everyone.Everyday, Valence House and The White House. Better connectivity is needed to make these places more visible from the street.

RO SE B

ER Y

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Fig 293, Princes Road, Toxteth, Liverpool

Whilst Princes Road & Valence Avenue share things in common, such as being almost identical in length and being in heavily residential areas, there are some key differences that make Princes Road a much more pleasant street to walk down.

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Comparison - non residential uses

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IDS presentation - 12.03.20 - 2pm Attendees: Zimmie Sutcliffe, George Fereday, James Binning, Nate Kolbe, Pereen D’Avoine

The interim IDS presentations are a big milestone in the year, counting as 5% of our overall IDS grades, but more importantly allowing us to present our projects to leading critics and gain valuable feedback on them at an early stage. For my presentation I tried to focus on my proposal along Valence Avenue with only a little background information to my project, presenting my most up to date drawings, shown below. I found the presentation quite difficult as presenting is not one of my strengths and I ran out of time to fully explain my scheme but the feedback was constructive and being back in that kind of environment was very positive for me. I knew I was a little behind in the development of my project but also that the foundational ideas of my proposal are strong and if I keep pushing I will deliver a strong final result. Being able to observe other students presentations was also very helpful in gauging my progress.

Fig 296, Proposal sections from IDS presentation

1. Cultural Context & Communication Fig 295, IDS presentation panel

My project is still in the process of refinement but consists of two main elements; a festival to mark the centenary of the Becontree Estate in 2021 and a wider regeneration of a section the estate to enhance the public realm, improve porosity through the tightly packed terraced streets & increase provision of non-residential uses. The broad ambition of the project is to explore how regeneration of an estate or highly residential, semi suburban area can be achieved in a light touch, cost effective manner that resists issues such as displacement & gentrification. It also aims to highlight the problems with purely residential development, particularly low rise, low density examples such as Becontree and in doing so show the necessity for a variety of uses to sustain healthy communities. Finally, it aims to promote the adaptation and re use of existing building stock as an effective strategy for regeneration with lower environmental and financial impact than extensive new development. The project is located on the Becontree Estate in Barking & Dagenham, East London, once the largest council estate in Europe. The estate was built between 1921-1935 to house 100,000 people and hasn’t visibly changed a great deal over the last 100 years with the exception of Right to Buy legislation resulting in the private purchase of many homes and subsequent customisation of their façades, somewhat altering the uniform appearance of homes. However, the wider borough has experienced great changes over the same period, including a population increase of 48,000 (+30%) since 2001, significant demographic shifts & the closure of Ford’s car manufacturing plant which once employed 40,000 in the local area.

2. Professional Context Although it has begun to experience an improvement economically and socially, the borough is still one of the most deprived in the entire country with above average levels of unemployment and crime. The borough also has the highest Index of Multiple Deprivation score in London. In terms of housing the borough has a mixed picture. It can claim to have the lowest median House price of any London borough at £318,000, and 3rd lowest average rents, whilst also ranking first for percentage of affordable homes with an impressive 77%. However, the borough only built 33% of its London Plan target for new homes in 2018 and has seen house prices increase 335% since 1999, only behind Newham, Waltham Forest, Lewisham, Redbridge & Hackney within London. In addition, the borough is ranked 17th across London for rates of home ownership, demonstrating the impact of Right to Buy and other factors in diminishing Council owned stock. The Becontree estate covers approximately 4 square miles and is almost exclusively residential in its makeup, with only a small number of shops, schools and civic buildings. The area does however have access to large open green spaces in the form of Parsloes Park and Valence Park, as well as being served by Becontree, Dagenham Heathway and Chadwell Heath underground stations. Over 50% of the existing housing stock around my site on Valence Avenue is now privately owned, making large scale regeneration politically challenging. Retaining existing areas of designated retail/commercial use is of importance to the borough as it seeks to meet its target for new homes whilst providing the services new and existing communities need to thrive, as set out in its Borough Wide Development Policies document. Other relevant documents for my project are the London Green Grid Area Framework for Thames Chase, Beam & Ingrebourne, the Mayor of London’s Green Infrastructure Report & the Barking Code, all of which provide strategy and guidance for public realm and green space provision. Fig 297, Precis submission for IDS presentation

Fig 296, Proposal sections from IDS presentation

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W/C: 16.03.20 Crit - Proposal Development - Cancelled/digital submission - 16.03.20 - 10am-6pm

IDS presentation reflections

Attendees: N/A

The text below shows the precis document I submitted as part of my presentation and I believe shows I have a strong, thought through rationale behind my project, in all 4 criteria areas. However, I felt my verbal presentation didn’t communicate this well enough, particularly for points 3 & 4. This was mainly because I ran out of time but also as I didn’t rehearse my presentation to anyone other than myself beforehand. I timed myself and was under the time limit but naturally the real thing induces pauses and it is easy to lose track of your speech, particularly when being questioned during it. I need to improve on my verbal and visual presentation in order to do justice to my work and communicate the amount of time, work and thought that has gone into them. That being said, I was happy I was able to complete the presentation and the parts I did talk about were relatively well received.

The following is the outline description of my proposal that I submitted as part of my digital crit presentation. It describes the scope and outline costs of my scheme.

Masterplan draft 1

3. Environment, Services & Low Carbon Design My project aims to address environmental issues in several ways, predominantly by promoting walking, cycling and public transport and reduction of car use through a public realm scheme that redesigns Valence Avenue to prioritise the former over the latter. Embedded within this is the creation of a new open public space to serve the local community that encourages people to spend more time outdoors, with potential provision of leisure facilities and local growing spaces. Furthermore, the planting of new trees & plants can contribute to increased biodiversity, especially if green corridors linking to existing parks can be established. My project also aims to deliver regeneration with a light touch, focusing on landscape improvements as much as new buildings. This strategy reduces energy consumption associated with new construction and coupled with alteration of the existing built fabric allows for a more sustainable approach to enhancing existing communities. New structures proposed in my scheme will be based on methods of lightweight construction, including the possibility of modular off-site construction and temporary/meanwhile uses in places. This is in part driven by the centenary festival element of my proposal, which echoes Town show style events of the past with tents and stalls that can be packed up when the event is over. However, the nature of the site, with its long continuous stretches of terraced housing, expanses of paved roads, paths and driveways has pushed me towards a strategy that focuses on improving porosity onto Valence Avenue with visual and physical links across the estate. This in turn suggests architecture of a slender, lightweight, transparent nature to maintain this porosity.

4. Construction, structures, materials

The first stage in the regeneration process is to identify the properties for demolition that will yield the most benefit, thus limiting the number of demolitions. The map to the right shows the new pedestrian links created following the removal of identified homes (shown in black). The estimated costs for this process are listed below. The removal of 28 homes allows 9 new East/West links to be created, connecting to Valence Avenue, plus one North/South link into Valence Park. In addition to 3 existing crossing points, this brings the total of access points on to Valence Avenue up to 12, greatly increasing the visual and physical permeability. 6 of the new openings are on the East side of the road, with 3 on the West. In addition to existing links, this gives 7 access points from the East and 6 from the West. These links have been strategically identified to give an access point no more than every 100 metres, with an average distance between access points around 75 metres.

Fig 299, AMF Monorail at New York’s World Fair, 1964

Homes to be removed: Council owned: 12 Privately owned: 16 Total: 28 Costs: Purchase of private homes: £350k per home (based on current market values in the area) Total: £5.6 million

Fig 300, The range of pavilions and structures at the South Bank Exhibition

CPO costs:

The structural & material approach to my project is still in its infancy as I develop my wider public realm strategy. However, my initial thoughts are centred on temporary structures including tents and pavilions, inspired by the idea of a Town show. This could take a number of forms, but I began to explore it in my node project, where I designed a pop up cinema. This still requires refinement but the concept is based on a prefabricated timber structure and a fabric skin, that could all be folded down into more compact pieces to be transported to new locations. As my wider regeneration plan focuses on increasing porosity and pedestrian links through residential areas, it seems appropriate to reflect this in the architecture of new structures. Kiosks & stalls or units with transparent ground floor construction could be used to provide new commercial and civic spaces whilst retaining the new porous nature of the wider context. The nature of the site, over 750 metres long and only 45m wide, lends itself to thin buildings with a shallow plan and ample opportunity for cross ventilation, large public spaces and minimal ground floor structure. Modular construction is in my consideration, particularly for any new housing on site, with its possibilities to reduce costs, deliver high qualities and be lightweight. Finally, the choice of material palette for public spaces is vitally important, with durability and east maintenance a key consideration. The robustness of floor materials could contrast nicely with a lighter approach above.

Fig 297, Precis submission for IDS presentation

10% compensation payment per home: £35,000 Legal costs: £5,000 per home Total: £560,000 + £80,000 = £640,000 Demolition of homes: £10,000 per home Total: £280,000 Total costs: 5,600,000 640,000 280,000 £6.52 million Fig 298, Oultline proposal crit submission

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Fig 301, Like at the Exhibition I plan to place structures around a boulevard

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Crit feedback issued - 18.03.20 - 7pm

The following also formed part of my crit submission and outlines my approach to re organising Valence Avenue, particularly reducing car use and introducing new cycle lanes.

Below is Pierre & Pereen’s feedback on my crit submission for 16.03.20. It reiterates what has been said before, and what I know already to be true; that the concepts underpinZimmie Sutcliffe <zis0043@my.londonmet.ac.uk> ning my work and its potential moving forward are strong, but that my representations of this through visual and verbal presentation don’t always show this, which holds the project Crit submission on M 16 MarchL Feedback ad comment I fully take the feedback on board and am well aware 1 back. message of my strengths and weaknesses as a designer by now but it is Pierre d'Avoine Architects <pierre@davoine.net> 18 March 2020 at 19:11 always be reminded of this in order to keep improvTo: Zimmie good Sutcliffeto <ZIS0043@my.londonmet.ac.uk> Cc: Pereen d'Avoine <pereen@studioda.london>, Pierre d'Avoine <pierre@studioda.london> ing. Following the crit and university closure it took me a while to adjust to new working methods and I began to feel like I was falling behind a little but since then I have listened to what Pierre, Pereen, and others have had to say and focused even harder to progress my work, starting with developing a strong, clear site and landscaping strategy.

Masterplan phase 1 The first phase of redeveloping Valence Avenue focuses on creating strategic new connections on to the street, highlighted with orange arrows, to increase visual and physical permeability. 9 new East/West access points have been added; 6 on the Eastern side and 3 on the Western, in addition to 3 existing crossing points, bringing the total to 11, plus one new North/South access route into Valence Park. Masterplan phase 1

The first phase of redevleoping Valence Avenue focuses on creating strategic new connections on to the street, highlighted with orange arrows, to increase visual and physical permeability. 9 new East/West access points have been added; 6 on the Eastern side and 3 on the Western, in addition to 3 existing crossing points, bringing the total to 11, plus one new North/South access route into Valence Park.

Secondly, the removal of two lanes of traffic; one on either side has allowed a new 2000mm wide cycle lane to be implemented on both sides of the road. This North/South cycleway joins up with the existing network at the junction with Wood Lane. The condensing and simplifying of travel lanes has allowed a nearly 17m wide continouos stretch of public space to be created in the centre, the design of which will be phase 2.

Bus stops and road crossings have been re designed, taking inspiration from highly effective systems used in the Netherlands, a world leader in cycle use and traffic integration design. “Floating” bus stops separate traffic from cycle lanes and reduce conflict between pedestrians and cyclists without creating unnecessarily complex cycle path layouts, and the same principle applies to “floating” crossing islands for pedestrians at junctions to allow seperation of vehicles and cycles whilst maintaining a simple hierachy and legibility for all users. This system allows pedestrians and cyclists to cross at the same point and gives them precedence above vehicles, vastly increasing safety.

Secondly, the removal of two lanes of traffic; one on either side has allowed a new 2000mm wide cycle lane to be implemented on both sides of the road. This North/South cycleway joins up with the existing network at the junction with Wood Lane. The condensing and simplifying of travel lanes has allowed a nearly 17m wide continuous stretch of public space to be created in the centre, the design of which will be phase 2. New dedicated cycle lane

Dear Zimmie

New pedestrian link formed by removal of existing dwellings

Re designed junction with “Dutch style” cycle lane layout

New cycle & pedestrian shared crossing

New bus stop

Thanks for sending us your crit presentation comprising 9no pages. Sorry it has taken longer than we anticipated to get back to you with feedback and comment. This is because we have had to start working mainly from home and also setting up on line with Nate and our Cass colleagues. This means we can also now communicate with Unit 14 students by Microsoft Team or by Skype as well as mobile and e mail. We have enjoyed viewing your work, however we feel that for the crit the work should have been better sequenced and more work included. We also think you should provide a crit script/ abstract outlining your design thesis as well a brief summary of the work done in Term 1. It would be good to keep updating your briefing document unless you feel the time has come where this material has evolved into your draft IDS diary and report.

Bus stops and road crossings have been re designed, taking inspiration from highly effective systems used in the Netherlands, a world leader in cycle use and traffic integration design. “Floating” bus stops separate traffic from cycle lanes and reduce conflict between pedestrians and cyclists without creating unnecessarily complex cycle path layouts, and the same principle applies to “floating” crossing islands for pedestrians at junctions to allow separation of vehicles and cycles whilst maintaining a simple hierarchy and legibility for all users. This system allows pedestrians and cyclists to cross at the same point and gives them precedence above vehicles, vastly increasing safety.

We understand that this is work in progress. However there are some great drawings but mainly mapping and sections but nothing three dimensional. It would be good to start working up the latter and to send us updated drawings next Monday if not sooner.

We feel your design thesis needs to me clearly stated. It has strong potential and that you have been thorough in your analysis of the site and surroundings and with your research into the Becontree Estate generally.

What is missing in your crit pages is any reference to your node project. We think this is a very important element in your proposal as previously mentioned and a serious omission. The node should be further worked up in parallel with your main design project. We feel your layout should be more supple and accommodating. It is understandable with such an extensive proposal that it is a little diagrammatic at this stage. It will take time and effort but we are confident that you have the talent and capability to evolve your project into a sophisticated and beautiful proposition. Please organise your timetable so that you spend an hour or so every day, maybe over breakfast, to visualise the proposals in a loose, sketchy way in pencil, pen, charcoal - from a distance, in close up - a series of vignettes and maybe also maquettes in grey card. We would be happy to speak on the phone or by skype later this week to discuss your work with a view to seeing an updated pdf on Monday 23 March.

We will somehow, given the current circumstances, arrange tutorials with the structural and environmental engineers in due course.

Please feel free to contact us at any time.

New dedicated cycle lane

We hope you are keeping well.

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New pedestrian link formed by removal of existing dwellings

Kind regards Pierre and Pereen

Cycle network masterplan - 1.1000 @ A1

Fig 302, Crit proposal for remodelled Valence Avenue

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Fig 303, Crit feedback email form Pierre & Pereen

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W/C: 23.03.20 University closed due to Coronavirus - 20.03.20 - 5pm

Attendees: Zimmie Sutcliffe, Pierre Dâ&#x20AC;&#x2122;Avoine

Due to the escalating coronavirus pandemic the University was forced to close on Friday 20th March causing huge disruption. The image below outlines the vast changes that will take place, with all teaching moving online. Obviously, this is a significant development and I was careful to make sure I collected all my Zimmie Sutcliffe <zis0043@my.londonmet.ac.uk> work, materials and information stored at university should I need it working from Important Coronavirus update from Deputy home. Adapting to this newthe state and Vice-Chancellor 1 message working methods will be a big challenge Fig 305, Microsoft Teams logo Professor Donna Whitehead <communications@londonmet.ac.uk> 17 March 2020 at 08:49 but I am confident I have all the resourcReply-To: Professor Donna Whitehead <communications@londonmet.ac.uk> To: Zimmie <ZIS0043@my.londonmet.ac.uk> es I need and can manage my project more independently moving forward. View this email in your browser

Phone tutorial with Pierre - 23.03.20 - 10.20am

Following the closure of the university teaching moved online. However, while the details of this were being ironed out our first tutorials since the closure were conducted over the phone with Pierre. I had been working hard on my project following the digital crit submission, mainly finalising the location and extent of house removals and creating new connecting streets to Valence Avenue. I began to think about how I could best represent my project graphically, sending my initial thoughts to Pierre for discussion. Examples of the styles I was pursuing are below. Generally Pierre was positive about my work but was conscious that I move on to designing the structures along Valence Avenue having made good progress on laying the groundwork.

Fig 304, Government health advice poster

Fig 310, Notes from tutorial, 23.03.20

Dear Zimmie,

Moa t

I wanted to get in touch to update you on the forthcoming closure of the University. Firstly, I want to thank you for your patience and flexibility while we respond to the challenges presented by the coronavirus. We Moat

have listened to your views and concerns and have acted quickly to promote the health and wellbeing of every member of the London Met community. Today we had confirmation that one of our Cass students has tested positive for coronavirus virus and a number of our staff and students are now self-isolating as a precaution. I know this news might make some of you anxious and I want to reassure you that we are escalating our plans as a result. We had already started to escalate our plans to offer online teaching and yesterday's announcements by the Prime Minister makes this work even more important. A number of courses moved to teaching online yesterday and all other courses, wherever possible, will join them over the course of this week, with individual teams being encouraged to go live as soon as they can. Your course leader will let you know when the teaching for your course will be going online. If you are worried about attending the campus in the meantime, you do not have to come in and you will not be disadvantaged in any way. We are well prepared to ensure that your course enables your success. We can provide alternative assessments where needed and we will offer support to all students remotely. Again, your course leader will communicate more about this. Our priority is ensuring your wellbeing and success. We are committed to keeping our University community safe, this is why we are going further than the current Government requirements. You can find answers to some frequently asked questions on our website. All ongoing communication with you will be via your Course Leader on WebLearn, it is very important that you check for messages on WebLearn regularly. Please continue to follow the advice of Public Health England, engage in social distancing as much as is possible, call NHS111 if you have symptoms, and look after yourselves. Best wishes, Donna Professor Donna Whitehead Deputy Vice-Chancellor

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Fig 306, Email confirming the closure of the university and implementation of online teaching

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Fig 307-309, Renderings, Bosch Capdeferro Arquitectos, Jan Kattein Architects

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Pro ection: Bri

Fig 311, Proposal map discussed during tutorial, 23.03.20

Online tutorial with Pierre & Pereen - 26.03.20 - 4pm Attendees: Zimmie Sutcliffe, Laura Pascu, Pierre D’Avoine, Pereen D’Avoine

Our next tutorials followed three days later, this time in pairs and via Microsoft Teams. We had to send PDFs of our work 4 hours prior to our tutorial and take notes for our tutorial partner. My progress since the last tutorial had been fairly slow as I was working on an axonometric drawing to show my strategy towards planting, soft landscaping, seating, lighting & street furniture, shown below. I presented an in progress version of this drawing, which Pierre & Pereen liked but they were concerned I was losing sight of the bigger picture and should be designing the main built elements rather than the details of planting, which I had to agree with. I made a plan to vary my work patterns more and switch between scales, mediums & tasks more frequently to avoid becoming bogged down. Overall, this tutorial made me realise how much work I had to do and the urgency of making significant progress.

Fig 314, Blomstraat houses- Braaksma & Roos Architectenbureau - Weesp, Netherlands, 2013

Fig 312, Cité de Hemptinne - Evolta - Ghent, Belgium, 2019

Fig 315, “De Stoep” concept - sidewalk as public meeting Zimmie - Tutorial 26.03.2020 space - Netherlands

Fig 316, Redesign of Anzegem Church - Atelier Tom Vanhee & Graux Anzegem, Belgium, 2017

Pierre & Pereen Feedback: Learning from Las Vegas Mapping - combine text with mapping Traffic flow? Removing buildings to add communal facilities - giving back to the community Sections were very successful - keep working on them - you could show the whole long stretch, but in episodes - add to its richness How you walk down the stretch - could be an episode in the section Reference: Ramblas in Barcelona - the context and atmosphere constantly change as you walk through it, could apply the same technique to your stretch Conceptual diagram that looks at the whole road - 3D diagram - isometric - talks about the rhythm of the road Watercolour precedents - how are u going to apply the style to your drawings? are you going to zoom in, too? Don't lose sight of the bigger picture - it's good to zoom in, but you should jump between scales and test different ways of drawing Important to show what you are adding to the locale The festival is a great idea, don't forget about it Fig 313, In progress axonometric site proposal

Fig 317, Tutorial notes, 26.03.20

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Design development - 27.03.20 - 02.04.20

Following the busy schedule since the last crit it was important to have an individual tutorial to discuss the progress of my node project and explore its possibilities. Trying to balance the many threads of work to be completed meant that my work into creating my node was fairly fragmented, with lots of sources of inspiration but a lack of a coherent narrative. For this tutorial I presented exerts from my sketchbook and a document of references. Pierre felt that whilst the references and initial thrust of the design had great potential it was too general and scrappy, which was reflected in the sketches I had done. He made it clear I needed to pick a specific site and draw this site to scale and in detail to be able to develop my design with any authority. Some of the sketches I presented are shown across the following two pages.

Fig 318-321, Street layout/3D proposal sketches, 29.03.20

Fig 322-323, Existing & proposed site axonometric drawings

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W/C: 30.03.20 Online tutorial with Pierre - 02.04.20 - 4pm Attendees: Zimmie Sutcliffe, Pierre Dâ&#x20AC;&#x2122;Avoine For my next tutorial I felt a lot more confident as I had finished my axonometric drawings & made strong progress with my project. Having spent the previous week developing a sequential structure for the arrangement of pavilions along Valence Avenue I had begun to look at developing an architectural language for them, referencing projects like Assembleâ&#x20AC;&#x2122;s Cineroleum and temporary pavilions made from scaffolding. Pierre seemed a lot more positive about my work but reiterated the importance of quickly developing an architectural language for the pavilion structures to really bring the threads of the project together. We also discussed the upcoming schedule for consultant lectures over Easter, particularly for environmental and structural design.

Fig 324, Cineroleum, Assemble, 2010

Fig 325, Scaffold structure precedents

Fig 326, Retail kiosk precedents

Fig 327, Development sketch, pavilion positioning

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Fig 328, Development sketch, pavilion positioning version 2

Fig 329-330, Pre & post-tutorial notes, 02.04.20

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Post tutorial - developing an urban room concept Initial sketches, ideas & developments

Fig 331-332. Developing initial form & materiality concepts through sketches

Fig 333-335, notes & sketches developing programme & form

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Post tutorial - developing an urban room concept Initial sketches, ideas & developments

Fig 336. Beginning to model the rotunda in Revit

Fig 337. Developing a linear building rhythm & how to join this to the rotunda

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Typology study: Marquee/town show tent

Typology study: Cooling tower/hyperboloid

A study of form, construction, function in tented structures

A study of form, structural & ventilation design

With my proposal to stage a centenary festival partly inspired by similar historic civic events in the borough, such as Dagenham Town Show (1952-2012), I wanted to reference the physical appearance of these events in some way through my proposal. As such I looked extensively into tent structures, including marquees & tensile roofs. One of the obvious issues with these structures is their temporality; they are designed for short periods of use. Thus, my proposal seeks to reference, not replicate them, in a permanent state. The inverted funnel form of these spaces and their large, uninterrupted spans inspired me; I wanted to replicate this sense of a large communal gathering space with high ceilings and openness to the external. This left me with an issue in terms of replicating this form through other structural means to meet environmental & performance requirements for a permanent building whilst using materials in a “truthful”, not referential way.

Following on from this research I began to look into cooling towers & their similar “inverted funnel” form. I discovered this form is in fact a hyperboloid, & in cooling towers assume this form for functional reasons; namely minimal material usage for large spans & enhanced stack or natural draft ventilation. This was a crucial discovery as it opened up a path for me to achieve the form & aesthetic I wanted without it being merely “a nice shape”. There are still issues with the spatial efficiency of this form but as it is only to be used for the main public space in my scheme I decided the positives of structural efficiency, environmental performance & beauty outweighed these concerns. Developed by Vladimir Shukov, the hyperboloid is generally a lattice construction of tapered straight lines whose end points are rotated around a circle, resulting in the famous “inverted funnel” form. Fig 338, Tented structures or marquees are often seen at town shows, such as above at Dagenham Town Show

Fig 345, Diagram showing a hyperboloid is all straight lines, simply rotated

Fig 343, Usually a concrete hyperboloid, the towers above also use a steel lattice

Fig 339, Cooling tower concept - Frei Otto/Atelier Warmbronn, 1974

Fig 340, Steel poles hold the canvas in tension & achieve large spans

Fig 341, Frei Otto pioneered tensile structures, like Munich Olympic Stadium, above

Fig 342, Frei Otto, Diplomatic Club/Tuwaiq Palace, 1980, Riyadh, Saudi Arabia

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Fig 344, Cooling towers are often hyperboloids to maximise natural draft ventilation

Fig 346, Vladimir Shukhov’s first ever hyperboloid - water tower, 1896

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Playing with form

Form study: observation towers

Initial sketches, ideas & developments

Exploration of observation towers as architectural beacons, their spatial efficiency & function

I found myself playing with a lot of references in my initial design thinking, trying to reconcile all that I wanted my project to say & embody. One of these was the form of the tower as an observational device, marking a point in the vast low rise landscape of the Becontree Estate. Whilst I wanted my Urban room building to respond to the modest scale of its surroundings & enable permeability across the site, I also wanted to add the visual variety so lacking in the estate. The observation tower was my way of doing this, and I liked the idea of a structure existing for the sole function of providing a vantage point; the simplest of reasonings. However, I found myself drawn to the idea of play and the belief public buildings should allow for and encourage play; play is democratic, requiring no knowledge or skills, just imagination. This pushed me towards incorporating play functions within the tower, such as a climbing wall or zip-wire.

Fig 349, Adventure tower, Ateliereen Architecten, 2013, Netherlands

Fig 351, Whilst also providing stunning views as a viewing platform

Fig 350, The observation tower doubles as a climbing wall and zipline

Fig 347-348, Exploring the idea of a viewing tower in sketches & Revit

Fig 352, â&#x20AC;&#x153;33â&#x20AC;? pavilion, Studio Weave, 2018, Greenwich,

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Fig 353, In many ways a playful & elaborate structure simply offering views

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Key precedent: Fullwell Cross Library

Key precedent: Woolwich Rotunda

Public library by Sir Fredrick Gibberd, 1968, Barkingside, Ilford

temporary events space/war museum by John Nash, 1814, Carlton house & later Woolwich common

An important project in developing my approach to form, Fullwell Cross Library is situated in a suburban East London context, much like my scheme. It is also a generous civic offering like my proposal, though its position in a town centre differentiates it. The arched clerestory windows and tent like copper roof echoed my intention for the urban room portion of my scheme almost perfectly, providing a concrete example of how I might realise this concept structurally & spatially.

Similarly to Gibberd’s library, Woolwich rotunda is a lesser known example of the work of a historically prominent & significant architect, in this case John Nash. Studying this building, particularly through the brilliant “Cones, not domes” paper by Jonathan Clarke, made me realise the form I envisaged in my head was structurally achievable, particularly if it had been realised in 1814 without the advances in structural technology available today.

Whilst the spatial efficiency of forms like this are debatable, their beauty is undeniable; ambitious & geometrically skilful. Whilst I am using a steel structure, not concrete, I am attempting to produce a similarly ambitious form with a relatively heavy roof cladding so understanding the structural logic, size & spacing of members in this project was extremely useful.

It also offered an alternative to the hyperboloid lattice structural system, using a system of radial trusses & load bearing double outer wall to support a very heavy lead roof & achieve a span of over 20m with only one central column. The fact this form is achieved with timber and not concrete, unlike Fullwell Cross or Niemeyer’s Brasilia Cathedral, is remarkable. Fig 354, Library entrance showing ribbed copper roof

Fig 359, The striking form of the rotunda with lead roof

Fig 360, In section the use of divided tie-beam trusses is clear

Fig 355 Arched clerestory windows draw light into reading spaces

Fig 36, Furniture, including bookcases, are integrated into the circular plan

Fig 357, The large roof span is enabled by deep concrete ribs

Fig 358, These ribs radiate outwards and integrate with the arched facade motif

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Fig 362, Internally, a central free stone column enables a large column-free span

Fig 361, Each opposing pair of half ribs meet in the middle, with their upright timbers forming the king post

Fig 363, A load bearing double outer wall requires strong cross bracing

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Typology study: Becontree terraces A study of uniformity, variation, materiality and scale of low rise, mass housing in Dagenham The predominant inspiration behind my design thinking has been the Becontree estate itself. I am fascinated by the subtle variations & modifications that exist beneath its surface of uniformity. The following images display this variation in a basic sense; there are in fact 91 different house types on the estate but the differences are so small, most people would likely think there are no more than 5. Broadly speaking, the 27,000 houses of the estate can be divided into 2 main types; t storey terrace and 1.5 storey/”dormer bungalow” terrace. Within these types there are different arrangements of blocks, corner conditions, end conditions, one offs, step conditions between heights & different gable/pitch conditions, all of which are observable with relative ease. Beyond this, the variation in materials, finishes, ironmongery, entrance porches, window placings, window sizes, state of upkeep, colour, fenestration & garden style are numerous.

This subtle, but extremely wide variation, almost to the point of individuality, encapsulates my image of the estate. Some of this variation was built in from the start; gardening competitions were held to encourage individual expression, however, the majority of it has developed over the course of 100 years. Right to Buy has arguably accelerated this, allowing people greater freedom to modify their homes how they like, at the expense of cohesion & council housing stock. I want my scheme to echo this wide range of change within an overall standardised framework, mainly through the use of materiality. I also am inspired by the steep pitches and wall to roof ratio of the dormer bungalows, which is reflected in the form of my scheme. The endless rows of terraced houses inspired me to create a long, linear building of low rise, book ended by two larger spaces of individuality and architectural flourish. Fig 364, Typical two storey terraces with shared entrance archway

Fig 369, Transitional condition without shared entrance & pebbledash

Fig 365,Typical two storey terrace block end condition

Fig 367, Typical semi detached houses with shared entrance archway

Fig 370, Transitional condition with pebbledashed dormer bungalows

Fig 372, Typical row of dormer bungalows with shared entrance variations

Fig 366, Transitional condition from two storeys to “dormer bungalows”

Fig 368, Dormer bungalow/2 storey terrace end condition variation

Fig 371, Dormer bungalow variation with protuding gable

Fig 373, Dormer bungalow typical block end condition

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Form study: arches & vaults Exploring the appropriate materiality, structural & aesthetic function of arches in contemporary design Early on in the design process I was searching for architectural components or devices to base my scheme around, mainly searching the local built and historical context for clues. I like to work in this way, taking existing elements and using them in a different way to create something new. The Becontree estate has a certain uniformity to it, bordering on mundanity, making the details even more crucial in the architectural language. One of these details is the shared entrance arch to most houses, something which inspired the form of my node project. The arch is a key architectural device over centuries so I wanted to use it to reference both the immediate and wider themes. In Roman times, the arch was used for its structural strength in compression, with each stone holding the others in place. Stone is strong in compression and the lack of alternative building materials and fixings made the arch very useful in constructing large infrastructure such as aqua-ducts. Combined, arches form equally strong multi directional spans through vaults, as shown to the right. Fig 374, How arches form a vault and transfer structural loads

Deployment of arches in contemporary architecture is a more complex issue, with debate over its use as a merely aesthetic device. With advances in modern construction & materials, achieving long structural spans is possible in a multitude of ways, with the compressional strength of arches no longer crucial with the advent of concrete. However, the arch continues to be used frequently, despite the form no longer being derived from structural necessity. Some argue, this is a betrayal of structural principles or truth to materials but the arch still has strong aesthetic & symbolic associations so is as legitimate architectural device as any other. The images below show it being used to frame an entrance on the Becontree Estate & to create a sheltered but visually open walkway to the right. In contemporary architecture the arch is more of a symbolic feature than a structural one, being able to be constructed from a wide range of materials.

Fig 379, Arches as a design motif - Barkingside town centre, DK-CM, 2014

Fig 380, These arches reference the existing context of Fulwell Cross Library

Fig 375, Pont du gard, a romanesque example of structural arches in an aquaduct

Fig 376, Diagram showing how arches work in compression

Fig 377, Decorative arches - “130 William” residential tower, Adjaye Associates, 2019, New York

Fig 378, Arch as art - “Arcade”, Gijs Van Vaerenbergh, 2019, Kruibeke, Belgium

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Fig 381, The arch is no longer a structural necessity, as seen above

Fig 382-384, Variations of the “Becontree arch”

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Exploring structure & materiality Sketches, ideas & developments

Fig 385-386, Developing the roof forms and rhythm in Revit

Fig 387-388, sketches exploring structural setting out & materiality

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Exploring structure & materiality Sketches, ideas & developments

Fig 389-390, Finalising the number of bays & updating materials in Revit

Fig 391-393, sketches looking at structural layout in section & developing a grid

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Fig 394 Finalising structure, cleaning the model & setting the graphic style in Revit

Fig 395 Modelling final facade cladding & material details in Revit

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Key precedent: Yard House Workshop/arts space by Assemble, 2015, Stratford A key project in the development of my approach to materiality was Yard House by Assemble - a simple, low cost set of studio spaces for artists in London. Whilst the ethos of the scheme is simplicity & low cost adaptability, as shown in the simple 2 storey, 3 bay structural layout, lack of fixed internal partitions & remarkably low ÂŁ291/m2 construction cost, it is the one area of extravagance that attracted me.

The strict geometric layout of diamonds also contrasts nicely with the seemingly random arrangement & subtle colour variations. This natural variation is enhanced by the ability of the facade to seemingly change dependant on the environmental conditions; it will appear different from day to day, dazzling in the sun & more sombre in the rain. The choice of mostly subtle pastel shades helps achieve this effect and heavily informed my decision to pursue a tiled roof on my scheme, in part to reference the surrounding terraced context. I have experimented widely with colour tones, parings & arrangements to achieve two separate conditions; a largely uniform, subtly changing palette from afar & a more varied, dynamic appearance up close, much like in the pointillism technique employed by artists such as Georges Seurat.

Whilst the rest of the building is constructed from simple components & off the shelf, prefabricated panels, the public facing facade features an intricate, colourful cladding of ceramic tiles. Hand made on site, I love the natural variation & texture of these tiles, giving a sense of surprise & difference to the facade.

Fig 396, Public facing facade clad in handmade tiles

Fig 398, Simple 3 bay, 2 storey structural layout

Fig 399, Detail view of cladding tiles showing subtle colours and

Fig 397, Ground & first floor plans, long and short sections

Fig 400, The tiles were hand made on site

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Fig 401, Central atrium with staircase leading up to first floor studio spaces

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Key precedent: Brockholes Visitor Centre Nature reserve visitor centre by Adam Kahn Architects, 2012, Samlesbury, Lancashire Another significant precedent in developing my approach to structure & form has been Brockholes Visitor Centre by Adam Kahn Architects, mainly for its use of roof-lights and use of steeply pitched roofs. Although I am pursuing a different philosophy towards materiality; steel, use of colour & ceramic tiles vs exposed timber, natural colours & shingles, my thoughts about the roof line of my scheme, sequential spaces & daylighting from above are very similar. I especially like the ratio of roof to wall used here, with external walls making up only 1:3, sometimes 1:4 of the overall building height, as illustrated below. The image bottom left in particular shows the echoes of a line of terraced houses with sharply pitched roofs, much like on the Becontree estate, with its multitude of “dormer” bungalows. Fig 402, Long section showing rooflights and ventilation

The scheme has achieved an “Outstanding” BREEAM rating, with zero carbon construction, achieved through using low embodied energy materials, state of the art insulation & glazing, grey-water use & a biomass boiler. In addition, the roof lights perform a key sustainable role, as well as a beautiful spatial one. All spaces, with the exception of kitchen’s & w.c.’s, are naturally ventilated through these predominantly north facing roof lights. Being north facing reduces over-exposure to summer sun, with retractable blinds below aiding this. Air is drawn in through low level vents and extracted through the roof lights.

Fig 403, Entering the pontoon

Fig 404, The roofline and steep pitch define the form of the

Fig 405, Internally, light floods in from above, creating beautifully soft spaces

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Fig 406, Simple timber roof structure

Fig 407, Detail section showing the roof build up including oak shingles

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Structural design: Exposed steel

Materiality: Use of colour

Exploring structural form, material properties & spatial function

Exploration of colour in architecture, its associations, application & atmospheric effects

Deciding on a structural approach to my scheme was a challenge, with my aesthetic preferences sometimes conflicting with structural or environmental performance. Following my research into hyperboloid lattices I moved towards steel as my primary structural material, as is the case in many of these lattices, and marquee tents. However, my desire to express the structural frame both internally and externally raised a serious issue of thermal bridging. As the examples on this page demonstrate, this can be achieved but requires either cladding of the steel externally in an aesthetically similar material such as an insulated aluminium panel in the offices below, or to introduce thermal breaks between the internal & external envelope, as well as between floors. This raises questions of truth to materials but I believe it is the best solution to have intumescent coated exposed steel internally & to use insulated cladding panels externally to replicate the effect aesthetically.

Another consideration in my development of materiality has been the use of colour. The use of colour, particularly bright, statement colours, is back in architectural vogue in recent years, after a period of “natural” aesthetic, i.e. unfinished plywood walls, exposed concrete etc. Colour has featured at points in history too, notable through the work of modernist architects such as Luis Barragan & Le Corbusier, as shown below. I am particularly interested in pursuing a palette of pastel colours similar to that used by Assemble in Yard House, of light pinks, blues and yellows. I intend to feature colour in the cladding of my scheme, with a rich variation of roof tiles in different tones, but also in the exposed steel structure, through a single colour, likely pink. As the examples below show, steel takes colour well, with a more uniform application than timber or concrete allowing for “blocks” of statement singular colours. Fig 408, Exposed steel facade - IBM offices, Hopkins Architects, 1992

Fig 409, Pink steel facade - R7 offices, Duggan Morris, 2017, London

Fig 410, Facade detail showing metal cladding over structure behind

Fig 411, Cladding the steel reduces thermal bridging but retains the effect

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Fig 412, Animo South Los Angeles High School - Brooks + Scarpa, 2015

Fig 413, Staircase - Leietheater Deinze Theatre, TRANS architectuur

Fig 414, Staircade - offices, Studio Rianknop, 2018, Amsterdam

Fig 415, Coloured entrance gate - Luis Barragan

Fig 416, High Court, Le Corbusier, 1955, Chandigargh, India

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Appendix

Bibliography

Websites:

Books:

- Adam Kahn Architects. www.adamkhan.co.uk

- Bacon, E. (1975), Design of Cities, London : Thames and Hudson

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- Jacobs, A. (1993), Great Streets, Cambridge, Massachusetts : MIT Press

- Assemble. www.assemblestudio.co.uk

- Jarman, D. (!995), Derek Jarman’s Garden, London : Thames & Hudson

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- Lynch, K. (1960), The Image of the City, Cambridge, Massachusetts: MIT Press

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- Perec, G. (2010), An Attempt at Exhausting a Place in Paris, Cambridge: Wakefield Press

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- DK-CM. www.dk-cm.com - Friends of the Earth. www.friendsoftheearth.uk

Publications/papers: - Hopkins Architects. www.hopkins.co.uk - Clarke, J. (2006), Cones, not domes, The Construction History Society - Jan Kattein Architects. www.jankattein.com - Clossick, J. (2014), Where is Tottenham’s Economy?, CASS Cities, London Metropolitan University - LBBD Council. www.lbbd.gov.uk - Farrell, T. (2014), The Farrell Review, Farrells/Department for Culture, Media & Sport - Leku Studio. www.lekustudio.com - Keefe, V-J. (2018), Everyday Futures: Volumes 1-3 - Lillitt Bollinger. www.lilittbollinger.ch - London Energy Transformation Initiative. (2020), LETI Climate Emergency Design Guide - Maich Swift. www.maichswift.com - London Energy Transformation Initiative. (2020), LETI Embodied Carbon Primer - Mayor of London. www.london.gov.uk - Mayor of London. (2013), All London Green Grid - MUF. www.muf.co.uk - Mayor of London, (2018), London Environment Strategy - Valence House. valencehousecollections.co.uk - Muf Art & Architecture. (2009), The Barking Code, London Borough of Barking & Dagenham - Verity Jane Keefe. www.verityjanekeefe.co.uk

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