02_13
think brick date: sept 13 - jan 14
3rd yr/ semester 1
TRADITION + MODERNITY date: JAN 14
14_17 3rd yr/ semester 2
18_37
generative housing date: feb 14 - may 14
3rd yr/ semester 2
modernism essay date: may 14
38_39 Independent project
40_43
basingstoke house date: aug 14 - oct 14
fch architects
part 1 Experience date: feb 15 - ongoing
44_47 combo competitions
48_51 page 01
Prison puzzle date: nov 15 - feb 16
CONTENTS
3rd yr/ semester 1
3rd yr/ semester 1
think brick date: sept 13 - jan 14 The Semester 1 project (BA3 | ARCH 302) is divided into two parts. The first is the study of materials, their performance and the relation to the two basic construction principles, structural frame or load bearing masonry. The second is the application of that knowledge to the design of a medium sized building, an exhibition gallery. The project is mostly based around the use one of a heavy material; in this case brick was allocated, a second material for structural reasons and glass may also be used. In designing the gallery an awareness of and response to the materials and how they condition the spatial and environmental qualities was demonstrated. This is an individual project. While initial study into the materials was group work, none of this is directly included in this portfolio.
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The site is an urban infill plot in the Ropewalks area of Liverpool, an area characterised by its long, straight streets running parallel to each other. The streets were built in this way to allow rope manufacturers to lay the ropes out lengthways during production. There are a large number of historic warehouse buildings and it owes much of its character to the rope-making industry. Nowadays, it has increasingly become the centre for Liverpool’s night-time economy and creative industries. The sub theme of the project; ‘Heavy and Light’, that came with the allocation of a heavy and light material (brick and steel) presented an opportunity to experiment with these classifications. Does brick have to be a heavy material? Tradition dictates that brick is a dense, load bearing, strong and durable materials laid by hand. But contemporary architects are demanding more expressiveness from brick and today’s technology is allowing them to do so. As Louis Kahn once asked, “Brick what do you want to be?”. The question nowadays is only limited by the architect’s imagination and desire, for brick can truly be anything it wants.
Models and graphical representations of the development design stage of the ‘Light’ brick wall composition with variations in perforation widths as well as in double and single stacks. As well as modes and graphical perspective representations of the anechoic brick laying composition where bricks are rotated to angles that result in dynamism and texture. (right)
Perspective image of the site (left) : Highlighting the dark spaces formed by the heavy brick surrounding buildings.
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“The architect Louis Kahn liked to cloak his design process in mysteries; as he explained it once: “I look at a brick, and I say, ‘Brick, what do you want to be?’” That little koan encapsulates an entire strand of architecture theory: Good architects make a virtue of their material, limitations and all. And yet the maxim now means a little less, because a brick can be almost anything. It has everlasting virtues-it was modular and pre-fab before those words were invented-and it remains outstandingly strong and durable. But, contemporary architects demand greater expressiveness from their building block, and scientists are reformulating the humble material’s makeup and pressing it into service cleaning the environment. Louis Kahn’s clever brick, posed with the same question today, would answer: How good is your imagination?” (Kuang, 2008)
Private, semi-private and public brick spaces
Both the Perforated brick model and Anechoic brick models were built using 1:12 parts of real brick sections that each represent a brick with the dimensions 215 × 102.5 × 65 mm. (right)
Two different brick bonds were designed, intentionally contrasting with the aim of exploring themes of heavy and light, public and private spaces and form. They are a response to both the site and to tradition. Deliberately not true to the material but rather true to the time.
1 Inspired by the Tate Modern Extension by Herzog & de Meuron the aim was to create a lighter, semi transparent, dynamic wall bond that breaks up the continuity of a standard wall resulting in unique contemporary spaces. By varying the stacking of the bond, the bond distances as well as the frequency of perforation, the material is able to create the effect of depth and counter depth whereby larger perforations, due to double-layered stacking, signify areas that seem to be in the foreground while decreasing bond distance indicates a possible receding perspective. Semi private spaces are created through the wall transparency. A disrupted fragmented imaged is formed and needs to be pieced together to be understood. The image changes with the angle of site along the wall, light gaps appear only to diminish again. While the bond loses the strong structural load bearing qualities of traditional brick bonds, it now serves a new purpose as a screen that will work in contrast with the heavy brickwork that surrounds the site.
2 An anechoic chamber is a room designed to completely absorb reflections of sound. The interior surface of the chamber is lined with foam wedges that alternate in horizontal and vertical positions to best bounce the sound waves emitted within and around the space. The anechoic brick form attempts to create brick courses that mimic roughly the geometry of the foam wedges with the aim of taking upon some of the aesthetic qualities. Alternate bricks in the course are rotated, still allowing structural security while presenting two different textures and different environments for the inside and outside. One side creates the rough spiky anechoic form and pattern. It has a sense of direction, a grain running through it, that could potentially control the circulation through the building - especially relevant for the gallery spaces as people move through the site. The dynamic grain beaks the continuity and ‘flatness’ normally associated with brick and while it is still heavy with dark shadow it has a tonal changes and depth and can provide private enclosed space without being dreary and dull.
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The cross sections reveal the relationship between the brick and steel through the main gallery space, the book ends of the long section are load bearing blockwork walls but contained within is a steel frame that forms a small cantilever allowing the glass curtainwall to outline the edge of the ground floor overlooking the courtyard. With the brick returning as cladding on the first floor the block almost appears to float above the ground - allowing plenty of light into the deepest part of the gallery space as well as a view through the whole building and from almost any position in the gallery block. Other features that are best seen in the sections are the window seats, set within the brickwork and somewhere to sit to warm up in the sun or communicate with the outside world. The depth of the cavity walls in the third block and the front elevation allowed for a seating extension to be added without protruding too far into the spaces.
Top: Linear Gallery block perspective long section with part of floor plan showing seating area sunk into the wall. Bottom: Courtyard perspective long section From left to right: AA cross section, BB cross section, CC cross section, original scales 1:100.
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A-A
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B-B
C-C
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At night the cafe area's perforated brickwork sprays a pattern of light dots out onto the pavement and road. The varied perforations and stack heights create the illusion of depth as the light apertures appear to flicker on and off as the subject drives past. The detail section (right) shows the anechoic wall block next to the perforated cafe and included the ‘sit in’ window ledges.
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Original plans Ground floor plan original scale 1:50 (left) Showing semi private perforated cafe, linear public gallery space and private gallery space. First floor plan original scale 1:50 (right) showing private linear gallery space and toilets.
3rd yr/ semester 1
tradition + Modernity essay date: jan 14 An piece of academic writing from the ARCH321 Urban Studies module originally titled ‘Discuss the role played by tradition and modernity respectively in the urban/ housing thinking and designs of Neave Brown.’ that achieved a first class classification when completed in January 2014.
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"Tradition and Modernity are neither incongruous nor exclusive. They exist as a relationship between two entities that cooperate advantageously as two ends of a linear theory of social change.”
Alexander Gaul
It could be said that Neave Brown is one of the most significant architects from the last fifty years in the urban housing sector. This report aims to identify what tradition and modernity meant to Brown and the significance that they had on his urban housing designs and thought. Once an understanding of tradition and methodology have been gauged, Brown’s writing, The Form of Housing for Architectural Design magazine in 1967 to accompany his Fleet Street housing project will be analysed. A discussion can then be formulated using the statements by Neave Brown in his recent interview with the AA and Mark Swenarton’s journals ‘Geared to producing ideas, with the emphasis on youth: the creation of the Camden borough architect’s department under Sydney Cook’ and ‘Developing a new format for urban housing: Neave Brown and the design of Camden’s Fleet Road estate’- which will help create an understanding of the motives and roles played by tradition and modernity in some of the country’s most noteworthy housing projects. Tradition and Modernity are neither incongruous nor exclusive. They exist as a relationship between two entities that cooperate advantageously. They are commonly used as two ends of a linear theory of social change. But Tradition should not be seen as a static entity, as architect Duncan McCallum McRoberts once said, “ “Tradition is the inherited and complex evolution of things cultural, social, conventional, and institutional. The question regarding it is: which traditions live and change, and which do not.” Tradition need not involved quarrel with modernity and likewise modernity need not necessarily weaken tradition. Both tradition and modernity form the bases of ideologies and movements in which the differences form objectives and design intent, but tradition can provide support for or against change. With regards to the time period in question, modernity in architecture of the early twentieth century was identified by the concept of rationalization and the break away from tradition which formed the modern movement. The next generation of the modern movement questioned the social dynamic and context of modernism in architectural design and it is this period that Neave Brown was a part of and played a role in his formulation of a new typology for urban housing. A run of urban housing projects planned between 1965 and 1973 in Camden, London set out a new model for high-density urban housing of which Neave Brown is generally regarded as the forbearer with his Fleet Road and Alexandra Road projects. (Swenarton 2012) In terms of modernity therefore, it could be said that Brown created the typology for the future urban housing developments that followed his two landmark designs and the text that accompany them - The Form of Housing. Neave Brown’s experience at the AA School of Architecture in the early 50s and the time period he began his professional career in was vital to help form his architectural and social views regarding tradition and modernity. (Swenarton 2012) This was post war Britain and he formed a group with his comrades at the AA citing criticism of pre war modernism, particularly the development of the high rise housing schemes being
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used to satisfy the population density issues of the time. Although Brown claims to have ‘taken modernism into his blood stream’, it was generally from a critical perspective and did not identify with many of the monumental modernist designs. (Brown 2013) The war pressed change on Britain, the baby boom that followed prompted a greater emphasis on housing for families, all new buildings were public and new government guidelines under post war standards were brought in. (Brown 2013) The response to this at the time was mixed development high rise towers and low rise maisonettes stemming from the rational modernist theories of Le Corbusier’s Radiant City, and an attempt to break with the tradition of bylaw housing. The intention was for couples to live together in the tower blocks until they had children when they could move to maisonettes until the children grew up and moved out when they should return to the tower. Of course this notion failed and mixed development schemes were immensely unpopular due to the social problems of inappropriate living conditions, thus causing the reaction that it did within the AA and the subsequent proposals for forward thinking regarding urban housing by Neave Brown. (Swenarton 2012) The Winscombe Street scheme that Neave Brown designed in 1963 was significant for setting Brown down the path that lead to the philosophy for Fleet Street and Alexandra Road. His task was to design a complex of five houses that were suitable within a traditional council house environment with an emphasis on families. (Swenarton 2012) It lead Brown to put significant emphasis on the community spirit that had been rejected by the pre war modernist schemes, especially that of the children. It was his aim to not force people to change their cultural and social ideas as the likes of Le Corbusier had. (Brown 2013) However while the scheme had a much closer feel to traditional London housing, the layout differed entirely. But this does not necessarily dispel with tradition, Brown saw the direction that social continuity was going and designed to adapt to the change. The emphasis on spaces for children in the design was a direct response to the growing families since the war - in traditional terraced housing there was only a small yard at the back and the street for children to play. But at Winscombe Street, Brown designed a communal garden for the children of the five families to share. (Swenarton 2012) Brown also altered the traditional layout of housing, separating the house in to zones for children and zones for adults and reducing circulation space. (Swenarton 2012) While this could be seen as a rejection of the tradition by Brown, it differs from the tower and slab’s rejection from tradition. Brown saw the continuity of society as vital for an effective housing development, he understood the things that create a good social dynamic by looking at the traditions that has shaped such a communities of the past. Further to that he understood the changes to the culture, the baby boom, the commercialisation of the motor vehicle, and designed under a set of circumstances in order to enhance and retain the social traditions. He describes the building process as a muddle where he focuses on the social needs of the inhabitants. So while the traditional Victorian architecture may be scorned and changed, he manages to retain the aspects of social life that form a cohesive community. (Brown 2013)
Tradition + Modernity Essay
Tradition + Modernity in the urban/housing designs of neave brown
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and neighbour, pubs, shops and backyard industry , generated the cohesive street society”. (Brown 1967, 432) The Form of Housing gives a clear insight into Brown’s opinion on tradition and how he feels that the modern masters were wrong to dispense with it. What could be debated is whether the likes of Le Corbusier formed an advancement on tradition with their 20s and 30s takeover leaving Neave Brown to reject what tradition had become. It could be argued that the early modernism never had a national impact and could not be described as tradition because of its own destruction of tradition itself. What it really could be portrayed as is the pre war modernist’s take on modernity, which Brown would later come to reject in favour of his own view on what modernity should be - as evident in his Fleet Road design. Fleet Road is perhaps more significant than Alexandra Road because it laid down the benchmark for housing modernity for the future - including Alexandra Road. The role of tradition from the past and the changing social aspects of the culture of the people is evident in the design. He claims to have designed the estate as near to traditional continuous working class houses as possible. (Swenarton 2012) His stimulation by tradition was evident, he brought the street back, identified each house and gave them a paved garden. But like Winscombe Street, although motivated by traditional bylaw housing there were again some significant differences. Brown acknowledged that although the bylaw houses created a positive social dynamic, they had their flaws. The rears of the terraced housing were criticised and replaced with a frontage on both sides and the deep plans of terraced housing that prevented light penetration were changed to a much squarer layout. A garage per house was included and the site became a complex for society to thrive with shops, playgrounds and again communal gardens for children to play. (Swenarton 2012) Neave Brown did not view tradition as a static entity, he saw that it could be adopted and adapted to suit social change. He understood that tradition move forwards inescapably as the needs of the people change and the world changes. His view on what modernity should be was to design for the specific social needs, not to be overly ambitious and not try to force a cultural symbol as the pre war modernist masters had. Neave Brown respected tradition and realised that it could not be changed to suit a particular agenda but he understood that tradition is something that can be improved on as part of the continuity of life. His modernity was to work with tradition, to suit the needs of the people of the future as evident from looking at the past. References Neave, Brown 1976. “The Form of Housing.” Architectural Design, 43233. Swenarton, Mark. 2012. “The Journal of Architecture.” Developing a new format for urban housing: Neave Brown and the design of Camden’s Fleet Road estate 17(6) Swenarton, Mark. 2011. “The Journal of Architecture.” Geared to producing ideas, with the emphasis on youth: the creation of the Camden borough architect’s department under Sydney Cook 16(3) Brown, Neave. Conversation with Mark Swenarton AA Files 67, December 3, 2013
January 2014 (Page 14 and 16) Photographs of Neave Brown’s Rowley Way, Alexandra Road Estate, South Hampstead, London taken from ‘The Centre of the World’ online magazine.
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Urban Studies ARCH321
Tradition + Modernity Essay
The Form of Housing text, written for Architectural Design was to accompany Brown’s Fleet Road design in 1967. The two proposals gave a very clear insight into the roles of tradition and modernity in Brown’s thinking. The text contained substantial rejection of the housing coined by the likes of Le Corbusier and the other modern masters in between the two world wars. One of the main reasons for Brown’s objection was the apparent relentless drive from the modernists to break with tradition, both architecturally and socially. Brown felt that Le Corbusier et al were designing under the specified program of modernism, he believes that designing a building of any sort is a muddle, a process - not just to create a cultural symbol. (Brown 2013) He claimed in his text that in their desire to reject tradition and to replace it with something symbolic they have also rejected the particular problem of which they were supposed to be solving in the first place. The role of tradition is clear and prominent in his argument against the pre war modernist housing proposals. Neave Brown views tradition in an architectural and social sense as those that came before the modern movement and disagrees with those that have attempted to change it for the sake of designing under a specified program which ignores the culture and tradition of the country. (Brown 2013) In contrast to the pre war housing typology, Brown respects tradition and holds it in high regard, with the philosophy that the linear journey of social tradition and continuity of is the “inescapable characteristic of housing”. (Brown 1967, 433) He acknowledged that the past cannot be erased as was idealised by the Modern Movement’s ‘New Concept of Space’ that intended to depart from the existing city and rebuild isolated tower blocks on cleared sites. The tradition of the city itself and its freedom to grow and change through time without the need for destruction and re-establishment was imperative to Brown stating that “This characteristic of separation, recognizing only internal claims for organization, is fatal both to a city and to the inserted element itself, which inescapably depends on existing patterns to vitalize it”. (Brown 1967, 432) As well as the continuity of the foundations of the city, Brown also felt that the social tradition and culture of the people that would inhabit the pre war schemes had been neglected. A particular emphasis was put on the destruction of the street that was so familiar with bylaw houses. It is on the subject of the destruction of the street that Brown’s view on tradition is expressed, for it is not uncompromising in either direction. He acknowledged that bylaw housing had its flaws and was now unsuitable for the modern era and their reliance on cars and changing family dynamics. However he saw the nineteenth century housing as having an important role in society, the relationship between house, neighbourhood and the cohesive street society that they formed. “Despite differences the [bylaw housing] prevailed. Even at its worst it produced a certain immediacy of relationship between house and neighbourhood, and if haphazard and deficient in public and private amenity, the virtues of contact between house and street, neighbour
3rd yr/ semester 2
Generative housing date: feb 14 - may 14 The Semester 2 project (BA3 | ARCH 352) tackles the problem of providing well designed, spacious and efficient housing which meets the social needs and requirements of a Liverpool community. Generative design techniques are also explored with the design method consisting of four main design phases, each of which builds up on the previous exploration: Analysis> Morphogenesis> Metamorphosis> Architecture. The initial few weeks of the project, including the analysis and morphogenesis stage was conducted in groups of four before reverting to individual work form metamorphosis and design. During the morphogenesis stage we explored generative design techniques based on principles of organisation and growth in order to explore possible innovative spatial typologies. Taking the accumulation of modular units as the chosen generative typology we adopted a set of rules, parameters and constrains and produced a physical concept model which I then translated into a conceptual building proposal, matching the requirements, which also derived from the site analysis as well as the programmatic requirements.
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In a hard-hitting discussion paper called Improving Housing Quality: Unlocking the Market, published by the RIBA in 2009, it was stated that the poor quality of new housing ‘may be a result of a lack of confidence and training among planners. Improved design skills, alongside new senior roles for planner- architects would provide career paths, ambition and inspiration for younger professionals as well as graduates considering the profession.’ As a promoter of good architecture the RIBA is naturally concerned with design quality. This is something which is rarely a leading concern of the house-building industry. ‘The emphasis on increasing supply and improving economic performance levels’, the RIBA’s paper continues, ‘does imply that design considerations are not to interfere with delivery. There needs to be more clarity over priorities, and planners need to be more empowered to block or shape developments around design criteria. The potential economic disbenefits of poorly designed homes and neighbourhoods should be recognised.’ In 2011 the RIBA issued another discussion paper entitled The Case for Space: The Size of England’s New Homes. Here they argued that space, both internal and external, is one of the three principal things new house buyers look for, the other two being energy efficiency and the proximity of local services. They also found that, on average, new homes in England were only 92% of the recommended minimum size. Compared with new homes in other Western European countries, those in England were the smallest: new homes in Ireland were 15% larger; in the Netherlands they were 53% larger; and in Denmark they were 80% larger.
Generative housing
In our group of four we produced 150 quick massing models to display to the other groups using a variety of materials each with their own contrasting properties and qualities.
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generative housing
analysis
Form Defining Strategies: Accumulation of Modular Units Modularity can be described as a system which allows economy and efficiency in the design and realisation of architectural projects. Modularity can constitute a common set of rules by which any module can be determined allowing control of the design process, production techniques and efficiency in construction. This exercise in the accumulation of modular units employs modules of two different widths along with a locus, a set of points whose location is determined by specified conditions, to form clusters that provide the concept for spatial strategies. The concept could be read as a skin, structure, floor plan or section. Nevertheless it is a puzzle of indefinite geometries. Further development into transformation through twisting provides a more organic form - while remaining defined by geometry.
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generative housing
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0. A subtractive method was taken through the massing development stage of the project. Starting with the whole site filled as one block, the conclusions from site analysis and massing studies were applied and the block was cut down to form a suitable massing option. 1. An indentation was cut into the west side which faces the narrowest road and height was added to the north side with the resulting facades optimised for the most desirable solar gain.
2. The opposite corners were cut off, narrowing the mass, to make natural cross ventilation achievable and reducing the width of the darker north facing facade.
3. The heights were adjusted to create a better relationship between the surrounding buildings and taller Unity building opposite.
4. Finally public areas were added to the ground and first floor levels to make the transition from the street more human.
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Inspired by the Unite d’Habitation typology and as a response to the all too common, dark, single aspect flats the scheme employs a series of interlocking duplexes and triplexes wrapped around a single corridor through the middle of every three floors.
This allows for duel aspect apartment designs with desirable south westerly facing views available to all, efficient natural ventilation and the separation of quiet bedroom areas from kitchen and living spaces onto different floors.
The interlocking modular apartment units were then applied to the massing which created a huge variety of different spaces and apartment types due to the angular form and addition of circulation and public spaces.
It also differs from the Unite d’Habitation through having much shorter corridors due to the bend in the overall form which allow the corridors to have natural light enter from both ends, as well as be much wider by comparison.
The apartment blocks then applied the morphogenesis study through pushing and pulling through the facade to create areas of light and shade, balcony spaces, increased light penetration, panoramic views and a dynamic form that accentuates the stacked modular typology.
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Here the efficiency of the typology is evident; through only requiring one corridor for every three floors the circulation is minimal. Two cores are needed for fire safety precautions but only five corridors are required to attach 57 apartment blocks on a fairly constrained site.
Concrete structure with two cores.
generative housing
metamorphosis
LEFT The three floor system with corridor in the centre. Floors 2,3 and 4 (top to bottom) Also floors 5, 6 and 7. RIGHT Each individual apartment plan from the 24 unique types.
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A combination of the duplex/triplex enclosing a corridor typology and the angular form results in a variety of different apartments - to suit a variety of different people. This diversity within the housing block ensures that no two neighbours homes are the same, so rather than feeling as if they are living in a hotel there is a stronger sense of belonging.
Of the 24 unique apartments there are six triplexes, fifteen duplexes and three single storey apartments (with the disabled and mobility challenged accounted for). 15% of the total massing is one-bedroom flats; 40% as two-bedroom flats; 15% as three-bedroom flats with the remaining 30% massing of the building is circulation and public ground floor areas. In total there are 57 apartments.
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West Elevation Original Scale 1:100
North Elevation Original Scale 1:100
West Elevation Original Scale 1:100
Long Section Original Scale 1:100
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Cross Section Original Scale 1:100
generative housing
Perspective Mixed Media Visualisation of the North Facade
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Key 1. Commercial Units 2. Residential circulation 3. Relocation of existing bar 4. Bike Store 5. Public Walkway 6. Bin Store 7. Toilets 8. Gym 9. Restaurant
Ground Floor Plan
First Floor Plan
Eighth Floor Plan
Ninth Floor Plan
Tenth Floor Plan
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generative housing Mixed media of site within context
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Fig 1. 1:50 scale model of proposal Fig 2. Visualisation of kitchen area in a two bed duplex apartment Fig 3. Visualisation of staircase in a three bed corner triplex apartment
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generative housing
Fig 4. Visualisation of North East facade at night Fig 5 and 6. 1:50 scale model with lights to distinguish between apartment blocks Fig 7. North East smooth facade of 1:50 scale model Fig 8. South West facade of 1:50 scale model Fig 9. Visualisation of panoramic views in a corner triplex apartment living area
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generative housing
Interlocking Apartments Housing Block 1:50 Scale Mode
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3rd yr/ semester 2
INFLUENCE OF MODERNISM ESSAY date: may 14 A piece of academic writing from the module Urban Studies in the second semester of final year titled, ‘The Influences of Modernism on Urban Design’.
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“Modern architecture was a revolution. It destroyed the existing Beaux-Arts regime and replaced it with a new order. The face of the earth would never be the same.” (Peter, 1994, 12). This paper commences with an examination of Modernism, exploring its social political and economic background - investigating where it came from and why. Subsequently focusing on its profound influence on urban development in the design and creation of our cities and built environment. Specifically looking into a sample of the key players of the modern movement; the Bauhaus, Howard and Corbusier with an analysis of the style and its influence on the world we live in. A broad valuation of Modernism describes it as a comprehensive art movement that took place at the turn of the 20th century. Modern architecture’s exact meaning and scope vary widely but it is generally identified as a response to the technological progression that spurned from the Industrial Revolution and the social cataclysm experienced by Western civilization during this period. The Industrial Revolution brought with it the notion of massproduction and newly-available building supplies such as iron, steel, and sheet glass which established the invention of new building techniques. While these materials were nothing new, the modern processes or “applied sciences” that arrived with the industrial age, and architects’ changing attitudes towards them, lead to the early modern architecture redefining itself in the new age. (Peter, 1994, 22) The modernisation of society played a key role in the development of the Modernist movement; the effect of the World War upon the united psyche of society challenged ideas of belief and faith and were replaced with knowledge and scientific method. The age of machine had begun with Functionalism at the forefront of design technique. The renowned quote from Louis Sullivan, “form follows function” was taken as gospel with the imperative being that a building should be designed based on the purpose of that building. Architecture developed a new morality post World War I - a desire to make life better solving the issues of overcrowded, unhygienic Victorian tenement houses of the working class. The transition into Modernism could also have been a reaction to the concoction of lavish stylistic immoderation of Victorian architecture which only related to the elite society. The Modern movement aspired to reach out to all levels of society - art should relate to everyone. The international Style, born of the Modern movement, was void of decoration and cultural or historical references and became obtainable to all civilizations and classes. Modernism branched into various sub-movements; the first wave of Modern-era architecture - the Moderne styles - of Art Deco, Streamlined Moderne, and Stripped Classical from the 1920s to the 1940s were regarded as an amalgamation of traditionalist and modernist movements (Wilson, 2002, 519). Furthermore, the International Style split off in the determining decades of Modernism with reputable longevity and elitist design. However
Alexander Gaul
each sub movement either recognises a denunciation of previous models or has an aspiration to strive towards something avant-garde. Ebenezer Howard became an early spokesperson for modernism, at a turn of the century still mainly subject to the Arts and Crafts movement, with his concept The Garden City. The issues of dramatic population growth, pollution and the industrial revolution came together to a crescendo begging for urban renewal which he provided with his “satellite shaped, selfcontained communities” published in To-morrow: a Peaceful Path to Real Reform in 1898. (Mallgrave and Contandriopoulos, 2008, 111). Howard’s radical ‘Garden City’ initiative became the inspiration for mass urban projects later in the 1920s when Modernism strongly surfaced in urban planning and the central figures of the movement established themselves. The main pioneers of the movement are generally accepted as Le Corbusier, Ludwig Mies van der Rohe and Walter Gropius. The latter becoming the founder of the Bauhaus school from which the Bauhaus style became one of the most influential currents of Modernism and Modern urban design (Pevsner,1999, 880). Arguably the most influential player of Modern urban design, Le Corbusier, identified the modern city as a resolution to the congested poverty such were the Parisian slums of the era. Furthermore Corbusier attempted to redesign human nature and reorganize society using Taylorist and Fordist strategies. Although his plans to form a bold new world were viewed as delusions of grandeur by many. (Evenson, 1969,7) Corbusier’s ‘Citrohan’ was an early furore into resolving the housing problems of the time - a mass production of Dom-ino houses, cubic in shape, inspired by Mediterranean white washed villas. The client, industrialist Henri Fruges, had the project built at a part ‘Garden City’ suburb for his workers and, despite cost overruns, the scheme was generally considered a success. (Curtis, 1987, 171). As is Corbusier’s intellectual progression he consequently outlined the design for an entire modern city. Ville Contemporaine or ‘The Contemporary City for Three Million Inhabitants’ was exhibited in 1922. His utopian visualization, driven by the idea of technology as a progressive force, intended to reinstate a natural and harmonic order into society. (Curtis, 1987, 174). A set of sixty-story cruciform steel framed skyscrapers built inside a great, rectangular park space. The initiative on vehicles at the centre, a transportation hub for buses, trains and an airport. Away from the skyscrapers; smaller multi-story zigzag blocks set garden housed the workers (Curtis, 1987, 175). Following on from Ville Contemporaine, which was largely discredited, The Radiant City was Corbusier’s next ideal for social and urban reform, which stemmed from his recent acquired interest in syndicalism (Curtis 1986, 207). The abstract design maintained the high rise blocks within a green area from his previous designs but in a more linear layout with the form of a man and without the separation of classes (Curtis, 1987, 118). This ideal hugely influenced Corbusier in his writing of ‘The Athens
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Charter’ - an inscription of monumental influence on post war urban planning. Corbusier exhibited the ideal at the International Congresses of Modern Architecture (CIAM), an organization he founded to formalize the principles of Modern architecture in urban planning, in creating a Functionalist city model - the running theme of planning separated into functional zones for maximum efficiency. (Mallgrave and Contandriopoulos, 2008, 250-3). The modern movement has received ample criticism; art critique Robert Hughes criticised Corbusier’s lack of honesty and social awareness, claiming, “The car would abolish the human street, and possibly the human foot... The one thing no one would have is a place to bump into each other, walk the dog, strut, one of the hundred random things that people do ... being random was loathed by Le Corbusier ... its inhabitants surrender their freedom of movement to the omnipresent architect.” Fellow critic Lewis Mumford wrote in Yesterday’s City of Tomorrow, “the extravagant heights of Le Corbusier’s skyscrapers had no reason for existence apart from the fact that they had become technological possibilities”. Which could be argued is a running theme of modernism - designing just because they can. Leonie Sandercock, agreed with Robert Hughes regarding modern planning, “In the post-war rush to turn town planning into an applied science much was lost – the city of memory, of desire, of spirit; the importance of place and the art of place-making” The theme of criticism towards Corbusier and other Modernist planners could be described as the lack of human touch. There was, perhaps, an ironic lack of morality - the machine for living in attempted to transform its populace into machines themselves The secluded communities in colossal high-rises, caused more social problems than they attempted to solve. Despite the unsympathetic criticism the housing shortages in the 40s and 50s from the fallout of the war led many cities to promote housing blocks with a Modern model. The ideal of towers surrounded by gardens were commissioned such as the Modernist Brasilia, Brazil, 1960. However The problems of lack of community are evident and there is a lack of humanity about many of the schemes that developed from the Radiant City ideal which has been lambasted for a decline in cities across the world (Jacobs, 1961) As with all movements, Modernism eventually fell into decline in the late 60s and 70s with the general consensus being that the lack of human scale sapped life from the community and lead to significant social problems. (Smith Morris et al. 1997) . Curtis, William J. R. (1987), Modern Architecture Since 1900, Phaidon Press; Evenson, Norma. Le Corbusier (1969), The Machine and the Grand Design, New York; Pevsner, Nikolaus (1999), A Dictionary of Architecture and Landscape Architecture, London: Penguin Books; Smith Morris (1997), British Town Planning and Urban Design; Wilson, Richard Guy (2002). Buildings of Virginia: Tidewater and Piedmont. Oxford University Press.
THE INFLUENCE OF MODERNISM
THE INFLUENCES OF MODERNISM ON URBAN DESIGN
independent project
basingstoke house date: aug 14 - oct 14 Following the completion of my undergrad degree I was approached by a client who had acquired a plot of land in Basingstoke where he intended to build his future family home. The client already had a planning application rejected on the site and I was required to rethink the design with a more sensitive approach to the area spatially, while retaining some of the contemporary aesthetic that the client desired. He had ties to a company, Futureway Homes, that would provide a light steel frame construction system and set me the task of fitting his inventory into a design within the spatial constraints and inspired by his collection of precedents. This was an independent project and all work is my own.
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basingstoke house
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basingstoke house
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fch architects
part 1 experience date: feb 15 - ongoing I am currently employed as a Part I Architectural Assistant at Falconer Chester Hall Architects in Liverpool, UK. An AJ100 practice, FCH are the largest practice in Liverpool and have expanded over recent years, opening a growing office in London and Kuala Lumpur, Malaysia. I joined the practice at a busy time and, as such, have benefitted from a large amount of responsibility on a number of interesting projects: Residential: No. 2 Moorfields, Liverpool -139 bed fit-out Cardinal Court, Oldham - 142 micro apartments Sefton Quarter Block 5, Liverpool - 70m tower Hotel: DoubleTree by Hilton. Chester - 79 bed block, restaurant and reception Mixed Use: Lamb’s Passage: 101 bed hotel, 35 apartments, office, gym and restaurant While all projects listed are a combination of efforts, the work selected on the next few pages have been completed by me, unless otherwise stated.
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No. 2 Moorfields is a change of use scheme from a unused office building in central Liverpool to 139 studio apartments with the inclusion of eight new ‘punch’ windows. My involvement on the project began at the start of tender stage and continued through to construction and completion. I had an involvement on most of the tender and construction drawings as well as communicating the scheme with the design team and contractors. Areas of particular interest were working with the structural engineer on drafting the technical drawings for the ‘punch’ windows and producing graphics to show to planners for a planning amendment when the window design changed.
Steel going in for the ‘punch’ windows on site (above)
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part 1 experience
No. 2 Moorfields, Liverpool Stages worked on: Tender - Construction Dates: Feb 15 - Nov 15 Status: Complete awaiting furniture fit-out
Cardinal Court, Oldham (top right): Feb 14 - Nov 15. A scheme compromising omising 142 micro apartments. I had a broad oad input on most tender and construction drawings, wings, particularly strip sections of the cladding ding and curtain walling. DoubleTree by Hilton, Chester (bottom left): ft): Nov 15 - Feb 16. A hotel bed block extension, ension, restaurant and new reception extension. ension. Attended DTMs and worked closelyy with the design team to solve spatial and construction uction issues with the extension. Lamb’s Passage, London (top left) March 15 - Oct 15. Various planning appeals peals involving a gym and restaurant fit-out in existing vaults and a hotel and resi esi mix scheme in London. Took ook an primary design role in the layout of the restaurant ant and gym, working with the team off consultants and another team of architects based in London. ondon.
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part 1 experience
Sefton Block 5, Liverpool Jan 16 - March 16. Part of a masterplan for regenerating an area of the Liverpool docks - Sefton Block 5 is a 70m tall tower with 21 storeys of a mix of residential and commercial space. The masterplan received planning approval in 2008 but each phase has gone back into planning separately with a change of use from office to residential. My work on the project consisted of holistically updating the scheme though changes to the form and footprint and producing 3D models and graphics to explain the redesign. Throughout the design process I developed a series of models for 3D printing and introduced the capabilities and limitations of the technology into the office.
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A process of development and growth, rather than fear and oppression. The Progressive Prison aims to counter the growing rates of recidivism in the United States by creating a prison environment that promotes self-betterment and reminds prisoners of their potential to make an important contribution to society. The scheme is a direct response to existing practices within incarceration that damage and dehumanise their inhabitants. Community A central flaw with incarceration in the US is the vast juxtaposition between the prison environment and modern day society. This scheme aims to reduce that gap by creating a parallel community within the prison walls. A cohesive society is envisaged within the prison through presenting opportunities to the inmates that allow their own development, socially and technically, while also bettering the situations of their companions around them. The following flow chart explains the proposed transition through a prison sentence, potential opportunities and incentives:
COMBO COMPETITIONS
Prison puzzle date: NOV 15 - FEB 16 International design ideas competition ‘Prison Puzzle’ by Combo Competitions was an opportunity to explore how architecture can help in shaping environments that influence behaviour. The goal of Prison Puzzle was to design a medium-security prison complex with a capacity of 500 inmates, located in the desert of Arizona, United States. The concept addressed recidivism and how it can be reduced, at the same time considering the different interests and requirements found in inmates, victims as well as society as a whole. This is intended as a group project and our submission was completed as a partnership of myself and a fellow Part 1 Architectural Assistant.
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Prison puzzle
The community congregates around the central hub where inmates can integrate between shifts and take part in leisure and social activities.
Those lacking skills can learn languages, mechanical skills, cooking, etc in the learning areas to prepare them for work. Through contributing consistently inmates can earn nontransferable credit that allows them to rent improved accommodation permitting them more independence.
Much like in real society; inmates have the option to work. Jobs have a direct response to the needs of the prison and its inhabitants.
Inmates become more self-reliant, developing skills and traits that put them in better contention for dealing with life after prison.
Cell 1 The standard cell type that prison life begins in. Blocks contain 24 or 48 inmates with communal showers shared between 8. All rooms are allocated desk space and book storage.
While there are incentives there will always be a risk for the prisoner to lose what they have gained - thus ensuring consistent progression.
Cell 2 Through a working contribution to society inmates can earn accommodation space that affords them more independence and self reliance. Blocks are shared with three others, while each bedroom is dual aspect and has its own bathroom. Access is from the first floor into a communal lounge and kitchenette where inmates have the option to prepare their own meals. Cell blocks are identified by their small external spaces that provide more privacy to the downstairs bedrooms.
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Site Plan Outer Ring: Cell Type 01, Cell Type 02, sally port, visitor admin Inner Ring: Mechanical workshop, garage, laundry, learning rooms, library, food store/shop, allotment, exercise pitch. Central Hub: Canteen, Common room, visiting rooms, phone rooms, gym, basketball court, medical facilities/ access, kitchen, staff entrance/ admin facilities/ access to upper floors.
Cross Section through campus Living > Work/ Learn > Central Hub
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Prison puzzle
The basic layout of the prison campus enforces this progression: Living quarters on the outer ring > Working and Learning facilities > communal spaces in the Central Hub. Sustainability The proposal promotes the development of the prison into a self sustaining community through social and environmental systems. Environmental: The form of the proposal incudes integrated solar shading and passive solar heating as well as natural cross ventilation to reduce the energy requirements of the campus. The wide and shallow form allows for the distribution of Photovoltaic panels across the site. An allotment, maintained by the inmates as an available prison occupation, contributes to part of the overall food demand on site. Social: The idea of creating a community that services itself was one of the leading factors in the design. While the incentive to work and better one’s own situation is prevalent, the work done directly contributes to the running of the prison. This results in prisoners seeing the results of their own efforts - as well as a sustainable model. Examples of work are: maintenance of solar panels, servicing prison transportation, electrical maintenance and plumbing. Grounds keeping, kitchen work, cleaning and running the laundry reduce the need to bring in external contractors.
In anticipation of a rising prison population the layout allows for potential expansion within the existing footprint. The use of modular concrete units allow for efficient and accelerated on site construction.
The scheme integrates passive solar techniques within its form. The outer ring of living quarters are stepped to provide shading from the hot summer sun while allowing warmth during winter months.
In an attempt to promote independence and reduce any feelings of being trapped, prisoners are granted access to much of the site during the day to contribute through work, learning or social activities. Guards and staff can monitor activities from upper floors and guard points.
The basic layout works as a parallel town: living area > workplace > town centre.
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