UCA BA Architecture Tabloid 2016

BA (HONS) ARCHITECTURE 2016

Faezeh Fateh, year 3 S H S E C SCALE

O T

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T N 1:100

Faezeh Fathi_Stage 3

Ranked 5th in the 2017 Guardian University Guide, our School has developed a distinctive approach to architectural education and research that is informed by its rich Art School heritage. In particular we emphasise activist models of teaching, learning and research; cultures of thinking and making that synthesise traditional techniques with advanced digital media and workflows: and a pedagogic culture that situates imaginative futures in clearly articulated critical understandings of the present. All of our activities consciously face outwards to the world and engage diverse audiences through exhibitions, publications, collaborations and a strong public programme of lectures and events.

Our BA Architecture course is a laboratory for architecture and spatial design. We explore the potentials of our discipline through individual and collective actions and agency. This requires a commitment on the part of our students and staff to take positions in relation to the contemporary condition of the city, to take responsibility for its transformation and ultimately to take action. This activist approach informs all of the design projects that we set for our students, demanding that they take responsibility for aspects of the projects objectives and aims, their development and trajectory and ultimately their dissemination and use. We share this mind-set with the wider community of artists, designers and designer-makers at UCA where there is a strong tradition of valuing professional and creative practice and agency. This Art School tradition makes the Canterbury School of Architecture an ideal place for the exploration and production of ideas as things.

James White_Stage 3

Stage 1 Convened by Rob Nice Design Studio: Studio Tutors: Tamsin Landells – Ratliff/Landells Helen Leask – Leask Architecture Demian Erbar – Erbar Mattes Rob Nice - UCA Additional thanks: Heather Newton - Canterbury Cathedral Andrew Shedden - Turner Contemporary Hazeleigh Prebble - Film Maker (Resort Studios Margate) Nick Dermott - Conservation Architect (Thanet District Council) Margate Museum Staff Resort Studios Guest Critics Holger Mattes – Erbar Mattes Chloe Young – Re:works Studio Christopher Sherlock-Scougall – Clague LLP Jon Spencer Marc Williams – Associate Director at AHMM Stage 2 Convened by Kristina Kotov Design Studio: Rhys Jones – Jestico + While Kristina Kotov UCA Studio Engineers & Technical Studies: Diarmuid Healy - Curtins Consulting Engineers UK Hocine Bougdah UCA Jeffrey Balylock - Curtins Engineers UK Simon Bye- Ellis & Moore Consulting Engineers Landscape Architecture & Ecology: Eleanor Trenfield - Barton Wilmore Julian Bore - Lloyd Bore Landscape arch & ecology Colin Priest - Studio Columba Matt Wilson - UCA Rebecca Taylor - UCA Archivist Graghic Design: Aurelian Thomas - Jesctico + Whiles Studio Critics: Alexander Richards - Clague LLP Allan Atlee UCA Daniel Stilwell - Lee Evans Partnership Gabor Stark UCA Hannah Sargeant - Holland Harvey Jonathan Harvey – Holland Harvey Julian Seagers - Clague LLP Nick Green - Publica Oliver Froome-Lewis UCA Romey Edwards - redesign Rui Vitor Baltazar - Holland Harvey Sandy Stuchfield MArch UCA

Stage 3 Convened by Oliver Froome-Lewis Design Studios: Tim O’Callaghan - nimtim architects Claudia Dutson - Royal College of Art Lucy Jones - UCA Oliver Froome-Lewis - UCA Consultants: Peter J. Corbett - Corbett and Tasker Alexa Lixfeld - Alexa Lixfeld Graham Thompson - Ian Simpson Architects Visiting Critics: Jane Hall - assemble Carrie Bayley - Moses Cameron Williams Alan Beveridge - RCKa Luke Butcher - Fielden + Mawson Andy Garton - Stanton Williams Siobhan Kelly - Studio Uguisu Denitza Moreau - ISG Almudena Cano Pineiro - Royal College of Art Penelope Plaza - CoLLECTIVoX Laura Risseeuw - AECOM Daniel Stilwell - UCA MArch Anurag Vema - Latitude Architects Senaka Weeraman - writer/ freelance and across the years: Creative Practice: Suzanne Gaballa - Universal Design Studio Technology: Hocine Bougdah - UCA Tabatha Mills-Harris UCA Cultural Context: Matthew Wilson - UCA Allan Atlee - UCA Design & Communications: Edward Oliver JJ Brophy UCA FABlab & modelmaking: Chris Settle Technical support: Ben Westicott

Nathan Back-Chamness_Stage 3

Amare_H, Burton_A, CLayson_A & O’Hare

stage one approach A WAY OF THINKING:: species of speculation and other opportunities to be playful...

The Stage One curriculum provides a research-intensive learning environment, which encourages students to dive in at the deep end, exploring the social, cultural and political milieus of our region. Whether it’s the construction and testing of Wearable Architecture in Canterbury, the Architectural Graft collages made for Canterbury Cathedral, or the models and drawings produced for the All Gone Margate project; students are always given the freedom and confidence to speculate; to play, to imagine and to take detours, as they explore places previously unimagined. This approach of using research and design as agents for socio-economic and political change is informed by an understanding of, and a response to society’s needs. So let’s be brave for a moment and speculate wildly.

Out in the city...

On top of the world at Canterbury Cathedral...

End of year...

bodyscape_a_term 1_five week project WEARABLE ARCHITECTURE:: amplifying the infra-ordinary Wearable Architecture was the first design brief that encouraged students to develop a deep knowledge and understanding of place and peoples reaction and connection to it. From the beginning, the Stage One students had to work beyond the confines/relative safety of the design studio, exploring the social, cultural and political milieu of the everyday, the ‘infra-ordinary’ (Perec 1973) on Canterbury High Street. Rather than emphasizing the exceptional, the sensational or the spectacular, the concept of the ‘infra-ordinary’ focused the students attention on those everyday things we often take for granted, but that nevertheless inform our perception and therefore our experience of the urban environment; the obvious, the mundane, the habitual, the parts of every day life that go unnoticed.

Working in small groups, students started the project by mapping the ‘infra-ordinary’ themes and patterns encountered on their given site. Following this exercise, they then focused on a single theme observing and recording its qualities and exploring ways of amplifying the perception of those qualities. Based on these investigations, students developed, assembled and deployed; either sanctioned or unsanctioned interventions along the High Street, which allowed them to test their designs in a ‘real life’ situation.

bodyscape_b_term 1_five week project ARCHITECTURAL GRAFT:: the anatomy, idiosyncrasies + temperament of canterbury cathedral Architectural Graft focused on the design of a small intervention to be inserted within the Canterbury Cathedral precincts. Inspired by Eugène Emmanuel Viollet-le-Duc’s theory of architectural restoration, students used Canterbury Cathedral as a tool, not only for learning about surveying, but also to enhance their understanding of different approaches to restoration. Viollet-le-Duc believed that Gothic architecture had a didactic value, not as a provider of historic motifs to be replicated, but as a model to be explained, analysed and discussed. He argued that historic buildings should not necessarily be restored as they were, but also be updated.

With horticulture as a point of departure, Canterbury Cathedral became the host, onto which the students proposed the design of a graft(parasite) that functioned as a mediator between the visitor and the Cathedral; drawing their attentions to, as Viollet-Le-Duc suggests, the ‘anatomy’, ‘idiosyncrasies’ and ‘temperament’ of a building. The students’ began the project by surveying an allocated site within the precincts and then produced a set of drawings, plans, sections and elevations, which formed the base for a design proposal. Through the use of collage, they then developed a small-scale intervention which grafted onto the skin of the Cathedral, forming a dialogue between the old and the new. Amongst other things, the students were required to decide whether their graft(parasite) would be either temporary, permanent, heterogeneous or homogeneous, thus determining the way their proposal would bond with the host structure. The graft could be as sympathetic or unsympathetic to it’s context as desired.

synoptic_terms 2+3_seventeen week project ALL GONE MARGATE:: the regeneration game Now in it’s third year, the final design brief required students to investigate the complex issues associated with coastal town regeneration. It evolved over a seventeen week period that was broken down into three phases. The first phase of the unit focused on research, through site survey and analysis; the second phase focused on design development through the use of diagrams and modelling; and finally the third phase required further design development through modelling, drawing and collage.

Culture-led regeneration, through the commissioning and refurbishment of landmark buildings, can be seen taking place across a number of seaside resorts in the South East; the De La Warr Pavillion in Bexhill, extensively refurbished by John Mcaslan + Partners, opened in 2006; followed by the Quarterhouse in Folkestone, a refurbishment by Alison Brooks Architects, opened in 2009; after a number of turbulent years and various proposals, the Turner Contemporary, designed by David Chipperfield Architects, opened it’s doors in 2011; and more recently in 2012 HATprojects Jerwood Gallery in Hastings opened.

The students were required to develop a building on Margate Harbour Arm that could accommodate a live/work space for a skilled professional (long-term occupant), temporary accommodation for an apprentice (local resident aged 18-24) and a public space for both the professional and apprentice to interact with other members of the local community and tourists. The trades were all linked with Livery Companies (Salter / Apothecary / Butcher / Currier / Cordwainer / Vintner / Baker / Clockmaker / Ship Wright / Light Monger / Scientific Instrument Maker / Haberdashers / Girdler / Merchant Taylor / Skinner / Weaver / Furniture Maker / Distiller / Currier / Felt Maker / Distiller & Loriner) and it was therefore essential that the professional occupant should be able to practice his/her profession and at the same time provide a service that would benefit the local community. To add to an already challenging brief, the apprentice had a musical interest that must also be accommodated.

Ultimately, the students’ were given the freedom to construct their own narrative/scenario, to enable them to address the complex issues associated with culture-led regeneration, with the aim of underpinning the long term prosperity of Margate.

Hyab_A Estillore_A Ip_J Rusu_C, Lard_A, Odubeko_D, Petterson_I & Ogunbayode_T

Behiethnes

adj. the thrill felt when observing a secret or inaccessible space, which is soon subsumed by introspection about what that space- and your reaction to it -mean.

Hiersyn

adj. The sense of simultaneous belonging to the place you are in, but also being a separate, completely alien entity.

Mercurial adj. The sense of being a fluid, changeable being, subject to the whims of the immediate environment and your own mind.

3 follies for 3 autonomous landscapes

Ethan Leach

Dismembered

For years I sensed my childhood dreams were presages A yearning for my father’s music from his piano through the wall It echoed as I went to sleep Memory drains away A blurred jay ickers just above the mirrored surface of light Faint strips of blue unfurl Birdsong returns dissolving the madness of night into cool silver morning

Bilal Hasan

stage two

Three Landscapes. Three Sites. Three Follies.

Final Follies

Within floating landscapes are wormholes/portholes. One would arrive on a site, with no map or reference point, ready to roam the created world. The disconnection from other forms of life and environmental factors which affect ones psychological state will start to deteriorate. One would become disorientated and lost. Once the folly comes into view, the visitor is drawn to the reference point, orientating ones self.

Before getting to close to the folly however, they will be sucked into the wormhole which leaves them on another site (Luminal/Void/Surface).The forms of the follies are based on the concept that the familiar shapes are ways of referencing the world. These follies draw people into a false sense of security and therefore disorientate them even more

Connie Latham

Munich study trip

DED AXONOMETRIC

Rage Against the Anthropocine

Taking the house icon’s most basic form, my follies will be a tryptych spread between each landscape, the same form

Rage Against the Anthropocine is an attempt at creating an architectural discourse about humans growing influence on this planet, and how our growing globalisation and disillusion of disconnection from the natural environment is effecting our architecture, and putting at grave risk ours and our planets future. Since man developed on earth one thing which links us all is our fundamental need and desire for shelter, and through history the shelter has developed. Now, in our present day the idea of shelter has evolved into an architectural icon, the recognisable form which we all hold so dear.

But it is this very idea of creating shelter which through growing population, has evolved into what is now a new geological layer upon the earth. This project is going to explore the globalisation of this architectural icon, the house, and how, in its most basic and metric of sense has been un-thoughtfully distributed and utilised around the globe.

Surface

Liminal

jordan whitewood - neal Void

FOLLY MODELS

the Kentish Bermuda Triangle DIAGRAM

DEMOGRAPHICS OF NUNS AND THEIR PROXIMITY TO SITE

Title

Minster Abbey Nun Demographics

Experience

N/A

Mother Superior

Nun

9.5 Years

100m

100m

5

Sister

Cabbage

Carrots

Farmland under Nuns care Existing Religious structures Possible route to site for nuns

Fishing Christians - Ayo Rosanwo

m ins 5

Fruit and vegetables Nuns grow

Plum

m ins 5

0 Years

Radishes

Lettuce

Apple

Onions

Caulifower

Canteloupe Melon

m ins

carla cabrera fernandez the Augury Landscape

connie latham ‘Supplementation a cure for Shell Ness.

To rid Shell Ness of pollutants and unwanted chemicals through natural wetland processes and germination.

Taking precedence from the dandelion effect, ‘supplementation’ uses sycamore seeds as a nutrient carrier, which is dispersed by the wind.

Perspectival Collages of ‘Supplimentation’ considering the low wind and controlled dispersal of fertilizer.

flux

the rope house:: rope

Site analysis _ Topography diagram

joshua spitter

Proposal _ Plan visualisation

Master Plan / Site Flow

N

- Plan of our site, including each of the processes showing the flow of movement throughout the site.

Aerial plan view

Aerial perspective view

the Kentish Bermuda Triangle

Crops

Grazing

Market Abattoir / Sheering

Export

Callum Plumb, Daniel Ford, Jason Brooker, Luke Baggott

4

4

3

3

2

2 1

1

Bilal Hasan

Memory Palace

Rueben Tozer

fourth floor

Elevation

Plan

third floor

second floor 1

4

first floor

ground floor

5

minus first floor

ground floor

basement

scale 1:500 Plans

1. 300x300x2400mm shellac treated walnut blocks 2. polished concrete 3. 300x150x2400mm o ished nut flooring 4. 1200x2400x40mm polycarbonate sheets 5. bespoke warped brass sheet 3

2

ayo rosanwo

Initial Development

T

he research phase provided parameters,

programs, and knowledge to design around. The concept of the project circled around the idea of Dialogues.

Dialogues existing on site, dialogues between programs. For example, there is a conflicting dialogue between the collage streets of Ramsgate and the grided columns on

connie latham

site.

greg howes laboratory short sectIon 1:100 2m

5m

10m

20m

N

ra

al lace

300 million years old m

m

10 m

m m

m

m

m

m

m m m m

m

m 5m

mm

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m

m

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mm m m

moss remembers. It recalls the touchdown of each lark the slightness of that weight the appetites of flock which graze the constant tide and toll of weather and, too, the heavy trudge of boots above all, stores the footsteps of those who are now lost those residents and denizens of moor for whom moss feels an absence, their drum of feet no longer pounding like a heartbeat any more

ethan leach

Adapted from a poem by Donald S. Murray, from The Guga Stone: Lies, Legends and Lunacies from St Kilda (Edinburgh: Luath, 2013)

cro cop c Po e tial These macro photos show the growth of mushrooms from a mycelium induced substrate, Growing these throughout the pro ect has enabled me to physically e perience the growth process and apreciate the unbelie able potential which sits so subtly in the gills of these mushrooms, the potential to grow and ossify into spaces way beyond its own.

jordan whitewood-neal Programmatic Exploded Axo

CASSOULET + MARSEILLES 15/16

In Castelnaudary, cassoulet is prepared with duck confit, pork shoulder and sausage. In Carcassonne a cassoulet will typically have mutton, and the Toulouse version has duck confit, Toulouse sausage, and is breaded on top. In Auch, only duck or goose meat is used, and crumbs are never added on top. And each town believes they make the one true cassoulet.

If an apparently simple casserole can be created with so many variations, generating passions and controls and provoking such heated opinionation, what about creating a new city?

Cassoulet comes from the word cassole - a conical earthenware container glazed on the inside. The container for London has been repeatedly broken, re-cemented, extended and adjusted. It comprises boundary lines on maps rather than city walls. Forming a new place is made more complex by not really being able to tell where the place starts or ends and by the qualities of one location becoming contaminated, or enhanced, by the flavours and interminglings of another.

Affordability in Hackney Wick, much like other edge lands of the modern city, is becoming elusive, rents continue to increase, unofficial ‘live-work’ spaces are becoming more and more lived in, land owners are queuing up with their residential planning applications, and this once renowned ‘densest concentration of artists studios’ is looking set to tread the inevitable path led by market forces.

Richard Brown, Affordable Wick.

We started the year considering the possibility of creating a positive symbiotic relationship between light-industrial activities and housing to form a novel whole. Our housing was integrated with the Hamlet Industrial Estate, on the edge of Fish Island at White Post Lane, consolidating the future of the German Deli, its groaning pallets of firm, pale, cabbages and bold, East Anglian, carrots sheltering in the crinkly-tin shadows - just out of sight of the QE II Olympic Park.

In the spring we travelled to wonderful Marseille - eating out as a group at La Friche, chilling at A&E and locating our research close by in edgy Belle De Mai. The Old Docks, regenerated with a variety of recent arts and cultural initiatives, had been our starting point for locating a project. We had asked: Why were the docks selected for these initiatives? Who have these regeneration projects been for? What has been regenerated? Who will occupy the new municiapal spaces at Villa Méditerranée? Who records their passage beneath the Miroir ombrière? What are the consequences of reinforcing regional cultural history through MuCEM? What are the themes selected for the Parc du 26ème Centenaire? And how do all of these relate, if atall, to Le Corbusiers ‘Unite’ created as a prototype to address a housing shortage of 4,000,000 dwellings in 1950’s France, or to Zaha’s headquarters for the french container shipping company CMA CGM - ‘A gateway to the city from both land and sea’.

In Belle De Mai we decided to look at the possibility of initiating alternative, perhaps more subtle, identities for the city...

of-l

City Context_Wider Context and project aim Using the Lido, market and theatres withinn a cross programmed link the large area of space becomes a gold mine for artistic inspiration of the flow of human life.

Men in suits crossing paths with women in bathing suits and older gentlemen passing the artistic endevours of the artists create a paradigm of social inter connection to help those with their voice taken away to feel more able to make a change. whether it be film, painting, sculture or writing the arts can flourish in their natural environment: within the midst of humanities currents.

Structural Diagram, showing frame of structure, suporting circulation space and the stasking of amenities.

Model Of Structure

Glass Roof

Supporting Concrete Lift Shaft 3M x 3M Steel Frame

Stage 4 Living

Bathrooms Kitchens Corten Brick Facade

Circulation Corigatted Metal Cladding

James White_Stage 3 Nathan Back-Chamness_Stage 3

stage three

The column is dragged down the slope movement only happening if enough people are visiting the building at once. The stone comes from nearby construction where stone has been excaveted

The column is winched upright an moves through the rest of the site upright on rails

When in line with the building the column is ready to be carved

Repeats on a 2 year cycle with people of one street coming to the building in their free time

Nathan Back-Chamness_Stage 3

Saint barbaras wheat is brought and planted by the locals

The wheat is harvested and malted

Collectively learning how to work with stone

The wheat is distilled into whisky

Design and drawing of column

The whisky is stored in vaults under the building where it is flavoured by the marble dust

The carving of the column slowly takes place with narratives of the people carved onto the column

The barrel is winched through a verticle path in the building

The drawings are archived with previous years drawings

The whisky is drank in the bar as a language barrier aid

Disscussions and critque of the design and techniques

A festive celebration happens at the end of the two years where the people from the surrounding streets come to celebrate the work that has taken place and consume whisky that was produced over the two years

ELEVATION 1:200

Emily Martin_Stage 3

Alanoud Al-Radaideh_Stage 3 Exploded Axonometric Overall Project Layers In Context

1

2

3

4

5

6

7

1. Overall Masterplan

8

2. Tree Forest (x2) 3. Glass Tree Pavilions (x3) 4. Flower Pavilions (x6)- Intimate Spaces 5. Main- Large Flower PavilionHousing Marseille’s Endangered Species // Building:

10

11

Ground Floor 9

6. Glazed Roof with Openings

12

7. Roof Structure 8. Ground Floor Spatial Division

13

9. Facade Structural Columns 10. Facade Glazing 11. Ground Floor Structural Columns 12. Ground Floor Slab // Building:

14

Basement 13. Soil Containers 14. Basement Spatial Division 15. Basement Structural Columns 15

16. Basement Floor Slab

17

17. Basement Walls 16

18. Basement Exterior (Viewing) Garden // Masterplan:

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19. Boulevard Plants 20. Boulevard 21. Flowers 22. Project Base (In-Ground Openings) 23. Project GridSoil Type Vs. Flower-Tree Origin

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24. Context 21

20

23 24

22

Initial Concept Collages Program Superimposition

Program Superimposition Collage 1

Program Superimposition Collage 2

Flower

WaterIrrigation

WaterIrrigation

TreeForest

Soil Types

WaterIrrigation

Program Barries

Program Connector (Curved Walkway)

Program Connector

Boulevard (Linear Walkway) Program Connector (Curved Walkway) Flowers

Faezeh Fathi_Stage 3

C

O

L

L

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R

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C O L L A G E OF KILNS AND THE MIDDLE STRUCTURE BETWEEN THE KILNS

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North West Elevation scale 1:200 3

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a

1. Volumes and baths extruded into ground 2. 4m2 structural grid round oor structural concrete walls 4. Interior travertine cladding 5. Exterior limestone cladding 6. Columns and arches to reinforce concrete ceiling irst oor concrete oor sla 8. Copper plates irst oor in situ concrete structural walls 10. Columns and arches to reinforce concrete ceiling Third oor concrete sla 12. Gable roof mm e osed concrete at roof Third oor structural concrete walls mm e osed concrete at roof

1

Rachel Hiu-Shu Housley_Stage 3

E2.

F9.

F3.

F8.

G1.

B3.

D2.

E2.

F4.

E1.

B4.

F1.

C2.

B2.

F6.

A1.

Foundations A1. Community Garden 5 - 10 mm dia Gravel 200 mm In-situ concrete 150 - 300 mm Hardcore A2. Service Core, Program Core + Cafe/Community Space Concrete Pile Structure B1. Service Core 200 mm RSJ Beams + Columns B2. Program Core + Cafe/Community Space 200 x 400 mm Glulam Columns 100 x 250 mm Glulam Beams B3. External Ramp 75 mm CLT Panels 5 mm dia Cable + Cross Cables B4. Main Stair Case 75 - 50 mm Cast Steel Floors C1. Service Core - Composite Floor 50 mm Screed Kinetic Energy Recovery pad (hallway only) 150 mm In-situ Concrete Composite C2. Program Core - Suspended Timber 50 mm Screed 25 mm Sound Insulation 75 mm CLT Panel 50 mm Thermal Insulation (Ground Floor only) C3. Cafe/Community Space -Suspender Timber 50 mm Screed

C4.

25 mm Sound Insulation 75 mm CLT Panel 50 mm Thermal Insulation 50 mm Screed 150 mm In-situ Concrete Composite

Walls D1. Service Core 200 mm Gabion Wall 50 mm Thermal Insulation 200 mm In-situ Concrete Rammed Earth D2. Program Core 25 mm CLT Panel 50 mm Thermal + Sound Insulation 25 mm CLT Panel D3.

25 mm Reinforced Double Glazed Glass D4. Folly Shed 500 mm Stone Wall Roofs E1. Service Core Screed Damp Proof Membrane 50 mm Thermal Insulation 150 mm In-situ Concrete Composite E2. Program Core + Cafe/Community Space Roof Felt Damp Proof Membrane Exterior Plywood 100 mm Thermal Insulation 200 x 400 mm Glumlam Rafters 5 mm Aluminim Finishing (edges only)

Program/Activity F1. Information Desk F . ounselor ce F3. Stage 2 Group Work Studio Group Painting Group Painting Tutorial F4. Public Library F5. Specialised art Studio ra ti Spray aint orkshop F6. Public Courtyard Outdoor Folly Construction F7. Cafe Outdoor Seating F8. Folly Crane F9. Completed Folly Leaving Site F10. Cafe/Community Space Welcome Desk Bar/Cafe Main Public Entrance to Folly Shed F11. Folly She Folly Being Transported by Scissor Lift F12. Service Space

D3.

D1.

F7.

C1.

F11.

D3.

F10.

G5.

D4.

F5.

G3.

B1.

F2.

G4.

C4.

C2.

C3.

Special G1. Stage 2 - Chloe and Alexis group painting a landscape.

G2. Rainwater Collection Tank G3. Simone documenting the construction of the latest folly for the local gazette.

G4. Antonio, Jenifer and Claudia watching their folly be lowered to the folly shed display area after 3 months on show in Marseille. . uca, an an iety sufferer e plains his condition to a local community member.

John Andrews_Stage 3

A2.

G2.

F12.

North West Elevation 1:200

Tyler Lemmon_Stage 3

A C

B

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1C iv H 1D J

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J1B 1 . F O R M A L L Y A

L E A R N I N G

L A N G U A G E

2 . L E A R N I N G

T H R O U G H

E N T E R T A I N M E N T

3 . L E A R N I N G N E C E S S I T Y

J1C T H R O U G H

S T R U C T U R E

A N D

M A T E R I A L S

A . 50 mm Twin wall polycarbonate embedded with

H . 10 mm twin wall polycarbonate, 1500\ 2000 mm concrete lift core

1A . Open air language exchange

2A . Comic book reading nook

3A . Coffee stop

1B . Covered language exchange

2B . Local performance space

3B . Roof terrace

B . 500\250 mm glulam beams

mineral fibre insulation, 130\ 60 mm glulam

1C . Group language lessons

2C . Film screening

3C . Bar

C . 130\ 160 mm glulam substructure

beams, 35 mm CLT board finish

LED's

1D . Seminar room

2D . Petanque court

3D . Maze

D . Glulam structural trees, steel connections

1E . Technology room

2E . Picture book nook

3E . Food stop

E . 500\ 500 mm glulam columns

3F . Seating area

F . Ball & socket mast plate 30 mm tensile rod

3G . Ice cream shop

G . Pile foundations, timber raised 250 mm above

1F . Sunken language exchange

I . 15 mm Single ply membrane, 3mm dpm, 160 mm

J . 10 mm twin wall polycarbonate, 90 \ 45 mm battens , 110 \ 60 mm battens, 68 mm Aluminium frame, 100 mm translucent polyester fibre

J1D L . 15 mm recycled coloured rubber flooring, 15 mm pressure sensor switch mat, 15mm CLT board encasing electrics, 60 \ 50 mm timber beams M . 50 \ 60 mm glulam framework supporting 30 \ 50 mm tyre strips N . Timber trellis lift facade for planting, 1500\ 2000 mm concrete lift core O . 15 mm recycled rubber flooring, 70 mm screed,

P . 3 route meeting point 150\70 mm timber columns 70\50 mm timber beams Q . 1480 mm Cantilevered platform

J1J2M S P E C I A L

C O M P O N E N T S

C O N V E R S A T I O N

T O P I C S

008

001

Arabic Lesson timetables

ii . External transitional space

002

Descriptive words for the palace in French and

009

polite conversation Asking to pass by

English

010

Arranging a date for a French/Italian language

003

Greeting a friend on the necessary route

iii . Refreshments lift iV . Source Villea trailing plant

J2C

J2B

J1A

Explaining the tradition of Bouillabaisse using

i . Activities notice board

the dish

exchange

V . Multi lingual food dispenser

004

Activities to do whilst on holiday

011

Climbing advice using hand gestures

Vi . Tensile hammock

005

Local French wine

012

Explaining French words for the weather

Vii . manual winch

006

Climbing advice using hand gestures to overcome

013

Repeating an audio tape

a language barrier

014

Pointing to the train line, learning words for

007

Asking directions to the coffee stop 015

Ice cream flavours

N

ground level

L A

V O I X

D E

M A R S E I L L E

insulation, 10 mm twin wall polycarbonate K . Timber 50\ 20 mm timber hand rails, re-purposed tyre and timber balustrades

polythene separating layer, 200 mm concrete floor,

X . Phone chargine power source

foil separating layer, 75 mm thermal insulation

Xi. positional language climbing wall

transport

1 - 50

L O

N G

S E C T I O N

Emily Watts_Stage 3

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1st Forum Theatre And Casting Workshop 1.Forum Theatre 2. Exterior Entrance For Theatre (Show Use) 3.Interior Entrance 4. Av Room 5. Concrete Book Casting Workshop 6. Exterior Port For Casting Workshop

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Floor Plans 1-200 -1 Public Library 1. Main Entrance 2. Secondary Entrance 3. Secure Entrance 4. Security Zone 5. Sign In Area 6. Quiet Area 7. Park 8. Concrete Park

Ground Public Library And Forum Theatre 1. Children Library 2. Classroom A 3. Classroom B 4.Thearte Cafe 5. Theatre Toilets 6.External Theatre Space 7 Internal Theatre Space

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2nd Writer In Residence Lecture Hall

3nd Writer In Residence Lecture Hall

4th Exercise Room And Cafe

5th Writer In Residence Lecture Hall

6th Writer In Residence Lecture Hall

1.Entrance Via Lift / Fire Stairs 2. Lecture Space 3. Stairs To Private Roof Garden 4.Accomadation 1 A. Bathroom B. Utility Rooms C. Bedroom D. Ladder Access To Writing Room 5. Accommodation 2 6. Accommodation 3 7. Accommodation 4 8. Casting Workshop Shoot 9. Writer In Residence Accommodation A. Kitchen B. Living Room C. Toilet D. Bedroom

1. Entrance For Stage 1 2 Writer In Residence Lecture Hall 3. Entrance Office 4. Monitor Room/ Staff Room 5. Accommodation 5 6. Accommodation 6 7. Final Writing Pod Entrance 8 Writing Chamber Room 1 9 Writing Chamber Room 2 10 Writing Chamber Room 3 11 Writing Chamber Room 4

1. Plant Room 2. Parisian Style Cafe 3. Exercise Room 4. Accommodation 7 5. Accommodation 8 6. Writing Chamber Room 5 7. Writing Chamber Room 6 8. External Final Writing Chamber 9. Private Garden Writer In Residence 10 Access To Roof Garden Via Exercise Room

1. Cafe Roof Garden 2. Room 9 3. Room 10 4. Room 11 5. Room 12 6. Gym Roof Garden 7. Writing Chamber Room 7 8. Writing Chamber Room 8

1. Writing Chamber Room 9 2. Writing Chamber Room 10 3. Writing Chamber Room 11 4. Writing Chamber Room 12

Section A-A Scale 1:50 A Structure 1. Concrete Pile Foundation Supporting a 650mm Concrete Transfer Slab 2.Tapered Structural Calvin Truss , 250 mm Rectangle Section steel 3. 1m Radius Reinforced Concrete Column 4. 600mm x 300mm Reinforced Concrete Beam 5. Reinforced Concrete Waffle Transfer Slab 450mm 6. Reinforced Concrete Waffle Transfer Slab 450mm B Construction B12

1. 150mm Concrete, 5mm Damp Proof Membrane, 45mm Tied Air Gap, 210mm Block, 150mm Concrete,3mm Wall Finish 2. 18mm Plywood, 30mm Tiber Batten, 250mm Concrete, 150x50mm Timber, 150mm Insulation, 30mm Acoustic Mat, 20mm Acoustic Underlay, 18mm Plywood 3. 150mm Concrete Wall, 50mm Rigid Board Insulation 3mm Wall finish 4. Interior Single Glazing 5. Interior Bifold Doors 6. 10mm Plaster Board, Steel Studs at 600mm centres, 100mm Rigid Board Insulation 7. 5mm Exterior Finish, 50mm Rigid Board Insulation, 150mm C B13

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James White_Stage 3

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Section Steel, 18mm Plywood, 18mm Acoustic Underlay, 5mm Tile Finish 8mm 8. 150mm x 50mm Square Section Steel, 50mm Steel Grate Flooring 9. 3mm Wall Finish, 18mm Plywood, 300mm Rigid Board Insulation, 18mm Marine Plywood, 1.5mm Damp Proof Membrane, 10mm Timber Batten, 30mm Batten, Dust Catching Tile Facade 10. 18 mm Plywood, 150mm x 50mm Timber, 150mm x 50mm Timber, 18 mm Plywood 11. 200mm Concrete, 50mm Rigid Board Insulation, 30mm Acoustic Matting, 3m Floor Finish 12. 3mm Ceiling Finish, 18mm Plywood, 300mm Rigid Board Insulation, 18mm Plywood, 1.5 mm DPM, 5mm Lead Standing Seam, Tile Roof 13. Insulated Joining Plate 4 Bolt Compression Unit C Spaces 1. Vestibule 2. Childrens Library 3. Public Library 4. Concrete Park 5. Forum Theatre 6. Theatre Toilets 7. Theatre Cafe 8. Casting Workshop 9. Accommodation 1 10. Writer in Residence Housing 11. Writer in Residence Seminar Space 12. Writer in Residence Lecture Space

13. Staff Room/ Surveillance room 14. Writing Chamber 1 15. Parisian Style Cafe/ Diner 16. Exercise Space 17. Accommodation 12 18. Writing Chamber 12 19. Roof Garden 20. Exterior Cafe Space 21. Exterior Theatre Space D Stage 1 Writing Chamber 1. 200mm Concrete, 50mm Rigid Board, 3mm Floor Finish 2. 3mm Wall Finish, 18mm plywood,100 mm Rectangle Section Steel, 100m Rigid Board insulation, 18mm Plywood 3mm Wall Finish 3. 3mm Ceiling Finish, 50mm Rigid Board Insulation, 250 mm Concrete 4. 250mm x100mm Structural Steel Framework 5. 200mm Tapered to 100mm Concrete Exterior with Ribbed Slanted floor For Drainage 6. C Section Steels 100mm -150mm x 50mm, 18mm Perforated Steel 7. 30mm Vertical Steel Battens, 18mm Perforated Steel 8. Toilet 9. Utility Room including Washing Facilities 10. Bedroom including Bed, Wardrobe and Storage Facilities 11. Writing Chamber including Desk, Chair, Removable Bookcase and Books 12. Water Drainage System Connecting to Grey Water Tank 13. 150mm Drainage Pipe

14 Toilet 15 Washing Machine E Stage 3 Forum Theatre 1.Lighting Rig 2 Motor Controlled Door Lift 3 200mm x 50mm Door Structure 4 18mm Steel Door 5 Door Slide Recess 6 Staff Podium 7 Exterior Theatre Space 8 Door Winch 9 External Entrance for Theatre Use 10. Internal Entrance for Forum Theatre 11 AV Room 12. 30mm Sound Baffles 13. Exterior Staff Podium F People Green People/ Resident Grey People/ Staff Red People/ Staff

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1. Marseilles crime pandemic has led to the prisons overcrowding with repeats offenders 2. Un Prophete provides example of the seclusion of gang members from there average setting, The plane scene provides bases for the stage 1 rooms 3. The second city of Columbia, Medellin, is somewhat a microcosm of Marseilles, dealing with the same issues of poor public realm, gangs and attempted regeneration 4. Baumettes prison lays on the outside of Marseilles, it has very little integration with the city after closing down 3 smaller inner city units 5. The James Terrel inspired stage 1 rooms provide the seclusion and affin t t t e c t e ane cene fr n r ete atte t to portray 6.The stage Room, with accommodation below and the writing room on top . e rar ar f e e n a e ec e eac n f c ace providing high quality space and a public site 8. The vertical village idea and the subject of objectivity will decay down the building with the deconstruction of the house form, still acting as a recognisable symbology for prior occupants of the building . ta e tn t ar er ca e ta an a ca e teaching 10. Stage two will host a writer in residence, they will help to provide basic education and classes to previous occupants of stage 1 11. Writing which is cased in concrete will be opened placed within the library once the stature of limitations is over on the crimes written about inside (5-10 Years) 12. Stage 3 will be a multi use theatre. The primary purpose for the theatre will be for the use of forum theatre as a tool for rehabilitation.

This will allow for intergeneration of public and the rehabilitated . e c are e te fr t e fina r t n e n e ca t n c ncrete an e e a nf r a f rn t re n t e ar 15. Stage 4 will act as a public library providing education for the area as well as high quality public space . ne a e ft e ca t n c ncrete 17. The building will occupy the bottom half of the site acting as a bridge f rt e c rea an t e n cc e arrac . n e tn n high quality public space the building will act as a symbol investment to the north

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(PROJECT MAP)

thanks to this year’s Multistory Guest Lecture Series Contributors

Carving structure for carving upright

Nathan Back-Chamness_Stage 3

Towers to direct the movement and carving

Bar structure with views down onto process

Winches to pull column down slope

Stone column lifting structure