DYAD
M.Arch 2016
DYAD
Apollo + Dionysus
“I am extremely interested in the junction between art and architecture. I do believe that when architecture transcends building to encompass meaning, and when art becomes intrinsic to the built environment, our collective imagery can be actualised.” Mies Van Der Rohe In The Birth of Tragedy Friedrich Nietzsche sets out Apollonian and Dionysian positions as aspects of art practices. This classical schema has been the subject of much critical review and philosophical extemporisation since its 19th century publication. The themes set out find particular resonances in our own hybrid discipline – partly an art form and thus seeking autonomous expression, partly a product of engineering and thus an instrumental construct. Architecture continues to maintain a troubled, unstable identity as profession and as academic discourse. On the one side of this schizoaffective divide are the objectives, processes, means and materials mustered in the pursuit of clear aims. Functional accommodation derived from humane and sensible ideals. On the other is the chthonic, the urgent yet unnecessary, the wilful, passionate and unruly: the Dionysian, borne of a desire to create that subtends the laws of practical expediency, aligns itself with neoteny and manifests the unconscious. Apollo orders the world rationally whereas Dionysus intuits the folly of such constraints and tears at them. We should not however fall into the easy misconception that these categorisations are synonymous with objective and subjective positions, they are aspects of a dyad, a molecular bond so strong as to make separation impossible; for architecture can never be purely aesthetic or merely shelter – there is always a supplemental quality at play. The succinct definition set out by Alfred North Whitehead, writing in Process and Reality is pertinent in this regard: “Order is not sufficient. What is required, is something much more complex. It is order entering upon novelty; so that the massiveness of order does not degenerate into mere repetition; and so that the novelty is always reflected upon a background of system.”
HOW WE SEE YOU So – and in the light of the foregoing, we set off to Malta, to meet the V18 European Capital of Culture team, to put on an exhibition at Valletta’s principal contemporary arts space, Blitz, and to explore the country. The title and theme of the show was ‘How We See You’: our initial view of this southern Mediterranean post-colonial nation was of necessity distant, in several senses: this provided the impetus for an enquiry into the media surface of Malta –to present work which emerged out of highly time-constrained studies of the present conditions in the country. Such research methods inevitably highlighted recurrent thematic concerns: top-slicing domestic and international media via the usual collection of search algorithms returned results which had validity insomuch as they most powerfully influenced the perceptions of the largest audience – a digital cynosure. In early November we set off on a brief but intense period of research and presentation, plus some late autumn sun – always an asset for a study trip. We had made a collection of works designed to exist in two states: the active [performance phase] and the passive [transport phase] and necessarily capable of being deployed to serve their functions without recourse to external services or site preparation. This collection of dyads, transportable architectural constructions were designed to afford, produce, incite or house performances and were considered to be means by which we could stimulate discussion around the V18 cultural programme and beyond, in the liminal period prior to the opening of the event and as tools with which when on site, we might uncover less obvious conditions and agendas. John Bell [M.Arch Course Leader]
I N F R A S T R U C T U R E
Stealth Urbanism > The outdated infrastructure in Valletta struggles to cope with an increasing occupation of the city. The UNESCO world heritage status and the narrow street grid make it difficult to upgrade the city and to meet today’s needs and demands. Beyond the formal urban pattern, between the fortification walls and the sea, exists an urban fringe currently occupied by vigilant agents residing in informal architecture and disjointed points of interchange. It is here where the city can improve. Placed behind a screen wall that follows the sight lines and angles of the existing fortifications, new infrastructural and informal programmes coexist out of sight. Transforming the periphery of the city into a service belt by streamlining the current transport infrastructure and inserting it into the existing topography leads to the creation of new public spaces as well as additional residual niches for subcultural activities that don’t follow the conventions of the city.
Anthony Gray tonegray@outlook.com
STEALTH STRUCTURE
03: Stealth Urbanism
STRUCTURE STEALTH LINK TO CITY
RESIDUAL SPACES
LINK TO CITY
The city of Valletta is playing catch up with the world as its infrastructure struggles to cope with the increase in car use and more people commuting into the LINK TO CITYTo update the city it requires CAR PARK city. the use of a Service Belt, the fringe of land between fortifaction and ocean. Inserting large infrastructure into this FORMULA: STRUCTURE INFRASTRUCTURE and texzone and using the geometries tures of the fortification, serve the city TICKET OFFICEimpeding on its visual identity. without PUBLIC SPACE
STEALTH
BUS OFFICES
ADDITIONAL PROGRAMME
BASE STRUCTURE
RETAIL
03: Stealth Urbanism
BUS TERMINAL
LINK
PUBLIC SPACE
MARKET
The city of Valletta is playing catch up with the world as its infrastructure struggles to cope with the increase in car use JETTY and more people commuting into the city. To update the city it requires the use of a Service Belt, the fringe of land between fortifaction and ocean. Inserting large infrastructure into this zone and using the geometries and textures of the fortification, serve the city without impeding on its visual identity.
RAMPED LINK CIRCULATION BUS CONCOURSE
BUS TERMINAL LINK
PUBLIC SPACE [RENZO PIANO]
RETAIL WET MARKET
PARK
BASE STRUCTURE
VALLETTA GATE
SQUARE RESIDUAL SPACES
SALLY PORT BUS DROP OFF
TUNNEL
SLIEMA FERRY
BUS LEAVING CITY
Valletta’s Transport Future
LIGHT RAIL PLATFROM
GROUND FLOOR CONCOURSE
> The issue of transportation in the Maltese islands is significant; an underutilised public transport system and one of the highest usage statistics of private cars anywhere in the world have led to many urban areas becoming extremely congested with high levels of pollution. Although there have been numerous reforms to public transport over the last few years, there are still many shortcomings, particularly around the capital Valletta and the surrounding Grand Harbour area.
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The thesis performs a critique of the current transport system and the strategies proposed for the future, and provides an alternative vision which comprises the use of light rail, a reformed bus service and a car free zone within Floriana and Valletta whereby cars are phased out through the introduction of electric autonomous vehicles. The primary architectural intervention is located around the 17th Century fortifications of Floriana, known as ‘The Floriana Lines’, and aims to amalgamate these transportations forms within a number of structures, whilst also creating a vibrant public space for residents and tourists alike across the width of the Sciberras peninsular.
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Liam Smith liam.t.smith@gmail.com BUS STATION
HUB FROM THE BASTION
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Exterior view of the transport hub
MAD verside Studios etion of Sliema
Antithesis: Completion of Sliema
ARTHOUSE/NOMAD Thesis The FutureCompletion of Riverside Studios Antithesis: of Sliema
> The thesis aims at designing proposals to give the city of Sliema an identity. Sliema is situated across a small body of water across from the walled city of Valletta, where holiday homes and hotels populate the mid-rise skyline.
ARTHOUSE/NOMAD Thesis The FutureCompletion of Riverside Studios Antithesis: of Sliema
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where everything is he same as in the past, ained by rigidity. The in Sliema is ready for on and attachment. sible with the presscaffolding structure. challenging the trabout movement and g slides and ambiguand surface give peoes of free movement. n be taken down and They can also be exding buildings.
As an antithesis to the rigid ground of Valletta, Sliema is ready for changes, expansion and augmentation. The thesis first tackles the chaotic circulation with the introduction of an artificial landscape, which is unlikely to happen in Valletta. Then expansion is made possible with the presence of cores and scaffolding on our artificial landscape. It is also a ground challenging the traditional thinking about movement and space. Long slides and ambiguity between barriers and surface give people more possibilities of free movement. The add-on facilities can be taken down and change over time. They can also be extended to surrounding buildings. Big objects are set up in relation to the landscape. They are casual, sharp and vibrant. There is a keen sense of humour in relation to the urban context. Can you glimpse a giraffe in the forest of columns?
up in relation to the e casual, sharp and vieen sense of humour ban context, which o happen in Valletta.
May Milk Chow bimyousyuu@gmail.com
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Lowline > The Lowline project looks into the abandoned Maltese railway tunnel by focusing on its history recorded in old photographs. The line is made up of two old railway stations and a tunnel between Valletta and Floriana, which is difficult to access due to the demolished Valletta station at the new City Gate.
ME SH S
storage space
storage spaceEctiis erunt experi diatem re sitae nus, sit aria volorpor sapieni musciet ex eaquiate pernatis alicill accupta temporro consed quis aut laut lanisto verfero veleni apeliqu osantibus, solo ma vellaut re laborerum fuga. Fictibus aperiatio dolupta quisite scius, sunt. Igni omnim aut odi conet omnime repre sin exces quas molorehenda con re raernatiate es eaqui autempo
The thesis proposes a series of interventions in Valletta and Floriana transforming these, otherwise forgotten infrastructures of the past.
Nina Jiang jiangpuma007@gmail.com
Bridging the Gap > The aim of the thesis is to solve the issue of accessibility of Valletta, Manoel Island and Sliema derived from a process of experiments and investigations.
The investigation focused on how collaging two or more images together can present the opportunity for a new narrative.
The first stage of the project focussed on using collage as a tool for investigation and presentation. This tool was used to create a campaign to understand Malta from a distance and simultaneously generate outcomes that would raise awareness on certain issues within Malta.
The idea of collage as a tool lead to investigating the organisation of scenes within sequences of a film, and how different placements could result in different outcomes. The shift from 2D to 3D led to experimental stages that questioned the placement and sequence of Manoel Island and it’s neighbouring areas, Valletta and Sliema. These experiments shed light on the complications concerning traffic, access and circulation of pedestrians and the hidden economic potential of the chosen areas.
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The proposed solution to these issues is to design a pedestrian/cycling bridge that would allow the pedestrians of the area to shift between the sequences of Valletta, Manoel Island and Sliema. As a result, the proposed bridge would potentially solve the economical and physical obstacles, as well as encourage cycling with a new route into the capital.
Ahmed Almannai a.a.al.mannai@gmail.com
H
C U L T U R E
The Weather Station > Malta’s infrastructural development is closely knit to the political, social, economic and environmental discourse on the island. Marsa Power Station - the main source of electricity for Malta from 1953 to its decommission in early 2015 - has seen a controversial debate about its value. The 180m long turbine hall of the power station became the core of the project. After stripping off all the existing entities of the power station, only retaining the structural skeleton, a series of interventions that correspond to the anatomy of the former industrial mechanisms were introduced to transform the turbine hall into a weather machine. Gadgetry such as a water sprinklers, HVAC systems and fog machines were re-purposed to generate diverse atmospheric conditions:
air out
air out return
return duct
main feed from seawater culvert
_ the mists of the morning fog _ the screeching thunder on a rainy day _ the lightness of cotton-like clouds _ the gusts of wind of a tornado _ the unbearable heat in a desert plain
air in
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The Weather Station holds the potential to replicate the whole range of the Earth’s climatic conditions on demand.
dry pipe sprinkler
distribution pipe
wet pipe sprinkler
distribution pipe
boiler chiller
valve set • wet valve set • dry
compressor unit
master pump jockey pump
Ting Yan Yeo tingyan.yeo@gmail.com
storage tank
main feed from seawater culvert
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em
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dw
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ter / cold Wsuapply hoint / snow > te ra ea >cr
Entropy Kemmuna > The sublime can be defined as having the quality of greatness, magnitude or intensity. Whether physical, metaphysical, moral, aesthetic or spiritual, our ability to perceive or comprehend it is temporarily overwhelmed by it. The island of Kemmuna holds this accolade. Highly isolated, nestled between Malta and Gozo, it historically served as a location for the exile of errant Knights of the Templar, and for the controlled quarantine of victims to the plague epidemic. A chapel provided religious counsel to those isolated, and two vcemetery sites laid the departed to rest in good faith. Faith continues to bear a key role today. Its five permanent residents form a clerical assemblage in the bereavement retreat cemetery, offering friends and families an opportunity to appreciate the life of someone close.
ITERATIVE DEVELOPMENT Development of Chapel design from initial mapping drawing > speculative form generation > outline floor plan / elevation > thickness application to plan /section .
The island is a place for contemplation and healing, Guided by the affective qualities of the highly picturesque, exposed and perilous coastline, the architectural interventions are grafted deeply into the rock, beckoning one to stand atop and peer over the edge in an affective reaction of pleasurable terror.
Owen Darby owendarby@outlook.com
bell tower
BELL TOWER
chapel
CHAPEL
crematorium
CREMATORIUM
Bilateral Strait Street > Strait Street is a linear urban fabric known for its religious heritage and rituals. Amongst the many bilingual streets of Valletta, Strait Street was also known as ‘the gut’ for its past identity as a red light district. Stigmatised by its past, Strait Street became redundant, with only antique signs and memories of navy veterans remaining. More recently, the street has been re-populated by law practitioners of the adjacent Maltese Courts of Law. As part of the V18 programme Strait Street is supposed to encounter a substantial regeneration process that will transform, and tame the street even more. The thesis proposes an anti-gentrification strategy for Strait Street by challenging the existing hierarchies between architectural form and programme. The project provides juxtapositions of reoccurring geometric and spatial regimes informed by the existing voids of the urban fabric. The architectural interventions provide a lateral spatial system at ground and subterranean level. Non-hierarchical relationships are developed, allowing for the possibilities of cross-programming existing institutions and niche communities.
Maltese people show their veneration and respect to the Blessed Lady as the Queen of Heavens.
Pet Importation
Crowning of the Virgin Mary procession
The events in this bilateral street will be unprecedented and unpredictable, creating an alternative identity of Strait Street. Malta assists with evacuation of cats and dogs from Libya
Melissa Adu melissaadu@yahoo.co.uk
Unlicensed street vendors sentence suspended for Market day at Malta Law of Courts.
Police Force routine check.
Excavation works at Malta Law of Courts lead to discov ery of tombs.
Royal Ballet Soloist to play the witch Odile in Swan Lake.
Malta Skateboard Association (MSA) to meet at Malta Law of Courts.
Paid to deal with drugs.
Maltese nuns love to dance.
Forensic pharmacists research on legal highs.
Bilateral Strait Street: 1/100 Longitudinal Section and Programmatic Annotation
Dream Factory Perspective
The Dream Factory
Dream Factory Perspective
> The project explores the growing film industry in Malta and investigates the possibilities of hybrid buildings to create symbiotic relationships between different, sometimes conflicting programmes. The proposal combines a film studio complex with functions that relate to the Valletta Film Festival and the growing film tourism in Malta, including cinemas, exhibition halls, restaurants and a hotel. Leo Mulkerns lmjnr@hotmail.co.uk
Itinerant Geographies
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Availability | Site Analysis Illustration of sites available for proposed development / design for the integrated refugee facility. The sites vary in size and location, and span across the entirety of Marsaxlokk. All sites are underdeveloped; the sites are open land areas available for building and future development. A prefab design system might be deployed on any one of these sites in Marsaxlokk (Malta, or greater Europe) in variation of stack and layout. The system enables flexibility, mass production, speedy construction, and allows for adaptation throughout it’s lifespan and depending on it’s usage.
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Lezandri Van Rooyen lezandrivr@gmail.com
CH3- Malta Islamic Center: Design progression
Malta Islamic Center > Historically, Malta has a deep bond with the Arab world, traces of which can still be witnessed in its architectural heritage. Currently however, only one mosque, the Malta Islamic Centre in Paola, exists on the island. According to recent studies Malta’s Islamic community is expected to grow in the near future.
Religious Educational
Mosque
Imam consultation
School
Offices Library
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Exhibition Space
CH3-Parking Malta Islamic Center: Design progression Cafe
Malta Islamic Center- Exploded Axonometric
The thesis proposes a new Islamic Centre on the island of Comino. By combining religious, cultural and educational facilities within one architectural ensemble, the project creates an inclusive place for the muslim community and visitors alike. Rashed Al Araifi rashed.alaraifi@gmail.com
Malta Islamic Center- School- Outdoor facility
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> The issue of displacement and migration is one of today’s most controversial topics. The increasing number of conflicts and shifts in our global political and socioeconomic systems have resulted in a persecuted minority having to fight for aid, refuge and survival. Itinerant Geographies presents statistics, facts, and further research regarding migration to and through Malta by mapping the various places of transit and the institutional stations on the refugees’ journeys. The project proposes an architectural alternative to the detention centre typology, encouraging a new ‘welcome culture’ and the integration of migrants within local communities. Constructed out of economically viable, prefabricated timber units, the scheme proposes a Migrant Centre which can be arranged and adapted to suit the site. Programmes include a an arrival centre, accommodation and communal spaces like healthcare facilities, classrooms, a kitchen and cafe. The set of buildings aims to encourage interaction between the local residents and the refugees, providing an alternative to existing migrant detention facilities.
L A N D S C A P E
WATERPERFOMER VER. 0.4b
fountain 14
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Waterperformer
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> Malta has always suffered from water scarcity. The phenomenon of water stealing has made the situation even worse. The people of Malta consume more illegally sourced water than metered water. The project investigates the historical, today nearly forgotten water infrastructures in Malta, such as fountains, cisterns, aqueducts and water reservoirs, many of which were designed for military use. The proposal transforms the site on top of the subterranean granary stores in Floriana into the largest fountain in Malta. Waterperformer is a device that creates changing microclimates through different water effects transforming the site into a public waterscape.
Kim Pan Wong kpwong1213@gmail.com
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150mm I beam steel angle link w/ bolt 50mm steel tube 90mm PVC pipe metal plate fixing sump cover grating water filter copper fixing holder exhaust cover 460V water pump fountain nozzle
evaporator
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heat pipes copper cover motorized distributor
sprinkler
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steel truss control valve 50mm copper pipe 20mm PVC pipe pressure tank
ramp
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GMS plate copper railing steel frame 50mm steel tube column
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Flood Proofing Birkirkara > Flood Proofing Birkirkara provides flood prevention facilities and infrastructures in Birkirkara, to alleviate future flooding disasters in the urban neighbourhood, the adjacent university campus and the local farmland. The proposal protects the city by using the site as a barrier and filter, with large water basins following the existing contour lines of the topography. This infrastructural landscape is coupled with an agricultural preservation hub and student accomodation.
Christiana Christou christianachristou.arch90@gmail.com
Birdseye view
Seaweed Farm > Malta’s natural environments, in particular the marine and coastal zones, have been exploited for economic and business gains. The thesis explores the theme of emergence by designing a floating community for seaweed farming and bio-fuel production in this ecologically sensitive area. Inspired by self-organised urban systems, and making use of computational design methodologies, the project develops architectural and structural systems, accomodating spaces for production, recreation and communal facilities.
Konstantina Psatha konstantinapsatha@yahoo.com
C O M M E R C E Maltese Gaming Industry
> The aim of the project is to unify the thriving, but currently fragmented gaming industry in Malta. The proposed building acts as an incubator providing small businesses with shared studios and state of the art facilities. It also creates an interface between the industry, the gamers and the general public. A plaza on street level, a lecture space and an arcade, as well as a roof terrace provide multiple platforms for formal and informal encounters. Sadiq Abdul Kadir sabdul01@me.com
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Pods are designed parametrically. create a completely unique works without knowledge of design or 3D Function:
- A cube is subdivided by a fact - Vertex distortion is applied. - The model is decimated to re triangles. - All verticies in the bottom thir flattened and lowered to create
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It is possible for the user to be able t through control over the paramete example can be selected before th increasing the length, width or both can also dictate the level of shar reducing the vertex distortion or the vertex distort seed value.
The Third Place > The historic city of Valletta is a victim of its own beauty. Its tourism industry continues to promote overly stringent planning regulations despite Malta’s economic shift towards the export of goods and services. These strict regulations have led to a sclerosis of design and the degradation of central Valletta.
Construction To make construcing the pod easier, striated supports can be milled in order to support the skin as it is assembled. Because of the low density of the PC facets which form the skin, these can be made from corrugated card, meaning they can easily be removed after construction has been complete. The supports should be laid on the base plate for the pod, then triangles attached starting from the bottom then wrapping around and over the supports.
One of the few current developments, the conversion of the old abbatoir into a Design Cluster, aims to provide a platform for the creative industries. The proposed format however, is poorly suited to offices and communal networking spaces. The project examines an alternate method of encouraging dialogue in the design community, based on the principle of ‘the third place’ by Roy Oldenburg, a social space separate from both the home and the workplace.
Installation 2 Section - 1:75
The offices are isolated from the Design Cluster and are re-distributed as a series of portable office pods around Valletta instead. Together with additional temporary installations they create liminal streetscapes encouraging encounters and initiating discourse about the future of Valletta.
Sandy Stuchfield sandy@stuchfield.com
Construction & Materiality The installation - Urban Obstacle, will be constructed from a skin of Corian (Solid Surface) over a tubular steel frame. The Corian facets can be milled to very precise tolerances, this combined with its capacity for seamless joints makes it possible to create a very large surface with relative ease. The panels will be supported by the steel frame which sits below the surface, this makes it easy to assemble, and maintains the pure exterior aesthetic whilst contributing an interesting internal effect.
Installation 2: Interface to a Hidden Space
The Postmodern Addition The Postmodern Addition embraces the historic nuances, visceral undertones and time-based experiences with architecture, art, culture and history in Valletta, Malta. A family of architectural characters resonates neighbouring characteristics in materiality, yet evokes very different, complementary emotions and multi-sensory experiences. Daniel Stilwell daniel.stilwell92@googlemail.com
MUZA Deep Screen > The project creates a new space in between the existing Auberge d’Italie and the new screen for video projections.
MUSA Lewis Jacques
View Strait Up Underneath The Decks
Between the limestone wall and the translucent screen, a set of concrete decks and steel balconies sit in the gaps between the multiple projection cones, providing a vertical public space and a new circulation sytem for the MUZA museum.
Lewis Jacques lewis.jacques@live.co.uk
MUSA Lewis Jacques
View From The Top Across All The Decks An d Screens
In Search of Well-tempered Environment(s)
WRITING
by Daniel Stilwell How can we embrace a better sense of living through context, place and environment(s) to experience joy, wellbeing and well-tempered living through notions of comfort, shelter and dwelling? [Abstract] ‘In Search of Well-tempered Environment(s)’ is an exploration into the interior conditions of the home, through relational qualities of space, material, philosophy, geography and history. This piece of research about environment(s) is not about stereotypical understandings such as that of natural or physical settings but that of situations, context, habitats and shelters, be they material or immaterial, tangible or intangible. It is as much a tentative beginnings on understanding the multiplicity of avenues available to explore, as it is an expansive and highly evocative linguistics exercise open for conjecture and further rigour. My method is simple, as to not stray away from the trajectories of the four overarching and distinct frameworks that have been set out and written about. Coupled with several critically engaging, theoretical yet practical 3D scanning experiments that compliment the framework and show key examples of how we can experience joy, wellbeing and well-tempered living through notions of comfort, shelter and dwelling.
may get caught up on why I perhaps may not be exclusively writing about ecosystems of geographic and territorial hotspots either. Ironically, the aforementioned are only one branch on a large tree of differing but relational substrates. I must stress, that to feel and be comfortable, one does not have to solely rely on interior conditions relating to temperature, humidity and a constant supply of fresh air. Here the focus is on the perceptions, the multi-sensory experiences and the atmospheres at play, which stimulate joy, wellbeing and well-tempered living environment(s), consequentially stimulating life in the architecture of the humble home and living condition. The reality of ‘maintenance’ and ‘decent’ levels of comfort are something that is far beyond an afterthought to the controlling developers. In parallel to Banham and his writings, it seems the architectural profession are partly to blame with regards to the failure to engaging environmental consciousness and the appropriateness of Enviro-tectural qualities. He writes that because of the professions failure to;
Whilst Reyner Banham in ‘The Architecture of the Well-tempered Environment’ sets out to write a book about firsts and not mosts in the form of advocating well-tempered living through technological advances, environmental awareness in architectural histories and the reliance on mechanical services to create his environmental bubble, this research proposes that there are relational situations that work with one another and don’t culminate in one single reasoning.
“almost literally – keep its house in order, it fell to another body of men to assume responsibility for the maintenance of decent environmental conditions: everybody from plumbers to consulting engineers.”
This body of research provides alternative views, thinking, writing and research on the semantic linguistics at play with environment(s). Thus showing how habitat, surrounding, setting and context can change the conditions, locales and atmospheres of the status quo.
Banham champions a time where the Architect need not just be the archetypal artist, with the vision, but to be the one who holds understanding of the mechanical service system. Done, in a bid to elevate and promote a richer architectural discourse, with the end result being a more conscious and aware Architecture and Architect.
[Extract]
Therefore In Search of Well-tempered Environment(s) attempts to start the didactic conversation in illuminating better notions of comfort, shelter, wellbeing and joy through a broadening of opportunities to diversify the current paradigm in Architecture. Peg Rawes in Relational Architectural Ecologies writes about biodiversity in the built environment and the relationships between ecologies and architectures. Rawes goes on to explain that these relationships;
Beyond Banham & his Bubble In Search of Well-tempered Environment(s) sets about critically examining and engaging in non stereotypical notions of what an environment is and what environment(s) should, could and would be with great emphasis on the cross pollination of disciplinary analysis. In a bid to be transparent, I will embrace Banham’s method of research, insofar as to say my motivation and intention is to mimic the way in which he classifies what ‘Architecture of the Well-tempered Environment’ is. That is to say it is a tentative beginning on environment(s) in the broadest sense of the word, as a set of mosts and not firsts. Some who have read the title of this research may automatically assume that they will be reading about environment(s) as a substrate of Nature and Ecology as the all seeing ‘physical characteristics’ of the world they live in. They
He later writes of the “persistently lopsided architectural discourse” which seems to be evident now some 40 years after Banham’s work. [ Banham, R. 1984. 11 ]
“extend well beyond traditional definitions of environmentally responsive architectural design” [ Rawes, P. 2013. 2 ] Architectural Historian, Jonathan Hill is well known for extensively exploring weather in relation to domestic environment(s) coupled with highly evocative and poetic writing that is rooted in contextualisation, history and speculation. From this, Hill has quoted Banister Fletcher on the origin of architecture and the intrinsic relationship with what I would call notions of primitivism and survival;
“The purpose of the home is to keep the inside inside and the outside outside. Traditionally, threats from outside come in a number of guises, notably inclement weather and undesirable people. Both are associated with the formless, fluid, unstable and unpredictable. [ Fletcher ] Architecture… must have had a simple origin in the primitive efforts of mankind to provide protection against inclement weather, wild beasts and human enemies.” [ Hill, J. 2006. 9 ] We see Hill exploring intimate cores, perceptions and experiences of inhabitation, the interior, comfort and what I believe are underlying ideas of well-tempered living and environment(s). He also explores historical denotations of the development of the home and homeliness and how internal subdivisions such as day and night functions created the idea of segregation and comparative privacy. Not only that, he argues for the inception of the corridor as being an enabler for: “a room to have a single use and a single entrance, defending privacy and discouraging entry to anyone without a specific purpose.” Hill, J. 2006. 7 ] [...]
Dialogue > Dialogue is inspired by the artwork of Ai Weiwei, in particular his depiction of intentionally dropping a Han vase. The photos provoke thoughts on the forged and the authentic, the old versus the new, and thus generate a dialogue between people and art. By using a simple architectural language the MUZA building is transformed into a user-friendly showcase of Malta’s historic and contemporary art. Entering through a 9 meter tall tapered entrance visitors led into the gallery spaces by ascending the new corten steel staircase. A newly added contemporary art space is located on roof level. Its facade is made of a gabion wall containing crushed Maltese limestone blocks, which have been collected from the demolition of the existing mezzanine level.
Jun Yee Tan tanjunyee.tan@gmail.com
The Hexagonal Roof > The Covered Market, built in the 1860’s under British rule, still operates to this day, although in a somewhat neglected state. The V18 programme seeks to bring the market back to it’s former glory. The project proposes a new habitable roof structure featuring spaces for changing cultural events and community activities.
Ben Knights ben-knights@hotmail.co.uk
Design Technology
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Door operator Cab guide rail Piston Guiderail brackets Shaft doors Two car buffers in ground cylinder
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External cladding - limestone panneling Light steel frame Insulation Internal cladding - polished lime stone Composite column (concrete fill between flanges) Steel Beam Flange plate Profiled sheet metal Shear studs in situ concrete Polished Concrete flooring Steel glass frame Limestone structure Doubled glazzed glass Over head light diffuser Automated louvers Glazzed ceiling glass panelling
THE PYRO SYMPHONY
The Pyro Symphony > The tradition of fireworks in Malta was the catalyst for the project. A new structure is grafted onto the covered market in Valletta and acts as a pyrotechnical device turning each performance into a singular event, never to be repeated.
Sophie Lamarque slamarque1602@gmail.com 1:100 SECTION
THE PYRO TREBUCHET
Platform Dance Theatre > The history of dance and the performing arts can be traced back to the 15th century in Malta. The Platform Dance Theatre aims at providing a cultural platform for the people of Valletta by creating a space where the public and performers can collaborate. A distinct feature of the existing Covered Market is its 1860’s cast iron structure. Revolutionary at the time, its presence, not only structurally but also aesthetically, still holds fast today. Inspired by the existing structure, the Platform Dance Theatre creates a inhabitable level above the current market, celebrating innovation in structure as well as aesthetics. The dance performance space becomes a floor and a roof at the same time, with the theme of movement being the protagonist. Spanning the whole area of the market, the glass floor provides natural lighting into the lower levels through an undulating roof structure. Antonia Adjei-Mensah antoniamensah@gmail.com
The Cyborgian Society
WRITING
by Sophie Lamarque How are we to adapt to the post-human environment? [Manifesto] A Manifesto for Our Cyborgian Culture Class shall not be relevant towards the Cyborgian physical environment (Gonzalez, 1999 cited in The Gendered Cyborg: A Reader. Hovenden, F, 2000) Posthuman will embrace the role as the mediator, between the real and artificial bodies. The architect builds the environment that no longer will conform to one particular form (Cruz, 2013) The appearance of the cyborg is to hold an inferior role against the prophlatic systems (Anthony Vidler, cited in The Inhabitable Flesh of Architecture, 2013:192) The cyborgian society can inhabit anywhere within it’s desires, and adapt through hybridisation of biological and man made (Cruz: 2013:196) All creation of cyborgs is to be rationalised through design anatomy, using virtual augmentation (Cruz, 2008:50) [Abstract] This thesis is concerned with the inhabitants of the future: cyborgs. An increasingly persistent metamorphosis from the natural body to the artificial alternatives society has to offer, has created a new and strong post-human occupant within society. The question investigated in this thesis is concerned with the potential impact that a cyborgian body has on architecture, how as designers the potential importance to pursue a new aesthetic within the built environment, based on the progression of the human form itself. The scope of this thesis is to gradually build a manifesto that understands and accommodates for the new body, through exploration of various qualities that impacts the built environment. Since there is no distinct cyborgian body, this thesis will investigate how this change will alter the architect’s role, as there is no longer a distinct physical space for a singular human form. The cyborg is becoming a prevailing inhabitant, and demands a consideration within the future posthuman environment. Producing the manifesto will outline the parameters for architecture to obey and conform to, transforming our existing environment into an idealistic landscape that combines the artificial and natural aesthetics the posthuman reflects. [Introduction] “’Change for machines,’ she sighed heavily. ‘That’s all we’ve ever done is change for the machines. But this is the last time. We’ve finally changed enough that the machines will be making all the changes from now on.’” Pat Cadigan, Synners (Cadigan, 1991:29) Today, the creative process of architecture certainly still surrounds itself with the confinements of the human body, its walls, its flesh and internal structure echoing through the physical space it inhabits. As Spiller proposes, “architecture is a man-made carapace of the body.” (Spiller,
1998:32) Currently we face a new type of body, progressed through history and the context society was facing. Our bodies are the origins for all forms and design created through the human mind. (Palumbo, 2000:9) Since it is important to consider the origins of this significance within architecture, the ideal aspiration for a designer is to design for someone or something for a response. This is consequently shifted as the “someone or something” has evolved. Technology is an augmenting component of what builds up the everyday life of postmodern community. (Cruz, 2008:48) Where would society be without prosthetics, plastic surgery, and the many modern advances that questionably are overlooked amongst the tremendous array of options? (Catts and Zurr, 2008:31) What was once a figment of imagination, or an idea sprouted from popular science fiction, is now very much taking place in the present time. This thesis is concerned about what is required to shift itself into the cyborgian society, through the investigation into the Cyborgian culture, appearance and environment. It’s important first to consider what a cyborg is, and does the entire human population need to conform to this category of inhabitants in order to live in the post human environment. If this idea is really circulating around the relationship of the artificial and natural states, it is arguably possible for our physical surroundings to challenge this balance equally as much as a singular human being. The Cyborgian Body – Marcos Cruz Marco’s Cruz and his thesis titled, The Inhabitable Flesh of Architecture was a catalyst for this investigation into the shift in society. Cruz attempts to define body conceptions, from the past and future, that triggered the question ‘How are we to adapt to the Posthuman Environment’ This covers what the future holds for the human form and it’s relationship to it’s environment. As Cruz attempts to define the body conceptions of Western culture, much of this terminology comes from the research through artists, and should neglect other body conceptions that may not have fitted these western aesthetics. The final and most current body conception Cruz details, is the ‘Cyborgian body’ that progresses on from the ‘modern body’ society may be more accustomed too. This body conception is placed in time after the Second World War, a moment of history where severe brutalities and gruesome disfigurement left areas of the body in need of replacement and new solutions. A curiosity with technological development, and the powerful position that machinery holds provoked society into exploring the combination of technology and our bodies. Cruz describes the outcomes of such experimentation, claiming it has “allowed the body to go beyond its limitations and expand its sensory apparatus and activate a new dimension in terms of communication and social engagement.” (Cruz, 2013:18) It is evident that this new “dimension” is being explored through architecture, how the cyborgian society can manipulate and redesign new spaces.
In order to fully understand and investigate how to adapt a posthuman environment, this dissertation is split into three sections, each one contributing a significant quality in how a society is constructed. In the first section, research into the culture a cyborgian civilization can possess, will be explored in comparison to the past and existing societies. While this part of the dissertation focuses on particularly important media portrayals that help build up a cyborg, these case studies do live in the past, therefore in this section the study of the past expectations of the post human environment are also discussed. The second section moves on to an analysis of the societies appearance, how they are physically and mentally designed in order to portray a true member of The Cyborgian society. Through the study of present cyborgs, and texts that also discuss this body conception is expected to develop the investigation towards an answer. The aesthetic nature of the Cyborg is an ambiguous combination of anthropology, man made and biological matters that collectively form one society. (Haraway: 1990:65) The final section is an analysis of what the environment will hold for the post human condition. Is the environment crucial to the future cyborgian invasion? This section, similar to section I is an analysis of the past proposals towards new architecture, how this had an impact on the present and future ideas for cyborgs. [...]
Technology Dissertation
Porous Surface Drainage Systems & Pervious Concrete 1 preparation of apparatus and materi- 6 repeated thorough mixing of materiThe Procedures als als making of Type 1 porous concrete 2 3 4 5
7 placing well mixed materials into the mould 8 appearance on day 0 9 appearance on day 2
cleaning off impurities calibration and weighing mixing of cement and aggregates adding water
Common uses of impermeable asphalt paving in urban environments intensify the problem of surface runoff. Increases in surface runoff exceeds the design capacity of sewage and results in floodingcausing disruption to traffic and daily life. In addition, surface runoff carries pollutants to the sea as it flows across road surfaces and construction sites The Sustainable urban Drainage System (SuDS) is designed to replicate natural systems that use cost effective solutions with low environmental impact. The aim is to drain surface water through a sequence of collection, storage, and cleaning processes before releasing it back into the environment.
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May Milk Chow bimyousyuu@gmail.com
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However, pervious concrete requires regular cleaning in order to prevent decrease in permeability. As we now try to incorporate the idea of vertical filtration to a porous surface drainage system, there must be the presence of residues after the process. Remains of them especially within porous spaces will eventually lower the efficiency to capture and drain away "first flush". It might requires further replacement if the trapped residues cannot be withdrawn from gaps. The cost efficiency would become a major concern.
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Ratio of aggregate : sharp sand : cement : water (by mass): Time for setting: Is it pervious? Can it stand on its own weight?
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The experimental result matches the change in composition of four pervious concrete samples. When there is a higher proportion of sharp sand, and lower proportion of gravels, the infiltration rate drops accordingly. The infiltration test also proves our forth sample, which shares the same composition as standard concrete, remains some permeability.
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Future Practice
2025 Forecasting Futures Ahmed Al Mannai, Rashed Al Araifi, Sadiq Abdul Kadir and Kim Pan Wong were invited to co-design and co-ordinate the exhibition ‘2025 Forecasting Futures’ at ual - University of the Arts + Meetings Site visits London. “The objective is to explore the concept, logic, and imaginative strands of forecasting the future of design. This will be executed through investigating design techniques related to the notion of ‘the moment before certainty’. Factors such as reflection, intangibility, and unpredictability are key components which help to catalyze the process of executing the design of this project.” The brief involved working on the overall theme across the web and exhibition platforms, including regular meetings with the clients and co-organisers to present their ideas and concept development.
After several trials of testing and experimenting with the simplified geometric surfaces, there was a need to expand upon this work-flow. More tests were made at several scales. The exhibited content, technicalites, and time frame were taken into consideration. A successfully adaptable free standing surface was the consquance of these tests.
51°23’N An audio-visual installation inspired by the decline and regeneration of a seaside town. Margate has fused models of cultural tourism with a dedication to its heritage to credible success. 51º23’N is a short film presented by ott. honed in on a location yet to emerge from the limbo of British seaside tourism. 51º23’N was screened to live audiences at Ramsgate Music Hall and was later featured in DUMMY online magazine. Audio: WEN Visual: ott.[Owen Darby, Ting Yan Yeo and Tony Gray]
The Living Machine Ting Yan Yeo
birdhouse 2.0 Polhaus: [lifting the fake falcon] “It’s heavy. What is it?” Spade: “The, uh, stuff that dreams are made of.” The Maltese Falcon (1941)
Poacher 2.0 Anthony Gray
Phoenix Daniel Stilwell
House Sparrow May Milk Chow
Birdhouse 2.0 Nesting
D e s i g n D e v e l o p m e n t Model Making
A process of nesting simulation using computer modelling developed a series of woven objects.
The Woven Birdhouse
Using basic weaving principles to create a surface pattern created a nest like quality and a spatial configuration that is similar to a bird’s nest. Though, the computer models did not give a sense of materiality and thus I started creating physical models. It started as a series of baskets and was then interlaced to created a woven topography for the quail.
Melissa Adu
Stages of Flight
Migrant Sandy Stuchfield + Leo Mulkerns
Woodpecker Atelier
Tweeter
Flyvela
Corvid Caboodle
Edible Birdhouse
Owen Darby
Rashed Al Araifi
Lewis Jacques
Sophie Lamarque
Sam Chen
CSA
Canterbury School of Architecture
The Canterbury School of Architecture (CSA) is situated within the University for the Creative Arts (UCA), a leading specialist university that offers courses from pre-degree Art Foundation to PhD research in its Art, Design & Media disciplines. Our founding colleges and¬ campuses at Canterbury, Epsom, Farnham and Rochester have a history dating back to 1866. Our validated courses in Architecture are located at our campus in Canterbury city centre where students benefit from generous and dedicated purpose- built studios and a range of specialist technical workshops, library collections and exhibition spaces. 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 work flows; 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. We see our School as a laboratory for architecture and spatial design. We’re committed to exploring the potentials of our discipline through our individual and collective actions and agency. This requires a commitment on the part of our students and staff to take a position in relation to the contemporary conditions 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 of them 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.
M.Arch The course is uniquely conceived as a forum for architectural investigation and innovation. Design research is at the heart of what we do. The M.Arch offers an environment geared to the development of approaches and techniques, equipping students with transferrable skills and apposite contemporary architectural knowledge. Over the course of two years, students develop individual research agendas that inform and activate personal practical projects, within the broad research frameworks of the course and that of their tutor group. Knowledge is built through one-to-one tutorials, lectures, seminars and applied project exercises; using dialogue and activism to frame understandings of cultural contexts and theoretical positions. Architectural and systemic issues of fabrication, meaning, representation, electronic media, interaction, cognition, emergent technologies and their capacities to inform modes of spatial production provide contemporary theoretical themes and frameworks within the course. Students are encouraged to interrogate and extend their knowledge of spatial theory through highly experimental projects. By the end of the course, students are equipped to adopt critical positions within the profession and wider society, initiate and deliver projects grounded and delivered in design-based research and continue a process of learning through experimentation and enquiry. We understand the architect as someone whose cross-disciplinary role enables them to draw on the production of knowledge within various related disciplines and to develop, through contemporary digital and analogue design processes and techniques, strategies and models for sustainable development within the context of the production of buildings, the spaces between them and the contexts in which they occur. In pursuit of these aims, the course actively seeks out partner organisations and venues for work to reach out to sector decision-makers and to the general public. We have recently worked with Arts organisations in Dover (DAD) and London (Riverside Trust), European Capitals of Culture in Cyprus and Malta and held successful public exhibitions in Dover, the Folkestone Triennial, London and Valletta. Course outputs are routinely published, through exhibitions, books, seminars and papers and through our successful Future Practice programme you will bring your academic production to a public forum, preparing students for professional life and developing entrepreneurial skills. The course is located in the established and respected Canterbury School of Architecture and shares studio facilities and staffing with the wider UCA PG programmes. Doing so creates significant formal and informal opportunities for intellectual exchange between the disciplines of art, architecture and design. The course utilises the range of craft and digital workshops and laboratories available at UCA Canterbury to facilitate material production at each stage of project development. We have a lively student community: our open lecture series, ‘Multistory’ runs weekly events at the Canterbury School of Architecture with speakers from the worlds of architecture, design and the arts. Although the majority of entrants will have a good first degree in architecture, with exemption from Part 1 of the ARB/RIBA professional exam, the course welcomes applications from students from cognate courses who wish to extend their knowledge of and practice in architecture. Regular guidance and critical feedback from a wide range of subject experts and leading professional practitioners facilitates this to the highest level. Access to research active staff facilitates opportunities for MA-PhD progression with former students having successfully embarked on such a path. The course culminates in the well-respected Canterbury Graduation Show. As such it provides, prepares and requires students to address the challenge of independently realising and comprehensively articulating installations for a high profile and public arts event. We received three commendations from the RIBA Visiting Board, which noted that the course “…has a unique investigative research aspect that encourages graduates’ curiosity. Graduates develop an activist approach to architecture”.
M.Arch Staff John Bell Gabor Stark Allan Atlee Hocine Bougdah JJ Brophy Radu Gidei Lucy Jones Sam McElhinney Danka Stefan Matthew Wilson Ian Badger Steve Dickson-Smith Chris Settle Ben Westacott 4th Year Students Antonia Adjei-Mensah Nasser Ahmad Negin Aminy Raouf Benjamin Austin Alisa Elenevskaya Aliriza Eren Kurt Gander-Howe Ioulia Georgiopoulou Daniel Jack Greenfield Mehtab Ijaz Lewis Jacques Ben Knights Sophie Lamarque Panagiotis Santas Daniel Stilwell Jun Yee Tan Max Thomson Sarah Zainalabidin 5th Year Students Sadiq Abdulkadir Melissa Adu Rashed Al Araifi Ahmed Almannai Sam Chen May Milk Chow Christiana Chistou Owen Darby Anthony Gray Nina Jiang Leo Mulkerns Konstantina Psatha Liam Smith Sandy Stuchfield Lezandri Van Rooyen Margarita Vervele Kim Pan Wong Ting Yan Yeo
MULTISTORY Guest Lecture Series 2015 – 2016 Will Jennings A Folly For London Peg Rawes UCL Tina Richardson Schizocartographer Douglas Murphy Architectural Correspondent Chris Romer Lee Studio Octopi Jack Self Real Foundation Will Alsop UCA Professor of Architecture Adam Nathaniel Furman Designer & Writer Sir Peter Cook Crab Studio Carl Trenfield Carl Trenfield Architects Oli Mould Urban Geographer Kasan Goh Clay Architecture Oliver Wainwright Architecture Critic for The Guardian Elly Ward Ordinary Architecture Andrew O’Donell AHMM Dominick Tyler The Landscape Reader Liam Young Nomadic Researcher PUG Art & Architecture Collective Finn Williams Architect & Planner Curated by Daniel Stilwell Lunchtime Lectures 2015/16 Matthew Wilson: Typological Ecologies Sam McElhinney: Secret Dynamics of Space Lucy Jones: Aedicules Gabor Stark: Of Portable Monuments and Friendly Armies John Bell: Why is everything the same shape? FrancisKnight - Public Art Consultancy: How does art extend your balcony? Kristina Kotov: Barn 2 B JJ Brophy: Play it again - Why virtual reality will work … this time Guests and Collaborators 2015/16 Antoine Borg Micallef Matt Hayes Lee Evans Architects Alexander Richards Clague LLP Jonathan Tarbatt Clague LLP Claire Scerri pH+ Architects Paul Shedden pod Architects Stefano Strazzullo Curtins Diarmuid Healy Curtins Trefor Marshall Curtins Ethan Conlin Curtins Kristina Kotov UCA Canterbury Tijana Stevanovic UCA Farnham Valletta 18 European Capital of Culture: Neville Borg Veronica Bonello Dr Antoine Zammit Caldon Mercieca Blitz Gallery Valletta: Alexandra Pace Nicole Bearman
Editorial team: Anthony Gray Sophie Lamarque Daniel Stilwell Ting Yan Yeo John Bell Gabor Stark
Canterbury School of Architecture New Dover Road Canterbury Kent CT1 3AN United Kingdom www.uca.ac.uk www.cantarch.org