MArch Academic Portfolio by Angus Bolland

Academic Portfolio. Angus Bolland. 2015-2017

ATR

Generic Study Contextual Study

pg. 4

ATR CONTEXTUAL REPORT

Semester 2.

pg. 28

Design Studio D

EARTH AESTHETICS

Athens: Salvaging Urbanism. 2_Engaging the City pg. 35

Studies [Readings] in Contemporary Architectural Theory. Drawing The City Course Diary Angus Bolland 2016

YEAR 2

MArch 2.

Semester 1.

SC[R]AT

Drawing the City Course Diary Essay pg. 55

Athens: Salvaging Urbanism. 3_Micro-Urbanisms

Design Studio A No.69 Lansdowne Road

AMPL

pg. 60

No.60 Lansdowne Road

No.18 Vavasour Square

No.50 O’Connell Gardens

Contract Game Contract Game Report. AMPL Exam. Drawing Submission pg. 90

HIstoric Lansdowne Road Stadium Overshadowing

No.32 O’Connell Gardens

1. Historic Lansdowne Road Statium Development Volume Aviva Statium

AN EXPLODED FIELD.

Development Volume Overshadowing

Aviva Stadium.

Salvaging Urbanism Athens: Salvaging Urbanism. Vol 2. 4_Project Articulations

PLANNING.

Semester 2.

YEAR 1

Design Studio C

Athens: Salvaging Urbanism. 1_San Juan Cruise Hub

Angus Bolland Lovisa Lidstrom

MArch 1.

Semester 1.

Table of Contents.

Design Studio H

Name: Aviva Stadium Capacity: 51,700 Cost: 410 million euro Date of construction: May 2007 - April 2010. Architect: Populous Client: IRFU and FAI Location: Lansdowne Road, Dublin, Ireland Site Area: 6.4 hectacres (63,802 sq.m.) Stadium Roof Area: 19,000 sq.m.

relevant to the area. The new stadium impacts these areas by altering the existing skyline but is an iconic sporting venue and amenity for the city. Thus, the benefits to the city outweigh the localised problems.

“Lansdowne Road has been the traditional home of rugby in Ireland since the first game was played there in 1876. When the existing facility no longer met the requirements of an international sporting arena, Populous was briefed to design a new 50,000 seat stadium – in a space that was smaller than that occupied by the old 23,000 seat/25,000 standing capacity stadium!” Populous

Overshadowing diagrams Taken at the Spring (or Vernal) Equinox at 10am,12pm & 2pm as stipulated in the greater Dublin area regional planning guidelines. The shadow study diagrams are based on the stadium façade being fully opaque whereas in reality the stadium incorporates a degree of translucent cladding materials resulting in lighter and more diffused shadows. In order to reduce overshadowing to the north side the 45 degree rule for of neighbouring properties was applied. The stadium roof and façade are optimised to conform to this rule Section 2,4 + 5. In order to gain planning permission for the project the transparency of the façade was highlighted, this transparency however becomes severely reduced when the structure is considered alongside it.

The stadium has been designed in relation to the 45degree overshadowing rule and Vertical Sky Component for determining the maximum permissible ridge height of the stadium and the volume which it occupies on the site in relation to the adjacent properties. The project is a “negotiated exclusion” of the rules Policy H13 refers to the conservation areas in terms of townscape value and the specific zoning requirements of that area. Stadium facilities and requirements of the stadium have altered greatly since the historic stadium. Restaurants, museums, seating regulations, Media studios etc. These new requirements mean that new sporting venues require considerably more space than their historic counterparts. This new added program must be configured into the site plan of the old stadium.

Design Report

2pm

12pm

The volume of a “standard” 50,000 stadia would severely overshadow the residential area to the north of the stadium. A negotiated compromise was made to lower the north stand to single tier stand with a capacity of 3000.

The stadium acts as a boundary object responding to limits and constraints set by the neighbouring properties including residential properties and the historic Lansdowne road football club attempting to satisfy multiple agendas. Populous aimed to optimise the massing of the stadium against these restraints. In order to visualise these constraints a 3d model was created to rationalize these parameters. This created the Development volume which give the maximum permissible area for development. This model allows the negotiated exemptions to be analysed at the north side the stadium matches this permissible volume whereas in other areas the stadium expands out with this volume. In relation to overshadowing the new stadium is optimized to this boundary condition. The stadium appears to inflate to fill the potential development area.

10am

Angus Bolland In Dublin, there are no mandatory standards for the preservation of access to daylight and sunlight to neighbouring properties. The Dublin City Development Plan requires that account should be taken of “Site Layout Planning for Daylight and sunlight – A Guide to Good Practice” PJ Littlefair. The publication discusses ways of controlling the impact of these properties access to sunlight and daylight. The “Littlefair” document indicates that the VSC (Vertical Sky Component) should be considered in determining whether the application is permissible. Embodied within this rule is the assumption that the typical building has reflectance of 10%. In the case of the Aviva stadium the façade materials have been selected to achieve a significantly higher degree of reflectivity than this. This allows the vertical sky component to be augmented by this higher degree of reflectivity and therefore the stadium “becomes” permissible as the new stadium is therefore comparable to the historic stadium in many of these instances e.g. Section 3.

pg. 98

The Aviva stadium deals with Cumulative mass trajectories. The problem of overshadowing generated more problems with its solution. The stadium has been lowered at one end to solve this problem, this lowering created issues of acoustic performance and leads to impermissible sporting conditions due to wind. To prevent this the stadium has a window.

An Exploded Field Game Surface Urbanism. Aviva Stadium Overshadowing

pg. 127

2/131

Year One Courses.

ATR

Design Studio D

MArch2.

MArch1.

Reading the Portfolio.

Design Studio C

SC[R]AT

Generic Report Contextual Report

Design Studio A

AMPL

Design Studio H

Design Report

Year Two Courses.

Course Components. Current Course.

Course Title. Course Summary.

Media Frame

Learning Outcomes.

General Criteria 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

ARB General Criteria (Part II)

ARB Graduate Attributes (Part II)

Graduate Attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Page

3/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

San Juan Cruise Hub

Athens: Salvaging Urbanism.

ESALA Edinburgh School of Architecture and Landscape Architecture

1_San Juan Cruise Hub Design Studio C

Group Members: Callum Aitken Angus Bolland Robert Rattray Lovisa Lidstrom

Master of Architecture

Integrated Pathway Year 1 (2015-16) Studio C Course Code: ARCH11091 Credit Points: 40 Year 1, Semester 1 Mark Dorrian + Aikaterini Antonopoulou

ATHENS: SALVAGING URBANISM

Introduction “And this source of uncertainty, thanks to the water, everything becomes clear: sand, mud, quiet water, flowing waters, the underlying waters”

1_SAN JUAN CRUISE HUB

ARCHmedium proposes the construction of a new cruise terminal that optimizes the connection between the city and cruise ships. An ideas competition that raises a double scale: Understanding the terminal as a gateway to Puerto Rico and as a public facility for collective use among the community.

Le Corbusier, Carnet No. 368 J 38 Five ships, twelve caravels and over 1,500 men crossed the Atlantic for the second time in just over a year. Shocked by the results of the first expedition, the Catholic kings had financed another trip to learn more about the new continent. In just 20 days, the expedition from Cadiz reached the Lesser Antilles and the island later named as San Juan Bautista, Puerto Rico today. Columbus led the fleet carrying livestock, seeds and weapons; thus he conquered new territory in America.

What can a cruise terminal contribute to a city? The historic district of San Juan de Puerto Rico is known as “Old San Juan”. Cobblestone streets and numerous buildings give evidence of the sixteenth century when the island was a Spanish colony.Numerous shops, squares and churches create a tissue of a traditional city that operates with great success. Competition Brief Extract

SAN JUAN CRUISE HUB

Topographic map of Puerto Rico (1952)

Overview Before travelling to Athens in January, our initial semester will be focused on a current competition, run by Archmedium, for a cruise boat terminal in the Puerto Rico capital of San Juan. We will work to the competition brief as it is supplied by the organisers, which is attached to this document. While the social and economic context of the competition is very different from the one that we will encounter in Athens, this project does set up particular themes that will be useful for us – not only those connected to port conditions and the relation of a city to a complex of islands, but also that of the urbanism of the large-scale object. As a title, 'Salvaging Urbanism' might immediately be imagined to imply a small, bottom-up, approach, but it will be equally – and maybe more – interesting and relevant to bring this idea into contact with potentially large-scale interventions within the city of Athens. Tutorials will be held on Fridays every week, during which verbal feedback on the developing projects will be given. In addition, two of the Fridays will be given over to more formal reviews, with invited guest critics: 23 October and 27 November. We will begin the project with a short period of research gathering, the results of which will be shown in 5 short presentations in the studio on the afternoon of Friday 25 September. The intention of this is to quickly accumulate material that can be shared among the studio group as a whole.

The world of the sea has always caused fascination in humans. Boat records are taken from more than 10,000 years ago, where the man used a carved trunk as a means of transportation on water. The technology progressed and men built elements to float in the water more efficiently. They invented techniques to steer the boat more precisely and improve speed. Examples include the rudder, the oars and sails later. Civilization found new uses for the ships built; recreation, fishing, transportation and war.

In the nineteenth century the packet–boat appears, liners and shipbuilding changed wooden frames for iron hull and sails for steam. The aircraft industry implemented substantial material progress and a formal simplicity from the strict necessities of engineering. The formal honesty of the new transatlantic took such magnitude that it impressed and inspired Le Corbusier to lay the foundations for a new modern architecture. Today the boats are mostly cargo ships and cruise ships. Cruise tourism is one of the fastest growing industries in the 21st century. In 1997, 8.5 million passengers traveled in a cruise and it is estimated that in 2014 this will increase to more than 21 million. This industry generates 45 thousand jobs and has an estimated turnover of 37 billion dollars. Cities and merchants receive significant benefits through their exploitation, but it is often unknown the environmental impact and social inequality it generates. Emulating the modern utopia of Archigram <<Walking city>>, large cruise ships are floating cities traveling from port to port. In occasions becoming a tourist destination in itself. These floating infrastructures and large flows of people that it generates are crucial elements in the planning of modern cities. The competition raises the transition between the cities and large vessels. How to design this threshold? What should be the gateway to a territory?

Different types of boat emerged throughout history. From the twelfth century the seas were crossed by the sailing vessels as rattles. More efficient in navigating were the caravels that were widely known to be used by Columbus travels in his discovery of America. The caravels were narrow and light boats up to 30 meters.

Learning Outcomes. LO1 – The ability to develop and act on a productive conceptual framework both individually and in teams for an architectural project or proposition, based on a critical analysis of relevant issues. LO2 – The ability to develop an architectural, spatial and material language that is carefully considered at an experiential level and that is in clear dialogue with conceptual and contextual concerns. LO3 – A critical understanding of, and the development of skills in using, differing forms of representation (eg. verbal, drawing, modelling, photography, film, computer and workshop techniques), especially in relation to individual and group work.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 4/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

San Juan Cruise Hub

DESIGN STATEMENT The brief for a cruise hub in San Juan, Puerto Rico brings with it strong connotations of luxury travel. From the outset this initial association was in stark contrast to the state of the economy in Puerto Rico. The public debt of Puerto Rico recently reached $46.7 billion and unemployment has grown to 17%, leaving 41% of people living below the poverty line. Thus the need to create local jobs and development is essential. The cruise hub provides an opportunity to then challenge the cruise industry and present a more social response. The cruise ships are not only imposing in comparison to the scale of Old San Juan but also create a sudden influx in population. The average stay of cruise ships is seven hours; this temporary saturation of tourists creates a brief and superficial enjoyment of the island, which infringes on the everyday lives of locals with minimised tourist trade due to the short stay. Agriculture has been a pertinent part of Puerto Rican heritage and their current economy through the growth of coffee, fruit, tobacco and sugar cane. However there are currently no sugar cane mills on the island following the decline of the industry since the 1950s, culminating in the closure of the last three sugar cane mills in 2000. Puerto Rico’s history of rum became a marketing tool for many ‘authentic’ Puerto Rican rum producers. The nearby Bacardi plant imports molasses, and exports rum to America to be bottled. The proposal aims to resurrect the production of rum in its entirety – from growing sugar cane through to bottling. This serves as a means to give tourists a taste of Puerto Rican heritage, bring locals and tourists together and also provide employ to locals. The distillery is envisaged as a small bespoke brand that would produce high quality rum that can only be bought at the cruise hub, by the people of San Juan and by cruise tourists who can take their piece of Puerto Rican and Caribbean culture with them. This would bring locals and tourists together in one vibrant and lively space; changing the relationship between the cruise industry and the local people. Situated on an existing gap site adjacent to the shore, the proposal traces an axis north across the peninsula creating tension between the linear cruise hub building and a northern pier with an urban stair situated on the edge of La Perla – an impoverish area of San Juan. This axis draws the route of La Perla residents to the

cruise hub and tourists into Old San Juan. The cruise hub then extrudes 600m out into the bay, projected from this is a control tower to manage all shipping activity in the bay and air traffic control. The control tower acts as a hinge between the north-south axis and an axis through the airport runway. The linearity of the project reconfigures conventional docking, allowing for boats of varying sizes to dock across the sixteen terminal gates that are spread down the length of the cruise hub. As opposed to having distinct terminals the whole building acts a terminal with waiting areas and security points distributed at each gate. Each terminal gate consists of a waiting area, rest rooms, security and mezzanine level raised to access the cruise ships. A folding bridge reaches to the cruise ship, not only allowing access for passengers but also connecting to the power of the ship. One main entrance lobby at the start of the building encompasses a transport hub, luggage storage, tourist information, arrivals desk and staff areas. To accommodate programme flexibility the cruise hub is composed of systemised units with individually designed floor plates and a bespoke configuration of facade panels. The facade of each unit consists of a double skin of fenestration, polycarbonate, wire mesh, glass or perforated metal cladding depending on the programme the unit is accommodating. The design of an individual unit conveys a sense of neutrality acting as an armature for the complexity of programme that can be read through the varying transparency of the facade. After a cruise tourist has enjoyed a day exploring Old San Juan and has walked back to the public plaza. They pass under the thirty metre sculptural frames leading the eye towards the monumental gap of the cruise hub and the illuminated rum stills that glow from within the building in the dull evening light. Moving through the crowd they make their way up the stairs into the radiance of the walkway that is still busy into the warm evening. While strolling leisurely to their gate they pass tourists and locals exchanging tales, passengers boarding cruise ships, men shouting to passers-by from their stalls with markets and shops selling the day’s produce. Cafes, bars and restaurants spill out onto the walkway and central plaza while the locally produced specialist rum is enjoyed.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 5/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

San Juan Cruise Hub Site Research

Site Research.

1_San Juan Cruise Hub The brief for a cruise hub in San Juan, Puerto Rico brings with it strong connotations of luxury travel. From the outset this initial association was in stark contrast to the state of the economy in Puerto Rico. The cruise hub provides an opportunity to then challenge the cruise industry and present a more social response. Agriculture has been a pertinent part of Puerto Rican heritage and their current economy through the growth of coffee, fruit, tobacco and sugar cane. However there are currently no sugar cane mills on the island following the closure of the last three sugar cane mills in 2000. Puerto Rico’s history of rum became a marketing tool for many ‘authentic’ Puerto Rican rum producers. The nearby Bacardi plant imports molasses, and exports rum to America to be bottled. The proposal aims to resurrect the production of rum in its entirety – from growing sugar cane through to bottling.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 6/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

San Juan Cruise Hub Site Research

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 7/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

San Juan Cruise Hub Site Research

Urban Strategy Axis. Through research of the area adjacencies the project started to investigate how these areas could become connected through the new cruise terminal. La Perla – Impoverish area with high unemployment. Old San Juan – Historic centre, a lively hub of tourists. Industrial Port – Adjacent to site, further shipping traffic managed by control tower Airport – In line with control tower which also provides air-traffic control.

General Criteria 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Graduate Attributes URBAN STRATEGY AXIS 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Map of areas related to our design. 8/131 La Perla – Impoverish area with high unemploym Old San Juan – Historic centre, a lively hub of tou

Design Studio D

ATR

MArch2.

MArch1.

Design Studio C

SC[R]AT

Design Studio A

AMPL

Design Studio H

Design Report

San Juan Cruise Hub Site Research

Transportation

RECYCLE Accommodation

Cruise

GLASS Energy

Tourists

Bottles

Energy

Tourists

PRINTING

ACCOMMODATION Salt water

Energy

Tourists

Labels Advertisement Public use

Education

Salt water

BOTTLED WATER

Locals

EDUCATION Locals Events&Festivals

Restaurants

Events&Festivals

Purifying Water

Events&Festivals

Purifying Water

WATER PURIFICATION OFFICES

Export

Water

Rum

Water

SALT Offices

Export

Water

AGRICULTURE

Sugarcane & various crops

MARKET & CIVIC ZONE Waste

Waste

Solar Panels

Waste

Solar Panels

Sugar Cane Fields

Rum

& Pharmaceuticals

RESTAURANTS

Sugar Cane Fields

Rum

Distillation Process

Solar Panels

Glass recycle

LABS

Sugar Cane Fields

Rum

POWER STORAGE Boat & sun

Distillation Process

Distillation Process Glass bottles

Labs

Printing

RUM & TERMINAL

The cruise hub would not only provide jobs in the production of rum, through the diversification of the brief a myriad of interrelated industries can adopt lettable spaces including accommodation, agriculture, education, glass recycling/production, laboratories, offices, printing companies, salt production and desalination of water to provide fresh water for rum production and for Old San Juan during frequent drought periods. The power for this new area of industry and commerce would be provided by the cruise ships themselves as a form of docking tax, giving something back to Old San Juan. Initial diagrams illustrate a closed cycle of industry around the distillation of rum. This then developed and expanded to incorporate further industries related to rum.

In order to connect the areas and residents of the city the historical production of Rum would offer diversification of the brief and a myriad of interrelated industries can adopt let-table spaces including accommodation, agriculture, education, glass recycling/production, laboratories, offices, printing companies, salt production and desalination of water to provide fresh water for rum production and for Old San Juan during frequent drought periods.

Cruise

Cruise Energy

Tourists

Locals

Salt water

Events&Festivals

Finally, as opposed to everything feeding into the cruise hub, it is now an enclosed cycle, where the cruise hub encompasses all industries. A hierarchy order from land to sea was established in organising the industries, based on loading goods, views and necessary connection between units.

Salt water

Events&Festivals

Purifying Water

Restaurants

Purifying Water

Restaurants Water

Water

Accommodation

The power for this new area of industry and commerce would be provided by the cruise ships themselves as a form of docking tax, giving something back to Old San Juan. Initial diagrams illustrate a closed cycle of industry around the distillation of rum. This then developed and expanded to incorporate further industries related to rum.

Energy

Tourists

Accommodation Solar Panels

Offices

Agriculture

Education

Distillation Process

Rum

Labs

Waste

Printing

Glass recycle

Glass bottles

Solar Panels

Offices

Agriculture

Education

Distillation Process

Rum

Labs

Waste

Printing

Glass recycle

Glass bottles

RUM & TERMINAL As opposed to everything feeding into the cruise hub, it is now an enclosed cycle, where the cruise hub encompasses all industries. A hierarchy order from land to sea was established in organising the industries, based on loading goods, views and necessary connection between units.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 9/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

San Juan Cruise Hub Proposal

URBAN STRATEGY & SITE Situated on an existing gap site adjacent to the shore, the proposal traces an axis north across the peninsula creating tension between the linear cruise hub building and a northern pier with an urban stair situated on the edge of La Perla â&#x20AC;&#x201C; an impoverish area of San Juan. This axis draws the route of La Perla residents to the cruise hub and tourists into Old San Juan. The cruise hub then extrudes 600m out into the bay. Projected from the end of the linear cruise hub is a control tower, which acts as a hinge between the northsouth axis and an axis through the airport runway. Placing the proposal starkly across the peninsula and into the bay.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 10/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

San Juan Cruise Hub Proposal

Site Plan - Control Tower. The control tower manages all shipping activity in the bay and provides air-traffic control for the adjacent airport.

SITE PLAN

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 11/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

San Juan Cruise Hub Proposal

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 12/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

San Juan Cruise Hub Proposal

Boat Docking Strategy. The linearity of the project reconfigures conventional docking, allowing for boats of varying sizes to dock across the sixteen terminal gates that are spread down the length of the cruise hub. As opposed to having distinct terminals the whole building acts a terminal with waiting areas and security points distributed at each gate.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 13/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

San Juan Cruise Hub Proposal

Unit System. To accommodate programme flexibility the cruise hub is composed of systemised units with individually designed floor plates and a bespoke configuration of facade panels, together with components of frame and stair core. The facade of each unit consists of a double skin of fenestration, polycarbonate, wire mesh, glass or perforated metal cladding depending on the programme the unit is accommodating. Floor plates (solid or metal grate) are flexible and depend on the programme requirements, adapted to suit and can suspend machinery or be movable if necessary (ex barrel and rum unit). Each unit has a standard stair-core (+lift) which access all potential floor arrangements, and is publicly accessible on the first two floors.

UNIT SYSTEM

To accommodate programme flexibility the cruise hub is composed of systemised units with individually designed floor plates and a bespoke configuration of facade panels, together with components of frame and stair core. The facade of each unit consists of a double skin of fenestration, polycarbonate, wire mesh, glass or perforated metal cladding depending on the programme the unit is accommodating. Floor plates (solid or metal grate) are flexible and depend on the programme requirements, adapted to suit and can suspend machinery or be movable if necessary (ex barrel and rum unit). Each unit has a standard stair-core (+lift) which access all potential floor arrangements, and is publicly accessible on the first two floors.

The design of an individual unit conveys a sense of neutrality acting as an armature for the complexity of programme that can be read through the varying transparency of the facade. The variety of programme can be experienced through the building from adjacent cruise ships while the presence of ships can be seen from inside the building and walkway. The temporality of building usage can be read through the illumination of different units. From all angles the transparency of the building expresses an overlapping of dense programme diversity within a neutral frame.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 14/131

ATR

Design Studio D

MArch2.

MArch1.

Design Studio C

SC[R]AT

Design Studio A

AMPL

Design Studio H

Design Report

San Juan Cruise Hub Proposal

Programme Diagrams.

PROGRAMME DIAGRAMS

Programme

Cladding

Blocks (Terminal Highlighted)

Stair Core

Frame

Street Level (Pedestrian)

Road Level (Vehicle)

PROGRAMME DIAGRAMS

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 15/131

ATR

Design Studio D

SC[R]AT

MArch2.

Tourist

MArch1.

Worker

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

San Juan Cruise Hub Proposal

Vehicle

1. CIRCULATION DIAGRAM Possible routes for a vehicle, tourist and worker.

2. TERMINAL Alternating units at walkway level contain a terminal gate, has a waiting area and a mezzanine floor including a check in and security Circulation prior toDiagram. boarding. Possible routes for a vehicle, tourist and worker. Terminal Operation. 3. PROGRAMME BRIEF Alternating units at walkway level contain a terminal gate, has a waiting area and a mezzanine floor including Reinterpretation of the brief - exploded axo highlighting programme a check in and security prior to boarding. requirements. Programme Brief. Reinterpretation of the brief - exploded axo highlighting programme requirements. 3.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 16/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

San Juan Cruise Hub Proposal

MIDNIGHT

POWER EQUATION 36 units total B = Boat H =High power required units M = Medium power required units L = Low power required units

1B = x power

x power = 1H + 2M + 4L 1H = 2M = 4L

x = 3 H = 6M = 12 L 2B = 2x 3B = 3x =full use

Full power, all in use

POWER HIERARCHY

TERMINAL (17)

ACCOMMODATION (2)

MID-DAY 3

LABORATORIES (2)

OFFICES (4)

EDUCATION (2)

SHOPS/RESTAURANTS (20)

11hrs

Ms. Westerdam Ms. Westerdam

6hrs

Carnival Valor

8hrs

Norwegian Gem

TUESDAY

9hrs

Riviera

7hrs

Ms. Nieuw Amsterdam

L L

RUM DISTILLERY (4)

GLASS MANUFACTURING (2)

AGRICULTURE (10)

HARVEST PROCESSING (1)

DESALINATION PLANT (2)

SALT PRODUCTION (1)

10hrs

Norwegian Breakaway

7hrs

Anthem of the Seas

7hrs

8hrs

Carnival Splendor

PRINTING (1)

11hrs

Ms. Eurodam

WEDNESDAY

8.5hrs

Carnival Splendor

THURSDAY

11hrs

Ms. Westerdam

FRIDAY

Celebrity Summit

14,5hrs

Adventure of the Seas

14,5hrs

Silver Wind

15hrs

14,5hrs

Jewel of the Seas Carnival Liberty

15hrs

Disney Wonder

SATURDAY

Seven Seas Mariner

14hrs 8hrs

Grandeur of the Seas

AGING WAREHOUSE (4)

5,5hrs

Celebrity Silhouette

9hrs

Norwegian Gem

MONDAY

Complete programme shut down

Power Equation. Units have been divided into low (L), medium (M), high CRUISEon TIMETABLE CROWD DIAGRAM (H) power based needs &and usage. Three boats supply enough energy for full use of all units. Terminal schedule, taken an average week in January (busiest Cruise Timetable. time of year) illustrates the temporality in usage being dependent on boat taken power, not usual working Terminal schedule, an your average week hours/days. in JanuaryCruises stay on average 7hrs, rarely staying over night. Only a few days a year (busiest timeis the of terminal year) docking illustrates theat temporality in six boats once. usage being dependent on boat power, not your usual working hours/days. Cruises stay on average 7hrs, rarely staying over night. Only a few days a year is the terminal docking six boats at once.

MIDNIGHT

7,5hrs

Grandeur of the Seas

8.5hrs

Celebrity Reflection

SUNDAY

7,5hrs

Independence of the Seas

7hrs

Full power, all in use

Complete programme shut down

CRUISE TIMETABLE & CROWD DIAGRAM

General Criteria 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Terminal schedule, taken an average week in January (busiest time of year) illustrates the temporality in usage being dependent on boat power, not your usual working hours/days. Cruises stay on average 7hrs, rarely staying over night. Only a few days a year is the terminal docking six boats at once.

Graduate Attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7 17/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

San Juan Cruise Hub Proposal

Long Sections.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 18/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

San Juan Cruise Hub Proposal

Plans. 1. Roof plan 2. Unit programme allocations 3. Walkway, alternating terminal and related industry shop/restaurant 4. Street level, beneath public walkway, house services specific to each unit, transfer power and goods between each other and has a shuttle bus system available for passengers easing quick access to distant terminals. General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 19/131

ATR

Design Studio D

MArch2.

MArch1.

Design Studio C

SC[R]AT

San Juan Cruise Hub Proposal

Design Studio A

AMPL

Design Studio H

Design Report

ELEVATION 5 boats

ELEVATION

SECTION

1 boat

Night Elevation. ELEVATION

SECTION

2 boats

0 boats

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 20/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

San Juan Cruise Hub Proposal

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 21/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

San Juan Cruise Hub Proposal

Plans. Roof level (left) access is gained from the two plazas via exterior stairs. On the roof level a path meanders through an assortment of crops punctuated by seating areas where views down into the walkway level and panoramas of the bay and Old San Juan can be enjoyed. It holds potential for solar power when boats PLANS are not docking, and the public can also freely grow and pick crops. Roof level (left) access is gained from the two plazas via exterior stairs. Walkway level (middle) is entirely public andOn canthealso roof level a path meanders through an assortment of crops function as waiting area. Middle plaza haspunctuated two unit by seating areas where views down into the walkway level frames exposed. Moving stalls from units can and be pulled panoramas of the bay and Old San Juan can be enjoyed. It holds or folded out, occupying different zones. potential for solar power when boats are not docking, and the public can also freely grow and pick crops. Street level (right) lowest level of each unit is determined by programme above, being either storage, parking or delivery space. The plaza gap (above) makesWalkway a spacelevel (middle) is entirely public and can also function as waiting area. Middle plaza has two unit frames exposed. Moving stalls from to turn at the half way point. units can be pulled or folded out, occupying different zones.

General Criteria

Street level (right) lowest level of each unit is determined by programme above, being either storage, parking or delivery space. The plaza gap (above) makes a space to turn at the half way point.

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Graduate Attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7 22/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

San Juan Cruise Hub Proposal

Entrace Plaza. The frame of the building becomes exposed and expressed at the entrance plaza where it dissipates away from the entrance stretching across the plaza creating sculptural forms that define and divide the space. The wide entrance stair extends into the plaza, combined with a ramp it creates a paced connection to the walkway level. The entrance to the cruise hub is punctuated into the side of the solid mass that extrudes from the entrance down the length of the cruise hub. The frame elements can be occupied by merchants and vendors, creating a new market square to sell produce from both locals and the cruise hub industries. The existing coastal road passes through the building puncturing the first unit.

ENTRANCE TERMINAL The entrance terminal is situated at the entrance under the stair to the walkway level. It encompasses a transport hub, luggage storage, tourist information, arrivals desk and staff areas. The road leads on to transportation connections to the city and a shuttle bus system available for passengers, allowing for quick access to distant terminals.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 23/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

San Juan Cruise Hub Proposal

Rum Units + Tasting Bar. Molasses produced in the agriculture processing unit is brought to the first of the rum units. The production of rum then travels in a linear process through the units, with the molasses being heated and fermented, before being distilled, blended and barreled with some going directly to the shop below, acting as a tasting experience for tourists. Bespoke gangways are arranged so as to make the machinery and equipment visible from the ground floors, meaning the programme is readable to those occupying the shops and bars on street level.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 24/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

San Juan Cruise Hub Proposal

Harvesting Engine Power. Each terminal gate consists of a waiting area, rest rooms, security and mezzanine level raised to access the cruise ships. A folding bridge is recessed into the facade, when a cruise arrives it reaches out not only allowing access for passengers but also connecting to the power of the ship. During transit only 15% of a cruise ships power is used for production of all the boats electricity while the rest is used for propulsion, therefore some the cruise ships excess energy would be harnessed while docked.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 25/131 HARVESTING ENGINE POWER

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

San Juan Cruise Hub Proposal

END & CONTROL TOWER Similar to at the entrance the frame becomes expressive and exposed at the end of the walkway. This opens up to sea views and seating, culminating with a single frame held beneath the water’s surface. The control tower is accessed by boat, with exterior stairs leading to an control floor accompanied with an accomodation level for flexible working hours.

Walkway - Control Tower. Along either side of the walkway the ground level façades are able to fold out creating a covered walkway, which incorporate fold out stalls. In some instances larger stalls are mechanically rolled out in areas which accommodate further vendors. Similar to at the entrance the frame becomes expressive and exposed at the end of the walkway. This opens up to sea views and seating, culminating with a single frame held beneath the water’s surface. The control tower is accessed by boat, with exterior stairs leading to an control floor accompanied with an accommodation level for flexible working hours.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

STRUCTURAL AND INTERIOR MODEL 1:200

26/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

San Juan Cruise Hub Proposal

Competition Board. The proposal traces a line across the peninsula; creating tension between a northern pier and urban stair; the edge of Old San Juan; the Cruise Hub and a control tower to the south which hinges between this axis and the airport runway. The proposal aims to challenge the cruise industry and change the relationship between the local people of San Juan and the visiting cruise ships. The Cruise Hub would be a catalyst for change as it provides a myriad of related industries based around the manufacture of rum. All power required for these new industries would be provided from the cruise boats as a form of tax, giving back to San Juan. This exchange creates a temporality in usage. The northsouth axis traces the route of tourists into Old San Juan and residents of La. Perla area into the cruise hub. To accommodate programme flexibility the cruise hub is composed of systemised units with individually designed floor plates and configuration of faรงade panels. Varying levels of transparency of faรงade materials allows the different programme of each unit to be read through the exterior. The linearity of the project reconfigures from conventional docking, allowing for boats of varying sizes to dock across the sixteen terminal gates. A lively street is formed between two rows of affixed units where tourist and locals mix; passengers board cruise ships; stalls sell goods; markets and shops sell produce from the cruise hub industries; cafes, bars and restaurants spill out onto the street and the locally produced specialist rum is enjoyed.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 27/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

Course Summary

Architectural Technology Research. Generic Study - in collaboration with Lovisa Lidstrom + Lexi Wu Contextual Study - in collaboration with Lovisa Lidstrom

Translating Architecture: A comparative study

“The ambition and scale of most projects at the level of MArch is such that the technical issues are complex and not usually appropriate to standard or routine technique. The growing complexity of the construction process and changing technology suggest that the architect becomes a practitioner–researcher. There is growing need for a deeper relationship between practice and academia, particularly regarding research and its application in practice. The complexity of projects demands that research becomes an important aspect of the design process.

Alternative materials in the UK Angus Bolland s1127410

Methods of building are continually changing. New materials; new processes; and new design tools create an environment where traditional paradigms may have less validity. Architectural programmes take place in a particular location, creating a new context. This sets up complex relationships situated in the links between methods of building, both contemporary and vernacular; materials; topography; climate; transportation; and industry. This course is intended to accumulate various sets of information that are both contextual and responsive to contemporary technological issues. Students will be involved in the research, collation, presentation and dissemination of a series of technical and environmental topics that are appropriate to the scale of complex design projects.

Lovisa Lidstrom s1141431

Lexi Wu

s1574539

Generic Study. “A detailed appraisal of an aspect of contemporary technology, researched as a collaborative enquiry. Concentrated on recent practice and application, making reference to appropriate exemplars. The critical factors that inform design are identified and explained.”

The produced work will be made available on LEARN, the University’s virtual learning environment, as a shared resource for the duration of the academic year. The material that is gathered will inform further development of proposals as projects evolve through MArch1 and MArch2.” Programme Handbook Extract

Learning Outcomes LO1-An ability to appraise the technological and environmental conditions specific to issues in contemporary architecture, eg sustainable design. LO2-An ability to analyse and synthesise technological and environmental information pertinent to particular context (eg. users, environment). LO3-An ability to organise, assimilate and present technological and environmental information in the broad context of architectural design to peer groups. LO4-An understanding of the potential impact of technological and environmental decisions of architectural design on a broader context.

General Criteria OURTYARD HOUSE

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 2014 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 ale, Arizona 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3 ell Burnette Thamarit Suchart

EARTH AESTHETICS

ATR CONTEXTUAL REPORT Angus Bolland Lovisa Lidstrom

ContextualStudy. “Experience shows that successful design is closely correlated to a specific understanding of the technological and environmental context of a project. The contextual study aims to prepare a series of studies as a reference point for the design development within the studio. Analyse and synthesise key issues of a technological and/or environmental issue or intervention and considering the impact of it on a context”

Graduate Attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7 28/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

Design Studio H

AMPL

Design Report

Generic Study

Translating Architecture: A comparative study Alternative materials in the UK

SAMARPAN FOUNDATION, INDIA

IBUKU, BALI

PAPER CHURCH, JAPAN

Generic Study - in collaboration with Lovisa Lidstrom + Lexi Wu Introduction. Low cost, fast build architecture has become of increasing importance in the architectural environment. Using native architecture abroad as a trigger point, it can be noticed that this vernacular architecture is not associated with the architectural language of UK. This report is structured around three chosen case studies, and thus 3 materials, questioning whether they are being used or if they have potential to be used in the UK. To what extent can they be translated? Sourcing materials:Native Case Studies Earth: Samparpan foundation Samarpan Foundation’s housing in India 2006-2014, uses earth alongside tyres and bottles. Nylon fishnet replace steel within structural slabs and recycled plastic bottles packed with earth to replace conventional bricks. In India nylon fishnet costs 5% of steel, and the method reduces build costs by 60%. Tested and certified houses have been proven to withstand earthquakes up to 9.8 on the Richter scale. The unique method of construction is used in remote and difficult circumstances and in disaster areas. It provides impoverished communities with opportunities to construct affordable dwellings, recycle waste and create sustainable futures. Advantages -Sustainable-Recycling waste-Easy buildCost saving-Thermal mass Bamboo:Ibuku The physical qualities of the bamboo inform design decisions in the projects. The practice specializes in bamboo structures using traditional joining techniques by lashing lengths. The Pemulung housing scheme is an example of modest housing for garbage collectors in the centre of Denpasar Bali (2011). The structure here is orthogonal and built using 35,000m of structural bamboo coated in a borax salt solution to prevent structural

degradation through insects eating the bamboo. The open bamboo façade interfaces with corrugated metal roofing allowing rainfall to run off. Advantages -Strength-Flexibility-Growth speedSustainability Paper:Shigeru Ban Shigeru Ban’s The Paper Church was constructed in 1995 after the original church was destroyed in the great Kobe earthquake. The church served as a temporary worship and community centre of local parish. After 10 years of service the church was to be demolished, however, when a similar earthquake situation occurred in Taiwan (2005) it was instead decided to move and donate the Paper Church.This particular case proves the recyclability/reuse of paper cardboard as a construction material. Advantages -Low cost-Strength-Recyclable-Quick assembly

Fig.4.

Fig.5.

Fig.6.

Sourcing materials: Native Case Studies

Samarpan Foundation, India

Fig. 2 shows the location of our three selected native case studies - India, Indonesia and Japan; clearly being different climatic zones than UK.

Ibuku, Bali Shiguru Ban, Japan

Fig.4-6 Native Studies Fig 7. World map marking location of selected native case studies

Earth: Samparpan foundation Samarpan Foundation has had several projects, including housing in India 2006-2014, using earth with tyres and bottles 1(Fig.9). A low cost environmentally friendly construction using nylon fishnet to replace steel within structural slabs and recycled plastic bottles packed with earth to replace conventional bricks (Fig.10). In India nylon fishnet costs 5% of steel, and the method reduces build costs by 60%2. Tested and certified by structural engineering houses have been proven to withstand earthquakes up to 9.8 on the Richter scale. Regionally adaptable using low cost and readily found materials, this is a self-build approach. The unique method of construction is used in remote and difficult circumstances and in disaster areas. It provides impoverished communities with opportunities to construct affordable dwellings, recycle waste and create sustainable futures. Fig.8: Recycled automobile tyres filled with compacted earth to form a rammed earth brick encased in steel belted rubber. Fig.10: Aluminium cans and glass/plastic bottles, simple intervention for non-structural walls. Create cement matrix very strong and easy build.

Fig.7.

Fig.12.

Fig.8.

Bamboo: Ibuku IBUKU3 utilizes the abundance of bamboo4 in Bali to create bespoke structures designed for their surroundings.5 The physical qualities of the bamboo inform design decisions in the projects. This is an idea specific to this practice that specializes in bamboo structures using traditional joining techniques by lashing lengths6 (Fig.14).

Fig.9.

Fig.10.

Fig.11.

The Pemulung housing scheme (Fig.15) is an example of modest housing for garbage collectors in the centre of Denpasar Bali (2011). It is made up of a large living space with mezzanine level for sleeping; secure storage and foundation slabs are integrated into the design. The structure here is orthogonal and built using 35,000m of structural bamboo coated in a borax salt solution to prevent structural degradation through insects eating the bamboo7. The open bamboo façade interfaces with corrugated metal roofing allowing rainfall to run off.

Fig.13.

Fig.14.

Fig.15.

-Sustainable -Recycling waste -Easy build -Cost saving -Thermal mass Fig.16.

Paper: Shigeru Ban Japanese architect Shigeru Ban is recognized as the pioneer architect of using cardboard (Fig.16). The Paper Church8 was constructed in 1995 after the original church was destroyed in the great Kobe earthquake. The church served as a temporary worship and community centre of local parish. After 10 years of service, the church was to be demolished when the new permanent church finished construction. However, when a similar earthquake situation occurred in Taiwan (2005) it was instead decided to move and donate the Paper Church; disassembling took only 5 days to complete including packing for shipment. Re-assembling took much longer, the legal application lasted three years before construction was permitted9. In 2008 the newly named Paper Dome opened (Fig.18-19). The Dome is appreciated by the local community and is expected to become permanent. This particular case proves the recyclability/re-use of paper cardboard as a construction material.

Materials: -Strength -Flexibility -Growth speed -Sustainability

Fig.17.

-Low cost -Strength -Recyclable -Quick assembly

The main building material from each project was extracted– earth, bamboo and paper. Fig.18.

Fig.19.

Fig. 20. Advantages of materials

Fig.20.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 29/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

Design Studio H

AMPL

Design Report

Generic Study

Translated Study:European Case Studies EARTHSHIP, FIFE

Earth: Earthships Earthships s a building technique which has evolved over the past 30 years from pioneering work of Michael Reynolds in New Mexico. Kingshorn Visitors Centre, Fife (completed 2004) is Scotland’s first Earthship; manifesting a similar construction method as in India but taken a step further to create a passive green building, off-grid, constructed using car tires and other recycled materials together with earth. It uses the planets natural system to provide all utilities - solar energy and rain provide power, the building passively heats and cools itself, harvests its own water and uses plants to treat sewage. Earthships cost about the same as a conventional home, but a conventional home does not come with all the electricity and water you will use. One can build a pre-designed Earthship or custom make your own, get help from a team or self build (saving up to 40% of costs) Adaptions from Native -Finishes applied and further installments of sustainable features-Regionally adaptable with a high degree of personally tailored flexibility seen for example in Fife where stone was applied for a local feel - Pipes and wires can be provided similarly to any other masonry construction

Paper:Westborough The Westborough Primary School by Buro Happold and Cottrell & Vermeulen is a detached educational community space, ‘After-School club’, in Essex England. The build lasted two years, one year of research and development, six months of constructing full-scale prototypes and six months construction on site. The building is expected to have a lifespan of 20 years. Constructed out of recycled cardboard composite material formed from card collected by children from the school and community, the material is also expected to be 90% recyclable after its use. Cardboard tubes are used as structural columns and palisade walls, while walls and roof are clad in cardboard panels that have both structural and insulating properties.The card interfaces with traditional timber rafters and lintels. Adaptions from Native-Longer life expectancy, to achieve better durability only 10% of the total strength used so ‘creep’ of cardboard is not a problem23 -Minimum treatment for recycling-Fire and water resistance, adding protection layers and insulations instead of chemical treatment on the material is preferred

Fig.23.

Fig.24.

Translated study:

Earthship, Fife A translated case study (European, UK when appropriate) was selected which was then analysed allowing blanks in the matrix to be completed.

The Guesthouse, France Paper School, Essex

Fig.22-24 Translated case studies Fig.25 World map marking location of selected translated case studies

Fig.25.

Fig.26.

Fig.30.

Earth: Earthships

Earthships (or Earthship Biotecture) is a building technique which has evolved over the past 30 years from pioneering work of Michael Reynolds in New Mexico10. Kingshorn Visitors Centre, Fife (completed 2004) is Scotland’s first Earthship; manifesting a similar construction method as in India but taken a step further to create a passive green building,(Fig.26) off-grid, constructed using car tires and other recycled materials together with earth(Fig.29).

Bamboo: The Guesthouse Simon Velez, a Columbian architect who has pioneered bamboo’s use in construction, designed the bamboo Guesthouse in Boidbuchet France14. Velez refers to the material as “vegetable steel”15. The guest house was built in 1999 as a permanent structure and is still used to this day. The bamboo interfaces with infill panels creating a familiar interior environment (Fig.31&33). The structural bamboo remains exposed with no attempt to hide its form. The traditional exterior is achieved through the use of timber cladding (Fig.30) to resist the elements. The hollow ends of the bamboo are plugged with concrete and then steel fixing posts are used to join the bamboo lengths. This is crucial in increasing the rigidity of the structure16, if the building were to flex cracks would appear in the interior.

Fig.27.

Currently, it is the most sustainable approach to design, construction and operation of houses so far, as methods exceed other known techniques in regard to thermal, structural, environmental and availability aspects.11 It uses the planets natural system to provide all utilities - solar energy and rain provide power, the building passively heats and cools itself, harvests its own water and uses plants to treat sewage. The systems ensure all energy and resources are used for maximum gain. Earthships cost about the same as a conventional home, but a conventional home does not come with all the electricity and water you will use12(Fig.27 Interior). A conventional home is arguably not as strong and requires a lot of fossil fuels to manufacture and get to your building site. One can build a pre-designed Earthship or custom make your own, get help from a team or self build (saving up to 40% of costs)13. Fig.29 Making use of societies waste: Because the tyres are sealed within almost a meter thick wall, they are not exposed to oxygen or suns ultraviolet rays and will not catch fire or release toxic chemicals. Structures therefore qualify for better fire ratings than timber-frame buildings.

Fig.28.

Fig.29.

In order to allow the guesthouse to be used as overnight accommodation a steel frame17 has been added to satisfy local building regulations (Fig.32). This is a great shame as the bamboo becomes effectively superficial - it is now decoration.

Fig.31.

Fig.32.

Fig.33.

Old Scottish Croft

Fig.36.

Fig.37.

Fig.43-44. Material timeline

10 YEARS

Fig.43.

LIFE SPAN OF BUILDING WITH DIFFERENT MATERIALS

EARTH Earth structures can sustain 1000+ years

Earth has potential to be reinterpreted in contemporary construction with high quality lasting products, satisfying requirements of the existing industry.

BAMBOO Treated bamboo can last 100+ years

*Bamboo has quick erection speed. The material can be permanent if treated correctly and maintained to ensure that the softer core of the bamboo is not exposed to the elements.

PAPER Treated cardboard can have a life expectancy of 20 years

Fig.44.

*The life expectancy of paper buildings is 20 years. Since paper intends to ‘creep’ during the time, the durability of cardboard is limited.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 30/131

STONE

The life expectancy of paper buildings is estimated to 20 years, with the Paper Church currently standing for 17 years. As the paper structure tends to ‘creep’ over time, cardboard’s durability is limited. However, there are possibilities in the future of re-recycling cardboard after serving its initial purpose and being reused in other buildings. Paper buildings are currently built as temporary projects (Fig.42) making prospects for residential builds unlikely.

EARTH

Due to its quick erection speed, bamboo has potential to be both temporary25 (Fig.41)and permanent. The material can be permanent if treated correctly and maintained to ensure that the softer core is not exposed to the elements. There are examples of bamboo structures that are over 100 years old, such as bamboo housing in North-east India26.

Fig.42.

STEEL FRAME

The building is constructed out of recycled cardboard composite material formed from card collected by children from the school and community20. The material is also expected to be 90% recyclable after its use21, meaning the project has low embodied energy. 15m long x 6m wide with origami as the design concept the building could be folded out of a single sheet of paper. Cardboard tubes are used as structural columns (FIg.36.) and palisade walls, while walls and roof are clad in cardboard panels that have both structural and insulating properties. The card interfaces with timber rafters and lintels22.

Any earth built house embodies a sense of permanence, earth structures can sustain 1000+ years24 (Fig.40). Research on historical techniques forms a good basis for the development of modern construction applications and has growing potential to be reinterpreted in contemporary construction with high quality lasting products, satisfying requirements of the existing industry.

Fig.35.

Cardboard partitions

Fig.41.

TIMBER

Temporary vs Permanent:

Paper: Westborough The Westborough Primary School by Buro Happold (engineers) and Cottrell & Vermeulen (architects) is a detached educational community space, ‘AfterSchool club’, in Essex England. The build lasted two years, one year of research and development, six months of constructing full-scale prototypes and six months construction on site18. The external envelop was constructed in seven weeks (Fig.35.) and is expected to have a lifespan of 20 years19.

Geodesic bamboo dome

Fig.40.

Fig.34.

PAPER

Temporary vs Permanent Any earth built house embodies a sense of permanence, earth structures can sustain 1000+ years. Research on historical techniques forms a good basis for the development of modern construction applications and has growing potential to be reinterpreted. Due to its quick erection speed, bamboo has potential to be both temporary and permanent. The material can be permanent if treated correctly and maintained to ensure that the softer core is not exposed to the elements. There are examples of bamboo structures that are over 100 years old. The life expectancy of paper buildings is estimated to 20 years, with the Paper Church currently standing for 17 years. As the paper structure tends to ‘creep’ over time, cardboard’s durability is limited.

Fig.22.

PAPER SCHOOL, ESSEX

BAMBOO

Bamboo:The Guesthouse Simon Velez, a Columbian architect who has pioneered bamboo’s use in construction, designed the bamboo Guesthouse in Boidbuchet France. Velez refers to the material as “vegetable steel”. The guest house was built in 1999 as a permanent structure and is still used to this day. The bamboo interfaces with infill panels creating a familiar interior environment. The structural bamboo remains exposed with no attempt to hide its form. The hollow ends of the bamboo are plugged with concrete and then steel fixing posts are used to join the bamboo lengths. This is crucial in increasing the rigidity of the structure, if the building were to flex cracks would appear in the interior. In order to allow the guesthouse to be used as overnight accommodation a steel frame has been added to satisfy local building regulations. Adaptions from Native- Possible to use bamboo as a substitute for timber- Joints, moving from ties to metal fastening- Infill Panels, to insulate the structure -Cladding,

to waterproof the facade -Foundations, to ensure rigidity and stability

THE GUESTHOUSE, FRANCE

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

Generic Study

The Future. Earth Improving build speed could be key to the future of earth. Perhaps a new compressing method can be implemented. Growing in popularity the aesthetics are changing to look more contemporary, this is likely to have a positive effect on the market. UK holds plenty of waste that would benefit from being used.

Paper Cardboards potential use is limited to type and purpose, such as temporary building installations/builds in order to reduce inappropriate use of high quality and expensive material. Perhaps in the future paper could become part of a wider recycling scheme (Fig.67),where paper houses could be re-used in new buildings. Conclusion

Bamboo In the future there could be potential for cultivating bamboo in the UK by creating native environmental conditions to allow the bamboo to grow (Fig.66). Bamboo is currently already grown in the Edinburgh as panda feed36 therefore implementing large scale growing would be feasible. If readily available bamboo can be maintained it could be a sustainable timber replacement. Glu lam bamboo could have potential to alter these preconceptions as it has a much closer resemblance to existing UK building materials, and could be used a glu-lam timber substitute in construction.

The building market is not fixed, new alternative materials still have the potential to be used. The question being, to what extent they can become mainstream? From the materials researched currently earth has the most promise in the current market, bamboo appears to be a viable material but falls short in knowledge and demand, paper is arguably underdeveloped and is too experimental a material for general acceptance.

SPECTRUM LINE OF EARTH

------------------------------------------------------------------------------------------------------------------------------->

Uganda

Preconceptions: Often associated with mud-huts, developing countries and off-grid buildings earth is connected with quite a specific aesthetic. What is possible however is that earth filled walls become readily usable as a single component. Durable and flexible, it can be covered up if wished with various finishing and fixings. Saving costs and the environment, it is perhaps most usable for external walls. Globally, almost a third of the population actually live in houses of earth construction, both modern and traditional spread across different cultures and climates30. In the UK roughly 500,000 earth homes exist31, as up to the 18th century it was the principal material used in Scottish construction. Furthermore - in 2007, 16 Earthship homes in Brighton were granted planning permission and although halted due to land purchase problems32 – this event stands as promising precedent for Earthship homes in the UK. Bamboo suffers from preconceptions due primarily to cultural differences between the UK and the areas where bamboo is indigenous33. Introducing a new material into this environment is difficult especially as there are currently no precedents for the structure in the UK. Pioneering any new material is often met with scepticism where the question will be asked of “why” bamboo is being used. The material also maintained the impression of something temporary or something resembling a “tree house” 34(Fig.54) which is not what the UK public desire for residential buildings. Preconceptions regarding paper often revolve around its temporary nature, connected with disaster relief projects and as an experimental material. The durability of cardboard buildings is questionable, as it does not embody similar (permanent) properties as traditional housing types. With protection treatment cardboard can sustain UK climate conditions yet its use is suggested more adequate for short-term purposes due to its limited life span. It has benefits of (after-use) recyclability but this area is also currently underdeveloped. Despite having the material widely available from regular cardboard manufactures extra treatment and professional knowledge is required to make the material appropriate and generally usable.

Fig.54.

Fig.55.

Fig.53. Spectrum line of Earth

UK waste: 55 million waste tyres (2015) 34 million in 2006, re-manufacturing 20% of them only 17% recovered used for processing

Select Bibliography Ban, Shigeru. Humanitarian architecture: Aspen Art Press D.A.P./Distributed Art Publishers, 2014. Cripps, Andrew, “Cardboard as a construction material: a case study.” Building Research & Information (May –June 2004) 32(3), 2004: 207–219 Eekhout, Mick et al. (Eds.). Cardboard in Architecture. Amsterdam: IOS Press, 2008. Gutu, T. “A stufy of the mechanical strength properties of bamboo .” International Journal of Innovative Technology and Exploring Engineering, 2013: 314-319. Hemit, M. and Telfor, K. Earthships in Europe, Second Edition. IHS BRE Press, 2007. Janssen, Jules J.A. Building with Bamboo. London: I.T.Publications, 1988. Jenkins, M. Earth Mortar and Earth Buildings. Edinburgh: Historic Scotland. Kassa, Bewketu. “Bamboo: An alternative building material for urban ethiopia .” Masters Report, Califonia, 2009. Kristal, Marc. Immaterial World Transparency in Architecture. New York: The Monacelli Press, 2011. Lizarralde, G. The invisible houses New York: Routledge, 2015. May, J. Buildings without architects : a global guide to everyday architecture. New York: Rizzoli, 2010. McQuaid, Matilda. Shigeru Ban. London : Phaidon Press Limited, 2006. Minke, Grernot. Building with Bamboo:Design and Technology of a Sustainable Architecture. Basel: Birkhaser, 2012. Parkin, S. Earth Building in Scotland. University of Stirling. Stirling: Historic Scotland, 2014. Peters, S. Material Revolution Sustainable and Multi-Purpose Materials for Design and Architecture. Basel: De Gruyter, 2011. Roberts-Hughes, R. The Case for Space, The Size of Englands New Homes. Prod. RIBA. London, 2011. Roys, M. Housing space standards: a national perspective . Prod. RIBA. London, 2008. Sinclair, C. Design like you give a damn : architectural responses to humanitarian crises. New York, NY: Metropolis Books, 2006.

Earthship

Wiltshire

Scotland

Fig.53.

70% of drinks in pet bottles. 580,000 tonnes of plastic bottles disposed each year, 281000 tonnes recycling (2010)

Discussion:

The future? Improving build speed could be key to the future of earth. Perhaps a new compressing method can be implemented. Growing in popularity the aesthetics are changing to look more contemporary, this is likely to have a positive effect on the market. UK holds plenty of waste that would benefit from being used (Fig.65).

To conclude, is it worth it - are the materials UK beneficial? Overall, there is potential to bring all three materials to the UK market but there are major issues – particularly with paper and bamboo- that need to be addressed. For instance the lack of regulations and precedent, related to difference in climate and exposure, and the import of bamboo as it is currently not grown in the UK. Despite being slow in construction we feel that Earth is UK beneficial because it has potential to reduce the environmental impact of the construction industry. It can be used in variety of ways in, especially well suited for walls, providing good thermal and acoustic insulation, good ability to regulate internal air humidity and quality, being durable and cost effective.

In the future there could be potential for cultivating bamboo in the UK by creating native environmental conditions to allow the bamboo to grow (Fig.66). Bamboo is currently already grown in the Edinburgh as panda feed36 therefore implementing large scale growing would be feasible. If readily available bamboo can be maintained it could be a sustainable timber replacement. Glu lam bamboo could have potential to alter these preconceptions as it has a much closer resemblance to existing UK building materials, and could be used a glu-lam timber substitute in construction.

Are they still considered low cost in UK? Does location change the meaning of low cost? Earth is locally sourced and readily available, often free or with very low transportation costs. Bamboo on the other hand has transportation issues and with scarce (natural) growing conditions is much more expensive when compared to timber. Paper requires treatment and currently holds no cost-effective system.

Fig.64.

Cardboards potential use is limited to type and purpose, such as temporary building installations/builds in order to reduce inappropriate use of high quality and expensive material. Perhaps in the future paper could become part of a wider recycling scheme (Fig.67), where paper houses could be re-used in new buildings.

Bamboo test: Fire + Strength

Fife Fieldtrip: Kinghorn Earthship

Testing was carried out to analyse the strength28 of bamboo alongside its fire resistance29. Based on timber fire testing methods, this study investigated whether bamboo can be treated to significantly improve its fire resistance being measured by how much weight a length could hold after exposure to heat. The test uses a variety of paint coatings; this is currently an unknown research area.

During a fieldtrip to Fife we had the opportunity to meet with a volunteer who had helped build the Earthship with Mike Reynolds and his team. This gave us a better insight into the feeling, particularly the interior, of an earth built house. The centre stands as a teaching facility where they hope visitors get an eye-opener and can take a part of sustainability interest with them.

Bamboo was coated with different fire ratings from 0 to 700 degrees, burned in a furnace (Fig.48) created in the workshop and strength tested to destruction to find maximum load

Fig.48.

For further notes see Appendix.

Fig.65.

Fig.66.

Fig.67.

Fig.56.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 31/131

ATR

Design Studio D

MArch2.

MArch1.

Design Studio C

SC[R]AT

Design Studio A

Design Studio H

AMPL

Design Report

Contextual Study

Earth Aesthetics.

Contextual Study - in collaboration with Lovisa Lidstrom

Introduction. Earth is not considered a mainstream building material as less of 3% of new builds use earth in construction. The material has preconceptions of having a rough finish and of being a low skilled building material often associated with vernacular building typologies; perhaps this lack of understanding is inhibiting its use. In an attempt to improve the understanding and awareness of the material this report looks to question the potential of earth (in particular rammed earth) and how it can be controlled to achieve contemporary finishes in modern architecture. These ideas will be tested through exploration in changing formwork, types of soil and varying treatments on samples. Issues and qualities will firstly be introduced through case studies, where earth has been employed successfully. Case Studies - Existing Finishes

Prior to ramming a drop test was carried out, controlling the mixtures water content. A 4cm ball is dropped from 1m, ideal is for it to break slightly but not explode. In constructing a full sized wall15, 10cm layers are rammed at a time , but as our samples were made at a much smaller scale we rammed 3cm uncompressed layers to a total of 10cm compressed. With a custom made tamper sized to fit the formwork dimensions each sample took approximately 10min to complete, and was then left to cure before being removed. Initially after removal, colours were much darker than now due to higher water content which evaporates during drying phase (around 2 weeks).

fig.17

Low Compound

fig.18

fig.19

Injidup Residence

Swoon

Colour The colour of the earth reflects the geographical loction a necessary consideration with all earth buildings, here it is very light in colour due to the Australian beach soil 10 used.

Covered wall There is the potential to cover rammed earth walls with plasterboard as seen in this eample in order to create 11 a more familiar interior environment.

Vancouver 2012, Polyfactory

Arizona 1997, Eddie Jones

Australia 2011, Wright Feldhusen

Formwork Timber formwork is proposed in this competition entry. The grain of the timber woud be transered to the rammed earth in a similar way to concrete.8

Exposed wall Naturally exposed interior wall, treated with waterrepellant linseed oil for protection, which requires recoating every 4 years.9

Colorado 2013, Tres Birds Workshop

DESERT COURTYARD HOUSE Location: Scottsdale, Arizona 2014 Area: 670m2 Architect: Wendell Burnette Project manager: Thamarit Suchart Residential Home

EXISTING FINISHES fig.10

0mm

Loose organic matter Topsoil

450mm

900mm

McEwan Hall sourcing

Bamboo

Sub Soil Zone of eluviation Clay based soil

1500mm

Fabric Bedrock

Stencil

canal dredging

Soil Type fig.20

SOURCING SOIL

A practical approach allowed us to grasp how the material is used and discover potential issues through attempting small-scale experimental samples. An early discovery was that not any type of soil can be used for construction; topsoil is not suitable due to its organic content, the earth needs to have clay content between 5-15% (helping to bind material together) usually found 900mm below ground surface12 (fig.20).

Caledonian

Formwork

Earth Wall

Solid Foundation

Interior Formwork

Forth + Clyde

Union

CHANGING THE MIXTURE

Earth Aggregate Sand Concrete Mixes

Smooth

fig.22

Coloured Mix

Standard Mix

From discussions with Material Researchers at Edinburgh University, an untapped source of earth from the Canal Network was discovered. Stretching 220km, the Scottish canals are dredged regularly (approx. 2-3 times a year, location dependent) and provide a suitable ramming material with clay content of an average 10%13. Our dredged soil was taken from the Union Canal at Linlithgow in September 2014 and has been stored by the University (fig.21). Looking to introduce a comparative soil we approached the McEwan Hall construction site where contractors were initially very helpful. Due to “Health & Safety” they revoked any soil distribution from the site and instead gave us topsoil which we knew to be unsuitable. This highlighted the fact that obtaining earth could be more problematic if you are not excavating yourself. Prior to ramming the soil samples were left to dry for a week.

Exterior Formwork

drying

Method Small-scale experimental samples. Not any type of soil can be used for construction; topsoil is not suitable due to its organic content, the earth needs to have clay content between 5-15% (helping to bind material together) usually

A standard ratio of stabilized mixture was established and applied across the tests, variations introducing colour pigment within the mixture. Four approaches to formwork were implemented, inspired by techniques used with concrete, noting that the interior treatment could differ from the exterior. The main factor when ramming earth is the formwork, as this directly affects the end product. We used a series of cut down plastic pipes allowing us to achieve a consistent smooth finish and easily remove and reuse them.

fig.16

Hous.e+ competition

drying

Formwork Hous.e+ Vancouver 2012, Timber formwork is proposed in this competition entry. The grain of the timber would be transferred to the rammed earth in a similar way to concrete. Natural Exposed Low Compound Arizona 1997,Naturally exposed interior wall, treated with water-repellant linseed oil for protection, which requires re-coating every 4 years. Colour Injidup Residence Australia 2011,The colour of the earth reflects the geographical location a necessary consideration with all earth buildings, here it is very light in colour due to the Australian beach soil used. Cover Swoon Colorado 2013,There is the potential to cover rammed earth walls with plasterboard as seen in this example in order to create a more familiar interior environment.

found 900mm below ground surface. From discussions with Material Researchers at Edinburgh University, an untapped source of earth from the Canal Network was discovered, the Scottish canals are dredged regularly and provide a suitable ramming material with clay content of an average 10%. Looking to introduce a comparative soil we approached the McEwan Hall construction site where contractors were initially very helpful. Due to “Health & Safety” they revoked any soil distribution from the site and instead gave us topsoil which we knew to be unsuitable. This highlighted the fact that obtaining earth could be more problematic if you are not excavating yourself.

4 2 2 0.1

fig.23

White Mix

Earth Aggregate Sand Pigment Concrete

4 2 2 2 0.1

Earth Aggregate White Sand Lime Concrete

4 2 2 2 0.1

A standard ratio of stabilized mixture was established and applied across the tests, variations introducing colour pigment within the mixture as well as an alternative white mix was also used (fig.23). Four approaches to formwork were implemented, inspired by techniques used with concrete, noting that the interior treatment could differ from the exterior (fig.22).

Canal network fig.21

Tamper Custom made tamper made from hardwood

Earth

fig.27 Drop Test

Pipe Clamps Used to hold the pipe formwork together during ramming.

Plastic Pipe Formwork for rammed fig.24

Pipe Support Section Used to stabalise and support the plastic pipe

GATHERING EQUIPMENT The main factor when ramming earth is the formwork, as this directly affects the end product. We used a series of cut down plastic pipes (fig,24,25) allowing us to achieve a consistent smooth finish and easily remove and reuse them.

RAMMING EARTH Prior to ramming a drop test was carried out, controlling the mixtures water content14. A 4cm ball is dropped from 1m, ideal is for it to break slightly but not explode (fig.27).

fig.25

Solid Base Plate Provides a base to ram against

fig.26 Ramming Equipment

In constructing a full sized wall15, 10cm layers are rammed at a time (fig.28), but as our samples were made at a much smaller scale we rammed 3cm uncompressed layers to a total of 10cm compressed. With a custom made tamper sized to fit the formwork dimensions each sample took approximately 10min to complete (fig.29), and was then left to cure before being removed. Initially after removal, colours were much darker than now due to higher water content (fig.30) which evaporates during drying phase (around 2 weeks).

fig.28

fig.29

fig.30

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 32/131

ATR

Design Studio D

MArch2.

MArch1.

Design Studio C

SC[R]AT

Design Studio A

Design Studio H

AMPL

Design Report

Contextual Study

Samples. Samples were categorized into four groups, Raw, Colour, Formwork & Additives. The following pages cover initial and dry observations, along with applied aesthetic to the Raus Haus kitchen wall. Raw - natural, no additives, looking into establishing a base sample to see “what can be improved” Colour - These samples investigate how colour can be applied to earth wall; having colour within the mix as opposed to being coated on the outside. The pigment was used came from recycled printer toner and could essentially be replaced with any colour, although a strong one may be required to compete with the earth’s natural dark colour. A variety of paints were tested to see how well they coated earth, this sample thus became striped. Thicker paints coated well and disguises the earth whilst thinner paints reveals the texture underneath. Formwork - These samples look at altering the base tube formwork,testing what level of detail could be achieved. Additives - These samples look to change the base mixture, with additions of for example concrete and lime. Concrete clearly helped as a binder, and these samples were noticeably more compact. Public Poll After establishing a range of samples, a poll was taken to determine how public opinion compared to our personal preferences and how well received the material was. 50 people completed the survey on 29th November 2015, positioned in Minto Foyer as well as Chamber Street in order to cover a wide spectrum of public. People were asked to rank their top three samples, based purely on aesthetics(fig.64), with the intention to be used as an exposed interior finish. It was apparent that the white lime was the most popular, receiving 28% (fig.65) of

the total points, which correlated with our thoughts. The smoothness and similarity to concrete was a common remark and people were surprised that it was earth. It is interesting to note that second, third and fourth place are within a 2% margin of each other falling 15% short of white limes total. The closeness of the remaining samples indicates the subjective nature of aesthetics. Results may have been skewed due to quality and finish of earlier samples and colour choice as many were drawn to the red velvet sample primarily due to its distinctive pink colour. The top three samples all emerged from the same category (additives), which have the lowest ratio of pure earth in the final sample. Several comments were made on the enjoyment of the natural samples, and in keeping “truth to materials” commenting that it would be a shame to cover the earth’s aesthetics. Concrete Hybrid. After establishing the white lime sample as the favored aesthetic, the idea of creating a concrete hybrid could be developed. This would aid in reducing the CO2 footprint in concrete as earth could be locally sourced, with low embodied energy – an important factor in environmental architectural decisions. Zumthor’s Bruder Klaus chapel is a rammed concrete building that begins to resemble rammed earth, demonstrating similar aesthetics found in our samples. The larger aggregates and layers expressed in the façade start to bear a resemblance to Raus Haus prior to façade weathering. Burned away timber formwork reveals a similar aesthetic to the bamboo sample, with a larger degree of detail achieved due to formwork size and our equipment limitations.

Dry Canal

Canal

Stabalised McEwan

RAW

Stabalised Canal

Zebra

Stencil

Red Velvet

ADDITIVES

FORMWORK

COLOUR

Canal

McEwan

RAW

natural, no additives, looking into establishing a base sample to see “what can be improved”

Full

RATIO Canal

Canal

McEwan

fig.31

fig.34

fig.32

fig.35

fig.38

fig.33

fig.36

fig.39

fig.37

(fig.31-33)

Dry Canal

McEwan

White Lime

Fabric

Bamboo

Coated

RAW

ADDITIVES

FORMWORK

COLOUR

Zoom (fig.34-36)

fig.31

SAMPLES

Samples were categorized into four groups, Raw, Colour, Formwork & Additives. The following pages cover initial and dry observations, along with applied aesthetic to the Raus Haus kitchen wall.

Applied

(fig.37-39)

Stencil

Bamboo

Fabric

Coated

Red Velvet

COLOUR

FORMWORK

These samples investigate how colour can be applied to earth wall; having colour within the mix as opposed to being coated on the outside. The pigment was used came from recycled printer toner and could esentially be replaced with any colour, although a stong one may be required to compete with the earths natural dark colour. A variety of paints were tested to see how well they coated earth, this sample thus became striped. Thicker paints coated well and disguises the earth whilst thinner paints reveals the texture underneath.

These samples look at altering the base tube formwork, testing what level of detail could be achieved.

Full

RATIO Canal Aggregate Sand Concrete fig.46

4 2 2 0.1

Canal Aggregate Sand Concrete fig.49

4 2 2 0.1

Canal Aggregate Sand Concrete fig.52

4 2 2 0.1

Full

RATIO Canal Aggregate Sand Concrete

Canal Aggregate Sand Pigment Concrete

4 2 2 0.1

fig.40

fig.43

4 2 2 2 0.1

Coated

(fig.46-48)

Zoom

(fig.43-45) fig.47

fig.50

fig.53

fig.48

fig.51

fig.54

fig.41

fig.44

fig.42

fig.45

(fig.49-51)

(fig.52-54)

Applied

(fig.40-42)

Zebra

Stabalised Canal

1 0%

White Lime

12 11%

2 4%

3 7%

4 0%

11 7% 10 6% 90 70

ADDITIVES

These samples look to change the base mixture, with additions of for example concrete and lime. Concrete clearly helped as a binder, and these samples were noticeably more compact.

Full

RATIO Canal Aggregate Sand Concrete fig.55

4 2 2 0.1

Canal Aggregate Sand Concrete Canal White Agg White Sand Lime Concrete fig.58

4 2 2 0.1 4 2 2 2 0.1

60 50 40

Canal White Agg White Sand Lime Concrete fig.61

(fig.55-57)

Zoom

fig.56

fig.59

fig.62

(fig.58-60)

(fig.61-63)

Applied

fig.57

fig.60

5 28%

9 7%

fig.63

4 2 2 2 0.1

8 13%

30 20

PUBLIC POLL After establishing a range of samples, a poll was taken to determine how public opinion compared to our personal preferences and how well received the material was. 50 people completed the survey on 29th November 2015, positioned in Minto Foyer as well as Chamber Street in order to cover a wide spectrum of public. People were asked to rank their top three samples, based purely on aesthetics(fig.64), with the intention to be used as an exposed interior finish. It was apparent that the white lime was the most popular, receiving 28% (fig.65) of the total points, which correlated with our thoughts. The smoothness and similarity to concrete was a common remark and people were surprised that it was earth. It is interesting to note that second, third and fourth place are within a 2% margin of each other falling 15% short of white limes total. The closeness of the remaining samples indicates the subjective nature of aesthetics. Results may have been skewed due to quality and finish of earlier samples and colour choice as many were drawn to the red velvet sample primarily due to its distinctive pink colour. The top three samples all emerged from the same category (additives), which have the lowest ratio of pure earth in the final sample. Several comments were made on the enjoyment of the natural samples, and in keeping “truth to materials” commenting that it would be a shame to cover the earth’s aesthetics.

7 5%

10 0

Sample

Points

1. Canal Dry 2. Canal 3. McEwan 4. Stabalized McEwan 5. White 6. Stabalized Canal 7. Fabric 8. Zebra 9. Bamboo 10. Stencil 11. Coated 12. Red Velvet

0 13 22 1 84 37 15 39 21 18 22 32

fig.64

6 12%

1. Canal Dry

7. Fabric

2. Canal

8. Zebra

3. McEwan

9. Bamboo

4. Stabalized McEwan

10. Stencil

5. White

11. Coated

6. Stabalized Canal

12. Red Velvet

fig.65

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 33/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

Contextual Study

Future Developments: Prefabrication From our investigation, we’ve noticed the skill level required is much higher than anticipated. The construction process being more of a craft in the same way as dry stone walling, where the process is simple but can take years to master. There is potential for mistakes compromising the entire build, where the idea of fabricating bricks or panels off site would introduce a level of control. This would allow for future developments but also take away from the onsite low impact/environmental nature of the material. Conclusion Rammed earth is a sufficient and proven good construction material, and is currently being reinterpreted in contemporary architecture. With further innovations earth will perhaps become more mainstream. Through

our research we have developed a variety of new aesthetic finishes for earth with some being more successful than others. Our survey revealed the appreciation of earth being visible and not covered. The fact that the white lime/ concrete hybrid was the most popular proves that this aesthetic is an avenue worth exploring further, in terms of creating a more environmentally sustainable approach to concrete. Sourcing soil was an unpredicted issue that arose, although the canal did open up opportunities, it is limited because of dredging schedules. As earth has become a high end product – the need for choices and variation is important in order to satisfy clients and public. We feel an established knowledge of the end product is required for it to be widely accessible and appreciated. The twelve samples produced establish an initial foundation of potential earth aesthetic treatments that can be further developed for future use.

Select Bibliography Daniel D Chiras (2000). The natural CONCLUSION house: a complete guide to healthy, energy-efficient, environmental homes. White River Junction, Vt: Chelsea Green Pub. Rammed is a sufficient and proven good Second edition. Basel: Birkhäuser Gernot Minke (2009). Building With Earth, Designearth and Technology of Sustainable Architecture. construction material, and is currently being reinterpreted Gmbh in contemporary architecture. With further innovations Martin Rauch, Roger Bolthauser (2011). Haus Rauch. Basel: Birkhäuser Gmbh Through our earth will perhaps become more mainstream. Ronald Rael (2009). Earth Architecture. New York: Princeton Architectural Press. research we have developed a variety of new aesthetic Bruce Walker (1977). Clay Buildings in North for East Scotland, Scottish Vernacular Building than Group. finishes earth with some being more successful others.A Our survey revealed Earth the appreciation earthUniversity of Bath Departmend of Peter Walker, Vasilios Manniatidis (2003). Review of Rammed Construction.ofBath: being visible and not covered. The fact that the white Architecture & Civil Engineering lime/concrete hybrid was the most popular proves that this aesthetic is an avenue worth exploring further, in terms of http://www.archdaily.com/188472/injidup-residence-wright-feldhusen-architects creating a more environmentally sustainable approach http://www.archdaily.com/106352/bruder-klaus-field-chapel-peter-zumthor to concrete. Sourcing soil was an unpredicted issue that arose, although the canal did open up opportunities, http://czphx.com/custom-home-desert_courtyard.shtml it is limited because of dredging schedules. As earth has http://www.designboom.com/architecture/wendell-burnette-architects-desert-courtyard-house-arizona-08-04-2014/ become a high end product – the need for choices and http://www.dezeen.com/2012/07/24/hous-e-by-polifactory/ variation is important in order to satisfy clients and public. http://eartharchitecture.org/index.php?/categories/3-Rammed-Earth We feel an established knowledge of the end product is http://jonesstudioinc.com/project/low-compound/ required for it to be widely accessible and appreciated. http://www.lehmtonerde.at/en/projects/project.php?pID=7 The twelve samples produced establish an initial foundation of potential earth aesthetic treatments that can be further http://rammedearthliving.com.au/index.php?option=com_content&view=article&id=51&Itemid=55 developed for future use. http://www.solidearth.co.nz/techniques-rammed-earth-cob-wattle-daub.php

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 34/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

Course Summary

ESALA

Athens: Salvaging Urbanism.

Edinburgh School of Architecture and Landscape Architecture

Master of Architecture

2_Engaging the City Design Studio D

“Structured through a series of interlinked stages, the MArch integrated pathway on Athens gives you the opportunity to develop and work through critical architectural projects for the city that traverse the full range of scales from the urban strategy to the detail. In the studio we are seeking to evolve architectural proposals that are meaningfully attuned to the complex contemporary conditions of Athens and that have a progressive relation to them. Salvage, which is the thematic title for the studio, implies the recovery of materials on the other side of a catastrophe or disaster, but also their recoding, reuse and redeployment. What capacities does the complex material assemblage of the city have that lie latent and unrealised, and how can we develop interventions that release and make these productive in new ways?.” Brief Extract

Integrated Pathway Year 1 (2015-16) Studio D Course Code: ARCH11092 Credit Points: 40 Year 1, Semester 1 Mark Dorrian + Aikaterini Antonopoulou

ATHENS: SALVAGING URBANISM

Course Stages: A_Field Trip - Our tasks in Athens are to build our knowledge and understanding of this wonderfully complex city, but also to identify zones within it in which we can critically intervene with architectural projects. B_Site Recoding - critical analyses and representations of your sites that begin to point toward specific design responses and possibilities for them. C_Urban Strategy - articulate programmatic ideas, the ‘Urban Strategy’ component is about the increasingly explicit development of your ideas in spatial and material form. D_Element Design - developing in more detail an element from within the overall urban strategy that has been developed.

Athens (NASA Earth Observatory)

Learning Outcomes. LO1 – The ability to develop and act on a productive conceptual framework both individually and in teams for an architectural project or proposition, based on a critical analysis of relevant issues. LO2 – The ability to develop an architectural, spatial and material language that is carefully considered at an experiential level and that is in clear dialogue with conceptual and contextual concerns. LO3 – The ability to investigate, appraise and develop clear strategies for technological and environmental decisions in an architectural design project. LO4 – A critical understanding of, and the development of skills in using, differing forms of representation (eg. verbal, drawing, modelling, photography, film, computer and workshop techniques), especially in relation to individual and group work.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 35/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Panathinaikos.

Design Studio H

Design Report

Apostolos Nikolaidis Stadium

A_Field Trip

A_Field Trip Panathinaikos. Apostolos Nikolaidis Stadium

Panathinaikos: Apostolos Stadium Located just to the north of the historic centre sits the home of Panathinaikos. The stadium is embedded in the surrounding urban fabric has been marked by fans through graffitti and violence causing them to shape their own architectural surrounding through their actions.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 36/131

ATR

Design Studio D

SC[R]AT

A_Field Trip

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

Olympic Park.

A_Field Trip Olympic Park.

Athens Olympic Park Located in the northern suburbs the Olympic Park starkly contrasts the Apostolos stadium. The event architecture sits as ruins to the past, constructed for a singular event many of the structures now sit as contemporary ruins on the site.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 37/131

I I

I I I

I I

I I I

I I

I I I

I I

I I I I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

SC[R]AT

Design Studio D

I I

ATR

I I

Design Studio C

MArch2.

MArch1.

Stadium Study. Design Studio A AMPL Design Studio H Design Report

B_Site Recoding

I I

I I I

I I

I I I I I

I I

Stadium Curation.

General Criteria Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3 2.1 2.2 2.3 2.4 2.5 2.6 2.7 38/131

Design Studio C

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Stadium Reading.

Notation of Movement.

Design Studio A

AMPL

Design Studio H

Design Report

B_Site Recoding 17

15 G

5 2

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 39/131

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I I I I I

I I

I I I I I I I I I I I I I I I I I I I I I

I I I I I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I I

I I

I I I

I I

I I I

I I

I I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I I

I I

I I I

I I

I I I

I I

I I I

I I

I I I I

I I

I I I

I I

I I I

I I

Design Studio D

ATR SC[R]AT

Re-Reading the stadium.

MArch2.

Design Studio C

MArch1.

A Constellation of Architectural Types. Design Studio A

AMPL Design Studio H Design Report

B_Site Recoding

I I

I I I I I

I I

I I I I I I I I I I I I I I

I I I I

General Criteria Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3 2.1 2.2 2.3 2.4 2.5 2.6 2.7 40/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

C_Urban Strategy

Relocating. The exploded Stadium drawing is relocated to the Olympic site to the north of the city centre. This new surface will generate a new urban condition on the Olympic park. The two sites are linked through their shared sports programme, however they occupy contrasting urban sites. The relocating will transfer the social environment alongside the physical forms.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 41/131

ATR

Ex Site

Repeat Repeat

SC[R]AT

Design Studio A

AMPL

Design Studio H

Design Report

C_Urban Strategy

Site Translation.

Ex Site

Design Studio D

MArch2.

MArch1.

Design Studio C

Repeat

Trim Trim

Boundary Boundary

Layer Layer

Original

Layer

Original

Layer

Occupy

Surround

Occupy

Surround

Occupy

Surround

Scale Scale

Combine

Trim

Layer

Trim

Layer

Trim

Layer

Orientate Orientate

Rethink Rethink

Occupy

Occupy Occupy

Locate Locate

Site Translation. The exploded field is translated to the Olympic Park, forming a new surface that informs a new architectural recoding of the historic stadium. These studies show the thought process of this translation. The process began with positioning the original drawing on the site. the final positioning â&#x20AC;&#x153;Locateâ&#x20AC;? returns almost full circle to the initial translation. This variation maintains the scale relationship with the historic Panathinaikos stadium and is orientated to begin to activate the site positioning itself over the existing metro station.

GeneralScale Criteria

Trim

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Layer

Graduate Attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7 42/131

The ex Park, fo archite These of this positio the fin full circ mainta Panath begin the exi

Reconfigure the field. Design Studio C

ATR

Design Studio D

MArch2.

MArch1.

The field is reconfigured to reach into the site, no longer contained by a drawings boundaries. The field is considered as a series of linear elements which creates planes. These planes can then begin to shift to stretch out into the site.

SC[R]AT

C_Urban Strategy

Original

Split

Reconfigure the field. The field is reconfigured to reach into the site, no longer contained by a drawings boundaries. The field is Shift direction considered as a series of linear elements which creates planes. These planes can then begin to shift to stretch out into the site. New position

AMPL

Design Studio H

Design Report Original

Original

Design Studio A

Split Split

Shift direction

New position

Move Move

Split

Shift direction Shift Direction

New position

Move

Copy Copy

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 43/131

Design Studio D

ATR

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

C_Urban Strategy

Site Plan. 1:4000 1. Exploded Field 2. Flood Grid 3. Indoor Training Hall 4. Olympic Tennis Centre 5. Olympic Stadium 6. Olympic Indoor Sports Centre 7. Swimming Centre 8. Olympic Veladrome

8. 4.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 44/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

C_Urban Strategy Exploded Site.

Field Positioning.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 45/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Activity Plan.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

C_Urban Strategy

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 46/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

C_Urban Strategy

Categorizing Categorizingthe thefield. field.

Architectural Architectural Types. Types. 1. Security: Gantry 2. Market: Vendor Stalls 3. Programmable Volumes: Sporting and recreational activities

4. Watch: Away Game Stand/Auditoria

Market.

Locations for activities associated with event. These smaller stalls will cater for large volumes of visitors providing positions for vendors to sell merchandise, food stalls.

Street Furniture.

The smallest elements on the field form informal seating and outdoor gym spaces.

Security.

A series of gangway’s allows for fans to be observed and routes controlled. The current aggressive nature of fan groups can make attempts at control difficult.

Programmable Volumes.

The field presents space for a number of sporting and recreational activities to take place. Changing rooms, Indoor Sports, Café’s + Bars occupy the larger volumes.

3. 3.

Play.

Football pitches of varying scales, accommodate training and recreational use. These pitches are pushed and pulled out of and into the ground.

Watch.

The form of the historic Panathinaikos Stadium informs new outdoor auditoria conditions. Presenting a space for fans to view televised away matches as a large group.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 47/131

Design Studio C

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Matchday Aerial.

Design Studio A

AMPL

Design Studio H

Design Report

C_Urban Strategy

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 48/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

C_Urban Strategy 1. Metro Arrival

Matchday Route Cinematic Study.

2. Station 3. Gantry

4. Roof Terrace

2. 5. Away Game Stand 6. Route to Stadium

8. Route Back

7. Olympic Stadium

The Activities of a Spectator are captured as he moves through the event that is Matchday. The cinematic route deals with arrival, new urban conditions, transition space and crowding.

Field Movement.

Site Movement. The exploded field acts as a filter to the fans as they move onto the site. The Activities of a Spectator are captured as he moves through the event that is Matchday. The cinematic route deals with arrival, new urban conditions, transition space and crowding.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 49/131

Design Studio C

Design Studio D

ATR

SC[R]AT

MArch2.

MArch1.

Site Flooding.

Design Studio A

AMPL

Design Studio H

Design Report

C_Urban Strategy Athens has experienced unplanned urban growth from its historic centre at the foot of the Attica Basin. The city has spread up into the hills in a rapid unplanned manner. This means that the drainage throughout the city is poor and unable to cope with existing weather and city waste. The city has begun to experience annual occurrences of flash flooding due to global warming which has seen increased rainfall in the Winter months. With this uncontrollable event now happening on a regular basis how can the city expect to develop if it is having to continually repair damage. The areas which are regularly affected by Flooding are found adjacent and to the north of the Olympic Park site. The vast empty site 280,000m2 presents an opportunity to create a deflection basin that would flood to protect the neighbouring areas.

Marousi Acharnes

Water Flow to Site.

Flooded Stadium.

Flooded Forum.

Rain

Winter Activity (Water Flooded Field)

Rain

Olympic Park

Chalandri.

Attica Basin Site Flooding. Section 1. Athens has experienced unplanned urban growth from its historic centre at the foot of the Attica Basin. The city has spread up into the hills in a rapid unplanned manner. This means that the drainage throughout the city is poor and unable to cope with existing weather and city waste. The city has begun to experience annual occurrences of flash flooding due to global warming which has seen increased rainfall in the Winter months. With this uncontrollable event now happening on a regular basis how can the city expect to develop if it is having to continually repair damage. The areas which are regularly affected by Flooding are found adjacent and to the north of the Olympic Park site. The Atticaempty Basin site 280,000m2 presents an opportunity to vast Section 2. create a deflection basin that would flood to protect the 1. 2. neighbouring areas.

Rain

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 50/131

Design Studio C

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Matchday Confrontation.

Design Studio A

AMPL

Design Studio H

Design Report

D_Element Design

Matchday Confrontation.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 51/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

D_Element Design

Matchday N-S Section.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 52/131

Design Studio C

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Exploded Entrance Block.

Design Studio A

Entrance Block.

AMPL

Design Studio H

Design Report

D_Element Design

ENTRANCE BLOCK

14.

Roof.

14. Roof Terrace Cafe/Bar

Roof Terrace Activities

Upper Floor.

10. Security Office Roof Terrace 11. Auditorium Services/Storage 12. Auditorium Office space 13. Gantry/Lighting Rig

10. 11.

Balustrade

13. 12.

Folded Roof Plate

5. Interior: Floor-plates Glazing Circulation

7. Road Level.

Hollow Core Steel Column

5. Metro Station Platforms 6. Security Offices 7. Vehicle Drop off Entrance 8. Entrance Steps/Market Space/Auditorium 9. Gantry

Steel I beams

1. 2.

Concrete Entrance Stair

3. Concrete Walls

Ground.

1. Metro Station Entrance 2. Security Offices 3. Services 4. Market Stalls

Entrance Block.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 53/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Matchday E-W Section.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

D_Element Design

Matchday E-W Section.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 54/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

Course Summary

Studies [Readings] in Contemporary Architectural Theory. Drawing the City

“Contemporary architectural theory scrutinises the interaction between design and the economic, political, social and cultural contexts in which it emerges. It takes various modes, ranging from reflection on the consequences of architectural practice, to enabling, guiding and facilitating – as well as critiquing – design processes. Crucially, it interacts in dynamic and complex ways with broader areas of cultural interpretation, criticism, and speculation (anthropology, cultural studies, philosophy, political theory, science and technology studies, semiotics, visual theory, etc.), and this is reflected in the organisation of the S[R]CAT course.” Programme Handbook Extract

Studies [Readings] in Contemporary Architectural Theory. Drawing The City Course Diary Angus Bolland 2016

Course Diary.

Capturing the animate: a process of observation. Drawing the City S[R]CAT Angus Bolland 2016

Essay.

Learning Outcomes LO1-A capacity to research a given theme, comprehend the key texts that constitute the significant positions and debates within it, and contextualise it within a wider historical, cultural, social, urban, intellectual and/or theoretical frame. LO2-An understanding of the way theoretical ideas and theories, practices and technologies of architecture and the arts are mobilised through different textual, visual and other media, and to explore their consequences for architecture LO3-An ability to coherently and creatively communicate the research, comprehension and contextualisation of a given theoretical theme in relation to architecture using textual and visual media.

Studies [Readings] in Contemporary Architectural Theory. General Criteria

Drawing The City Course Diary

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Graduate Attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7 55/131

ATR

Design Studio D

MArch2.

MArch1.

Design Studio C

SC[R]AT

Design Studio A

AMPL

Design Studio H

Design Report

Course Diary WK1_It starts with a sketch.

Course Diary. Drawing the City

WK2_From plan to axonometric.

Drawing as a representational tool is recognised and applied across many creative discourses. The physical act of mark making in an attempt to represent the minds thought in a raw and unfiltered stage is one of the earliest steps in design practice, across the disciplines. These “sketches” or “doodles” to use colloquial terminology represent the initial imaginings of a design, whether in fields of product design, fine art or in this case, architecture. The act of drawing can be crucial in the design process. However it appears that these initial drawings, which are often the richest (in terms of emotion and creativity displayed) are not considered to be final, therefore forming a sub-ordinate relationship with what are perceived by the artist to be the final drawing.

Is it possible for the technique of automatic drawing to inform an architecture, or to generate “Automatic architecture”?

In architecture this idea of the drawing as the first step to making can be seen in the Napkin Sketch. Here the idea of the project is conveyed in a fast expressive way presenting the initial ideas of the architect in a raw unfiltered state. They are drawn for the moment in a moment (usually an expensive restaurant if the stories are true), read in conjunction with an unrecorded explanation. Fig.1 Frank Gehry, Guggenheim Museum The Napkin is therefore all that remains. These sketches are often associated with “starchitecure” and have a sense of showmanship about them, but that now has become what is expected. These drawings often form the basis of a sometimes decade long project and are referred to in house as a tool for design. Frank Gehry is synonymous with the sketch. It defines his work and the way his studio practices, he captures the projects shifting spatial relationships in the fluid strokes of his pen (Fig.1), unrestrained, presenting his unfiltered original vision. This is seen in his project for the Guggenheim Museum in Bilbao, Spain. In this project Gehry is able to retain the looseness and free flowing nature of the original sketch.

“Foregrounding architectural drawings as theoretical texts in themselves, and drawing as active in the ongoing reciprocity between theory and practice in architecture. The particular focus is on the histories and dilemmas of projective drawing of ‘city ground’, raising questions around mythic, pre-modern, modern and post-metropolitan constructions of the idea of the city, questions of ground, milieu, context and time, and architecture’s role and relationship with these.” Course Handbook

WK1.

Drawing, and the act of making the drawing has become a testing ground for new ideas to be developed. The act of drawing is not limited to depicting what your eye sees, it can alow exploration of what the mind sees. Andre Masson the surrealist artist was particularly interested in the latter, pioneering a technique known as Automatic drawing. This drawing technique allowed exploration of the psyche where the artist was required to enter a trancelike state (often assisted through sleep deprivation or drug use) in order to draw in a way that is free from constraints. The results of this method are intriguing giving a view directly into the mind of the artist at the conception of the drawing. It is not a free drawing however as it is tied to the artists subconscious. In Masson’s drawing of 1924 (Fig.2) the initial automatic drawing acts as a guide which is worked into, inspired by the shapes he sees in his subconscious. Limbs, hands and feet begin to emerge from the lines (the human form and sexual scenes features predominantly in his automatic drawings) forcing their way out of his Fig.2 Andre Mason, Automatic Drawing mind and onto the page held between his initial guidelines.

Architectural drawing has always been lined with the physical building. It is often effectively read as a set of instructions for an architecture. These drawings can show more than simply what material it should be constructed from and how big the bedroom is. Initially drawing conventions were limited with a representation of the architecture being limited by this. The plan is considered the key to any set of drawings. In Architectural education the pan can be demanded as tutors look to you (as students) to clarify your thoughts and to assess whether the design works. The idea of the plan brings with it a set of drawing conventions and rules, these have been developed over the years and allow for drawings by different authors to be understood with minimal learning or re-learning of new conventions for each drawing.

I created an automated drawing (Fig.3)in a dark room with noise cancelling headphones in to create a sense of isolation and separation from external influences, allowing me to draw without distraction. The absence of light allowed my initial marks to be as free as possible, setting up a series of guidelines for the Automatic architecture to develop from. This new method of drawing made me excited about the potential outcome. I was not determining anything through this drawing I was simply exploring. The guidelines provide a framework for the drawing to emerge, elements become marked in with ink. What emerges is a strange ribbon which twists across the page (I will not compare my drawing ability to that of the surrealist painters) a perspective sketch of an architecture, automated through my subconscious. This study was an intriguing exploration into the unknown pushing conventional sketching methods which are often dependant on observation of a subject, be it through the eyes or in the mind.

Giovanni Battista Piranesi’s plan for a college of 1750(Fig.4) represents the historic image of the plan, but also re-interprets the conventions set to suit Piranesi. Piranesi, known more for his etchings depicting Roman city scenes than architectural design projects brings a sense of intricacy and detail to the drawing. Here the plan is a work of art in itself, not just a simple line drawing. The proposed college was never built instead existing only in the imagination of Piranesi. The plan allows for the architecture to be spatially explored in terms of how the rooms relate to one another, but there is no real sense of volume to these spaces. Rooms could have 3 metre ceilings or 30 mere ceilings. Depth is implied through shading to staircases which wrap around and cut through the concentric circular plan of the building. Through its design thebuilding itself reinterprets past architectures of Roman baths(in terms of the arrangements of the rooms) and also drawing techniques.

Key Readings. Benjamin, A. and Luscome, D. (2014) ‘Introduction: Drawing Today’ pp.467-469 in Benjamin, A. and Luscombe, D. eds. ‘Drawing Today’, special issue of Journal of Architecture, Volume 19, Issue 4. Fig.3 Automatic Architecture?

Ionascu, Ariadna and Rohr, Doris. (2016) ‘Drawing Today’, in Drawing: Research, Theory, Practice, Volume 1, Issue 1, Intellect: pp. 2-16

WK2.

WK3_What is “Dark Space”.

Thinking about darkness as a spatial phenomenology came about in the late 18th century and was brought into the architectural realm by Etienne-Louis Boulée. Boulée began by reflecting Fig.7 Boulée, design for a cemetary on ideas of melancholy and death in architecture and how these ideas could inform a building. He looked to “present the skeleton of architecture”, all ornamentation and detailing removed leaving the raw undecorated structure. This idea draws parallels with that of the shadow being an effigy of a human being. This monumental mimicry of the darkness can be seen in many of Boulée’s un-built projects, (Fig.7) his design for the entrance to a cemetery clearly indicates many of the methods used by Boulée to convey the idea of dark space. The form of the entrance sits low in a wide, barren landscape representing a figure in prone, lying on the ground as if dead and absorbed by the darkness. The two obelisk’s in the foreground contrast this standing upright, these could be monuments to the deceased as it is not clear whether we are inside the cemetery looking out, or outside looking in. It is not necessarily important which of these two options is correct what is to be realised is that the viewer is in the darkness, engulfed by it. We are hidden in the shadows, able to view unseen. The architecture is monumental in scale, the entrance elevation is bare, stripped of all entablature or detailing. Visible are small rectangular recesses, it is not clear where they lead, only that they are still visible in the shadow of the entrance, light breaks through the opening (Fig.8) proving that the dark space can be repressed, figures are visible moving around in this light area. It is not apparent how many figures are lost in the dark space. The dark space brings out the fears of the viewer it is not necessary to always show the darkness, implying it can be enough, with the viewer’s mind filling in the undefined darkness with their own thoughts. The way shadow is used can determine how much of this space is left to the imagination of the viewer. Corbusier’s Villa Radieuse imagery (Fig.9) displays the proposal in an attempt to downplay the dark space. The scheme was attempting to create a “better” imagery of the city and is therefore drawn to display this kind of environment. However this is potentially deceiving Fig.8 Boulée, cemetary entrance as it implies a space with low levels of darkness as the light tone of the shadow still allows for an enjoyable environment. The image would inevitably appear completely different if it were to be drawn by the likes of Boulée (the edited image increases the strength of the dark space (Fig.10) )who would not look to hide the presence of the dark space.

The idea that dark space and the mind being connected is interesting, Callios believed that darkness is not simply the absence of light and discussed the idea with subjects suffering from a number of psychological conditions. By discussing an idea with people who are on the boundary between what is considered the normal new insight can be gained. These subjects described to him the dark space as a “devouring force…where things cannot be put” it speaks of a space where it is hard to escape, as if trapped by your inability to return to the light. This place of fear is that must be fought off by the light space it is like a disease spreading, architecture can be lost to this space just as people.

The work of artist James Turrell straddles art and architectural discourses. Turrell works with the manipulation of space in an architectural way, using space, light and volume as tools to carve out new experiences. The work of Turrell varies from interior installations to his substantial Roden crater project which looks to combine a number of his larger outdoor experiential spaces into one complex. Considering the installation Carn 1967 (Fig.13) Turrell creates a sense of intrigue in the space by altering to conventional corner of the room with the illusion of a three dimensional object. This object is generated through the projection of a beam of light from the opposite corner of the room, the object is ambiguous as it is unclear how it manifests itself. It appears to protrude into the room and also carve into it, through the use of colour the experience can be altered as the viewer has connotations associated with the visual stimulation attempting to impact both body and mind. The complexity of this space is not purely in its form, it relies on the response of the viewer to see and experience more. Robin Evan’s in his text Translations from drawing to building probes at the question whether everything can be portrayed in drawing form.

WK2_From plan to axonometric.

WK5_Representation of space. WK6_Representing and learning from landscape.

Extract page.

WK4_Architecture + Power.

WK5.

“The past is always contingent on what the future makes of it”(Grosz,2001,9104)

Vidler, A. (1992) ‘Dark Space’ in The Architectural Uncanny: Essays in the Modern Unhomely, Cambs., Mass.: The MIT Press, pp. 166-175. Fig.10 Corbusier’s Villa Radieuse edited

Leatherbarrow, D. (1993) ‘The Space’, The Roots of Architectural Invention. Site, Enclosure, Materials. Cambridge: CUP, Chapter I pp. 9-17. Ingraham, C. (2003), ‘Why all these Birds? Birds in the Sky. Birds in the Hand.’, pp.228-253, in Picon, A. and Ponte, A., eds., Architecture and the Sciences. Exchanging Metaphors, New York: Princeton Architectural Press

WK4.

WK9_Translating drawings.

Fig.15 Museo Canoviano, interior Fig.13 James Turrell, Carn

The drawings presented by the group were originally exhibited before being re-formatted for publishing. The set of drawings draw inspiration from Nolli’s plan of Rome (1784) where the solid and void (public and private spaces) of the city is mapped. Beginning with an aerial view of the strip there is a sense of the complexity of systems in place: undeveloped land, asphalt, autos, buildings and ceremonial space. These 5 representations of the strip are presented as a series in the text (Fig.17) before being followed by what is described as “Nolli’s Las Vegas”, however the mapping is not simply the Las Vegas equivalent of this notation. The introduction of separate layers brings more levels of information to the drawing, allowing each type of space to be read independently, each of these work with a polar tonal pallete (black or white). Differing from that of the historical Nolli plan where the tone could be reads as a gradient, in Las Vegas the landscape is translated here into a form of binary relationship where the asphalt is either there, or not. The historical reference in Las Vegas is the desert, this space has been excluded from the notation entirely, potentially due to its vastness, implying that the space is not important in relation to its contemporary urban context. In the notation of the drawing (according to Nolli) the drawing is Private space, not to be used by the public which is, in a way, true. The strip is brought into focus through the selective inclusion (and exclusion) of space and the re-orientation of the traditional map to allow the road to read horizontally rather than vertically – as would be the case using the conventional method of North reading as up on the page – this distorts the reading of this street with the wider context as it becomes more difficult to locate on a conventional map. This map is intended to show the overall land use of the city, however it is difficult to begin to express the “atmospheric qualities of Las Vegas”.

Carlo Scarpa created architectural moments of non-representation in the Museo Canoviano in 1957 some 10 years prior to Turrel’s work. The similarities in term of visual appearance with the projects are clear from the interior view.(Fig.15) Scarpa has created a denied corner, where the absence of space creates exposure with the outside. To create this interior condition the exterior must provide a framework to support it (Fig.16), in a similar way to the guidelines supporting and holding a drawing together. The frame appears exposed on the exterior and obscured from the interior the deep sill detail and viewing angle. This space suffers from similar representation problems as the artwork of Turrell where the physical architecture shows more than a drawing can, this is due to the connection with the exterior and the experiential qualities which cannot be represented. Nonrepresentational spaces appear as moments in an architecture, these spaces should therefore be more carefully considered when attempting to create a representation.

Key Readings. Evans, R. (1997) ‘Translations from Drawing to Building’ in Translations from Drawing to Building and Other Essays, London: Architectural Association. Frascari, M (2008) ‘A reflection on paper and its virtues within the material and invisible factures of architecture’, in Frascari, M. et al eds. From Models to Drawings, Abingdon, New York: Routledge Fig.14 James Turrell, Carn drawing

Fig.16 Museo Canoviano, exterior

Allen, S. (2009) ‘From Object to Field’ pp.217-243, in Practice: Architecture, Technique and Representation, New York: Routledge.

WK6.

There has been a recent development in the architectural field where this power is attempting to control the future. The UK government created a policy in 2011 that by 2016 all Government projects (New Schools, Hospitals etc) will require the architect to draw in BIM (Building Information Modelling)in an attempt to aid the passing of information between architects, engineer etc (Fig.12). This however represents a problem as it means that many practices not currently practicing with the software have to update or are forced to lose out on some of the largest projects in the country. Through doing this the Council are using its power to attempt to enforce a change in the industry. This new drawing standard could enforce a standardisation across the industry. Only time will tell if this is a case of Power being misused or an innovative way of adopting new technologies.

Fig.11 Boulée, cemetary entrance Fig.12 Shared BIM model

Key Readings. Grosz, Elizabeth (2001) ‘In-Between: The Natural in Architecture and Culture’ in Grosz, E. Architecture from the Outside. Essays on Virtual and Real Space, Writing Architecture Series, The MIT Press pp. 91-108 Kulper, A. (2010) ‘Realism: A tautological Tale’, Scapegoat Journal Issue 03, pp.3-4 McArthur, J. (2013) ‘On the Obliqueness of the Plan in Urbanism and Architecture’, pp188-209 in Dorrian, M. and Poussin, F. eds. Seeing From Above. The Aerial View in Visual Culture, New York: I B Tauris.

Fig.20 Tschumi, Murder Poster

Fig.21 MT1,The Park,\ Scenes 1-3

Fig.18 Learning Message maps

from

Las

19d. Buildings

19b. Asphalt

19c. Autos 20. Nolli's Las Vegas

Fig.17 Learning from Las Vegas p24-5

Fig.19 Superstudio, Monument

The

Vegas,

While Venturi, Scott Brown, Ebineezer’s work on representing the landscape of Las Vegas involved the careful analysis of the existing in an attempt to understand the ideas of American Urbanism Superstudio (working at the same time) took a different approach in dealing with landscape. The work of Superstudio was primarily concerned with the idea of Utopia, and an architecture that could create a better world. This idea is demonstrated in their project the Continuous Monument: an architectural model for total urbanization. The project was developed by a group of young architects in Florence in the late 1960’s, presenting an idea for an architecture that would stretch across the world, uniting the globe, giving equal opportunities to all, bringing in total geographic order. Monumentality is used as on operative tool to create an architecture which can house the world’s population. The project creates an architecture formulated around a continuous grid which wraps the globe, this grid creates a formwork (like gridlines for a drawing) allowing the architecture to be realised. Unlike a traditional planning grid which breaks form around the natural features of the landscape here the grid uses a datum line and works independently of the landscape dissecting mountains (Fig.19) allowing the monument to traverse any landscape or natural feature. Through this project there is a sense of disregard for ground as it is currently considered. This is partly due to the ideas of their Utopian vision where this new monument and grid become the new ground condition. The idea of using a grid in the landscape is relatable to historical practices of cartography and the project pushes these standard methods from representational tools to physical architecture. Previously this grid was never inhabited, The continuous monument begins to inhabit it.

The project provides an observation of modernity, conducting analysis through design. The visual style of the drawings created were able to speak to a wide audience, no understanding of architectural constructs were required. Drawings appear more similar to movie stills or posters than a conventional architectural drawing. The architecture presents an idea of a move towards an increasingly generic world. Where standardisation is seen as the optimal (utopian) scenario. This futuristic glass structure flies over the landscape suggesting that it is above it physically and metaphorically, as a better landscape. It reflects its surroundings with its mirrored finish as a architecture begins to take Continuous on the appearance of the landscape around it.

Case Studies.

This lack of atmospheric quality was of particular interest to the group as studies into signage and observation became increasingly important. The message maps (Fig.18) begin to suggest some of this atmosphere by incorporating the text from physical signage found on the strip into the drawing. The signage is re-written and standardised through a shared typeface, removing any colour of the original signs they represent. This attempts to convey the extent of visual confusion which is experienced on the strip through the bombardment of exposure to messages.

1969-71 Venturi Scott Brown Izenour Learning from Las Vegas Strip figure ground drawings 1969 Superstudio The Continuous Monument: An architectural model for total urbanisation

Through curving the plan the angles of lines begins to distort, this distortion creates acute angles meaning that the drawing contains no right angles (90o) hence the painting being title “The World 89o”. The materiality implied in the painting speaks of a world full of colour, brightness and diversity on the surface. The ground element becomes much more muted, being more about the tonal change to describe the fractured landscape of the underworld. The angular composition and form of the earth relates to that of the architecture presenting the idea that these forms are pulled from the earth and therefore nature. The image appears unbalanced to an extent with the landscape being shown in a portrait painting, this allows for the underground element to cover almost half of the canvas. Hadid famously provides little written description to support or frame her work. This means that there is more opportunity to read into the drawing and discover new ideas from it, the reader is allowed to navigate it independently. This contrasts the thoughts of text accompanying the drawing of Bernard Tschumi in the Manhattan Transcripts discussed in the previous entry where the meaning is explained extensively through written text. This constructed landscape highlights the idea that the drawing and built building are different. With the designed landscape existing only in drawn form, never translated in to built architecture. This is shown in Hadid’s project for Vitra fire station (Fig.24) where the translation from drawing to the built is made. The painting shows the building being formed out of fragments of an angular landscape which combine to create the building. This depicts the building as a continuation of the natural as it is drawn in the same style however in reality the building appears to sit independently; the relationship with the landscape exists primarily in the drawing. Here the drawn architecture is able to show more than the built.

Lebbeus woods comments on a visit to her studio about Hadid’s working methods. Noticing the simple, modest tools being used to paint with.

“her choice of tools as characteristic of her approach to architecture: a wringing of the extraordinary out of the mundane” (Woods 2011) This method of working forces a more considered approach as you are not aided by sophisticated materials or the ability to erase or undo as is the case with digital media. With her painting she constructs new landscapes using distortion in order to best articulate her projects. Through splicing elements of plan, section and perspective the drawing takes on a hybrid nature, where it is not necessarily clear what part of the drawing you are looking at. This is apparent in the lower right area of the drawing which presents a section cut through the landscape, only understandable when the junction between elements allows you to understand the projection of the lines. The section through the drawing is visible when you study the shadow of the perspective building positioned in the lower left corner (Fig.23) here the shadow appears to visibly drop vertically down indicated that a physical cut has been made in the landscape with the shadow now falling on this cut surface.

Moving through the transcripts, from MT1-4 the representational techniques used increase in complexity, transitioning through plan (MT1), elevation (MT2), axonometric (MT3) to perspective (MT4). This heightening complexity in representational technique refers to the complexity of the subject matter in the city. Each Transcript explores the idea of movement through its respective environment and how the environment could be distorted, thus creating a new reading of the physical environment. Tschumi has explored his line of inquiry in such depth that the drawings become drawings of architectural ideas rather than simple drawings of architecture. His developed notations for drawing can be translated to new sites and in turn begin to inform architectural design.

Case Studies. 1976-81 Bernard Tschumi Manhattan Transcripts 1978 Rowe + Koetter Wiesbaden figure ground plan 1982 OMA Parc de la Villette competition entry

“Learning from the existing landscape is a way of being revolutionary for an architect. Not the obvious way, which is to tear down Paris and begin again, as Le Corbusier suggested in 1920’s, but another more tolerant way; that is, to question how we look at things” (Learning from Las Vegas,1969-71,p3)

Hadid uses drawing as a tool to construct a new landscape to hold her architecture. This idea is particularly apparent in her 1983 painting The World (89 degrees) (Fig.22) . Her painting does not depict a geographic location although it does contain a physical plan, she has created a testing field for three-dimensional experimentation allowing her to position her own designs in relation to one another in this new environment. The painting acts as an assimilation of the ideas that she had developed particularly on geometry and the geometric form.

The 3 elements in each scene of MT1 (Fig.21) present “Three disjoined levels of reality - which - are presented simultaneously”. These elements take the form of, a photograph, a plan, an action. The first element is always a photograph which directs the action and sets the scene, informing the viewer of the atmosphere in the scene, it provides a visual understanding of place. These are often cropped views focusing the viewer’s attention on a particular action that is occurring. The second element is generally a plan view of the location, however Tschumi does not restrict himself to this as he often abstracts and distorts the plan as a response to movement. Tschumi abstracts elements from the plan to aid the storytelling of the action in the scene omitting the unnecessary to focus the attention to the location of the action. The third element is initially concerned with the movement of the scenes protagonists. Notational variation is used to describe the movement it is not fixed and is adapted for each scene to suit the action. The notation develops as Tschumi explores the potential of the notation and rules he has created for himself and adapts these rules to best describe the action. These 3 elements are read together to describe the moment in the story. The 24 scenes are intended to be read as one drawing as their final meaning is cumulative.

WK8.

Hadid bends the plan here, in a similar way to OMA’s Casa Palestra project which physically bent the Barcelona Pavilion. OMA were attempting to draw attention to how modern architecture is presented as an uninhabited or empty space. Free from occupation of the user. To challenge this, the new pavilion was occupied, as if revealing the true space. The use of bending in Hadid’s painting is most apparent on the ground plane element. Through doing so she is able to explore the adjacencies with the sky above and ground below without losing the plan element.

Fig.22 Hadid, The World (89 degrees)

Fig.24 Hadid,Vitra Fire station

Case Studies. Fig.23 Hadid, The World (89 degrees) Section Cut

1984 Zaha Hadid The World (89 degrees) 1988-90 Raoul Bunschoten The Skin of the Earth

WK10_Architecture of war.

Drawings act as an articulation of architectural thought. A testing ground for theories and ideas. How do these ideas manifest when translating from a theoretical drawing to an architectural project? The work of Daniel Libeskind presents an insight into this process.

Elements of Micromegas can be seen in the way that space is created through the intersection and layering of the three dimensional forms while the ideas of Chamber Works are seen in Libeskind’s articulation of shadow and depth alongside the positioning of lines. The new interventions interact with the existing buildings forming a multi-layered plan, the original site plan confirming to standard drawing conventions while his new buildings project as extruded elements, shadow on the proposed buildings is the darkest area on the drawing, shrouding past architectures, a “dark space” in the city. The project for Potsdamer Platz shows how ideas realised in drawings are controlled when translated into proposals for real architectural projects.

In Libeskind’s 1991 project for the redevelopment of Potsdamer Platz the transition from theoretical drawing to project is realised (Fig.27). Libeskind uses cultural references in his design projects looking to capture the memory of a past time or event, this is not the same as replicating a past image or the creation of pastiche architecture. The project is centred around a large angular architectural element which sits elevated above the ground level. This acts as central area where many of the other new insertions intersect. It presents a location where lines meet, an important idea Fig.26 Libeskind, Chamber Works as the project was presented just two years after the fall of the Berlin wall when the two sides of the city were finally allowed to meet once more. Plan is the key drawing here with ideas from Micromegas and Chamber Works being expressed.

Lebbeus Woods, an architectural thinker renowned for his complex drawings, interrogating the conventional urban fabric of cities. Wood’s seeks to convey not just physical ideas for architectural forms in terms of physical structures instead presenting his studies as his personal view as one of many solutions. His drawings take many forms appearing as rich still’s from a movie in his Underground Berlin Series to his work for Bosnia where the drawing could be seen as a blue print or schematic, where the main ideas are presented but allow a room for adjustment. Woods has described himself as a “conceptualist” where he positions his ideas onto a project from a far, pushing his theories on how to deal with city fabric to the extreme. Challenging ideas particularly on the idea of war and how damaged buildings should be rebuilt or reconfigured. He seems drawn to how architecture would develop in dystopian senarios:

Early theoretical drawings form the basis for many architects work, in Libeskind’s case they have been revisited over the years bringing a sense of coherence to all his projects. Coherence in a body of work brings both benefits and problems. It can create a sense of expectation for a certain aesthetic from clients which can cause a repetition of design. If a project is unsuccessful in a competition but still considered a strong proposal, can it be translated to a new site? Translating thoughts from his early drawing to building is how Libeskind works and has created many of his design’s. The similarities in projects therefore come from them sharing the same source material visibly linking his portfolio of work.

Fig.25 Libeskind, Micromegas

Chamber Works of 1983 (Fig.26) is structured as a set of 28 drawings. These drawings present an investigation into line. Line is analysed here to build up a scene, while Micromegas used a consistent line weight distorting the depth of the scene Chamber Works builds up layers of one dimensional lines, using changes in shade and thickness to insinuate depth. The set of drawings has been described as the score in which Libeskind composes his projects, the architectural conventions are altered here, lines seem to dance as they move across the page both in a literal and conceptual manner.

WK9.

it is not so easy to separate them. Each has a degree of power in their own right. The Client is financing the project so could stop the project therefore employing the architect, this suggests that the client is therefore more powerful than the architect, however this is not necessarily true as the architect is producing what will actually be built due to the lack of knowledge of the client. What can be observed though is that ultimately the Council that holds the power. The drawings must be presented to the group and approved, checked over and scrutinised by a group of individuals in order to access the suitability of the scheme, and ultimately ensure that it is constructed safely. Taking the Council as the group with the power it becomes an obvious choice when you consider that it is they who constitute what makes an acceptable drawing for submission and sets the criteria and rules for development. With power also comes the responsibility not to abuse said power as it is possible to control future cultural and social developments.

“we find that the drawings reveal complex and subtle rearrangements and reinterpretations of what most of us would call reality, portraying new forms of spatial order governing the relationships between sky and earth, horizon and ground, the artificial and the natural.” (Lebbeus Woods, 2011)

“The 3 square principle underlines the deadly game of hide and seek between the subject and ever changing architectural events.” (Tschumi, 1994,p8)

Initially the transcripts were presented as exhibited work where through being viewed in physical space, thus involving the viewer’s own body in the very definition of the transcript space. Through translating the exhibition into book form it has changed the way that these drawing are read, however it does not change their contents. In the book the transcrips as presented sequentially MT1, MT2, MT3 ad MT4 (relating to park, street, tower and block respectively) rough reffering to his drawings as transcripts Tschumi is proposing that represent a re-reading of the built environment of Manhattan in this new medium. Tschumi presents us with a view of imagined scenario’s being acted out in the city. These deal with the theme of death in the city, proposing scenes not usually depicted through architectural drawings. Each transcript is constructed in a differing manner, the drawings become more complicated as we move to areas where there is more information to portray.

Libeskind is one of the most famous architects in the world, completing many high profile projects. Most notably being the Jewish History Museum in Berlin, a city where he had previously presented master planning projects which had been unsuccessful. It is his unsuccessful competition entry for the redevelopment of Potsdamer Platz that reveals the link between his earlier work and built projects. In Libeskind’s 1979 series of drawings Micromegas (Fig.25) it appears as though we are viewing the aftermath if a physical explosion. Remains of a past architecture strewn across the page combining plan, elevational, axonometric and perspective elements. Three dimensional elements dissect one another creating complex spaces formed by the relationship of angular adjacent surfaces. This drawing explores Libeskind’s take on the generation of three dimensional space and how it could be occupied. Micromegas can be recognised as an influential source in many of Libeskind’s architectural projects, working as a design tool, it is independent of the final form but can act as a generator for it.

Emmons, P. (2014) ‘ Demiurgic Lines: line-making and the architectural imagination’, pp. 536-559, in Benjamin, A. and Luscombe, D. eds ‘Drawing Today’, special issue of Journal of Architecture, Volume 19, Issue 4.

WK8_Constructing a landscape.

The drawings capture a level of cinematography, particularly apparent in MT1 The Park. The drawing is constructed as a series of 24 scenes each made up of 3 elements these scenes begin to explore the acts occurring in The Park. The introductory text sets the scene for each of the drawings, Tscuhmi tells the story of, a lone figure stalking a victim in the park which leads to murder (scene6). Following on from this we are shown the process if investigation and the eventual capture of the murderer.

WK9_Translating drawings.

WK10_Architecture of war.

architectural

Power relations are particularly relevant in the contemporary architectural environment. It is a relevant consideration because there are roles which each hold a degree of power, is there one true power? Considering the roles of the: Architect, Client, Council (planning & building regulations) and Constructors as the 4 main roles in a contemporary architecture environment. It could be assumed that the Constructor although the group physically building the project would have the least power as they are not necessarily brought on to the project until they are required. With the other three parties

To question how we as the viewer look at the world is the perfect way to set up Venturi, Scott Brown, Ebineezer’s text Learning from Las Vegas. The reader must begin to question what is important and therefore what should be represented and more importantly how. The text employs a variety of methods for drawn representation of the Las Vegas strip in an effort to “Learn” from it and to understand it. The city is of particular interest due to its incredibly short lifetime in relation to other American cities, meaning that the Urbanism presented is essentially purely contemporary due to the lack of historical interference.

Paper and drawing is seen as the tool for conceiving an idea; however could this idea be reversed. Turrell’s work presents a case for this where the drawing does not capture the qualities of the space. If the drawing were to be created after the space the resulting drawing would presumably be much different. This idea brings the issue of what form of representation is the most meaningful, the built form or the drawing.

WK7.

Doesburg,

WK6_Representing and learning from landscape. notation and expands, analysing movement and the embodied experience as the area which is nonrepresentational. These areas that are not in the world of representation are therefore not considered in the drawing. Can they be?

Bernard Tschumi’s Manhattan transcripts of 1981 differ from most architectural drawings. The transcripts propose an “architectural representation” of reality. Capturing the subject (Manhattan) in a new light often unrepresented, seeking out the worst in the city.

The act of reading a drawing is rarely as complicated. In fact, when a drawing is difficult to read it is often considered to be a “bad” drawing. With the transcripts it is not the case that the drawings are “bad” it is more to do with the viewer re-aligning their own ideas on what a drawing is, and how architecture is represented. In the Manhattan transcripts Tschumi looks to represent a subject rarely captured in drawing. Movement. In an attempt to aid the understanding of these new types of drawing Tschumi describes each transcript and the ideas it captures in his written introduction. Here the introduction serves as a manual for reading the drawings. It can be read prior to or alongside viewing the transcripts, its use is to help the viewer align their own thoughts with those of Tschumi in an attempt to activate the drawings.

Bloomer, J. (1991) ‘Towards Desiring Architecture: Piranesi’s Collegio’, in Kahn, A., ed. Drawing, Building, Text, New York: Princeton Architectural Press.

Fig.6 van project

History recorded is a tool to look back on in order to develop a better future, but it is a filtered and selective history. It can and has been aligned with the power at the time. A clear example of this is the role of the woman in history, there are few examples of woman and their actions in history. It is not because they did not do anything, this is due to the phallocentrism and inequalities faced by woman, in turn meaning that the recorded history is written from a male viewpoint.

Key Readings.

WK7_Reading the transcripts.

WK7_Reading the transcripts. WK8_Constructing a landscape.

The idea of non-representation and non-representational space crosses discourses moving from Architecture into Geography. Nigel Thrift has been the pioneering thinker in this area since the mid 1990’s. Thrift links the idea of a space that cannot be drawn or articulated in a standard

Bois, Y-A. (1981), ‘Metamorphosis of Axonometry’ in Daidalos, pp. 40-58.

Power not only allows control over the current affairs. It is important to consider when looking back to history as suggested by Foucault and Elizabeth Grosz as:

Drawing such a space can therefore prove challenging. The drawing (Fig.14) articulates the space as an orthogonal and controlled grid projecting guidelines across the space, it is volumetric, showing the construction of the installation however, it cannot be inhabited by the viewer in the same way as the represented artwork. In contrast to the installation it strips back the layers of ambiguity acting more as a construction drawing; the intriguing space created by Turrell does not necessarily translate into a beautiful drawing. The two forms of representation are not dependant on one another. In fine art drawing is considered as a precursor to the final painting. In this case it is not a precursor it is no-representational of the final piece.

WK3_What is “Dark Space”.

Key Readings.

Foucault looks to the past in an attempt to learn from history when looking at the idea of power he presents the idea that Power and punishment are worse now and have a tighter grip on society than when public capital punishment was exercised in the 19th century. The main issue with contemporary power and punishment is visibility. Previously when the punishment was a public affair (Fig.11)there was no filtering or obscuring what was seen and what was not seen. This contrasts greatly the current system where perpetrators are simply removed from society and dealt with behind closed doors, only becoming visible when absolutely necessary. This absence of visibility allows the punishment to be kept out of sight and therefore out of mind of the general public. Through keeping the punishment away from the public it is more difficult to protest the acts which are occurring as was possible with the public displays of punishment in the past.

Fig.9 Corbusier’s Villa Radieuse

Architectural representations can become fixed in a standard notation, where all drawings can be read and represent space in a similar manner. This is particularly apparent when you consider that in practice (or studio work) when a proposed design is fully imagined you then move on to generating a plethora of drawings, plan, elevation, section, axonometric, detail, visualisations. The list could be endless. However they often conform to set rules allowing the drawings to be read. Plan’s project to inform the section and elevation, Sections cut multiple plans to begin to describe potential interiors. What happens when a space cannot necessarily be represented in this way?

WK1_It starts with a sketch.

Fig.5 Choisy, axonometric detail

The plan has always required a degree of imagination and understanding of drawing Fig.4 Piranesi, plan for a college. conventions from the reader in order to inhabit the building and understand what the proposed spaces will be like. Through drawings such as the axonometric it is possible to represent the architecture in a more tangible sense. These types of drawing have been used in conjunction with plans where more information is required. Choisy’s drawings compiled in his 1873 book L’art de Batir Chez Les Romans (Fig.5) allow historic details to be represented accurately and provide a view from bellow (worms eye) whilst still incorporating plan elements into the drawing. He makes use of this technique extensively projecting the plan lines to inform the drawing above. Choisy, being an engineer the consideration and planning taken in constructing the drawing through the use of x,y& z axes he help to orientate the reader as they view the drawing. Through drawing in coordinate space the architecture brings a sense of objectivity to the drawing as the architecture is carefully analysed and drawn by Choisy.

Thoughts on Power and its role in the philosophical and cultural development has been a subject of interest to many philosophers, most notably the work of Michel Foucault. Power can be seen as a tool for development and control. It allows for groups to steer ideas and manage development. It is related to the architectural discipline through the sphere of culture which contains the arts as a field. Changes in the power hierarchy will therefore directly affect architecture through culture.

WK5_Representation of space.

Diary Entries.

The development from the plan to the axonometric aided in improving the understanding of projects and communication between architect and client. The flexibility of scale of the style has allowed the technique to be applied with versatility to subject matter whether it be arranging a single room or master planning an urban block. The axonometric should not be seen as a replacement of the plan, rather a volumetric representation of it.

WK4_Architecture + Power.

Dark space not just the inverse of light. A.Vidler discusses this idea in his text “Dark Space”, it brings ideas of social and psychological ideas into the realm of architecture and begins to discuss how they are related.

WK3.

Modern revival of axonometric techniques took place in the 1920’s through the work of De Stijl, at an exhibition in Paris in 1923. These drawings (Fig.6) sit in space on the page with no real beginning or end, not to be confused with abstract art these drawings suggest an architecture formed through the intersection of planes. Exhibited under the title “analysis of architecture” these oblique projections were viewed by many practicing architects the drawings were like the rediscovery of a lost drawing technique. The drawings have a sense of ambiguity in scale due to the parallel projection where endless projection lines give is no real depth to the images. This style of axonometric drawing can be applied at any scale whether it is depicting an interior of a room or a new city block. It is appropriate for many scales because it aids the spatial representation of the proposal with volume being applied to the elements of the drawing. When drawing an axonometric it is not as easy to hide details as they could be in the plan, the whole project has to be understood in order to convincingly depict it.

This is definitely a considered aesthetic move by Woods allowing him to manipulate what salvageable material would be available to construct the new architecture. These fragments begin to fill the voids in the shell of the old parliament building, reconfiguring the previous architecture (Woods’ 3rd Principle for dealing with damaged buildings)

The purpose of the New Parliament is not simply to replace the old, Socialist parliament, but—in the first place— to study and debate what a post-war Bosnian parliament should be and do. New types of spaces woven into the surviving Cartesian structural frame, create a dialectic between timeless and timebound

My “war and architecture” work was not aimed at proposing the reconstruction of particular buildings—that should be the work of local architects—but at deriving guiding principles. The specific buildings I addressed with my designs were meant more as demonstrations of how these principles might work in particular cases, rather than as actual building proposals. (Woods 2011) By framing his work as a “demonstration” of what could be achieved using a set of defined principles in order to address these damaged areas rather than the ideal project. This allows Woods to present these principles as a way to design which could be used by local architects/builders as they look to reconstruct their city.

Fig.27 Libeskind, Potsdamer Platz

The term “paper architect” has been used to describe Woods, due to the majority of his work involving him constructing drawings with minimal built projects. Describing Woods in this way is an interesting proposition. By remaining on paper he is able to fully articulate his own personal thoughts in his projects, as by designing in the paperspace there is less requirements to work as a team. Built projects would inevitable he subject to change with the input of builders, engineers etc, Woods is able to have sole ownership of a project and ensure the ideas are not altered by external influences. His projects cover a variety of themes, the idea of representing a damaged city is revisited, recurring throughout his projects.

Case Studies. 1991 Daniel Libeskind Potsdamer Platz, Berlin

WK10.

His project for the redevelopment of the New Bosnian parliament in Sarajevo deals with some of these ideas(Fig.28). The city is drawn as a series of fragments, similar in aesthetic to planar fragments of engineered metal, imagine a car door panel or an aeroplane wing.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 56/131

Design Studio D Design Studio D ATR

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

Course Diary

WK7_Reading the transcripts.

“The 3 square principle underlines the deadly game of hide and seek between the subject and ever changing architectural events.” (Tschumi, 1994,p8)

On initial inspection the true meaning of the transcripts is not apparent, the drawings read as a set due to their coherent graphical style however there is little indication to what the process of generating these drawings is. My initial understanding of the drawings was aligned through my own prior understanding of architectural drawings and representational techniques and by how Tschumi framed the drawings. Each Transcript (MT) was assigned a title aiding in locating the viewer in the city. The Park. The Street. The Tower. The Block. Along with a section of introductory text to frame the drawings acting as an introduction and setting the scene for what was to follow. This allowed me to site the drawings in relation to their broader city environment and offers an idea for the subject of the drawing. The act of reading a drawing is rarely as complicated. In fact, when a drawing is difficult to read it is often considered to be a “bad” drawing. With the transcripts it is not the case that the drawings are “bad” it is more to do with the viewer re-aligning their own ideas on what a drawing is, and how architecture is represented. In the Manhattan transcripts Tschumi looks to represent a subject rarely captured in drawing. Movement. In an attempt to aid the understanding of these new types of drawing Tschumi describes each transcript and the ideas it captures in his written introduction. Here the introduction serves as a manual for reading the drawings. It can be read prior to or alongside viewing the transcripts, its use is to help the viewer align their own thoughts with those of Tschumi in an attempt to activate the drawings. Initially the transcripts were presented as exhibited work where through being viewed in physical space, thus involving the viewer’s own body in the very definition of the transcript space. Through translating the exhibition into book form it has changed the way that these drawing are read, however it does not change their contents. In the book the transcrips as presented sequentially MT1, MT2, MT3 ad MT4 (relating to park, street, tower and block respectively) rough reffering to his drawings as transcripts Tschumi is proposing that represent a re-reading of the built environment of Manhattan in this new medium. Tschumi presents us with a view of imagined scenario’s being acted out in the city. These deal with the theme of death in the city, proposing scenes not usually depicted through architectural drawings. Each transcript is constructed in a differing manner, the drawings become more complicated as we move to areas where there is more information to portray.

Fig.20 Tschumi, Murder Poster

Fig.21 MT1,The Park,\ Scenes 1-3

Case Studies. 1976-81 Bernard Tschumi Manhattan Transcripts 1978 Rowe + Koetter Wiesbaden figure ground plan 1982 OMA Parc de la Villette competition entry

Course Diary Week 7 Entry. Reasing the transcripts.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 57/131

ATR

Design Studio D

MArch2.

MArch1.

Design Studio C

SC[R]AT

Design Studio A

AMPL

Design Studio H

Design Report

Course Essay

Course Essay. Capturing the animate: a process of observation.

Introduction.

The role and success of drawing is questioned by Catherine Ingraham in her text “Why all these Birds”1. She begins to pose questions of the idea of representation in architecture. The discussion is framed around the idea of the bird acting as an analogy of human beings2 to help uncover the problems faced with representation. She takes inspiration from the world of social anthropology laid out by Claude Levi-Strauss3 from where she acquires the question “why all these birds?”. Her thoughts are centred on the ideas of the Renaissance, where new ideas on representation began to develop, alongside new technologies and a desire to classify and categorise alongside capturing became important. Issues of representation are outlined particularly with the perspective drawing as a tool for capturing the animate and motion. Therefore what techniques are more suitable? Animate objects should not be considered in the same way as the inanimate. Through Ingraham’s text key ideas have opened up new lines of investigation through highlighting the relationship between the original source and the captured material: The process of observation The Capture Reading the Captured Recent advances in technology has meant that the tools of capture have changed. Johnathan Crary describes “the radical reconfiguration of vision”4 as the modes of viewing and capture have developed so rapidly. The ways in which representations of vision can be viewed has been facilitated by the improvements and innovations in the devices of capture which we have seen accelerate from the time of the industrial revolution to the contemporary world. The sight moving images has become now a regular occurrence and can be viewed on numerous devices. This was not always the case. There was once the question, How could something moving be captured? Which in turn leads to, What should or shouldn’t be captured? People have always been observing with their own eyes. It is what and how they are observing that has changed. In the 1800’s in order to see a horse you would have to visit a gallery and view an artistic representation or read a journal to for a more scientific dawn representation. If you wanted to see one gallop you had to visit a racecourse. The method for capturing had to develop. Knowledge was limited with access to information not readily available. Now it is possible to view this material with an internet search. The basic premise of drawing/capturing remains the same: Observation (of object) – Capture (object) – Observe (Capture) The differences arise in what can be observed, the modes of capture and the way the viewer observes.

1 Ingraham, Catherine. Why all these Birds? Birds in the Sky. Birds in the Hand. In A. Picon, & A. Ponte, Architecture and the sciences: exchanging metaphors. (New York: Princeton Architectural Press,2003) Ingraham, Catherine. Architecture, animal, human: the asymmetrical condition. (London: Routledge,2006).p168 3 Levi-Strauss, Claude. Totemism. (London: Penguin Books,1969). 4 Crary, J. Techniques of the Observer. (Cambridge: MIT Press,1992).p149 2

Abstract. Catherine Ingram discusses in her text “Why all these Birds” (Ingraham, Why all these Birds? Birds in the Sky. Birds in the Hand 2003) the representation of the animate should not be considered in the same way as the Inanimate. In her case “birds in the air”, or “birds in the palm”. How to capture the animate becomes the question.

What is the animate?

“architecture is never historically positioned with respect to life, only with respect to itself”6

The process of looking.

The timescale (duration) of the animate in architecture operates on two scales, it serves as location to the scale of the person (e.g. a visitor walking up stairs) and the scale of the building (e.g. the building slowly falling turning to ruin). This would therefore have to be considered in the representational notation (Consider time lapse photography) in order to show these changes. After selecting an animate object the question arises of how to observe.

The process of looking. Consider the process of looking: Firstly to generate or determine an understanding of the light that has entered the eye, turning these waves into an image as they gather on the retina. This image is composed automatically and is unchanged from viewer to viewer (omitting changes in eyesight quality). Secondly, to think, to draw from past knowledge and determine what the image is. Has the object been encountered previously? The focus on looking is determined by the eye of the viewer, whether this is with a scientific eye (Renaissance) or an artistic eye (pre-Renaissance). This variation offers contrasting views is what Ingraham was discussing when she refers to “birds in the hand” how to capture the bird (Scientific) (artistic). This is where the level of understanding is crucial allowing properties of known items to be transferred to the scene that you are viewing. Only then is the viewer able to apply a sense of understanding to the scene that the object is involved in. Through achieving a sense of understanding the opportunity for focusing opens up. Observation of the detail in a complex scene is ultimately what brings about new knowledge as it can present a more detailed articulation and understanding of the object. When looking at a drawn image the viewer’s perception will be affected by their own knowledge as they align their own imagination with the scene. It is important to consider the author of the initial observation and when this 5 Ingraham, Catherine. Why all these Birds? Birds in the Sky. Birds in the Hand. In A. Picon, & A. Ponte, Architecture and the sciences: exchanging metaphors. (New York: Princeton Architectural Press,2003)p230 6 Ingraham, Catherine. Why all these Birds? Birds in the Sky. Birds in the Hand. In A. Picon, & A. Ponte, Architecture and the sciences: exchanging metaphors. (New York: Princeton Architectural Press,2003)p240

genuine, this was partly down to their lack of knowledge on how the horse moved. Images were created in a staged length of track to allow the horse to run (known as the camera shed). Whilst observing the series the viewer takes up the unconventional position of the camera remaining in line and parallel with the animal. We know the horse is not running on the spot so therefore the position of the viewer must be changing with each frame in order to maintain alignment with the animal. Through presenting the images in storyboard format do not show the true nature and speed of the horse is lost. Muybridge reintroduces these properties through a projection device called the zoopraxiscope. His device combines the still images and projects them as a looped sequence to allow the images to be viewed by a wider audience to view the images. Limitations are found in the detail of the movement captured and what can be read from it. Little new knowledge is gained from watching his projection as it is so similar to the real image and there is no attempt at abstraction. Muybridge’s images produced were more of the artistic view (which was noted at the time) due to showmanship quality found in Muybridge’s presentation of them as he toured the world projecting his images. French scientist Étienne-Jules Marey was a contemporary of Muybridge, however he conducted his experiments in a different manner.

Fig5. – Marey’s the flying pelican(1880’s)

“Marey sought not to represent nature but to discover the laws that governed it.”18 Marey (unlike Muybridge) took a much more analytical approach focusing in on a single aspect of movement to the subject. Through analysis he was looking to gain an understanding from the movement. The process which he developed was known as chronotography19 while Muybridge presented his images as individual frames Marey combined the movement path into one image. Through high speed photography using what can only be described as an “image gun” Marey captures multiple instances of movement in one singular image. Twelve frames a second are captured and reassembled on a single plate, in the example of the flying pelican (Fig5.) captured in the 1880’s the movement and relative position are tracked. By showing all captured moments together there is a much more fluid relationship between the moments captured. These images were then taken a step further with a process of extraction (Fig6.) where the movement paths are abstracted through use of specially designed capture suits worn by the subject. This geometric chronophtography begins to describe the figure moving in a new notation where the representation of the animate has moved away from photo realism with this new graphical language allowing Marey to unpack the mechanism of movement and see what the human eye does not.

What is involved in capturing the animate? The process of observation The Capture Reading the Captured The animate could be described as the body moving through the space or as an event which begins to align with categories of movement, speed and duration in an attempt to articulate more than a discrete moment. Drawing has to adapt to deal with these ideas, new modes of capture have been developed. Through analysis of the development of these modes of capture what can be learned, how have they been developed into new notations. In order to begin to consider these new notations which have been created American philosopher Mark Johnson introduces ideas of how imagination and memory are crucial ideas in understanding and reading the drawings (Johnson 1990), all objects are changing - a photograph therefore does not capture its essence (thoughts of Bergson on a better way of representing (Bergson 2007)) – producing an image schemata to articulate these changes. This image schemata is presented as a kit of parts that can be repositioned and repeated to create perceptions (influence of choreography), images and events. This form of articulation is explored further as the notation is translated into the architectural world through the work of Bernard Tschumi (Tschumi, The Manhattan Transcripts 1994)i. Tschumi utilises the method of schematic and diagram as a way of exploring his own architectural thoughts through creating n ew notation. Architectural representational techniques has experimented with modes of capture to address the idea of capturing movement. Are these modes of capture successful and how might the animate be captured in the future?

What is the animate? The animate is not simply a moving picture, however this has become a popular tool for representation of the animate. The animate is a culmination of a number of forces acting upon an object. To animate is to bring to life. These forces require a fixing or “fixing of the object”5 in order to capture them on a page in order to represent or freeze the act of movement. This requires consideration and thought of a suitable notation and therefore the mode of capture. The essence of “life” is what is important; turning a fixed motionless item into something animate. This item in question becomes animate through movement over a duration of time. To consider capturing it the motion and duration must be considered in order to represent the animate. For these qualities to be held by an object it is common for it to be living allowing it to move of its own free will without the need for external forces to provide the movement. However it is possible for inanimate objects to become animate through exposure to external forces. Taking this idea into account architecture could be considered animate. The physical building facilitates the animate in the form of people as the move around the architecture. It also deals with the animate when considered as an object reacting to forces, the way rain falls on the structure, wind moves it physically and materials degrade over time all conform to the idea of animate. It is the duration that has changed.

18 19

Fig6. – Marey’s Geometric Chronotography (1880’s)

Braun, Marta. Picturing Time. (Chicago: The University of Chicago Press,1994).p254 Braun, Marta. Picturing Time. (Chicago: The University of Chicago Press,1994).p164

observation was made as it impacts the final drawing (and in turn the final reading). This is due to knowledge changing and modes of representation developing to more accurately present the information. Imagination can bring a sense of understanding to a scene. With the world becoming ever more objectivist the imagination is greatly important in adding a sense of meaning and reason to these objects7. This use of imagination is linked with an idea known as metaphorical projection where the past ideas or memories can be used to describe a new object, effectively describing a new object through the attributes of a known object (a similar technique seen in literarature). Imagination is also required alongside the use of an image schematic where a notation is used to present complex information in a more concise manner. Through image schematics the viewer must construct the image of the animate in their mind. Use of the imagination allows for additional information to be supplied by the viewer and transcribed on to the drawing.

The subject of the capture.

“We cannot make sense of our own experience as a whole without both metaphorical projects and symbolic presentations, neither of which is propositional in any Objectivist sense.”8 Through imagination the mind is able to organise and structure images and construct meaning in a way that cannot necessarily be drawn. However it is limited to the knowledge of the individual, as each imagining is different. Therefore it can be considered that each observation will be different for each individual.

The subject of the capture. The subject of capture is important it defines the drawn articulation. Ingraham presents birds as the key example in her text. Used as an analogy for human representation, selecting them for analysis because of their history of representation (starting in the 14th century) and difficulty to capture in motion, particularly in flight: “a bird in flight is thus simultaneously constructed and ensnared by the lines drawn to represent it. The fact that birds are among the most skittish and rapid of possible art objects might make their capture noteworthy.”9 Ingraham presents the issue of capture as the animate object (the bird) is “ensnared”. The moving object suddenly stopped and held within the drawing. Achieving a representation of this is therefore a challenge. The living subject is popular when looking to fix movement. People have an understanding for the types of animal and how they move. The bird as a subject is considered by Claude Levi-Strauss in his work studying totemism, where he looks to reshape the way that we look at objects and animals. Considering the birds as being important because of their symbolic properties10 where the bird linked to Humans through evolutionary lineage (Darwinian thought). Occupying a position “between the supreme spirit and human beings”11 as they process the power of flight.

7 Johnson, Mark.The Body in the Mind. (London: The University of Chicago Press,1990)p65-70 Johnson, Mark.The Body in the Mind. (London: The University of Chicago Press,1990)165 9 Ingraham, Catherine. Why all these Birds? Birds in the Sky. Birds in the Hand. In A. Picon, & A. Ponte, Architecture and the sciences: exchanging metaphors. (New York: Princeton Architectural Press,2003)p230 10 Levi-Strauss, Claude. The Savage Mind. (London: Weidenfeld and Nicolson,1966)p54-7 11 Ingraham, Catherine. Architecture, animal, human: the asymmetrical condition. (London: Routledge,2006).p171 8

“Birds and humans acquire a common ground through structural association, which is entirely human and intellectual”12 If the birds are of interest because of their shared ancestry then why not select any other animal? Thoughts of the human-centric bring the idea that we can learn from the abilities of these animals and in the view of the Post-Renaissance thinkers improve our knowledge.

Modes of capture.

In the early work of capturing the animate the human figure along with the horse served as two other important subjects. These two examples are arguably a less exciting capture than a bird in flight but dealt with aspects of everyday life as people in the 18th century had much more regular contact with horses and therefore sufficient knowledge to aid the understanding and reading of drawings. Animals not selected for capture was often due to problems in observation. This could have been linked to the rarity of the animal, them living in a foreign natural environment or to technological limitations with capturing equipment. However the subject still needed to capture the imagination of the viewer.

Modes of capture. The modes of capture have changed, moving from hand drawn studies to photographic representations. Techniques in the representation of movement reflect the ideas of the time, how were these images captured, how do they represent the animate and what is the limit of the capture. Drawn in iron gall ink the Leonardo Da Vinci’s drawing Perspectival study of the Adoration of Magi (1481)(Fig1.) captures the movement of a group of animals in an architectural environment. This begins to talk of the animate with duration in relation to the horse rather than the architecture. The perspective image is filled with movement. Rearing animals are captured with light fluid lines that are contrasted by the dark and strong strokes forming the architectural elements in the scene. Movement is implied through the looseness of the strokes and density of lines outlining the form of the animal. The lightness of the line of the animals indicates their temporary nature in the scene with their form. Through imagination and an understanding of the way animals move the viewer is able to visualise the movement occurring. The scene provokes re-reading and further consideration due to sense of ambiguity in the number of animals pictured. Does the scene capture a large group of animals, or a small number with multiple images of the same animal being presented alongside one another captured over a duration of time (similar to long exposure images captured with a camera or the work of French photographer Marey13). Ingraham highlighted the issue of the perspective drawing in capturing 12 13

Fig1. - Leonardo Da Vinci’s drawing Perspectival study of the Adoration of Magi (1481)

Ingraham, Catherine. Architecture, animal, human: the asymmetrical condition. (London: Routledge,2006).p168 Braun, Marta. Picturing Time. (Chicago: The University of Chicago Press,1994).p250-4

the depth of the environment as all objects reduce down to a single point. The drawing begins to lose clarity as the scale of the animals becomes reduced on the page. This was particularly apparent when dealing with vast fields where objects could be located a great distance away making them un-representable in this method. “The sky is that problematic field of space against which buildings are stamped in perspectival drawings. The unrepresentable amorphous field of “sky” was an interesting problem”14

Early Modes.

Capturing the sky required new tools for representing. Brunelleschi did not set out to draw the sky, rather to capture it. He developed an optical instrument15for viewing. The device (Fig2.) a carefully painted panel and a mirror, allowed the viewer to observe Brunelleschi’s rendering of the Baptistery and Piazza San Giovanni so accurately that it could be mistaken for the real Baptistery. The tool allowed Brunelleschi to encage space translating the Baptistery and its surroundings into coordinate space through the use of one point perspective creating an accurate representation of the scene. Viewer’s would observe through a small hole in the painted panel a reflection of the painting with the physical sky reflected off of the silver burnish used in the painting16 captured through the mirror, a hybrid image, where drawing and reality were blended together. With this device the viewer was observing the original and captured simultaneously, each reading would be different because of the changing nature of the sky as clouds slip in and out of frame. Brunelleschi dealt with the problem of accurately capturing the sky in drawing form by bringing the physical sky into his scene. As new tools and modes of capture developed the drawing of the object has changed. Work from French scientist Étienne-Jules Marey and English photographer Eadweard Muybridge formed a connection between the scientific and the artistic eye. Muybridge’s work was centred on freezing the moving object as a series of frames and then re-animating these frames to form new reading of the original object. Muybridge was intrigued by the mechanism of movement and understanding the stages of movement sequentially. His work focused on the horse and human form, pushing the limits of photography in the 1800’s. The horse in motion(1878) (Fig3.) is Muybridge’s most recognised work17The series of images capture a galloping horse frozen in time, a type of image never before seen. His study was commissioned to attempt to discover whether there was ever a moment that the horse had all legs off of the ground, Image 2 (Fig4.) in the sequence shows this moment. Public reaction was initially sceptical as they did not believe the images were

Fig2. – Brunelleschi’s optical instrument

Fig3. – Muybridge’s Horse in Motion (1878)

Ingraham, Catherine. Why all these Birds? Birds in the Sky. Birds in the Hand. In A. Picon, & A. Ponte, Architecture and the sciences: exchanging metaphors. (New York: Princeton Architectural Press,2003)p231 King, Ross. Brunelleschi's Dome The Story of the Great Cathedral in Florence, (London : Chatto & Windus,2000)p37 Damisch, Hubert. The origin of perspective. (London: MIT Press,1994.)p89-90 Burgundy (France). Conseil régional. Marey/Muybridge pionniers du cinéma. (Beaune: Beaune Conseil Regional de Bourgogne.1995)p44-60 15 16 17

Fig4. - Muybridge’s Horse in Motion (1878) Still 2

French Philosopher Henri Bergson makes reference to the work of Muybridge and Marey when considering his own ideas on idea of time and duration. Bergson was dismayed to see time and movement reduced down to these discrete moments (work of Muybridge), describing the re-animation of theses as a “false movement”20. In the re-animation the viewer is seeing the movement between the frames rather than the true motion of the object of capture. Bergson considers movement as synthesis and flux rather than a frozen moment in time21. Chronophotography as a technique (employed by both Muybridge and Marey) according to Bergson has contributed to the subversion of the human experience22. “Of the gallop of a horse our eye perceives chiefly a characteristic, essential or rather schematic attitude, a form that appears to radiate over a whole period and so fill up the time of gallop….instantaneous photographs isolate any movement; it puts them all in the same rank and thus the gallop of a horse spreads out for it into as many successive attitudes as it wishes, instead of massing itself into a single attitude.” 23 It appears that Bergson’s main concern here is to ensure that the quality of the movement is not lost. To capture the animate and true movement Bergson poses that it should be contained in one image, rather than through sequence. This idea has similarities the representational techniques previously discussed in Leonardo’s drawing. Considering a “schematic attitude” is what is required, rather than viewing the movement as a series of individual moments. Schematic attitude is considered in the world of dance and choreography. Where it is not suitable to physically draw each moment of a dance new notations have to be considered. Labanotation is an example of this, developed in the early 1900’s 24 (Watts 2015) the notation does not draw what not is physically there but rather a set of instructions on how the movement is produced (an example of an image schematic). In the drawing the full movement path is described through the notation with position and movement path of each limb described independently. The notation is not captured through a lens, the drawing takes place in the mind of the notator as the movement of the body is translated. Labanotation (Fig7.) acts as a score with instructions positioned like notes on a staff where the reader reads by physically moving in relation to the composed marks. Through using detailed notation however the representation becomes less accessible as a level of understanding must be developed in order to read the drawing.

Fig5. – Marey’s the flying pelican(1880’s)

Marey (unlike Muybridge) took a much more analytical approach focusing in on a single aspect of movement to the subject. Through analysis he was looking to gain an understanding from the movement. The process which he developed was known as chronotography19 while Muybridge presented his images as individual frames Marey combined the movement path into one image. Through high speed photography using what can only be described as an “image gun” Marey captures multiple instances of movement in one singular image. Twelve frames a second are captured and reassembled on a single plate, in the example of the flying pelican (Fig5.) captured in the 1880’s the movement and relative position are tracked. By showing all captured moments together there is a much more fluid relationship between the moments captured. These images were then taken a step further with a process of extraction (Fig6.) where the movement paths are abstracted through use of specially designed capture suits worn by the subject. This geometric chronophtography begins to describe the figure moving in a new notation where the representation of the animate has moved away from photo realism with this new graphical language allowing Marey to unpack the mechanism of movement and see what the human eye does not.

Fig6. – Marey’s Geometric Chronotography (1880’s)

Fig7. – Labanotation Ballet example

Freitas, E., & Ferrara, F. Movement, Memory and Mathematics: Henri Bergson and the Ontology of Learning. Studies in Philosophy and Education, (2015, Vol.34)p572 21 Danius, S. The senses of modernism: technology, perception and aesthetics. (London: Cornell University Press,2002)p102 22 Bergson, Henri. Creative Evolution. (New York: Palgrave Macmillan,2007). 23 Bergson, Henri. Creative Evolution. (New York: Palgrave Macmillan,2007).p351 24 Watts, Victoria. Benesh Movement Notation and Labanotation: From Inception to Establishment (1919-1977). (Dance Chronicle, 2015)p275-8

Architectural Representation.

18 19

Architectural representation of movement has taken cues from these developments, reinterpreting new modes of capturing the animate. Bernard Tschumi has been at the forefront of this. “Tschumi has radically reversed this standpoint (platonic ideas of architecture) by pointing to the centrality of image schematic (diagram) structures in the organization of meaning “25

“Photographs direct the action, plans reveal the alternatively cruel and loving architectural manifestations, diagrams indicate the movements of the main protagonists.”27

Fig8. – Bernard Tschumi MT1 “The Park” (1981)

The drawings are accompanied by text to aid the understanding allowing the viewer to read them. Each scene requires the viewer to inscribe meaning onto the scene through assembling the frames mentally to build up the drawing. The transcript depicts fictional events in a real environment, the city acts as a testing ground for

25 26 27

Conclusion.

Braun, Marta. Picturing Time. (Chicago: The University of Chicago Press,1994).p254 Braun, Marta. Picturing Time. (Chicago: The University of Chicago Press,1994).p164

Bodily movement shape the environment we inhabit and are therefore a crucial consideration in architectural thought (birds are less important in architectural consideration). Tschumi looked to capture moments of movement, event and sequence in his work. Through adaption of these new alternative forms of notations it is possible to show not necessarily the physical act of movement (Muybridge & Marey) instead looking to convey the “idea of movement”26. Through representation of the “idea” the role of the imagination from the viewer is much more important as they begin to inhabit the world of the drawing. Tschumi dealt with the representation of movement on multiple levels. His collection of work titled the Manhattan Transcripts(1981) deals with movement in the different environments of the city. The First of these transcripts deals with “The Park” (Fig8.), it is made up of 24 scenes with each scene containing 3 frames. Framing and the frame is an important construct in Tschumi’s work. It is not employed in the same way a frame is used in cinematography (similar to Muybridge) where each frame is individual only visible for a split second, here the frames are read together to begin to describe the movement in the scene. The park is the stage facilitating the movement. Each of the three frames using a differing notation in order to present the animate through use of photography(e.g. Muybridge/Marey), conventional architectural drawing (e.g. Brunelleschi)and notational representation(e.g. labanotation).

Essay Extract.

Bosman, Jos. Bernard Tschumi Architecture in/of Motion. (Rotterdam: NAi Publishers,1997). P9 Tschumi, Bernard. Architecture and Disjunction.(London: The MIT Press,1994).p148 Tschumi, Bernard. The Manhattan Transcripts. (London: Academy Editions,1994).p8

Tscumi’s architectural ideas. Through using a combination of representational modes Tscumi is able to present a large amount of information succinctly, the cropped photograph focuses the attention to the main activity in the scene; the plan locates the action in the city and the movement diagram describes how the plan is being inhabited. Tschumi’s tramscript’s are not presented as the final form for the architectural representation of the animate. Throughout the transcripts the representational notation of movement continues to develop and how it reacts to or shapes the city adapts to suit each new environment it occupies. Tschumi observed the action in his imagination, captured it in his drawings, the viewer reads Tschumi’s observations and rebuilds the scene in their own imagination. The animate has been captured, or at least attempted to be captured through a number of representational devices and notations. There is no definitive answer to how to best represent it, its reliance on the viewer to buy into the derived notation remains key in gaining a meaningful understanding. As new modes of capture are developed the captured image develops. It seems that modes of capture are becoming less focused on gaining a scientific understanding on the mechanics of movement (as Muybridge was considering) and more about how movement affects the world we inhabit and therefore what we can learn from it. Through imagination (in-particular metaphoric projection and image schematics) and memory new readings can be understood without the need for intensive relearnings. Advances in video equipment and technologies continue to present new ways to capture (3d etc.), however recording a moving object is only one way to capture the animate, it is not necessarily the most successful one. Ultimately capturing the animate is a stage in the process of observation, presenting a representation of the physical. It is part of a wider process therefore it is important to consider what we learn (read) from the drawing and not simply how it is captured.

Essay Format.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 58/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

Course Essay

Introduction: The role and success of drawing is questioned by Catherine Ingraham in her text “Why all these Birds”. She begins to pose questions of the idea of representation in architecture. The discussion is framed around the idea of the bird acting as an analogy of human beings to help uncover the problems faced with representation. She takes inspiration from the world of social anthropology laid out by Claude Levi-Strauss from where she acquires the question “why all these birds?”. Her thoughts are centred on the ideas of the Renaissance, where new ideas on representation began to develop, alongside new technologies and a desire to classify and categorise alongside capturing became important. Issues of representation are outlined particularly with the perspective drawing as a tool for capturing the animate and motion. Therefore what techniques are more suitable? Animate objects should not be considered in the same way as the inanimate.

Conclusion The animate has been captured, or at least attempted to be captured through a number of representational devices and notations. There is no definitive answer to how to best represent it, its reliance on the viewer to buy into the derived notation remains key in gaining a meaningful understanding. As new modes of capture are developed the captured image develops. It seems that modes of capture are becoming less focused on gaining a scientific understanding on the mechanics of movement (as Muybridge was considering) and more about how movement affects the world we inhabit and therefore what we can learn from it. Through imagination (inparticular metaphoric projection and image schematics) and memory new readings can be understood without the need for intensive re-learnings. Advances in video equipment and technologies continue to present new ways to capture (3d etc.), however recording a moving object is only one way to capture the animate, it is not necessarily the most successful one. Ultimately capturing the animate is a stage in the process of observation, presenting a representation of the physical. It is part of a wider process therefore it is important to consider what we learn (read) from the drawing and not simply how it is captured.

Select Bibliography Bergson, Henri. Creative Evolution. New York: Palgrave Macmillan, 2007. Bosman, Jos. Bernard Tschumi Architecture in/of Motion. Rotterdam: NAi Publishers, 1997. Braun, Marta. Picturing Time. Chicago: The University of Chicago Press, 1994. Beaune: Beaune Conseil Regional de Bourgogne, 1995. Crary, Jonathan. Techniques of the Observer. Cambridge: MIT Press, 1992. Damisch, Hubert. The origin of perspective. London: MIT Press, 1994. Danius, Sara. The senses of modernism: technology, perception and aesthetics. London: Cornell University Press, 2002.. Ingraham, Catherine. Architecture, animal, human: the asymmetrical condition. London: Routledge, 2006. Jaffe, Hans . De Stijl. London: Thames & Hudson, 1970. Johnson, Mark. The Body in the Mind. London: The University of Chicago Press, 1990. King, Ross. Brunelleschi’s Dome The Story of the Great Cathedral in Florence. London : Chatto & Windus, 2000. Levi-Strauss, Claude. The Savage Mind. London: Weidenfeld and Nicolson, 1966. Tschumi, Bernard. Architecture and Disjunction. London: The MIT Press, 1994 . The Manhattan Transcripts. London: Academy Editions, 1994.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

Fig6. – Marey’s Geometric Chronotography (1880’s)

59/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

Course Summary

Athens: Salvaging Urbanism.

ESALA Edinburgh School of Architecture and Landscape Architecture

3_Micro-Urbanisms Design Studio A

Master of Architecture

Integrated Pathway Year 2 (2016-17) Studio A Course Code: ARCH11093 Credit Points: 40 Year 2, Semester 1 Mark Dorrian + Aikaterini Antonopoulou

“Within a tightly defined framework and timetable, Studio A is concerned with the resolution of the more general and speculative productions of the urban and architectural assemblages. The work will involve the spectrum of scales from the extended fabric of the city through to the specifics of the architectural detail. Seeking out a continuity of approach and sensibility at each level with the aim of developing a full, and richly conceived, architectural thesis design. We are looking for a way of elaborating the work in detail that is constantly in dialogue with, and constantly connecting to, the urban and the ideas that are driving the projects. At all times we want to hold the conceptual, experiential, and material – and its technical means of realization – together. In doing so, we will aim to be in position where the work of the second semester can concentrate on the final consolidation, preparation and expression of the work in the design report and exhibition.” Brief Extract Course Stages:

ATHENS: SALVAGING URBANISM 3_MICRO-URBANISMS Synopsis The work of the first semester of MArch2 concerns the development and elaboration – at an intense level of detail – of the urban and architectural projects that were begun last year. For each student, the design work undertaken in MArch1 and 2 are inter-related parts in the development of a single integrated thesis project, which becomes increasingly defined – conceptually, spatially, materially, programmatically and technically. Part and parcel of this will be a process of research and documentation that will contribute toward the design report that is submitted at the end of the year. As always, we seek work that is investigative, theoretically informed, rigorous, crafted and poetic, and that deals in a critical way with issues and questions of contemporary relevance for Athens. By the end of this semester, the projects are expected to be largely ‘completed’ in design terms, allowing the closing semester of the programme to be used ambitiously for the final refinement, elaboration and presentation of the work.

A_Project Re-View -Students are asked during this time to research and prepare a detailed briefing document that will describe the work and look forward to its future development. B_Design Development - An intensive period in which the projects are elaborated and developed in relation to the agendas that students have defined in their briefing documents. C_Explorations in Detail - Detailed development of the material, structural, constructional and environmental strategies for the projects. Development a major large-scale sectional drawing to communicate technical resolution, material qualities, and environmental and climatic appropriateness through a critically selected part of the project. D_Consolidation - A period following the final reviews of the semester, during which the work is completed, assembled and prepared for submission.

Simon Johnson, Vodka Distillery and Hotel, Warsaw (2007-2009)

Learning Outcomes. LO1 – A sophisticated approach to the programmatic organization, arrangement and structuring of a complex architectural assemblage in a loaded contextual situation (e.g. the built, social, historical, technological, urban and environmental contexts). LO2 – A knowledge of how to develop the structural, constructional, material, environmental and legislative aspects of a complex building to a high degree of resolution, with reference to discussions with a team of specialised consultants. LO3 – An understanding of issues relating to the questions of sustainability, and its concomitant architectural, technological, environmental and urban strategies. LO4 – A critical understanding of, and ability to present complex design proposals through appropriate forms of representation (e.g. verbal, drawing, modelling, photography, film, computer, installation, performance and workshop techniques).

AN EXPLODED FIELD. Salvaging Urbanism Vol 2. Angus Bolland

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 60/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

A_Project Re-View

A_Project Re-View The Exploded Field looks to reprogram the Apostolos Stadium as it is inscribed onto the surface of the Olympic Park allowing the Panathinaikos football team to play in their games in the Olympic Stadium. The relocation allows for the Olympic Park to be reactivated as an area for the public sport and exercise being more regularly used through the introduction of new programmed activities. The field recodes activities of the historic stadium providing spaces for training, coaching and viewing. The field creates a dense urban patch on the site. Sitting on the north edge of the Olympic park the field creates a new entrance condition with connections to the existing metro station and main road to the north. The field acts as a filter, separating home and away fans pushing them and pulling them in different directions in an attempt to reduce violent outbursts. Out with of match days the field brings a diverse range of recreational sporting activities and auditoria spaces to reactivate the greater site. The new development incorporates flooding defences through deflection basins and a new drainage system to deal with Athens issue of flash flooding occuring in the winter months. Program Distribution Arrival Water Security Sport Urban Art Accommodation Arrival Sports fans use the existing metro to gain access to the Olympic Park and surrounding area. Fans and visitors should be able to arrive at the park and move easily from the drop off point to the park. Water Flood water should be stored on the site in reservoirs and tanks before slowly being released into the sewer system or stored for use on site.

Program Distribution. Arrival - Water - Security - Sport - Urban Art - Accommodation Initially the program will look to occupy the forms, spaces and zones created by the exploded field, however the final architectural should not nrecissariily be governed by them. The field needs to be tested to assess how it works as an alternative stadium.

An Exploded Field. The Alternative Stadium. Athens is a city routed in sporting history. The founding location of the Olympics sport and sporting venues are key locations in the urban landscape. Historic stadia sit alongside their contemporaries. The historic stadia (the panathanetic being an example) are preserved as monuments to the past, whereas the contemporary stadia are falling into dissrepair and are aggressively marked by fans, this is particularly apparent in the Apostolos Stadium, the home stadium of Panathinaikos where the stadium is a rich and complex layering of types. The stadium is embedded in the surrounding urban fabric has been marked by fans through graffitti and violence causing them to shape their own architectural surrounding through their actions. Football culture in Greece is a violent one. Fans from rival clubs often battle resulting in lengthy bans being enforced. In Athens Panathinaikos and in Particular the Gate 13 group are amongst the most visible and aggressive of these groups. The Group marks the city projecting their identity to greater Athens. The Exploded Field looks to reprogram the Apostolos Stadium as it is inscribed onto the surface of the Olympic Park allowing the Panathinaikos football team to play in their games in the Olympic Stadium. The relocation allows for the Olympic Park to be reactivated as an area for the public sport and exercise being more regularly used through the introduction of new programmed activities. The field recodes activities of the historic stadium providing spaces for training, coaching and viewing. The field creates a dense urban patch on the site. Sitting on the north edge of the Olympic park the field creates a new entrance condition with connections to the existing metro station and main road to the north. The field acts as a filter, separating home and away fans pushing them and pulling them in different directions in an attempt to reduce violent outbursts. Out with of match days the field brings a diverse range of recreational sporting activities and auditoria spaces to reactivate the greater site. The new development incorporates flooding defences through deflection basins and a new drainage system to deal with Athens issue of flash flooding occuring in the winter months.

Arrival.

Water.

Arrival at the park is an important moment. There is an existing road and metro line found at the north of the site which links the Olympic park to Greater Athens. Sports fans use this metro link to gain access to the Olympic Park and surrounding area. The metro line is a busy route with the Athens mall only one stop away. Fans and visitors should be able to arrive at the park and move easily from the drop off point to the park. The arrival point should be designed to cater for large numbers of visitors arriving in the hours prior to matches. With the architecture creating multiple routes to create separation between rival fan groups. There should be a main volume which gathers the home fans, this would provide the opportunity for ticket sale kiosks and vendors of match programmes etc to sell to fans creating an indoor market space. The arrival space should also provide accommodation for site administration. When not in use for match day arrival the space should be configurable as a large social venue suitable for concerts, talks and other events.

Global warming has caused Athens to suffer from flash flooding annually in the winter months. This flooding is related to the cities geographical location as it sits by the coast surrounded by hills acting as a basin, this alongside the poor sanitation means that the cities existing drainage system cannot cope with the large volume of rainfall. The proposal looks at creating a network of storm drains to deal with the additional water and bring it to the Olympic park where the water can be stored protecting the vulnerable northern suburb areas of the city. The water should be filtered to remove debris and energy generated through its movement into the park. The water should be stored on the site in reservoirs and tanks before slowly being released into the sewer system or stored for use on site. In order to analyse the local weather conditions and predict when the flood defences are required a weather station located on site will monitor the conditions in the area allowing the site to be prepared to deal with the flooding.

Metro Station Area: 3500m2 Ticket offices, Ticket Gates, Platforms, Tracks, WC, Cleaner stores, Staff rooms Arrival Hall Area: 4600 m2 New Metro Platform for metro line Vehicle drop off Ticket Sale Kiosks /market stall (5 m2 per Kiosk) Indoor Market stair/500 seat fan zone (1250 m2) Site Administration offices. Dealing with the running and organisation of the park, (250 m2) Internal Auditorium. 200 seat auditorium (300 m2) Rooftop bar. (Roof area:2100 m2) Services, WC, Storage etc (700 m2)

Precedent: Jean Nouvel - Danish Radio Concert House Copenhagen - 2009 AREA 25 000 m2 Interested in the reading of the building, the contrast between the sectional reading of the interior spaces and the external elevation

Flood water filtration centre Area: 3000 m2 Filter Screens Laboratories Turbine Room Substation Overflow reservoir WC/Services Storm Water Drainage System Area: N/A m2 Water channels connected to wider city Water Storage tanks (each tanks 25m2 x 24 Tanks) Flood Basins (2000m2 to hold approx. 12000mm3 of flood water) Weather Station Area: 100m2 Weather Monitoring Instruments Weather Balloon Living Quarters (for max 2 meteorologists)

Precedent: De Urbanisten - Water Square Benthemplein Rotterdam - 2013 Urban Water Management strategies. Post-Works - The Filter House 2012 Prototype dwelling that sits in a flooded landscape and is altered by the water.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 61/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

A_Project Re-View

Security.

Sport.

With so many fans arriving at the site for match days there needs to be a level of crowd control and management built into the architecture. This is a requirement due to the violent nature of some fan groups. The routes of home and away fans should be controlled through the architecture with security presence there to nullify any violent outbreaks. The number of security guards will vary depending on a number of factors including: the opponent, based on the team rivalry and history of violence in past matches, number of home + traveling fans, time of the match and any political or wider issues that could cause tension among the community. With this in mind Guard numbers could be expected to range between 20 – 250 with the numbers being strategically deployed across the site. A Security centre must be able to cater for these officer numbers. If incidents occur there should be holding cell facilities for violent fans to assist with removal from the site. Alongside match day security a new fire station to serve the existing on-site fire administration building will serve the northern suburbs of Acharnes, Marousi, Chalandri and Kifisia..

The proposal should look to reactivate the Olympic park as a centre for sport bringing locals in to use the facilities. Alongside the existing sporting facilities found on the Olympic site new less formal activities should be introduced. To allow the entire site to become a space for local residents to exercise changing facilities will be required. These facilities should be able to cater for teams changing and for independent public use. Sports pitches and activity spaces should be designed to operate as flood basins with minimal damage to the playing surface. A new clubhouse building should provide facilities for viewing sport on site alongside indoor social spaces. With football away matches in Greece being poorly attended the sites auditoria spaces should be configurable as “away game stands” allowing fan groups experience the match together.

Clubhouse Area: 500m2 Seating Sports Viewing Canteen Bar Sports Storage WC

Security/Riot Centre Area: 500m2 Surveillance Room/Tower Storage for equipment Break Room Control Office WC/Services Gantry/Upper walkway (2500m2) Holding cells (260m2) Remote security posts (5m2 each ) Fire Station Area: 800m2 Apparatus bay (External) Vehicle maintenance(200m2) Administrative and training areas. (400m2) Residential areas (200m2)

Football Pitches 11’s (6000m2) 7’s (1200m2) 5’s (375m2) Away Match Stands: East (970m2) West (570m2) North (100m2)

Changing Facilities Area: 200m2 Changing rooms Shower Sauna/Steam room WC Storage

Security This is a requirement due to the violent nature of some fan groups. The routes of home and away fans should be controlled through the architecture with security presence there to nullify any violent outbreaks.

Precedent: Bovenbouw - Fire station Antwerp - 2014 AREA 990 m2 Small scale fire station enorporating excersise spaces

Precedent: Copeland Associates - Soccer Clubhouse Auckland- 2017 AREA 900m2 Linnear Clubhouse design

Sport The proposal should look to reactivate the Olympic park as a centre for sport bringing locals in to use the facilities. Alongside the existing sporting facilities found on the Olympic site new less formal activities should be introduced.

Accommodation.

+Program.

Accommodation With so many visitors expected at the site especially at weekends when the majority of events occur there is a need for on-site accommodation. This will take the form of an independently run Hotel and a Hostel to cater for differing needs visitor requirements (fanssports teams). +Program The form of the exploded field creates the opportunity for temporary program to occupy the space around the built structures. These more temporary programmable spaces are seen as playing pitches for these activities where courts can be marked out to create areas for weekly markets, outdoor exercise stations.

With so many visitors expected at the site especially at weekends when the majority of events occur there is a need for on-site accommodation. This will take the form of an independently run Hotel and a Hostel to cater for differing needs visitor requirements (fans-sports teams). These accommodation blocks should be easily accessible from the site entrances with routes for hotel services access designed into the site.

Hostel Area:400m2 50 Bed hostel Kitchen Facilities Communal Break room Reception Office WC/Showers

Hotel Area:1200m2 100 Bedrooms Restaurant Reception Bar Laundry Store Function room Meeting rooms

Precedent: Yasutaka Yoshimura - Capsule Hostel Chiba Prefecture, Japan - 2012 AREA 149.85m2 Small scale hostel development

O-office Architects - Youth Hotel Guangdong, China - 2014 AREA 1800m2 Hotel in former immigrant dormitary building.

The form of the exploded field creates the opportunity for temporary program to occupy the space around the built structures. These more temporary programmable spaces are seen as playing pitches for these activities where courts can be marked out to create areas for weekly markets, outdoor exercise stations, Temporary architectural installations using salvaged material etc.

Available areas: 800m2 1000m2 1650m2 875m2 2400m2 840m2 1475m2 1500m2 750m2

Additional Program Outdoor Market. Gym Seating Bars Informal sports areas (table tennis/boules etc) Street Food Storage Lockers Temporary installation Salvaged components Exhibition Space Parade Route

Urban Art. The park should offer a space for urban art and expression, to allow the public to take ownership of the area as they have done at the historic Apostolos Nikolaidis Stadium which has been marked with murals and graffiti over the years. The site should permit graffiti through the materiality of the architecture allowing the fans to control aspects of the appearance of the site. Social spaces for urban groups should form around activity spaces such as skate parks and recreational spaces which are designed to accept flood water. Graffiti centre Canvases Skate park

Precedent: SNE Architects-Rabalderparken Skate park Roskilde - 2012 AREA 1000m2 Skate park operating as a flood basin

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 62/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

B_Design Development

AWAY MATCH CLUBHOUSE. STAND.

7’s FOOTBALL PITCH.

GYM.

INFORMAL SPORTS.

URBAN ART.

SQUASH COURTS. HOLDING CELL.

CHANGING ROOMS.

SQUASH COURTS. HOLDING CELL.

HOTEL. LOCKERS.

5’s FOOTBALL PITCH.

AWAY MATCH STAND.

jnr FOOTBALL PITCH.

CHANGING ROOMS.

LOCKERS.

SECURITY CENTRE. GANTRY.

WEATHER STATION.

OFFICE.

INFORMAL SPORTS.

MARKET.

HOSTEL.

INFORMAL SPORTS.

GANTRY.

EXHIBITION.

GANTRY.

Programme Distribution.

General Criteria 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

MARKET.

WATER TANK.

FIRE STATION.

BAR.

AWAY MATCH STAND. Graduate Attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7 63/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

B_Design Development

Site Connectivity. The site has a strategic position in relation to wider Athens due to metro line. This high speed connection effectively shortens the distance to the site allowing it to be used not just by locals in the surrounding suburbs but the residents of the whole city.

8. 4.

Site Connectivity The site has a strategic position in relation to wider Athens due to metro line. This high speed connection effectively shortens the distance to the site allowing it to be used not just by locals in the surrounding suburbs but the residents of the whole city.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 64/131

Site User. C

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Through the briefing document the scope of the project is clarified. This scope brings a wide range of people to the site as they use Studio Design different parts of the program located in the field. Through analysis of potential “people” in relationship to program they may encounter. This information can then be used to test the field.

Design Studio A

AMPL

Design Studio H

Design Report

B_Design Development

Site User Through the briefing document the scope of the project is clarified. This scope brings a wide range of people to the site as they use different parts of the program located in the field. Through analysis of potential “people” in relationship to program they may encounter. This information can then be used to test the field.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 65/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

B_Design Development

Programmatic Testing The program is applied to the field. The programmatic use by the “people” allows a series of routes to be generated through the site. This allows for potential “pinch” points to be located which is an important factor to consider when moving mass numbers of people through the site.

General Criteria

1.1 2.1 3.1 4.1 5.1 mmatic testing.

6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 applied to field.3.3 The programmatic by the 1.3the2.3 4.3 5.3 6.3use7.3 8.3 9.3 10.3 11.3

a series of routes to be generated through the site. potential “pinch” points to be located which is an to consider when moving mass numbers of people

Graduate Attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7 66/131

Design Studio D

SC[R]AT

MArch2.

MArch1.

of geometries between theplan. concentric rings and the exploded trace of the 2004 Olympic This creates a juxtaposition Readings of the past architectural can and therefore be gained offield. geometries between the concentric rings the exploded through the ground. of this relates to its field. Readings of the The pastmateriality architectural canground therefore be gained programmatic adjacencies, expected footfall and permeability. through the ground. The materiality of this ground relates to its programmatic adjacencies, expected footfallC and permeability. Design Studio ATR

Design Studio A

AMPL

Design Studio H

Design Report

B_Design Development

Ground. Concrete. Concrete. The Ground condition of the exploded field in derived from a Polished Concrete. trace of the 2004 Olympic plan. This creates a juxtaposition Polished Concrete. of geometries between the concentric rings and the exploded field. Readings of the past architectural can therefore be gained Existing. through the ground. The materiality of this ground relates to its Existing. programmatic adjacencies, expected footfall and permeability. Running Track. Running Track. Rubber. Rubber. Clay. Concrete. Clay. Reed Bed. Polished Concrete. Reed Bed. Astro Turf. Existing. Astro Turf. Grass. Running Track. Grass. Sand. Sand.

Rubber. Clay. Reed Bed. Astro Turf. Grass. Sand.

An Exploded Field. 1:1000 N

Ground The Ground condition of the exploded field in derived from a trace of the 2004 Olympic plan. This creates a juxtaposition of geometries between the concentric rings and the exploded field. Readings of the past architectural can therefore be gained through the ground. The materiality of this ground relates to its programmatic adjacencies, expected footfall and permeability.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 67/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

B_Design Development

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 68/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

A_Project Re-View

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 69/131

ATR

Design Studio D

The Site will accept flooding from the hills to the north of Athens. The on site weather station will aid in predicting potential floods with the coordinating of site preparation being controlled on site from the site Filtration Centre Metro Station administration building found in the Arrival block. The filtration centre is an automated pump station sitting to the north of the field. It uses filterof screens varying perforation diameter to reduce debris levels. s to the north Athens.ofThe Thisfloods water with is then ing potential the pumped to the water tank where it can then be used sitethe or site overflow if required. ntrolled on siteon from With Athens becoming prone to annual flash flooding in the suburbs Filtration Centre Metro the Station Water al block. The filtration centre proposal allows the Olympic site to accept flood water and act Tank he north of the field. It uses as a basin for the residual water that cannot be dealt with by the eter to reduce debris levels. cities drainage system. The arrival hall contains a water tank which stores water pumped from a filter station and rainwater drained from r tank where it can then be the roof deck. This “grey” water is used by the fire station and by the buildings on site. In severe flood conditions there are pitches and auditoria which can act as basins and reed-beds absorb the excess water.

MArch2.

MArch1.

Flooding Timeline.

Design Studio C

SC[R]AT

Design Studio A

AMPL

Design Studio H

Design Report

B_Design Development Water Tank

Reed Bed

Flooding.

Reed Bed

No Flooding

Low.

Low

Flooding With Athens becoming prone to annual flash flooding Medium in the suburbs the proposal allows the Olympic site to accept flood water and act as a basin for the residual water that cannot be dealt with by the cities drainage system. The arrival hall contains a water tank which stores water pumped from a filter station and rainwater drained from the roof deck. This “grey” water is used by the fire station and by the buildings on site. In severe flood conditions there are pitches and auditoria which High can act as basins and reed-beds absorb the excess water. Timeline The Site will accept flooding from the hills to the north of Athens. The on site weather station will aid in predicting potential floods with the coordinating of Severe site preparation being controlled on site from the site administration building found in the Arrival block. The filtration centre is an automated pump station sitting to the north of the field. It uses filter screens of varying perforation diameter to reduce debris levels. This water is then pumped to the water tank where it can then be used on site or overflow if required.

Medium.

High.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 70/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

B_Design Development

Site Levels. The existing road and metro lines provide set levels to identify with. These heights are picked up by floor levels and walkways to aid movement across the site. The new level of a 1500mm flood line is imposed. The site is carved into to allow water to flow through and across the site.

Site Movement/Route-making.

Key Plan

Site Levels The existing road and metro lines provide set levels to identify with. These heights are picked up by floor levels and walkways to aid movement across the site. The new level of a 1500mm flood line is imposed. The site is carved into to allow water to flow through and across the site.

Site Movement

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 71/131

Site Site Operation Operation Home Home / Away. / Away. Design Studio C

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

The site operates The site operates with program with program becomingbecoming activated activated based onbased the on the event taking event place taking on place site. Home on site. football Homematches football matches and largeand scale large scale concerts concerts in the Olympic in the stadium Olympic are stadium the most are the intense mostinintense terms of in terms of people flooding people onto flooding the site ontoand the therefore site and therefore put the most put the strain most on strain on the sites the infrastructure. sites infrastructure. The fans The are filtered fans arethrough filteredthe through arrivalthe hallarrival hall before making beforetheir making way their to theway venue. to the venue.

Design Studio A

AMPL

Design Studio H

Design Report

B_Design Development

AwayAway Match. Match.

Site Operation Home / Away. The site operates with program becoming activated based on the event taking place on site. Home football matches and large scale concerts in the Olympic stadium are the most intense in terms of people flooding onto the site and therefore put the most strain on the sites infrastructure. The fans are filtered through the arrival hall before making their way to the venue.

No Match. No Match.

Home Match. Home Match.

Away Match.

Sit Operation Home/Away The site operates with program becoming activated based on the event taking place on site. Home football matches and large scale concerts in the Olympic stadium are the most intense in terms of people flooding onto the site and therefore put the most strain on the sites infrastructure. The fans are filtered through the arrival hall before making their way to the venue.

General Criteria 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Graduate Attributes

No Match.

Home Match.

2.1 2.2 2.3 2.4 2.5 2.6 2.7 72/131

ATR

Text + Route making.

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

B_Design Development

Controlling large numbers of visitors to the site is important.

Text + Routemaking Traditionally signs are used to direct crowds towards their destination. on site architecture becomes layered with text at different Controlling large numbers ofThe visitors to the site is scales allowing their program to be read from multiple viewpoints. This programmatic graffiti looks to aid route-making and navigation important. Traditionally signs are used to direct crowds through the field without the need to be lead by a map or traditional towards their destination. The on site architecture sign post. becomes layered with text at different scales allowing their program to be read from multiple viewpoints. This programmatic graffiti looks to aid route-making and navigation through the field without the need to be lead by a map or traditional sign post.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 73/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Detail Section.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

C_Explorations in Detail

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 74/131

ATR

Design Studio D

MArch2.

MArch1.

Design Studio C

SC[R]AT

Design Studio A

AMPL

Design Studio H

Design Report

Section Details.

C_Explorations in Detail

1:20 extracted details

2. 3. 4.

1. 2. 7.

8. 3.

5. 6.

Roof Deck 1. 20mm Toughened glass balustrade 2. 250mm deep structural sealant 3. 200mm pre-cast concrete beam with nosing

4. Setting Block 5.Guttter formed with DPM to fall to south end. 6.25 mm Metal Durbar Plate 7.Open drain to tank below 8.700mm Waffle slab roof deck

2. 6.

8. 4.

Office Facade 1. 250mm reinforced concrete column 2. Double Glazing window unit, aluminium frame. 3. Floor: 15mm tile, 50mm screed + wet underfloor heating system, 50mm rigid board insulation, 300mm reinforced concrete 4.Steel Fixing bracket, 2x 100*180mm square section, 200mm L plate , 1050mm bracket,

fixing plate. 5.20mm fixed toughened glazing pane 6. Pre-cast 400 x 50mm concrete louvre 7.100mm insulation, 12.5mm plasterboard 8. Recessed electronic blind 9.mechanically operated vent

General Criteria 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

Stair/Wall Connection 1. Stair: 120mm concrete riser, 20mm mortar, 160mm concrete slab, 235 x 200mm carrier beam. 2.Ceiling: exposed polished concrete 230mm, 100mm insulation, 2 x 25mm ply deck sarking boards. 3.Mechanical Light box 4.10mm perforated steel panel fixed to 50mm square section steel frame.

5. Painted 25mm ply board, 50mm timber stud frame, DPM, 600mm RF concrete â&#x20AC;&#x153;flood levelâ&#x20AC;? wall. 6. Steel fixing bracket 7. 250mm RF concrete column 8. Double Glazing window unit, aluminium frame. 9. Folded sheet metal capping, 10mm durbar steel cladding, 70mm timber stud, 100mm insulation between concrete columns.

Graduate Attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7 75/131

The arrival hall is passed through by visitors arriving by metro line or bus. Thehall hallisincorporates site by administration offices alongside The arrival passed through visitors arriving by metro line orthe Design market hall,incorporates water tank, function space on the roof alongside terrace and bus. The hall site administration offices thesite storage facility for market stalls and other portable devices. market hall, water tank, function space on the roof terrace and site storage facility for market stalls and other portable devices.

Studio C

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Arrival Hall. Arrival Hall.

Design Studio A

AMPL

Design Studio H

Design Report

C_Explorations in Detail

Arrival Hall The arrival hall is passed through by visitors arriving by metro line or bus. The hall incorporates site administration offices alongside the market hall, water tank, function space on the roof terrace and site storage facility for market stalls and other portable devices.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 76/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

C_Explorations in Detail

Construction Process. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11.

Empty Site GF walls Office basement + Road Stair 1F walls Metro Stair Office Columns + Stair Core Office Floor slabs Office External Skin Tank/Roof Columns Tank/Roof Balustrade, Gantry, Market

10.

11.

Arrival Hall - Construction Process 1. Empty Site 2. GF walls 3. Office basement + Road Stair 4. 1F walls5. Metro Stair 6. Office Columns + Stair Core 7. Office Floor slabs 8. Office External Skin 9. Tank/Roof Columns 10. Tank/Roof 11. Balustrade, Gantry, Market

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 77/131

Design Studio D

ATR

MArch2.

MArch1.

Design Studio C

SC[R]AT

Design Studio A

AMPL

Design Studio H

Design Report

C_Explorations in Detail

Arrival + Fire Station.

10.

1:200 Plan 1. Security Station 2. Circulation stair core 3. Site Administration offices 4. Market Stair N 5. Fire Vehicle Garage 6.Yard 7. Accommodation Block 1:200 Plan 8. Changing room 1. Security StationGantry Walkway 9. Raised 2. Circulation stair core 10. Market stall

Arrival + Fire Station.

3. Site Administration offices 4. Market Stair 5. Fire Vehicle Garage 6.Yard General Criteria 7. Accommodation Block 8. Changing 1.1room 2.1 3.1 4.1 9. Raised Gantry Walkway 1.2 10. Market stall 2.2 3.2 4.2

5.1 6.1 7.1 8.1 9.1 10.1 11.1 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

10.

Graduate Attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7 78/131

Design Studio C

Chimney Vent

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Exploded Arrival.

Design Studio A

AMPL

Design Studio H

Design Report

C_Explorations in Detail

Vertical Concrete Louvres

Glazing + Fixing brackets

Secondary Steel for facade

Office internal glazing + Floor-slabs

Glass Balustrade Waffle Slab Concrete roof-deck Water Spout Steel Staircase

Concrete Columns

Pre-cast Concrete Stair 2

Flood water Pipe

RF Concrete Walls

Pre-cast Stair 1

Gantry

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 79/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

C_Explorations in Detail B

Noise. The arrival block sits adjacent to the metro line and road networks to the north of the site. These, along with the high levels of foot-traffic must be considered when designing interior spaces. The office block looks to reduce the dB levels through dampening the and using a dual skin (East: perforated metal + glazed window units. West: precast Concrete louvres with glass infill + glazed window and stud wall).The office block and its structure sit separately to reduce noise and vibrational transfer between the structures.

SECTION A-A

SECTION B-B

Noise The arrival block sits adjacent to the metro line and road networks to the north of the site. These, along with the high levels of foot-traffic must be considered when designing interior spaces. The office block looks to reduce the dB levels through dampening the and using a dual skin (East: perforated metal + glazed window units. West: pre-cast Concrete louvres with glass infill + glazed window and stud wall).The office block and its structure sit separately to reduce noise and vibrational transfer between the structures.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 80/131

Design C Ensuring that the arrival block is appropriately lit is anStudio important consideration for the safety of users, particularly with many events potentially taking place in the evening.

Design Studio D

ATR

SC[R]AT

MArch2.

MArch1.

Lighting.

Design Studio A

AMPL

Design Studio H

Design Report

C_Explorations in Detail

Lighting.

Ensuring that the arrival block is appropriately lit is an important consideration for the safety of users, particularly with many events potentially taking place in the evening.

1. Concrete Lantern

Pre cast concrete panels fixed to base of stair around carrier beam interior painted white. 4 florescent tube lights hung from ceiling. Polycarbonate diffuser panel.

1. Concrete Lantern Pre cast concrete panels fixed to base of stair around carrier beam interior painted white. 4 florescent tube lights hung from ceiling. Polycarbonate diffuser panel.

2.Timber Light box 25mm ply light box fixed to 50mm stud frame. 4 florescent tube lights hung from ceiling. Electric motor and wire cables allow for the light-box to open

2. Timber Light box 25mm ply light box fixed to 50mm stud frame. 4 florescent tube lights hung from ceiling. Electric motor and wire cables allow for the light-box to open

Lighting Ensuring that the arrival block is appropriately lit is an important consideration for the safety of users, particularly with many events potentially taking place in the evening.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 81/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

C_Explorations in Detail

Ventilation Summer - The double skin facade to the west (right side) acts as a chimney allowing the hot air to be drawn out of the office spaces. Through vents in the glazing panel and office wall with cool air moving through from the open east facade. Winter - Thermal slab heats the office space to the desired temperature with the vent in the west facade wall open-able to draw the warm air out if the temperature becomes uncomfortable. General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 82/131

1:25

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Office Section detail.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

C_Explorations in Detail

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 83/131

Design Studio C

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Market Stair.

Design Studio A

AMPL

Design Studio H

Design Report

D_Consolidation

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 84/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

D_Consolidation

General Criteria 1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

r. This sense of ownership vendors. These stalls are n their respective positions. as a storage locker allowing ady for sale. These market k when not in use or when

Market Stalls. Market stalls are owned by the vendor. This sense of ownership brings a sense of responsibility to the vendors. These stalls are marked, allowing them to be located in their respective positions. The stalls act as a shop front but also as a storage locker allowing the merchandise to be kept on site ready for sale. These market stalls are stored within the arrival block when not in use or when flooding is expected.

Graduate Attributes 2.1 2.2 2.3 2.4 2.5 2.6 2.7 85/131

Design Studio C

ATR

Design Studio D

SC[R]AT

MArch2.

The hostel block is positioned in the shadow of the Prosfygika housing. The Hostel provides 84 beds across 14 dorm rooms. The linear arrangement of rooms allows for the Eastern facade to be used as a projection screen for the away match stand when it is unrolled.

MArch1.

Hostel.

Design Studio A

AMPL

Design Studio H

Design Report

D_Consolidation

Fire Station. The fire station utilizes water stored in the tank and serves the sites adjacent northern suburbs. The station is comprised of a series of simple structures holding the program of, water storage, vehicle garage, accommodation/office space, changing rooms and fire hose drying tower.

Movement in an emergency.

Hostel The hostel block is positioned in the shadow of the Prosfygika housing. The Hostel provides 84 beds Movement in an emergency. across 14 dorm rooms. The linear arrangement of rooms allows for the Eastern facade to be used as a projection screen for the away match stand when it is unrolled. Fire Station The fire station utilizes water stored in the tank and serves the sites adjacent northern suburbs. The station is comprised of a series of simple structures holding the program of, water storage, vehicle garage, accommodation/office space, changing rooms and fire hose drying tower. General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 86/131

ATR

Design Studio D

MArch2.

MArch1.

Design Studio C

SC[R]AT

Design Studio A

AMPL

Design Studio H

Design Report

D_Consolidation

2. 7.

10.

11.

Away match stand + Hostel. N

5. 6. 12.

1:200 Plan 1. Raised Gantry Walkway 2. Fire Hose drying Tower 3. Away match Standing 4. Away match Seating 5. Projector room 6. Bar 7. Market 8. Hostel Circulation tower 9. Hostel Lounge 10. Dorm Room 11. Wash Room 12. Reception

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 87/131

Away Match Stand.

Studio C

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

The away match stand provides a location for fans to gather and experience away matches as a group. The away match stand combines a standing and seated section where seating can beDesign spun to face onto various screens offering flexibility. The dense structure houses a bar and WC facilities which can be accessed through the stand or from ground level.

Design Studio A

AMPL

Design Studio H

Design Report

D_Consolidation

The away match stand provides a location for fans to gather and experience away matches as a group. The away match stand combines a standing and seated section where seating can be spun to face onto various screens offering flexibility. The dense structure houses a bar and WC facilities which can be accessed through the stand or from ground level.

Away Match Stand The away match stand provides a location for fans to gather and experience away matches as a group. The away match stand combines a standing and seated section where seating can be spun to face onto various screens offering flexibility. The dense structure houses a bar and WC facilities which can be accessed through the stand or from ground level.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 88/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

D_Consolidation

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 89/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

Design Studio H

AMPL

Design Report

Course Summary

11/11/2016

Scenario Printout

Architectural Management, Practice and Law.

Professional Studies & Training Group Contract Simulation Exercise

Architectural Management Practice and Law 2016-17 Learning Outcome 1 Examination

Scenario Number : 2 Scenario : LETTER FROM CLIENT Scenario Description...

“Architectural Management, Practice and Law is a lecture, workshop and studio based course aimed at developing student’s knowledge and understanding of the management of Architectural practice. It is delivered through a series of lectures presented by Architects and related professionals involved in the creation of the built environment. The lectures are intended to present the student with a range of knowledge which can then be built on and developed by further reading. The workshop vehicle which will be used to assess learning outcome 2 of the course is a web-based ‘contract simulation game,’ which will provide participating students with a considerable depth of knowledge in relation to the administration of a standard form of building contract. Students will work in small groups over the course of the two day event.” Programme Handbook Extract

Answer Paper

A Lamb Team X Architectural Partnership 2 The Streets Tweedie Dew

Names Callum Aitken, Angus Bolland Exam Questions

30 December 2013

AMPL

With reference to the above contract I regret to inform you that we have not been given the confirmation of authority to start works on this project on our intended commencement date of 6 January 2014. This is due to the fact that the government office responsible for confirming our core funding did not manage to achieve signoff of the document from the Health, Communities and Pets minister, Ivor Goldfish, before he went on his kitesurfing holiday to the Canaries. The cabinet secretary has assured us that on his return, on 10 January 2014, the document will be signed, giving us authority to commence.

Question 1: Form of Business

Contract Game Analysis

Note from Practice Formation meeting:

The Contract game 26-27 October 2016

I was minded to give the goahead anyway, in the knowledge that the money is definitely coming, but I have been told by the cabinet secretary that if we turn a sod of ground at the site without the minister’s personal consent, it will be seen as a lack of respect for his office and there will likely be an adverse impact upon funding for our facility at a later date. Evidently Mr Goldfish is known for his long memory. Therefore we need to delay the site start.

We need as a fledgling practice to consider clearly our ‘form of business’ options. Our accountant has suggested three potential business forms for us to consider, without particularly going into detail on any. Limited Liability Partnership, Limited Company or a Cooperative. Can you investigate the above 'form of business' options and provide a brief critical appraisal of their advantages and disadvantages. Look at key factors, such as business structure, professional liability, tax and administrative duties etc. Conclude by making a recommendation as to which 'form of business' we should adopt and how this might shape the future direction of the practice. Should we be considering a hierarchical or flat organisational structure? Are there any ethical issues we should consider in deciding on a form of business?

I spoke to someone in the Contractor’s office about this (details below) and they said they weren’t sure about the situation here, but that changing the start date normally simply isn’t possible without one party repudiating the whole contract. Could you please look into this, find out if there is a facility for doing so in this instance, put the contractor right, if necessary, and put in place whatever needs to be done to push back the start date to 13 January 2014? I trust there will be no Loss and Expense associated with this change, as the contractor hasn’t actually done anything yet, although I accept that completion will be put back by a week. I look forward to being copied in on the response to the contractor and to hearing from you on the matter of any additional charges the contractor may seek to inflict upon us.

Answer:

Wally

The Form of the Business

Walter Duggs The Border College Trust, North Roof Side, Borwick

In order to select the best form of practice it is important to consider the type of architectural practice that the firm aspires to become. It can be possible to transform the company into alternative structures; however, this is a major issue which should not be taken lightly and would be difficult to implement if there were external financers or multiple partners that would require re-alignment with the new structure. This critical appraisal looks to access three potential business structures and analyse how they would affect the way the business works and could potentially grow.

CC: Havana Brown, RICS, Principal Quantity Surveyor, Double Felix Construction Ltd Scenario History... [Oct 26 2016 1:03PM to Contractor] CC:Havana Brown, RICS, Principal Quantity Surveyor 30 December 2013 Dear Double Felix Construction Ltd Start date, BORDER COLLEGE VETERINARY SCHOOL, BORWICK Due to the delays of handing over of the site within the employer’s rights of a 2 week deferment, I have postponed the start of works to 13 January 2014. Thus the completion date will also be postponed by 7days; From the 6th October 2014 to the 13th October 2014. I hope this acceptable. Please let us know if you have any issues regarding additional expenditure, that will need to be assessed. Kind Regards, Sandy Lamb Team 1 Architectural Partnership 2 The Streets, Tweedie Dew

As both founding members of the new practice are recently qualified “architects” they are unregistered. The individuals (and in turn practice) must established the appropriate registration and fee payment with RIBA and the ARB required before it can be considered a registered architects practice and use the name “chartered architects.” Working under the assumption that the firm will be registered in due course the business forms will be appraised accordingly with the 2 “recently qualified part 3 students” referred to as partners.

[Oct 26 2016 12:59PM Note to Client/Employer] Scenario 2 CC:Havana Brown, RICS, Principal Quantity Surveyor, Double Felix Construction Ltd 30 December 2013 Dear Walter Duggs Start date, BORDER COLLEGE VETERINARY SCHOOL, BORWICK Due to the deferment of the handover of the site under clause 2.5 and the contractor being likely to incur losses due to this decision as he may already have equipment hired or allocated to go on site. Double Felix Construction Ltd may wish to request under clause 4.23 of the building contract for added expense. We will inform you of any additional costs incurred after discussion with the quantity surveyor if they apply. We have informed the http://egame.mcdonach.co.uk/print/print.asp?Scenario=2

Course Components Contract Game Contract Game Report AMPL Exam Drawing Submission

Please answer two questions from three. References and image credits should be provided at the end of each answer in the Harvard style. Each answer has a word limit of 1200 words.

Dear Sandy BORDER COLLEGE VETERINARY SCHOOL, BORWICK

Angus Bolland

1/2

Contract Game.

Contract Game Report.

No.69 Lansdowne Road

No.18 Vavasour Square

AMPL Exam.

No.60 Lansdowne Road

No.50 O’Connell Gardens

HIstoric Lansdowne Road Stadium Overshadowing

3. 5.

No.32 O’Connell Gardens

Learning Outcomes

Historic Lansdowne Road Statium Development Volume Aviva Statium Development Volume Overshadowing

LO1-An understanding of practice management and codes of professional conduct in the context of the construction industry. LO2-An understanding of roles and responsibilities of individuals and organisations within architectural project procurement and contract administration, including knowledge of how cost control mechanisms operate within an architectural project. LO3-An understanding of the influence of statutory, legal and professional responsibilities as relevant to architectural design projects.

Aviva Stadium. PLANNING. Name: Aviva Stadium Capacity: 51,700 Cost: 410 million euro Date of construction: May 2007 - April 2010. Architect: Populous Client: IRFU and FAI Location: Lansdowne Road, Dublin, Ireland Site Area: 6.4 hectacres (63,802 sq.m.) Stadium Roof Area: 19,000 sq.m.

2pm 12pm

10am

In Dublin, there are no mandatory standards for the preservation of access to daylight and sunlight to neighbouring properties. The Dublin City Development Plan requires that account should be taken of “Site Layout Planning for Daylight and sunlight – A Guide to Good Practice” PJ Littlefair. The publication discusses ways of controlling the impact of these properties access to sunlight and daylight. The “Littlefair” document indicates that the VSC (Vertical Sky Component) should be considered in determining whether the application is permissible. Embodied within this rule is the assumption that the typical building has reflectance of 10%. In the case of the Aviva stadium the façade materials have been selected to achieve a significantly higher degree of reflectivity than this. This allows the vertical sky component to be augmented by this higher degree of reflectivity and therefore the stadium “becomes” permissible as the new stadium is therefore comparable to the historic stadium in many of these instances e.g. Section 3.

Drawing Submission. Aviva Stadium Overshadowing

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 90/131

ATR

Design Studio D

MArch2.

MArch1.

Design Studio C

SC[R]AT

Design Studio A

Design Studio H

AMPL

Contract Game 11/11/2016

11/11/2016

Scenario Printout

11/11/2016

Scenario Printout

11/11/2016

contractor of the new start of works date and will adjust the completion date to October 2014 to the 13th October 2014. I hope this acceptable. Kind Regards, Sandy Lamb Team 1 Architectural Partnership 2 The Streets, Tweedie Dew

Professional Studies & Training Group Contract Simulation Exercise

[Oct 26 2016 11:16AM to Group]

Scenario Number : 4 Scenario : EMAIL FROM CONTRACTOR Scenario Description...

[Oct 26 2016 11:09AM to Contractor] CC:Havana Brown, RICS, Principal Quantity Surveyor 30 December 2013 Dear Double Felix Construction Ltd Start date, BORDER COLLEGE VETERINARY SCHOOL, BORWICK Due to the delays of handing over of the site within the employer’s rights of a 2 week deferment, I have postponed the start of works to 13 January 2014. Thus the completion date will also be postponed by 7days; From the 6th October 2014 to the 13th October 2014. I hope this acceptable. Kind Regards, Sandy

A Lamb Team X Architectural Partnership 2 The Streets Tweedie Dew 30 December 2013 Dear Sandy

To: A Lamb – Team X Architectural Partnership, 2 The Streets, Tweedie Dew

[Oct 26 2016 12:12PM REPLY to GROUP] Are you sure there is not recourse for the contractor to request an adjustment to the contract sum? regards imonia [Oct 26 2016 11:08AM Action to Client/Employer] CC:Havana Brown, RICS, Principal Quantity Surveyor, Double Felix Construction Ltd 30 December 2013 Dear Walter Duggs Start date, BORDER COLLEGE VETERINARY SCHOOL, BORWICK With reference to the building contract, I agree that it would be unwise to start construction work without the required signature and permission. No work should be started immediately, the commence date of the start of works should be adjusted from 6 January 2014 to 13 January 2014 once the Health, Communities and Pets minister has signed the document. With reference to Clause 2.5 of the building contract as the employer you may defer the giving of possession of the site for a period not exceeding 2 weeks. Calculated from the date of possession, 6 January 2014, therefore this adjustment is suitable. There will be no loss of funds between yourself and the contractor and the completion date will be adjusted back by a week. Kind Regards, Sandy

http://egame.mcdonach.co.uk/print/print.asp?Scenario=2

Architect’s instruction

Issued by: Sandy Lamb address: Team 1 Architectural Partnership

2 The Streets, Tweedie Dew

1/2

Professional Studies & Training Group Contract Simulation Exercise

Serial no:

Employer: The Border College Trust address: North Roof Side, Borwick

Scenario Number : 6 Scenario : EMAIL FROM QUANTITY SURVEYOR / EMAIL FROM CLIENT Scenario Description...

Job reference: Issue date:

Contractor Double Felix Construction Ltd address: Clawmark Row, Purton

EMAIL FROM QUANTITY SURVEYOR

Contract dated:

Works: College Wall Veterinary building Situated at:

Under the terms of the above contract, I/We issue the following instructions: Office use: Approx costs

Please correct foundation levels to architectural drawing levels.

£ omit N/A

£ add N/A

http://egame.mcdonach.co.uk/print/print.asp?Scenario=2

24 March 2014

[Oct 26 2016 4:20PM REPLY to GROUP] I'm pretty sure clause 4.3.2 does not allow reduction in the contract sum for items under 3.19. Is there a typo with 3.19 and have you discussed this with the client?

Sandy

[Oct 26 2016 3:54PM NOTE to Group] Scenario Started

Team Members: Callum Aitken Neethu Babu Raj Angus Bolland Fiona Estwick

Services Engineer

CDM Coordinator

Structural Engineer

File

Professional Studies & Training Group Contract Simulation Exercise Scenario Number : 9 Scenario : LETTER FROM CONTRACTOR Scenario Description...

The contract game is a learning experience. It takes the form series of 36 scenario based questions where groups form architectural “practices” in order to complete the task. The scenarios are centred around the navigation and understanding of the JCT/SBCC 11 traditional building contract. In these assigned groups, there were two working days to complete as many scenarios as possible. Communicating with a “controller” in order to progress and access new scenarios. The game was a test of teamwork and navigation of the contract, through instructing with electronic communication. Due to the high number of scenarios efficiency was a key factor in order to successfully completing the game.

EMAIL FROM STRUCTURAL ENGINEER

Wally Walter Duggs The Border College Trust North Roof Side Borwick Scenario History...

Kind regards

2/2

[Oct 26 2016 4:47PM to Client/Employer] Dear Walter Duggs As you have signed into a legally binding contract, without the consent of the contractor you cannot change the employer as per clause 7.1. Works will have to be carried out to practical completion (clause 7.2) without the change of employer being made, unless you can reach an agreement with the contractor. Kind Regards, Sandy Lamb Team 1 Architectural Partnership 2 The Streets, Tweedie Dew

To be signed by or for the issuer named above.

Professional Studies & Training Group Contract Simulation Exercise

Dear Sirs

NEW VET SCHOOL

BORDER TRUST VET SCHOOL, BORWICK Please find enclosed our Valuation No. 4 in respect of the above, as at 5 May with the following figures:

As you know the mezzanine, the balcony and the two other staircases and landings were poured last week and although the area in each case is slightly larger, the spans are the same and the gauge of the rebar indicated by the engineer is the same for all elements. I spoke to Mr Block, the Director of Casticat on the phone, and he said that he saw the bars for mezzanine slab and he was pretty sure they were exactly as the engineer’s drawings. I don’t know if that is true, because it’s all covered up, but the bars may be the same gauge as the other defective landing, in which case the engineer has confirmed they should come out.

Deduct Previously Certified: £ 2,017,598.23 Amount for Valuation No. 4: £1,104,725.07

I have discussed this with the contractor who said that he will only investigate the situation if he gets an instruction from you. He also wants confirmation from you that if the completed elements, of which there is no obvious evidence of non conformity, are in fact constructed as designed, the client will pay for the delay to the works caused by the testing, and the opening up and rebuilding cost. He has indicated that because of the landings being necessary for the support of the next floor, the cost of the breaking out for investigation and the repairs and remaking, even if found to be in accordance with the contract, will be £18,600. I saw the client on site today, and he said that he wasn’t going to pay for any unnecessary openingup, for what its worth. Could you speak to the contractor please and tell him what to do and who is going to pay for it? You might also want to speak to the client. Kind regards Laurie Scenario History... [Oct 26 2016 6:03PM to Contractor] 25 April 2014 Dear Laurie, NEW VET SCHOOL Regardless of the opinion of Mr Block, we cannot willingly continue with the works without confirming specification of the already poured slabs. As one slab has already been confirmed to not meet requirements all slabs must be checked, as per clause 3.17 the workmanship was not in accordance with the contract so there will be no additional costs to the client of checking and re pouring the slabs as per clause 3.18.4 Kind Regards, Sandy Lamb Team 1 Architectural Partnership 2 The Streets, Tweedie Dew [Oct 26 2016 6:03PM REPLY to GROUP] Great next one [Oct 26 2016 5:52PM Note to Client/Employer] 25th April 2014 SCENARIO 10 Steel Bars Wally, I have been in discussion with the contractor about the steel in the concrete landings. These slabs must be opened up to confirm this steel is in accordance with the contract as it has already been seen that one of the slabs is dangerous. There will be no expense to you for this investigation. Regards Sandy Team 1 Architects.

£ £ £

File

Professional Studies & Training Group Contract Simulation Exercise

TELEPHONE MESSAGE ON MOBILE FROM KATE 8 May 2014

College Wall Veterinary Building Please find enclosed Architect’s Certificate No. [ 4] for the above works. The sums which the contractor should be paid at this time under the contract are as follows:

3,218,890.00 96,566.70 3,122,323.30

Further to our telephone conversation, I can confirm that my valuation does not include deductions with respect to the defective works you noted at the concrete stairs, landings and mezzanine. The estimate of the cost of rectifying these items is as follows: 1: Removal of existing landings and reinforcement, including for temporary scaffolding, protection and cleaning: 2: Formation of new concrete landings/floors to specification within contract: 3: Opening up for inspection/making good other landings:

Services Engineer

Structural Engineer

Scenario Number : 12 Scenario : TELEPHONE MESSAGE ON MOBILE / TEXT FROM SITE OFFICE Scenario Description...

Walter Duggs

After our discussion on the amount of reinforcement steel being brought to site, I have been watching Casticat, the reinforced concrete subcontractor closely and I can tell you that reinforcing bars for the first floor landing in the insitu concrete floor are of a much smaller gauge than is shown in the Engineer's drawings and bending schedules. I didn’t clock the situation right away and they had started pouring the slab, so I issued a direction to the site agent to get him to stop the pour immediately and strip out the wrongly sized bars and concrete. The Casticat foreman has confirmed that he is going to rip up the slab and remove the bars of site and start again.

Quantity Surveyor

CDM Coordinator

6th May 2014

Dear Walter Duggs

VET SCHOOL, BORWICK

Contractor

Our Ref: [Border College Trust 001]

The Border College Trust North Roof Side, Borwick

Further to your failure to accept our perfectly workable design proposals for systems within the premises we have reviewed our procedures and have decided to outsource the design development of the Contractor’s Design Portion for the heating, mechanical ventilation and fire alarm systems to a specialist Mechanical Services Consultant, and we thank you for the written permission received to subcontract this portion of the works in accordance with the Conditions of Contract.

Gross Valuation: Less Retention at 3%: Net Valuation:

£ add N/A

Amount of Contract Sum £ ±Approximate value of previous instructions £ £ ±Approximate value of this instruction £ N/A Approximate adjusted total £

Employer

Scenario Number : 11 Scenario : LETTER FROM QUANTITY SURVEYOR Scenario Description...

Sandy

£ omit N/A

Signed ____________SLanb_______________________________

[Oct 26 2016 4:49PM REPLY to GROUP] Good next one [Oct 26 2016 4:30PM NOTE to Group] Scenario Started

[Oct 26 2016 5:09PM REPLY to GROUP] Ok but in future I would include in the AI that the work is to be done at no cost to the client. Next

[Oct 26 2016 4:50PM NOTE to Group] Scenario Started

[Oct 26 2016 5:09PM NOTE to Group] Scenario Started

Office use: Approx costs

[Oct 26 2016 5:06PM to Contractor] Havana, Further to my previous email. If the consequent delays of 4 weeks apply you may incur liquidated damages as this is not relevant event. (Clause 2.29) Regards Sandy Team 1 Architects

Dear Sirs

[Oct 26 2016 5:26PM REPLY to GROUP] I think there is a typo regarding 3.7.? as the clause you quote refers to the physical works not the contractor's design portion? (the related clauses may also have been picked up from the wrong clause). Thanks Imonia

Under the terms of the above contract, I/We issue the following instructions:

Excavation and installation of attenuation tank

However, due to accounting procedures, it is necessary for our organisation not to be the owner of the building that it occupies at this time. What we have been advised by our accountant is that we need to change title in the contract from the Trust to the propertyowning company now, which will be a wholly separate legal entity from the trading organisation that will provide the facilities for the vet school and deal with the public. This allows us to lease back the building from our overseas pension fund, which minimises the exposure of the organisation and the trustees to an excessive tax liability.

8 April

Team X Architectural Partnership 2 The Streets Tweedie Dew

[Oct 26 2016 5:23PM to Contractor] 20 April 2014 Dear Sogee Furbil VET SCHOOL, BORWICK Although we have agreed to subcontract that portion of the works, under clause 3.7.1 all work carried out by hearth, wind and fire ltd must be in accordance with the original CPD documents as per clause 2.1. As the contractor you are still fully liable for the sub contractors work. We will issue an architect’s instruction once you have confirm hearth, wind and fire ltd’s compliance with the CPD documents as per clause 3.9.2.3. Kind Regards, Sandy Lamb Team 1 Architectural Partnership 2 The Streets, Tweedie Dew

26 March 2014 Dear Sandy

Dear Sandy

6 May 2014

Issue date: Contract dated:

BORDER COLLEGE VETERINARY SCHOOL, BORWICK As you know, it has been our intention to dispose of the building into another ownership after Practical Completion, and for the new trading entity to maintain title to bring proceedings against the contractor for any default thereafter.

W Duggs c/o The Society of Shepherd’s Friends (2013) Ltd PO Box 382 Jersey

Fax From: Laurence Poplady, Triffac Building Consultants and Clerks of Works To: A Lamb – Team X Architectural Partnership, 2 The Streets, Tweedie Dew

Serial no: Job reference:

Contractor Double Felix Construction Ltd address: Clawmark Row, Purton

I have spoken to Mr Furbil at the Contractor’s office and he advised me that he would not wish to change client midstream, but I am sure that there is something in the contract that will allow us to do this. Could you have a look and come back to me? I look forward to hearing from you.

25 April 2014

[Oct 26 2016 5:33PM REPLY to GROUP] Good. 2.2.2 and 2.9.4 would also apply but 3.7.2 is the key clause. next

2 The Streets, Tweedie Dew

Works: College Wall Veterinary building Situated at:

FAX FROM CONTRACTOR’S QUANTITY SURVEYOR

20 April 2014

Architect’s instruction

Issued by: Sandy Lamb address: Team 1 Architectural Partnership Employer: The Border College Trust address: North Roof Side, Borwick

Fax From: Havana Brown, RICS, Principal Quantity Surveyor, Double Felix Construction Ltd To: A Lamb – Team X Architectural Partnership, 2 The Streets, Tweedie Dew

Havana On Behalf of Double Felix Construction Ltd Scenario History...

Scenario Number : 10 Scenario : FAX FROM CLERK OF WORKS Scenario Description...

1/1

Therefore we have been advised that we should assign to this company our payment obligations under this contract at this time, rather than wait until after Practical Completion. I shall still be your point of contact, but once the contractor has signed the necessary paperwork, all correspondence relating to the contract should thereafter be sent to:

http://egame.mcdonach.co.uk/print/print.asp?Scenario=4

[Oct 26 2016 4:25PM to Quantity Surveyor] Dear Pru, Yes the client has been informed. Sorry for the typo, i meant to typo 3.20, having a long day.... Kind regards, Sandy

[Oct 26 2016 5:29PM to Contractor] 20 April 2014 Dear Sogee Furbil VET SCHOOL, BORWICK Although we have agreed to subcontract that portion of the works, under clause 3.7.2 all work carried out by hearth, wind and fire ltd must be in accordance with the original CPD documents as per clauses 2.2 and 2.19. As the contractor you are still fully liable for the subcontractors work. We will issue an architect’s instruction once you have confirm hearth, wind and fire ltd’s compliance with the CPD documents. Kind Regards, Sandy Lamb Team 1 Architectural Partnership 2 The Streets, Tweedie Dew

http://egame.mcdonach.co.uk/print/print.asp?Scenario=5

Professional Studies & Training Group Contract Simulation Exercise

A Lamb Team X Architectural Partnership 2 The Streets Tweedie Dew

VET SCHOOL, BORWICK

S Furbil On Behalf of Double Felix Construction Ltd Scenario History...

1/1

Scenario Number : 7 Scenario : LETTER FROM CLIENT Scenario Description...

8 April 2014

Further to the meeting between our Mr Furbil and Mr Rebar of Chianti Leaverer, we can confirm that the requirement to fit the attenuation tank under the East terrace will result in an extraover of £29,653.00. The site agent’s initial assessment of the likely consequential delay to the works would be four weeks. I look forward to receiving your Architect’s Instruction agreeing to the above in due course.

Please issue the appropriate Architect's Instruction confirming your agreement to the above. Thereafter we shall instruct Messrs. Hearth, Wind & Fire to proceed with the design.

[Oct 26 2016 3:14PM NOTE to Group] Scenario Started

Professional Studies & Training Group Contract Simulation Exercise

Walter Duggs The Border College Trust, North Roof Side, Borwick Scenario History...

Yours faithfully

[Oct 26 2016 3:33PM REPLY to GROUP] I don't think we want the contractor to use our drawings to build from. This is CDP and we don't want to be taking on the liability for it. Is there not something in the contract about the procedure around construction information and CDP designs procedures? Thanks Imonia

http://egame.mcdonach.co.uk/print/print.asp?Scenario=3

Wally

Sogee Furbil

[Oct 26 2016 3:46PM REPLY to GROUP] I don't understand what you mean by 'C' Are there any clauses in the contract that back up what you are asking for? Thanks Sogee [Oct 26 2016 3:29PM to Contractor] CC: Havana Brown, RICS, Principal Quantity Surveyor 1 March 2014 Dear Sogee Furbil, Access issue, VET SCHOOL, BORWICK Please continue to install the main air handling unit above the gymnasium as per our drawings where it is suited to be situated, we believe the machinery is not suitable above the auditorium space. You can disregard the employer’s requirements for access as per clause 2.13.2. Kind Regards, Sandy Lamb Team 1 Architectural Partnership 2 The Streets, Tweedie Dew

[Oct 26 2016 1:44PM REPLY to GROUP] Well done, next [Oct 26 2016 1:01PM NOTE to Group] Scenario Started

Rusty

We have now accepted Messrs. Hearth, Wind & Fire for this work. As they were the only firm who could undertake the work in the time required there was obviously a financial premium to be paid for their fees beyond what we had allowed for our inhouse design team, which we accept. However we hereby confirm that it will be Messrs. Hearth, Wind & Fire and not ourselves that will be responsible to the Employer for the content of the mechanical services design. In addition, we shall not hold ourselves responsible for compliance with any Architect’s Directions or the CDM regulations in relation to the CDP, those being matters for Messrs. Hearth, Wind & Fire to deal with direct.

[Oct 26 2016 3:54PM REPLY to GROUP] Excellent next

[Oct 26 2016 1:42PM to Group] SCENARIO 3 20th January 2014 CC:Havana Brown, RICS, Principal Quantity Surveyor, Dear Sogee Furbil, VET SCHOOL, BORWICK Regrettably due to the replacing of the electricity substation being previously noted on the Construction Phase Health and Safety Plan we cannot adjust the programme as stated in the building contract under clause 2.9. As it was a known issue prior to the drafting of the master programme it is neither a Relevant Event under Clause 2.29 or a Relevant Matter under Clause 4.24. We will propose your three week extension to the client and inform you whether it is acceptable, however liquidated damages charge may incur Kind Regards, Sandy Lamb Team 1 Architectural Partnership 2 The Streets, Tweedie Dew

1/2

R Rebar Chianti Leaverer Consulting Engineers 8 Pattress Place, Roseabbey

[Oct 26 2016 5:03PM Action to Contractor] Cc: Rusty Chianti Leaverer Consulting Engineers Dear Havana 4 STOREY BUILDING VETERINARY SCHOOL, BORWICK There will be no additional fees added to the contract sum as the addition of the attenuation tank under the East terrace is a direct consequence of an architect’s instruction issued under the terms of clause 3.18.2. Therefore as per clause 3.18.3 the work must be reappropriated at no extra cost to the employer. Please see the attached instruction. Kind Regards, Sandy Lamb Team 1 Architectural Partnership 2 The Streets, Tweedie Dew Additional Documents (To be printed seperately) 62481_ArchitectsInstruction Senario 8.doc

[Oct 26 2016 3:51PM to Group] Sogee, For info on the "C" marking refer to Schedule Part 1 paragraphs 5.3 and 7. Please see clause 2.9.3 to answer your queries. Send me a copy of your updated drawing when availible. Thanks Sandy Team 1 Architects

[Oct 26 2016 3:44PM to Contractor] CC: Havana Brown, RICS, Principal Quantity Surveyor 1 March 2014 Dear Sogee Furbil, Access issue, VET SCHOOL, BORWICK We would not like to withdraw our comment marked ‘C’ concerning the relocation of the main air handling unit. Please amend and resubmit the CDP drawings, so they can be included in the master programme. Kind Regards, Sandy Lamb Team 1 Architectural Partnership 2 The Streets, Tweedie Dew

Scenario Printout

Scenario Number : 8 Scenario : EMAIL FROM STRUCTURAL ENGINEER / FAX FROM CONTRACTOR’S QUANTITY SURVEYOR Scenario Description...

Yours faithfully Sogee Furbil S Furbil On Behalf of Double Felix Construction Ltd Scenario History...

Team X Architectural Partnership 2 The Streets Tweedie Dew

The Contract Game

Austin

Further to recent communication regarding the Eastoduct pipes, unfortunately I note that you have decided to keep them and that in the last week the pipes have been fully installed and backfilled with concrete. All that I said to the client was that Eastoduct do provide a similar pipe to Britapipe. However, on further inspection, the one that the contractor has fitted is not of that specification. I can confirm that the pipe fitted does not comply with the SUDS regulations in terms of reservoir capacity due to the inadequacy of the joint seals (having a Pressure Utility Status of less than 14.8) and the lack of strength in their walls (a lateral loadbearing capacity of less than 28.6 Zitulons). As you know Splash UK require these figures to be 17pus and 36zit respectively. Simply expressed, we had designed these pipes to be able to hold lots of water within them when the sewers back up. If this happens with the Eastoduct pipes they have fitted, the seals may leak and the pipes may crack. The only way we can salvage this situation is to fit an attenuation tank under the East terrace, which we thought we had avoided. There is no other solution, as will be confirmed by Splash UK. I know from previous experience, and from speaking to the contractor that it will be over £25,000 to excavate the ground and install it in such close proximity to the piles. I would also imagine that it would hold up the works. If you can find a way by which your client wouldn’t have to pay more for this work not in accordance with the contract, I’d like to hear of it.

[Oct 26 2016 4:29PM REPLY to GROUP] Finally... next

You will understand we only made this alteration to the layout suggested in the Employer’s Requirements because of access difficulties for our machinery on site. We are certain that we can overcome the access difficulties for personnel maintaining the unit from a ladder, and the vibration issues can be resolved by damping. We intend to proceed with the layout that we have proposed, because, as you appreciate, the design of the ventilation system is within the CDP and is therefore our responsibility.

Austin Bigglesworth, On Behalf of Double Felix Construction Ltd Scenario History...

Further to checking the contract documents after our joint inspection after the last site meeting on Tuesday, I can confirm that, as we both thought, the fireclay underground drainage pipes used in the works are not as described in the bills. We have come across this situation before with this contractor and it allows them to make a significant reduction in their own costs. The pipes they have used, the Eastoduct system, of course meet the British Standards but as you indicated on site are not of the high quality (and price) of the Britapipe materials described in the Bills of Quantities. As far as we are concerned, a pipe is just a pipe, so I suppose it is up to you to make a decision before the concrete goes down, but when I met the client on site he was more concerned about causing a delay and he was happy to take the saving, which should be in the order of £10K. Evidently the engineer has accepted the replacement already.

[Oct 26 2016 4:28PM to Quantity Surveyor] CC:Havana Brown, RICS, Double Felix Construction Ltd 24 March 2014 Dear Pru Ambles The work should have been carried out to the specifications (clause 3.18.2) of the building contract as per clause 2.1. Which it has not, as the client wishes to receive the savings caused by the contractors variation, resulting in a reduction of the contract sum to be agreed by you and the client before continuing with the works, as per clause 4.3. I have had correspondence with client about the issue. Kind Regards, Sandy Lamb Team 1 Architectural Partnership 2 The Streets, Tweedie Dew

We are insuring the works, as you know, and we are concerned about our liability. We refer to the works being undertaken by a Statutory Undertaker on another site, behind the College wall on the boundary, to replace an electricity substation at this time, as was of course noted in the Construction Phase Health and Safety Plan. However, as we are now concerned about the stability of the College wall in the light of that work being carried out. Because we have programmed the excavation works to commence with the wing of the building adjacent to the wall, in our view we cannot finish the excavation of these foundations until the substation works are complete.

[Oct 26 2016 3:10PM to Contractor] Austin, As per contract clause 2.10 there will be no cost the the client for incorrect laying out of the site. Thanks Sandy Lamb Team 1 Architecture Practice Additional Documents (To be printed seperately) 62140_ArchitectsInstruction Senario 4.doc

Sandy

Dear Sirs/Mesdames VET SCHOOL, BORWICK As you know we submitted our Contractor’s Design Documents in relation to the plumbing and heating works for your approval in accordance with Clause 2.9.4.1 of the contract on 16 February. We note that last week you returned one copy of the document marked with a "C" and a note saying that your comment related to our suggested relocation of the main airhandling unit from the plant room over the gymnasium into the plant room above the auditorium.

We look forward to your acceptance of our programme, your instruction to postpone the foundation works and your confirmation of a grant of an extension of time of a further three weeks.

4 STOREY BUILDING VETERINARY SCHOOL, BORWICK

BORDER COLLEGE VETERINARY SCHOOL, BORWICK

Quantity Surveyor

Yours faithfully

BORDER TRUST VET SCHOOL, BORWICK

I met the QS and Clerk of Works on site and they told me about the contractor fitting the wrong pipes in the ground. I want you to leave them in place, as long as we get the decent saving the QS indicated. I don’t want to disrupt progress at this stage in any event. I spoke to the engineer on the phone about it, and told him that the new pipes meet the British Standard, and he said that he was OK with leaving them as they are and that they Eastoduct system presented an acceptable substitute.

Contractor

We really need you to clear this up and so would be obliged if you would now arrange to come to site, issue the relevant instructions and fully set out the building level for us, to enable us to proceed with the work.

[Oct 26 2016 4:19PM to Client/Employer] 24 March 2014 Dear Wally I’ve contacted the QS about keeping the pipes although they were not as specified in the building contract. We are adjusting the contract sum as a result. Please let us know if the resulting sum is suitable. Kind Regards, Sandy Lamb Team 1 Architectural Partnership 2 The Streets, Tweedie Dew [Oct 26 2016 4:17PM to Quantity Surveyor] CC:Havana Brown, RICS, Double Felix Construction Ltd 24 March 2014 Dear Pru Ambles The work should have been carried out to the specifications (clause 3.19) of the building contract as per clause 2.1. Which it has not, as the client wishes to receive the savings caused by the contractors variation, resulting in a reduction of the contract sum to be agreed by you and the client before continuing with the works, as per clause 4.3.2 Kind Regards, Sandy Lamb Team 1 Architectural Partnership 2 The Streets, Tweedie Dew

Dear Sirs VET SCHOOL, BORWICK We are happy to confirm that, as of today's date, the site facilities have been established and works in respect of site excavation and subsoil clearance have been proceeding nicely. Following on from the very helpful prestart meeting, we enclose herewith a copy of our master programme of work for the above contract, including confirmation that the date for completion has moved four weeks to 3rd November 2014.

Even using our best endeavours, the contract will inevitably be delayed by 3 weeks beyond the 13th of October, which is the agreed date adjusted to take account of the Deferment of Possession. In our view the 3week delay is a Relevant Event under Clause 2.29 and a Relevant Matter under Clause 4.24, and we have included that alteration into our programme.

2/2

EMAIL FROM CLIENT

As you are responsible for determining the levels, and you saw the excavations at your inspection visit and approved them, we do not wish to proceed further until we either receive a variation order to amend levels or to backfill the existing hole or extend the underbuilding. Either situation is likely to lead to an Extension of Time to the contract period.

[Oct 26 2016 2:30PM NOTE to Group] Scenario Started

24 March 2014

Employer

We are not sure what the problem is but the site surveyor did have some difficulty with taking the level from the nearest of the steps that appear at intervals on the path running down the slope. What we do know is that our CDP drawings for the building’s frame have levels upon them, and we know they are correct. Working to those, because of the ground level in the vicinity, working back from the window and parapet heights, your drawing and coordinates overlaid onto the electronic site survey drawing now simply don’t match up with the foundation levels as constructed on site.

[Oct 26 2016 3:07PM REPLY to GROUP] I'm confused the CDP the foundations are built from the CDP drawings and match. It is the contract drawings which show the wrong setting out and which need updated. regards

Pru Ambles

Amount of Contract Sum £ ±Approximate value of previous instructions £ £ ±Approximate value of this instruction £ N/A Approximate adjusted total £

We refer to the contract for the above and wish you to note that a problem has arisen on site. The levels do not appear to work out. We have now worked back from the determined heights of the windows and roof by comparison to the other physical structures. The way that the levels have worked out after commencing the pour of the first strip founds for the wing furthest away from the College Wall, shows that the roof parapet will be below the height of the College Wall throughout the entire building, rather than matching it, and the window on the East elevation will not now line up with the opening in the College Wall, by just over 350mm, which I would imagine will have some small impact on the view from it.

Austin 11/11/2016

Prunella Ambles Kerr Ching Quantity Surveyors, Counter Upper, Carlsburgh

Signed ____________SLanb_______________________________

Team X Architectural Partnership 2 The Streets Tweedie Dew 1 March 2014

http://egame.mcdonach.co.uk/print/print.asp?Scenario=4

I imagine that I shall be copied in on your decision in due course.

To be signed by or for the issuer named above.

Team X Architectural Partnership 2 The Streets Tweedie Dew 20 January 2014

[Oct 26 2016 2:57PM to Contractor] CC: Havana Brown, RICS, Principal Quantity Surveyor 8th February 2014 Dear Austin Bigglesworth, Level Issue, VET SCHOOL, BORWICK The construction should be carried out as in the CDP drawings not to the electronic site survey. There are no errors with the levels in the CDP drawings. Please amend the site condition as per the drawings with no extension of time to the contract period as it is not a relevant event as per clause 2.29 see attached instruction. No addition fees shall be added to the contract sum as per clause 2.16. I hope you find this solution acceptable. Kind Regards, Sandy Lamb Team 1 Architectural Partnership 2 The Streets, Tweedie Dew Additional Documents (To be printed seperately) 62112_ArchitectsInstruction Senario 4.doc

Professional Studies & Training Group Contract Simulation Exercise Scenario Number : 5 Scenario : LETTER FROM CONTRACTOR Scenario Description...

Dear Sirs

[Oct 26 2016 3:13PM REPLY to GROUP] Good, good. next

[Oct 26 2016 1:03PM to Contractor] CC:Havana Brown, RICS, Principal Quantity Surveyor 30 December 2013 Dear Double Felix Construction Ltd Start date, BORDER COLLEGE VETERINARY SCHOOL, BORWICK Due to the delays of handing over of the site within the employer’s rights of a 2 week deferment, I have postponed the start of works to 13 January 2014. Thus the completion date will also be postponed by 7days; From the 6th October 2014 to the 13th October 2014. I hope this acceptable. Please let us know if you have any issues regarding additional expenditure, that will need to be assessed. Kind Regards, Sandy Lamb Team 1 Architectural Partnership 2 The Streets, Tweedie Dew

Scenario Printout

VET SCHOOL, BORWICK

8 February 2014

[Oct 26 2016 11:08AM Action to Client/Employer] CC:Havana Brown, RICS, Principal Quantity Surveyor, Double Felix Construction Ltd 30 December 2013 Dear Walter Duggs Start date, BORDER COLLEGE VETERINARY SCHOOL, BORWICK With reference to the building contract, I agree that it would be unwise to start construction work without the required signature and permission. No work should be started immediately, the commence date of the start of works should be adjusted from 6 January 2014 to 13 January 2014 once the Health, Communities and Pets minister has signed the document. With reference to Clause 2.5 of the building contract as the employer you may defer the giving of possession of the site for a period not exceeding 2 weeks. Calculated from the date of possession, 6 January 2014, therefore this adjustment is suitable. There will be no loss of funds between yourself and the contractor and the completion date will be adjusted back by a week. Kind Regards, Sandy

BORDER COLLEGE VETERINARY SCHOOL, BORWICK

11/11/2016

Professional Studies & Training Group Contract Simulation Exercise Scenario Number : 3 Scenario : LETTER FROM CONTRACTOR Scenario Description...

From: Austin Bigglesworth, Site Agent,

[Oct 26 2016 11:08AM to Group] CC:Havana Brown, RICS, Principal Quantity Surveyor 30 December 2013 Dear Double Felix Construction Ltd Start date, BORDER COLLEGE VETERINARY SCHOOL, BORWICK Due to the delays of handing over of the site within the employer’s rights of a 2 week deferment, I have postponed the start of works to 13 January 2014. Thus the completion date will also be postponed by 7days; From the 6th October 2014 to the 13th October 2014. I hope this acceptable. Kind Regards, Sandy

Scenario Printout

Professional Studies & Training Group Contract Simulation Exercise

[Oct 26 2016 1:00PM REPLY to GROUP] Well done, onwards

[Oct 26 2016 11:09AM to Group]

Scenario Number : 2 Scenario : LETTER FROM CLIENT Scenario Description...

Design Report

£12,800.00 £76,564.00 £18,600.00

Certificate No.[ 4]:

£ 999,999.99

VAT at 20%:

£ 200,000.00

Total Now Due:

£ 1,200,000.00

Yours faithfully Pru Ambles

Sender Kate TEXT FROM SITE OFFICE RECEPTIONIST 8 May Sry 2 distrb ur mtng nxt dr. Dnt no wht big bang ws but noiz waz old wall landing on ur smashn nu car. Let me no who 2 call bout it. I got u a cab

Please note that under the terms of the contract this sum is due to be paid by you direct to the contractor, Double Felix Construction Ltd, within 14 days.

Sender J@site Scenario History...

Yours sincerely

[Oct 27 2016 11:13AM to Contractor] CC: Kerr Ching Quantity Surveyors 6 May 2014 Dear, Double Felix Construction Ltd Having reviewed the building contract, the incident was an expected risk as per clause 6.8 expected risk (C), the driver will have to use his personal car insurance to claim Kind Regards, Sandy Lamb Team 1 Architectural Partnership 2 The Streets, Tweedie Dew

I look forward to receiving a copy of your Architect’s Certificate No. 4 in due course. Clearly, if other deficiencies are found at the inspection you will need to consider the further action to be taken.

Prunella Ambles Kerr Ching Quantity Surveyors, Counter Upper, Carlsburgh Scenario History...

Hi Sandy, it’s Kate and Wills here. Did you hear the bang and see the crash! We are sitting in the smoking area outside the College Café right next to the site of that vet building you are working on when a Tornado fighter jet flew at lowlevel right past the town. It must have been going supersonic because there was this almighty boom and then right away the top part of the old college wall in your site crumbled, and a few big stones slowly fell right onto the top of a car, I think it was an old Etype Jaguar, completely flattening it. I know it wasn’t yours because I know you have an Alpha Romeo convertible. I guess you must be away somewhere in this wonderful sunshine in that lovely Alpha that you love so much. I remember you said that you ever changed it, it would be for your dream car, I can’t remember the make you said, and that your dream car would be worth more to you than life itself. Well, I bet someone is going to have to pay for that.

[Oct 27 2016 11:13AM REPLY to GROUP] good [Oct 27 2016 10:58AM to Contractor] CC: Kerr Ching Quantity Surveyors 6 May 2014 Dear, Double Felix Construction Ltd There has been an issue on site, Tornado fighter jet flew at lowlevel right past the town, the top part of the old college wall in your site crumbled, and a few big stones slowly fell right onto the top of a car, we think it was an old Etype Jaguar or similar, we don’t know the value of the car and the owner and their car insurance provider should be contacted, you are liable as per clause 6.5.6 in the building contract. Kind Regards, Sandy Lamb Team 1 Architectural Partnership 2 The Streets, Tweedie Dew

[Sandy Lamb] Enc

[Oct 27 2016 11:03AM REPLY to GROUP] We disagree and don't think that clause applies in this case. Can you review the contract and see what risks are accepted and outwith the insurance cover. your friendly contractor

[Oct 27 2016 10:36AM to Client/Employer] CC: Kerr Ching Quantity Surveyors, Double Felix construction ltd 6 May 2014 Dear Walter Duggs Please find attached an architect’s certificate to the value certified to date, minus deductions following the defective works from the concrete stairs, landings and mezzanine from the valuations the quantity surveyor has provided us, as per clause 3.18.4. Kind Regards, Sandy Lamb Team 1 Architectural Partnership 2 The Streets, Tweedie Dew Additional Documents (To be printed seperately) 62801_ArchitectsCertificate scenario 11.doc

[Oct 27 2016 10:47AM NOTE to Group] Scenario Started

[Oct 27 2016 10:43AM REPLY to GROUP] The certificate is correct but I don't think you are applying the VAT correctly. regards pru [Oct 27 2016 10:21AM to Client/Employer] CC: Kerr Ching Quantity Surveyors 6 May 2014 Dear, Walter Duggs Please find attached an architect’s certificate to the value certified to date, minus deductions following the defective works from the concrete stairs, landings and mezzanine from the valuations the quantity surveyor has provided us, as previously discussed. Kind Regards, Sandy Lamb Team 1 Architectural Partnership 2 The Streets, Tweedie Dew Additional Documents (To be printed seperately) 62747_ArchitectsCertificate scenario 11.doc

Professional Studies & Training Group Contract Simulation Exercise Professional Studies & Training Group Contract Simulation Exercise Scenario Number : 13 Scenario : LETTER FROM CLIENT Scenario Description...

Team X Architectural Partnership 2 The Streets Tweedie Dew

A Lamb Team X Architectural Partnership 2 The Streets Tweedie Dew

Dear Sandy

14 June 2014

3 June 2014

VET SCHOOL, BORWICK Following on from the inspection at which the remedial works to the reinforcement and recasting of the staircases and landings were signed off by the Engineer and the Clerk of Works, I am writing with regard to the Clerk of Works’ Direction dated 12 June 2014 to remove the "defective" curved booth forming the office facility within the reception area. As you know this was an offsite fabrication created in our workshops. The C of W has told us that the curve of the booth, now seen in place, makes it slightly oversized, and it reduces the width of the pedestrian area on either side to the extent that the turnstiles cannot be fitted without the removal of the disabled access gate. We do not believe that it is within the remit of the Clerk of Works to make that judgement, from his reading of the drawings.

Accordingly we are a bit tight for money this month, so I would like you to delay the issue of the next payment certificate from 10 to 16 June, to allow us to pay within fourteen days and on time. It seems to me to be a good solution. After all what can the contractor do about it if the certificate is not issued on time? I am sure that there cannot be any consequences for your ability to keep an eye on the quality of the contract works if you can do that. We can make up the deficit over in the next couple of Architect’s Certificates, once our own cash flow situation is resolved. I look forward to receiving your advice on this. Best regards Wally Walter Duggs The Border College Trust North Roof Side Borwick Scenario History... [Oct 27 2016 11:28AM to Client/Employer] 3 June 2014 Dear Walter Duggs, BORDER COLLEGE VETERINARY SCHOOL, BORWICK Regrettably we cannot delay the issuing of the interim certificate, as arragned in the schedule every two months which are required to be met by clause 4.9.1. Furthermore we cannot delay the issuing of the interim certificate by 6 days as we are obligated to issue the interim certificate within 5 days of the due date as per clause 4.10.1, we hope you find this acceptable. Kind Regards, Sandy Lamb Team 1 Architectural Partnership 2 The Streets, Tweedie Dew

[Oct 26 2016 5:52PM to Contractor] 25 April 2014 Dear Laurie, NEW VET SCHOOL Regardless of the opinion of Mr Block, we cannot willingly continue with the works without confirming specification of the already poured slabs. As one slab has already been confirmed to not meet requirements all slabs must be checked, as per clause 3.19 the workmanship was not in accordance with the contract so there will be no additional costs to the client of checking and re pouring the slabs. Kind Regards, Sandy Lamb Team 1 Architectural Partnership 2 The Streets, Tweedie Dew

[Oct 27 2016 10:26AM REPLY to GROUP] The total certified to date looks wrong to me. I think it should be £ 3,110,926.00. Can you review this again please? Thanks Pru

[Oct 26 2016 5:55PM REPLY to GROUP] Where in the contract does it allow you to instruct the breaking out and opening up of completed works and in addition to that where does it cover that the cost of this is our responsibility? Do you realise what impact this will have on the program? kind regards Laurie

[Oct 27 2016 10:20AM to Contractor] CC: Kerr Ching Quantity Surveyors 6 May 2014 Dear, Double Felix Construction Ltd, Please find attached an architect’s certificate to the value certified to date, minus deductions following the defective works from the concrete stairs, landings and mezzanine from the valuations the quantity surveyor has provided us, as per clause 3.18.4. Kind Regards, Sandy Lamb Team 1 Architectural Partnership 2 The Streets, Tweedie Dew Additional Documents (To be printed seperately) 62743_ArchitectsCertificate scenario 11.doc

[Oct 26 2016 5:33PM NOTE to Group] Scenario Started

[Oct 26 2016 6:04PM NOTE to Group] Scenario Started

FAO A Lamb

Dear Sandy BORDER COLLEGE VETERINARY SCHOOL, BORWICK A situation has arisen with which we need your assistance. Border College, as part of their ongoing expansion programme into the Eastern European veterinary market, is going through a funding request to central government at present. The difficulty is that we have a date that needs to be hit, at which time funding has to be in our account. This date is on 20 June 2014. If you issue you certificate on the due date, we will have to pay the sum before 25 June, bringing us into the red, which will not look good to the Treasury Office during their audit. It really is necessary for us to present the best possible financial picture at this time.

Game Transcr pt

Scenario Number : 14 Scenario : LETTER FROM CONTRACTOR Scenario Description...

We also do not accept that the Clerk of Works has the authority to condemn this work, given that you are the Contract Administrator. We would be very surprised if you are able to condemn it yourself, because we have your written approval of it after your visit to our workshops on 3 May 2014, at which time you stated, and I quote from your letter of 5 May 2014 "the work on the curved booth is proceeding well and with the quality of workmanship that is evident I am sure that it shall be precisely what we and our client are looking for". We believe that statement moves the responsibility from us, as Contractor, onto you. We are happy to comply with the C of W Direction, if we are paid, and if you confirm the direction in writing in the standard way, and if our exposure to additional costs is removed, given your previous approval. I understand that you will be on site to view the booth later today. Thereafter I look forward to receiving a letter confirming your agreement with our stance. It is our intention to start operations to fix the booth in place first thing tomorrow. Yours faithfully Sogee Furbil S Furbil On Behalf of Double Felix Construction Ltd Scenario History... [Oct 27

[Oct 27 2016 11:24AM to Client/Employer] 3 June 2014 Dear Walter Duggs, BORDER COLLEGE VETERINARY SCHOOL, BORWICK Regrettably we cannot delay the issuing of the interim certificate, as arragned in the schedule every two months which are required to be met by clause 4.9.1. Furthermore we cannot delay the issuing of the interim certificate by 6 days as we are obligated to issue the interim certificate within 5 days of the due date as per clause 4.10.1, we hope you find this acceptable. Kind Regards, Sandy Lamb Team 1 Architectural Partnership 2 The Streets, Tweedie Dew [Oct 27 2016 11:27AM REPLY to GROUP] OK good. clause 4.11.2.1 also applies. You do not get to issue a certificate late. It would also breach your architectural appointment document with the client. next one [Oct 27 2016 11:14AM NOTE to Group] Scenario Started

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 91/131

Design Studio D

ATR

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

Contract Game 11/11/2016

11/11/2016

Scenario Printout

Professional Studies & Training Group Contract Simulation Exercise

Scenario Number : 3 Scenario : LETTER FROM CONTRACTOR Scenario Description...

Scenario Number : 12 Scenario : TELEPHONE MESSAGE ON MOBILE / TEXT FROM SITE OFFICE Scenario Description...

Scenario Number : 21 Scenario : LETTER FROM CLIENT Scenario Description...

Team X Architectural Partnership 2 The Streets Tweedie Dew

TELEPHONE MESSAGE ON MOBILE FROM KATE

A Lamb Team X Architectural Partnership 2 The Streets Tweedie Dew

8 May 2014

20 January 2014 Dear Sirs VET SCHOOL, BORWICK We are happy to confirm that, as of today's date, the site facilities have been established and works in respect of site excavation and subsoil clearance have been proceeding nicely. Following on from the very helpful prestart meeting, we enclose herewith a copy of our master programme of work for the above contract, including confirmation that the date for completion has moved four weeks to 3rd November 2014. We are insuring the works, as you know, and we are concerned about our liability. We refer to the works being undertaken by a Statutory Undertaker on another site, behind the College wall on the boundary, to replace an electricity substation at this time, as was of course noted in the Construction Phase Health and Safety Plan. However, as we are now concerned about the stability of the College wall in the light of that work being carried out. Because we have programmed the excavation works to commence with the wing of the building adjacent to the wall, in our view we cannot finish the excavation of these foundations until the substation works are complete. Even using our best endeavours, the contract will inevitably be delayed by 3 weeks beyond the 13th of October, which is the agreed date adjusted to take account of the Deferment of Possession. In our view the 3week delay is a Relevant Event under Clause 2.29 and a Relevant Matter under Clause 4.24, and we have included that alteration into our programme. We look forward to your acceptance of our programme, your instruction to postpone the foundation works and your confirmation of a grant of an extension of time of a further three weeks.

Sogee Furbil

Further to our initial joint proposals defining the scope of the landscaping works before tender, I can confirm that we are in agreement with your completed design for the hard landscaping, edging, laying of topsoil to beds and lawn area, seeding and planting, including for levelling, feeding and watering as outlined in the landscaping drawing and specification provided, and I confirm agreement to accept the revised price in the sum of £67,315.00, which I note is a little more than the Provisional Sum in the bills. We also presume that as the scale of the defined works has not changed, and the works will not interfere with operations within the building, the landscaping works can be executed without the incursion of any delay to the overall contract. We are mindful of the growing season, as Autumn approaches so we wish you now to make sure that it is incorporated into the works. Please do so. Wally

Walter Duggs The Border College Trust North Roof Side Borwick Scenario History...

[Oct 27 2016 10:58AM to Contractor] CC: Kerr Ching Quantity Surveyors 6 May 2014 Dear, Double Felix Construction Ltd There has been an issue on site, Tornado fighter jet flew at lowlevel right past the town, the top part of the old college wall in your site crumbled, and a few big stones slowly fell right onto the top of a car, we think it was an old Etype Jaguar or similar, we don’t know the value of the car and the owner and their car insurance provider should be contacted, you are liable as per clause 6.5.6 in the building contract. Kind Regards, Sandy Lamb Team 1 Architectural Partnership 2 The Streets, Tweedie Dew

S Furbil On Behalf of Double Felix Construction Ltd Scenario History...

Dear Sandy BORDER COLLEGE VETERINARY SCHOOL, BORWICK

Sender J@site Scenario History...

[Oct 27 2016 11:13AM REPLY to GROUP] good

Yours faithfully

21 August 2014

[Oct 27 2016 3:00PM to Contractor] 21 August 2014 Dear Double Felix Construction Ltd, BORDER COLLEGE VETERINARY SCHOOL, BORWICK Attached is the architect’s instruction to carry out the revised landscaping, edging, laying of topsoil to beds and lawn area, seeding and planting, including for levelling, feeding and watering; at a revised cost of £67,315.00. Although the quote is slightly greater than the provisional sum, he instruction issued is in accordance with clause 3.16 of the building contract. Kind Regards, Sandy Lamb Team 1 Architectural Partnership 2 The Streets, Tweedie Dew Additional Documents (To be printed seperately) 63602_ArchitectsInstruction Senario 21.doc [Oct 27 2016 3:02PM REPLY to GROUP] Perfect next [Oct 27 2016 3:00PM to Client/Employer] 21 August 2014 Dear Walter Duggs, BORDER COLLEGE VETERINARY SCHOOL, BORWICK We have sent an architect’s instruction to the contractors to carry out the revised landscaping works; if they have a problem with the schedule they will raise the issue with us. Kind Regards, Sandy Lamb Team 1 Architectural Partnership 2 The Streets, Tweedie Dew [Oct 27 2016 2:41PM NOTE to Group] Scenario Started

[Oct 26 2016 1:44PM REPLY to GROUP] Well done, next

Architect’s instruction

Issued by: Sandy Lamb address: Team 1 Architectural Partnership

2 The Streets, Tweedie Dew

Serial no:

Employer: The Border College Trust address: North Roof Side, Borwick

[Oct 26 2016 1:01PM NOTE to Group] Scenario Started

Job reference: Border College Trust 001 Issue date: 21st August 2014

Contractor Double Felix Construction Ltd address: Clawmark Row, Purton Works: Situated at:

Contract dated:

College Wall Veterinary building

Under the terms of the above contract, I/We issue the following instructions: Office use: Approx costs

£ omit £

Omit original Sum for provisional sum for landscaping scheme quoted in the original bill of quantities.

£58,500

Revised Landscaping Scheme to be completed as quoted Email conversation with Client Walter Duggs(21/08/2014)

http://egame.mcdonach.co.uk/print/print.asp?Scenario=3

1/1

£ add £no cost to client

£67,315

http://egame.mcdonach.co.uk/print/print.asp?Scenario=21

1/1

To be signed by or for the issuer named above.

Attached A.I.

Signed ____________SLanb_______________________________ Amount of Contract Sum £ 12,800,003 ±Approximate value of previous instructions £ 256,243 £ ±Approximate value of this instruction £ £8,815 Approximate adjusted total £ 13,065,061

Employer

Contractor

Quantity Surveyor

Services Engineer

CDM Coordinator

Structural Engineer

File

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 92/131

ATR

Design Studio D

MArch2.

MArch1.

Design Studio C

SC[R]AT

Design Studio A

AMPL

Design Studio H

Design Report

Contract Game Report The Contract Game

Team Learning Theory

Contract Game Analysis.

The contract game is a learning experience. It takes the form series of 36 complete the task. The scenarios are centred around the navigation and understanding of the JCT/SBCC 11 traditional building contract.

Contract Game Analysis

lifetime” (Tuckman & Jensen, 2010, p. 122) Using Tuckman’s method as a basis for analysing the way the group worked to complete the Contract Game. Throughout the exercise passing through the distinct stages of:

In these assigned groups, there were two working days to complete as many

The Contract game 26-27 October 2016

Brief. A 1200 word analysis of the team learning experience, detailing dynamics of team working, roles and responsibilities of team members, reflection on strengths and weaknesses of the team and finally to highlight particular cost control measures implemented by the team during the game.

“a series of defined activities and behaviours as the team passes through its

scenario based questions where groups form architectural “practices” in order to

AMPL

Forming – The initial meeting of the team.

scenarios as possible. Communicating with a “controller” in order to progress and

Storming – Issues and confrontations in the group are brought up

access new scenarios.

Norming – Disagreements are resolved to improve working.

The game was a test of teamwork and navigation of the contract, through instructing with electronic communication. Due to the high number of scenarios efficiency was a key factor in order to successfully completing the game.

Performing – Group roles established and can focus on achieving As presented by Tuckman these conceptual stages happen sequentially and occur as the team develops and begins to work more efficiently. It can be possible for particular stages to be skipped (potentially storming) depending on the levels of conflict within the group (Tuckman, 1965, pp. 66-70). The Tuckman method has been analysed over the years with the work of Runkel et al (1971) testing the theory on 3 groups of 15-20 students. Runkel determined from his testing that the group members could accurately determine what stage of the Tuckman theory they were experiencing with a high level of accuracy (Tuckman & Jensen, 2010, p. 44). With this research, it can be assumed that a team member’s personal thoughts on the matter relating to the contract game groupwork will also be accurate.

Contents The Contract Game Introduction Team Learning Theory The Team Team Dynamics The Completion Board The Office Layout Roles + Responsibilities Reflection of Working Cost Control Measures Conclusion Team Learning Theory Extract:

Angus Bolland

The Team

Team Dynamics

The dynamics of the group and the way that the team worked changed over the

Punctual Equilibrium model (Miller, 2003,

prior to the game. All members had worked in different countries (as noted below),

course of the 2 days moving through the

pp. 122-3) in which a time variable was

giving the potential for conflict as members are used to different modes of working.

Tuckman method (fig2.). Initially it took

applied to the Tuckman method. This is

time understand what the strengths were of

another layer applied to the stages forming

the members of the group which meant that

storming etc. related to a phase change

tasks would take longer to complete as all

from “initial” to “deadline” this phase

Team Member A – Edinburgh Team Member B – Munich Team Member C - London Team Member D – Ottawa

would switch as the deadline to finish approached. At this moment, the team

This form of groupwork is much less potentially could be reading the exact same

Fig 2. Moving through Tuckman

would notably begin to speed up. This phase switch was combined with the team becoming more confident in navigating

clauses.

the contract and working more efficiently.

The development of the team models

described

Fig 4. Constantine models graph

The graph below (fig.5) tracks the teams

dynamics is comparable to the paradigm

progress. Starting the second day knowing that 50% of the time had been used and only

Constantine

30% (11 of the 36) of the scenarios had been completed. On day 2 40% of the total

(Constantine, 1993, pp. 36-8) (fig3.) where

scenarios (17 Scenarios) were completed this indicates the improvement.

initially the team worked in accordance with the Random model for the initial scenarios (1-4 Day 1 morning) where the overall Fig 1. The Team

The Office Layout

efficiency

was

low,

before

TEAM 1

becoming

SCENARIO COMPLETION

Synchronous (Day 1 afternoon) where there This forming is similar to the way in which groups develop in practice as the members have no real control of who your team members.

was a notable improvement on productivity.

team members were known and roles taken up. Through changing paradigms, flexibility

performing. This was not the case with the other members.

was reduced, but cohesion improved as described in the graph fig 4.

Morning

Day 2 Day 1

model on the second day as the strengths of

With the team being formed within the studio member’s A + B had previously worked in a group. This meant that it would be possible to bypass many of the stages as noted by Tuckman due to familiarity of working with each other moving straight to

Afternoon

Finally, with the team becoming a closed

Fig 3. Constantine paradigm models

4 6 Number of Tasks

Fig 5 Graph of Scenario completion

The arrangement of the office in the way that seating positions are set out The Completion Board

team dynamics. With this in mind the team decided that a potential layout could be a

The completion

The Office Layout

board (fig6)

was implemented by the “controllers”.

linear strip due to the small size of the

It acted as a tracker to view the teams

Fig 6. Completion board

achieved the linear strip. Fig 9 shows the actual office layout used throughout the

improve on the efficiency of the task. Team Members C + D focused on research and Members A+B focusing on maintaining the pace of responses, delegation of tasks and completion of the scenario. Members A+ B leading the processes in relation to

the task and be aware of what other members were working on. (Fig 8)

Constantine’s Closed model. (fig11.) Fig 8. Proposed office layout

The actual office layout never fully In

The actual office layout never fully

were more set. The Team members became aware of their roles allowing them to

would allow all members to engage with

rate.

Fig 8. Proposed office layout

how these tasks were broken up between the group in the second day when the roles

team. Using a linear layout of the desks

were completing tasks at a much faster

the task and be aware of what other

activities which were required to complete each scenario. The diagram (fig10) shows

linear strip due to the small size of the

As a team, it could

become difficult to stay motivated and focussed on the task when other teams

The team worked with less rigid roles on the first day allowing members to try the different roles and find their most suitable. These roles are based around the

decided that a potential layout could be a

designed to motivate could also have an adverse effect.

The arrangement of the office in

the way that seating positions are set out team dynamics. With this in mind the team

the other teams. The completion board

would allow all members to engage with

Roles + Responsibilities

could have a positive or negative effect on

progress directly in comparison with

team. Using a linear layout of the desks

members were working on. (Fig 8)

Extract page.

Bibliography BELBIN Associates, 2016. BELBIN Team roles. [Online] Available at: http://www.belbin.com/about/ belbin-team-roles/ Belbin, R., 2010. Team Roles at work. Oxford: Heineman. Constantine, L., 1993. Work organization: Paradigms for project management and organization. Communications of the ACM, 36(10), pp. 35-43. Miller, D. L., 2003. The Stages of Group Development:. Canadian Journal of Administrative Sciences, pp. 121-134. Tuckman, B. & Jensen, M. A., 2010. Stages of Small-Group Development Revisited. Group Facilitation: A Research and Applications Journal, pp. 43-48. Tuckman, B. W., 1965. DEVELOPMENTAL SEQUENCE IN SMALL GROUPS. Psychological Journal, No 6. Vol 63., pp. 384-399.

This idea is presented in Gersick’s 1988/9

members were working on the same task. efficient as it meant that multiple members

could have a positive or negative effect on

The theory of Teamworking has been explored and researched in many ways over the years. The work of Bruce Tuckman in his text “Developmental Sequence in small groups” (Tuckman, 1965, p. 66) has stood the test of time and is still considered the best way of understanding teamwork. He proposes that a team will move through: “a series of defined activities and behaviours as the team passes through its lifetime” (Tuckman & Jensen, 2010, p. 122) Using Tuckman’s method as a basis for analysing the way the group worked to complete the Contract Game. Throughout the exercise passing through the distinct stages of: Forming – The initial meeting of the team. Storming – Issues and confrontations in the group are brought up Norming – Disagreements are resolved to improve working. Performing – Group roles established and can focus on achieving As presented by Tuckman these conceptual stages happen sequentially and occur as the team develops and begins to work more efficiently. It can be possible for particular stages to be skipped (potentially storming) depending on the levels of conflict within the group (Tuckman, 1965, pp. 66-70).

The way in which the group worked was affected by time pressures.

The team (fig1.) being made of studio peers is a diverse mix of nationalities and levels of working experience. With nobody having had experience with contracts

maintain

achieved the linear strip. Fig 9 shows the

motivation, the team decided not to

actual office layout used throughout the

view the board as the whole room, but

game with the team working around a

instead based on individual controllers.

order

corner. The layout used impacted the way

Grouping the 3 teams shown in red

in which the tasks were completed.

(fig.7) this allowed motivation to be

Discussions between Member’s B and D

sustained throughout the process along

were infrequent, whole group discussions

with the speed and quality of answers.

were observed by member D rather than

This way of reading the board acted as a

taking an active part in them. Member A

mechanism to improve teamwork and

located in a central location maintained an

morale over the course of the game.

overview of the group working. Without

Fig 9. Actual “corner” office layout

switching to a different office layouts throughout the contract game it is difficult

game with the team working around a

Fig 10. Scenario Task breakdown

to analyse further how teamworking may have been affected.

corner. The layout used impacted the way Fig 7. Grouped Table

in which the tasks were completed. Discussions between Member’s B and D were infrequent, whole group discussions

roles in order to cover the 9 categories they set out. This idea is crucial when working in a small group as the responsibilities and workload must be shared (Belbin, 2010). Roles were attempted to be shared between members, however this led to the quality and rate

located in a central location maintained an switching to a different office layouts

The team showed improvement over the course of the game. However, it was

The team was taking on the role of contract administrator along with architect.

not fully harmonious due to lack of input from Member D causing Members A+B to

Due to this the team held a duty of care to both the contractor and the client.

feel additional unnecessary pressure to carry and complete a disproportionate amount

Throughout the game requests for extension to completion date (additional time) and

of work.

amendments to the contract sum which would have directly impacted the overall cost

These roles taken up can be aligned with those proposed by Belbin (BELBIN Associates, 2016) where members are not one dimensional and instead fill a number of

taking an active part in them. Member A overview of the group working. Without

Cost Control Measures

Reflection of Working

were observed by member D rather than

of response being impacted. Fig 11 shows the way the roles were split between the group

Fig 9. Actual “corner” office layout

and how these translated to the Belbin model. Members B + A shared many of the responsibility and roles between them as attempting to work with a sole leader for the duration would have resulted in mistakes being made due to overworking of individual members. With two team members working as co-ordinators there was a chance to double check decisions and share the responsibility, follow up email responses were shared around the group.

were received. In several scenarios, contractual clauses were found to deny requests

Strengths

relating to clause: 2.1 “works not completed in accordance with contract” was used on

Communication within the team. – office layout strategy ideas Sharing resources – use of messenger software to instantly share information Delegation of Roles –improved office efficiency Efficiency in emails and forms – Response times to scenarios were improved on day 2 when all forms completed by one team member

multiple occasions to prevent these additional costs being applied. In scenario 6 + 8 this was the case where pipes not in accordance with the contract (clause2.1) were accepted (in order to keep to schedule) and the client was asked to pay for their replacement when they failed in order to rectify the problem. Scenario 25 presented an issue with the contractor requesting an extension of 12 weeks for multiple events on site. The multiple incidents were able to be deemed

throughout the contract game it is difficult

Weaknesses

to analyse further how teamworking may

Lack of accountability of members – Focus on task not sustained (Member

completion date was issued (other than those already granted. Thus, additional time was

denied for these events as time had already been issued for the “relevant” ones in

Understanding of the contract wording/navigation (Members C+D)

previous scenarios.

“irrelevant” events under the contract clause: 2.29(relevant events) so no extension to

Delegation of tasks (member A) felt time pressure to complete tasks.

have been affected.

Members A+B began to become frustrated with Member D. Group did not complete all tasks. Due to slow start and initial organisation. Improvements Issues could have been raised at the time, but this may have introduced unnecessary group conflict and prevent harmonious working which would have slowed the completion rate down. The seating arrangement should have been adjusted when Fig 11 Role Pyramid

we realised that it may have been contributing to member’s productivity levels. The team potentially would have completed more tasks if a strategy was discussed prior to tackling the game.

Conclusions

The contract game presented an opportunity for team learning. Through the games completion developments were made, different modes of working and paradigms used (Constantine). These were not planned events or changes, they occurred naturally as the team attempted to find the most efficient way of working. This is where the Tuckman method is realised, and why it is still a relevant theory today. Although the way we work has changed (now predominantly digitally based) the way a person works, has not. Tuckman latterly (1977) added the stage of “Adjourning” to his method (Tuckman & Jensen, 2010, p. 47) where the group wraps up the work and dissolves. So, let’s Adjourn.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 93/131

ATR

Design Studio D

MArch2.

MArch1.

Design Studio C

SC[R]AT

Design Studio A

AMPL

Design Studio H

Design Report

Procurement Route

A Different Procurement Route? Construction Management

Construction Management Procurement and CM/M TC/M

The contract game in question for this study used a traditional procurement familiar and recognised in the construction industry. Allowing it to be easily navigated

Procurement can be described as the process of delivering a building, the

Extract page.

The Contract game and its Procurement / Contract

route alongside the SBC11 (standard building contract 2011). This route is the most by professionals.

The Procurement route selected for comparison is Construction Management

Procurement using CM/M TC/M contracts. Construction management aligns the Construction team with the Design team in the form of the Construction Manager role which

contract, a tool used to implement procurement. Together they are critical in architectural construction. Selecting an appropriate mode to deliver the project is crucial and is a decision made in the early stages of construction. It is important to make as informed a decision as possible when selecting the route as it will directly impact aspects such as:

undertaken

individual

firm.

(fig.2)

Value for money Design – can the quality of the design be assured

Brief. a 1200 (max) word reflection on how a different form of procurement and contract would have had an impact on the delivery of the scenario project in relation to time, cost and quality.

Procurement mapping Linking of design and construction services

This role allows a construction expert to take control of the administration of

construction team (contractor side). There is no direct contractual link between the

the project. They work as a link between the Trade Contractors and the other members

design team and the contractor or the sub-contractors and the employer. This means

of the design team. (Chappell & Willis, 2010, pp. 161-3) With this method, the client

that the Contractor (selected often due to best tender price) has no design

has greater control of the running of the job. (JCT, 2011, p. 5). This means that the

One aspect omitted from this list which is important in the construction industry is risk.

responsibilities, they solely focus on the execution of the work. A common problem that

procurement route is primarily used by clients who have an understanding of the

More importantly, with whom does the risk lie. Risk is a factor often related to Cost as

can occur in this method is that the Contractor may attempt to increase their profit by

construction process as they take on more risk. To alleviate the need for such knowledge

the fee value will increase in relation to the level of risk assumed by the relevant

using substitute materials as not specified by the architect in the original bill of

(and reduce the risk) it is possible for a project manager to be brought in who will

professional party.

quantities. This practice is difficult to monitor from a distance as substitute materials

undertake the running of the job whilst reporting back to the client. (Fig 3.) The

are often only discovered after installation or if they fail. (As found in the contract game

employment of these additional roles can mean that the project will generate additional

Scenarios 6+8). Ensuring quality can therefore be difficult without regular inspection.

fees from these professionals. (Chappell, 2006, p. 15)

(RIBA, 2011)

Contents Introduction The Contract game and its Procurement / Contract Construction Management Procurement and CM/M TC/M Use in Scotland -The Scottish Parliament Time / Cost / Quality Framework for analysis Scenario Evaluation Conclusion

(Chappell & Willis, 2010, pp. 138-9)

Using multiple trade contractors can add a sense of uncertainty to the final cost of the build. Costing will be reliant on estimations until the final quote for the last

Use in Scotland -The Scottish Parliament

Time / Cost / Quality

building package is accepted. Using different trade contractors may bring more risk in

Currently it is not possible to implement this method of procurement in

ensuring quality, however it may be possible to use the same trade contractor for

Scotland as new legislation has been brought in enforcing an update to the contract.

multiple packages. These trade contractors are liable directly back to the client through

(Scottish Government, 2016) This new legislation may be related to the failings of the

a single contract (Clamp, et al., 2012, p. 329) which meaning that responsibility for faults

procurement process in delivering the Scottish parliament building (fig.4) on time and

can be resolved without a chain of contracts requiring navigation (found in traditional

budget. This project demonstrated the problems with the method. The building not fully

contracts).

designed prior to commencement with no apparent cap on the budget allowing costs to spiral. (Audit Scotland, 2004)

Time / Cost / Quality

The scenarios will be analysed against the factors of Time, Cost and Quality looking T

at what outcomes wouldwill have affected by the the factors use of the construction management he scenarios be been analysed against of Time, Cost and Quality looking

route. three variables relationship described diagrammanagement fig5. In at These what outcomes wouldhave haveabeen affected by the use in of the the Euler construction the construction it is possible achieve two of the three, but never all three. route. These industry, three variables have a to relationship described in the Euler diagram fig5. In the construction industry, it is possible to achieve two of the three, but never all three. Fast Construction + High Quality = High Cost -

Fast Construction + High Quality = High Cost Fast Construction + Low Cost = Low Quality

Fast Construction + Low Cost = Low Quality High Quality + Low Cost = Slow Construction

If it is assumed that this model for delivery of a building will be brought back into Scotland, it is unlikely to be used in large scale public sector projects again.

High Quality + Low Cost = Slow Construction A compromise must be reached. A compromise must be reached.

Construction Management Procurement and CM/M TC/M

Fig 3. Construction management procurement mode + Project manager

The Procurement route selected for comparison is Construction Management

Scenario Evaluation Extract:

Procurement using CM/M TC/M contracts. Construction management aligns the

Scenarios selected for evaluation under the new contract look to cover the broad scope of works and issues that may arise in a construction project relating to time cost and quality. These events are then reconsidered under the CM (construction Management) procurement route and contract.

Fig 2. Construction management procurement model

Fig 1. Traditional procurement model In the traditional procurement model (Fig.1) the design team is a separate body to the

Quality vs Cost vs Time

Fig 4. The Scottish Parliament foyer roof, increased in price from £1.8 – 7.3 million due to design changes

Construction team with the Design team in the form of the Construction Manager role which

undertaken

individual

firm.

Fig 5. Time – Cost – Quality Euler Diagram Fig 5. Time – Cost – Quality Euler Diagram

(fig.2)

Framework for analysis

Scenario: 15. Issue: Addition of New work to contract. Event: Addition of major works out with the original agreed program the £250,000 + barrel shaped café. Action: CM negates the need to alter the completion date in the contract as there is not a final set date (this without close control can create problems). The additional work would be factored into a new package and tendered. With the CM route changes are much easier to make, allowing the design to be revisited and altered, in turn extending the predicted completion date and final sum.

Scenario Evaluation

In order to re-analyse the outcome of scenarios based on using this different

Scenarios selected for evaluation under the new contract look to cover the

procurement route (fig 6.) certain assumptions must be made to allow the route to

broad scope of works and issues that may arise in a construction project relating to time

apply:

cost and quality. These events are then reconsidered under the CM (construction

Management) procurement route and contract.

The project is classed as a “large scale” development as the budget of £13 million allows the Construction management

Scenario: 2.

route to be considered.

Issue: Project Start Date Event: The project started late due to issues out with the clients control (Health,

The legislation is in place to allow the procurement route to be

Communities and Pets minister went on a kitesurfing holiday so the job had to wait

used in Scotland.

for him to return) and completion dates required adjusting. Action: With CM Procurement it would have been possible to start weeks or even

A project manager is employed to interface between client and

months earlier (prior to the kitesurfing holiday) as the tenders are released in stages.

works on site as from the incidents occurring in the contract

This could therefore reduce the time as the completion date could be adjusted in

game it can be assumed that the client is not an “expert client”

reference to this new start date.

(knowledgeable in construction industry) -

Scenario: 4. Issue: Request for additional time

The Construction manager has an onsite presence and is able to directly oversee and supervise the work.

Event: Contractor asked for additional time to correct and incorrectly laid slab. Or to

All work described in the game is carried out by Trade

Action: TC’s (trade contractors) contractually obliged to fix at own expense as slab not

alter drawing to match constructed slab. built to CDP drawings. This would be covered in the Trade contract (TC/C) which is

contractors. -

in place between the Client and the TC(no additional cost to Client).

The Architect retains the design responsibilities as “Lead

Scenario: 6+8.

Consultant” but passes “Project Administration” over to the

Issue: Not in accordance with contract.

Construction manager.

Fig 2. Construction management procurement model

Event: Water Pipes not in accordance were fitted. These Pipes then failed and required Fig 6. Construction Management procurement route with Contract Game New Framework applied

replacing. Action: This Scenario potentially could have been avoided altogether. The Construction manager could have been able to pick up on the wrong pipes issue prior to the or to becoming an issue. As they can keep a closer check on what is happening on site and have knowledge of the building trade. If it had been missed the TC who fitted the incorrect pipes would be liable for their replacement at their own expense.

This role allows a construction expert to take control of the administration of the project. They work as a link between the Trade Contractors and the other members of the design team. (Chappell & Willis, 2010, pp. 161-3) With this method, the client

Scenario: 9.

Scenario: 23.

Issue: Responsibility for works.

Issue: Upgrade in specification.

Event: The contractor did not want to take responsibility for the work of

Event: Client wants to upgrade finish of timber cladding in trustee’s boardroom to a

procurement route is primarily used by clients who have an understanding of the

subcontractor.

higher level than described in the original schedule.

Action: In traditional contracts the contractual links are harder to follow and it may

Action: CM, as work is yet to start we have to make an assumption whether the area in

become difficult to assign responsibility for works, especially if sub-contractors are

question has been tendered for, or not. If not the new specification for the finish can

construction process as they take on more risk. To alleviate the need for such knowledge

working without supervision, the main Contractor is ultimately responsible. In CM

be included in the tender package to be priced for. If it already has been tendered, then

this is not the case as each TC is directly and contractually linked to their portion of

the client will be in contract with a TC for the works so a similar route to traditional

the works. With each TC taking responsibility for their portion the quality of the work

will occur with an agreement being reached for reimbursement for additional costs as

is likely to be higher than in traditional. However, the tendered prices would likely

the work was not a reasonably accurate forecast of the quantity of work required in the

reflect this.

specification.

has greater control of the running of the job. (JCT, 2011, p. 5). This means that the

Bibliography Audit Scotland, 2004. Scottish Parliment Visitor Information. [Online] Available at: http://www.parliament. scot/VisitorInformation/Auditor_General_2004_Report.pdf [Accessed 13 November 2016]. Chappell, D., 2004. Understanding JCT Standard Building Contracts. 7th ed. London: Spon Press. Chappell, D., 2006. Construction Contracts Questions and Answers, Oxon: Taylor & Francis. Chappell, D. & Willis, A., 2010. The Architect in Practice. 10th ed. Oxford: Wiley-Blackwell. Clamp, H., Cox, S., Lupton, S. & Udom, K., 2012. Which Contract?. 5th ed. London: RIBA Publishing. JCT, 2011. Deciding on the appropriate JCT contract 2011, London: Sweet & Maxwell . Lupton, S., 2001. Guide to JCT98. London: RIBA Publications.

(and reduce the risk) it is possible for a project manager to be brought in who will undertake the running of the job whilst reporting back to the client. (Fig 3.) The

Scenario: 15. Issue: Addition of New work to contract.

employment of these additional roles can mean that the project will generate additional

Event: Addition of major works out with the original agreed program the £250,000 +

fees from these professionals. (Chappell, 2006, p. 15)

not a final set date (this without close control can create problems). The additional

barrel shaped café. Action: CM negates the need to alter the completion date in the contract as there is

Theoretically with using

Construction Management procurement as the mode of

delivery the time cost and quality of the project can be adjusted throughout construction to deal with unforeseen circumstances during the construction phase: The project can be paced to speed up and slow down to meet deadlines (eg. a new academic year for the school) To adjust the quality of finishes in relation to more investors coming on board (Scenario 23) To halt the project after a tender stage if funding proves problematic. (Scenario 13)

work would be factored into a new package and tendered. With the CM route changes

With this level of flexibility by not having a single “main contractor” makes the route

are much easier to make, allowing the design to be revisited and altered, in turn

appealing. However, with the client being liable to additional risk throughout the project

extending the predicted completion date and final sum.

the additional cost of employing professionals (project manager/client representative)

Scenario: 16. Issue: Instruction from client. Event: The client instructed for a new doorway to be formed and block up and existing. This incurred a variation order. Action: In CM the client has more power over the works on site compared to the

should be considered in order to protect the client as much as possible, this would bring the base cost above that of the traditional route. It can be concluded that Construction management shares the same relationship as the Time/Cost/Quality diagram (fig 5.). The procurement route will require a compromise. All there is to do is establish that compromise, Time, Cost or Quality.

traditional route. Here the client would be able to instruct changes on site, and therefore would be liable for a variation order if changes were required. This action relates to the knowledge of the client, we have determined that Mr Duggs is not an expert client so the project manager may have been able to assist in the decision making, or a Client representative could be installed (a role often taken up by the architect) to make decisions on site on behalf of the client. However, in this situation the client is liable for the changes as they instructed them.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 94/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

AMPL Exam Architectural Management Practice and Law 2016-17 Learning Outcome 1 Examination

AMPL Exam

Answer Paper

[in collaboration with Callum Aitken]

Names Callum Aitken, Angus Bolland Exam Questions Please answer two questions from three. References and image credits should be provided at the end of each answer in the Harvard style. Each answer has a word limit of 1200 words. Question 1: Form of Business Note from Practice Formation meeting: We need as a fledgling practice to consider clearly our ‘form of business’ options. Our accountant has suggested three potential business forms for us to consider, without particularly going into detail on any. Limited Liability Partnership, Limited Company or a Cooperative.

Question 1: Form of Business Note from Practice Formation meeting: We need as a fledgling practice to consider clearly our ‘form of business’ options. Our accountant has suggested three potential business forms for us to consider, without particularly going into detail on any. Limited Liability Partnership, Limited Company or a Co-operative. Can you investigate the above ‘form of business’ options and provide a brief critical appraisal of their advantages and disadvantages. Look at key factors, such as business structure, professional liability, tax and administrative duties etc. Conclude by making a recommendation as to which ‘form of business’ we should adopt and how this might shape the future direction of the practice. Should we be considering a hierarchical or flat organisational structure? Are there any ethical issues we should consider in deciding on a form of business? Recommendation: The recommendation of this critical review is to select the Limited company, initially in the private format as the business form for the new practice. With utilisation of a flat office structure to aid communication between workers and allow knowledge to be shared across the firm. The flat structure could help with office ethics (CHRON, 2015) as workers could be easily monitored ensuring good working conditions and no discrimination takes place especially if older architects were hired potentially outranking the partners in term of experience. This would allow the business to grow at the best rate as it provides the best options for external investors to help the company grow and would allow flexibility in the re-organisation of the practice as it grows (unlike LLP). Having this flexibility could give provision for bringing in new directors or partners, setting up satellite or new offices and even potentially becoming a publicly traded company. Question 3 – Business Plan We would like to make a pitch to a bank for some additional start-up funding to see us through the first year until as we hope, regular fees start to come in after the completion of the Leith ‘Ideas Store’ commission. Can you please prepare an outline summary business plan which considers questions the bank is likely to ask in relation to our start-up? Please provide a short paragraph of relevant content in each of the business plan sections proposed.

The Offering and Expansion: To address the aforementioned most critical risk necessitated by the business plan, namely the saturation of the local architecture industry, from months 30-36 and onwards in the business plan the practice would aim to expand its services around the country. As Glasgow contributes 12.8% of the countries GVA (Scottish Government 2014) the practice would look to advertise, establish contacts and secure projects in Glasgow and the surrounding area which would be operated by the office in Edinburgh, the Edinburgh office would also operate projects in the borders and central belt area. An additional satellite office would be founded in Dundee which would vastly open the practice’s range of business, presenting many new opportunities. The office would be well situated for Fife, Perth, Central Scotland, Tayside and Aberdeen based projects. It would be a much cheaper office in terms of overhead costs than that of the Edinburgh office and as the practice has been formed as a Limited Liability Company, as the company develops to this stage, expansion investment can be gained from shareholders. (RIBA 2015)

Can you investigate the above 'form of business' options and provide a brief critical appraisal of their advantages and disadvantages. Look at key factors, such as business structure, professional liability, tax and administrative duties etc. Conclude by making a recommendation as to which 'form of business' we should adopt and how this might shape the future direction of the practice. Should we be considering a hierarchical or flat organisational structure? Are there any ethical issues we should consider in deciding on a form of business? Answer: The Form of the Business In order to select the best form of practice it is important to consider the type of architectural practice that the firm aspires to become. It can be possible to transform the company into alternative structures; however, this is a major issue which should not be taken lightly and would be difficult to implement if there were external financers or multiple partners that would require re-alignment with the new structure. This critical appraisal looks to access three potential business structures and analyse how they would affect the way the business works and could potentially grow. As both founding members of the new practice are recently qualified “architects” they are unregistered. The individuals (and in turn practice) must established the appropriate registration and fee payment with RIBA and the ARB required before it can be considered a registered architects practice and use the name “chartered architects.” Working under the assumption that the firm will be registered in due course the business forms will be appraised accordingly with the 2 “recently qualified part 3 students” referred to as partners.

The three potential business forms selected for appraisal by the accountant are: Limited Liability Partnership (LLP) Limited Company Co-operative It should be understood that there are many other forms of business which could be applied to the company. These were the three outlined by the company accountant for consideration which could be aligned with the firm’s ambition and future growth. These three forms are individually appraised in the following section. Limited Liability Partnership - LLP The limited liability partnership is similar to the traditional Partnership structure that was once the most popular form of business in the architectural profession (Chappell & Willis, 2010, pp. 52-7) combined with some of the benefits found in Limited companies. The LLP requires two or more members to form (so is suitable in this situation as there are two initial partners), the company in relation to its business structure is a “separate legal entity” (RIBA, 2013, p. 97) from the two partners. With this structure the two partners still hold control over the business the founding members would be required to sign a members or LLP agreement to formalise their positions in the practice. The LLP allows for the freedom for internal organisation except for the 2 members who take up the roles of directors/company secretary (the 2 founding partners). The Professional Liability in this form of Business is beneficial to the partners, as Liability is not linked to their own personal funds, rather to the capital of the LLP (Dall, 2016) therefore reducing the financial risk in working with high value projects. This only alters if a partner is found to be personally responsible for the fault where the appropriate partner could then be held personally liable. Tax is completed in the same way as a partnership. If the practice remains relatively small scale Under £150,000 turnover (which would be possible depending on when payments for the “ideas store” are received.) to use a flat rate VAT scheme. Members partners are effectively self-employed so are liable for income tax throughout the year must pay tax on their share of the profits. Accounts require annual auditing and lodging with the Companies House which increases the scrutiny of the business form external sources. The start-up of the company is a straight forward task: choose a name have at least 2 ‘designated members’ have a registered address - this will be publicly available make an LLP agreement - a document that says how the LLP will be run register the LLP with Companies House (GOV.UK, 2016) The LLP allows for more options for gaining investment in the future. But it can be difficult in altering the company partner structure, requiring dissolving and reforming in order to allow for appointments or removals. Limited Company - LTD (private or public)

The Limited company can be described as “public” or “private” dependant on whether the company’s shares can be bought freely by members of the public on the stock markets. The company is owned by the shareholder but run by directors (Dall, 2016) in this situation the founding two members would own 50% of the shares each in the company before seeking external financing or employing new staff. The company sits as a separate entity away from the shareholders who each own a share. Members are therefore only Professionally Liable for their nominal share value (Chappell & Willis, 2010, p. 58) therefore if the company incurs a large debt which it is unable to pay, it will have to be wound up. This could be a risk for the new practice in working with a project which has a budget of £2.1 million for the ideas house. It is governed by various “companies Acts” and must be registered with the Registrar of companies. (RIBA, 2013, p. 92) The Company will have to become VAT registered as it is potentially going to be earning above the £83,000 threshold allowance. Due to being a company the practice would have to receive external auditing of its account books to ensure that it is operating correctly and in accordance with the Articles found in the Companies Act 2006. The limited company can be beneficial to employees and directors as they are all able to take advantage of the PAYE (Pay as you earn) scheme to manage their personal tax payments. Best type of company to raise external financing as it is possibly to offer shares in the company in return for their investment. The public auditing of the books also allows the business to be studied more discretely by potential investors. There can be potential for streamlined raises and hiring of new partners as this can be achieved through the distribution of shares between members. Co-operative. There are multiple forms of Co-operative structure, the co-ownership form is the most applicable in this practices situation in relation to how the practice would operate. However, there is an issue with the number of members required to form a partnership. A minimum of seven members required (Chappell & Willis, 2010, p. 63), so the company cannot currently be formed in this way. It could be altered (as previously discussed) to operate as a co-operative in the future. The company can be established by registering with Registrar of Companies. The form of organisation carries with it a limited liability where the professional liabilities is linked to each member’s share in the company. In the co-operative, all members may have the same “vote” value but there is a hierarchy in the number of shares that employees own which would therefore pay an appropriate dividend in relation to profits made by the company. This Vote system would give the practice a very flat organisational structure which could be beneficial if more experienced architects were brought into the practice to help run jobs. The c-operative will experience similar VAT and Tax issues as the Limited company as it is still running as a company. This means that audited accounts will be required to be made available to ensure that tax is being paid correctly. With all members being liable for this in the practice a rigorous financing/accounting service should be implemented across the board.

Bibliography [select] Chappell, D. & Willis, A., 2010. The Architect in Practice. 10th ed. Oxford: Wiley-Blackwell. Dall, N., 2016. Starting an Architectural Practice [ESALA Lecture] (30 September 2016). Dickson, Bruce, Lecture by Esala. Economic Context Lecture (7 October 2016). GOV.UK, 2016. Set up and run a limited liability partnership (LLP). [Online] Available at: https://www.gov.uk/set-up-and-run-limited-liability-partnership [Accessed 16 December 2016]. Lee, Lillian JS, Lecture by Esala. Business Plan Lecture (14 October 2016). RIBA, 2013. Handbook of practice management. 9th ed. London: RIBA Publishing.

Organisational structure Some Business forms have an inherit office structure attached to them, but it can be possible to implement either a flat or a hierarchical on occasions. Flat structure could be applied across all

three forms of business structures (FORBES Magazine, 2015). Whereas the Hierarchical mode is more suited to the Limited liability partnership and the limited company. The flat structure can help to improve work rate in the practice as all members have a higher level of responsibility (Dall, 2016), communication is also improved to this “flattening” as employees will find it less daunting talking to more experienced team members. Issues can arise with the flat structure in relation to growth of members as it can be difficult to gain promotions in a firm where all members are to be perceived as equal partners. The model is also difficult to maintain as the business grows without breaking up into smaller groups. The hierarchical structure gives employees defined roles and allows them to flourish in their own personal area before looking to receive more responsibilities. This is the more traditional way that organisations work where there are clear levels of leadership in the firm. (Dall, 2016) It can create issues of communication within the firm especially if there are different work locations (not an open plan office) where the different levels of workers may appear separate. Managing all the different levels of employees also will bring with it additional costs to the practice. Recommendation The recommendation of this critical review is to select the Limited company, initially in the private format as the business form for the new practice. With utilisation of a flat office structure to aid communication between workers and allow knowledge to be shared across the firm. The flat structure could help with office ethics (CHRON, 2015) as workers could be easily monitored ensuring good working conditions and no discrimination takes place especially if older architects were hired potentially outranking the partners in term of experience. This would allow the business to grow at the best rate as it provides the best options for external investors to help the company grow and would allow flexibility in the re-organisation of the practice as it grows (unlike LLP). Having this flexibility could give provision for bringing in new directors or partners, setting up satellite or new offices and even potentially becoming a publicly traded company.

Bibliography

Submitted Exam Paper

Business Gateway, 2014. Set up and register a limited liability partnership. [Online] Available at: http://www.bgateway.com/business-guides/first-steps/form-a-company-orbusiness/set-up-and-register-a-limited-liability-partnership [Accessed 16 December 2016]. Chappell, D. & Willis, A., 2010. The Architect in Practice. 10th ed. Oxford: Wiley-Blackwell. CHRON, 2015. Office ethics. [Online] Available at: http://smallbusiness.chron.com/major-ethical-issues-business-people-face-20900.html Dall, N., 2016. Starting an Architectural Practice [ESALA Lecture] (30 September 2016). FORBES Magazine, 2015. Oganization of an office. [Online] Available at: http://www.forbes.com/forbes/welcome/?toURL=http://www.forbes.com/sites/jacobmorgan/2015 /07/13/the-5-types-of-organizational-structures-part-3-flatorganizations/&refURL=https://www.google.co.uk/&referrer=https://www.google.co.uk/ [Accessed 16 December 2016]. GOV.UK, 2016. Set up and run a limited liability partnership (LLP). [Online] Available at: https://www.gov.uk/set-up-and-run-limited-liability-partnership [Accessed 16 December 2016].

RIBA, 2013. Handbook of practice management. 9th ed. London: RIBA Publishing. Word count 1200

Question 3 – Business Plan We would like to make a pitch to a bank for some additional start-up funding to see us through the first year until as we hope, regular fees start to come in after the completion of the Leith ‘Ideas Store’ commission. Can you please prepare an outline summary business plan which considers questions the bank is likely to ask in relation to our start-up? Please provide a short paragraph of relevant content in each of the business plan sections proposed. Answer: The Leith ‘Ideas Store’ commission as you have said should start to bring in regular fees once we are further through the process of the project, as the 6.6% of total construction cost fee (£140,000) will really help our small firm to grow, but I agree that applying to the bank for start-up funding to see us through this first year is essential. It will really reassure the bank to have a thorough business plan covering a three year period despite the fact we are a young inexperience office as 60% of UK architectural practices don’t have a business plan in place and 16% don’t plan more than a year in advance. (Lee 2016) The bank is likely to ask us about; business concept, target market, entry strategy, competitive advantages, employment, risks, offering and expansion. I have included an outline summary business plan below to cover these points regarding our general marketing, financial and operational viewpoint to hopefully secure start-up funding. I have done so in the form of an Executive Summary for the sake of concision but have covered all issues that will be included in the full report. Business concept: The business is in the form of a small architectural practice, consisting initially of two recently graduated part 3 students. Building upon the successful competition bid the practice would aim to expand through additional employment; this will be elaborated upon in the employment section. The practice would focus on delivering a high quality of design while having relatively low fees at first to being a young unproven office and low overheads; this will be advantageous in the initial growth of the office. Although the practice has secured a large project with a good fee there are still implicit risks with founding an architect practice in Edinburgh as it was one of the worst hit cities for the profession in the UK during the recession, however the local and national architecture business is on the rise. (RIBA 2015) The Target Market and projections: Market Research; While Scotland only has 9% share of the UK construction industry, it is spread across few cities and although Edinburgh has less GVA from construction industry as Glasgow, 12.8% as opposed to Glasgow’s 8.2%, (Scottish Government 2014) Edinburgh does however have over £48,000 GDP per capita. (Dickson 2016) Across the UK private housing and commercial architecture are currently the strongest and safest sectors to enter into. (Dickson 2016)

The entry strategy into the local market in Edinburgh would be challenging but with the marketing bonus of having won a reasonable sized competition the initial interest could secure some local clients. Private housing would be a good sector for the practice to move into in the area, as it is currently a strong sector and has fewer risks as publicly funded projects. As the practice already has an intermediate sized public project it would safer for business development to spread the practices resources and services into the private sector as well, to safeguard against a dip in either market. Although it is a young practice with minimal financial and accounting training, the practice would aim to keep thorough and detailed income statement, to calculate the practice’s net income figure from its total revenue after subtracting costs, or bottom line. Keep a detailed balance sheet of assets, liabilities and equity, to show what the business is worth and help to make expansion decisions and predict the future health of the practice. Lastly a Cash Flow Statement to calculate the current cash available to the practice. Through these financial management measures and keeping a close control over cost and ratio of work between billable projects and non-billable hours; the practice would aim to maintain a 22% profit to turnover, in line with the national average of UK architecture offices. (Lee 2016) Pricing, Marketing and Competitive Advantage: The pricing strategy of the practice would initially be slightly lower than the direct competitors in the area, to gain a foothold in the local market. The publicity of winning a local competition with also help with this, marketing for the office will be through online media and a website. Winning the Idea’s Shop competition will be advantageous for creating a brand image of high quality design, while initially low overheads will help the practice to have fair fees. The practice will gain additional competitive advantage from the introduction of Building information modelling from the outset of their built work as only 35% of small practices use BIM and the introduction at an early stage in a small office is more cost effective and efficient than in a large firm. (Hamil 2014) The Team and Employment: The practice’s team would grow with a phased employment strategy. During phase 1 the partners would work as an office of two from the spare room in one partner’s flat, this would lower overhead costs while investment and a small project or two was being secured. In the second phase (months 412) the practice would look to employ two part 2 students from the University of Edinburgh, creating employment ties with the institution and establishing strong local connections and contacts. With the help from the two part 2 students the work load on the Idea’s Shop project and any private housing projects that the practice secured would be covered at relatively low cost. At this stage the practice would move into a relatively small office in a suitable location. Continuing in this office setting in phase 3 (months 12-30) an addition two chartered architects would be employed to take full control of designated projects, and an additional part 2 student to help with the increasing work load of the practice. Furthermore at this stage of the office’s development, a part-time administration role would be added to the team, this member would remove administrative tasks from the partner’s schedule such as bills, salary payments, taxes etc; and closely monitor the finances of the practice. (RIBA 2015) Analysis of Critical Risks: The main risk involved with the business plan, is that a shortage of new projects such as private housing or other will be secured in the local area, as Edinburgh is a relatively saturated market. The city has a larger number of architecture firms, relative to the number of projects taking place in the

city. This can often lead in the industry to a progressive under-cutting between firms as developers and clients bid for an architect for a project. Furthermore the national market stability could have an influence over the success of the practice. The construction market has mostly recovered from the recession having risen over the past three years to within 5% of its GDP in 2008 before the recession hit. However Brexit and the instability of the pound may now cause the construction industry to go into recession again. Additionally the slump in oil prices has had a negative effect on the Scottish economy. (Dickson 2016) The Offering and Expansion: To address the aforementioned most critical risk necessitated by the business plan, namely the saturation of the local architecture industry, from months 30-36 and onwards in the business plan the practice would aim to expand its services around the country. As Glasgow contributes 12.8% of the countries GVA (Scottish Government 2014) the practice would look to advertise, establish contacts and secure projects in Glasgow and the surrounding area which would be operated by the office in Edinburgh, the Edinburgh office would also operate projects in the borders and central belt area. An additional satellite office would be founded in Dundee which would vastly open the practice’s range of business, presenting many new opportunities. The office would be well situated for Fife, Perth, Central Scotland, Tayside and Aberdeen based projects. It would be a much cheaper office in terms of overhead costs than that of the Edinburgh office and as the practice has been formed as a Limited Liability Company, as the company develops to this stage, expansion investment can be gained from shareholders. (RIBA 2015) Word Count: 1200 Bibliography Dickson, Bruce, Lecture by Esala. Economic Context Lecture (7 October 2016). Hamil, Dr Stephen. BIM and the small practice. 01 June 2014. https://www.thenbs.com/knowledge/bim-and-the-small-practice (accessed December 16, 2016). Lee, Lillian JS, Lecture by Esala. Business Plan Lecture (14 October 2016). RIBA. RIBA Handbook of Practice Management. London: RIBA, 2015. Scottish Government. Construction Report. 10 July 2014. http://www.gov.scot/Topics/Statistics/Browse/Business/SABS/KeyFacts (accessed December 16, 2016).

End of Paper

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 95/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

Design Studio H

AMPL

Design Report

Drawing Submission

AMPL Drawing Submission

[in collaboration with Callum Aitken] No.69 Lansdowne Road

Brief Two analytical drawings, of a selected building precedent, demonstrating how the precedent complies with UK statutory requirements. The drawings are to illustrate a critical understanding not only of how the statutory requirement(s), have been complied with but potentially how this requirement for compliance has been challenged by the originality of the solution. The 3 topics will be: 1. Planning 2. Building Regulation/ Universal access. 3. CDM Aviva Stadium Capacity: 51,700 Cost: 410 million euro Date of construction: May 2007 - April 2010. Architect: Populous Client: IRFU and FAI Location: Lansdowne Road, Dublin, Ireland Site Area: 6.4 hectacres (63,802 sq.m.) Stadium Roof Area: 19,000 sq.m. “Lansdowne Road has been the traditional home of rugby in Ireland since the first game was played there in 1876. When the existing facility no longer met the requirements of an international sporting arena, Populous was briefed to design a new 50,000 seat stadium – in a space that was smaller than that occupied by the old 23,000 seat/25,000 standing capacity stadium!” Populous Planning: The stadium has been designed in relation to the 45degree overshadowing rule and Vertical Sky Component for determining the maximum permissible ridge height of the stadium and the volume which it occupies on the site in relation to the adjacent properties. The project is a “negotiated exclusion” of the rules Policy H13 refers to the conservation areas in terms of townscape value and the specific zoning requirements of that area. Stadium facilities and requirements of the stadium have altered greatly since the historic stadium. Restaurants, museums, seating

No.60 Lansdowne Road

regulations, Media studios etc. These new requirements mean that new sporting venues require considerably more space than their historic counterparts. This new added program must be configured into the site plan of the old stadium.

No.18 Vavasour Square

HIstoric Lansdowne Road Stadium Overshadowing

No.50 O’Connell Gardens

3. 5.

No.32 O’Connell Gardens

1. Historic Lansdowne Road Statium Development Volume Aviva Statium

The City Development Plan defines “distinct character zones” otherwise known as “Urban Character areas” under planning policy 3.1.4. The Sub policy 3.1.6 outlines the range of “significant amenity features” which are historically relevant to the area. The new stadium impacts these areas by altering the existing skyline but is an iconic sporting venue and amenity for the city. Thus, the benefits to the city outweigh the localised problems. The volume of a “standard” 50,000 stadia would severely overshadow the residential area to the north of the stadium. A negotiated compromise was made to lower the north stand to single tier stand with a capacity of 3000. The drawing study looks at analysing how the stadium achieved the “negotiated Exclusion”

Development Volume Overshadowing

Planning

2pm 12pm

10am

Aviva Stadium Overshadowing

Polycarbonate panel roof

CDM: Dublin city council requested additional information at the planning stage regarding the window. Ensuring that that window would be maintained and safety cleaned throughout the stadiums lifetime. The Maintenance strategy had to meet will meet their CDM regulations and The Health and Safety at Work etc. Act 1974 (HSW Act).

Cleaning track Storage of cleaning mechanisms

Polycarbonate and glass panel facade

3. 5.

4. Aviva Stadium North stand glazing panels

Sequence of operations for building maintenance of 4251 polycarbonate/glass panels (10,000mm x 1,000mm each) fixed back to steel structural frame with rotational brackets allowing the panels to be rotated for ventilation and cleaning. In order to prevent dirt accumulation on the polycarbonate and glass panels, reducing translucence, a cleaning operation and maintenance strategy was designed into the stadium. The cleaning will be carried out when a visual inspection indicates that it is required. The stadium roof incorporates a positive fall to allow water to run off which will wash off any accumulated dirt. The drawing study considers the “Method for cleaning” and “Mechanism for cleaning” in relation to CDM.

CDM.

Dublin city council requested additional information at the planning stage regarding the window. Ensuring that that window would be maintained and safety cleaned throughout the stadiums lifetime. The Maintenance strategy had to meet will meet their CDM regulations and The Health and Safety at Work etc. Act 1974 (HSW Act). Sequence of operations for building maintenance of 4251 polycarbonate/glass panels (10,000mm x 1,000mm each) fixed back to steel structural frame with rotational brackets allowing the panels to be rotated for ventilation and cleaning. In order to prevent dirt accumulation on the polycarbonate and glass panels, reducing translucence, a cleaning operation and maintenance strategy was designed into the stadium. The cleaning will be carried out when a visual inspection indicates that it is required. The stadium roof incorporates a positive fall to allow water to run off which will wash off any accumulated dirt.

10.

Method for cleaning. The polycarbonate panels will be cleaned with a solution of mild soap and lukewarm water using a soft cloth or sponge. Pressure cleaning equipment or steam cleaners can be used on persistent areas. A water supply is required to the roof to ensure there is a sufficient amount of water for cleaning. Access to the roof and cleaning equipment is gained through the access gantries within the façade and roof structure. Mechanism for cleaning. The glazed façade cannot be cleaned with high pressure methods as the interior is not a sealed environment. The glazed areas of the façade will be cleaned with a squeegee on a pole by a maintenance worker via an access cradle. The cradle unit is concealed within the building, positioned alongside the back of the upper tier of the stands. Mechanical Arms mounted on a track allow the Cradle to traverse vertically and horizontally about the façade. This provides a safe unit for two operatives to gain access to the façade for assessment, maintenance and cleaning.

CDM

The cradle is not permanently mounted on the track and is to be store at location Level 06 inside the stadium. When cleaning is required the cradle will be slid on rails through an openable roof section. The mechanical arms will move along a track that will be permanently visible and is therefore incorporated in to the roof structure. The unit can then be driven around the stadium by a qualified operator. This cleaning mechanism ultimately allows for the careful cleaning of the panels and minimizes overshadow to the neighbouring residential area. Angus Bolland Callum Aitken

Method of cleaning elevation 1:100

1. Polycarbonate Roof 2. Movement on Track 3. Cleaning Radius 4. Stand 5. Mechanical Arm 6. Cleaning Device/Squeegee on a Pole 7. Operator 8. Cleaning Cradle 9. Glass Panel 10. Vertical Movement of Cradle

Mechanism of cleaning section 1:50

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 96/131

Design Studio C

ATR

Design Studio D

SC[R]AT

Polycarbonate panel roof

MArch2.

MArch1.

Cleaning track Storage of cleaning mechanisms

Design Studio A

Design Studio H

AMPL

Design Report

Drawing Submission 1.

Planning

CDM 2.

Polycarbonate and glass panel facade Cleaning track Storage of cleaning mechanisms

No.69 Lansdowne Road

No.18 Vavasour Square

3. 5. 2.

4. Aviva Stadium Polycarbonate and glass panel facade North stand glazing panels

No.60 Lansdowne Road

No.50 O’Connell Gardens

HIstoric Lansdowne Road Stadium Overshadowing

blin city council requested additional information at the nning stage regarding the window. Ensuring that that dow would be maintained and safety cleaned throughout stadiums lifetime. The Maintenance strategy had to et will meet their CDM regulations and The Health and ety at Work etc. Act 1974 (HSW Act).

4. Aviva Stadium North stand glazing panels

uence of operations for building maintenance of 1 polycarbonate/glass panels (10,000mm x 1,000mm O’Connell Gardens h) fixed back No.32 to steel structural frame with rotational ckets allowing the panels to be rotated for ventilation cleaning. In order to prevent dirt accumulation on the ycarbonate and glass panels, reducing translucence, a aning operation and maintenance strategy was designed the CDM. stadium. The cleaning will be carried out when a Historic Road Statium ual inspection indicates that itLansdowne is required. The stadium Dublin cityacouncil additional f incorporates positiverequested fall to allow water information to run off at the planning regarding thedirt. window. ch will wash offstage anyDevelopment accumulated VolumeEnsuring that that window would be maintained and safety cleaned throughout lifetime. The Maintenance hod the for stadiums cleaning. The polycarbonate panels strategy will be had to Aviva Statium meet their CDM regulations and The Health and aned meet with awill solution of mild soap and lukewarm water Safety at Work etc. Act 1974 (HSW Act). equipment ng a soft cloth or sponge. Pressure cleaning

8. 10.

Development Volume Overshadowing

team cleaners can be used on persistent areas. A water for there building maintenance of ply isSequence required tooftheoperations roof to ensure is a sufficient 4251 polycarbonate/glass (10,000mm x 1,000mm ount of water for cleaning. Accesspanels to the roof and cleaning each) fixed back to steel structural frame withthe rotational ipment is gained through the access gantries within brackets allowing the panels to be rotated for ventilation ade and roof structure. and cleaning. In order to prevent dirt accumulation on the polycarbonate andThe glass panels, reducing translucence, a chanism for cleaning. glazed façade cannot be maintenance strategy aned cleaning with highoperation pressure and methods as the interior is was not adesigned into the stadium. The cleaning will be carried out when a led environment. The glazed areas of the façade will be inspectionon indicates it is required. The stadium aned visual with a squeegee a pole bythat a maintenance worker roof incorporates a positive to allowwithin waterthe to run off an access cradle. The cradle unit isfall concealed will wash off any the accumulated dirt.upper tier ding,which positioned alongside back of the

10.

he stands. Mechanical Arms mounted on a track allow Method for cleaning. panels will be Cradle to traverse verticallyThe and polycarbonate horizontally about the2pm cleaned with aa safe solution and lukewarm ade. This provides unit of formild two soap operatives to gain water 12pm using soft cloth sponge. Pressure cleaningand equipment ess to the afaçade for or assessment, maintenance aning.or steam cleaners can be used on persistent areas. A water supply is required to the roof to ensure there is a sufficient amount water for cleaning. Access to the roof and cradle is notof permanently mounted on the track and iscleaning equipment is gained thethe access gantries within the be store at location Level through 06 inside stadium. When and roof aningfaçade is required the structure. cradle will be slid on rails through

openable roof section. The mechanical arms will move The glazed façade be ng a Mechanism track that for willcleaning. be permanently visible and cannot is with high theunit interior reforecleaned incorporated in topressure the roof methods structure.as The can is not a sealed around environment. The glazed areas of the façade will be n be driven the stadium by a qualified operator. cleaned with a squeegee on aallows pole byfor a maintenance s cleaning mechanism ultimately the careful worker cradle. The cradle overshadow unit is concealed within the aningvia of an theaccess panels and minimizes to the building, positioned of the upper tier ghbouring residential area.alongside the back Angus Bolland of the stands. Mechanical Arms mounted on a trackCallum allow Aitken the for Cradle andards the to traverse vertically and horizontally about the façade. This nd sunlight to provides a safe unit for two operatives to gain accessPlan to the façade for assessment, maintenance and evelopment cleaning.

out Planning for ctice” PJ Littlefair. The cradle is not permanently mounted on the track and is olling the impact to be store at location Level 06 inside the stadium. When nd daylight. The cleaning is required the cradle will be slid on rails through VSC (Vertical Sky an whether openable roof section. The mechanical arms will move rmining a istrack that will be permanently visible and is withinalong this rule thereforeofincorporated in to the roof structure. The unit can as reflectance façade materials The Aviva stadium deals with trajectories. then be driven around the stadium by aCumulative qualifiedmass operator. y higher degree of The problem ofultimately overshadowing generated problems This cleaning mechanism allows for the more careful al sky component withpanels its solution. The stadium has been lowered cleaning of the and minimizes overshadow to the at one f reflectivity and end to solve this problem, this lowering created issues of neighbouring residential area. Bollandsporting Callum Aitken sible as the new acoustic performance and leads to Angus impermissible storic stadium in conditions due to wind. To prevent this the stadium has a window.

10am

Method of cleaning elevation 1:100

Mechanism of cleaning section 1:50

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7

Method of cleaning elevation 1:100

Aviva Stadium Overshadowing

Mechanism of cleaning section 1:50

97/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

Course Summary

Athens: Salvaging Urbanism. 4_Project Articulations Design Studio H

“In the current – final – semester, we now step back again to consider the overall trajectory of the projects, and to address the question of what needs to be done in order to ‘complete’ them. It is likely that what this means will vary for each student, depending on the ideas and agenda that have been driving their project and its current state of development. For some it will be about addressing aspects of the design that as yet have not been fully considered. For others it might be about reintegrating the work within the larger urbanistic intentions of the project. We want to consider this completion in the context of an agreed common exhibition strategy for the group. This will mean incorporating the design of the final exhibition of the work into the project development during the semester. We will be exhibiting our work at the end of the year in both the Matthew Gallery and the Studio, and our approach to this will be discussed and agreed within the studio group.

AN EXPLODED FIELD. Game Surface Urbanism. Vol 3.

Angus Bolland

The emphasis so far has been very much focused on drawing, but as a key component of the exhibition each student is now asked to make a major model that materially and spatially expresses their project. It is up to individuals to decide the extent of their project that this should convey, as well as its scale, its materiality, etc. For some it may be about the totality of the project, while others may focus on, for example, details or sections. Think of what you want the model to do in relation to the corpus of drawings that you have, and carefuly conceptualise how it will work as an exhibition piece.” Brief Extract

ESALA Edinburgh School of Architecture and Landscape Architecture

Master of Architecture

Integrated Pathway Year 2 (2016-17) Studio H Course Code: ARCH11174 Credit Points: 40 Year 2, Semester 2 Mark Dorrian + Aikaterini Antonopoulou

ATHENS: SALVAGING URBANISM 4_PROJECT ARTICULATIONS

Learning Outcomes. LO1 – The ability to develop a research inquiry which is clearly and logically argued, has awareness of disciplinary and interdisciplinary modes of research, draws from specifically defined subject knowledge, and is relevant to current architectural issues. LO2 – The ability to test hypotheses and speculations in architectural design, which may be informed through materials, processes and techniques of building, the design and development of cities, histories and theories of architecture and the related arts, or management, practice and regulatory frameworks. LO3 – A critical understanding of, and ability to present, complex design proposals in the context of a research inquiry through appropriate forms of representation (e.g. verbal, drawing, modelling, photography, film, computer, installation, performance and workshop techniques).

Metis, On The Surface (2014). Photo: Gert Skærlund Andersen

Synopsis Having worked through the detailed development of the projects last semester, the task for each student now is: firstly, to identify and pursue the aspects of the project that need to be further elaborated in order to 'complete' it; and, secondly, to curate and represent the study in a compelling way in a designed exhibition context. It is anticipated that this will involve the assembly of a major model of the project, strategically designed and constructed for exhibition. In addition to the completion and presentation of the studio project, students develop a Design Report document and the Academic Portfolio 2, both of which are described in separately issued briefs.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 98/131

Design Studio C

An Exploded Field.

Game Surface Urbanism.

ATR

Design Studio D

SC[R]AT

An Exploded Field. Game Surface Urbanism.

is a city embedded in Sporting History, birthplace of the Modern Olympics. It has been aoccurring part of Greek Culture for In recent years Greece’s Football culture has becomeAthens increasingly violent andtheaggressive, with fighting centuries. Historic sporting venues form key locations across the city, they are preserved as monuments, precious objects within the museum of the city. This treatment is contrasted by the cities contemporary sporting venues. between fan groups and the authorities rather than held focussing on rival fan groups. This thesis proposes a Sporting new culture in Greece and in particular Athens can be directly tied back to the social and economic prosperity of the country. In recent years, the city has had an influx of migrants seeking work and a safe place to live this has resulted in the cities resources Piece of Urban infrastructure in the city. Tasked withbecoming re-calibrating the neglected 2004 Olympic site, where the stretched and large debts suffocating governmental powers. The lack of support from the authorities has resulted in the deterioration ruins of the city. in Thisthe has caused sporting groups to become the outlets many of the city’s residents to express remnants of the games event structures sit as contemporary park. The proposal “AnforExploded Field.” their discontent. Climatically the city is situated in a volatile position, with global warming causing Athens’ Northern Suburbs to suffer from flash through flooding annuallymapping in the winter months. ThisApostolos flooding is related toStadium, the cities geographical locationof alongside reactivates this site using interrogation and reprogramming the home poor drainage and sanitation systems throughout the city. the city’s most historic Football team, Panathinaikos. The thesis opens up new opportunities for activities and In recent years Greece’s Football culture has become increasingly violent and aggressive, with fighting occurring between fan the authorities ratherpatch than focussing rival fansite. groups. This thesis proposes a new Piece of Urban infrastructure events to occur on the site through the urbanisation groups of aand new dense ononthe in the city. Tasked with re-calibrating the neglected 2004 Olympic site, where the remnants of the games event structures sit as contemporary ruins in the park. The proposal “An Exploded Field.” reactivates this site using interrogation and reprogramming through mapping the Apostolos Stadium, home of the city’s most historic Football team, Panathinaikos. The thesis opens up

new opportunities for activities and events occur Athens on the site through the urbanisation of as a newa dense patch on the site. The range of programme seeks to create a recreational environment for tothe population collective The range of programme seeks to create a recreational environment for the Athens population as a collective linked through linked through existing road and metro routes. The site is composed as a location for events and activity, bringing existing road and metro routes. The site is composed as a location for events and activity, bringing back the intensity of use which games was felt duringto the 2004 games to a densely-occupied patch on the larger In order to perform different back the intensity of use which was felt during the 2004 a densely-occupied patch onsite.the larger site. Intasks for different events many of the components operate with a dualism where they serve not only their designed function but can be appropriated bythe the individual user to serve their own needs. The site programming can be brokenwhere down into 5 they main themes to order to perform different tasks for different events many of components operate with a dualism categorize the designed components: serve not only their designed function but can be appropriated by the individual user to serve their own needs. Flooding - The proposal deals with flooding on two levels, the flooding of people onto the site and the flooding of water. The arrival hall connects to to existing transport links and the createsdesigned a new entrance to components: the site. An on-site weather station records the The site programming can be broken down into 5 main themes categorize climate in order to predict potential flooding of water. Many of the architectural components operate as detention basins (pitch

MArch2.

MArch1.

through mapping the Apostolos Stadium, home of the city’s most historic Football team, Panathinaikos. The thesis opens up new opportunities for activities and events to occur on the site through the urbanisation of a new dense patch on the site. The range of programme seeks to create a recreational environment for the Athens population as a collective linked through Design Studio Studio AMPL Designback Report existing road and metroDesign routes. The site isAcomposed as a location for events andHactivity, bringing the intensity of use which was felt during the 2004 games to a densely-occupied patch on the larger site. In order to perform different tasks for different events many of the components operate with a dualism where they serve not only their designed function but can be appropriated by the individual user to serve their own needs. The site programming can be broken down into 5 main themes to categorize the designed components: Flooding - The proposal deals with flooding on two levels, the flooding of people onto the site and the flooding of water. The arrival hall connects to existing transport links and creates a new entrance to the site. An on-site weather station records the climate in order to predict potential flooding of water. Many of the architectural components operate as detention basins (pitch raft, skate park etc) for floodwater channelled to the site, with the main water tank being held within the arrival hall. Spectating - Accommodating large groups of fans to gather and watch away matches as a collective is a key event for which the field is designed around. There are a number of auditoria spaces which vary in scale to create different atmospheres and suit varying types of fans. The Away match stand is the largest on the site and can be configured to face towards the hostel façade or towards the arrival hall. The clubhouse at the Eastern edge of the field provides a space for spectating the amateur matches that take place in the field. Playing - New areas for recreational sport and amenities for the existing site to be used. The field incorporates a number of playing surfaces at a range of scales allowing for different types of playing. Alongside these the associated program spaces (changing rooms lockers etc) are designed into the field allowing the larger site to be used for long distance running/cycling etc. 1. Security - The on-site Fire station allows the field to serve the neighbouring areas utilizing the water2.collected on site. To ensure the safety of site users security posts are located around the site. These allow a light but strategic presence to be distributed on site. The security tower provides areas for large numbers of security personnel to be held in the event of potentially violent altercations (around match days) with the observation post giving an overview across the field. Raised walkways allow for travel across the site between components above the floods.

Residing - In order to allow the site to draw visitor from further afield for the larger events accommodation blocks are located on site in the form of a Hostel and Hotel block. The on-site accommodation means that the new event space can be experienced by visitors from elsewhere in Greece or further afield.

raft, skate park etc) for floodwater channelled to the site, with the main water tank being held within the arrival hall. Spectating - Accommodating large groups fans to gatheronto and watch awaysite matchesand as a collective a key event for which Flooding - The proposal deals with flooding on two levels, the flooding of ofpeople the the isflooding the field is designed around. There are a number of auditoria spaces which vary in scale to create different atmospheres and suit varying types of fans. The Away match stand is the largest on the site and can be configured to face towards the hostel of water. The arrival hall connects to existing transport links and creates a new entrance to the site. An on-site façade or towards the arrival hall. The clubhouse at the Eastern edge of the field provides a space for spectating the amateur matches that take place in theflooding field. weather station records the climate in order to predict potential of water. Many of the architectural Playing - New areas for recreational sport and amenities for the existing site to be Thesite, field incorporates a number of components operate as detention basins (pitch raft, skate park etc) for floodwater channelled toused. the with the playing surfaces at a range of scales allowing for different types of playing. Alongside these the associated program spaces (changing rooms lockers etc) are designed into the field allowing the larger site to be used for long distance running/cycling etc. main water tank being held within the arrival hall.

Security - The on-site Fire station allows the field to serve the neighbouring areas utilizing the water collected on site. To ensure the safety of site users security posts are located around the site. These allow a light but strategic presence to be distributed

on site. The security tower provides areasaway for large numbers of security personnel to be held in the event Spectating - Accommodating large groups of fans to gather and watch matches as a collective isofapotentially key violent altercations (around match days) with the observation post giving an overview across the field. Raised walkways allow for travel across the site between components above the floods. event for which the field is designed around. There are a number of auditoria spaces which vary in scale to create In order to allow the site tostand draw visitoris from furtherlargest afield for the larger located on different atmospheres and suit varying types of fans.Residing The -Away match the on events the accommodation site and blocks canarebe site in the form of a Hostel and Hotel block. The on-site accommodation means that the new event space can be experienced by visitors from in Greece or further afield. configured to face towards the hostel façade or towards theelsewhere arrival hall. The clubhouse at the Eastern edge of the field provides a space for spectating the amateur matches that take place in the field.

Playing - New areas for recreational sport and amenities for the existing site to be used. The field incorporates a number of playing surfaces at a range of scales allowing for different types of playing. Alongside these the associated program spaces (changing rooms lockers etc) are designed into the field allowing the larger site to be used for long distance running/cycling etc. Security - The on-site Fire station allows the field to serve the neighbouring areas utilizing the water collected on site. To ensure the safety of site users security posts are located around the site. These allow a light but strategic 1. Arrival Hall + Office Block presence to be distributed on site. The security tower provides areas for large numbers of security personnel 2. Pitch Raft 3. Pitch Stack to be held in the event of potentially violent altercations (around match days) with the observation post giving 4. Away Match Stand an overview across the field. Raised walkways allow5. Hotel for travel across the site between components above the 6. Clubhouse floods. 7. Hostel 8. Squash Courts 9. Security Centre 10. Fire Station 11. Changing Rooms 12. Sports Betting 13. Market Stalls 14. Filtration 15. Lockers 16. Security Post 17. Weather Station

1. Arrival Hall + Office Block 2. Pitch Raft 3. Pitch Stack 4. Away Match Stand 5. Hotel 6. Clubhouse 7. Hostel 8. Squash Courts 9. Security Centre 10. Fire Station 11. Changing Rooms 12. Sports Betting 13. Market Stalls 14. Filtration 15. Lockers 16. Security Post 17. Weather Station

13.

10.

14.

11.

15.

12.

16.

17.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 99/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

Composing Components. The architectural components are positioned on the field in relation to the original drawing of which they were derived. The scale of the component diminishes as the distance from the arrival hall increases. Key components define the area around them with through the materiality of their game surface. The isometric view presents them as a series of â&#x20AC;&#x153;piecesâ&#x20AC;? assembled on the ground surface.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 100/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

Layers of the Field. The Field can be broken down into a series of layers. The Architectural Components are the realised forms, derived from the original mapping these create programatically defined areas which combine with each other in different ways to form the urban condition. Below this sits A Constellation of Architectural Types, types drawn from the historic stadium and redistributed on the site. This mapping is not physically transferred, it acts as a guide for the components and provides markers for temporary structures like markings on a pitch. Component Defined Ground Strips are the linear strips informed by the Program of the components, they provide a run off area of ground that allows activity to occur in a looser sense than in the prescribed area creating areas such as warm up space beside pitches. Historic Reading + Permeability, the ground condition of the exploded field in derived from a trace of the 2004 Olympic plan. This creates a juxtaposition of geometries between the concentric rings and the exploded field. Readings of the past architectural arrangement can therefore be gained through the ground. The materiality of this ground relates to its programmatic adjacencies, expected footfall and permeability.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 101/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

Site Aerial View Neratziotissis Street - Day.

Site Aerial View Neratziotissis Street - Night. General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 102/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

Site Plan.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 103/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

Field Plan.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 104/131

Design Studio C

ATR

Design Studio D

SC[R]AT

The Game Board.

MArch2.

MArch1.

improve the overall reading of the model. Here the techniques tested in stage 2 were refined and scaled to the full model.

Design Studio A

AMPL

Design Studio H

Design Report

The Game Board.

Constructing the board was carried out across the course of the semester with numerous testing of techniques being required prior to final construction beginning. Stage 1. identified the scope of the model with the test aiding in determining the scale and extent to be modelled. Stage 2. looked at testing initial ideas and techniques for engraving on a cropped area of the planned final model. This allowed techniques to be tested on the proposed final model materials prior to their acquisition. Stage 3. was very much an iterative process with “completed” pieces being revised and refined to improve the overall reading of the model. Here the techniques tested in stage 2 were refined and scaled to the full model.

[3D Print] Model in Plan.

[CNC Milling]

Stage 2. Test Board

Plan for Model. Plan for Model.

[Hand Made]

The Game Board. The game board model creates a reading of the field where the architectural components are realised as “pieces”. The ground condition and original mapping drawing is etched onto theboard surfaces, allowing the shadow of the drawing to be read on the base. The pieces sit on positions etched onto the acrylic with temporary elements being able to be positioned dependant on the occurring event. The model is colourised dependant on the materiality within the field allowing the varying ground conditions to be read across the model. Pieces of ground infrastructure are coloured grey to read as extrusions of the plinth. Materiality of the pieces reflects the components weight, with solid hardwood representing the heaviest components in the field. The density of the elements builds up through their accumulation on the board capturing the essence of the exploded field.

Stage 1. Paper Test

Stage 3. The Game Board

Model in Plan.

[Cast]

The game board model creates a reading of the field where the architectural components are realised as “pieces”. The ground condition and The game board model a reading original mapping drawingcreates become etched of the ply field whereallowing the architectural and acrylic the shadow components of the drawingare to realised as the “pieces”. groundsitcondition and be read on base. The pieces on positions original mapping drawing become etched of ply etched onto the acrylic with temporary elements and the shadow of the drawing to beingacrylic able allowing to be positioned dependant on the be read on the base. The pieces sit on positions occurring event. etched onto the acrylic with temporary elements being able to be positioned dependant on the The model becomes colourised dependant on occurring event. the materiality within the field allowing the varying ground conditions to be read across the model. The model becomes colourised on Pieces of ground infrastructure aredependant coloured grey the materiality within of thethe field allowing the varying to read as extrusions plinth. Materiality of the ground conditions to be read across model. pieces reflects the components weight,the with solid Pieces of ground infrastructure are coloured grey hardwood representing the heaviest components to readfield. as extrusions of the plinth. Materiality of the in the The density of the elements builds up pieces the components with solid throughreflects their accumulation on theweight, board capturing hardwood representing the heaviest components the essence of the exploded field. in the field. The density of the elements builds up through their accumulation on the board capturing the essence of the exploded field.

Model in Plan.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 105/131

Design Studio C

ATR

Design Studio D

SC[R]AT

MArch2.

Scale 1:250

MArch1.

Test Board.

Design Studio A

AMPL

Design Studio H

Design Report

The Game Board. Test Slide

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 106/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

The Game Board. Scale 1:250

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 107/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

The Game Board. Scale 1:250

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 108/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

The Game Board. Scale1:250

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 109/131

Arrival Hall. The Main centre for arrival to the site the arrival hall connects to the existing metro station and road. The main stair down to the ground level can operate as a location for vendors to set up and sell goods to arriving fans along side creating informal seating. The concrete roof deck creates a large terrace suitable for hospitality events giving a view over the greater site. The roof folds back on itself to create a large water tank above the main stair to hold flood water, this volume compresses the interior space before opening up as fans move down and into the site. The office block sits adjacent to stairs utilising them as a circulation route. Pitch Raft. Operating as a detention basin for potential flooding the pitch raft configures a 7-a-side as a raft which is able to float to enable continued operation even with partial flooding. The concrete basin features a number of ribs which accept the buoys fixed to the base of the pitch. The basin element incorporates stairs and seating cast into its form, this allows for viewing of the recreational game with access tot he pitch during flood using the retractable walkway. Floodlighting is available to allow use in the evenings.

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Arrival Hall.

Pitch Raft.

The Main centre for arrival to the site the arrival hall connects to the existing metro station and road. The main stair down to the ground level can operate as a location for vendors to set up and sell goods to arriving fans along side creating informal seating. The concrete roof deck creates a large terrace suitable for hospitality events giving a view over the greater site. The roof folds back on itself to create a large water tank above the main stair to hold flood water, this volume compresses the interior space before opening up as fans move down and into the site. The office block sits adjacent to stairs utilising them as a circulation route. The Main centre for arrival to the site the arrival hall connects to the existing metro station and road. The main stair down to the ground level can operate as a location for vendors to set up and sell goods to arriving fans along side creating informal seating. The concrete roof deck creates a large terrace suitable for hospitality events giving a view over the greater site. The roof folds back on itself to create a large water tank above the main stair to hold flood water, this volume compresses the interior space before opening up as fans move down and into the site. The office block sits adjacent to stairs utilising them as a circulation route.

Operating as a deflection basin for potential flooding the pitch raft configures a 7-a-side as a raft which is able to float to enable continued operation even with partial flooding. The concrete basin features a number of ribs which accept the buoys fixed to the base of the pitch. The basin element incorporates stairs and seating cast into its form, this allows for viewing of the recreational game with access tot he pitch during flood using the retractable walkway.

Arrival Hall.

Design Studio A

Pitch Stack.

AMPL

Design Studio H

Design Report

Away Match Stand.

Hotel.

Through the stacking of a number of small scale pitches the pitch stack accommodates 4 playing surfaces (5-a-side). This complex is connected through a wrapping staircase on the western side. The stack pitches are flood-lit with recessed lighting fitted into the roof slab of the above pitch. The walkway around the pitches acts as gathering spaces for the next group of players but also as viewing space for watching athletics taking place on the adjacent track.

The away match stand sits as a land pier on the site with the seating bank arcing to provide views in two directions, towards the screen on the hostel facade and towards staging to the north when the standing area is used. In order to view the desired direction the seats are able to rotate on their axis. The bar and WC’s sit within the structural posts which support the stand with access stairs between these spaces. With the bar siphoning water from the arrival hall’s tank.

With 30 rooms the hotel block provides accommodation to sports teams and visitors to the city. The hotel is orientated to face the Olympic Stadium looking out of the field towards the wider site. The hotel is elevated from the ground through concrete posts this keeps the ground floor clear for potential flooding and allows movement under the hotel. The top floor contains a bar and restaurant taking advantage of its elevated position on the site.

Pitch Raft.

Pitch Stack.

Away Match Stand.

Hotel.

Pitch Stack. Through the stacking of a number of small scale pitches the pitch stack accommodates 4 playing surfaces (5-a-side). This complex is connected through a wrapping staircase on the western side. The stack pitches are flood-lit with recessed lighting fitted into the roof slab of the above pitch. The walkway around the pitches acts as gathering spaces for the next group of players but also as viewing space for watching athletics taking place on the adjacent track. Away Match Stand. The away match stand sits as a land pier on the site with the seating bank arcing to provide views in two directions, towards the screen on the hostel facade and towards staging to the north when the standing area is used. In order to view the desired direction the seats are able to rotate on their axis. The bar and WC’s sit within the structural posts which support the stand with access stairs between these spaces. With the bar siphoning water from the arrival hall’s tank. Hotel. With 30 rooms the hotel block provides accommodation to sports teams and visitors to the city. The hotel is orientated to face the Olympic Stadium looking out of the field towards the wider site. The hotel is elevated from the ground through concrete posts this keeps the ground floor clear for potential flooding and allows movement under the hotel. The top floor contains a bar and restaurant taking advantage of its elevated position on the site.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 110/131

Clubhouse. Providing a central space for amateur sport on the site the clubhouse incorporates catering and bar space alongside a sunken auditorium for the screening of matches on a sliding digital display. This auditorium can also act as a flood detention basin. The roof of the clubhouse is traversable allowing spectating of the adjacent pitch from an elevated position. Seating on the terrace can be positioned outside of the clubhouse to accommodate larger numbers. Hostel. Hostel Reception and service spaces occupy the ground floor with the 50 beds found on the upper floors. Accessed through a stair and lift core with rooms reached off of an external walkway. This walkway can be covered with an facade screen that can be unrolled from the roof to act as a projection screen for the away match stand. The roof space provides a raised communal space to allow residents to meet and relax.

ATR

SC[R]AT

MArch2.

MArch1.

Design Studio C

Clubhouse. Design Studio D

Hostel.

Providing a central space for amateur sport on the site the clubhouse incorporates catering and bar space alongside a sunken auditorium for the screening of matches. This auditorium can also act as a flood deflection basin. The roof of the clubhouse is traversable allowing spectating of the adjacent pitch from an elevated position. Seating on the terrace can be positioned outside of the clubhouse to accommodate larger numbers.

The hostel sleeps 50 visitors with the rooms arranged in a similar way to a motel with rooms reached off of an external walkway. This walkway can be covered with an facade screen that can be unrolled from the roof to act as a projection screen for the away match stand. The roof space provides a raised communal space to allow residents to meet and relax.

Clubhouse. Providing a central space for amateur sport on the site the clubhouse incorporates catering and bar space alongside a sunken auditorium for the screening of matches. This auditorium can also act as a flood deflection basin. The roof of the clubhouse is traversable allowing spectating of the adjacent pitch from an elevated position. Seating on the terrace can be positioned outside of the clubhouse to accommodate larger numbers.

Design Studio A

Squash Courts.

AMPL

Design Studio H

Design Report

Security Centre.

Fire Station.

The addition of squash courts to the Olympic site gives the sport exposure in the city. The sport is on a potential list of new sports for upcoming games. The form of the courts is informed by the on court markings allowing the court size to be read from the exterior. Each court has a glass roof and door which is covered with a fabric roof which can be drawn or opened depending on sun levels. These courts can act as holding cells in the event of on site altercations.

Taking up a central position in the field the security centre acts as staff quarters for security personnel. The security centre’s ground floor provides a space for riot officers to gather pre deployment with the upper floors used for office space. Providing an observation room over the whole site the security tower also enables broadcasting services between the on site security posts and external security services.

The fire station utilizes water stored in the tank and serves the sites adjacent northern suburbs. The station is comprised of a series of simple industrial structures holding the program of, water storage, vehicle garage, accommodation/office space, changing rooms and fire hose drying tower. Positioned on the western edge of the field allows for vehicular access on and off of the site.

Hostel.

Squash Courts.

Security Centre.

Fire Station.

Squash Courts. The addition of squash courts to the Olympic site gives the sport exposure in the city. The sport is on a potential list of new sports for upcoming games. The form of the courts is informed by the on court markings allowing the court size to be read from the exterior. Each court has a glass roof and door which is covered with a fabric roof which can be drawn or opened depending on sun levels. These courts can act as holding cells in the event of on site altercations. Security Centre. Taking up a central position in the field the security centre acts as staff quarters for security personnel. The security centre’s ground floor provides a space for riot officers to gather pre deployment with the upper floors used for office space. Providing an observation room over the whole site the security tower also enables broadcasting services between the on site security posts and external security services. Fire Station. Utilizing water from the arrival hall tank the Fire station sits on the western edge of the field allowing vehicles to have fast access in and out of the site. The station is composed as 3 areas, water storage, training tower and the main block. Sleeping accommodation for 3 in incorporated into the upper floor of the main block with break space and meeting/admin rooms located on the lower floors. The Yard acts as the central space, with entrances to the garage and changing rooms located off of it. The yard space can be used as an external sports area or to park vehicles prior to them leaving the site to attend an emergency.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 111/131

Changing Room. Connected to the pitch stack via an upper walkway the changing rooms provide changing areas for teams and individuals using the site. The building features two levels of changing rooms with changing areas sized to suit varying team numbers. Rooms are screened from external sight lines through the colonnade which is passed through upon entry. Sports Betting. Providing an area for sports betting on the site this small scale structure serves visitors. Individual booths allow different companies to operate on the site with a grid of monitors displaying live sports. The small scale structure allows it to sit beneath the upper walkway which shelters punters from the elements.

MArch2.

MArch1.

Design Studio C

ATR Design Studio D Changing Room.

SC[R]AT Sports Betting.

Connected to the pitch stack via an upper walkway the changing rooms provide changing areas for teams and individuals using the site. The building features two levels of changing rooms with changing areas sized to suit varying team numbers. The changing rooms are screened from external sight lines through the colonnade which is passed through upon entry.

Providing an area for sports betting on the site serves visitors. Individual booths allow different companies to operate on the site with a grid of monitors displaying live sports. The small scale structure sits under and within the upper walkway which shelters punters from the elements.

Changing Room.

Sports Betting.

Design Studio A Weather Station.AMPL Acting as a safety device the weather station monitors climatic variations through weather balloons and on site inside the Stevenson screen. Then triggering a warning if an incoming flood is predicted. Accommodation for one meteorologist to reside in the station is found in the front section with the lab located to the rear along with the launch room for the weather balloons. The structure is held by a steel frame raising the equipment off of the ground to protect it from potential site flooding.

Weather Station.

Design Studio H

Security Post.Design Report

Market Stall.

Positioned strategically across the site the network of security posts allow for an on site presence to be maintained without the need for large numbers of on site officers. The post is networked through the security tower allowing the individually manned posts to be in constant communication.

Market stalls are owned by the vendor. This sense of ownership brings a sense of responsibility to the vendors. These stalls are marked, allowing them to be located in their respective positions. The stalls act as a shop front but also as a storage locker allowing the merchandise to be kept on site ready for sale. These market stalls are stored within the arrival block when not in use or when flooding is expected.

Security Post.

Market Stall.

the changing rooms provide changing areas Changing Room. for teams and individuals using the site. The

Connected to the pitch stack via an upper walkway

serves visitors. Individual booths allow different Sports Betting. companies to operate on the site with a grid of

Providing an area for sports betting on the site

monitors climatic variations through weather Weather Station. balloons and on site inside the Stevenson screen.

Acting as a safety device the weather station

of security postsPost. allow for an on site presence to Security be maintained without the need for large numbers

Positioned strategically across the site the network

of ownership brings a sense of responsibility to the Market Stall. vendors. These stalls are marked, allowing them to

Market stalls are owned by the vendor. This sense

building features two levels of changing rooms Connected to the pitch stack viato ansuit upper walkway with changing areas sized varying team thenumbers. changing provide areas Therooms changing roomschanging are screened from forexternal teams sight and lines individuals using the site. The through the colonnade which is building features two levels of changing rooms passed through upon entry. with changing areas sized to suit varying team numbers. The changing rooms are screened from external sight lines through the colonnade which is passed through upon entry.

monitors displaying live sports. The small scale Providing for and sports betting on the site structureansitsarea under within the upper walkway serves booths allow different whichvisitors. sheltersIndividual punters from the elements. companies to operate on the site with a grid of monitors displaying live sports. The small scale structure sits under and within the upper walkway which shelters punters from the elements.

Then triggering a warning if an incoming flood is Acting as a Accommodation safety device the station predicted. for weather one meteorologist monitors variations weather to resideclimatic in the station is foundthrough in the front section balloons site inside the Stevenson screen. with theand lab on located to the rear along with the launch Then triggering a warning if an incoming flood is is room for the weather balloons. The structure predicted. Accommodation for one meteorologist held by a steel frame raising the equipment off of to the reside in thetostation in the front ground protectisit found from potential sitesection flooding. with the lab located to the rear along with the launch room for the weather balloons. The structure is held by a steel frame raising the equipment off of the ground to protect it from potential site flooding.

of on site officers. The post is networked through Positioned strategically across the site the network the security tower allowing the individually manned of posts security posts allow forcommunication. an on site presence to to be in constant be maintained without the need for large numbers of on site officers. The post is networked through the security tower allowing the individually manned posts to be in constant communication.

be located in their respective positions. The stalls Market stalls are owned by also the vendor. This sense act as a shop front but as a storage locker of allowing ownership a sense of to ready the thebrings merchandise to responsibility be kept on site vendors. These stalls are marked, allowing them for sale. These market stalls are stored withintothe bearrival located in their respective positions. stalls is block when not in use or whenThe flooding actexpected. as a shop front but also as a storage locker allowing the merchandise to be kept on site ready for sale. These market stalls are stored within the arrival block when not in use or when flooding is expected.

Lockers

Filtration.

On site lockers allow for the field users to securely store their processions while participating in activities or events on site. The lockers have integrated seating positions to allow them to act as a quick change area for joggers.

The filtration centre is located to the north of the field. It pumps water onto the site with it passing through a series of screens of differing density to remove debris. This is an unmanned station operated remotely which allows the station to become completely submerged in times of flood.

Weather Station. Acting as a safety device the weather station monitors climatic variations through weather balloons and on site inside the Stevenson screen. Triggering a warning if an incoming flood is predicted. Accommodation for one meteorologist to reside in the station is found in the front section with the lab located to the rear along with the launch room for the weather balloons. The structure is held by a steel frame raising the equipment off of the ground to protect it from potential site flooding. Security Post. Positioned strategically across the site the network of security posts allow for an on site presence to be maintained without the need for large numbers of on site officers. The post is networked through the security tower allowing the individually manned posts to be in constant communication. Market Stall. Market stalls are owned by the vendor. This sense of ownership brings a sense of responsibility to the vendors. These stalls are marked, allowing them to be located in their respective positions. The stalls act as a shop front but also as a storage locker allowing the merchandise to be kept on site ready for sale. These market stalls are stored within the arrival block when not in use or when flooding is expected. Lockers. On site lockers allow for the field users to securely store their processions while participating in activities or events on site. The lockers have integrated seating positions to allow them to act as a quick change area for joggers.

Lockers

Filtration.

store their processions while participating in Lockers activities or events on site. The lockers have

On site lockers allow for the field users to securely

field. It pumps water onto the site with it passing Filtration. through a series of screens of differing density

integrated seating positions to allow them to act Onassite lockers allow for theforfield users to securely a quick change area joggers. store their processions while participating in activities or events on site. The lockers have integrated seating positions to allow them to act as a quick change area for joggers.

to remove debris. This is an unmanned station The filtration remotely centre is which locatedallows to the the northstation of the to operated field. It pumps water onto the site in with it passing become completely submerged times of flood. through a series of screens of differing density to remove debris. This is an unmanned station operated remotely which allows the station to become completely submerged in times of flood.

The filtration centre is located to the north of the

Filtration. The filtration centre is located to the north of the field. It pumps water onto the site with it passing through a series of screens of differing density to remove debris. This is an unmanned station operated remotely which allows the station to become completely submerged in times of flood.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 112/131

ATR

Design Studio D

MArch2.

MArch1.

Design Studio C

SC[R]AT

Design Studio A

AMPL

Design Studio H

Design Report

111.

1. 1. 1.

1. 1.

2. 2. 2.

2. 2.

3. 3.

4. 4.

5. 5. 5.

5. 5.

3. 4.

East.

Elevational Study. The field is not only as a series of elements but a built up urban environment. Through breaking the plan up into a series of strips elevations of the field can be closely studied. The elevation of each strip is drawn up independently prior to consolidation when they are merged and read as a single field elevation.

East. East. East. East.

East.

West.

West. West. West. West.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 113/131

Design Studio C

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

East Elevation.

Design Studio A

AMPL

Design Studio H

Design Report

East Elevation.

West Elevation.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 114/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

Site Use. Site Use. With the site being used for a number of of different events experiencing extrememes of crowds as the With site These being used forpick a number of of different site isthe used. studies a numnber of these events experiencing extrememes of crowds as the event and consider how the site may be occupied site used.The These studies pickreffers a numnber these and isused. notation used to theof original event consider site maycapturing be occupied crowdand diagram withhow thethe drawings the and used. The notation used reffers to the original totality of movemnt occuring over a duration of crowd diagram with the drawings capturing the time. Here the duration is short (10 secs) to allow a totality of movemnt occuring over a duration of large number of routes to be speculated. time. Here the duration is short (10 secs) to allow a large number of routes to be speculated.

Daily Use. All components in use Daily Use. All components Daily Use.

Match at Stadium.

Site Use Movement. The site can be used for a number of different events, experiencing varying extremes of occupation. These select studies take a number of these event and consider how the site may be occupied. The notation used references the original crowd diagram with the drawings capturing the totality of movement occurring over a duration of time. Here the duration is short (10 secs) to allow a large number of routes to be speculated. General Criteria

in use

All components in use

Flooding. Weather station signaling with route of floodwater being pumped to deflection basins and overflow Flooding. Weather station signalling with route of floodwater from arrival hall Flooding. Weather stationto signaling with route of floodwater pumped to deflectionfrom basins and overflow being pumped deflection basinsbeing and overflow arrival from arrival hall hall.

Trophy Procession. Fans gathering around market strip and on away match stand, players procession Trophy Procession. Fans gathering around market strip and

through arrival hall.

Trophy Procession. Fansstand, gathering around market strip and on away match stand, players procession on away match players procession through arrival hall.

through arrival hall.

Away Match Screening. Away match being shown on multiple screens allowing fan groups to experience

Market. Market for local residents occuring on market strip.

Match at Stadium. Home andHome away fans attending match in Olympic fans filteredmatch as they move Match at Stadium. and away fans stadium, attending in

Away Match Screening. Away match Away being shown on multiple screens allowing fan groups to experience Away Match Screening. match being shown on multiple

Market. Market for local residents occuringresidents on market strip. Market. Market for local

Olympic stadium, fans filtered as they move through field.

screens allowing fan groups to experience the game together.

Home and away fans attending match in Olympic stadium, fans filtered as they move

through field, through field,

the game together. the game together.

occurring on market strip.

Graduate Attributes

Notation of Movement.

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 115/131

Design Studio C

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Combined Routes.

Design Studio A

AMPL

Design Studio H

Design Report

Combined Site Use Routes.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 116/131

ATR

MArch2.

MArch1.

Design Studio C

SC[R]AT

Design Studio D

Design Studio A

AMPL

Design Studio H

Design Report

Adaptive Field. Adaptive Field. A study ofarea the area ateastern the eastern offield the field A study of the at the edgeedge of the analysing the ground condition relates to the analysing how how the ground condition relates to the site study use study and how it is affected bysite thisuse. site use. site use and how it is affected by this for study covers a variety of components The The areaarea for study covers a variety of components ground conditions including, squash courts, and and ground conditions including, squash courts, skatepark clubhouse. pitchpitch raft, raft, skatepark and and clubhouse.

1. 1.

Daily Use.

Match at Stadium.

Flooding.

2. 2.

3. 3. 4. 4.

5. 5.

6. 6.

DailyDaily Use.Use.

Adaptive Adaptive Field.Surfaces.

A study of the area at the eastern edge of the field analysing how the ground condition adapts and relates to the site use study and how it is affected by this site use. The area for study covers a variety of components and ground conditions including, squash courts, pitch raft, skate-park and clubhouse. Daily use - Surfaces and components being used for recreational sporting use. Away match - Large numbers of fans congregate to watch clubhouse screen Light security presence with other events shut down. Flooding - Site is evacuated with water filling up detention basins. Note Skatepark and pitch raft in area of study

A study of the area at the eastern edge of the field analysing how the ground condition relates to the site use study and how it is affected by this site use. The area for study covers a variety of components and ground conditions including, squash courts, pitch raft, skatepark and clubhouse.

Daily Use. Daily Use.

Away Match. Away Match. Away Match.

Flooding. Flooding. Flooding.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 117/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 118/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

2 x 35000 lm Projectors stacked for daylight projection

Projector room, Clad in polycarbonate

Fold-able plastic seating x 300 seats

1100mm Toughened glass balustrade

1500mm Sheet steel balustrade

Folded sheet steel staircase

Timber board stand

Away Match Stand - Internal Stair

Metal Stair

Steel â&#x20AC;&#x153;Iâ&#x20AC;? Posts

Concrete Ground Strip

Away Match Stand

Away Match Stand - Bar

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 119/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

Away Match Stand - 1:50 Sectional Model

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 120/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

Away Match Stand - 1:50 Sectional Model

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 121/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

Security Tower + Arrival Hall Roof.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 122/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

Pitch PitchStack Stack++Walkway. Walkway.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 123/131

140. Design Studio C

Studio Exhibition strategy: Studio work is curated in the gallery space with Models filling the central space, the collective studio work creating a new cityscape. Drawings are tightly packed Exhibition. and line the wallsstrategy: creating Studio a continuous which Studio Exhibition work isdrawing curatedsurface in the gallery wraps thespace space.with Models filling the central space, the collective studio work creating a new cityscape. Drawings are tightly packed and line the walls creating a continuous drawing surface which wraps the space.

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Exhibition.

Design Studio A

AMPL

Design Studio H

Design Report

An Exploded Field.

141.

Layers of the Field. The Field can be broken down into a series of layers. The Architectural are Away the realised forms, derived GameComponents Board + Match Stand. from the original mapping these create programatically defined areas which combine with each other in different ways to form the urban condition. Below this sits A Constellation of Architectural Types, types drawn from the historic stadium and redistributed on the site. This mapping is not physically transferred, it acts as a guide for the components and provides markers for temporary structures like markings on a pitch. Component Defined Ground Strips are the linear strips informed by the Program of the components, they provide a run off area of ground that allows activity to occur in a looser sense than in the prescribed area creating areas such as warm up space beside pitches. Historic Reading + Permeability, the ground condition of the exploded field in derived from a trace of the 2004 Olympic plan. This creates a juxtaposition of geometries between the concentric rings and the exploded field. Readings of the past architectural arrangement can therefore be gained through the ground. The materiality of this ground relates to its programmatic adjacencies, expected footfall and permeability.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 124/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

Future Field. An Exploded field has been developed looking towards the future and the regeneration of the city. The proposal is not seen as the final outcome on the site, rather the start of a new way of inhabiting the Olympic Park. The piece of Urban infrastructure as a placeholder for event to occupy. The events considered primarily in this thesis relate to sports and recreational activities however the field could cater for a much wider range of “events”. New programme could be introduced into the site with the architectural components acting as vessels adapting to suit the new requirements: Refugee Housing A transient University Olympic Sports Museum Summer School Festival Venue Changing rooms become additional dorm space catering for the homeless or refugees. The away match stand, an outdoor lecture facility. The arrival hall, an exhibition / gallery space. Squash courts, class rooms. The framework is in place for occupation of any program, adapting to the needs of the city. Usage could overlap allowing for a diverse range of users begin to occupy the site. To speculate a timeline for the sites future use would be to make assumptions for Athens’ future requirements. The city and country is still in a volatile state of flux trying to remain grounded and deal with its problems. The on-site architecture itself will likely become extensively marked by the floods. Graffiti and marks made by the fans and stained surfaces and new datum lines through the water. This site marking is crucial in allowing the exploded field to become embedded in the cities fabric just as the original stadium.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 125/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

Conclusion. This thesis has looked to reactivate and re-establish Athens Olympic park as a centre for activity and event, through the development of a new piece of urban infrastructure that sits on the site. An exploded Field. The field creates a new way of designing urban spaces that reference historic city fabric. Developed through a series of mapping and recoding stages with the original reading of the Apostolos Nikolaidis Stadium, â&#x20AC;&#x153;A constellation of architectural typesâ&#x20AC;? serving as the key document and plan generator for the project. This document was tested in a number of ways and acted as an advisor throughout the design phase. Designing was done in partnership with this drawing where the constraints in plan were provided by the marks on the field, acting as guidelines informing the design, but not restricting it. Instead pushing the design to develop new ways of reading the drawing in order to create functional architectural components that would rest on the field, accumulating to create the new dense urban environment. Programatically the field is successful in accommodating event and addressing flooding of the site on multiple levels. The fan flooding, through considered movement routes and areas designed for the spectating of away matches are the key aspects in accommodating their needs, a desire to support their team. The Flooding of water onto the site resolved through creating a designed flood management system to allow the site to operate as a flood plane resulting in an overall design approach that is applied across all architectural components. Factors to ensure that components are robust enough to resist the pressures of flooding and sit on a ground plane devised to direct and absorb the water as required. The addition of detention basins and tanks into the forms of the selected components creates an initial safety measure in protecting the city. The proposal has opened up the site to the wider city through its connection to existing infrastructural links allowing Athensâ&#x20AC;&#x2122; residents to experience the new urban centre and rediscover the Olympic park.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 126/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

DesignReport.

This core module, taken in the second semester of the MArch Year 2, requires the student to produce a comprehensive design report that documents in detail one of the projects that the student has completed during the Programme. The Design Report sets out the research and design development undertaken, incorporating images including the key representations of the project itself. The design report should allow the reader to follow the student’s study process, allowing an understanding of the material examined, decisions taken, etc. While the report is an academic document that must be fully referenced and observe all relevant protocols as set out in the briefing materials issued to students, is also itself a designed object.

Design Report.

A Design Report in architectural practice situations (competitions, project tenders, planning applications, funding applications, post-occupancy evaluations, peer publication/ dissemination) is often constructed to both introduce and to document architectural designs. Audiences for a Design Report include both those architects and other specialists in the discipline interested in the design, how it works, how it came into being, and how effective it is, as well as those in the wider context of commissioning, public approvals, legislation and project implementation connected with the application and effectiveness of the design. In Architectural Education, a Design Report may be constructed to both introduce and to document a significant architectural design project. Brief Extract Learning Outcomes. LO1 – The ability to communicate, critically appraise and argue the rationale of a design proposal using text and image in the context of a printed report. LO2 – Demonstration, through architectural design, of the integration of knowledge in architectural theory, technological and environmental strategies, and an understanding of architecture’s professional and economic context. LO3 - The development of transferable skills and techniques through the preparation of a sophisticated graphic document.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 127/131

ATR

Design Studio D

MArch2.

MArch1.

Design Studio C

SC[R]AT

Design Studio A

AMPL

Design Studio H

Design Report

AN EXPLODED FIELD. Game Surface Urbanism. Angus Bolland

AN EXPLODED FIELD.

Game Surface Urbanism. Angus Bolland

Cover Wrap.

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 128/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Contents.

Synopsis.

Bibliography [Select]

Synopsis. p3. Contents. p4. Prologue. p6. Glossary of Terms. p10. An Exploded Field.

Athens is a city embedded in Sporting History, the birthplace of the Modern Olympics. It has been a part of Greek Culture for centuries. Historic sporting venues form key locations across the city, they are preserved as monuments, precious objects held within the museum of the city. This treatment is contrasted by the cities contemporary sporting venues. Sporting culture in Greece and in particular Athens can be directly tied back to the social and economic prosperity of the country. In recent years, the city has had a influx of migrants seeking work and a safe place to live this has resulted in the cities resources becoming stretched and large debts suffocating governmental powers. The lack of support from the authorities has resulted in the deterioration of the city. This has caused sporting groups to become the outlets for many of the city’s residents to express their discontent. Climatically the city is situated in a volatile position, with global warming causing Athens’ Northern Suburbs to suffer from flash flooding annually in the winter months. This flooding is related to the cities geographical location alongside poor sanitation systems and drainage throughout the city. In recent years Greece’s Football culture has become increasingly violent and aggressive, with fighting occurring between fan groups and the authorities rather than focussing on rival fan groups. This thesis proposes a new Piece of Urban infrastructure in the city. Tasked with re-calibrating the neglected 2004 Olympic site, where the remnants of the games event structures sit as contemporary ruins in the park. The proposal “An Exploded Field.” reactivates this site using interrogation and reprogramming through mapping of the Apostolos Stadium , home of the city’s most historic Football team, Panathinaikos.

Baden-Powell, C., 2011. Architect’s Pocket Book. 4th ed. Oxford: Architectural Press. Bow-Wow, A., 2014. Graphic Anatomy 2. Japan: TOTO Publishing. Davies , C., 1991. High Tech Architecture. London: Thames & Hudson. Dawson, P., 2013. The field guide to typography. London: Thames & Hudson. Finlay , A., 2002. Labanotation the Archie Gemmill goal. Edinburgh: Pocketbooks and Morning Star Publications. Gooding, M., 2004. Taveria Sports Architecture. London: Artmedia Press. James Stevens Curl, E., 2006. Dictionary of Architecture and Landcsape Architecture. 2nd ed. Oxford: Oxford University Press. Lewis, P., Tsurumaki, M. & Lewis, D. J., 2016. Manual of Section. New York: Princeton Architectural Press. Phillips , D. & Yamashita, M., 2012. Detail in Contemporary Concrete Architecture. London: Laurence King Publishing. Rossi, A., 1982. The Architecture of the city. New York: Opposition Books. Tzonis, A., 2002. Santiago Calatrava The Poetics of Movement. London: Thames & Hudson. Watts, V., 2015. Benesh Movement Notation and Labanotation: From Inception to Establishment (19191977). Dance Chronicle, 29 October, pp. 275-304.

1.Reading the Field. p12. i. Proposition ii. Fan Movement iii. Fan Movement iv. A Constellation of Architectural Types 2.Situating the Field. p26. i. Apostolos Nikolaidis Stadium ii. Prosfygika Housing iii. Curating the stadia iv. Olympic Site - Spiros Louis v. A Violent Floods vi. Plan Generation 3.Setting the Field. p64. i. Relocating the field ii. Recalibrating iii. City Connections iv. Site Ground v. Recycling Structures 4.Testing the Field. p46. i. Route Making ii. Zoning iii. Flooding iv. Arrival Hall v. Market Stalls vi. Away Match Stand 5.Composing the Field. p90. i. Architectural Components ii. Layers of the field. iii. Component Descriptions iv. Elevational Study v. The Game Board 6.Inhabiting the Field. p118. i. Arrival ii. Site Use iii. Adaptive Surface iv. Inhabitation Visuals v, Exhibition 7.AMPL.+ Environment p140. i. Planning ii. Structural Strategy iii. Build-ability iv. Phasing v. Environmental vi. Escape + Access Epilogue. p156. i. Future Field ii. Conclusion iii. Bibliography iv. Image Ref Appendix. p160.

The thesis opens up new opportunities for activities and events to occur on the site through the urbanisation of a new dense patch on the site. This amplifies the potential of the site as a new centre in the greater city through connection to existing road and rail networks. Creating an area for the spectating of matches whilst promoting sport as a recreational outlet for residents alongside acting as a flood basin to protect Athens’ historic centre.

Design Report

http://www.bbc.co.uk/news/world-europe-35667769 http://www.bbc.co.uk/sport/football/34849318 http://www.edinburgh.gov.uk/info/20067/planning_ applications/756/apply_for_major_development_ planning_ permission http://www.urbanisten.nl/wp/ http://floodlist.com/?s=athens&submit http://www.soundandspace.org/texts/prosfygikahousingcomplex.html https://www.theguardian.com/football/copa90/2015/ dec/16/ greek-football-crisis-panathinaikos-olympiakos http://www.ultras-tifo.net/ http://www.who.int/fctc/reporting/party_reports/greece_ annex1_the_greek_tobacco_epidemic_2011.pdf http://www.weatheronline.co.uk/Greece/Athens.htm

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 129/131

ATR

Design Studio D

MArch2.

MArch1.

Design Studio C

SC[R]AT

Design Studio A

AMPL

Design Studio H

Design Report

Sample Pages.

70.

30.

71.

Apostolos Nikolaidis Stadium. 7’s FOOTBALL PITCH.

URBAN ART.

GYM.

LOCKERS.

SQUASH COURTS. HOLDING CELL.

CHANGING ROOMS.

5’s FOOTBALL PITCH.

AWAY MATCH STAND.

INFORMAL SPORTS.

AWAY MATCH CLUBHOUSE. STAND.

jnr FOOTBALL PITCH.

HOTEL.

LOCKERS.

HOSTEL.

SECURITY CENTRE.

SQUASH COURTS. HOLDING CELL.

CHANGING ROOMS.

INFORMAL SPORTS.

AWAY MATCH STAND.

1:1000 N

The field is zoned through the series of linear ground strips with materiality relating to the volume of which they originate reading on top of the historic plan. Initial ideas on zoning related to activity or event spaces creating spheres of influence dependant on the associated programme . With the creation of routes through the field to accommodate the movement of fans. This was developed through incorporating the ground condition into the zoning where the programme would have an auxiliary space adjacent which relates to the activity it accommodates. (eg, astroturf sector located next to pitches to allow for warm up/ informal games.)

p30-31

p70-71

131.

156.

157.

Means of Escape.

Universal Access.

Mean of escape when dealing with crowds of people moving through a space is or critical importance. The strategy for escape needs to be robust enough to deal with every possible eventuality with vendors cooking food and fans potentially lighting flares there is potential risk of fire being brought to the site by visitors. Escape from fire is achieved when you either move outside of the building in open air, or into a “protected zone” such as the other side of a compartment wall1. The market stair could be considered “outdoor” and in “open air” however it is still important to consider a safe rout off of the stair and onto the ground away from the building as the stair is covered by the roof deck. Crucial to the escape strategy is the Circulation core, this area is lined with 2 layers of fireproof plasterboard to exceed the minimum 1 hour protection required it connects all levels of the building and therefore is considered the primary route of escape, all doors into the space are fire doors with appropriate sealing strips fitted. Large volumes of people may be using the space so multiple escape routes are required (escape in 2 directions giving a 32m travel distance in accordance with BS5588 and regulation 2.11 for fire in non domestic buildings)therefore the market stair acts another key escape route with its width allowing for large numbers of visitors to escape. If this route is blocked by the fire alternative routes are available through the metro station to the north or via the external fire stair.

Ease of access is an important consideration to allow all residents of Athens use of the site. As the scheme is a new public urban development all areas should be wheel chair accessible, an aspect achieved through connecting stair and lift cores to all multi-storey blocks. The arrival hall achieves access to all levels through the lift in the circulation core. Accessible WC facilities are made available alongside the standard WC facilities. The existing site entrances are maintained and station lifts accommodate site access for wheelchair users down from the metro to ground level. Level access to the site can also be achieved via the adjacent car parking facility to the east providing designated spaces for disabled visitors. (The Building regulations 2010 approved document M vol2 regulation 1.14)

The proximity of the fire station on site is beneficial in reducing response time to any emergencies. Fire-fighters are able to access the north of the hall through the road entrance or the base of the stair from the site enabling effective fire-fighting. The water tank held within the hall could be a potential strategy for a sprinkler system to be fitted within the office block which draws water from the tank. It should be noted that it would be difficult to implement smoke alarms within the main market stair space (considered external)as it is likely that many locals would smoke in the space on the way to events (Greece has the most smokers [er capita in the E.U2) this would lead to many false alarms.

p130-131

An Exploded Field.

Zoning the Field.

The existing architecture is not treated as a museum piece which is preserved and presented as an artefact of antiquity, as is found elsewhere in the city (Panathenaic stadium). The fabric of the stadium contrasts contemporary sports venues, it has been marked by fans, through use and murals. A shrine to the team, creating an intense intimidating environment to visitors and therefore visiting teams. Violent Outbursts are not uncommon here and this is reflected in the stadiums appearance with barbed wire wrapping the façade.

130.

GANTRY.

MARKET.

BAR.

Capacity croud 1981: 29,000+ Current Capacity 16,003

WEATHER STATION.

GANTRY.

MARKET.

FIRE STATION.

The stadium is the oldest football stadium in the country which is still operational, home of Panathinaikos Athens most historic team. It is an urban artefact in the city, altered and re-altered over its years of use allowing it to remain in use. Adapted to suit the changing requirements of a “contemporary” stadium. The stadium sits in a dense urban environment in central Athens, located on the north side of Lycabettus Hill. Anchored to the Leof. Alexandras(Alexandras Avenue), connecting the stadium to the wider city. The stadium sits nestled within a bed of urban blocks, controlling routes and sight lines towards and from the stadium.

OFFICE.

EXHIBITION.

WATER TANK.

Address: Leof. Alexandras 160, Athina 115 21, Greece Date built : 1922

Escape Routes Vehicle Access

The site is flat and can be navigated around using the programmatic ground strips to orientate visitors and the visually impaired as the ground surface material of the external and internal spaces are often shared this provides a seamless threshold with suitable door opening widths for wheelchair users. Signage and text becomes layered onto the architecture at different scales allowing it to be read from multiple viewpoints in order to direct visitors and help to manage large crowd movement. This “programmatic graffiti” aids route-making and navigation through the field without the need to be led by a map or traditional sign post.

1. The Building Regulations 2010, Fire Safety, Approved Document B, Volume 2 – Buildings Other Than Dwellinghouses, 2006 edition, incorporating 2007 and 2010 amendments 2. http://www.who.int/fctc/reporting/party_reports/ greece_annex1_the_greek_tobacco_epidemic_2011.pdf

p156-157

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 130/131

ATR

Design Studio D

SC[R]AT

MArch2.

MArch1.

Design Studio C

Design Studio A

AMPL

Design Studio H

Design Report

General Criteria

Graduate Attributes

1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 1.2 2.2 3.2 4.2 5.2 6.2 7.2 8.2 9.2 10.2 11.2 1.3 2.3 3.3 4.3 5.3 6.3 7.3 8.3 9.3 10.3 11.3

2.1 2.2 2.3 2.4 2.5 2.6 2.7 131/131