IARD (International Architecture Regeneration and Development) Writings

IARD (INTERNATIONAL ARCHITECTURE REGENERATION AND DEVELOPMENT) WRITINGS

AUSTIN WYETH

ACADEMIC YEARS 2018/19 - 2019/20

CONTENTS

A- INTRODUCTION

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1 - T R A N S F O R M A T I O N : H o w N a t i v e A m e r i c a n B u i l d i n g C u l t u r e a n d Tr a d i t i o n i s Tr a n s f o r m e d and is Expressed in contemporary architecture

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2- MORE THAN COFFEE: Local Cultural Diver sity in Global Coffee Culture

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3 - A R C H I T E C T U R A L D E B AT E : A r c h i t e c t u r e i s a Te x t T h a t E n c o d e s C u l t u r a l Va l u e s a n d M e a n ings

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4 - A R C H I T E C T U R A L D E B AT E : T h e R e g e n e r a t i o n of Historic Building Does Not Inevitably Re sult in the loss of Their Authentic Charac ter

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4 - M O D E R N P U B L I C S PA C E : A S p a t i a l A s s e s m e n t o f Tu r b i n e H a l l

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5 - C A S E S T U D Y | S P R E E H A L L E I N B E R L I N | FIELDEN CLEGG BRADLEY

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B- CONCLUSIONS

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INTRODUCTION: The Following is a compilation of essays and research documents produced throughout the first academic year of my Masters in Architectural Applied Design at Oxford Brookes University. The year focused on the specialisation of International Architecture Development and Regeneration The writings cover a wide range of subject matter within the specialisation as they were a product of specialised modules.

The Modules were as follows: Vernacular Architecturen Sutainability and Development, Architecture Culture and Tradition, Applications in Regeneration and Research Methods for Design.

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TRANSFORMATION Case Study: Studio Indigenous - How Native American Building Culture and Tradition Has Transformed and is Expressed in Contemporary Architecture

P30022 - Vernacular Architecture, Sustainability and Development Austin Wyeth MArchD Applied Design in Architecture Academic Year 2017-2018

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INTRODUCTION

In 1620 Englishmen landed at Plymouth to establish Jamestown. By 1625 the settlements were overcrowded, and the Europeans asked for 12,000 additional acres of land. It was the first native american to european land deed. In the following years swaths of new settlers and immigrants forced natives further west, as settlers continually made treaties, broke them, and claimed land. The Five Nations of The Iroquois were defeated by the 1750’s. In 1838 gold was discovered in the Appalachians, and the Great Cherokee nation was forced west, in mass exodus, to Indian reservations on their “Trail of Tears”. And With the discovery of gold in California in 1848, “Manifest Destiny” was declared and the conquest of the American west began. (Brown, D. 1971). Over the next 40 years leading up to the massacre at Wounded Knee, countless native nations and tribes west of the Mississippi were, rounded up and put on reservations, displaced, and massacred. They were systematically exterminated in large numbers of them, and their culture was forcibly assimilated.

This continual oppression of the indigenous people resulted in a span of time during which native communities in North America have had virtually no indigenous architecture, as their culture was cut off, their lands taken, and their living situation forced. Put in low cost government housing and community projects primarily designed by external sources.

Native American architecture and architects have emerged since the 1960’s but the lack of tangible vernacular and traditional architecture for a large majority of tribes presents a large gap in the building culture of Native Americans. Present day architect Christopher Cornelius, of Studio Indigenous, and a Native American, is designing architecture for native american clients, and is attempting to fill this gap. As a member of the Oneida tribe of Wisconsin, architect, and professor he strives to design and teach architecture from a native american worldview.

AIMS AND OBJECTIVES

How has Native American architecture, building ,culture, and tradition transformed?

What does this mean for cultural tradition and cultural architecture today?

Analyze the devloution and eloution of Native American archiitecture to set a base from the English Settlement through the 200’s

Discover contemporary Native American architecture and its relation to cultural traditional and building culture.

Discover contemporary Native American architecture and its relation to cultural traditional and building culture.

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In the 1960’s and early 70’s native american began to reconsider cultural expression, values, and heritage and the ways in which they could be implemented and help overcome difficulties in there communities. Along with a language revival, and and economic development providing the opportunity, “Greater public awareness of past social injustices and a new emphasis on group identity rather than the "melting pot" ideology created a favorable background for efforts to make architecture, as the setting for life, more relevant to the traditions of Native American users” (Wishart, 2011).

METHODOLOGY The report will utlize literature review to establish a base knowledge of the history of Native American displacement and opression. Then will analyze the literature on difficulties of contemporary architects to convey Native American culture and tradition.

However even these efforts could only extend so far and inevitably result in hybridized architecture. As Krinsky points out, contemporary Native American architecture reflects indigenous past, however this past is a continuum, “complete assimilation to Europe-North American values at one end, and maintenance of pre colonised traditions at the other (Krinsky 1996). Even when attempting to emphasize these roots, assimilation of culture, and societal barriers inevitable create a hybridized new form of “native american architecture” For example a reservation school “is part of a State’s education system, not an Indigenous invention, and the idea of a museum to show cultural artefacts differs entirely from traditional practices in which the artefacts were objects of use in daily life and ritual” (Krinsky 1996). Thus creating, an architecture that reflects constrained choices due to European - North American government and culture. Nevertheless from the 60’s on various attempts by architects to do this took place in various ways in attempt to display some lost cultural expression through building culture and tradition.

Next the report will analyze existing built projects by and for native american communities from the 60’s cultural revolution through the early 2000’s, to gain a knowledge of the different ways in which native americans have tried to express culture and tradition in their architecture.

Then the report focuses in on Studio Indigenous, and Christopher Cornelius’ design language. Case study analysis of three of his award winning projects, and work process through content analysis. With the goal of revealing where he fits in the evolution of native american building culture in the contemporary architectural world, and add to the body of knowledge already existing on how culture and tradition adapt over time in response

BUILDING ANALYSIS LITERATURE REVIEW SINGULAR EVOCATION 1972 - Chief Gall Inn As touched upon the systematic oppression of native tribes, strippin of their land, and culture almost resulted in an inability to even “consider a special type of architecture on the continent Before the 1960’s and after the major destruction of majority of native american vernacular architecture.” The rapid displacement into Indian reservations left many of these tribes with no tangible culture. They were forced to live in barren places where they could not farm, and “little attention was paid to cultural relevance when designing housing and other structures on Indian reservations” (Krinsky 1996). According to Carol Krinsky Pressure to assimilate, finances, and supposed efficiency, lead to housing on reservations that was foreign, or “was built to resemble housing for other groups, however different the cultural contexts” (Wishart, 2011). Additionally the buildings had a severe lack of the natural and environmental context.

Figure 1: Chief Gall Inn (@google images)

Located in Standing Rock Indian Reservation, South Dakota, it is one example of specific evocation of a historical form. In this case the teepee is used as roof structures for this complex. Designed by Harrison Bagg, it precludes the use of the building, a traditionally non permanent structure, made to be lightweight and transportable. Nevertheless the community may be attempting to evoke a specific idea or link to the historic pass despite the building function. (Grant, E., Greenop, K., Refiti, A. L. and Glenn, D. J. 2018)

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FORM AND PLAN 1973 - Ned A Hatathli Center

Figure 2: Ned A Hatathli Center (@google images)

Figure 3: Seneca-Iroquois National Museumr (@google images)

Traditional craft and the subsequent patORNAMENTATION 1977 - Seneca-Iroquois National Museum, terns and images produced in native american life became another way in which “culSalamanca, New York, ture” could be expressed. Lloyd Barnwell and artistic designer Carson Waterman (both Seneca) designed geometric motifs that clad the Seneca-Iroquois National Museum in Salamanca, New York. The establishment of the museum was of greater importance than elaborate architecture, and the ornament sufficiently identifies the building as something other than a utilitarian structure (Krinsky 1996).

TRADITIONAL MATERIALS 1983 - San Felipe Elementary, New Mexico

Figure 4: San Felipe Elementary Khan Academy

Ned A. Hatathli Center at the Diné College In Arizona on the Navajo Nation Indian Reservation, the Navajo (Diné) expressed historical architecture values through form and plan. Octagonal in form and plan it refers to a ‘hogan’, a traditional structure used for many purposes, principally that of housing (Grant, E., Greenop, K., Refiti, A. L. and Glenn, D. J. 2018). Traditionally log structure building, traditional materials were unable to be used to comply with modern necessities for college educational practices.

Where traditional material can still comply with modern standards, native communities have take advantage of adopting them to contemporary buildings. The elementary school building in the southwest, built of adobe, is able to moderate heat during the warm months. This material construction method results in cubic forms traditional to native architecture of the area, despite the building programme differential.

NATURAL FORMS 1995 - Oneida Elementary School

Nature being a primary part of native american culture has caused several buildings to emerge directly referencing “natural forms” The Oneida Nation in Wisconsin built the Oneida Elementary school, a school with a plan in the form of a turtle.

NATURAL FORMS 2004 - National Museum of the American Indians, Washington, DC,

In 2004 architect The National Museum of the American Indian in Washington, D.C., opened. The boldly contoured facade confronts the neoclassical design of the Capitol.

Inside and out, curving lines dominate because some Native American design participants claimed that these contours were natural and indigenous; they saw rigid straight lines as imports from abroad. (Khan Academy, 2019).

Figure 5: Oneida Elementary School (@google images)

Figure 6: National Museum of the American Indians (@google images)

CASE STUDY FINDINGS

Studio Indigenous strives to take the next step in realizing contemporary native american architecture, tradition, and building culture. Cornelius thinks beyond the motif, allusory, and iconographic aspects of architecture. In an interview regarding his projects, he said he tries to “figure out what the cultural values are and translate those into space” (Butler, K 2017) Adjusting to the realities of modern day, he has emphasized the importance of not only thinking back towards tradition of the past, but conveying a contemporary narrative for these communities. To design in a way that is translated from Native American worldviews.

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His Indian Community School in Milwaukee, Winner of the 2009 Design Excellence Award for Educational Buildings, is developed from highly complex diagrammatics that hope to accurately translate the cultural values of the the student body that represents 11 Native Nations. By analyzing natural elements, fauna, flora, weather of the site, migratory patterns, cultural relations to nature, and social relations relative to these, he created a complex yet complimentary public community center and school to tell the narrative of these 11 tribes. He is adamant that he wants to remain devoid of anything stylistic, but instead allow his “voice to express itself, and that has turned into an aesthetic that is latent to the process.” (Butler, K 2017)

Wiikiaami, 2017 J. Irwin & Xenia S. Miller Prize Winner, and an exhibition piece in Columbus Indiana. Wiikiammi means wigwam in the language of the Miyaamia people native to Indiana. Cornelius starts every project with The wigwam, a traditional dwelling of these people, became the base for Cornelius’s design. He was purposeful not to copy the form in contemporary design, but create a structure that reflects how native people see the world, see nature, and see building. By learning from the constituent parts, materials, forms, and building processes he discerned design decisions and created a structure using contemporary materials. Constructed of steel rebar, and expanded steel screen panels, the materials are contemporary yet evoke a similar feel to a traditional wigwam. The project bends and reaches to the light between the canopy, sympathetic to nature. The project was constructed by first creating a wood form, and then assembled by local steel workers. Cornelius maintains that this correlation of community building this structure by hand to how people used to construct buildings as community is integral to the project and his architectural vision. He describes the project as “the confluence of indigenous design and architectural statement” (Exhibit Columbus 2019).

Figure 7-10: National Museum of the American Indians

Figure 11-14: National Museum of the American Indians

(Studio Indigenous 2019)

(Studio Indigenous 2019)

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CONCLUSION Cornelius’ approach to drawing and design is one large aspect of what sets his practice apart. His drawings use a complex system of layers, colors, and geometries to create provocative narrative. He believes that the way in which he draws allows him to translate “Native American culture through architecture and experience” (Cornelius 19) He also heavily draws on the tradition of oral storytelling and history as a source from which to draw new inspiration. In relation to helping the design process, Cornelius believes oral tradition can give you direction and life lessons, but not an outright blueprint of what to and not to do.

Long gone are the days of Indigenous North America, and likewise long gone is that architecture. However Christopher Cornelius now, 60 years removed from the original cultural revival or nativeamericans, is putting forth a different narrative.Devoid of much tangible traditional architecture to reference, he is showing through his work process that culture, tradition and there in architecture can adapt and inform design to become something more.

Establishing a new cultural tradition and expression, conveying a contemporary narrative for Native Americans.

In the Moon Domicile research, each drawing/project is guided by the moon calendar of his tribe, the Oneida. Responding to the different aspects of each moon. Then digitally, forms are derived from wind data of a particular moon/month for each drawing. Each project responds differently, as if the maker has tacit knowledge of the environment. (Cornelius 2019).

Today is an age of globalisation, and rapid decline of what one might call vernacular architecture and traditional cultures. As the “traditional” forms and types of buildings disappear, new contemporary architecture also emerges based in and expressed by adapted and ever changing cultures. Studio Indigenous is an example of how culture is fluid and ever changing, not stagnant, tied to one period of time.

Figure 15-20: National Museum of the American Indians (Studio Indigenous 2019)

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REFERENCES Brown, D. (1971) Bury My Heart at Wounded Knee : An Indian History of The American West.

London: Barrie & Jenkins.

Butler, K. (2017). Chris Cornelius Translates Culture in to Contemporary Architectural Design. [online] Indian Country Today. Available at: https://newsmaven.io/indiancountrytoday/archive/chris-corne lius-translates-culture-in-to-contemporary-architectural-design-X4MoqSWpVky87fY5zsquQg/ [Accessed 3 Apr. 2019].

Cornelius, C. (2019). studio:indigenous. [online] studio:indigenous. Available at: https://www.studioindigenous.com/ [Accessed 3 Apr. 2019].

Despland-Lichtert, N. (2017). Happy Indigenous Peoples' Day! Here's a look at some of our favorite contemporary practices led by Indigenous Architects. [online] Archinect. Available at: https://arch inect.com/features/article/150031973/happy-indigenous-peo ples-day-here-s-a-look-at-some-of-our-favorite-contempo rary-practices-led-by-indigenous-archi tects [Accessed 3 Apr. 2019].

Webpages.uidaho.edu. (2019). Native American Architecture - Native American Architecture. [online] Available at: https://www.webpages.uidaho.edu/arch499/nonwest/Links_native_am.htm [Accessed 2 Apr. 2019].

Wishart, D. (2011). Encyclopedia of the Great Plains | NATIVE AMERICAN CONTEMPORARY ARCHITECTURE. [online] Plainshumanities.unl.edu. Available at: http://plainshumanities.unl.edu/en cyclopedia/doc/egp.arc.034 [Accessed 2 Apr. 2019].

LIST OF FIGURES Figure 1: Chief Gall Inn - Google Images - https://www.google.com/search?q=chief+gall+inn&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjr6ITjp7nhAhUBJFAKHaF4ATcQ_AUIDigB&biw=3072&bih=1502#imgrc=2 UI-5ZVU32eslM:

Docuseek2.com. (2019). Docuseek | Aboriginal Architecture. [online] Available at : http://docuseek2.com/bf-abarch [Accessed 2 Apr. 2019].

Ned A Hatathli Center - Google Images - https://www.google.com/search?biw = 3 0 7 2 & b i h = 1 5 0 2 & t b m = i s ch&sa=1&ei=83mnXL-5J4basAfigJPoCA&q=Ned+A+Hatathli+Center&oq=Ned+A+H atathli+Center&gs_l=img.3...68326.68326..69978...0.0..0.78.78.1......1....2j1..gws-wiz-img.u L8vZ_-1840#imgrc=iw6vJSgmcaN8rM:

Exhibit Columbus. (2019). studioindigenous | Exhibit Columbus. [online] Available at: https://exhibitcolumbus.org/contributor/studio-indigenous [Accessed 3 Apr. 2019].

Figure 3:

Grant, E., Greenop, K., Refiti, A. L. and Glenn, D. J. (eds) (2018) The handbook of contemporary indigenous architecture. Singapore: Springer. doi: 10.1007/978-981-10-6904-8.

Khan Academy. (2019). Contemporary Native American Architecture. [online] Available at: https://www.khanacademy.org/humanities/art-americas/na tive-north-america/native-american-con temporary-art/a/contemporary-native-american-architecture [Accessed 2 Apr. 2019].

Krinsky, C. H. (1996) Contemporary native american architecture : cultural regeneration and creativity. New York: Oxford University Press.

Figure 2:

Seneca-Iroquois National Museumr - Google h t t p s : / / w w w . g o o g l e . c o m / s e a r c h ? b i w = 3 0 7 2 & b i h = 1 5 0 2 & t b m = i s ch&sa=1&ei=OnqnXJCbJafjkgWl2oSYAg&q=Seneca-Iroquois+National+Museumr&oq=Seneca-Iroquois+National+Museumr&gs_l=img.3...59375.59375..60364...0.0..0.164.164.0j1......1....2j1.. gws-wiz-img.7e-rJWrLkDo#imgrc=_7eaKFnsvhWDZM: Figure 4: San Felipe Elementary Khan Academy tive-north-america/native-american-contemporary-art/a/contemporary-native-american-architecture

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https://da.khanacademy.org/humanities/art-americas/na-

Figure 5: Oneida Elementary School gooogle images https://www.google.com/search?q=oneida+elementary&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjaytHCqbnhAhVB6aQKHT8lBicQ_AUIDygC&biw=1536&bih=751&dpr=2.5#imgrc=l3jXDaLQLdHOdM: Figure 6: National museum of Native Americans Khan tive-north-america/native-american-contemporary-art/a/contemporary-native-american-architecture]

Academy

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https://da.khanacademy.org/humanities/art-americas/na-

Figure 7- 10: studio Indigenous - https://www.studioindigenous.com/indian-community-school Figure 11- 14: Studio Indigenous - https://www.studioindigenous.com/wiikiaami Figure 15 - 20: Studio Indigenous - https://www.studioindigenous.com/research

Messner M. (2017). studio:indigenous, the firm rooted in the worldviews of Native Americans. [online] Archpaper.com. Available at: https://archpaper.com/2017/01/studio-indigenous-profile/ [Accessed 3 Apr. 2019].

Swan, D. (2019). Architecture, American Indian | The Encyclopedia of Oklahoma History and Culture. [online] Okhistory.org. Available at: https://www.okhistory.org/publications/enc/entry.php?en try=AR007 [Accessed 2 Apr. 2019].

Vodvarka (2016) “New Architecture on Indigenous Lands by Joy Monice Malnar and Frank Vodvarka (review)” Buildings & Landscapes: Journal of the Vernacular Architecture Forum, 23, pp. 119–120.

Wanas, A. (2006). Contemporary Native American Architecture of Northern America, The Cultural Dimension and Innovation Paradox. Journal of the Faculty of Fine Arts, Alexandria University, Alexan dria, Egypt.

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MORE THAN COFFEE? Local Cultural Diversity in Global Coffee Culture Austin Wyeth P30025

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INTRODUCTION

grast 1999). Coffee was traditionally primarily consumed at home, the advent of capitalism and globalisation has made it omnipresent in public life, where coffee houses have played a key role in popularizing coffee and building coffee culture. And as these phenomena grow, so do coffee shops. Coffee shops are a reflection of consumer culture, popping up everywhere, and have become so ubiquitous That it is fair to say that they have impacted global culture (Clark 2011).

As an avid coffee drinker and coffee shop frequenter I spent the first couple weeks of living in Cowley going to coffee shops, and deciding what coffee shops I would frequent most. As I did I started to think about what is was that drew me to different spaces more than others. As a design student the architectural quality and therein user experience of the space was always a large determinate of this. As I frequented different spaces, I had my preferences, and impart due to the coffee, but also in part due to the distinct cultural ties branded by these shops. As ‘space is basically formed by the relationship between an object and a human being who perceives it” (Ashihara 1981), I wanted to look into what the objects, qualities, architectural features, were that represent the culture I prescribed to most, and the others as well.

So as coffeeshops can recreate and symbolize the global influence of Western coffee culture, they can also express the uniqueness of a specific locale or cultural context. Coffee shops and cafes attract customers through unique atmospheres, a variety of services and ancillary products and associations with cultures (Clark 2011). Shops in general, and these cafe’s in specific, in the context of a historic neighborhood such as Cowley, consume and appropriate these buildings’ architecture to create a local and personalized character in the contemporary market. Through consumption people project their cultural values and meaning to the architecture (Maudlin & Vellinga 2014) often through appropriation. Appropriation in this context then allows people to create architectural cultures that are distinct from their context, via practices or ‘ways of living’ interactive with a palette of architectural models and typologies(Maudlin & Vellinga 2014).

In today's economically globalised consumer branding market, multinational coffee chains saturate almost every market. Cowley road has Costa Coffee, for example. However Cowley offers a wide array of different independent coffee shops, as well. These places still rely on modern day coffee culture economy for business, however their individuality creates unique customer experience, and architecture beyond everyday coffee culture. The paper will aim to analyze how diverse contemporary local cultures are reflected in the architectural appropriation, re-used and consumption of the shared medium of coffee shops. Focused on 2 coffee shops/cafes on Cowley Road, Mostro Coffee/ Truck Store, and Peloton Espresso. The report will begin with an in depth literature review into coffee shops, coffee culture, architectural appropriation display consumption and decoration, and cultural identity. The literature review will then help to inform the analysis of qualitative observation research in each of the separate locations done over the observation period.

CO WL

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Facade appropriation is foremost. For service businesses the exterior is rather important, “it often is what initially attracts a customer to a provider” (Joliffe 2010), and as Rem Koolhaas points out is the element of the building “most invested with political and cultural meaning” (Koolhaas 2014). Therefore it can be said that the exterior is the first step taken in appropriating architecture to provide consumption materials that “capture the attention of the customer and then communicate the type and quality expected” there by projecting a certain cultural through display (Ward 2003). Upon entry into a space the experience for a user shifts, the setting becomes its own in which “the physical and thematic features distinguish, in a quasi phonemic fashion, that setting from others in the community” ((Low & Lawrence-Zuniga, 2003). The offering of these spaces, through appropriations by the owner/consumer create a unique space that is reflective on a certain culture. Signage plays a major role in communicating these values, as it's usually first noticed “when entering a servicescape and are therefore used to form first impressions. Including aspects such as artwork, photos, certificates, graphics, etc. (Jolliffe 2010). The experience of the place and display of culture inherent further sees itself represented in the spatial layout, and interior architecture.

RO AD

PELOTON ESPRESSO

MOSTRO COFFEE

METHODOLOGY The literature provided a framework of elements to focus on through research. Further research into the shops histories and their goals was conducted to provide a base context to work from. To assess the proposed contemporary cultural diversity across coffee shops in Cowley, I frequented both the coffee shops over a period of 3 weeks. Diversifying my time in the spaces, I visited each of them three times for research observation. Each time at different time of day each time, and a different day of the week. To act as constants, I sat in the same location for each observation period, as well as keeping the time of observation a constant fory-five minutes for each. I documented the architectural elements of these spaces that projected the culture inherent to each space. My observations then focused on the way people interacted with the spaces, who was in these spaces, what activities were happening, and the way the architecture was consumed. Documentation was gathered through on site observation taking advantage of the following field research tools; sketching, photography, observation notes, and diagramming. In addition research as to the social, and cultural events happening at each of these locations was considered.

LITERATURE REVIEW As all of these cafes are of course coffee shops, they prescribe to stereotypes of modern day coffee culture.

Coffee is globally popular, the 2nd most consumed liquid product after water, and a culture itself has emerged around coffee, and coffee shops. They have become modern day third places, They provide, free wifi, comfort and regularity, an auxiliary place for humans apart from home and work. Following home and work, third places are the third staged habitats in cities (Mikunda 2004). With the increasing incidence of home laptop usage and work, plus laptops for personal, social and recreational use, it is important to consider the isolating effects of these activities and the impacts on public and private life” (Carr 1993). private life has become more social, just as public and social life and interactions have become more private.

Coffee shops provide “the ideal place for people who want to be alone but need company for it” (Pender

FINDINGS

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To clearly organize findings, they will look at each cafe independently, and the findings there in. After which comparison and analysis will be drawn from the findings. Mostro Coffee, located on the north side of the

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street, is a relatively small coffee shop as it cohabitates the same building as Truck Store, a local independent record store. It takes up about of the third of the whole, and seats approximately 20 people (not including auxiliary exterior street seating).

Interior signage and material culture is clear. The Coffee shop represents the same aesthetic as the record shop. The brick buildings is relatively exposed to the structure, giving an ‘urban’ feel. Both spaces blend fluidly putting forth a retro, garage rock, indie rock, vibe playing off the record store[fig 5].

Initial observation looked at facade appropriation and the exterior signage. As stated in the literature review this is ultimately the most important when concerned with cultural meaning. The coffeeshop and the record store operate independently from each other, however there branding is quite cohesive. From the facade a structural pillar separates the two entities, beyond this, the spaces and branding blend quite seamlessly, though they appear to be two separate structures originally. [fig 1.] The Mostro Coffee logo can be scene quite clearly. as well as Their “M” logo at the corner. Research of the shops history revealed that previously there was a different coffee shop in the record store “The Keen Bean Coffee Club” [fig 2] . After Mostro moved in in 2015, and alterations to the facade branding were made, we can see a much more cohesive meld of the two entities. Mostro’s branding appears on the actually banner strip of branding as “Truck Store” Implying a integrated relationship.

figure 5: Showing Mostro Coffee, interior signage and decoration as a method of building appropriation

The people consuming the architecture vary. There is a regular staff, same baristas everytime, and the consumers age, race, social group, cultural background is vast. Yet at the same time they all seem duely interested in the music culture. During the saturday observation period, a small music festival was taking place in Cowley, and a band played on the stage. figure 1: Mostor Coffee Exterior

figure 2: Old Truck Store Exterior

Peloton Espresso Located on the south side of the street in a long skinny deep first floor property, as many cowley shops are, provides a nice coffee lounge for the area. It serves the usual suspect of drinks that modern coffee shops do. It was previously Quarter Horse Coffee, and still today serves that same coffee.

The difference is the shop itself. Investigation into the ownership revealed that the owner is an avid cyclist, hence the name ‘Peloton’ referring to the main body or field of cyclist in a race. The facade appropriation in this scenario has not gone much further than a change of signage. Peloton changed the signage from blue to a bright red, displaying ‘Peloton Espresso’ in thin outline font. The rest of the facade was left as is, the same blue [fig 6 & 7].

The interior observations and documentation of architectural qualities focuses on signage, and decor, and spatial layout. The spaces separating the record shop, and coffee shop becomes even more ambiguous once inside. The coffee shop layout blends seamlessly with the record store, the record store shelves even creating a quasi barrier between the two spaces. The seating for the coffee shop also spills over into the record store areas as 4 bar stools and a counter are directly next to the record store album stacks [ fig 3,4]. The coffee shop seating area doubles as a small concert venue on small occasions. Its consists of 6 tables, 3 of which are on a raised platform used as a stage on small occasions. The building was not originally designed as a dual space coffee shop performance, however through appropriation of the architecture it has now taken on a new life of intimate performance space.

Record Rack

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figure 3: Mostro Coffee Interior Diagram

figure 6: Peleton Espresso Exterior

figure 4: Mostro Coffee Interior

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figure 7: Prior Tenant Exterior

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Internally signage plays a large role in atmospheric feel of the place. The walls are littered with cycling inspired imagery. The counter depicts a retro graphic of a man drinking coffee riding a bike. Artistic graphics are for sale depicting cyclist on one wall. A bike tire hangs casually on the other wall, and cycling trophies and awards are on a shelf adjacent. A large cycling mural covers a large portion of another wall, and racing flags line the top of the walls [fig 8].

(Ward 2003). And it is difficult to say this is fully taken advantage of.

At the interior level, cultural identity expression is much more evident. In the same way that vast architectural appropriations have not been taken, it is more evident in smaller things at the human scale. In the case of Mostro, the addition of a stage for performance, and the spatial integration with the record stacks is the most obvious spatial appropriation. At Peloton the ramped entrance, and clear path toward the back of the shop is a small architectural movement to accommodate the cyclist frequenting the space. In both cases signage expresses the distinct cultural identities wanting to be portrayed by the spaces as the primary physical denotation of this.

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In both cases the unique cultural identities are most evident in the actual consumption of the space. Mostro coffee plays host to the record stores crowd, and vice versa. The space created via this cultural connection gives a figurative and literal stage for music culture to be performed. Both my musicians and by viewers. At Peloton the shops acts as a ‘cycling club’ for the local cycling community. The cyclist that came in on the saturday do so every week as a pre or post meet up. Large bike ride are operated out of the space as well, as the owner himself is an avid cyclist.

CONCLUSION figure 8: Peloton Interior signage and decoration as a method of building appropriation

The spatial layout is pretty standard for the space, tables are pushed to the side, with a clear path to the coffee bar and down the hall (which leads to an auxiliary outdoor seating terrace) [fig. 9]. The spatial uses are mixed. The clientele on average were white, late 20’s to mid 30’s, a likely mix of students’ and young professionals. The staff themselves seem to all be friends and use the space as a hangout. On 2 of the occasions, multiple staff members not working came in to the shop and just hung out. On the Saturday morning observation session, a group of cyclist came in, in full outfit, with their bikes.

They used the exterior terrace as a bike storage, while they got their coffee.

This struck me as the obvious expression of cultural uniqueness being performed in the sapce. Beyond this, use of the space presrcibed to normal coffee shop activity. figure 9: Peleton Espresso Interior Plan and Diagram

The aim of the paper, to reiterate, was to identify how contemporary cultural diversity in Cowley might be reflected through architecture in coffee shops, a symbol of globalisation. In doing so it poses the question of how cultural diversity and identity might adapt to the wave of globalisation and clone shop consumerism.

In exploring how coffeehouses can recreate and symbolize the global influence of Western coffee culture while expressing the uniqueness of a specific locale or cultural context, the two examples researched might give insight into how this can be done. Most successfully in the case of cultural performance and spatial consumption. Buildings are built but the architecture of them is fluid throughout the occupation and the use of the architectural acts of culture provide uniqueness.

However the research was limited, and could be expanded upon. The expression of the spaces could perceived completely different by someone else, as “space is basically formed by the relationship between an object and a human being who perceives it” (Ashihara 10). Interviews to collect such data were originally intended however a level of discontent with being bothered in coffee shops by interviewees resulted in to small of a sample size. Also time constraints only allowed for two coffee shops to be studied at any depth.

Studying additional locations in the area from different ethnic and cultural groups would help to further inform the research. And the general aesthetic nature of the research makes it very unquantifiable, and therefore debatable in nature. A major weakness is that the findings, and cultures being studied, could be simply described subcultures of a larger western coffee culture, and therefore nothing but predictable results of this.

ANALYSIS If we look at the facade appropriation in both cases, beyond signage, it is difficult to say more has been done to project any particular cultural aspects. In researching the buildings histories, in both cases, the present day coffee shops are both relatively new, and there were multiple similar establishments in each location prior. Therefore drastic architectural facade appropriations would have been originally taken by prior tenants of the space. The signage is then exponentially more important in capturing the attention of the customer and then communicating the type and quality expected, as expressed by the literature review

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REFERENCES

LIST OF FIGURES

Ashihara, Y. (1981) Exterior Design in Architecture. Rev. edn. New York: Van Nostrand Reinhold.

figure 1: Austin Wyeth 2018

Buchli, V. (2013). An Anthropology of Architecture. London: Bloomsbury Academic.

figure2:Google Images https://www.google.com/search?biw=1920&bih=934&tbm=isch&sa=1&ei=9JcTXL6RLKPoxgOS45ugCQ&q=truck+store+cowley&oq=truck+store+cowley&gs_l=img.

3..35i39j0i24.1370.2154..2265...0.0..0.61.374.7......1....1..gws-wiz-img.......0j0i30j0i5i30j0i8i30j0i10i24.E _YmdHoRqbY#imgrc=-t-1FE2VBqYF-M:

Carr, S. (1993) Public Space. Cambridge: Cambridge University Press (Cambridge series in environment and behavior).

Coffee Ride. (2018). Peloton Espresso - Coffee Ride - UK Cycling Cafe Guide. [online] Available at: http://coffeeride.co.uk/peloton-espresso/ [Accessed 14 Dec. 2018].

figure3: Ausitn Wyeth 2018 figure4: Ausitn Wyeth 2018

Gobé Marc (2001) Emotional Branding : The New Paradigm for Connecting Brands to People. Oxford: Windsor.

figure5: Ausitn Wyeth 2018

Grafe, C., Bollerey, F. and Wijk, C. van (2007) Cafés and Bars : Cafes and Bars : The Architecture of Public Display / The Architecture of Public DIsplay. 1st edn. New York: Routledge (Interior architecture series).

figure 6: Google Images https://www.google.com/search?biw=1920&bih=934&tbm=isch&sa=1&ei=f5gTXMPFBMmP1fAP4pGPuAc&q=peloton+coffee+cowley&oq=peloton+coffee+cowley &gs_l=img.3...1740.2553..2667...0.0..0.62.373.7......1....1..gws-wiz-img.......0i24.oMvGYzZmBT0#imgrc=mF C6_fGlaXK7eM:

Jolliffe, L. (2010) Coffee Culture, Destinations and Tourism. Bristol, UK: Channel View Publications (Tourism and cultural change).

Koolhaas R. (2014). Façade. Elements of architecture. s.l.: Marsilio.

figure 7: Google Images https://www.google.com/search?q=peloton+espresso&tbm=isch&tbs=rimg:CTpNJo6HEuOaIjjQp85bPftXRrxYVuhm5rQpvU9iw6wKNOlhKLFyBfBM3ptzyUJ0Jt9 BhwcpbQn51ss19UxjoW6oNCoSCdCnzls9-1dGEWsSweNh-n0lKhIJvFhW6GbmtCkRakt1A19W3PgqE gm9T2LDrAo06RFGubbwwr2w4ioSCWEosXIF8EzeEZFpnJNoOekMKhIJm3PJQnQm30ERHJgzRi 3r6yMqEgmHByltCfnWyxHaih3am2IBAyoSCTX1TGOhbqg0ETaXDqZyMt4b&tbo=u&sa=X&ved=2ah UKEwjbx8iEq57fAhUJ0xoKHYLiBE0Q9C96BAgBEBs&biw=1920&bih=934&dpr=2#imgdii=5ngrm 684E_NwKM:&imgrc=ghHn5h6gMHBKJM:

Lefebvre, H. (1991) The Production of Space. Oxford, OX, UK: Blackwell.

Low, S.M. and Lawrence-Zuniga, D. (2003). Anthropology of Space and Place: Locating Culture. Oxford: Blackwell.

Maudlin D., Vellinga M. (eds.)(2014). Consuming Architecture: On the Occupation, Appropriation and Interpretation of Buildings. Oxon, New York: Routledge.

figure 8: Austin Wyeth 2018

Mikunda C. (2004) Brand Lands, Hot spots & Cool spaces : Welcome to the Third Place and the Total Marketing Experience. London: Kogan Page.

figure 9: Austin Wyeth 2018

Orum, A. M. and Neal, Z. P. (2010) Common ground? : Readings and Reflections on Public Space. New York: Routledge (Metropolis and modern life).

Skinner, A. (2005) Cowley Road : a history. Oxford: Signal Books.

Truck Store. (2018). About us. [online] Available at: https://truckmusicstore.co.uk/about-us/ [Accessed 14 Dec. 2018].

Tucker, Catherine M. (2011) Coffee Culture: Local Experiences, Global Connections. New York: Routledge.

Ward, p. Davis, B.J. and Koojman, D (2003) Ambient Smell and The Retail Environment: Relating Olfacation Research to Consumer Behaviour. Journal of Business Management 9 (3) 289-302 7

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DEBATE 1 PROMPT: ARCHITECTURE IS A TEXT THAT ENCODES CULTURAL VALUES AND MEANINGS ARGUMENT 1: Architecture is a text that encodes cultural values and meanings because it is a product of its �me and cultural values are also related to the passage of �me.

In as many words, architecture is a product of zeitgeist, “the defining spirit or mood of a par�cular period of history as shown by the ideas and beliefs of the �me” (Oxford Dic�onary).

In history, civilisa�on’s architecture has been integral to society's’ cultural values. Throughout �me “...architecture has been subject to a con�nuous evolu�onary process, one that reveals the historical development and cultural preferences of many genera�ons.” (Demar�ni, Elena & Prina, Francesca 4). From the earliest civilisa�ons to current day, architecture has reflected the context of the age.

In early history, architecture is largely based around religious culture of the �me. For example, “Early “Pre-Classicism” architecture of Egypt bases its most notable structures directly into the religious belief system of the people. The great Pyramids are tombs symbolising the Pharaoh's passage from human to divine life. The architecture was inherently based in the religion and the religion by in large was their culture.

During the Renaissance, scien�fic progress and inven�on transformed buildings from just products of their techniques. Florence saw Brunelleschi take new empirically derived methods of building and apply them to classical discipline and construct Europe's largest dome.

S�ll based in religion, scien�fic advances took buildings to new places and helped define the era.

Early Modernism gave way to industrialisa�on. Industrially produced materials began to give architects the ability for new mediums for ar�s�c expression. Ci�es like Berlin and Chicago where industrializa�on was extremely prevalent where at the forefront. The ci�es reflected this industrialisa�on in a new type of “city beauty.” For example Louis Sullivan’s Carson Prarie Sco� building in Chicago, with inven�ve steel ornamenta�on based on natural forms ques�on classical ideology.

Chris�an Noberg-Schultz (2000) argues that architecture is not approached the same way everywhere in the world, and that the styles “adapt to fit the local character, they establish a rela�onship of interac�on with vernacular architecture.” In the case of Vernacular architecture, it is built based on contextual necessi�es unique to the loca�on, environment and available materials. Oliver (1997) suggests that architecture represents various cultures that include their way of living, knowledge and values.

Eliade (1961) points out that in all cultures, places have had a deeply mythological meaning.

The founda�on of a house, a se�lement or a town has been a religious act, which is s�ll reminiscent today. Architecture has an eminent role as a key interface and defini�on of our being-in-the-world. Norberg-Schulz (1980) states that a person’s sense of belonging is related to their natural environment. Architecture plays a key role in crea�ng places and in the best case a ‘genius loci’, spirit of a place.

ARGUMENT 3: Architecture is a text that encodes cultural values and meanings because meaning and value is what separates ordinary buildings from architecture.

Nikolaus Pevsner (1943) defines architecture as something to be differen�ated from ordinary buildings based a “view to aesthe�c appeal”, which is influenced by a variety of tradi�ons.

Spiro Kostof’s slightly broader descrip�on of Architecture considers it as “a social act” and one that is defined by an agreed “total context”. That in itself gives it meaning. Ballantyne’s analysis of Kristof’s defini�on (2002) is that once cultural values are applied to buildings, they become architecture: “…the buildings turn into architecture when we feel that we should no�ce them and treat them with respect…” i.e. applied meaning.

Hershberger (1970) outlines the ways in which meaning is “intended” or “attributed” to architecture depending on who is designing or experiencing it. Therefore the cultural values of people affect their experience of architecture and the meanings they a�ribute towards it.

This is supported by Norberg-Schulz’ (1980) idea that people create their own “microcosmos”.

Different from buildings, architecture is built with inten�ons, consciousness, and specific to different needs. Decisions are made consciously and represent complex and mul�ple cultural exchange.

Even the func�onalism of the modernist era, although developed in order to rid the prac�ce of architecture from past tradi�ons, in itself holds some meaning. Chris�an Noberg-Schultz (1969), in Charles Jencks’ book Meaning in Architecture narrates that “func�onalism succeeded in crea�ng a new formal language which expressed … Its belief in a logico-scien�fic mastering of reality”. It can be argued that the crea�on of a new architectural language is a reflec�on of the cultural values of the modernist period and that the architectural prac�ce s�ll encoded meaning based on this language.

ARGUMENT 2: Architecture is a text that encodes cultural values and meanings because it is manifested in a variety of ways around the world, and this is a reflec�on of the variety of cultural values that exist in each community. | 31

Bibliography Ballantyne, A. (2002). What Is Architecture? London: Routledge Davis, H. (1999) The culture of building. New York: Oxford University.

Elida, M. (1961) The Sacred and Profane. New York: Harcourt Forty, A. (2000). Words and Buildings: a Vocabulary of Modern Architecture Hershberger, R. (1970). Architecture and meaning. Journal of Aesthetic Education, 4(4), pp. 37-55.

Jencks, C and Baird, G. (1969). Meaning in Architecture. London: Barrie and Rockliff: The Cresset Press Kostof, S. (1985). A History of Architecture: Settings and Rituals. Oxford: Oxford University Press Leach, N. (1997). Rethinking architecture : A reader in cultural theory. New York: Routledge.

Melvin, J. (2006) Isms : understanding architectural styles. New York, NY: Universe.

Norberg-Schulz, C. (1980). Genius Loci: Towards a Better Phenomenology of Architecture. London: Academy Editions Norberg-Schulz, C. (2000). Architecture: Presence, Language, Place. Milan: Skira Parvizi, E. (2009). National architecture from the perspective of cultural identity , Journal of national studies, 3.

Pevsner, N. (1943). An Outline of European Architecture. Middlesex: Penguin Books Prina, F. guide.

London: and Demartini, Thames E. & Hudson.

(2006) 1000 years of world architecture : an illustrated Zeitgeist | Definition of Zeitgeist in English by Oxford Dictionaries.� Oxford Dictionaries | English, Oxford Dictionaries, en.oxforddictionaries.com/definition/zeitgeist.

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DEBATE 2 PROMPT: The regeneration of historic buildings inevitably results in the loss of their authentic character: THE REGENERATION OF HISTORIC BUILDINGS INEVITABLY RESULTS IN THE LOSS OF THEIR Not in favour

aspect of its “form and design, materials and substance, use and function, traditions and techniques, location and setting, spirit and feeling and other internal and external factors”.

AUTHENTIC CHARACTER Group 5

Liu Yuen Tung, Erica Ngo Ling Lam, Austin Jon Wyeth, Mohadeseh S. Moein NotAbby in favour Shirazi

Defini�ons

Definitions

Inevitable: certain to happen; unavoidable.

Inevitable: certain to happen; unavoidable.

Loss: the fact or process of losing something or someone.

Loss: the fact or process of losing something or someone.

Authen�c: conforming to an original so as to reproduce essen�al features Authentic: conforming to an original so as to reproduce essential features made or done the same way as an original made or done the same way as an original

2. Authenticity cannot be confined to a building therefore it is ever changing.

Authentic is related to the people and environment, and is not only measured within a solid building. Edward Relph’s contribution to Architectural regionalism: collected writings on place, identity, modernity, and tradition (Canizaro, 2007) argues that “authenticity is a quality of engagement between people and things or people and places. It is not a property inherent to things or places but a measure of our connection to them.” Therefore, in order to relate authenticity with people, things and places, it must be measured in degrees of participation.

The more we are able to participate, the more authentic the connection or relation. James Lunday, a veteran of urban planning, notes that authenticity is created by populations, cities and buildings. The uniqueness of places is a result of baristas, brewers, writers, designers, artists, free thinkers, etc. (Lunday). These inhabitants and the culture they produce gives authenticity and sense of place.

Character: the dis�nc�ve nature of something

Character: the distinctive nature of something

Arguments

Arguments Theregenera�on regenerationof of historic historic buildings buildings does does not notinevitably inevitably result result in in the the loss loss of of their their authen�c authentic The character,because: because: character,

1. Architectural authen�city is subjec�ve and therefore fluid; it is not possible to say objec�veArchitectural authenticity is subjective and therefore fluid; it is not possible to say ly1.that it is inevitably lost. objectively that it is inevitably lost.

It is difficult to determine whether the character of historic buildings is authen�c, since we all It is difficult topercep�ons determine whether the character historic buildingsexperiences. is authentic,Sharon since we all have different on authen�city due toofour own personal Zukin have different perceptions on authenticity due to our own personal experiences.

(2011) ques�oned the percep�ons towards authen�city. She argues that the level of authenSharon (2011) questioned towardsand authenticity.

She that the �city weZukin ascribe to certain spacesthe is perceptions en�rely subjec�ve affected by ourargues own personal level of authenticity we ascribe to certain spaces is entirely subjective and affected by our percep�ons. own personal perceptions.

“Authen�city refers to the look and feel of a place” relying on emo�ve quali�es to imply this “Authenticity to She the look andout feelinofreference a place” to relying emotive qualities to “we implythink this no�on (Zukin,refers 2011). points one’sonown neighborhood, notion (Zukin, 2011).

She points out in reference to one’s own neighborhood, “we think authen�city refers to a neighborhood’s innate quali�es” however, it is more reliant on our own authenticity refers a neighborhood’s innate qualities” it is moreofreliant on our anxie�es about howtoplaces change and the way we perceivehowever, it. The percep�on what may be own anxieties about how places change and the way we perceive it.

The perception of what “authen�c” is not definite but a fluid subjec�vity from person to person. In the context of may be “authentic” is not definite but a fluid subjectivity from person to person.

In the context historic building, its authen�city is also perceived differently throughout the con�nuing history ofits historic building, authenticity is also perceived differently with throughout theAuthen�city continuing of existence; thereits is no definite authen�c character associated buildings. history of its existence; there is no definite authentic character associated with buildings. is respect to the social and cultural values, as well as the object itself. John Bold (2018) sees authen�city as “the central qualifying factor concerning values,” yet values are not absolute or Authenticity is respect the social cultural values, as well the object itself. John Bold universal so they do nottoapply acrossand all contextual situa�ons.

Heasargues that authen�city of a (2018) sees authenticity as “the central qualifying factor concerning values,” yet values are historic building connects with its specific cultural context including the not absolute or universal so they do not apply across all contextual situations. He argues that authenticity of a historic building connects with its specific cultural context including the

3. If authenticity is to be solid (possessed in the material, style or design of the building) it is not always lost but altered or restored.

Buildings’ authenticity is often believed to be measured in the quality of materials, the age they come from (a particular zeitgeist), and a style. As “conforming to an original so as to reproduce essential features” (Merriam Webster). If this is to be so, and authenticity is static to the building, then regeneration purely causes an altered authenticity (conforming to original ways of restoration) in the manner in which, and materials with which it is done. Or can be regenerated and restored in a way that is made or done the same way as the original. Therefore it is entirely possible to retrace the origins of the building after regeneration.

In regeneration it is possible to reproduce the character and replicate “traditional” methods of construction as to restore authentic character. Plaster techniques, wood construction methods, etc, can all be replicated. With advancement in technology these process can even be improved upon, creating a superior materiality. This process does not result in loss of authenticity but the alteration and/or restoration. Authentic can be defined as: “conforming to an original so as to reproduce essential features, or being made or done the same way as an original” (Merriam Webster) Matero (2014) suggests that there is an ongoing history in all cultural works, where they are “used, damaged and repaired, cleaned and restored…”, and their presence documents the “whole subsequent sequence of events” rather than merely the time of its formation. Historic buildings, like all other buildings, contain life cycles. The authentic character of a historic building does not lies in when the building is created but how it presents itself with what it is through its life cycle. The authentic character of buildings is marked by the representation of the “sequence of events” that happens to or around them; therefore, regeneration can also be part of the experience of authenticity.

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In Conclusion

Bibliography:

Whether we define authentic character to be an ever changing quality, or something inherently possessed in the materiality of a historic building, it can be concluded that the regeneration of such building does not inevitably result in the loss of this character. The authentic character of a building can be made of multiple factors in relation to it. This means that the building can be rebuilt or replicated through regeneration to regain any of these factors. Therefore the authentic character of a building can be seen as an original recipe to be followed rather than a prototype product existing autonomously.

Authentic. (2018). In: Merriam Webster. [online] Available at: https://www.merriamwebster.com/ [Accessed 21 Nov. 2018].

Bold, J., Larkham, P. J. and Pickard, R. (eds) (2018) Authentic reconstruction : authenticity, architecture and the built heritage. London: Bloomsbury Academic, An imprint of Bloomsbury Publishing Plc ).

Canizaro, V. B. (2007) Architectural regionalism : collected writings on place, identity, modernity, and tradition. New York: Princeton Architectural Press.

Chapter: Old forms for new Buildings; John Gaw Meem Casson, H. (1981). Hugh Casson diary. London: Macmillan.

Character: (2018). In: Merriam Webster. [online] Available at: https://www.merriamwebster.com/ [Accessed 21 Nov. 2018].

Inevitable: (2018). In: Merriam Webster. [online] Available at: https://www.merriamwebster.com/ [Accessed 21 Nov. 2018].

Loss: (2018). In: Merriam Webster. [online] Available at: https://www.merriam-webster.com/ [Accessed 21 Nov. 2018].

Matero, F. (2006) “Loss, Compensation and Authenticity in Architectural Conservation,” Journal of Architectural Conservation, 12(1), pp. 71–90. Doi: 10.1080/13556207.2006.10784961.

Zukin, S. (2010) Naked city : the death and life of authentic urban places. Oxford: Oxford University Press.

Power, B. (2017) Culture and authenticity in urban regeneration. Availableat: https://www.acuitymag.com/business/culture-and-authenticity-in-urban-regeneration.

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CONTENTS RESEARCH PAPER

1

REFERENCES & LIST OF FIGURES

7

RESEARCH METHODS DIARY

9

LECTURE NOTES

14

ETHICS FORM

20

Modern Public Space: A Spatial Assessment of Turbine Hall Austin Wyeth P30026 Coursework 2018-2019

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INTRODUCTION The following report investigates spatial qualities and phenomenological effects of The Tate Modern’s Turbine Hall through a diagnostic study. In particular, the ramp that makes up the main public space and entrance. It acts as circulation, public space, and art gallery all while being a successful public space. Ramps are ever more prevalent in modern architectural design, and are a dynamic element of any building. The paper will assess qualities that make public places successful to set a base criterion, and from there compare this to the space to better understand why it works. From there this knowledge can then be used to spatially assess phenomenological effects of the ramp as a Modern Public Space.

types of reasons to consider in designing public space: comfort, relaxation, passive engagement with the environment, active engagement with the environment, and discovery” (Carr 1993). Connection with a user on at least one of these levels is necessary to achieve success. Comfort being first and foremost, fore it is hard to perceive other needs met if there is not comfort. This is manifested in a myriad of ways including; sun comfort, shelter from elements, place to relax, even sense of security. Comfort deals largely with seating, and plays a large role in the amount of time people spend in a place. Orientation, height, material, proximity/location all factor in this comfort and effect interaction with a public space. “Different types of seating incite different public outcomes” (Carr 1993). Relaxation is different from comfort in the level of release it describes. Moving the person to a sense of repose. “Research noted in a variety of public spaces, indicated that urbanites frequently seek out settings for relaxation. Passive engagement involves the need for an encounter with the setting albeit without becoming actively involved” (Carr 1993) This encompasses phenomenon such as people watching, which requires an adjacency to pedestrian flow. Active engagement involves a more direct experience with a place and the people in it. Primarily public space provides a space to meet friends, family, etc, and in some cases mingle and even meet strangers. “Cultural events, active socializing, and recreation fall under these types of recreation. Another aspect of physical engagement involves manipulation of elements such as sculpture” (Carr 1993). Contrast and juxtaposition of elements can also provide a sense of pleasurable surprise that people enjoy, a quality that is epitomized by the Pompidou Centre. (Carr 1993) Another art museum praised for its ability to bring the public realm indoors.

METHODOLOGY Two methods of research were used to carry out the diagnostic study. First a literature review to establish an ontological framework of traditional aspects and qualities of public space, and how people relate to public space. As well as architectural design intentions and effects of the space. The literature review briefly looks at the history of the power station, and into its regeneration to gain a better understanding of the space, its features, and how it came to be. Then it reviews sources on public space design, both tradition and modern qualities of public space, scale, and ramps to analyze Turbine Hall. And finally relevant literature on design intention by architects Herzog & De Meuron, and criticisms there in.

SCALE The Immense scale of Turbine Hall is immediately thrust upon anyone who enters “The spatial power of the building was already latent in the majestic scale and proportion of Scott’s brick box and the fine bones of the engineer’s steelwork. It just had to be revealed” (Dercon & Serota 2016). What effect does this immense scale then hold. Charles Moore, In his book Dimensions: Space, Shape & Scale in Architecture, Charles Moore talks in depth about the impact of scale on a place. He remarks that scale can be the device which helps achieve a quality that all good buildings possess: being at once”like” something (and having a general meaning) while also being special (and having particular meaning) (Moore & Allen 1976). In the case of the Tate the scale is grandiose, while it is still an interior space it elicits a certain response. Scale is not always immediately apparent to us in buildings due to their relation to each other in size, but “we discover when we get close, their relationship to us - is wildly large ... the collision is made clear during the time it takes us to approach the building.” (Moore & Allen 1976). The descent into the main atrium at the Tate does just this. It is not until the interior threshold is passed that the scale from the outside clashes with the enormity of the interior at the point of the ramp.

The second research method used is a phenomenological study, using qualitative data collection, of the room and its spatial qualities; focusing on how people interact, use, move through and appropriate the space. The documentation monitors people’s movement through the space, stopping points, meeting points, and further phenomenological happenings as a result of the architectural qualities of the space.

Documentation was gathered through on site observation, taking advantage of the following field research tools; sketching, photography and video, circulation tracking, and diagramming.

LITERATURE REVIEW Keywords -Tate modern, Public space, Scale, Ramp, Place TATE MODERN HISTORY

Originally a power station designed by Sir Giles GIlbert Scott in 1947, the building was closed in the 80’s and finally regenerated in 2000. Its prior occupation provided its vast scale and allowed for Herzog and De Meuron to do very little. It was recognized even at that time that The Bankside Power Station provided the ability for the vast space to be conceived, while Herzog & de Meuron followed through with a design that maximized the unique space. Their design was praised because they knew when to stop. They simply “did away with the existing floor deck at ground level, thereby revealing the gaping chasm of the Turbine Hall in its full glory, and providing a momentous entrance sequence via a new rap from the west” (Dercon & Serota 2016). This move opened up the space exacerbating the scale, allowing for the ramp to take people down into the basement before they could go up into the galleries “resulting in a huge public space from floor to ceiling” ( Sabbagh 2001). It is this public space that is of special interest and the qualities it has.

RAMP The ramp descending into the atrium is a key factor in how the space operates. Le Corbusier. Noted that “A stair separates one story from another; a ramp connects” (Le Corbusier 1957). And this ramp is no different. It creates a seamless connection from exterior, through the ramp, to the circulation core of the museum.

Ramps have take on a new importance in architecture over the past thirty years beyond a necessity of inclusive design. Ramps today fill an array of programmatic uses, “the ramp is used as museum, the ramp is used as program. Today the ramp is used for its spectacular aesthetics - to “enliven” the inertness of the ubiquitous atrium” (Koolhaas 2014). Ramps no longer just serve as alternative circulation methods using large horizontal space to elevate people (Koolhaas 2014). Like in the Tate they can be lively versatile programmatic spaces. On reflecting on Turbine Hall Herzog and De Meuron noted that they “see architecture like topography. And the ramp is part of that topography. People use it casually and with ease, and children love playing there. Large public buildings should not just offer several access points but also unnecessary places to hang out. When a building does that well it feel more natural.” (Dercon & Serota 2016).

PUBLIC SPACE

Public space, though contentious, can generally be defined as “all areas that are open and accessible to all members of the public in a society” ( Orom 2010). Research of public space is always concerned with the way people relate to one another in such a space. The following will categorize public space to give a better understanding of the aspects of it that allow for these relations. Public space has always had to go beyond the aesthetic to serve the public. Public space carries with it an inherent social basis for its design. In the book Public Spaces the authors contend there are needs to make spaces successful, and that ‘there are 5 1

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A majority of people sit and face the same direction, downwards of the slope. They are less likely to sit in a circle, even within a group. The uneven floor of the ramp may deter people from sitting other directions do to an issue of comfort. People also seem enticed to gaze up at the ceiling, often laying completely back on the slope and just looking up at nothing in particular. A young man at one point looked up at the ceiling, layed down and stared directly up for a period of time [video section 01:35 - 01:45, fig. 6]. Throughout one day of observing, the number of people sitting down slowly increased. At one point forty people were either sitting or laying on the ground. This in itself is an interesting phenomenon.

PHENOMENOLOGICAL STUDY The following will analyze the phenomena in the public ramp space. Via recording through video, as a maginal participant, people’s movement through the space was tracked to evaluate how they populate the space, and what they do in the space. Ie: how long they stay, where they congregate, how they sit, where they look, and so on. After video analysis, and complimentary note taking, sketching and photography, several phenomenon of interest were noted.

Circulation into, and out of the space, initially stood out. The entrance brings one down an exterior ramp, from the west, to a sliding door at human scale, and then immediately into the large void, and the interior scale becomes apparent [ fig. 1]. The sliding doors opens without physical contact with the threshold being initiated. This brings one off the street and onto the interior street seamlessly. Circulation from there continues, for the most part, directly to the bottom of the ramp [video section 00:11 - 01:21]. People circulate directly to the bottom and pause when hitting level ground. Inversely pausing at the ramp before circulating to the exit [fig. 2,3]. The bottom of the ramp is a focal point. It is here people stop and decide their next action, meet people, conversate, and then move on elsewhere. Primarily towards a gallery, all the way to the exit, or to a point of relaxation.

figure 6: Eye Tracking

7: Seat Location

Location of where people sit, especially in relation to the circulation of the space is peculiar as well. There are stepped areas to the side of the ramp that would make for good seating area, yet are seldom used compared to the ramp. People instead seem to find middle of the space the best place to, “relax” [fig. 7]. The space has no order, and consequently people circulate through the space at will. As access is choked to one single door and as a result, everything funnels in and out from here and mixes in every which direction throughout the ascent and descent [fig. 8]. This phenomenon causes an interesting circulation as people seamlessly circulate around the scatered bodies impeding direct walking. A group of three walks directly at two girls, only to split, [fig. 9] and walk around them before rejoin on the other side [video section 00:37 - 00:40]. figure 1: Stopping Points & Circulation

figure 2: Stopping Points & Circulation

The most noticeable observation is the variable interpretations of the space by the public making use of it.

The large space attracts all kinds of activity. Primarily noted, people sit directly on the floor with no hesitation. Though the ramp is a circulation space, In lue of furniture the ramp has been adopted. With no real furniture in the public space, people seem content to sit directly on the circulation floor. The slope of the ramp is an enticing place of respite, however it is not just a place to sit. People lay down, take naps, cuddle, make out, etc [fig. 4, 5, 6]. There are a large number of families populating the area as well. The kids are the first to treat it as a place of play, rolling up and down, Running, sliding across the floor, even dragging each other. [video section 00:00 - 00:20 & 01:25-01:35].

figure 8: Circulation paths of ramp.

figure 9: Circulation disruption

The scale of the space and location of the ramp, causes for a certain amount of spectacle. With balconies surrounding it on multiple levels, occasionally jutting out of the galleries, people can easy watch what is going on, and from there either actively engage, or passively observe. Either way the public space takes on another function, theater. The majority of video was taken from this vantage, situated at the railing of the bridge that is elevated 1 level above the base of the ramp. The slightly aerial view allows for the whole of the phenomena of the space to be laid out in front of the viewer.

figure 3: Relaxing

figure 4: Cuddling

VIDEO REFERENCE: https://youtu.be/hcD8qRnoIkE

figure 5: Playing

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ANALYSIS

deepen understanding of why the space is considered so successful and what is going there as a result of its spatial quality. This in turn helped to add knowledge to the existing framework on the Tate Modern. The rather eccentric space has demanded a lot of attention as a unique, space with in a big city like London. It is important to understand that the way the space operates may add to the display of the space being used however one pleases. The place on case by case bias is completely circulation ramp, relaxation space, playground, theater and more. It creates a new type of public space for architects and designers to learn from and continue to enhance design.

The phenomena observed through the phenomenological study were varied and multiple. The way people circulate, sit, appropriate space, and in general engage with public space produces a very dynamic area. However this is a quality of the space, as the architecture produces the effect. The odd circulation and common meeting points observed in the video could be said to be a product of the ramp design. The literature touched on how a ramp draws people into a space, and through it. In the literature review the “needs”of public space discussed. Comfort, relaxation, passive engagement with the environment, active engagement with the environment, and discovery. And that only one of these need be fulfilled to make a space at least somewhat successful. The phenomena observed, there in, is potentially a result of successful implementation of these qualities. The ramp itself is capable of providing a sense of comfort. People were observed very limitlessly lounging in the middle of space, not concerned about the multitude of things that were happening around them. The extended sense of respite to achieve relaxation compounded on the already present comfort. As more and more people felt comfortable sitting on the ramp, the more and more the people were relaxed. The kids that tend to roll around, slide, jump are the first to initiate the discovery need of public space. The ramp actively engages them as it provides an extraordinary floor space. The people constantly laying down in different positions are no different as they explore the space through alterior views, and body positon. Passive engagement on and around the ramp is everywhere. As observed, and touched upon in the literature review, the scale and spatial make up the ramp and extended voided atrium created a sense of theater. Whether you are on the ramp itself, circulating or relaxing, or looking down towards it from some point in the museum, the people watching, and passive entertainment is constant. And in the same breathe the open ambiguity of the space encourages everyone having to move through it to actively engage in the phenomena. The two studies together provided a good basis for understanding why Turbine Hall is considered a such a successful space based on people’s relationship with it.

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LIMITATIONS OF THE STUDY The Literature review potentially lacks enough contemporary sources. Beyond current sources used to gather base knowledge on the tate, the books providing theoretical frameworks could be considered dated.

Not to say they are irrelevant, but the study could have benefited from more contemporary theory on public spaces. In addition, with the majority of the study revolving around the ramp, more theory on ramp design could have bolstered the study. The Phenomenological study was done on 3 separate occasions. This allowed for a variance in time of day for observation. However, all the visits were done on either Saturday or Sunday. Only observing on weekends creates a bias as there are more likely to be more people at a museum during these times, than say, during the middle of the workday on a weekday. This has the potential to cause skewed results on the type of interactions people have and actions people take in the space. Along the same lines video was only take on one occasions so the focus of the video analysis is even more focused to a singularity. Another large limitation in data collections was a failure to recognize the art gallery aspect of the space. It operates as a large scale art gallery, with an instillation every year. This i was aware of, however I was not aware of the fact that the floor itself is the art instillation until after data collection was complete. Artist Tania Bruguera choose to put an image under a floor using heat sensitive material to make a horizontal mural. Though the mural is located on the opposite end of the hall, black floor extends the length of the whole ramp. This in turn might cause for a degree of the interaction with the floor that was noted.

CONCLUSION Both literature and phenomenological study have presented strong methods from which to gather data on Turbine Hall’s ramped public space during this diagnostic study. They provided extensive data to help

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REFERENCES

LIST OF FIGURES

BBC News. (2018). The Art Exhibition That Forces You to Cry (literally). [online] Available at: https://www.bbc.co.uk/news/entertainment-arts-4708599 [Accessed 1 Dec. 2018].

Figure 1: Austin Wyeth 2018

Biblio.ugent.be. (2018). [online] Available file/6797543.pdf [Accessed 29 Nov. 2018].

at:

https://biblio.ugent.be/publication/380234/-

Figure 2: Austin Wyeth 2018 Figure 3: Austin Wyeth 2018

Carr, S. (1993) Public Space. Cambridge: Cambridge University Press (Cambridge series in environment and behavior).

Figure 4: Austin Wyeth 2018

Culture Whisper. (2018). Mass Migration At The Heart of New Hyundai Commission. [online] Available at: h t t p s : // w w w . c u l t u r e w h i s p e r . c o m / r / v i s u a l _ a r t s / h y u n d a i _ c o m m i s sion_tate_modern_2018_tania_bruguera_performance_artist/10316 [Accessed 1 Dec. 2018].

Figure 5: Austin Wyeth 2018 Figure 6: Austin Wyeth 2018

Dercon, C. and Serota, N. (eds) (2016) Tate Modern : Building a Museum For The 21st century. London: Tate Publishing.

Figure 7: Austin Wyeth 2018

Gatje, R. F. (2010) Great Public Squares: An Architect's Selection. 1st edn. New York: W.W. Norton.

Figure 8: Austin Wyeth 2018

Koolhaas, R., Boom, I., Harvard University. Graduate School of Design, Office for Metropolitan Architecture and International Architectural Exhibition. International Architectural Exhibition (2014) Elements of Architecture. Venice: Marsilio.

Figure 9: Austin Wyeth 2018

VIDEO REFERENCE LINK

Laurel, B. (2003) Design Research : Methods and Perspectives. Cambridge, Mass.: MIT Press.

https://youtu.be/hcD8qRnoIkE Austin Wyeth 2018 -

Le Corbusier, Jeanneret, P. and Boesiger, W. (1957) Le Corbusier Et Pierre Jeanneret : œuvre complète de 1929-1934 Moore, C. W. and Allen, G. (1976) Dimensions : Space, Shape & Scale in Architecture. New York: Architectural Record Books.

Orum, A. M. and Neal, Z. P. (2010) Common Ground? : Readings and Reflections on Public Space. New York: Routledge (Metropolis and modern life).

Peña, William M., and Steven Parshall. (2012) Problem Seeking: An Architectural Programming Primer.

Hoboken, NJ: Wiley, Sabbagh, K. (2001) Power Into Art. London: Penguin.

Stevens, Q. (2007) The Ludic City : Exploring The Potential of Public Spaces. 1st edn. London: Routledge.

Zeisel, J. (2005) Inquiry by Design : Environment / Behavior/ Neuroscience in Architecture, Interiors, Landscape, and Planning. Rev. edn. New York: W.W. Norton and Company.

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Introduction:

RESEARCH METHODS FOR DESIGN | P30026 CASE STUDY | SPREEHALLE IN BERLIN | FIELDEN CLEGG BRADLEY

Art studios provide space for artist to express their creativity through their medium of choice. Artists discipline and medium vary greatly. Studios become positive when they reflect the spatial and amential needs of each artist. Often a genesis of spatial availability, leftover places, and serendipity, the designed studio space becomes and interesting design brief. This case study report will look at SPREEHALLE, in Berlin, by Feilden Clegg and Bradley in an attempt to understand these issues.

Based in a out of use complex established formally used by AEG, a german electronics company. It is located in Berlin Treptow-Köpenick district on the river, southeast of the city center. The team modernised the original brick structure and its subsequent extensions to create a series of lofts, offices and galleries that will be occupied by various creatives and small businesses (Griffiths 2019). Ultimately the case study will aim to answer how you design space for artists in existing buildings.

Aims Objectives and Methodology: The aim of asking this question is to understand the needs of creatives that were addressed in the project. To explore how flexible spaces were provided for creatives while still creating a design project, subsequently addressing the dynamic of doing too little versus too much. In exploring these objectives three research methodologies were implemented. First literature review of designing flexible spaces, and designing spaces for artist. This will provide a base to understand the theory of space creation for flexible activity. Following this, content analysis of project brief, drawings, and article / reviews was utilized. Referencing content analysis literature, this exercise gave insight into the design intentions of the project, and the public thought on success and design realization. Finally a phenomenological study, using qualitative data collection, of the rooms and its spatial qualities was used in the form of onsite observation using sketching as a research tool.

Literature Review:

Figure 1: Spreehalle Exterior

Figure 2: Interior

Keywords - Flexibility, Adaptability, Openness, Artists, Studio

AUSTIN WYETH | 18022858

Designing space for certain specializations requires a great deal of consideration in the needs of each.

In considering the basis of spaces from mental to tangible, Henri Lefebvre contents that “Spaces are strange: homogenous, rationalized, and as such constraining; yet at the same time utterly dislocated.”

(Lefebvre 1991). The idea of a designed space brings along immediate constraint. The artist of all specializations, however, pushes back against any form of constraint. But being a specialization, no less, it has no choice but to stake out its own particular type of space (Lefebvre 1991). Therefore the design of space for artists studios becomes a delicate balance. In dealing with studios for artists as a specialization is difficult. Differing needs due to vast variety of artistic types require the need to address the scale. Charles Moore, talks in depth about the impact of scale on a place. He remarks that scale can then be the device which helps achieve a quality that all good buildings possess: being at once”like” something (and having a general meaning) while also being special (and having particular meaning).

(Moore & Allen 1976). The idea of designing with restraint, or doing to much versus too little, is a problem architects often deal with. Modern architecture increasingly considers the effect of spaces on people, and has considered these flexible spaces. Good modern designed spaces should be versatile

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yet appropriate for the intended user. Dr. Marialena Nikolopoulou from the University of Kent school of architecture, when asked about modern spaces, contended, “Good designs are where it is not dictated to the individual how they should perceive, operate or feel in the building, but have the flexibility to explore and experience it for themselves” (The Independent 2019).

To address these needs of flexibility and adaptability, the concept of “shell and core” (or base build) architecture was started in the United States. It is a practice designed to address the ability to provide adaptable and flexible spaces. It covers the design and construction of the base building, while a range of other construction while occupants post completion are tasked with adapting the space to their desires and needs. In addition to saving costs, and build times, It creates a blank canvas for occupants, making it more flexible, without impacting on the the main fabric of the building. “From the perspective of the end user, shell and core is particularly beneficial as it can result in a finish more suited to their needs. The ‘blank canvas’ of the building enables the end user to better align it to their individual requirements and there can be more time to develop proposal. The underlying flexibility of the design means it is generally more straight forward for subsequent occupants to change the interior fit out” (Designingbuildings.co.uk 2019).

The goal of the project was to create an industrial, simple, straightforward but above all indeterminate space, something that is made of raw space and volume, to be fitted out by the end users. ((Griffith 2019). Following this idea Feilden Clegg and Bradley allowed for the user to create the space they needed. The allowed users “to erect whatever structures or mezzanines they choose within the shell dispelling the idea of a rigid, pre-ordained space” By stripping back the spaces to their structural bones they were able to create space that is flexible. (Fcbstudios 2019) The existing building was split up into 12 different ateliers according to the architect. As shown in figure 4, multiple sizes of ateliers exist to fit the existing building footprint. Eight of these ateliers are part of the three storey wing on the west, and four ateliers are part of the former double bay factory hall proper.

Content Analysis: As touched upon the content analysis will follow qualitative data collection by analyzing the building brief, and texts about the project by the architects. As content analyses succeed or fail, with the validity of the analytical constructs that inform their inferences, the case study will use operationalizing of available knowledge of context as illustrated by Klaus Krippendorff in his book, “Content Analysis” (Krippendorff 2013). My analysis of the brief and related text analyses design claims, while analysing how they are realized in building drawings and photos.

Figure 4: Atelier Diagram

Figure 5: Atelier section and circulation

In peeling back all the spaces to their structural core FCB implemented the “shell and core” method discussed in the literature review, so that atelier owners can determine the interior finishes by themselves. Additionally interior construction, and even combination of units is possible if desired by the user. As seen in figure 5 the section assumes total construction of the interior of the studios (Spreehalle 2019).

Site Analysis: In person observation was utilized through data sketching. As a parameter, analysis of spatial distributions, sizes, materials and uses was focused upon. Initial site analysis confirmed the 12 atelier programmatic of the brief. Variations of size of the studios can be seen in the center of figure 6. 4 studios exists in the large open industrial floors (A9-A12). The other 8 studios are located along the western side, and vary slightly in size, while maintaining a uniformity across their shape. To the east, auxiliary spaces available to A11 and A12 for flexibility and expansion are highlighted as A13, and A14. The material of studios, is stripped down to the existing brick and steel structure, with glazing appropriately placed. A9-A12) utilize existing side glazing, with skylights newly added to supply ample light for the much larger studios.

Figure 3: Large studio interior

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Conclusion: The literature review, content analysis and observations gave insight into creating flexible spaces.

The concept of “shell and core” most importantly. The concept being explored through literature, and the actual implementation of it into the project gives great precedent on how to go about designing such places. The restrained palette, structure, and internal design desired by the architects to create a “raw” space is properly achieved through this method. The design an architecture can focus on providing optimal amenities and services, circulation through the building. But by showing restraint of how the building is to be occupied, the architects have created a dynamic and flexible space that allows creatives to be the architecture post occupancy.

Figure 6: Onsite Sketches

The diagrams on the left highlight the adaptability, and user fit options of the smaller studios. Each one has internal circulation allowing for total personal adjustment as the tenant sees fit. As seen n the bottom left, studio A5 and A6 have been joined, per the options presented by the studio.

Limitations: The Literature review could have benefited from more sources directly referencing theory on how to create artists studios. A lack of found sources creates a lack of information directly related to this concept, and thus creating a potentially weak base. Content analysis would benefit from direct feedback of users of the spaces, however a lack of findable feedback and evidence leads to a one sided investigation into only what the studio has proposed, and not post occupancy feedback. The observation has a lack of photographical evidence due to technical problems with my camera. Potential improvement could have come from interview with users, or additional access to the studios themselves.

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improvement could have come from interview with users, or additional access to the studios themselves.

REFERENCES |

LIST OF FIGURES |

Designingbuildings.co.uk. (2019). Furniture fixtures and equipment FF&E - Designing Buildings Wiki. [online] Available at: https://www.designingbuildings.co.uk/wiki/Furniture_fix tures_and_equipment_FF%26E [Accessed 10 Apr. 2019].

Figure 1: Fcbstudios (2019) Spreehalle exterior, [online image]. Available at: https://fcbstudios.com/work/view/Spreehalle [Accessed 10 April 2019].

Fcbstudios.com. (2019). Work | View | FCBStudios. [online] Available at: https://fcbstu dios.com/work/view/Spreehalle [Accessed 1 Apr. 2019].

Griffiths, A. (2019). Feilden Clegg Bradley and Bryan Adams create artist ateliers in Berlin. [online] Dezeen. Available at: https://www.dezeen.com/2017/11/17/feilden-clegg-bradley-bry an-adams-artist-ateliers-refurbished-berlin-factory-offices-architecture/ [Accessed 1 Apr. 2019].

Krippendorff, K. (2013) Content analysis : an introduction to its methodology. 3rd edn. Los Angeles: SAGE. Lefebvre, H. (1991) The production of space. Oxford, OX, UK: Blackwell.

Magazine, W. (2019). A new block of artist ateliers is set to bolster Berlin’s creative cachet. [online] Wallpaper*. Available at: https://www.wallpaper.com/architecture/spreehalle-artists-ate liers-berlin-feilden-clegg-bradley-studios [Accessed 1 Apr. 2019].

Figure 2: Fcbstudios (2019) Spreehalle Interior, [online image]. Available at: https://fcbstudios.com/work/view/Spreehalle [Accessed 10 April 2019].

Figure 3: Spreehalle (2019) Large Studio Interior, {online image} Available at: http://www.spreehalle.com/ [Accessed 11 April 2019].

Figure 4: SpreeHalle (2019) Atelier Diagram {online image} Available at: http://www.spreehalle.com/ [Accessed 11 April 2019].

Figure 4: SpreeHalle (2019) Atelier section and circulation {online image} Available at: http://www.spreehalle.com/ [Accessed 11 April 2019].

Figure 6: Austin Wyeth (2019) Onsite Sketch

Moore, C. W. and Allen, G. (1976) Dimensions : space, shape & scale in architecture. New York: Architectural Record Books.

Patton, M. Q. (2015) Qualitative research & evaluation methods : integrating theory and practice.

Fourth edn. Thousand Oaks, California: SAGE Publications.

Royalacademy.org.uk. (2019). Six ways to tackle the London studio crisis | Blog | Royal Academy of Arts. [online] Available at: https://www.royalacademy.org.uk/article/maga zine-six-ways-to-tackle-artist-studios [Accessed 10 Apr. 2019].

Spreehalle.com. (2019). Spreehalle. [online] Available at: http://www.spreehalle.com/ [Accessed 1 Apr. 2019].

The Independent. (2019). Terrible architecture is making you depressed. [online] Available at: https://www.independent.co.uk/life-style/design/how-architec ture-us es-space-light-and-material-to-affect-your-mood-american-ins titute-architects-a6985986.html [Accessed 11 Apr. 2019].

Thomas, G. (2010) How to do your case study : a guide for students and researchers. London: Sage.

Powered by close Zeisel, J. (2005) Inquiry by design : environment / behavior/ neuroscience in architecture, interiors, landscape, and planning. Rev. edn. New York: W.W. Norton and Company.

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