MArch Academic Portfolio 2017 by Becky Wise

Introduction 02. Reflections Self-examination of the following works and studies.

05. Bibliography Unconscious Method & Meditative Space 06. Thesis Studio: Blackfriars Community Centre Thesis studies in meditative space and material applications.

66. Chilli Studios Cafe: Creating Space for Mental Health Competition and build, September- November ‘16.

Applications of Critical Metaphor 70. Katendrecht Badhuis: Explorations in Ornament and Integration Critical analysis of ‘ornamental snobbery’ and gentrification in Rotterdam.

102. Experimental Architecture: Programming for Design Coding development of an emotionally- responsive programme for architectural analysis.

106. Territories of Democracy The Police Reform and Social Responsibility Act 2011 in Parliament Square

Exercises in Co-operative Architecture 108. Wilhemina Institute Proposal for a co-creation space in Rotterdam.

132. Allenheads Community Observatory: Competition & Build Competition, community and build, Octover ‘15- July ‘17

136. Experimental Architecture: Research Proposal Concept for further inclusion of children on the autism spectrum during brief-making.

137. Thesis Studio: Professional Practice Report Collaboration-related Issues & Appropriate Quality Control Mechanisms

Criteria Analysis 138. Criteria Review

|GC 1.1 / .2 / .3 | GC 2.1/ .2/ .3 | GC 3. 1/ .2/ .3 | GC 4. 1/ .2/ .3 | GC 5. 1/ .2/ .3 | GC 6. 1/ .2/ .3 | GC 7.1/ .2/ .3 | GC 8.1/ .2/ .3 | GC 9. 1/ .2/ .3 | GC 10. 1/ .2/ .3 | GC 11. 1/ .2/ .3 | |GA 2.1 / .2 / .3 / .4 / .5 / .6 / .7 |

Introduction Over the last few years, I have been unravelling several long-held personal interests which directly relate to the role and responsibilities of the architect, in social and political engagement with communities. I have had the opportunity to explore these ideas both in university work, and in local community live build projects through entering design competitions. These have provided me with a thorough basis to critique and develop my own working methods in an iterative way within my university work. I have also endeavoured to compound both theoretical and practical explorations of these topics with research, notably through developing a research proposal and coding a programme to test concepts which are harder to ascertain through discussion.

Unconscious Method Much of my own work relates to my understanding of the experience of architecture. This references phenomenology, a topic I discovered during my undergraduate studies when researching the experiences of people with autism, and how we might reconsider various default positions in design. This is something I feel is very important to consider as an architect, where many everyday experiences of space differ from normative understandings we have come to assume. I explored ideas of the unconscious further within the thesis studio ‘Rituals and the Unconscious’, where I could develop this personal feeling into a method of both understanding and producing work. From the outset, I took a position on psychoanalysis, from reading much of Freud’s work on the unconscious, and established a critique whereby the body and mind are consistently separated in these explanations. Phenomenology provided an alternative perspective on these ideas, tying both bodily and psychological experiences together through object relations theory. This developed when reading ‘Questions on Perception: Phenomenology of Architecture’, which discusses the concept of ‘enmeshed experience’, something which drove much of my thesis project in method and outcome. Over the last year I developed my own ritual of drawing each week, a method of tapping into my unconscious mindset of design through my bodily movements. This began with life drawing, articulating the theoretical concepts through image, continuing through the representation of architectural spaces through precedents, eventually leading to drawings envisioning my own designs. In each of these studies it became clear that the representation of light as a material in the drawings became a metaphor for the methodology at hand. I believe acknowledging this dialetic method of thinking and drawing is integral to understanding the way we begin to conceptualise space in practice. It is often through hand drawings and sketches that concepts and finer details are communicated from one mind to another. (GA2.4)

I experienced these ways of working unconsciously in collaboration, where iterative drawing between Noor Jan Mohamed and myself brought the concept of the Chilli Studios Café design to fruition. (GA2.6) This was a competition held in the Summer of 2016, where we entered a design based on concepts of Wabi-Sabi: appreciation of materials weathered with use and age. I took the experiences of working with used materials, such as pallets, with me to my thesis project, where I spent much time experimenting with materiality, colours, and texture. (GA2.2) Colour is associated with our internal emotions and experiences, and we often use them to represent our unconscious emotive selves. Referencing Johannes theory of colour, I explored the use of relational positioning to alter perception of protrusion, depth, warmth, size, and reflectivity. I combined this with the interrogation of emergent textures in the drawing and material exploration process, to analyse the haptic potential for use in architectural design. The following drawings express this process. Much of the live build process for the development of the café required 1:1 productions of furniture for testing and approval. This built upon an interest in using handmade, crafted details to express metaphorical concepts. This was used in detailing Café furniture, and eventually in detailing overlapping junctions within the thesis project, referencing the ‘layering’ of Carlo Scarpa. (GA2.3) Through this experience I developed an understanding of the architect in regard to ‘prototyping’ space, rather than determining a final outcome. This is something picked up from researching practices such as Muf, where prototyping uncertainty is integral to avoiding determinism in design. This goes hand in hand with my personal views on placing importance on the unconscious experiences of people who use buildings, where there is potential for spaces to evolve with the people that use them. This can be seen in my thesis work where some design details are left deliberately open in a non-static creative process.(GA2.7)

Applications of critical metaphor A key theme that has developed through my work is a critical stance on existing conditions which result in subjugation of underrepresented minorities. This is exhibited in the work of ‘Katendrecht Badhuis’. This project reflected on the snobbery of tattoo culture in Katendrecht, where gentrification threatens the history and ability of existing residents to afford to live in the area. (GA2.1) This interrogation went hand in hand with research into the arguments of ‘Ornament is Crime is Crime’, where discussions on the snobbery of ornament rang particularly true with the negative reputations of tattoo culture. As a revolt to the over simplicity of modernism as a tool of gentrification of the area, I developed a craft of ornamental joints in metaphorical representation of integration and representation of the marginalised tattoo culture. A manifesto of ‘New Ornamentation’ was developed, concerned with the application of pattern, animate forms, and blurred distinctions between texture and image. This was executed through the craft of timber detailing and finishes, also developing Hygromorphic ornaments for use in the design. The programmatic development of the bathhouse included a sensuous relationship to the body, where water was used as a material to emphasise the use of ornament and the activation of Hygromorphic elements. This is an example of the application of a material as a social catalyst, and the development of a social critique into a crafted 1:1 detail. This work questioned the role and responsibility of the architect in conditions of communities, where they may not necessarily appreciate the importance of historical and existing context in the face of providing new architecture, such as the housing development ongoing in Katendrecht. (GA2.7) This is a key part of my identity as a designer, where understanding the lived experiences of the residents and users is paramount to developing truly valuable architecture.

An enthusiasm to understand experience further drove the development of a coded project, which responds to bodily signals with a mandala-style graphic indicating levels of stress or comfort. This was intended to aid communication of comfort in architecture for people who may have trouble communicating emotions, such as those on the autism spectrum. A critique on a space of my own experience was taken during an essay on the role of democracy in parliament square, which discussed the arguably confused application of egalitarian law in the context of protest in democratic territory.

Exercises in co-operative architecture The first project of masters took a critical stance on the architecture of Rotterdam through the lense of the ‘What Makes a City Vital?’ brief. We developed analytical responses which manifested from a shared position: that it is the people who are vital to a city, and which in turn make the city vital itself. The interpretation of this theme within my own work looked at the city and its exclusion of people, notably a critical analysis of masculinist theories in the development of Rotterdam’s urban fabric. I discussed the urban conditions which result from the implementation of ‘masculinist’ ideas, and the potential to re-balance the environment with ‘feminist’ ideas. (GA2.4) This was a key moment for me where I began to move away from discussing the extreme binaries involved, and instead took an interest in the often-ignored grey areas. The concept of ‘blurred boundaries’ is something which can be seen throughout much of my work. The potential solution which developed was to provide a framework, or a platform, which facilitates the engagement and inclusivity of community in the future of Rotterdam, beginning in Wilhelmina Pier. This began the process of ‘feminisation’, but also provided opportunity for development into wider contexts. The programme is based on work by Matrix, which follows that to truly involve community in decisions and creation of the built environment, people must have the opportunity to learn and experiment with building techniques to improve knowledge of construction which could inform their spatial choices. Only by doing this can the community really get involved in the environment, not as a client but a creator. In this way, the Institute would become a laboratory of co-creation, using itself as a testing chamber for the future built environment of Rotterdam through discussion and workshop spaces. A crucial experience in co-operative architecture was that of the design and build of an Observatory in the North Pennines, following a competition win.

This project involved multiple clients, local interested parties and the collaboration with a physicist from Durham University to develop the proposals. (GA2.5) Noor Jan-Mohamed, Kathryn Fisher and myself worked to develop a scheme of material honesty, using creative solutions to solve design and on-site problems, & local sourcing. This worked towards our shared mutual goals that not only the design, but also the procurement and following works would serve the local community and economy. Accessibility and equivalence of experience is a key consideration to enabling the inclusion of all people, reaching farther than the default acknowledgement of minimum dimensions. This is something which drove my dissertation in undergraduate, and then my masters Research Proposal, which explored the role of the architect in brief making and design for children with autism. As designers and future architects, we are privileged with the potential to create spaces of real value. I believe we have a responsibility to the people who will live in these spaces, to truly consider their needs beyond default concerns. In particular I am interested in the psychological effect of environments on our mental and physical well-being. This is the backdrop to my efforts in developing my skills as a designer, through my own method explorations, critical concept analysis, and application in co-operative projects to create meaningful spaces.

Bibliography •

ARB Criteria

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Questions on Perception: Phenomenology of Architecture Juhani Pallasmaa, Steven Holl, Alberto Perez-Gomez

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Eyes of The Skin Juhani Pallasmaa

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Thought in the Act: Passages in the Ecology of Perception Erin Manning

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The Craftsman Richard Sennett

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The Fall of Public Man Richard Sennett

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Carlo Scarpa: Layers Anne Catrin-Schulz

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Politics of Affect Brian Massumi

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Altering Practices: Feminist Politics and Poetics of Space Various Authors

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Embodied Utopias: Gender, Social Change and the Modern Metropolis Various Authors

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Cities and Sexualities Phil Hubbard

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Rhythmanalysis Henri Lefebvre

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Heterotopia: Post Modern Utopia and the Body Politic Tobin Siebers

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Dreaming the Rational City M. Christine Boyer

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Delirious New York Rem Koolhaas

Thesis Studio

Ritual

Unconscious

“a set of fixed actions and sometimes words performed regularly, especially as a part of a ceremony.”

“The part of the mind that is inaccessible to the conscious mind but that affects behaviour and emotions.”

- Cambridge Dictionary

- Oxford Dictionary

The ritual of meditation includes setting an intention, heightened focus, emotional involvement and embodied participation in an attempt to increase conscious awareness of the meditator.

Meditation

Conscious “It is like a source of light which, in addition to illuminating whatever other things fall within its scope, renders itself visible as well.” - The Phenomenological Mind

“[the practice of] meditation is concerned with the development of a presence, a modality of being, which may be expressed or developed in whatever situation the individual may be involved.” - On the Psychology of Meditation

Through the act of meditation, an individual can gain consciousness of themselves, and their surroundings.

Thesis Presentation The following drawings are presented in order of key themes throughout the project. Using the metaphor of light, each precedent, material, model and perspective are categorised by light method:

Precedents

Primer Sketch

- Absorb - Reflect - Diffuse - Scatter

Material Studies

Site Plan, Section, Elevation

Booklets & Information

Plans

Perspectives

Models

Site & Working Models

Thesis Concepts Through readings on psychoanalysis, phenomenology and perception, several ideas have become important to establish during discussion on the meditation ritual and consciousness, particularly in the context of architectural analysis. The following concepts of hidden affordance, metaphor and mediation outline the ideas which provide the foundation for much of the following work.

Affordance

Metaphor

“a use or purpose that a thing can have, that people notice as a part of the way they see or experience it.”

“Metaphor in architecture is neither optional nor conventional. It is a way of showing- articulating- what the building does, how it behaved in contrast to itself, as if it were part of the world it finds itself within but was added to.”

- Cambridge Dictionary

If an affordance cannot be deduced by sight, it therefore hidden and must be understood through other means. The affordances of the ritual of meditation are largely hidden, prompting other means of research to understand qualities of gaining consciousness.

Mediation As the practice of meditation mediates between states of consciousness, the architecture of meditative space also mediates between several themes: Location: mediating between the inner and outer world Light: the play of shadows and translucency for atmosphere.

- Architecture Oriented Otherwise, David Leatherbarrow To visualise, analyse and represent unseen qualities or hidden affordances, metaphor can be used to articulate their essence. Symbolic metaphors from the natural world include the forest and the tree, exploring density, verticality and ornament of foliage. Many landscapes serve as symbolic inspiration, be it the horizontal plane or the mysticism of the mountain. Bodies of water can be considered especially ethereal, representing both life, movement and transience. Analysis of consciousness and unconsciousness can take place through metaphorical expression, and analysis of intrinsic metaphors in existing built fabric.

Methodology I analyse my own unconscious experiences through the meditation of craft. In expressing my unconscious through the act of drawing and making, I begin to make conscious the ideas and spatial configurations relative to this project. In this way, my methodology becomes a craftbased meditation on my own conscious and unconscious workings. Using a collage technique to layer elements of atmosphere and detail, the drawings serve to be read at various speeds and levels of intimacy. This also serves the notion that the drawings are to be accessible to all walks of people, so that the image is emotionally understandable regardless of ability to read details. The ritualistic character of craft speaks to both of the main focuses within this thesis topic. Using craft to reveal unconscious workings, I use the concept of ritual within the ways the ‘craft’ itself manifests. This takes place through aesthetic analysis of existing buildings, by drawing both atmospherical qualities and building details, and through experimentation with models. This maximises the connection between hand and mind, resulting in as little seperation as possible of the lived experience and the expression on paper.

Colour

Texture

An intrinsic part of human perception, experiences of colour often begin with those found in the natural world. We associate colours with our internal emotions or particular experiences, and often use them to represent our unconscious emotive selves, whether we are aware of it or not.

Gibson describes haptic experience as “[t]he sensibility of the individual to the world adjacent to his body by use of his body”. Perception of space, and the experience of our bodies within it are therefore inseperable.

No colour is seen in isolation, and much discourse on the experience of colour exists. Particularly referencing Johannes Itten’s theory of colour, relational positioning of colour can alter our perception of it visually, creating effects of protrusion, depth and crossing. Warmth, size and reflectivity are also key to establishing hierarchy in the colours we percieve.

I look to the emergent textures produced when experimenting with materials, analysing the haptic potential for use within architectural design.

Anthropomorphism “the attribution of human characteristics or behaviour to a god, animal, or object. “ - Oxford Dictionary I look to David Leatherbarrow’s chapter “Breathing Walls” for the concept of anthropomorphising the building as a meditator itself. In this way, the building can be considered in terms of its consciousness of material, composition, inhabitants, and its surroundings.

Case Study “Blackfriars @ The Ouseburn is a Community Centre and venue run by the St Vincent de Paul Society, a voluntary not-for-profit charity dedicated to tackling poverty and disadvantage by providing direct practical help to people in need.” Blackfriars Hall is built over the foundations of Hadrian’s Wall and is adjacent to the Church of St Dominic’s on New Bridge Street. The building’s location is on a key corner where Newbridge Street meets Stepney Bank, a pivotal connection from the city centre to the Ouseburn and the local arts communities which exist there. Adjacent to the Community Centre, SVP run a hostel with temporary accommodation for up to 22 homeless people at any one time. The Centre itself is currently a mixed-use building, sub-letting spaces for use by charities such as Chilli Studios, Age UK, and Crossroads, as well as parenting groups and various Church gatherings.

The issues currently faced by those using the building include lack of visibility- which minimises charitable revenue and public contact, and that of appropriate functionality. Some major areas of the building limit the functions of the charities and groups within in spatial, sensorial and accessible ways. It can be said that the overall concept of the project is to make the building conscious of the individuals that use it, and the wider community. I have experience with Chilli Studios, where Noor JanMohammed and myself won a competition for the design of a café as a public interface for the charity, and we finished building it last November. It is through this experience and these channels that I have been able to have good contact with the landlords as well as speak to people from various walks of life who use the Blackfriars Centre.

This case study therefore raises questions on individual and interpersonal consciousness, making further use of architecture and metaphor to mediate between the individual and consciousness of their community through architectural means. Referencing studies in psychoanalysis and phenomenology, I analyse the existing building as an anthropomorphised case study to ascertain the first steps of the project.

Site Analysis Site analysis was conducted through in-situ sketches, paintings and mark makings. This gave a thorough impression of colours, textures, and patterns in the surrounding context.

Air-dry clay pressed onto site materials and textures.

Wooden Site Model 1:1000

The Building Anthropomorphism of the building, and subsequent studies in its psychoanalytic and phenomenological state begin to frame an approach which retains, removes and replaces certain aspects of the building. ‘Experimental Preservation’ techniques provide a precedence to this methodology which questions traditional means of deciding which areas of buildings are kept, restored or destroyed. In this instance, I make use of my thesis research to provide the basis for these decisions.

Using information gathered from users both in person, and via a questionnaire, as well as first-hand experience, a series of spaces which reflect the positive functional and emotional relevance to users are outlined. Within this feedback, three concepts are formed to discuss the potential of the building:

01. ‘Existing Space’ looks to retain and improve existing facilities which are important to the users, ensuring the ‘heart’ of the building remains. These include the main hall space and the artist studios above. This includes tertiary structures and finishes which respect and enhance the existing architectures, such as timber stud walls and ‘soft’ interventions which vary light admittance. 02. ‘Memory of Space’ considers areas of the building which may not work so well, but are key in considering existing use and the experience of the users. This includes existing entry methods, and the rhythm of the structure of the north-facing façade. This method uses new materials as reflection and representation of the ‘memory’, e.g. a new steel frame following the same grid as the existing concrete frame. Finishes and cladding reference existing openings but with new materials which play with light qualities. 03. ‘Potential Space’ looks to replace and improve existing areas of the building that are said to not work well functionally and phenomenologically. This architecture fully takes on the qualities of the thesis methodology in its relationship to light and meditative space. This uses steel as a new primary structure, positioning a new grid along the angle of Hadrian’s Wall remains. Within the frame various light methodologies are used.

N e Sunris

t Sunse

S Sun Path Diagram

Existing Entry & Internal Access Cores

Railway & Road Noise Hadrians Wall (Underground)

Unaddressed Site Conditions

Existing ‘Meditative’ Spaces (solid lined areas) & ‘Preservative’ Strategy of access

Proposed Access & Breaking the Deep Plan

Spatial Mass Strategy

Massing The Massing takes precedence from the existing building and its surrounding context. The form of the roofs pay reverence to the emittance of daylight angling inwards to the courtyard. Structures reference the local industrial context, using a steel structure for all new additions.

The centre of the plot is kept clear making room for a courtyard. This breaks the deep existing plan and allows natural light to flood into the existing spaces most valued by users. An additional facade is added to the north to protect from noise pollution and to enable the ground floor to open towards the public.

The landscaping surrounding the site makes the site accessible to the main entrance and the courtyard for those using prams and wheelchairs. This means there is ease of access for all, in all areas. Other main additions include stair cores which in addition to easing access issues, also provides a simple fire strategy.

Angled Roofs as per context and light

Massing relationship to context

B Diagrammatic Plan: Light Condition Locations

Diagrammatic Section A: Light Condition Locations

Diagrammatic Section B: Light Condition Locations

Light Conditions & Locations The locations of the light conditions discussed through the following thesis research are located by their metaphorical relationship to space.

Absorb

Diffuse

The main area where the explored techniques are used include the additional facade to the north. This acts as a barrier to absorb noise from the railway, road and construction sites opposite. This is shown with the double thin lines in the diagrammatic plan and section B.

Diffuse materials are used throughout the building, but most notably within the studio spaces. This is used to clad the walls of the new addition to the studio expansion.

This helps protect spaces for activites requiring a level of rest or calm, such as: - Ground Floor Cafe - First Floor Offices - First Floor ICT Suite - Second Floor relaxation area

This materiality is designated by the dotted lines in the diagrammatic plan and sections, and is used in the following spaces: - Walkway between Hall space and open Courtyard - Boundaries between internal facades to the courtyard - Third Floor Art Studios

Reflect

Scatter

Reflective materials are used for spaces of personal or collective reflection. These are designated within the solid lined areas in the diagrammatic plans and sections. Woven metal is used in the back wall which is highlighted by the skylight above, and the polycarbonate wall to the side. These include:

The perforated materials are used in spaces which ‘scatter’ people around the building- i.e. circulation cores.

- Ground Floor Social Club - First Floor Chapel - Second Floor Childrens’ Play

These can be seen in the diagrammatic plan in areas designated with the dashed lines. These are located in three corners of the site to ensure equal and easy access to all areas of the building. - Stair cores - Gallery

Absorb Bregenz Kunstahus Zumthor’s Kunsthaus in Bregenz makes use of opaque glass to absorb and redistribute daylight to create an everchanging internal atmosphere. Between each floor is a ‘light plenum’, designed to capture light and filter it to the gallery space below. This creates a ‘velvet-like visual texture’, using a softness of light which interacts with a hardness of materiality: polished concrete internally and a steel frame which holds the glass externally. Olafur Eliasson’s Mediated Motion exhibition further served to accentuate this light quality, through the use of a fog installation to awaken sensory experiences of perception.

Absorb Nelson Atkins Museum of Art Steven Holl designed five interconnected structures to act as â&#x20AC;&#x2DC;lensesâ&#x20AC;&#x2122;, playing with the duality of transparency and opacity. The skin absorbs daylight through the double glass system, with a translucent insulating material embedded between the cavities. The light filling the space can take a blue-ish hue during the day, evoking a sense of calm and serenity. During the night, when lit from within, the materials emit a soft yellow hue, lighting the building like a beacon to its surroundings.

Absorb The main area where the explored techniques are used include the additional facade to the north. This acts as a barrier to absorb noise from the railway, road and construction sites opposite. Using polycarbonate as the main material for the facade, I played with openings respecting the existing facade also layering with mesh. The explored absorbative bricks are used as a secondary layer behind the polycarbonate. The facade is supported by the steel columns shown in section and in the absorbative perspective section. These exaggerate the translucency of the facade, also hinting at the layering of the new structure to the old, externally.

Absorb Wax Opacity Studies Adding both water and oilbased colouring to molten wax, experimenting produced small opaque panels with varying textures and colours. The craft of casting and mixing the wax produced an array of absorbant properties- of both light and colour. These experiments can translate into the methods used to create glass or plastic panels within building elements. Building Context: Assembling of the opaque â&#x20AC;&#x2DC;bricksâ&#x20AC;&#x2122; individually, using a back of glass with structural resin, for placement within a steel framework. The textured bricks integrate with existing brick slips, however where openings occur in the wall, internal or external lighting highlight the absorbant qualities of the material.

Reflect Chichu Art Museum Sensitive to its site, Chichu Art Museum by Tadao Ando is largely submerged underground, reconsiderring the relationship between nature and people. The design therefore responds to changing daylight conditions to light artworks within. The overhead light is captured through rooflights which act as spotlights for both artworks and architecture. This brings out hidden hues within the concrete walls, creating an atmosphere of subtle texture and colour. Landscape above ground also make use of the reflective qualities of water, accentuating the relationship to the sky.

Reflect Kamppi Chapel KS2 Architects designed Kamppi Chapen on the south side of the busy Narinkka Square as a space of calm. Overhead natural light washes the gently curved timber interior walls. Light falling on the space has a warmth which can be attributed largely to the timber materiality. The sacred space protects the inhabitants from the bustling city outside, whilst simultaneously projecting its inner materiality on its external facade.

Reflect The reflect materials are used in the chapel/ conference space. The woven metal is used in the back wall which is highlighted by the skylight above, and the polycarbonate wall to the side. The new structure is laid bare in the space, again providing a contrast where the dark steel brings out the bluer hues in the woven panels. This space is for collective or individual reflection, hence the material choices which enable the users to benefit from meditative light with more privacy from adjacent spaces.

Reflect Aluminium Studies Experimenting with coloured paints and their application to the aluminium, the reflectivity of the metal can be altered. When bent and formed into other shapes, the angles reflect light in a mixture of ways. By combining matte colour and aluminium, the experiments play both with form and reflectivity. The crafting of reflective qualities can be used architecturally to mediate what,, where, and how light is reflected within the spaces. The painted/ corroded metails can be woven, and connected as panels using a standing seam detail. This uses the concepts of folding and layering in the texture as well as practical use of the materials. The lighting from above highlights the texture and reflectivity of the material.

Diffuse Meadow brook House Atherton/Keener wrapped this dwelling in a diaphanous screen to protect the interior from Arizona sunlight. The organisation of the interior provide spaces from which to observe the changing qualities of daylight within the surrounding landscape. Allowing subtle light to permeate inside brings life to the internal spaces, washing curved walls with hues of blue and lilac. When lit from within the space projects a warm yellow to its surroundings.

Diffuse St. Lawrence Chapel Avanto Architects make use of patinated copper mesh either side of a glazed wall to mediate between the inside of the chapel and the exterior. This creates a diffused light atmosphere which is both solemn and uplifting. The light passing through the copper mesh takes a blue-green hue, providing both a calming an energising feel. The use of copper on two walls and the ceiling creates an underwaterlike space which reflects the use of water as a boundary in other areas of the building. This makes use of the ethereal qualities of light, material, and water to provide a sense of enlightenment.

Diffuse Diffuse materials are used throughout the building, but most notably within the studio spaces. This is used to clad the walls of the new addition to the studio expansion. The various mesh are held in frames connected to the new structure on either side of glass, layering the different patterns and colours to create an irridescent atmosphere of diffused light. Layering is used both in the wall build up, and the construction of the roof where the steel structure extends above the mesh panels to support the roof.

Diffuse Mesh Studies Experimenting with various meshes, playing with different metals and patterns varies the potential diffusing qualities of the materials. By combining copper coloured mesh and silver mesh, light is diffused both when passing through but also when hitting the reflective parts of the metal. This is something I find particularlu interesting, how the mesh qualities may change as the metal corrodes or oxidises, such as with copper. The various mesh are held in frames either side of glass, layering the different patterns and colours to create an irridescent atmosphere of colour and diffused light.

500

Scatter Dominus Winery Herzog & De Meuron designed the Winery to sit comfortably within the landscape. Here I look to their use of gabion cages to scatter daylight in areas which called for cooler temperatures. Although not structural or part of the building skin, this acts as an important screen mediating the effects of the extreme temperatures of Napa Valley. By scattering intense sunlight, the building plays with the depth of light and shadow. This accentuates the solidity and the voids within the gabion wall, but also refines the light to hints of colour when the scenes behind show bright blue skies or greenery of the landscape.

Scatter Kolumba Museum Peter Zumthorâ&#x20AC;&#x2122;s design for a museum to house Catholic Artworks focussed on the spiritual values of art, the architecture too creating spaces of enlightenment. He plays with daylight in the brick facade, so that the shifting light patterns illuminate the ruins within. The bricks were specially developed for the project, being fired with charcoal for a warm hue. This is to help integrate both new and old in respect of the late-Gothic church ruins.

Scatter The perforated materials are used in spaces which â&#x20AC;&#x2DC;scatterâ&#x20AC;&#x2122; people around the building- i.e. circulation cores. Variations in hole sizes cut from the metal panels brings a variety of scattered atmospheres, with larger holes the further up the building. The panels themselves are positioned to overlap in a layered detail.

Scatter Perforation Studies Experimenting with various perforations in materials to play with scattering of light. Looking at non reflective materials, replicating the textured qualities of corten steel where the passing of light is exaggerated by the dark textures of the steel. The various steel panels are held in frames either side of glass. The perforations vary according to floor of the building, the largest holes at the top landing.

Third Floor Offices

Plans Third Floor & Second Floor 1:200 @ A3

Recreation Space

Individual Art Studio

Group Art Studio

Childcare

IT Suite

Chapel & Conference Space

Plans First Floor & Ground Floor 1:200 @ A3

Cafe

Foyer

Gallery Courtyard Hall

Social Club

Memory of Space Detail

Existing Space Detail

Section 1:100 @ A3, Originally 1:50 @ A1

Proposed Space Detail

Chilli Studios Cafe Creating Space for Mental Health

OSB Wall

Blackboard Wall: Menu, Announcements & Timetable

Presenta on Boxes

OSB Coï¬&#x20AC;ee Bar with Glass top

ELEVATION ON ENTRY TO CAFE, 1:100 @ A3

Shelving

Tiled Flooring

Storage

Exis ng concrete flooring

Standard Sea ng

GROUND FLOOR PLAN, 1:100 @ A3

Group Sea ng

Flexible Sea ng

Teal Paint

Entrance

ELEVATION ON EXIT, 1:100 @A3

Saﬀron Paint

Flexible Gallery Space

Chilli Studios Cafe

Large Gallery Wall

The internal finishes make use of OSB, tiling, blackboard paint, teal/ saffron/ white paint, and soft furnishings. In reference to the honesty of kintsugi, and finding beauty in the connections of two parts, we suggest that the jointing in constuction of both the bar, and seating furniture is visible in a way where the joint can be appreciated.

WEST-FACING ELEVATION, 1:100 @A3

Large Gallery Wall

Saﬀron Paint

EAST- FACING ELEVATION, 1:100 @A3

Bar

The colours used in the design reference our responses to the mood boards included in the brief. The saffron reflects the colour of the ‘Chilli Studios’ icon, whilst the teal colour reflects our take on the navy blue. The concept intends to ensure that all artworks created by the studio can be included in the cafe, with a variety of presentations of scale, method, and backdrop.

Katendrecht Badhuis

Concepts: New Ornament

Digital Age Ornamentation often takes form in the following principles:

Etymological origin of Ornament is the verb ‘ordino’, meaning order. This highlights the use of Ornament as an expression of an underlying order, and its potential to represent a new, integrated social order.

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Blurred distinctions between texture and image

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Use of Pattern

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‘Animate’ forms

(Reference to ‘Ornament, Politics of Architecture & Subjectivity’ by Antoine Picon)

Katendrecht Badhuis Explorations in Ornament and Integration

Potential to use contemporary ornamentation in a building programme to tackle issues of Gentrification by encouraging: •

Integration of New and Old residents through shared community space and interests

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Appreciation of workingclass and historic values

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Accentuation of public space and amenities

Presentation To begin this project, we took reference from Marco Frascari’s writings on the ‘tell-the-tale details’, prompting individual responses from the group as to what we consider a ‘detail’ to be, and how these might manifest. These responses influenced two choices: a representative ‘g[h] ost’ of Katendrecht, and a Material Obsession. We each began to develop these choices and their identities into a methodology of design and thesis, which directed programme, site, design and details. I chose to reference the historic Tattoo Industry of Katendrecht, which is in decline as the area comes under new guidelines for gentrification. Through analysis of this g[h]ost, themes surrounding working class values, disregard of working class histories, and ornamentaion were introduced. For a material obsession, I took reference from Frascari’s descriptions of reading the ‘story’ of the detail, and experimented with the design and build of japanese timber joints, where each stroke by the craftsman can be read both visually and tactually. Through these themes, a thesis developed which looked to ameliorate some of the issues associated with gentrification, and loss of value for working class identity, and how to create environments where social boundaries between new and old residents may be blurred to encourage integration. As with project 5.1, the blurring of these boundaries responds to an understanding of binaries as exclusive concepts, and water had been used not only as a representative material of social integration, but as a material for the building itself, informing each tell-the-tale detail in their own ways. Representation of the design work took influence from the traditional methods of tattooing, using indian ink. All images were hand drawn and ornamented using indian ink, to reflect both the manual sensuality of the tattoo process in the drawing process, as well as the aesthetic of the finished image.

G[h]ost

Fountain D

‘O Biographies Expanding Foam Joints

Facade Analytique

Joint Explor Tattooed Joint

Pool Deta

etail

Elevations

bsessedâ&#x20AC;&#x2122; Booklet

Handrail Ornament

rations

ail

Gentrification Handrail Ergonomics

Sections

Roof Plan

Ground Floor Plan

Process Work Tea Video Handrail Joint

Technical Booklet

Atmospheric Model

Hygromorphic Prototypes

Perspectives

Basement Plan

Verlaan Medium traffic Sumatraweg Light traffic Delistraat Predominately Pedestrianised

Facing Verlaan Higher density to protect from traffic noise pollution Facing Sumatraweg Medium density, continuation of locally owned ground floor commercial units Facing Delistraat Low density street level amenities, open public spaces

Site Location Plan

Sunrise 04:00 N