Unit 12 Catalogue 2015

Unit 12 Catalogue 2015

12 Matthew Butcher Elizabeth Dow Jonathan Hill

Akhil Bakhda Samiyah Bawamia Larisa Bulibasa Alex Cotterill Benjamin Ferns Helena Howard Tereza Kacerova Joseph Reilly Adam Shapland

Stephanie Brancatisano Kacper Chmielewski Holly Jean Crosbie Matthew Sawyer Luke Scott Zahra Taleifeh Matthew Turner

Unit 12 Catalogue 2015

UNIT 12 2015

Akhil Bakhda Samiyah Bawamia Larisa Bulibasa Alex Cotterill Benjamin Ferns Helena Howard Tereza Kacerova Joseph Reilly Adam Shapland

Stephanie Brancatisano Kacper Chmielewski Holly Jean Crosbie Matthew Sawyer Luke Scott Zahra Taleifeh Matthew Turner

akhilbakhda@gmail.com samiyah_bawa@hotmail.com samiyahbawamia.tumblr.com larisa.b11@gmail.com larisabulibasa.tumblr.com alexcotterill@gmail.com benjamin.ferns@gmail.com benjaminferns.co.uk helenahowardarch@gmail.com helenahowardarchitecture.tumblr.com terezakac@hotmail.com joseph.reilly5@gmail.com joe-reilly.com adamshapland1@gmail.com

steph.brancatisano@gmail.com kacper.p.chm@gmail.com be.net/kc_ hollyjeancrosbie@gmail.com hollyjean.co.uk mattsawyer.architecture@gmail.com mattsawyer.co.uk lukealexanderscott@hotmail.com ztaleifeh@gmail.com matthewturner134@gmail.com

OCCUPYING THE CITY OF LONDON Matthew Butcher, Elizabeth Dow, Jonathan Hill

In the early eighteenth century around 500,000 people squeezed into the City of London, with homes, businesses, industries and cemeteries sideby-side. Today, less than 10,000 people live there. The City’s massive buildings and tight street pattern make it the most urban part of Greater London but it is only a workplace, and empty at the weekend.

Unit 12 proposes that the City’s population will increase to 500,000 so that its dense urban life will match its dense urban fabric. No longer will the City be dedicated only to the financial market. Instead, it will contain all the activities associated with metropolitan urbanism, as well as those that challenge familiar assumptions about urban life. Each student in Unit 12 has proposed a new building and a new programme that contributes to a socially, culturally and politically vibrant City of London.

Monument and Ruin The early twentieth-first century is often associated with ephemerality and transience. Without rejecting these qualities, we propose that monumentality should be celebrated too. Rather than only adulatory, the monument’s purpose is complex and questioning. The etymology of the term refers to the Latin monumentum, which in turn derives from monere, meaning to remind, warn and advise.

The monument is interdependent with the ruin. Monuments can be ineffective means of collective remembrance, and their original meanings are soon forgotten or obscured unless they are reaffirmed through everyday behaviour. Alongside the creation of monumental buildings that recall and represent societal values, there is a process of forgetting in terms of material decay and ruination, which may result from natural processes or human actions.

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Monumentality is a characteristic of the City but it only serves to glorify the financial market. Instead, we have inverted familiar hierarchies so that unexpected and everyday building programmes are celebrated. We have posed the question: what should we monumentalise today? And equally, we have asked: what should we ruin today? Rather than the monument and the ruin being conceived as conflicting, they are constructive and creative themes interdependent within a single building dialectic.

Designs on History To design, the architect must decide what to remember and what to forget. Vincent Scully concluded that the architect will ‘always be dealing with historical problems—with the past and, a function of the past, with the future. So the architect should be regarded as a kind of physical historian’. The most creative architects have always looked to the past to imagine a future, studying an earlier architecture not to replicate it but to understand and transform it, revealing its relevance to the present.

Twenty-first century architects should appreciate the shock of the old as well as the shock of the new.

Unit 12 would very much like to thank James Hampton, Design Realisation tutor, and Ben Godber, structural consultant, as well as the critics: Abi Abdolwahabi, Gianluca Adamei, Alessandro Ayuso, David Buck, Shumi Bose, Nat Chard, Tom Coward, Alison Crawshaw, Maria Fedorchenko, Daisy Froud, Omar Ghazal, Manuel Jimenez Garcia, Rory Hyde, Adam Kaasa, Jan Kattein, Constance Lau, Ifi Liangi, Lesley McFadyen, Justin McGuirk, Tom Noonan, Luke Pearson, Francisco Sanin, Eva Sopeoglou, Jill Stonor, Michiko Sumi, Gabriel Warshafsky, Nina Vollenbröker, Fiona Zisch.

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MARS CIRCUS, CITY OF LONDON: UNITED SPACEFARING NATIONS HEADQUARTERS Akhil Bakhda The little known UNOOSA (United Nations Office for Outer Space Affairs), is currently one of the largest committees in the United Nations. With a membership of 77 nations, 14 of which are currently spacefaring, the committee has grown rapidly from its humble beginnings in 1958 when there were only 18 member nations . From forming as an ad hoc committee under the guise of ‘Committee on the peaceful Uses of Outer Space’, the committee has had to respond to spikes in space activity from a small base within the United Nations Offices in Vienna.

As the global space race to Mars intensifies, with more member nations and private corporations joining every year, the time will soon come when the UNOOSA will outgrow its current home and will need to find a new one. It will need to come out of the shadows and engage in a wider public program to propagate transparency, enthusiasm, knowledge and goodwill in a city that is representative of the powerful commercial and multicultural agendas and frictions that dominate spacefaring today. In a similar manner to how the current International Maritime Organisation grew into a specialised agency of the UN with its own extraterritorial headquarters in London, the new home for the UNOOSA will need to become its own entity. This project explores the notion of a new United Spacefaring Nations Headquarters in the City of London, specifically Finsbury Circus, to house the activities of the burgeoning UNOOSA.

Akhil Bakhda

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akhilbakhda@gmail.com

Akhil Bakhda

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akhilbakhda@gmail.com

THE ASSOCIATION OF FEMINISTS IN PROPERTY Samiyah Bawamia Situated in the City of London, the architecture of the headquarters for the ‘Association of Feminists in Property’ responds to the second-wave feminist movement, by accepting and empowering the female experience while playing up the feminine attributes as defined in Luce Irigaray’s writings. Taking precedence from the reading of Sir John Soane’s museum as a feminist architecture, the headquarters aim to generate ideas and hidden associations, while creating subjectivities rather than being prescriptive. The saturation of space and colour is also a reaction against the 20th century modernism, which has left the City of London with a limited architectural vocabulary and palette.

The headquarters deals with fields ranging from architecture to engineering and planning to surveying while club members range from students to business owners. Acting as a learning and inspiring platform, activities range from workshops, networking to exhibition events. Most importantly, the headquarters act as a place of wonder and inspiration, where encounters, accidental happenings and elements of surprise are achieved through the unconventional arrangement of mirrors, books, exhibits and routes. The headquarters also acts as a critique to London’s private members clubs, accepting but also challenging hierarchies of key spaces such as the reception hall, the library and the entrance hall.

Samiyah Bawamia

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samiyah_bawa@hotmail.com

Samiyah Bawamia

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samiyah_bawa@hotmail.com

A FINANCIAL LIBRARY FOR THE SQUARE MILE LABYRINTH Larisa Bulibasa The Square Mile “is a labyrinth, half of stone and half of flesh”.

Peter Ackroyd Regardless of its quickly expanding 21st century glass fortifications, the Square Mile seems to continue to exist, both spatially and culturally, as an incomprehensible theatrical labyrinthine scene in relation to its economic structure. This urban agglomeration of banks and other financial institutions has been born out of economic greed, wealth and centrality of power. Therefore, survival is dependent on the self-immersion and absorption into this world of money and opulence, and the attempt to embrace the chaotic system created. This corner of the world, both ancient and modern, is where the shear presence of money brings out the dark side of human nature.

As a response, the project takes the form of a Financial Library for three types of City workers: Bankers, Economists and Quants.

“A library is a metaphor for human beings or what’s best about human beings. A library is total generosity.”

Roberto Bolaño As a microcosm of the Square Mile, the Library uses the concept of an architectural labyrinth as a means to observe the rather peculiar behaviours of different factions of society, creating confusing physical and emotional states within, for its inhabitants.

This takes place within the context of the elusive practice of finance, which can be argued as one of the messiest of human activities.

Hence the Financial Library becomes an attempt to translate the complex and often conflicting state of affairs apparent in the financial district into a labyrinthine architecture that is simultaneously a narrative and a physical experience.

Larisa Bulibasa

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larisa.b11@gmail.com

Larisa Bulibasa

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larisa.b11@gmail.com

PLANNED IGNORANCE Alex Cotterill Through speculating on a reinhabitation of the City of London to its former capacity, this project is a satirical take on modern society’s struggle to become ‘sustainable’ at the expense of their normal lives, capitalising on the economy of pleasure as an analytical and idealistic tool to integrate society with its waste and reinvent Eden on earth.

Alex Cotterill

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alexcotterill@gmail.com

Alex Cotterill

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alexcotterill@gmail.com

PONTIFICAL ACADEMY OF SCIENCES Benjamin Ferns The Pontifical Academy of Sciences, established in 1603 with Galileo Galilei (1564-1642) as chair, has not only been designed to re-establish the academy, but also follows a line of tradition in using architecture to shift the focus of capitalism. Located at the heart of the City of London, the proposal uses techniques not usually associated with academia.

Last year Pope Francis declared Catholic support for the theories of Evolution and Big Bang. As a response to the increasing global role of the academy, and a reappraisal of the Catholic faith against dictation but as guidance, the programme is a combination of raised thematically organised libraries and ritualistic lecture spaces, situated within a modulated landscape to induce physical and metaphysical wandering. The reading rooms are monumentalised through daily reaffirmation, whereas the artefact storage chambers become ephemeral as the interpretation of their content is slowly rejected and rewritten. A stimulating territory requires prior knowledge and frees the occupant from obligation, thus promoting chance interaction where isolation is momentary but never complete, and also encouraging a slower understanding of society.

The proposal seeks to go beyond a religious or scientific typology, investigating the potential of Collage through Baroque painterly characteristics and oblique perspectives of both architectural drafting and physical manifestation. The relationship between programmatic fragments continues the lineage of Piranesi through a chiaroscuro curation, developing a temporal perception through travertine and basalt articulation. Material is hatched to become a trace of an architectural thought process, while the use of monochrome increases efficiency in the area of the human brain responsible for learning and perception. Allegorical to the Vatican, the drawn proposal is both intense yet detached, familiar yet strange, at once refusing an immediate reading and immersive.

Benjamin Ferns

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benjamin.ferns@gmail.com

Benjamin Ferns

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benjamin.ferns@gmail.com

THE CITY OF LONDON CRAFT GUILD OF POLYCHROMY Helena Howard "Craftsmanship names an enduring, basic human impulse, the desire to do a job well for its own sake".

Richard Sennett The Craftsman, 2008 The project proposes a re-engagement with craft through the introduction of a twenty-first century Gothic revival.

In the Gothic tradition of constructing a building over many generations, a lexicon of individualised components are assembled piece by piece over time through a collaborative process, thereby embodying the spirit of Pugin’s attempt to create a better society through craft, manual labour and collaboration as opposed to the Classical tradition of autographic/ allographic authorship.

One of the primary distinctions between Neoclassicism and the Victorian Gothic revival was the use of polychromy. Neoclassicism (based on the misconception that the architecture of Greek antiquity was white) was counteracted with an intense and vibrant polychromy. In the same vein, the new Gothic revival uses a heightened polychromy to counteract the new 21st century blandness- that of the steel and glass financial sector.

Apprentices aged 18 and above will be taught both digital and analogue techniques of architectural colour production in order to facilitate the spread of the New Gothic polychromy throughout the Square Mile and beyond.

Helena Howard

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helenahowardarch@gmail.com

Helena Howard

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helenahowardarch@gmail.com

THE NEIGHBOURHOOD HOUSE Tereza Kacerova In a city where property prices and rents are increasing every year, the project questions the efficiency of modern living and proposes to re-think the typology of a home as an enclosed, compartmentalised and increasingly segregated space.

The project investigates a concept of a house as a neighbourhood and proposes a scheme on a site of former Fleet Building, which provides not only housing, but also spaces, services and shops which one would expect to find in a city neighbourhood. Between these spaces exists also an intermediate zone as an extension of the public reaching towards the private and vice versa. This is an area which compensates for the size of the dwellings and provides necessary space where the residents can spend their time, livework-meet. The longer one lives in the house the better one understands how to occupy it and what are its possibilities. ´If anything is described by an architectural plan, it is the nature of human relationships, since the elements whose trace it records – walls, doors, windows and stairs – are employed first to divide and then selectively to re-unite inhabited space´ (Evans 1978, p.56). Therefore, a section of the project is dedicated to a series of explorations in plan as means to systematically lay out basis for transitions between the private and the public. Nuances such as the semi-private and semi-public are introduced into an established hierarchy of space.

The project argues that the architecture of the domestic sphere shapes the way we inhabit our surroundings. Past modes of living and occupation have evolved from existing practices, but were also largely transformed by changes in socio-cultural values.

The relationship between the individual and their neighbourhood is not determined solely by a treatment of an external boundary but results from particular combinations regarding the outer shell, internal organisation, and the role of the enclosed room respectively.

Tereza Kacerova

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terezakac@hotmail.com

Tereza Kacerova

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terezakac@hotmail.com

THE RAFT OF THE MEDUSA Joe Reilly Wallasea Island is more London than London.

Crossrail have sent 4.5 million tonnes of earth, from beneath the City of London’s Streets, to Wallasea Island in Essex. This project follows the final shipment of exiled earth down the Thames to Wallasea, where a new simpler city for 147 people emerges upon the foundations of ancient London.

A brewery, bakery and mill are built around a vast floating raft of wheat: a commodity for a cleaner economy. The new city subsists on bread and wheat beer, which is produced within an aberrant architecture composed of warped timber and defunct objects.

The programme laments the disappearance of the City’s vibrant past life, whilst also critiquing the sterility of the contemporary plutocratic City.

The final proposal exists as both a genuine alternative for a new/ old industrial City of London, but also as an allegorical tale in which the City is framed within the rewritten narrative of the Raft of the Medusa.

Joe Reilly

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joseph.reilly5@gmail.com

Joe Reilly

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joseph.reilly5@gmail.com

THE INDEPENDENT CORNISH ASSEMBLY Adam Shapland Cut into the sublime granite cliffs between Geevor and Levant coastal tin mines, the Independent Cornish Assembly is proposed in direct response to the growing campaigns for Cornish Independence and political separation from a centralised Westminster government. Historically, the region’s strong sense of political and cultural identity has been intrinsically linked to its deep shaft mining industries which can be traced back to the bronze ages and in the eighteenth and nineteenth centuries dominated the world’s tin and copper export markets. The preserved picturesque ruins of the surface works, chimneys and engine houses now serve as monuments to Cornwall’s industrial heritage, however below the surface, extensive flooding of shafts and tunnels threaten to contaminate the surrounding water sources and ecologies. With this in mind, the project imagines a parliamentary system that is embedded within a new prototype industrial landscape which aims to de-water and clean up polluted mine workings whilst extracting the remaining concentrated precious metals from the water.

Through the juxtaposition and overlapping of parliamentary chambers against the industrial processes, the assembly can be understood as a sequence of hybrid architectural conditions which frame and are framed by the surrounding landscape. The building’s axis, which runs through the site from east to west is integral to the understanding of the parliament and is primarily determined by the site’s geographical location at the extreme west of the Cornish peninsula. The building serves to emphasise this axis through choreographed views and sequential references to the sublime sea (nature) to the West and Westminster (Culture) to the East.

Adam Shapland

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adamshapland1@gmail.com

Adam Shapland

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adamshapland1@gmail.com

THE CITY COOPERATIVES Stephanie Brancatisano The City Cooperatives seek to monumentalise nature by giving prominence, both architecturally and programmatically, to ephemeral moments of the natural environment. Nature - be it air, light, shadow, water or plants - represents adaptation and diversity, contrasting the monoculture and social exclusivity that pervades The City of London at present.

This project is developed in the framework of an ‘Inclusive City’ to acknowledge the need to find mechanisms to counter singular demographic patterns and top down governance when repopulating The City.

The project proposes that The City Corporation is decentralised to form The City Cooperatives, a new network of governing councils. These Cooperative Councils are located on the boundaries of all the neighbouring boroughs of The City and hence bring the opinions and priorities of all Londoners to the forefront of local governance.

The architecture integrates traditional architectural devices with organic plant life, exaggerating the seasons and the experience of nature, whilst being representative of an inclusive and democratic environment.

The integration of nature extends into the political and functional cycles of the Cooperative Council, with the changing of the seasons marking decision making processes. Council election days occur every season and are initiated by ephemeral environmental events such as the day the last leaf falls marking the start of winter, giving unique power to a moment of natural phenomenon. It is in this transient manner that the architecture becomes monumental.

Stephanie Brancatisano

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steph.brancatisano@gmail.com

Stephanie Brancatisano

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steph.brancatisano@gmail.com

ATHEISTIC TYPOLOGY Kacper Chmielewski "To be made to feel small is, to be sure, a painful daily reality of the human playground. But to be made to feel small by something mighty and noble, accomplished and intelligent is to have wisdom presented to us along with a measure of delight".

Alain de Botton It is estimated that by 2040 affiliations to the Anglican Church in Britain will be less than 1 percent of the population. Long before that stage is reached, the church will cease to be a viable entity, both in terms of the community and its architecture.

A new, contemporary type of cubistic iconoclasm has been developed to accommodate for the discourse between the fallen religious doctrines and nostalgia for ecclesiastical beauty.

During an intellectual revolution instigated by Einstein’s theories of special and general relativity, within the world of art it was cubism that set out to wage war with existing order, where artists were concerned with establishing a geometric foundation appropriate for an inquiry into the creative process of nature’s structure. The project focused on engaging a new form of 3-dimensional cubistic transformation, scientific and atheistic typology, with existing ecclesiastical architecture at the scale of the city.

The Landscape, celebrating the growth of oak seedlings, is an investigation into an architecture of non-religious awe and perspective-giving capacity of scientific detailing, pushing visitor towards an awareness of the scale of nature and universe, creating a new type of ever-evolving open cathedral.

Kacper Chmielewski

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kacper.p.chm@gmail.com

Kacper Chmielewski

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kacper.p.chm@gmail.com

REHYDRATING THE CITY OF LONDON Holly Jean Crosbie The City of London was built around natural watercourses; people depended on them for living, working and transport. Over the course of history, the River Thames and its tributaries have been tamed and restricted as the city has expanded. Many tributaries, such as the River Fleet, have been built over completely and integrated with London’s Victorian sewer system. Hundreds of public drinking fountains and wells are no longer sources of water and the number of plastic bottles of water consumed in the UK is around 15 million a day.

The project proposes a monument to clean drinking water through reinstating the River Fleet. Along the river’s course, the monument provides two basic needs for life; water and shelter.

A curious landscape of filtration purifies both surface and river water to rehydrate the lost fountains, whilst also providing a riverbank retreat for the residents of the city. The building acts as a sponge, absorbing the water and filtering it through channels and reservoirs within the structure itself.

Holly Jean Crosbie

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hollyjeancrosbie@gmail.com

Holly Jean Crosbie

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hollyjeancrosbie@gmail.com

A NEW GUILDHALL Matthew Sawyer During the 1980’s the City of London Writers guild went on strike in a “fight against the banalisation of the City under Thatcherite redevelopment”. Today, little has changed as the City of London continues the same banalities. As a result the City of London intends to monumentalise the art of Flâneurie so that it can remove the banality that currently plagues its streets. The proposal suggests that it becomes reborn by deconstructing the current urban fabric and reconditioning the current building stock to eventually reconstruct a new urban landscape - one that is filled with experience, interest and discovery.

In order to enable this mammoth challenge, a new Guildhall is proposed. It has been agreed by the head City planners that there are to be three main agendas that inform, not only the design of the new Guildhall but the very City itself: Observation, Journey and Atmosphere. The proposed building will achieve this through three distinct building programs.

Firstly, it will facilitate the deconstruction and reconstruction of the city by utilising various workshops. The building will recut, rework and recondition metal to construct the new city.

Secondly, it will administrate the development of the city by providing a new Built Environment Office. Through the use of a new debating chamber discussions between City Planning Officials and members of the public occur in an attempt to allow a fair and unbiased system of city development.

The third and final building program proposes a new ‘Archive of Collected Objects’. The archive allows city explorers to collect relics from the ‘Old City’, which are displayed and celebrated in an attempt to encourage future City exploration.

Through these actions the City will be filled with life, excitement and interest to finally remove all banality.

Matthew Sawyer

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mattsawyer.architecture@gmail.com

Matthew Sawyer

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mattsawyer.architecture@gmail.com

AN ALTERNATIVE CIVIC ARCHETYPE Luke Scott Amidst increasing discourse on the centrality of the public referendum to a participatory model of democracy, the proposal considers the streets of the City of London an alternative political stage.

A field of objects distributed throughout the City - a taxonomy of civic elements - are paraded slowly through the streets, accumulating within structures at junctions to form localised municipalities. Podiums, steps, arches and acoustic mirrors are continually disassembled and reconfigured to choreograph debates, demonstrations, processions and protests. Familiar symbols of municipal architecture momentarily find coherent compositions to facilitate periodic public assemblies, before being shifted once again through contradictory arrangements.

A destabilised spatial condition engenders a political process that must find new and interpretive modes of occupation. Stone monoliths are mobilised by crowds, and apparently mobile elements are fixed in position; a subversion of perceived hierarchies that resists predictable, ceremonial patterns of use, and prevents the establishment of a stagnating governing authority led by ritual.

Through its diffuse occupation of the City and fragmentary construction, the new municipality aspires to draw out the theatre of Politics - a performance in which active agents and audience defy distinction, and the lines between stage, scene and city are blurred.

Luke Scott

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lukealexanderscott@hotmail.com

Luke Scott

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lukealexanderscott@hotmail.com

LIFE,LOVE,DEATH THE REGISTRY OFFICE Zahra Taleifeh In opposition to the timeless nature of the financial markets which dominant the City of London, The Registry Office seeks to monumentalise and celebrate the miles stones of ordinary life.

The public building works on the premise that each user would registry a birth, death and marriage here allowing the architecture to be experience at three different stages of life and in three different emotional states.

The Registry Office intends to emphasis these three users; each user has their own separate entrance, material palette and environmental strategy. Spatial complexity is achieved by intertwining the three environments and experiences.

The fragmented architecture is constructed to create a dialogue between the abstract and the figurative. The language is composed of basic architectural element such as door, window, sculpture and painting. In order to play with perception, each element is manipulated through changes of scale and varying degrees of detail. Subjectivity is allowed to interject and depending on the emotional state of the user, they will either read the architecture as life, love or death.

Zahra Taleifeh

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ztaleifeh@gmail.com

Zahra Taleifeh

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ztaleifeh@gmail.com

THE LONDON INSTITUTE OF ALTERNATIVE CARTOGRAPHIES Matthew Turner The London Institute of Alternative Cartographies is located at the confluence of The River Fleet and The Thames, a fault line between the powers of The City and Westminster. The institute’s architectural language reacts to this fluctuating condition and seeks to alter perceptions of mapping and definitions of space, towards the notion of a fluid geography and dwelling not defined by political boundaries. This is based on the utopian qualities embedded in ancient rock art which represents a mobile people not reliant on established settlements but on changeable views and pathways.

A Fractal Tectonic A careful study of details and their implications at a larger scale transforms the skin of the building into a durational and spatial cartography, into which the inhabitant is wrapped in a fractal layering of surface. These fractal textures are problematic for mapping, as one looks closer they become ever more complex, a sensation which is developed into a fractal tectonic. A gesture seen at a large scale can be seen again in a detail, giving a mutable and dynamic edge to space. Through this process the building begins to map itself, attenuating, echoing and reechoing elements of its form. Shadows are traced giving them an extra dimension and spaces seem to step through each other in a disruption of depth. Further accretions of transgenic space are created in a reversal of the cartographic process by mapping a layer of forms that are implied but do not exist.

Matthew Turner

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matthewturner134@gmail.com

Matthew Turner

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matthewturner134@gmail.com

Special thanks to Benjamin Ferns.

Copyright 2015 All rights reserved.

No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system without permission in writing from the publisher.

Bartlett School of Architecture, UCL 140 Hampstead Road London NW1 2BX T. +44(0)20 3108 9646 architecture@ucl.ac.uk www.bartlett.ucl.ac.uk

Unit 12 Catalogue 2015

Bartlett School of Architecture, UCL 140 Hampstead Road London NW1 2BX UK T. +44 (0)20 3108 9646 architecture@ucl.ac.uk www.bartlett.ucl.ac.uk