Industrious Neighbourhoods by carlotta.novella

INDUSTRIOUS NEIGHBOURHOODS

Project Industrious Neighbourhoods Project by Carlotta Novella Tutors Melanie Dodd and Andreas Lang Course MA Architecture: Cities & innovation (year 2) CSM UAL

BACKGROUND & RATIONALE

CONTENT

BACKGROUND AND RATIONALE

RESEARCH AND TESTING

DESIGN PROCESS

ACTIONS

111

INDUSTRIOUS NEIGHBOURHOODS

BACKGROUND & RATIONALE

INDUSTRIOUS NEIGHBOURHOODS

Mr. Rossato collection of old tools used for home-based work in the mountain villages in the province of Vicenza

BACKGROUND & RATIONALE

01 Primary personal research Visiting a collection of tools for home-based work

TRADITIONAL HOME-BASED WORK

THE ROSSATO’S COLLECTION

Working from home has been for centuries the only option for many italian paesant in the north east of Italy. The Veneto region was for the course of the 19th and 20th centuries one of the poorest regions in the peninsula and the necessity of “getting by” caused many families to rely on the earnings coming from agricultural and domestic work. Men would normally work in the fields all day, while women and children would spend the day at home taking care of the animals, the family allotments and producing good to be sold in the town market or to the other paesants in the neighbourhing contrade. The tools that were part of this rural domestic economy are still now collected and sometimes displayed in the contemporary houses as relicts of an old time labour that involved all the family.

In the Summer of 2014 I had the possibility to visit the collection of Mr. Rossato in the contrada that shares the same name. The small but impressive collection of tools and equipment for homebased workers and producers was assembled by Mr. Rossato through 50 years of resourcing and collection. The small museum is situated on the basement of Rossato’s family house and has a separate access from the outside for visitors and passers by that want to take a look. When asked why did he started collecting tools that once belonged to home-based workers, Mr. Rossato explained that the domestic work was an integral part of rural village society and many tools specifically made to be used to work from home can be easily resourced as many of us still conserve them at home as memorabilia of the family history.

He described how in the past, when he was little, the work carried out from home was very much an embedded part of the daily life of the contrade inhabitants.

INDUSTRIOUS NEIGHBOURHOODS

The tools collection itself is a small home-based business and requires constant attention and from time to time is in need of restoring new some new additions

BACKGROUND & RATIONALE

INDUSTRIOUS NEIGHBOURHOODS

The collection is organised by categories of home-based businesses. From service providers to producers the tools were shaped to be integrated with the existing architecture of the house. Most of the tools were designed to be stored in specific

spaces of the kitchen or living room and the walls and ceilings were used to hang or display the equipment. In some cases mechanic systems were customised to be fitted in the existing interiors (see polenta and roast grill picture below).

An other view of the small collection kept in the basement of the house

A system for making polenta and birds roast

Section of tools reserved to home-based barber and hairdresser

Family pictures in the contrada just outside the family house and workshop

BACKGROUND & RATIONALE

What I found very interesting during my visit to the collection was the fact that the collection itself was a home-based business. Mr Rossato in fact restores and catalogue each item to be added to the collection and he is in the process, with the

help of his son, of opening an online archive for people to look at the collection and learn the history behind each item. The collection is currently open on request but it will be open to a wider public in the next few years.

“I’m in the field”. The note left in the room where the collection is exhibited shows how dwelling and working use of the private space can constantly overlap

INDUSTRIOUS NEIGHBOURHOODS

Map of the contrade of Valdagno, VI, Italy, The contrade are scattered on the mountains surrounding the valley and each one of them presents a series of self-sufficient works based at home

BACKGROUND & RATIONALE

01 Primary personal research The contrade network and the FILO’

A CLOSE NETWORK BETWEEN FAMILY AND WORK

THE FILO’ AND THE CONTRADA

The Contrada (plural: contrade) is a generic name given to various types of Italian city subdivisions, now unofficial. Depending on the case, a contrada will be a località, a rione, a quartiere (terziere, etc.), a borgo, or even a suburb... In Veneto, particularly near the Alpine foothills, contrà indicates a smaller hamlet in a rural area - a group of houses usually smaller than a frazione. (http://en.wikipedia.org/wiki/Contrada) The contrade in Veneto have always been indipendent agglomeration of houses clunged onto the hills, owned and inhabitated by multiple generations of the same family. The contrada and its peculiar social and built structure allowed the creation of a network of small groups of self-sufficient communities.

The word Filò comes from the sentence ‘to Make Filò’, which is a common saying of the Italian Veneto region. It referres to a traditional custom of rural villages families, which between November and March would use one of the barns in the village to keep themselves warm with the coziness of the animals while spending the evening together with their neighbours. Men would play cards, build and repair the tools for the fields or make baskets and brooms for domestic use. The children would play or listen to the stories narrated by the elderly. Women would spend their time knitting, chatting and weaving. Is precisely from the verb ‘to weave’, which in Italian is ‘filare’, that derives the verb Filò. Etymologically the word Filò represent the idea of weaving both the yarn and the conversations.

The Filò practice was very common in all the norther Italian regions but it was in Veneto that this form of public gathering became a characteristic of the urban fabric of the town. It is in Veneto in fact that, due to a territory which presents both flat land and hills, entire families in the past moved to the mountains and hills surrounding towns and big villages. The dislocation of these small communities from the the town centre created the necessity of a moment and a space of gathering, where people could meet to discuss family and working life in a very informal setting. The answer came under the form of Filò, a popular practice that integrated social life with working activity.

INDUSTRIOUS NEIGHBOURHOODS

The characteristic clustered architecture of the contrade is the result of two different necessities of the rural family: 1. The need to keep the family together in order to mantain the traditions and the family name

2. When the faily was expanding, the house of the son was normally buit next to the house of the father to save money in the construction as they were both sharing the same wall.

The shared facilities of the contrada (Illustration by Guerrino Lovato 1982)

The expansion of the family and the house (Illustration by Guerrino Lovato 1982)

â&#x20AC;&#x153;The hous is essentialâ&#x20AC;? built around its owner (Illustration by Guerrino Lovato 1982)

The spaces of the house for working and living (Illustration by Guerrino Lovato 1982)

BACKGROUND & RATIONALE

The main reasons why people started making FilĂ˛ were the weather and the territory. Before the invention of energy the nights were very cold, especially going up the steep hills around the valley. The contrade were all scattered around the main town,

forming small clus- ters of five, ten houses. The FilĂ˛ became the connection point between those communities that on the map were effectively separated by the wood and the cultivated land.

The shared oven next to Casa Finato (Photograph by Guerrino Lovato 1982)

Guglielmo pressing grapes (Photograph by Guerrino Lovato 1982)

INDUSTRIOUS NEIGHBOURHOODS

With the restoration of the houses also the tools of the tradition and the method of cooking/building/cultivating have been preserved from the passage of time.

The houses in the ‘Contrada’ are being resoted following old rules to protect the historic value of the architectural fabric of these rural villages.

The mountain villages in the Small Dolomites are now being populated again by a new generation of self managed communities which learnt to re-activate fields and old houses in order to grow food and animals and produce.

The drawing shows an example of the spaces in the house that in the past and now are used for activities as building, producing, cooking etc... The network of producers below the drawing shows the producers and home-based entrepreneurs that I had the possibility to meet in my visit to the Small Dolomites in October 2014 > please check “The legacy of Filò” at page 21 for more info

The practice of Filò has being translated into a more permanent model of meeting and producing. In some case a system of ‘Time exchange’ as been adopted to regulate the work and the community favours.

Network of new rural communities of home-based producers in the north of Itlay.

BACKGROUND & RATIONALE

INDUSTRIOUS NEIGHBOURHOODS

BACKGROUND & RATIONALE

01 Primary personal research Collective making and examples from the history

MULTICULTURAL FORMS OF COLLECTIVE MAKING

A LESSON FROM THE TRADITION

The Filò shares its ethos with many other social practices and forms of gathering around the world. Searching for more examples of these typologies of neighbourhood gathering that include labour or production as communal activity, it became clear that almost each territory has its own form of Filò. During the course of the project I felt it was necessary to start collecting different examples of these traditional “social work” meetings. Below are showed three examples of collective practices that I could identify partially through research, and partially through the three days residency of the WOW milk float in the Crossing at CSM (February 2015). Thanks to the residency, which was in fact related to the topic of ‘Common Makin I had the possibility to chat with several students and members of the public, collecting examples of community gatherings that involve making around the world.

Making together in the past and the present, has helped structuring the social frame of small and large communties. The tradition shows how the act of gathering in the same communal space to share knowledge and skills is an action that should be preserved and encouraged. Many are the benefits of working together, from the possibility to create relationships and connections New forms of making and experimental models of communing are currently developing in the urban scale of our cities. This contemporary culture of collective manufacture is allowing many creative practitioners to set up local networks and public enterprises addressing social, financial and sustainability problems through the engagement of the community in design-based activities that create work opportunities and promote sharing of interests and skills.

INDUSTRIOUS NEIGHBOURHOODS

Program of screenings during the WOW residency in CSM (February 2015) A series of short clips from four different documentaries and film on the subject of community and tradiitonal forms of making. The program included:

KNITTING TOGETHER by Julie Ballands (2010) Julie Ballands is an artist and videomaker working in the North-East. The video uses knitting in combination with voice over to tell the story of a community in the west of Newcastle. As the knitted forms grow and unravel, the woman of the community tell the story of the town and how it has changed over the years. Stills from the short documentaries ‘THE SPIRIT OF TIVAEVAE’ and ‘STORIES SEWED IN QUILTS’ (2011)

‘MOMENTI FILO’, SFOIO’ (2013) Contemporary recreation of the traditional corn cleaning by the residents of the Altopiano of Vigolana in Italy.

‘THE TREE OF THE CLOGS’ by Ermanno Olmi (1978) The film concerns Lombard peasant life in a cascina (farmhouse) of the late 19th century. Over the course of a year, children are born, crops are planted, animals are slaughtered, couples are married, stories and prayers are exchanged in the families’s shared farmhouse. In one of the scenes in the movie is visible a version of the Filò practice where the families clean the corn.

BACKGROUND & RATIONALE

TIVAEVAE: Cook Islands, French Polynesia

AUZOLANA: Basque country

FILO’

Tivaevae or tivaivai is a form of artistic quilting traditionally done by Polynesian women. The word literally means “patches”, in reference to the pieces of material sewn together. The tivaevae are either made by one woman or can be created in groups of women called vainetini. The vainetini use this time together to bond, sing and catch up on village news. Tivaevae are often given on very special occasions either to important visitors, as birthday and wedding gifts or used to cover the body of a loved one who has died. They are often displayed during important events like the traditional boys’ hair cutting ceremonies, birthdays and weddings

Neighbours helping neighbours, friends and co-operation between two neighbours to perform tasks. The Auzolana system is deeply rooted in the land of the Basque countryside. The work carried out among neighbours (especially in the public areas of the village and the forest) is used to express attachment to the community. Today it is used as a synonym of cooperation. The community meets in September every year to organise what to do during the spring period.

The tradition of Filò is handed over generation after generation and even if now is not practiced anymore the memory of this beautiful form of community making still alive, in the stories of our grandparents and the places where filò was happening.

INDUSTRIOUS NEIGHBOURHOODS

Michele from ‘Tiglio e Quercia’ agriculture enterprise shows me the empty honeycomb that the bees constructed the previous summer

BACKGROUND & RATIONALE

01 Primary personal research The legacy of Filò: visits to contemporary home-based producers in the North-East of Italy

CONTEMPORARY WORK IN THE CONTRADA

MADE IN ITALY : MADE AT HOME

Some of the producers I had the possibility to meet during my visit:

Throug the years many contrade have seen a slow but steady reduction of the population. This is due to the 20th century improvements in domestic life and the migration of the new generations towards cities and main towns. In the last ten years though a new movement of makers and producers started re-inhabitating the contrade, creating a network of self-sufficient agricultural entrepreneurs. This new network of contrada producers are now not only contributing to the economical restoration of the old contrade, but they also help mobilising and reactivating the unused and abandoned infrastructures that are part of these small mountain communities. Their role is become of contemporary entrepreneurs combining traditional and modern forms of making to carry on or re-discover traditional forms of production embedded in the local culture.

The ‘Made in Italy’ is a brand that Italians use to describe all those products that are the outcome of generations of expertise and traditions. But Made in Italy is not only a synonim of quality and highly skilled work. In fact, in most cases, made in Italy is also Made at Home. Most of the greatest italian products exported abroad have a very long history of local and family traditions behind their success, and in most cases the work of the producers and makers that are still running these businesses is very much embedded within the traditions of the local community. In my visit I had the possibility to meet different homebased producers in the area of Vicenza and Padua, visiting their houses and their basement, top floor or detached workshops.

- Tiglio e Quercia Agriculture Entreprise by Michele Franceschi: honey and jams -Chuchinando by Tamiotto Giampaolo: production of ‘basti’ and organisation of mountain trekking groups -Honey by Dolgan Enrico: production of honey, jam, cider, wine and orthopedic sherry bones bags. -Masari: well known producers of wine in the Agno Valley -Pellichero Andrea’s traditional wood tools and utensils -Bread and flour production by Andrea Vaccaro and Tiziana -Moreno Pieropan’s production of organic flour and bakery

INDUSTRIOUS NEIGHBOURHOODS

BACKGROUND & RATIONALE

Most of the makers visited had pasrt of their house transformed, on different grades, to be fitted with the necessary equipment for a professional production. The greatest example is Masari, the wine producers from the Agno valley, who excavated

Visiting the underground wine production laboratory of Masari

a cave under their garage to make space for the main wine production room. In other cases the business, if small, took over garages and basements of the houses, if big, it required the construction of a workshop or a storage space connected to the family home.

The old wine press used to produce the first 600 bottles of Masari in 2007

< One of the maps drawn by Michele from â&#x20AC;&#x2DC;Tiglio e Querciaâ&#x20AC;&#x2122; to give me indications on how to find the homes of the other producers I was going to visit

INDUSTRIOUS NEIGHBOURHOODS

Due to restrictions applied by the Italian law towards homebased producers, most of the entrepreneurs I visited had to drastically transform their house to respect sanitary and structural requirements in order to carry on their home-based activity.

In some cases the necessity of extra storage space or working space was so impellent that some producers had to create all sort of makeshift solutions. From stocking the extra equipment in the unused house of the late grandmother,

Kernels of apples and cherries left to dry to be reused as stuffing for pillows

Bathroom in the basement for equipment cleaning and storage

The last honey of the season, very clear and pure in taste

Beehives stacked in the living room of the late grandmother house

BACKGROUND & RATIONALE

building a fully functioning flour mill inside the garage under the house and buying abandoned land to then convert in wine yards, the producers customised their houses to allow semi-professional and professional activities to take place.

Andrea Pellichero showing me how to carve a solid block of cherry wood to make a fruit bowl.

INDUSTRIOUS NEIGHBOURHOODS

Al from Building Bloqs showing us around the main workshop during the workshop “Making an Impact: How makers are chaning the world” (Summer 2014)

BACKGROUND & RATIONALE

02 London co-working spaces OWL: Open workshops London

OWL: Open Workshops London Network The open workshop in London are new public places for making, mending and learning. In the spirit of the public library, the workshops, with on-site assistance, lend resources such as wood and metal working equipment, offer space for assembly and construction and is a social space open to all. Located just outside the city centre the open workshops are easily accessible to people living and working in central London. Through the course of the year, thanks to my placement experience in public works, I had the possibility to participate to few meetings of what now is called OWL: Open Workshop London. OWL is a monthly (or so) gathering of the people behind the workspaces across London. It was created to share experiences and contemplate joint actions or initiatives. Each meeting has a specific topic of communal interest that is discussed each time in one of the different workshops that are part of the network.

Due to the increasing number of workshops opening in London and for the particular and different services that these are providing, I thought it was necessary to create a list and map cataloging the workshop currently running in London and the various activities and machinery that they provide to the public. This research on the open workshop is collected in OWL - Open Workshops London - Networking Londonâ&#x20AC;&#x2122;s Maker Spaces. The smal publication is formed by a collection of the profiles of all the main esisting or about to exist workshops and maker spaces in central London and surroundings. The map and the connected list were created to be part of the research for the R-Urban Tool Lending Library, which is due to be opened in 2015, an initiative promoted by R-Urban Wick and the art and architecture studio and not for profit organization public works.

INDUSTRIOUS NEIGHBOURHOODS

J Q P

A B

L C

D E G I

F H

BACKGROUND & RATIONALE

The OWL: Networking London’s Maker Spaces. A copy of the publication is provided in the ‘Background & Research’ pocket.

< Map of running open workshops in London and surroundings

The Camden Town Shed NW1 9XZ Opened in 2011 - still running

Lime Wharf E2 9DJ Machine Room coming soon

The Institute of Making UCL WC1E 7JE still running

Swan Wharf Workshop E3 2NQ Opened in 2014 - still running

Makerversity WC2R 1LA Opened in 2013 - still running

Sugar House Studios E15 2QQ Opened in 2012 - still running

Assemble & Join SE1 7AB Opened in 2012 - Temporary workshops

Rara E5 9ND Still running

The Good Life Centre SE1 0QL Opened in 2011- still running

Blackhorse Workshop E17 6BX Opened in 2014 - still running

London Sculpture Workshop SE1 5SF Founded in 2012 - still running

Wick on Wheels and R-Urban Tool Library Still running and opening in 2015

Remakery SE5 9HY Opened in 2014 - Still running

Pangea Sculptors' Centre Opened in 2013 - still running

South London Maker Space SE24 9AA Opened in 2012 - still running

Building Bloqs N18 3QT Opened in 2010 - still running

Create Space London HA9 6DE Opened in 2012- still running

London Hackspace E2 9DY Founded in 2009 – still running

AVERAGE MEMBERSHIP OPTIONS (includes use of the workshop benches / storage space): 1 Day 1 Month 6 months 12 months

£10-30 £100-250 £500-1000 £1000-2500

in many cases the price variate with the amount of hours spent in the workshop. Some open workshop are adopteding a system of credits rather then giving a standard workshop rate.

INDUSTRIOUS NEIGHBOURHOODS

Each page of the OWL publication includes the name of the workshop, a short description of what they do and their principles and a list of the activites and typologies of work that can be carried out in the workshop.

Pages from the OWL booklet showing the workhops and the equipment/services that are providing

The map and the content of the booklet are intended to give an overall picture of which forms of workspaces are already available in London and which ones are about to be open to the public.

BACKGROUND & RATIONALE

Minutes from 1st London workshop union meeting by Maria from assemble (23.04.2014)

INDUSTRIOUS NEIGHBOURHOODS

Visiting one of the converted warehouses in Hackney Wick with the TERRA group (Summer 2014)

BACKGROUND & RATIONALE

02 London co-working spaces New forms of live-work spaces

Looking at the “Creative Factories” of Hackney Wick and Fish Island example The Live-Work Communities are alternative work-orientated neighborhoods built aroud the flexible and affordable spaces of redeveloped industrial warehouses. One example of this phenomenon is Hackney Wick, where this system of shared living few years ago helped many artist and makers to rent economic rooms and shared working space, all in the same building. Although their exceptional adaptability qualities and the diversity of spaces they produced, now the ‘Creative Factories’ of HW, as many others in London, are the new subject of interest of developers and land owners, who are “cueing up with their residential planning applications, and this once renowned ‘densest concentration of artists studios’ is looking set to tread the inevitable path led by market forces.” [From ‘Creative Factories’ by Richard Brown].

HACKNEY WICK

Oslo House - live/work units, Hackney Wick

Stour Space - studios, exhibition space, shop and cafè, Hackney Wick

INDUSTRIOUS NEIGHBOURHOODS

90 Main Yard shared studios in Hackney Wick

Rented shared studios in Stour Space, Hackney Wick

BACKGROUND & RATIONALE

02 London co-working spaces Other co-working spaces in London

Shared studios and new co-working communities Many old warehouses or ex-industrial buildings in London are now providing affordable and inspiring work spaces and collaborative working opportunities to empower people to develop creative projects and business support. The number of this creative spaces saw a major increase in number in the past ten years. This Artistsâ&#x20AC;&#x2122; Workspace Study prepared by We Made That and published by The Major of London provides a snapshot of affordable studio provision for artists in London in 2014. They recorded 298 separate studio buildings or sites, catering for over 11,500 artists across the capital. The study found multiple studio typologies: 1.Charitable/ non-profit 2.Commercial 3.Self-organised/ artist-led studios 4.Residency space 5.Temporary occupation 6.Facilities & skills 7.Live/ work scheme 8.Voluntary/artist led co-operative

Sketch of The White Building division of studio spaces in the first floor

INDUSTRIOUS NEIGHBOURHOODS

Image of one of the tower blocks part of Locton Estate, Circle Housing Old Ford - Selected site of the project

BACKGROUND & RATIONALE

03 What about working from home? The modern live/work homes

THE MODERN COTTAGE INDUSTRY When looking at the current typologies of workspaces and art studios to rent available on the market it’s clear that there is a tendency to combine live and work related activities in the same space for economical, social and technical reasons. In most cases this happen through live/work typologies of living space (e.g Creative Factories in Hackney Wick) or through the introduction of simil-dwelling forms of space in the working environment of the office (see shared studios with communal kitchen and shared meeting rooms). But most of these co-working spaces are becoming slowly more unaccessible due to a surge in the rent prices and the requirements needed to work with many other people sharing the same space. As these forms of workspaces are becoming less available to many people it’s interesting to see the increasing number of homebased businesses that are developing in UK.

Home-based businesses have many positive effects from an economic and social point of view and they have a high grade of affordability and flexibility. This make us wonder if we should start re-consider the home workspace as a typology that could be improved and facilitated within our local communities. Rent a desk in one of the open workshops around London

Choose to rent a room in the affordable live-work communities (see HW)

? The open workshop in London new public places for making, mending and learning. In the spirit of the public library, the workshops, with on-site assistance, lend resources such as wood and metal working equipment, offer space for assembly and construction and is a social space open to all.

The unconventional but ideal socially ‘tabula rasa’ conditions of the industrial districts of East and North London have enabled new communities with similar needs to shape alternative workorientated neighborhoods, mainly through self-organized affordable warehouse redevelopments.

Located mainly in zone 3-4 the open workshops are easily accessible to people living and working in central London.

A clear case is Hackney Wick were, as Richard Brown says in his book “ land owners are cueing up with their residential planning applications, and this once renowned ‘densest concentration of artists studios’ is looking set to tread the inevitable path led by market forces.”

Cottage Industry

Membership and fees: £200-400 monthy

What are then the alternatives for creative people who can’t afford to move from residential areas yet interested in the production and retail of home-made quality goods as source of primary or secondary income?

Home-based business

INDUSTRIOUS NEIGHBOURHOODS

03 What about working from home? Dr. Frances Hollis and the “workhome”

Please find attached part of the publication ‘Space, Buildings and the Life Worlds of Home Based Workers: Towards Better Design’ by Dr. Frances Holliss, London MET

Artist in his workhome, double-height studio, London borough, 2005 (Dr. F.Hollis)

Architect’s workhome, kitchen/ technical library, London borough, 2005 (Dr. F.Hollis)

Childminder’s workhome in social housing, living room as workspace, London borough, 2005 (Dr. F.Hollis)

BACKGROUND & RATIONALE

04 Bibliography -“Sulle case. L’architettura rurale del Cao de là a Brendola nei Colli Berici” by Guerrino Lovato, Vicenza 2013 -Document “Le Contrade” by Valdagno’s Municipality, 2010 -”Creative Factories” by Richard Brown, 2013 - “Artist workspace study. Reports and reccomandations” Study by We Made That, published by the Major of London, September 2014

-THE WORKHOME PROJECT website: http://theworkhome.com/ -AFFORDABLE WICK website: http://affordablewick.com/

INDUSTRIOUS NEIGHBOURHOODS

RESEARCH & TESTING

INDUSTRIOUS NEIGHBOURHOODS

0.1

COTTAGE INDUSTRY

definition

1. (Commerce) an industry in which employees work in their own homes, often using their own equipment 2. a business in which goods are produced in the home for commercial use or sale. 3. any small-scale, loosely organized industry.

elements of guidance

Previous References Preparatorial workshop

Requirements

Resources

Personal Background

Quality Standards

Economical Background

Age/Sex

Historic research ‘The Artisan’ in the Contrada in the Small Dolomites region (IT) The Filò practice and the traditional jobs transmitted through storytelling

Creation of the maker profile and narratives

0 Modern definition of Cottage Industry

4 Hand drawings and pictures of the interiors

Domesticated production ns

a Sep

Hygene Grade

Sources of income

Education

Health and safety

Possibility to invest

Single or married

Environmental impact

Time Availability

Children

Previous family business

Parents/others support

Preparatorial workshop

o cti fun

TOOL LIBRARY

Transformation of the interiors

Location

Acquisition of skills and abilities

of on

LIVE/WORK CONDITIONS

Tenant or private owner

Benefits

i rat

Health

Adaptation of the living space

How to become a maker?

Profiling the entrepreneur and its background

typologies** Business services

Visiting Markets

Building/construction/plant hire services Catering/food/catering supply

1.2

Attending Workshops Exsisting Surveys Word of Mouth

Creative

One to one visits and interviews

Fashion Manufacturing

Necessity of specific PRODUCTION SPACE built in the house or..

Retail Event management/hospitality Raw material supply Service industries

room conditions

tools

Searching on Internet

Focus on OLD FORD community

Techonology services/software/hardware supply

storage

machinery

Contact makers

The research following the development of the equipment will be added to the R-Urban tool lending library research

INTRODUCTION OF SPECIFIC EQUIPEMENT IN A DWELLING ENVIRONMENT

in add. space attached to the house

Detailed drawings of equipment and machines

Leisure/fitness Professional consulting (law/science/pharma etc)

first profits + equipment

Stages of establishment amateur

Ages of Business Profit Employees Trade model Popularity

Semi professional

Equipment + retail space + life style adaptation Professional

1.4 Contact Bow Road Market Festival organization team to identify makers of the area

Scheduled production + possible employees + multi retail platforms + popularity rise Business with employees

Scheduled production + employees + multi retail platforms + loyal costumers

RETAIL SPACE longstanding family business

Business with external studio/retail space or workshop

1.3 Contact Circle housing TMO association to identify small home based producers within the estates

Home based selling

Tailoring business (?)

Market Stall Evolution of the retail space on the needs of the maker

Affiliated shops Internet platforms Retail shop Door-to-door selling

Mapping Bow area and the existing resources in terms of - materials - workshops - courses - retail options - charities

RESEARCH & TESTING

01 What is modern cottage industry? IN-PROGRESS SHOW

to collect and organize by the

Map and index

of home based business

Hand drawings

of the working components and working environment

Talks on home making Series of talks on the theme of Home Based production and retail with the participation of makers/entrepreneurs and researchers that are interest in

12 January CSM

5 Profiles

of London based makers ideally one for each selected typology **

Anthology of making narratives

Together with the drawings I would like to collect

EARLY MAPPING OF MODERN COTTAGE INDUSTRIES

this model of small production.

WICK SESSION ON COTTAGE INDUSTRY IN HACKNEY WICK, BOW & CSM Aims and intentions for STAGE 1 I’m interested in live/work small business that combine dwelling and manufacturing, focusing on hand crafted products and home designed methods of production. My intent is to develop a study that collects life experiences and making narratives about modern entrepreneurs and their domestic workshops and studios. Through photos/drawings, notes and figures I would like to meticulously portray the makers of today and their eclectic practices, making use of diagrammatical representation and spatial illustration to depict in detail the characteristics of their work and the mechanisms of adaptation and transformation behind their success.

Aims and intentions for STAGE 2 The second and main part of the project will be connected to the outcome of the the research on existing Cottage Industry of the First Stage. It will happen on an housing estate -ideally Old Ford Estate from Circle Housing-. The estate collaboration need to be establish during the first stage of the project. The work I will produce before May 2015 will then be based on the study of Cottage Industry evolution or introduction in the housing estate as a template for social improvement and economic support for the residents. Storage space (?)

Methods to be defined. HOW?

CANDY STREET HOUSING

Industrial kitchen for catering business (?)

‘A cottage industry is an industry—primarily manufacturing—which includes many producers, working from their homes, typically part time. The term originally referred to home workers who were engaged in a task such as sewing, lace-making, wall hangings, or household manufacturing.’ (Wikipedia, Putting-out system). At the very early beginning of my research I started looking into the idea of modern cottage industries and home-based production in a city like London. it became clear that there is an immediate connection between the space of the house and the typology of work that is carried out within it. In the drawing on the left is possible to see the early stages of a proposal that aimed to define how to facilitate the introduction of home-based work and production within a selected housing estate in London.

Retail street spot (?)

INDUSTRIOUS NEIGHBOURHOODS

Studio of Sinead in North London

RESEARCH & TESTING

02 Home Based Businesses The homeworker: Sinead O’Moore - potter

THE POTTERY STUDIO My visit to the professional potter Sinead O’Moore was the first chance I had to see how home-based businesses are evolving in our city and more important, how our houses are undergoing important transformations to allow home-based production to take place. I had the possibility to meet Sinead at the Sunday Market in Greenwich where she displays her work. Visiting her house and having the possibility to interview her allowed me to understand the motives behind her professional activities and why she decided to work from home. The full interview with Sinead is collected in a small booklet “Sinead O’Moore Potter n17 &rz” together with the pictures I took during my visit and a series of hand and digital drawings analysing the working and living spaces of the house. “Sinead O’Moore Potter n17 &rz” publication. Please find a copy in the pocket Research and Testing

INDUSTRIOUS NEIGHBOURHOODS

I found the visit to Sineadâ&#x20AC;&#x2122;s house and studio to be very interesting for what concerns the organisation of the internal space of the house. Listening to her interview, I appreciated her description of how important was for her to be able to have a space

in the house that was only for her and her work. The studio was ricavated from a dining room situated inbetween the kitchen and the living room on the ground floor. Storage surfaces were increased with the addition of many heavy duty shelves and tabletops.

One of the candle holder before the glazing

Molds to model the clay

Utensil to spread the clay in the mold

Credit cards used as makeshift utensils

RESEARCH & TESTING

The work was carried out mainly on the central long worktop that presented also more storage space for clay and other materials underneath. The central worktop was situated in front of the window to maximise the use of natural light.

Custumisation of the storage space with the addition of heavy duty shelves

INDUSTRIOUS NEIGHBOURHOODS

The most peculiar transformation of the exhisting space in the house was the extension of the small underground cella connected to the kitchen. The cella was enlarged and stretched to allow more space for the installation of a small kiln.

The kiln in the underground cella.

The underground room was then plastered with special insulation material which prevents the walls to become too hot when the kiln is on.

More shelves for storage of colours, tools and utensils

RESEARCH & TESTING

It was interesting to discover the multiple objects from day to day life that were used by Sinead to work with the material. Domestic and makeshift objects were actually the most used for the manufacturing of the vases and other pieces.

Other more unusual objects, as the teeth molds and sea shells, were collected and stored on the shelves waiting to be used for a future project.

Underground cellar transformed to house the kiln

â&#x20AC;&#x153;When I moved to the house I was already looking for something that would accomodate my business, a functional house rather than a normal homeâ&#x20AC;?

Sketch of the workspace

Teeth molds and samples of tiles

INDUSTRIOUS NEIGHBOURHOODS

The entrepeneur adopt a strategy of

Transformation Customization Appropriation of the dwelling space to include the production space. Certain parts of the house are more likely to be adjusted in a way they can accomodate the necessary services to run a small-medium scale home-based production. For some particular industries there is the necessity to follow health and safety requirements and other specific regulations.

RESEARCH & TESTING

First floor more suitable to locate bedrooms/rented rooms Front room downstairs, more suitable for community living Smaller room with good light from single window facing the garden. Central position in the groundfloor. Largest room in the ground floor, possibility to access to the cellar. Good light. Green area on the front and right side of the house. Immediate access to the street and possibilty of storage. Small storage space and toilette Underground narrow cellar with possibilty of low cost refurbishment

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INDUSTRIOUS NEIGHBOURHOODS

Plan of Sinead O’Moore studio/ office and underground kiln room

RESEARCH & TESTING

02 Home Based Businesses Transform, Customise, Appropriate

TRADITIONAL HOME-BASED WORK Looking at the previous researches and surveys studying at the design for homebased workers and through my visit to the houses of few home-based makers, it was clear to me that a process of Transformation Customization Appropriation of the dwelling space had to take place to allow work to be carried out in the home. Certain parts of the house are more likely to be adjusted in a way they can accomodate the necessary services to run a small-medium scale home-based production or work. For some particular industries there is the necessity to follow health and safety requirements and other specific regulations. In Sinead case the division between studio and kiln room was fundamental to respect the requirements of each stage of the manufacturing process.

“Fragment of composite drawing no 2: spatial design typology (showing a consistency of size in ‘live-with’ workhomes that is absent in ‘live-nearby’ workhomes) + patterns of use typology (showing that ‘all dual-use spaces’ and ‘all dedicated living or working spaces’ are less prevalent in the overall sample)” From Dr. Frances Hollis “Space, Buildings and the Life Worlds of Home-Based Workers: Towards Better Design”

INDUSTRIOUS NEIGHBOURHOODS

PRODUCTIVE AND DOMESTIC FUNCTIONS OF THE ROOM: Thick walls Open shelves Sunny counter Waist-high shelf Indoor sunlight Wings of light Indoor artificial light Filtered light Bright Light Window which open wide Window overlooking life Warm colours Secret places Storage spaces The shape of indoor space Flexible working space Half-private working space

>Language summary partly structured following the patterns related to domesticity and working space described by Christopher Alexander in “A Pattern Language. Towns. Buildings. Construction” 1977

RESEARCH & TESTING

03 Dwelling & Working Overlapping of dwelling and working space of the home

DOUBLE USE OF A BEDROOM - TEST To better understand the co-habitation of working activities and dwelling activities in the same space I considered as necessary testing what would happen if it was my room to become a workspace for an upgraded production of a specific item. The typology of manufacture chosen was knitting and the speculative context in which my room had to be transformed involved the necessity to be able to knit for ten hours a day in the same space that is otherwise used for domestic activities. The overlapping of the two activities, productive and domestic, is shown through a series of plans copied in the following pages. Through the combination of the two drawings, one displaying a production stage (red) and the the other representing normal diaily use of the room (black), it is possible to identify which are the necessity for both activities to be carried out in the space (storage, light etc..)

“There is a critical point beyond which closer contact with another person will no longer lead to an increase in empathy. Up to a certain point, intimate interaction with others increases the capacity to empathize with them. But when others are too constanlty present, the organism appears to develop a protective resistance to responding to them.. This limit to the capacity to empathize should be taken into account in planning the optimal size and concentration of urban population..” Socilogist Foote and Cottrell on the private dwelling space in “Identity and Interpersonal Competence” 1955

““Make a space in the home, where substantial work can be done; not just a hobby, but a job. Change the zoning laws to encourage modest, quiet work operations to locate in the neighborhoods”

Christopher Alexander on Home Workshop, pattern 157 in “A Pattern Language. Town. Building. Construction” 1977

INDUSTRIOUS NEIGHBOURHOODS

PRIMARLY DOMESTIC FUNCTIONS OF THE ROOM: Intimacy gradient Coomunal eating Eating atmosphere Alcoves Bed alcove Place for rest and sleep Areas of study and reading Changing and dressing space Space for one person Space for a couple A place to wait Closets between room Space for animals

RESEARCH & TESTING

PRIMARLY PRODUCTIVE FUNCTIONS OF THE ROOM: Scattered work Workspace enclosure Network of learning Activity nodes Work community Industrial ribbon Community projects Self-governing workshop and office Master and apprentice Site repair Tapestry of light and dark Space for storage of material Space for storage and order of tools Patterns and drawings space Space for storage of unfinished work / WHACO Space for surplus / UFO Shelf for remote control and mobile phone Shelf for beverage and snack

INDUSTRIOUS NEIGHBOURHOODS

First review - #1 chair for knitting prototype

RESEARCH & TESTING

04 Upgraded furnitures for home based makers Chair for upgraded knitting - Prototype #1

UPGRADED VERSION OF A CHAIR FOR KNITTING To give a specific function to a space it is possible to use a simple but effective method which consists in changing the function of the furnitures that are part of that space. In this case the #1 prototype for a knitting chair was intended to be an experiment that would allow me to create a chair that satisfys specific requirements for a professional activity of knitter. The chair is designed following a 90째 angle which simulate the corner of the bedroom and therefore allows a perfect fitting of the chair in a specific position. The arms attached to the seatback and the small table on the left side are collapsable. Extra storage space was created underneath the seat. Small castor wheels were added to move the chair more easily and a stabiliser was addedd to rest the feet when kinitting. The design was constructed through a research on books and blogs for knitters and throught a short collaboration with a student from CSM.

Sketch of chair with the equipment for knitting

Sketch of chair in use

INDUSTRIOUS NEIGHBOURHOODS

Creating the 90째 flat boards structure

Addition of foam for a more comfortable seating

Addition of a small side table

Hangers and other fittings that increse the surfaces for storage space

RESEARCH & TESTING

Sticky notes and patterns

Small tools container

Doll sewing and knitting chair

Yarn holders

Space for useful things

Artificial light

Spinning Swift

A barber chair for the living room

Soft and confortable seat Scarfs rack

File holder for pattern collection and articles

Storage space for stash and unfinished work

Wheels for easy transport

The Rocking Knitting Chair

Small footrest for better posture while knitting

INDUSTRIOUS NEIGHBOURHOODS

Details of chair with yarn swift and yarn binder

RESEARCH & TESTING

04 Upgraded furnitures for home based makers Chair for upgraded knitting - Prototype #2

CHAIR WITH ADDITION OF KNITTING UNIT The second prototype for an upgraded version of a knitting chair experimented the possibility of add on top of an exhisting furniture piece rather than design from scratch. This second option was studied to be fitted onto a standard chair, allowing both the standard and the productive use of the chair. The superimposed plywood structure presents three flaps hinged to the main body of the structure that function as slots stopping the structure from moving when placed on the chair. The top of the unit presents a yarn binder and swift system to facilitate the work of the knitter. The back of the unit presents hangers and extra pockets for knitting patterns and other documents. The opening arms of the unit present more hangers and a small side table.

The working cube by Architects Farrell/Grimshaw

Sketch of superimposed system for professional knitting

INDUSTRIOUS NEIGHBOURHOODS

Building of the super-imposed productive addition to the chair

The chair displayed during the In Progress show

RESEARCH & TESTING

The chair as part of the In-Progress show layout

INDUSTRIOUS NEIGHBOURHOODS

The spare room used as small architectural studio

RESEARCH & TESTING

05 Testing Spare room > Architecture studio > Spare room

THE POTENTIAL OF THE SPARE ROOM - TESTING An other method to transform the existing interiors of the house and include both living and working functions is through the custumisation of part of the space with a simple design intervention. As part of my research I decided to transform the only spare room in my house (previously used as extra storage space and eventually as guests room) into a fully functioning studio for a young architecture student. The room not only required better storage solutions but it also represented a great space to test how domestic activities and work can cohabit. The project required the purchase of 40ÂŁ worth of OSB 18mm standard panels and two days of construction. The tools were borrowed from public works office and the trestles for the table were purchased for the in-progress show. The current layout of the room incresed the working surfaces needed for printing and model makign, altough maintaining the use as guest room by removing one panels from the top of the bed.

Process of custumisation of the spare room into a small architecture student studio

INDUSTRIOUS NEIGHBOURHOODS

The spare room before the conversion

Boards of OSB bought from local construction material supplier

Construction in the yard in front of the house

Part of the equipment borrowed from public works

RESEARCH & TESTING

Assembling the boards for the heavy duty shelving structure

First unit of the wall shelves

Functional space for studying, working and as guest room

Economic material and easily disassemblable structure

INDUSTRIOUS NEIGHBOURHOODS

DESIGN PROCESS

INDUSTRIOUS NEIGHBOURHOODS

COMMUNITY CENTRES AND RESIDENTS FACILITIES PART OF CIRCLE HOUSING GROUP Old Ford, Bow

ROMAN ROAD ADVENTURE PLAYGROUND

BUTLEY COURT ROAD COMMUNITY CENTRE

THE MUSEUM OF EVERYDAY - THE CASS 3

YEARS RESIDENCY BY CASS SCHOOL OF ARCHITECTURE

TREDEGAR ROAD COMMUNITY CENTRE

ROMAN ROAD FESTIVAL AND SHOPS

WRIGHTS ROAD COMMUNITY CENTRE

20 Min Walk

15 Min Walk

10 Min Walk

5 Min Walk

DESIGN PROCESS

01 Map of Circle Housing Old Ford existing community facilities

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FRANCIS LEE COMMUNITY & COMPUTER CENTRE

OLLERTON GREEN CONSTRUCTION TRAINING CENTRE CTC

OLD FORD [CIRCLE HOUSING LOCTON ESTATE] GROWING CONCERNS STORAGE SPACE

COMMUNITY CENTRES AND EXISTING FACILITIES Having selected Circle Housing Old Ford as site for the project it was necessay to map the existing facilities for the residents in the area. The facilities included: -Community centres and other infrastructures managed by Circle Housing Old Ford; -The other facilities provided by Circle Housing but not necessarily embedded within the structure of the housing estates in the area; -The main public venure used by the community in the neighbourhood of Bow. In this is Roman Road and its market that function as central site for social encounters and community based activities.

Locton Estate

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Roman Road Summer & Winter Festivals

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Weekly market 10am-3pm Tuesday/Thursday/Saturday

accomodate activities related to home-based work and production. The analysis that was carried out for the community centres had to be made for the main high street and its peculia market.

JANUARY

Mapping the program of activities taking place in each community centre allowed me to understand which community centres were somehow under-used and which could perhaps

Saturday farmers market 8.30am-5.30pm

DESIGN PROCESS

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Tre de gar Com munit y

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DESIGN PROCESS

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The centres are raised above the drawing as small islands that provide services for the local community N W

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Victoria Park

Hackney Wick

Highlighting the centres that should be developed in the drawing < First attempt of creating a map for Bow

INDUSTRIOUS NEIGHBOURHOODS

OLLERTON GREEN C.T. RESIDENTS WORKSHOPS & SPACE FOR FILO’

Available extra storage space = ADDITIONAL ROOM LARGER WORKSHOPS, lectu of visiting makers and sibility to use a proje

Currently empty garages also managed by Circle Housing which could be transformed into a space for SUMMER WORKSHOPS

Room with extra available space for a FILO’ BOX.

DESIGN PROCESS

Community Activities Facilities and spaces provided

02 Construction Training Centre in Ollerton Green Axonometric drawing of the CTC Transports

No Activities

Space for hire

Phisical Activities Language courses

Family activities and games Communal coffè/meal

Activities which include making Organised charities and external groups

THE CTC

e M FOR ures posector

THE CTC RESIDENTS DROP IN SESSIONS NEED MORE PEOPLE = The existing network of makers that are currently attending the DIY drop in session organised by the CTC doesn’t go over 4 people in numbers. With the model of the Filò workshop I would like to engage more people to join the CTC

Through my short volunteering experience in the Construction Training Centre of Ollerton Green, also run by Circle Housing Old Ford, I had the possibility to assist the technicians during the open evening classes for the residents. The peculiar structure of the Centre was characterised by a very long underground space (possibly a conversion of the old underground garages) divided in three main rooms with lateral extensions on each side. In the axonometric drawing are reported possible alternative uses of the spaces in the centre to increase the number of activities related to home-based making and DIY.

Rubbish bin cage not fully used, with direct access to Ollerton Green street and parking area = SHOWCASE and EXCHANGE POINT for the makers working in the CTC

INDUSTRIOUS NEIGHBOURHOODS

Photograps of the three main rooms in the centre

DESIGN PROCESS

Early sketch of the CTC

INDUSTRIOUS NEIGHBOURHOODS

DESIGN PROCESS

02 Construction Training Centre in Ollerton Green Section with first design proposal

INCREASING THE VISIBILITY AND PERMEABILITY During my experience in the CTC I noticed few structural issues that are probably influencing the perception that people looking at the centre, both from indoor and outdoor. From the outdoor in fact the centre result to be almost â&#x20AC;&#x153;invisibleâ&#x20AC;? due to its underground location and the lateral entrance. The only access from outside are infact two opeinings on the short side of the building. One access is used as main door, normally kept gated during the day. The other access present a small garage and delivery bay. An other structural issue indetified within the centre was the lack of natural light and the drop of the temperature inside the workshops. This was always related to the underground characterist of the space. Through a drawing exercise that we were given in the course of the year I had the possibility to consider few design interventions aimed to increase the levels of visibility and integration of the centre with the rest of the building.

Sign directing to the entrance of the CTC

Terrace above the centre

INDUSTRIOUS NEIGHBOURHOODS

DESIGN PROCESS

INDUSTRIOUS NEIGHBOURHOODS

DESIGN PROCESS

03 Filò centre and home-based workers facilities in Roman Road

THE HIGH STREET AS MAIN RETAIL VENUE FOR LOCAL MAKERS The first design proposal looked into the possibility to create an alternative community centre which combined community living with the necessity for home-based worker resident in the area to meet and share experiences and knowledge. Through the course of the project I tried to identify possible locations in the area where the introduction of this “Filò centre” would have been more effective. Roman Road presented all the necessary qualities to accomodate such a space, partly because of the market presence, partly because in the future the street will undergo a re-generation program tackling local shops and the market organisation itself. The strategy adopted to bring the home-based workers community back in the high street included the design of three different facilities: - The Filò Community Centre - A common shop for local makers -A communal orchard

Mobile podium on Roman Road used by the Suffragettes

Harry Da Costa and his trailer as part of Roman Road Market

INDUSTRIOUS NEIGHBOURHOODS

Possible location for a FilĂ˛ community centre

Credit cards used as makeshift utensils

DESIGN PROCESS

The three design proposal for Roman Road were designed to recall the three typologies of spaces for community making identified through the Common Making and FilĂ˛ residency of the WOW milk-float in CSM.

The proposals use as reference the four types of collective making networks which are: -OWL -Makers Networks -Green commoning -Social kitchens

INDUSTRIOUS NEIGHBOURHOODS

Steel folding shutters for the front window

Folding plywood tabletop/ extension of the community centre activities on the street

Workshops/meetings storage space

Wall-Mounted folding outdoor worktop fitted on window

INDOOR MEETING SPACE AND WORKSPACE

Cast iron pavement lights

Small library/ archive and storage space for tools and toys

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Projector

Extra storage space

NURSERY AND SMALL CHILDREN WORKSHOP

50x120cm plywood worktop

Wall-Mounted folding indoor worktop fitted on window [semi-permanent]

OUTDOOR WORKSPACE

FILOâ&#x20AC;&#x2122; R AND M MEETING

DESIGN PROCESS

Industrial service lift with folding shutters

Industrial ovens for batch baking

Toilet

240x120cm foldable plywood table for meals and outdoor workhops & activities [20 seats]

COMMUNAL KITCHEN FOR SHARE SKILLS AND MEALS

Stainless steel commercial catering kitchen with appliances and equipment

ROOM MAIN G SPACE

OUTDOOR MEETING SPACE AND WORKSPACE

Library of materials that are functional to the makers and the residents Storage space

Skylight with iron cast pavement light

INDUSTRIOUS NEIGHBOURHOODS

LAURA STEWENSON

sewing & stitching

Each shop front has a signage that can be replaced in relation to the activities taking place in the building

Direct access from the street for the ground floor and steep staircase that allow the access to the other floors

DESIGN PROCESS

Displays with interchanging blocks that create different typology of surfaces to best display the work of the local makers

SMALL EXHIBITION SPACE FOR THE LOCAL MAKERS WORK

Newspaper, fanzines and publications related to the makers in the neighbourhood

Foldable boards with possibilty to store equipment for workshops and making sessions

Baskets, shelves, boxes and displays containing the material for a temporary residency

RESIDENCY SPACE AND WORKSHOP FOR THE MAKERS IN THE COMMUNITY

Display for the goods produced through the residency of the makers in the building

LOCAL MAKERS AND RESIDENSTS SHOP Products made by the local makers and the residents community_

INDUSTRIOUS NEIGHBOURHOODS

MOBILE COMMUNITY GREENHOUSE

MOBILE COMMUNITY GARDEN AND GARDENING WORKSHOP UNIT

Small workshop with gardening tools and necessary material to run small gardening classes

Semi-Indoor winter garden and storage of equipment and materials Flowers, vegetables and fruits for budding growing Topsoil with young buds

DESIGN PROCESS

The old market stalls from Roman Road Market can be used as structure for trailing the garden along the street and open the gardens on the multiple unused squares of the road

INDUSTRIOUS NEIGHBOURHOODS

04 Layout of reviews and In-Progress Show Half Term review

Wall layout for Half Term Review

DESIGN PROCESS

04 Layout of reviews and In-Progress Show End of Term review

Wall layout and #1 chair prototype for End of Term review

INDUSTRIOUS NEIGHBOURHOODS

Table layout for In.Progress show

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DESIGN PROCESS

04 Layout of reviews and In-Progress Show In-Progress Show

IN PROGRESS SHOW MAACI LAYOUT_Carlotta Novella

Space for individual project Space for the London scale of the projects/ map of London Space for the manifesto

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window

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Layout following option C and option 2, table position and measuraments from MAACI plan and sketch

MAIN REFERENCE: Saul Steinberg, “Summer Table” (1981), mixed media collage on wood, 57 x 80 x 36

**The visitor can look at seleceted publications on the topic pulling them out of an especially built tabletop bookcase in wood

Christine Wong Yap, Pounds of Happiness (installation) table 2009 (*)

A Tabletop Bookcase for Small Spaces by Alexa Hotz (**)

The visitor can move and play with the 1:20 model of one of the houses in Locton Green estate and see how to activate better the space in the house for a certain manufacturing activity

Possibility to seat on the chair and use the knitting unit incorpored to the structure

*The visitor can see a propositional timetable of events and workshop moving the paper with the roll

SELECTED BOOKS about making and maker spaces + previous research on the topic, including booklets on: - London Open Workshops - Live Work communities - Sinead studio and an introduction to the concept of Filò and the italian home-based producers

Short introduction to the project

Filò and similar forms of communal making + the verbs behind the Filò

MODEL 1:20 of one of the flats in the Old Ford Estate with movable parts

Book “The power of making” by D.Charny line from the 5th chapter -Making RevolutionMaker spaces map + Live work communities map (the example of HW) How do they work?

Questioning the notion of MAKING in the city and for the citizen

IN PROGRESS SHOW LAYOUT: The banner size still need to be defined with the group on Friday 2nd Jan

Photograps of modified interiors from the home of interviewed makers

Propositional example of -modified -transformed -customized interiors in Locton Green

Drawing of furnitures and other devices for the house I would like to make or transform in order to make them adaptable to a domestic manufactural use (example: Knitting chair )

Drawing the Filò and similar events of aggregation through the making : description of what are the social and material qualities of the practice of Filò and similar (ex: Tivaevae in NewZeland)

Drawing of: - Typology of events and activities that I would like to organize in the community centres in the next months - Example of material outcomes and phisical structures or spatial modification and addition to the community centres that I’m considering to make in the next months

TIMELINE events I want to propose in the community centres run from January until July

INDIVIDUAL MAKING

MAKING IN THE HOUSE

MAKING TOGETHER

Why it is important for the citizen to make things? What are the existing maker spaces in the city? What are other urban scenes that could be converted into new making spaces? The house?

How can be the space of our house a possible solution to for makers with small economic resources.

Which social and economic values are created through the act of making together in a community? How to facilitate this exchange?

Hybrid chair explanation

1) What is going to be mounted on Table? I would like to keep the presentation of the work on the table simple and continuous, dividing the reading into 3 sections or scales that are answering to the questions that are at the base of my research. 2) What is 'placed' on top of Table? The table top will include drawings, pictures, written info, 1 model, objects and books. The tabletop will include 2 mechanisms to show part of the work which could be too articulated and long to show directly on the surface. These are the timeline drawing roll and the small library incorporated to the tabletop, which includes: -Research books on the topic of making, maker spaces and home-based businesses -Booklet of the edited research I’ve collected in the last months (the OWL community, interviews with home-based makers, live-work communities in HW, the collection of tools in the Contrada, the tool lending library by pw, the home-based production model in Italy etc..)

hybrid chair that shows the combination of domestic and production functions

3) What is formatted to be on Wall Banner? On the wall banner I’m planning to have the axonometric drawing at scale 1:200 of the area of Bow in which I want to highlight the existing community centres run by Circle Housing and including illustration of which kind of activities are happening and what impact does the community centre have in the neighborhood. 4) Do you have any other props or objects that you need to locate (extra free standing objects, screens etc) and where could these go? I would like to include an hybrid chair that will be an example of how domestic life and production activity can co-habit in the same object, in this case the chair. Around the chair I would like to recreate a more “homey” environment, to accentuatethe contrast created by the domestic furniture and the new additions and transformations I applied to it. The chair will be placed in the space between the end of the table and the wall. 5) How do people engage with / see your Show? I would like to facilitate the reading of the project keeping the idea of scale also in the presentation, dividing the work into different objects and drawings that can be engaging in multiple ways - touch a material or surface, seat on a chair and try to knit, move the interiors of the model, browse in the small library section-. I would like the visitor to be intrigued by the objects appearance and shape/surfaces. 6) Do you plan an particular meeting/engagement event of any type? Yes, I’m planning to have two different events, a reading session and discussion -MAKING IN THE CITY AND FOR THE CITIZEN- on the 13/01/2015 and a Wick Session on the idea of Making Together and Object of communal making, connected to the show but in February in the Crossing space at CSM (to define). The reading session will include: - the reading of short parts of selected critical books and articles that are questioning the role of hand-made and home-made products and production in the city (20 min) - public discussion (30 min)

Planning of In-progress show

Central Banner of Circle Housing Old Ford Facilities

Top view of the table layout

Location of MAACI show in the Street

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INDUSTRIOUS NEIGHBOURHOODS

04 Layout of reviews and In-Progress Show Easter review

Wall layout with 3 main proposals for Roman Road

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DESIGN PROCESS

04 Layout of reviews and In-Progress Show Final review

Final review wall layout and model

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INDUSTRIOUS NEIGHBOURHOODS

Front view of the retrofitting system 1:50 model

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DESIGN PROCESS

05 Industrious Neighbourhoods 1:50 Model of retrofitting system

THE HIGH RISE RETROFITTING STACKABLE SYSTEM The 1:50 model represent the “High rise retrofitting system of additional spaces for home-based professional activities” [table #1]. The model shows a four storey high view of the system with three home-based activities taking place inside.

North-east facing facade of tower block without system

North-east facing facade of tower block with retrofitting system installed

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INDUSTRIOUS NEIGHBOURHOODS

Lateral view of activities taking place inside the etra space

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DESIGN PROCESS

Removable model top

Indoor cultivation of moss and plants

Stackable system of extra working spaces

Small bakery detail

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DESIGN PROCESS

05 Industrious Neighbourhoods Drawings

AN URBAN STRATEGY FOR HOME-BASED AND COMMUNITY-BASED WORK Industrious neighbourhood proposes an up-grading of the home and the neighbourhood for multiple typologies of light industrial, semi professional and professional services and practices, mainly done via the improvement of existing local networks and resident facilities, which represent the back bone of the local community. The project therefore wants to combine the evolution of the private space, for a more balanced compromise between work and dwelling, and the re-thinking of the community based networks and social spaces as part of a strategy that creates a bridge between localism agenda and management of existing community regularisation. The manual of urban transformation is collected inside the portfolio as A1 boards. The boards are organised as following:

INCREASE SEMI-OUTDOOR SPACE/ RE-DESIGN SECURITY MEASURES EXISTING

TRE EN

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COU LEY

25X25

PATHWAY INCLUSIONSIGNAGE OF INFORMATION AND DIRECTIONS SIGNS

TRE

INSULATED CORRUGATED STEEL SHEET

8 16 8

THE INDOOR SPACE ON THE PATIO CAN BE EXTENDED THROUGH THE ADDITION OF A CONSERVATORY LIGHTWEIGHT CONSERVATORY TYPE STRUCTURE

SPACE FOR SEMI-OUTDOOR ACTIVITIES

The current access to the main entrance to the centre doesn’t have a very high grade of visibility (*see event review for the centre). The main intervention is a straight-forward extension of the outdoor space under the external corridors. The space can be used both as a covered conservatory for semi-outdoor activities, as aSPACE more INCREASE SEMI-both OUTDOOR / visible wing of the RE-centre, DESIGN SECURITY this increasing security towards the MEASURES entrance while creating a more visible surface for notice boards and community notices.

BUTL

COU

CEN

TRE

CEN

MULTIWALL POLY-CARBONATE

MM X2

22MM

BUTLEY COURT COMMUNITY CENTRE OUTDOOR EXTENSION

MM X2

25X25

TRACK FOR SLIDING DOOR SYSTEM

INCREASE VISIBILITY AT STREET LEVEL

COU

GALVANISED STEEL FRAME

EX ENT IS RA TIN NC G E

LEY

MM STEEL MM INSULATION MM LINER

MULTIWALL POLY-CARBONATE

EXTEND COMMUNITY CENTRE SURFACE

HIGH VISIBILITY NOTICE BOARD

UNDERLINED PATHWAY

DIAM X4

LASER CUT STEEL SHEET

MM X2

GALVANISED STEEL SECTION

25X25

LIGHT BLUE OUTDOOR GARDEN RUBBER TILE

POLYMER SHEET POLYETHYLENE TEREPHTHALATE

500X500MM

GALVANISED STEEL FRAME

BIGGER SIGN FOR GREATER VISIBILITY

RT COU LEY BUT

TRE EN

BICYCLE AND BUGGIES STORAGE SPACE

HIGH VISIBILITY NOTICE BOARD SPACE FOR SEMI-OUTDOOR ACTIVITIES

EXISTING WINDOWS WITH BARS FOR SECURITY REASONS

THE NEW ENTRANCE ALLOWS TO LEAVE DOORS AND WINDOWS WITHOUT SECURITY MEASURES

25X25

The current access to the main entrance to the centre doesn’t have a very high grade of visibility (*see event review for the centre). The main intervention is a straight-forward extension of the outdoor space under the external corridors. The space can be used both as a covered conservatory for semi-outdoor activities, both as a more visible wing of the centre, this increasing security towards the entrance while creating a more visible surface for notice boards and community notices.

Mobile #4 unit

#2 Community centre

EF Existing

facilities Urban us strategy

PATHWAY INCLUSIONSIGNAGE OF INFORMATION AND DIRECTIONS SIGNS

TRE

THE INDOOR SPACE ON THE PATIO CAN BE EXTENDED THROUGH THE ADDITION OF A CONSERVATORY LIGHTWEIGHT CONSERVATORY TYPE STRUCTURE

COU

CEN

TRE

CEN

NEW PATHWAY TOWARD BUTLEY COURT COMMUNITY CENTRE

MM X2

25X25

MULTIWALL POLY-CARBONATE

MM X2

TRACK FOR SLIDING DOOR SYSTEM

LEY

GALVANISED STEEL FRAME

BUT

COU

MULTIWALL POLY-CARBONATE

EXTEND COMMUNITY CENTRE SURFACE

LEY

MM STEEL MM INSULATION MM LINER

22MM

BUTLEY COURT COMMUNITY CENTRE OUTDOOR EXTENSION

INSULATED CORRUGATED STEEL SHEET

8 16 8

Other possible improvements to the existing facilities E.g: Butley Court Centre INCREASE VISIBILITY AT STREET LEVEL

Tower #1 block

High street

GALVANISED STEEL FRAME

UT THE NEW ENTRANCE ALLOWS TO LEAVE DOORS AND WINDOWS WITHOUT SECURITY MEASURES

BICYCLE AND BUGGIES STORAGE SPACE

BUT

EX ENT IS RA TIN NC G E

#3 & market

WINDOWS WITH BARS FOR SECURITY REASONS

BIGGER SIGN FOR GREATER VISIBILITY

UNDERLINED PATHWAY

DIAM X4

LASER CUT STEEL SHEET

The position of Butley Court Centre is very much inside the housing estate blocks, making difficult to find it. To highlight the pathway to the centre and facilitate the identification of the work-houses within the estate is necessary to highlight the current walkaway and increase the information and directions to the nearest home-based businesses through the addition of signage and information boards

MM X2

GALVANISED STEEL SECTION

25X25

POLYMER SHEET POLYETHYLENE TEREPHTHALATE

LIGHT BLUE OUTDOOR GARDEN RUBBER TILE

500X500MM

NEW PATHWAY TOWARD BUTLEY COURT COMMUNITY CENTRE

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Group discussing the first chapter of the book Power of making during the reading session

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01 “WHY DO WE MAKE?” & In Progress Show

Open reading session and discussion on the subject of making The reading session “Why do We Make” was part of the In-progress show of January 2015. For what concernes the Industrious Neighbourhood project the show was a good occasion to showcase the progresses in the research reached so far. One of the main topics that I wanted to discuss through my work was the concept of making and the differenciation between art and craft in the contemporary days. The reading session was an integral part of the show as it allowed me to open up a discussion on the reasons behind the modern interest in hand-made and DIY. The session was based on the reading of few chapters from the book “Power of Making” which was published especially for the same name exhibition at the V&A in 2012.

Poster of reading session at the In-progress show

The “Power of Making: The Case for Making and Skills” by Daniel Charny. Power of Making is a joint publication between the V&A and the Crafts Council.

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WHY DO WE MAKE? A collective reading session and open discussion

*Why do we make? *What is the value that is created by shaping with our hands the world that surround us?

THE STREET, GRANARY SQUARE, LONDON N1C 4AAd

*How would you interpretate the phrase “We all must turn to craft” by Walter Gropius in our contemporary society?

THURSDAY 15th OF JANUARY 2015

As Daniel Charny writes in the book Power of Making: ʻAlmost all of us can make. It is one of the strongest of human impulses and one of the most significant means of human expression. Making is the universal infrastructure of creative production.ʼ

5-6.30 pm

In “WHY DO WE MAKE”we will be reading together and discussing few paragraphs of selected books that are investigating the role of making and the importance of skilled work in our contemporary society. From the research of meaning in the craft, to the value of communal manufacture, we will be discussing the reasons behind our desire of making.

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MEETING HERE AT THE MAACI EXIBITION SPACE OPEN TO ALL & NO PREPARATION REQUIRED Part fo the project:

The powe r of the ma dome stic king in and the ma the filo’ nufact city, ure

ACTIONS

Small library of books and self-made publications on the topic of making

Display table for In-Progress show

MAACI layout of projects during the show

Before the reading session

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TERRA partners joining in the making of a bread that represents the community they come from

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02 THE FILO’

Batch baking of bread to represent a community The aim of the FILO’ workshop was to collect and discuss different forms of collective making that are embedded in our culture and that form our traditions. The workshop took place in 96 Yard in Hackney Wick in collaboration with public works, and saw the contribution of 15 attendants from the TERRA network. The choice of making bread was related to historical tradition of the norther Veneto contrade to use the Sunday morning to make bread for the entire community in the shared oven of the village. The oven, as the main fountain where both in the centre of the contrada and they represented the beating heart of the community. Through this two facilites the contrada was able to be self-sufficient and there was no need to walk down to the main town in the valley to buy bread. Every contrada helped the others to resource flour, salt or sugar and the main batch bakings were an event that gathered people from the surrunding communities.

Making bread was the perfect medium to express the ethos of Filò and through the collective baking of “la Ciopa”, the participants had the possibility to describe the flavours and the colours of the community they were representing at the meeting.

The booklet “The Filò” which contained the history of the traditional contrada’s Sunday batch baking. A copy of booklet was handed out to each attendee of the workshop.

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Preparing for the baking in the last minute kitchen set up with the community centre tables.

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ACTIONS

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Each TERRA group, respectively from Spain, France and Germany, together with public works collaborators from London, were asked to work with a portion of â&#x20AC;&#x153;common doughâ&#x20AC;? to make a piece of bread to flavour and enrich with different

herbs, spices and other additions, in order to describe the community they were representing. The act of making together and collaborating to find the best way to show the character of their project through the medium of the bread allowed

Making the bread together

The bread shaped that represented each communities part of the network

The bread ready to be baked in the local bakery

Collecting the baked bread at the bakery

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participants to engage with the other groups and the space in which the workshop was taking place. When the forms of bread were ready to be baked we all went to deliver the bread to a local Hackney Wick industrial bakery who offered

to bake our bread in one of their ovens. As the shared oven in the contrada, the bakery did eventually became the shared oven in Hackney Wick. At the end of the workhop each group collected their piece of bread to bring back home.

Fara, the baker, showing us around the industrial kitchen

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Group discussing the first chapter of the book Power of making during the reading session

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03 COMMON MAKING & FILO’

Three days residency in the WOW milk float at CSM

WICK SESSION #14 Common making & Filò

The residency of the WOW milk float was designed to become a point of collection and discussion of all forms of communal making around the world. Considering its position, just at the entrance of CSM, the milkfloat was to be used as small library, archive, exhibition space and meeting space. The milk float residency was designed to engage the students of CSM to investigate the dynamics behind the concept of Common Making. The weekly program started on Monday 23rd with a showcase of publications related to collective forms of making in different contexts, and it terminated with the R-Urban Wick Session #24:Common Making & Filò on Thursday 27th of February

The Wick Session #24 on Common Making and Filò, hosted for the first time in Central Saint Martins UAL, brought together interdisciplinary practitioners, designers, makers and researchers that shared experiences and opinions and explored the dynamics and principles behind many collective making initiatives currently happening in London and elsewhere. From projects crucially embedded in the existing infrastructure and historical background of the urban fabric, to open-source international networks working both locally and globally, these making communities present multiple exciting co-design and co-production strategies which form the base for new models of self-reliance and civic empowerment.

Examples of common making practices collected in small publications for the residency

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The WOW milk-float is a roaming facility part of the R-Urban Wick project. The vehicle was modified in the past to become a stage, a library, an exhibition display etc.. For the residency in CSM the milkfloat had to undergo some structural

changes to accomodate the exhibition use and the possibility to seat on top of the float. The vehicle also had to be fitted with a projector screen for the Wick Session.

WOW

RESIDENCY IN CROSSING CENTRAL SAINT MARTINS 23 - 27 FEBRUARY

SCREEN Wood bar attached to the top with holes to pull ropes for front screen - Wick Session. The bar can be adjusted on the back for daily activities.

BENCHES WITH DISPLAY TOP The L shaped benches present a vertical display that will include the commonly made objects from the university departmens BACK SEAT/WORKTOP EXAMPLE The milkfloat can be transformed in small otdoor workshop where the students can build during the first day making day on Monday for benches for Wick Session on Thursday REMOVABLE METAL STAIRS The milk float comes with customized metal stairs that guarantee the access to the top level where the benches are. People can use the milkfloat even when is not on use to check out the exibition, seat and read the publication displayed on the shelves

Sketch of possible additions and transformations of the milk-float for the residency

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List of possible speakers

Example of timetable for residency

Sketches of Wick session in the Crossing

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The planning of the residency took up to one month of preparation [which included submission of RAMS, event program, request to University Management etc..) The milk-float had to be transported to the venue due to

Transporting the WOW milk-float from Hackney Wick to CSM

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a problem with the batteries of the vehicle. The float was positioned inside the Crossing space at CSM over sheets of correx to protect the listed floor from possible fluids and chemicals.

ACTIONS

The wood structure built onto the milk-float was wall-paper plastered with the distinctive green and white R-Urban paper reporting info related to the three days program and the Wick Session.

To allow the milk-float to stay in the Crossing space for three days there was the need to plan overnight security measures that would stop people using the Crossing from climbing or entering inside the vehicle.

Wallpaper-pasting of posters with R-urban distinctive paper

Setting up the display on top of the milk-float

Information board and program of Wick Session

Milk-float protected by barriers overnight

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INDUSTRIOUS NEIGHBOURHOODS

Students and general public engaging with the milk-float display

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ACTIONS

The items selected to be showcased on top of the milk-float were: - a series of publications on forms of Common making in London and around the world; - publications related to the research on home-based

workers; - a screening of traditional forms of common making that share the same ethos of the FilĂ˛ practice; - a small workshop space with crafty materials to create small objects representing common making

Small library of publications on forms of communal making

Program of screenings showed inside the driving cabin

The milk-float in the crossing space

Definition of FilĂ˛

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ACTIONS

The contributors invited to present their work shared the presence of common making in the activities they helped setting up. The speakers included Karen Martin from Makerhood, Angela Hartley from The Stitch, run by Open Works, Torange

Khonsari from public works and London CASS and Dr. Kim Trogal, also collaborating with public works. The talks helped open the discussion around collective forms of making and through the presentations of the guests speakers, the public

had the possibility to discover various networks in London and UK which use collective forms of making and meeting as form of social engagement in economic, cultural and architectural activities.

Students from CSM and public joining the session

Karen Martin presenting Makerhood

Vido presenting the projects by The Makerhood

Angela Hartley explaining the ethos behind The Stitch

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Poster for the workshop directing to Butley Court Centre

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04 WHAT SHAPE IS YOUR NEIGHBOURHOOD?

Workshop in Butley Court Road “What shape is your neighbourhood?” was a one day open workshop that took place at the Butley Court Road Community Centre part of Circle Housing Old Ford. The aim of the workshop was to define what the concept of Neighbourhood mean to people living in the area and what do they recognise as their community. The intentions behind the workshop were three: 1. Having the possibility to use one of the community centres run by Circle Housing and see the organisation behind the management of the communal space; 2. Create a moment of gathering for the residents in the act of using salt dough to create small objects that could either represent their community or their family; 3. Collect opinions on how the residents perceive neighbourhood (Is the neighbourhood Roman Road, the estate, or is it bigger?)

The workshop was an occasion to discuss some of the points presented inside “How can neighbourhood be understood and defined” by the Young Fundation, 2010

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ACTIONS

LIVE IN...

AND WORK...

NEIGHBOURHOOD IS...

DESCRIBE MY IDEA OF NEIGHBOURHOOD

MADE...

Questionnaire handed out to the participants

Small info station at the entrance of the centre

Tables set up for the workshop indide the comunity centre main room

Salt dough ready to be shaped into form

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INDUSTRIOUS NEIGHBOURHOODS

Pictures from one of the drop in sessions of DIY at the Construction Training Centre in Ollerton Green

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05 OTHER EVENTS AND ACTIVITIES

Network of contacts in the Old Ford neighbourhood The project included the necessity of creating a small network of connections with people living and working in the area, especially with groups that are already working to iprove the exhisting facilities and venue in Bow. This networking action included: 1. A short volunteering experience with Circle Housing Construction Training Centre in Ollerton green; 2. A one day volunteering to help the team behind the Roman Road Winter Festival; 3. A link with the Our.Bow website to post call outs and posters for events and workshop that were part of the project in the area.

Call out for homeworkers in the area of Bow - posted on Our.Bow website

Artist Helena Roden paiting the Pearls King and Artist Helena Roden paiting the Pearls King and Queen board for the Christmas Roman Road Queen board for Festival the Christmas Roman Road Tuesday 02-12-2014 Construction Training Centre - Ollerton Green Festival Tuesday 02-12-2014 CTC Ollerton Green

Roman Road Winter Warmer Gig in St. Paul Roman Road Winter Warmer Gig in St. Paul Church - Stalls with free drinks and mince pie Friday 05-12-2014 Church - Stalls with free drinks and mince pie St.Paul Church on St.Stephen road Friday 05-12-2014 St.Paul Church on St.Stephen road

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The Pe Sunda Roman

Industrious Neighbourhoods is a urban strategy that facilitates the creation of a space where home-based workers are encouraged and enabled to use the existing public facilities network and create new self-sustaining and sociable practices through the act of spending time working together. The strategy proposes an up-grading of the home and the neighbourhood for multiple typologies of light industrial, semi professional and professional services and practices, mainly done via the improvement of existing local networks and resident facilities, which represent the back bone of the local community.