Architecture Academic Portfolio Part 1 - University of Edinburgh

ACADEMIC PORTFOLIO PART I 2019-2022 BA Architecture University of Edinburgh

DANA HASAN S1915316

REFLECTIVE STATEMENT

Looking back at the past three years, I’m sincerely amazed at how much I’ve learned and produced here at ESALA. The degree programme was tailored in a way that would demonstrate the truly interdisciplinary nature of architecture, offering a balanced set of modules encompassing an architectural design course, a history or theoretical course, and a technology based course each semester.

Their coalescence provided me with a body of knowledge that fed my research, design, and analytical work.

The sequential buildup of complexity challenged me to push the boundaries of what architecture entails with each assignment.

Whether it was a new construction process to study, a philosophical text to contemplate, or a building to design, the scope of what I could do was ever evolving.

Each year accrued more knowledge and skills which fed off of the previous year, starting with with first year’s Architectural Elements and Assembly who introduced us to the core principles, materials, and an overwhelming multitude of tools and representational styles to express our creative works. Second year’s In Place and Any Place foregrounded the significance of context and users and while demanding more accuracy and precision in our schemes. In third year, when we naively thought we were sufficiently familiarized with all the steps in the design process, Explorations and Theory showed us that design is an infinite cycle, and one can never know or do enough.

Thus, in my final semester, Tectonics was the perfect opportunity to consolidate the body of knowledge and deploy the skills I had gained with the confidence and reassurance that my work is a valuable addition to the ever growing discipline, and that my personal responsibility to develop and further my education will come from my continuous efforts and involvement in both practical and theoretical venues.

These deep ties my education has instilled in me with the cultural, social, environmental, artistic, historic, geographic, and professional faucets at all scales of design have have imbued me with passion for architecture in its wide reach. The development of my critical thinking, evaluative, investigative, communicative, and creative skills strengthened my commitment to using my abilities to be a conscious problem solver.

At the end of this journey I’m heartened by these reflections and confident that all steps forward in my progression, no matter how big or small, are worthy of celebration.

CRITERIA

ARB/RIBA General Criteria

ARB/RIBA Graduate Attributes GA1

GA2 GA3 GA4

GA5

GA6

Ability to generate design proposals using understanding of a body of knowledge, some at the current boundaries of professional practice and the academic discipline of architecture.

Ability to apply a range of communication methods and media to present design proposals clearly and effectively.

Understanding of the alternative materials, processes and techniques that apply to architectural design and building construction.

Ability to evaluate evidence, arguments and assumptions in order to make and present sound judgments within a structured discourse relating to architectural culture, theory and design.

Knowledge of the context of the architect and the construction industry, and the professional qualities needed for decision making in complex and unpredictable circumstances.

GC1

Ability to create architectural designs that satisfy both aesthetic and technical requirements.

GC2

Adequate knowledge of the histories and theories of architecture and the related arts, technologies and human sciences.

GC3

Knowledge of the fine arts as an influence on the quality of architectural design.

GC4

Adequate knowledge of urban design, planning and the skills involved in the planning process.

GC5

Understanding of the relationship between people and buildings, and between buildings and their environment, and the need to relate buildings and the spaces between them to human needs and scale.

GC6

Understanding of the profession of architecture and the role of the architect in society, in particular in preparing briefs that take account of social factors.

GC7

Understanding of the methods of investigation and preparation of the brief for a design project.

GC8

Understanding of the structural design, constructional and engineering problems associated with building design.

GC9

Adequate knowledge of physical problems and technologies and the function of buildings so as to provide them with internal conditions of comfort and protection against the climate.

GC10

The necessary design skills to meet building users’ requirements within the constraints imposed by cost factors and building regulations.

GC11

Adequate knowledge of the industries, organisations, regulations and procedures involved in translating design concepts into buildings and integrating plans into overall planning.

Ability to identify individual learning needs and understand the personal responsibility required for further professional education.

CONTENTS

Y1 S1

Y1 S2

Y2 S1

Y2 S2

Y3 S1 Y3 S2

&

ARCHITECTURAL DESIGN: ELEMENTS

ARCH08001

ART AND DESIGN

ARCH07001

ARCHITECTURAL HISTORY: INTRODUCTION TO WORLD ARCHITECTURE

ARHI08009

ARCHITECTURAL DESIGN: ASSEMBLY

ARCH08004

TECHNOLOGY AND ENVIRONMENT: PRINCIPLES

ARCH08002

ARCHITECTURAL HISTORY: REVIVALISM TO MODERNISM

ARHI08004

ARCHITECTURAL DESIGN: IN PLACE

ARCH08007

TECHNOLOGY AND ENVIRONMENT 2A: BUILDING ENVIRONMENT

ARCH08028

URBANISM AND THE CITY: FROM PAST TO PRESENT

ARHI08010

ARCHITECTURAL DESIGN: ANY PLACE

ARCH08006

TECHNOLOGY AND ENVIRONMENT 2B: BUILDING FABRIC

ARCH08027

FOUNDATION FRENCH LANGUAGE 1

ELCF07011

ARCHITECTURAL DESIGN: EXPLORATIONS

ARCH10001

ARCHITECTURAL THEORY

ARCH10002

ARCHITECTURAL DESIGN: TECTONICS

ARCH10003

PROFESSIONAL STUDIES

ARJA10004

ACADEMIC PORTFOLIO 1

ARCH10005

EXTRA PROJECTS

NAVIGATION

Yr Sem

AD AR AH TE FF AT PS AP &

COURSE TITLE

Course Types: AD: Architectural Design

COURSE VARIANT

AR: Art and Design AH: Architectural History

COURSE CODE

TE: Technology and Environments

Course Organizer

FF: Foundation French

Course Description

Course Reflection

AT: Architectural Theory PS: Professional Studies AP: Academic Portfolio &: Extras

LO1

LO2

LO3

General Criterial Graduate Attributes

GC 1 2 3 4 5 6 7 8 9 10 11 GA 1 2 3 4 5 6

Standard allocations

Personal interpretation

NAVIGATION

Yr Sem

COURSE TITLE COURSE VARIANT

Brief

Task Title

Response

Task Title

GC 1 2 3 4 5 6 7 8 9 10 11 GA 1 2 3 4 5 6

AD AR AH TE FF AT PS AP &

YEAR 1 S1

ARCHITECTURAL DESIGN: ELEMENTS ART AND DESIGN ARCHITECTURAL HISTORY: INTRODUCTION TO WORLD ARCHITECTURE

S2

ARCHITECTURAL DESIGN: ASSEMBLY TECHNOLOGY AND ENVIRONMENT: PRINCIPLES ARCHITECTURAL HISTORY: REVIVALISM TO MODERNISM

Y1 S1

ARCHITECTURAL DESIGN

AD AR AH TE FF AT PS AP &

ELEMENTS ARCH08001 Susana Ferreira

Course Description

Course Reflection

“The course introduces students to the foundational knowledge and skills appropriate to the practice of architectural design. Design is seen as a process involving imagination, representation and communication, analysis and research, iteration and reflection.

Alongside Art and Design, This course was the first in the programme to introduce me to graphic conventions and orthographic projections required to be able to create and read architectural drawings at a basic level. The course was tailored to exite us about the numerous constituents of the architectural discipline through explorative excercises like group modelmaking, old town walks, and the conglomorate workshop to stimulate our design skills whilst honing our observations, teaching us to design with intention.

Students work on a series of design exercises and projects, which require individual and group submission of maquettes, models, and drawings. Working in a studio environment, students undertake a number of studies that introduce some of the essential elements of architecture, such as path, threshold, opening, membrane and enclosure. These studies are underpinned by a concern for the role of place and embodiment in the experience of architecture and the built environment.

Studio exercises are supplemented by a series of lectures on practical and theoretical issues associated with the design process.”

LO1

Demonstrate awareness of basic architectural elements and issues that inform their disposition in architectural designs.

LO2

Demonstrate awareness of different dimensions of the design process, from analysis and research individually and in teams to iteration and reflection in the formation of architectural designs.

LO3

Demonstrate awareness of appropriate representational and communication methods, to prepare and present design proposals.

GC 1 2 3 4 5 6 7 8 9 10 11 GA 1 2 3 4 5 6

The added layer of complexity a site and programme brief gave to the second project showed me that drawing skills alone were the tip of the iceberg, and there was alot more room to grow through learning about user and brief formulation in the AD modules to come.

Still, there was enjoyment in the simplicity of restricting my thought to the very basics of architecture in its principles (ground, wall, roof) and in graphics (thick vs thin lineweights), and themes (mass and void). [GC1, 5, 8] [GA 1, 2, 3]

Y1 S1

ARCHITECTURAL DESIGN

AD AR AH TE FF AT PS AP &

ELEMENTS

Brief From Pieces to Places “The first five weeks of the semester work as a block of short exploratory tasks aiming to introduce 5 architectural principles: 1.

Light and Dark 2. Mass and Void 3. Space and Enclosure 4. Sequence and Threshold 5.

Surface and Texture.

We will do this through an investigation of 4 architectural elements: Ground, Wall, Opening and Roof. We will explore these through observation and iterative representation, using a variety of tasks and techniques.”

Group model with Mhairi Dickie and Gary Cheng

Group model with Mhairi Dickie and Gary Cheng

Ground model segment and individual development

Ground model segment and individual development

Response Pieces: Ground, Wall+Opening, Roof Through a series of lectures and examples, the core architectural elements were introduced on a theoretical basis. This knowldege was applied to a 3 week clay modelmaking task, starting with a group model that was cut into 3 segments and distrubuted to each member for their individual development.

Old Town Walks

Layering materials per element studied helped me develop the design. The model was a useful article in helping me visualize the proposal in all dimensions, drawing on its texture to draw orthogonal projections.

Final ‘Pieces’ model with steel, plywood, balsa, and acrylic additions for wall, opening, and roof

GC 1 2 3 4 5 6 7 8 9 10 11 GA 1 2 3 4 5 6

Final ‘Pieces’ model with steel, plywood, balsa, and acrylic additions for wall, opening, and roof

These proactive exercises helped us engage with the cityscape identify firsthand the elements and qualities studied. wether simplified, diagramatic, gestural or representative, these studies allowed us to ficus in on the particularities of ground wall and roof through the restricting ourselves to the charcoal medium

Y1 S1

ARCHITECTURAL DESIGN

AD AR AH TE FF AT PS AP &

ELEMENTS

Brief From Pieces to Places As a group, you will connect all the previous models in a city-like composition and document these new spatialities. Then, compose and overlay, drawings and photographsinto a ‘conglomorate’ collage with a combination of scales, types, and annotations.

“From these new “spaces found” you will study a narrative in to develop at 1:50 a Place proposal through a new assemblage of the elements ground, wall&openings and roof.

The proposal must offer opportunities for the following activities: -Opportunities to look at the view -Opportunities to gather and to hide -Opportunities to be move, linger and rest.”

South Elevation 1:50 on A2

East Elevation 1:50 on A2

Response Place: House in the Rock to conclude the first half of the semester, the conglomorate workshop kicked off the design process in which I aimed to assimilate ground wall+opening, and roof into a single proposal. House in the rock is an imagined retreat which can accomodate relaxation, social gatherering, and hideaway as shown in the 3 areas in plan emphasized by the level of earth enclosure.

Section BB 1:50 on A2

Section AA 1:50 on A2

Conglomorate Workshop This was a powerful creative excercise which freed us from the limitations of graphic conventions, order, and scale rigidity of architectural drawings, allowing us to focus solely on composition and textures. this opened up a worl od new opporti=unities whihc fueled the ‘place’ design.

Roof Plan

GC 1 2 3 4 5 6 7 8 9 10 11 GA 1 2 3 4 5 6

Ground Floor Plan

Y1 S1

ARCHITECTURAL DESIGN

AD AR AH TE FF AT PS AP &

ELEMENTS

Brief (Home)less “You will design a small night shelter with the capacity for receiving six homeless people per night in a site of the Old Town. The shelter should provide areas for sleeping, washing and eating. During the night, the shelter acts as a sleeping accommodation however, during the day it becomes an open kitchen, welcoming any person in need of warmth and a hot drink.”

The site analysis was done in collaboration with Farah Ebrahim, Gary Cheng, Joseba Agirre, and Molly Deazly South Elevation

Response Site Analysis Thourough manual site documentation was necessary to start the project. This helped us familiarize ourselves with the sitattion whilst observing the conditions throiugh the lens of old town walks still fresh in our minds.

This meant focusing on abstract qualities such as negative spaces, shadows at different times of say and the effect on the atmosphere.

This exercise also cemented techniques to collect qualities of the site, such as dimensions, ground levels, access routes, material palettes thorugh photography and tape/ laser measures.

East Elevation

Thumbnail sketches of site qualities and rhythms

GC 1 2 3 4 5 6 7 8 9 10 11 GA 1 2 3 4 5 6

Y1 S1

ARCHITECTURAL DESIGN

AD AR AH TE FF AT PS AP &

ELEMENTS

(Home)less Final Project With this being the first design project in the programme, the focus was on applying the graphic convetions correctly to orthographic projections (as studied in Art and Design and in the ‘Pieces to Places’ project). dimensions of facilities such as bathrooms, and of architectural elements such as doors and stairs, as well as furniture was researched and conveyed to scale. In addition, site context needed to be translated into the proposal as an added layer of information.

Moreover, the brief added a whole level of complexity to the project about that of graphic accuracy. the programme was that of a social project, which required demographic and precedent research for homeless people and shelters in edinburgh.

After iterations and feedback in studio, the project aims to design a comfortable space with facilities catering to the users. On the ground floor, the proposal is inviting mixed users to dining space with connections to the garden views.

As you go up, privacy increases: the mezzanine is a quite and contemplative space for private shelter useres as they are semi detatched from the activities on the ground but still connected visually.

The First floor si fully private communal bedroom and shared bathroom, the open plan was chosen to encourage positive social connections .

Other considerations such as accomodation duration and user gender/age altered my brief to be a single gender shelter with a 3 day turnover, a short term yet broadly reaching facility.

Ground Floor

First Floor Plan

GC 1 2 3 4 5 6 7 8 9 10 11 GA 1 2 3 4 5 6

North East Elevation

South West Elevation

Y1 S1

ART AND DESIGN

AD AR AH TE FF AT PS AP &

THINKING THROUGH DRAWING ARCH07001 Giorgio Ponzo

Course Description

Course Reflection

“This course aims to set out architectural design as a practice-based knowledge and subject. It introduces a range of ways of drawing and making, re-drawing and re-making, experimenting with both analogue and digital media. Through sequences of observation, analysis, presentation, awareness of the spatial and temporal aspects of the built and natural environment is foregrounded. Design practice is understood as rigorous and iterative reflection on practice.

Rather than being a skill or a technique to represent reality, drawing becomes a way to see both visible and non-visible dimensions of the environment”.

This course was the first in the BA programme to define and teach the principle of orthographic projections and architectural representations, in Project 1 making it an essential part of my academic journey. [GA 2] Moreover, lectures from artists, architects, and designers helped provided me with the theories and practices of fine arts and architecture which supplemented my drawing projects in Project 2. [GC2, 3]

The course is made of two main components: the first is a lecture series delivered by architects, designers, and artists who share their creative appraoches. The second is a series of drawing exercises and projects developed both individually and in groups. Both components help build confidence and an awareness of thinking and communicating ideas through drawings, utilizing them as reseach and expressive tools. Both visual and textual material produced will be curated into a physical portfolio for the course’s assessment.

LO1

Demonstrate experimentation and fundamental understanding of drawing using a range of techniques and materials.

LO2

Demonstrate an awareness of Art and Design process in researching, testing and developing ideas to find creative solutions.

LO3

Communicate ideas and complete work in a well-structured and coherent way.

GC 1 2 3 4 5 6 7 8 9 10 11 GA 1 2 3 4 5 6

Having the opportunity to experiment with new media such as lino printing as well as new techniques such as perspective collages helped me communicate building qualities rooted in conceptual paradigms. The activities opened my eyes to the existence of atmospheric, ‘invisible’ dimensions of the built environment such as user activity and how that affects design.[GC 5] [GA 2]

Y1 S1

ART AND DESIGN

AD AR AH TE FF AT PS AP &

THINKING THROUGH DRAWING

Brief Project 1: Small Buildings, Great Spaces “The first project aims to provide the students the basic skills for representing buildings according to drawing conventions. Students will familiarize themselves with orthogonal projections, axonometric and perspective drawings, through studying a series of 20th century buildings that can be considered crucial in the development of the discipline.”

These spaces are: - Plato’s Cave from ‘The Allegory Of The Cave’, 380 BC - Aldo Rossi’s Monument To The Resistance in Cuneo, 1962 - Aldo Van Eyck’s Sculpture Pavillion In Arnhem, 1965 - Ludwig Mies van der Rohe’s Farnsworth House , 1951, and Barcellona Pavillion, 1929 Response

Aldo Rossi’s Monument To The Resistance in Cuneo, 1962 Entrance and Back Elevations, Groupnd and Roof Plans, and Section AA (Scale 1:100 on A2)

Aldo Van Eyck’s Sculpture Pavillion In Arnhem, 1965 Plan, Section, and Elevation Drawings (Scale 1:100 on A2)

Plato’s Cave from ‘The Allegory Of The Cave’, 380 BC Section thorugh Plato’s Cave

Ludwig Mies van der Rohe’s Barcellona Pavillion, 1929 Axonometric Drawing (Scale 1:50 on A2)

Plato, Rossi, van Eyck, and van der Rohe The series of orthogonal drawing and axonometic studies of these building were studies that cemented my understanding of architcetural representations as well as drawing conventions necessary for the readibility of these proposals.

Media and technique studies using chalk, charcoal, markers, pens, and pencil at a gradient of tones allowed me to apply appropriate styles and media to each proposal according to the conceptual and atmospheric qualities it needed to showcase.

For example, Rossi’s monument uses pencil gradients to emphasise the ‘light at the end of the tunnel’ as a metaphor for joy after war.

GC 1 2 3 4 5 6 7 8 9 10 11 GA 1 2 3 4 5 6

Y1 S1

ART AND DESIGN

AD AR AH TE FF AT PS AP &

THINKING THROUGH DRAWING

Brief Project 2: Modern Spaces in the City “Students will look at buildings in the city of Edinburgh and will produce a series of drawings that represent the spatial experience these buildings offer to their users.

The project is structured in four phases (observation, analysis, presentation, and reflection) aiming to provide the students a methodology to look at the world they live in and act on as designers.”

These projects were done in groups with Vivi Hsia and Astrid McIntyre, producing 2 final group drawings and one individual.

These buildings are: - Edinburgh’s Royal Commonwealth Pool by RMJM, 1970 - Edinburgh University Main Library, 1967

Sketch experminets with the figure drawing techniques and colors and media to test different ways of conveying the energy, movement, and ‘chaos’ of the people in the library.

Studies of the rhythms of the library focusing on geometric repetitions and colors

Response University Main Library: ‘Chaos vs Order’ This porject introduces the theme of chaos vs order as spatialized by the library through a populated perspective section. After recieving feedback and reflecting on the piece, I decided to redraw the people, focusing on a more realistic narrative for their interactions and clarifying their paths of movement in the watercolor paint.

I also intended to emphasize the decreasing energy and chaos at the higher floors by using cooler colors and adding shadows to make them look darker and less inhabited

Sketches looking at the Library in section and adding a vanishing point to create perspective which emphasizes the ‘order’.

Final group drawing 1/2

GC 1 2 3 4 5 6 7 8 9 10 11 GA 1 2 3 4 5 6

Y1 S1

ART AND DESIGN

AD AR AH TE FF AT PS AP &

THINKING THROUGH DRAWING

Royal Commonwealth Pool: ‘Chaos vs Order’ Since we chose as a group to let the pool water represent the “Chaos”, we decided to use lino print as our main medium because its layered patterns communicated the energy and havoc of the pool and the overlapping lines and seen on the water surface. We experimented with a number of different shades and combinations of prints until we reached our desired result. And for the other part of our theme, “order”, we decided to contrast it as much as possible to the water by highlighting the contrast of the technical architectural elements, focusing specifically and the repetitive ceiling elements by collaging them with black card. The composition of the page was chosen to add to the overall theme by clearly presenting the two opposing forces.

Royal Commonwealth Pool: ‘Boundaries’

Development drawings studying ‘chaos’ through linoprinting tests and ‘order’ through rigid perspectives

Final group drawing 2/2

A spatial quality which captured my attention was the feeling of being connect- ed to the outside when within the pool building due to the large windows show- ing the natural views and ample natural light. And alternatively when on the outside of the building you feel connected to the inside due to the extended roof which shelters you and frames the view like a window inside.

Hence, to further explore this spatial quality in my individual piece, I decided to explore the theme of “Boundaries” since the combination of vertical and horizontal boundaries (ground, roof, windows) are what helped create this special experience. I planned to explore materiality through creating a collage wherein the borders extend off the A2 sheet.

Sketches and photographs on site which aided the concept development of my final drawing

Final Individual collage

GC 1 2 3 4 5 6 7 8 9 10 11 GA 1 2 3 4 5 6

Y1 S1

ARCHITECTURAL HISTORY

AD AR AH TE FF AT PS AP &

INTRODUCTION TO WORLD ARCHITECTURE ARHI08009 Dr Alistair Fair

Course Description

Course Reflection

The course acts as a condensed chronological journey through the history of architecture, drawing from a well rounded collection of cultures worldwide. Beginning with an examination of Ancient Egyptian, Greek, and Roman architecture, transitioning into the Middle Ages with Islamic architecture, Pre-Columbian America, and circling back to Antiquity in the Italian Renaissance.

This being the first history course in the degree program provided a very solid basis of architectural history to feed into all later modern history modules as well as design and technology courses. Though condensed and quick, it went over important theories and ideologies of architecture in parallel to fine arts, technological advancements and economic/social/political discourse. [GC 2, 3] With the thread of ‘100 buildings’ running through the course, we were provided with a catalogue of fundamental historic precedents that could aid with organizational, programmatic, aesthetic, and environmental strategies for our personal design proposals. [GC 7]

It continues with the Renaissance in Britain and Northern Europe and the subsequent influence of the Italian Baroque. Later, East and South Asian vernacular are introduced, such as those of India, China, and Japan. Semester 1 concludes with the architecture of the European Enlightenment (1800s).

Throughout the course the development of building technology and the social, religious, and political understanding of buildings are recurring themes, aided by some reference to landscape architecture and urban design. The course is not just a history of building styles; it also shows what architecture can reveal about wider issues throughout history.

LO1

Demonstrate a knowledge and understanding of the history and theory of architecture and the related arts before c. 1800, in its artistic, social, political, and programmatic contexts.

LO2

Locate and start to appraise critically historians’ work on the history and theory of architecture and the related arts before c. 1800, in support of a reflective and informed approach to architectural history and design precedent.

LO3

Demonstrate the development of communication skills relating to the key themes of the course.

GC 1 2 3 4 5 6 7 8 9 10 11 GA 1 2 3 4 5 6

The research and argumentative writing completed within the assessed work helped me think critically about the building(s) with a shifting focus from the specific artifact to its wider noteworthiness in the timeline up to the 1800s; these assessments also first introduced me to the notion of visual references as analytical tools rather than illustrative supplements. [GA 2, 4]

Y1 S1

ARCHITECTURAL HISTORY

AD AR AH TE FF AT PS AP &

INTRODUCTION TO WORLD ARCHITECTURE

Presentation

Monuments vs Tombs Definitions

Monuments and Tombs in Medieval Islamic Architecture

A monument is, in simplest terms, an architectural structure linked to a person or event of importance. In line with that, it is possible to describe a tomb as a specific type of monumental structure, which exists to commemorate a dead figure or mark their grave. A tomb is also characterized as a large vault, typically underground, for burial or a confining enclosure for a set of remains.

This group presentation on mouments and tombs asked each member to focus their examples from either Ancient Greece, Ancient Rome, or Medieval Islamic architecture (my choice).

Islamic Religious Theory and Tomb Typologies There is a consensus amongst religious authorities that Muslim’s graves should not be elaborate constructions raised above the ground.

This is stemming from the humble belief that men are all equal in the eyes of god, no man’s grave should be more ornamented than the other’s based on title or lineage, referred to as the ‘taswiyah al-qubur’ or “equalization of tombs (with surrounding grounds)”. Yet, there is a disparity between religious theory and practice as it opposed pre-islamic traditions. This accounts for their strong presence since the 9th century. Irrespective of regional and chronological differences affecting the outer ornamentation, they share root qualities prescribed in islamic funeral processes, such as the orientation of the bodies or faces towards mecca, and the shrouding of the deceased in cloth.

Each member compared two key examples from the period whilst reflecting on crosscutting themes between each distinct context.

There are mainly two types of islamic Tombs: ‘Closed’ and ‘Open’ structures, and they are usually differentiated based on their plans.

Square plans are usually the ‘Closed’ type and are earlier tomb forms, while octagonal plans are usually ‘Open’ types and are later forms; some tombs are a combination of both these typologies. https://www.itinari.com/location/samanid-mausoleum.

Fazio, Michael W., Marian Moffett, and Lawrence Wodehouse. A World History of Architecture. Third ed. London: Laurence King, 2013. Page 168.

Key References Gharipour, Mohammad, and Patricia Blessing. 2014. “Mausoleums Of The Islamic World”. Encyclopaedia Of The History Of Science, Technology, And Medicine In Non-Western Cultures. https://link. springer.com/referenceworkentry/10.1007%2F978-94-007-39345_10227-1#howtocite.

The Samanid Mausoleum, found in Bukhara, Uzbekistan, is a family tomb finished in 943 CE on the orders of Ismail il-Samani for his father, and contains the remains of several generations of the ruling Amirs. Influential Samanid figures including Ismail il-Samani, an Iranian Amir of a powerful Persian dynasty reigning during the 10th and 11th centuries, were laid to rest here.

This early islamic mausoleum is a representation of a typical ‘Closed’ type tomb structure as it has the common cube shape capped by a dome. Persian, Arab, Zoroastrian, Islamic, and Pre-Islamic architectural influences shaped this celebrated cubic structure. The fascinating brickwork and identical faces of detailed masonry give an unparalleled uniqueness to the tomb; careful assignment of mass and void are emphasized by different effects of lights, creating distinctive shadows in the structure’s niches. Although baked brickwork was not uncommon in previous tombs, this lavish decorative detail was without precedent, and was considered an innovative design at the time.

Its historical significance is attributed to its survival for several civilizations. Being one of the earliest tombs of islamic architecture, it set the tone for succeeding rulers including Sultan Sanjar, Uljaytu, and Timur.

Taj Mahal, Agra, India, 1675 CE

Grabar, Oleg. “The Earliest Islamic Commemorative Structures, Notes and Documents.” Ars Orientalis 6 (1966): 7-46. http://www.jstor.org. ezproxy.is.ed.ac.uk/stable/4629220.

The Taj Mahal located in Agra, India is a globally recognized monument and a captivating example of Indian-Islamic architecture built by order of the Mughal emperor Shah Jahan for his wife Mumtaz Mahal after her death in 1631 to honor her evoke memories of her beauty.

Ustad Ahmad Lahori, a reputable architect, engineer, and mathematician known as the “Wonder of the Age”, was charged with its design.

Although the tomb was built for Mumtaz Mahal, the burial of Shah Jahan after her transformed the title of this building to a Mausoleum.

The Taj Mahal is considered a mix of ‘Open’ and ‘Closed typologies as it combines both octagonal and square shapes in its plan. It also combines architectural styles such as Persian, Islamic, and Indian. The use of white marble is key to the highly appreciated aesthetics.

Decorative islamic motifs carved into the marble enrich the complexity and beauty of Taj Mahal’s ornamentation. The efforts to create mathematical perfection through uses of geometry and symmetry are linked to the theme of paradise in the afterlife, along with the garden and pools in the courtyard.

Lehri, Shabbir. 2014. “Evolution Of Tombs In Islamic Architecture”.

ARCHITECTURE - Time Space & People, , 2014. https://www.coa.gov. in/show_img.php?fid=135.

Stutz, Liv Nilsson, Sarah Tarlow, and Andrew Petersen. “The Archaeology of Death and Burial in the Islamic World.” In The Oxford Handbook of the Archaeology of Death and Burial, Chapter 14. Oxford University Press, 2013.

“Tomb | Definition Of Tomb By Lexico”. 2019. Lexico Dictionaries | English. Accessed October 9. https://www.lexico.com/en/definition/ tomb.

Samanid Mausoleum, Bukhara, Uzbekistan, 943 CE

https://library.artstor.org/#/asset/SS7730458_7730458_8666203;prevRouteTS=1571704803401.

h t t p s : // a r c h i t e x t u r e z . n e t / f i l e / handbooktravelle00john-page-327-png

Comparison To conclude, it is notable to highlight architectural similarities such as tomb orientation, structural elements (domes), carved embellishments, mathematical symmetry, and testimonial force. The parallel analysis also accentuates design differences such as typology, scale, and materiality between the discussed monuments, showcasing how architecture is entrenched with contextual influence.

Note that text shown is a series of excerpts summarizing the written assessment.

GC 1 2 3 4 5 6 7 8 9 10 11 GA 1 2 3 4 5 6

Y1 S1

ARCHITECTURAL HISTORY

AD AR AH TE FF AT PS AP &

INTRODUCTION TO WORLD ARCHITECTURE

Essay

The term ‘Renaissance’ nowadays refers to the period of classical revivalism between the fourteenth and sixteenth centuries emerging from Florence, spreading quickly to the rest of Europe. Although looking back to antiquity was a key catalyst for Renaissance arts, innovation was an equally important stimulus. In sixteenth century France, reinventing old forms resulted in the emergence of new building types; the fortress became a palace, the hotel became a maison, and old castles turned into Châteaux. These Châteaux developed slowly from mere imitations of Italian architecture to original expressions, finding independence at the turn of the century. Thus, looking at Château de Blois, Château de Chambord, Château d’Anet in the Loire Valley (the cultural capital prior to Paris), a demonstration of how French Châteaux chronicled the evolution of the architectural language of French Renaissance will be examined.

Château de Blois (1500s), Château de Chambord (Domenico da Cortona, 1547), and Château d’Anet (Philberte l’Orme, 1552) “Choose and analyse three major French Châteaux (or parts of Châteaux) that illustrate the development of French Renaissance architecture during the 16th century”.

Plan of Château de Blois, ‘Lecture 21: The Renaissance In France’ Lowrey, University of Edinburgh, 2019.

Louis XII’s addition to Château de Blois, view from interior, https://library.artstor.org/asset/ SCALA_ARCHIVES_10310195979.

Château de Blois Château de Blois is considered the French Renaissance’s living chronology, dating back to 903 CE, it documents different phases through reconstructions by both French kings, Louis XII (1498-1515) and Francois I (1515-1547) and others after. Louis XII extension notably added of a corps de logis (central block with a separate roof), choosing materials with a notable color contrast like grey stone and red bricks. The entrance facade featured an equestrian statue of King Louis XII which has an Italian monumental tone, yet its placement in an aedicule is very French gothic. What is novel is the corps de logis planning adopted from classical ideas. Subsequently, Francis I introduced a new wing which included the famous central stair where classical features are employed in structural design.

Blois could be considered a rocky start to the development of French Renaissance style, with irregularities and an overall lack of harmony that stemmed from French builders applying Italian decorative elements without grasping their principles. Nonetheless, several other reconstructions outside the renaissance period further enhance the historical richness of Château de Blois as temporal showpiece French designs practices.

Château de Chambord

Key References Plan of Château Chambord, ‘Art and Architecture in France’, Blunt, p 32.

Blunt, Anthony. Art and Architecture in France, 1500-1700. Pelican History of Art ; Z4. London: Penguin, 1953.

Lowrey, John. 2019. “Lecture 21: The Renaissance In France”. Lecture, University of Edinburgh, 2019.

Markschies, Alexander. Icons of Renaissance Architecture. Munich ; London: Prestel, 2003.

Front exterior of Château de Chambord, Alexander Markschies, Icons of Renaissance Architecture, Munich (London: Prestel, 2003).

Château d’Anet

Murray, Peter. Architecture of the Renaissance. History of World Architecture. New York, 1971.

l’Orme’s chapel roof from Château d’Anet, ‘Icons of Renaissance Architecture’, Markschies, p 335.

Triumphal arch entrance to Château d’Anet, before 1550, https://library.artstor.org/asset/ ARTSTOR_103_41822003374285.

Note that text shown is a series of excerpts summarizing the written assessment.

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The colossal Château de Chambord was commissioned by the King Francois I around 1519. Its silhouette comparable to a Gothic fairy castle, exhibits striking traditional repetitive tall towers and long, pitched roofs. These medieval features are reflected in plan, showing a rectangular building bordered by four circular towers surrounded by a moat. The keep or donjon sits predictably in the back, but there is an unusually Italian rigor integrated into the symmetrical organization. The greek cross arms coming off the central stair can be attributed to the Italian architect, Domenico da Cortona, but French builders discarded his blind arcades and open loggia, replacing it with flat pilasters on the facade and a string course. Here, the Frenchman’s attempt be critical about Italian design and alter rather than blindly imitate it.

However, the trend of superimposing classical decor on gothic structures wasn’t abandoned. The distinctive ‘double helix’ staircase attributed to Da Vinci is strongly influenced by Bramante. Moreover, the roofscape spiraled into a jungle of purely Italian sculptures, becoming an impressive addition to the valley’s skyline. Though fragmentary, the ‘fantasy castle’ was reminiscent of Valois king’s Vincennes Castle; Francois welcomed the allusion to the divine monarchy which advertised his claim to the Holy Roman Imperial throne.

The arrival of Sebastian Serlio and Philberte l’Orme marked the beginning of the second phase of French Renaissance in mid 16th century, as they brought their firsthand wisdom of Italian high Renaissance to France. l’Orme’s Château d’Anet, a house built for King Henry II’s mistress in 1552 encompasses bizarre and captivating elements, new stereotomy, and other details in the remains of the main entrance, chapel, and garden. Diane de Poiters was an incredibly intelligent and power conscious figure who used iconography to her benefit. The stag shown at the head of the entrance flanked by hounds pouncing on it allude to the story of the goddess Diana and her punishment of unwelcome hunter, Actaeon, relaying a message to guests about her capabilities. Architecturally, its typology is concerned with simplegeometric volumes and steppings. Involved stone masons trained in Italy, and therefore could combine French technical traditions with Italian humanist styles, producing a triumphal arch likeness. The Italian chapel has a centralized plan directly referencing to Bramante’s temples. The most marked feature references the pantheon’s vault in the swirling roof pattern. L’Orme balances accuracy and style, pulling on his French masonry background. It is clearly ambitious, attempting a dynamic, mesmerizing, and expensive creation; hence l’Orme shows his pride in the technical excellence of French architecture.

The French disciples of the Renaissance endeavored to balance creative ability with Italian referential inputs. The stylistic differences can be missed at first, but a closer look can reveal diverging patterns solidifying towards the end of the sixteenth century. The outcome was two strong personalized classical languages with overlapping themes and techniques unified under the ideals the period, and Châteaux in France have shown us this learning curve through their changes over time.

Y1 S2

ARCHITECTURAL DESIGN

AD AR AH TE FF AT PS AP &

ASSEMBLY ARCH08004 Laura Harty

Course Description

Course Reflection

“This course introduces the theme of assembly in architectural design. It is focused on the capacity of structure, construction, and materials to create architecture. These physical factors are considered alongside more ephemeral conditions such as light and sound. The way architecture establishes variable distinctions between exterior and interior spaces is also examined.”

The initial short tasks brought my first experimentation with materials and their relationship to tectonics qualities as well as programme.

In conjecture with this, their translation into orthographic drawings using appropriate graphic conventions strengthened my ability to read and my confidence to create architectural proposals. Through the theme of assembly, I was able to think of spaces between the buildings facilitating movement and connections. [GC 1, 7] [GA 2, 3]

This course asks students to develop these themes through a mini series of programmes in the first half of the semester, the brief titled ‘Meanwhile’, and then students must collate the learnt skills into the proposal ‘Clubhouse’ in the second half of the semester.

“To this end, students work on an integrated series of design exercises and projects. Students produce design proposals that are represented by a range of techniques including expressive drawings, scale drawings and models.”

LO1

Awareness of principles of assembly, materiality, specific constructional and environmental logics and how they inform the design of architecture.

LO2

Capacity to manipulate architectural form in the consideration of interior, exterior space and context in the resolution of simple programmes.

LO3

Skills in the representation of simple architectural designs, including design process, in the portfolio format.

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The Clubhouse brief was a vital foundation to my understanding of designing for multiple users, making use of the discussions with the client (SYP representative)and visualizing complex interactions and activities using storyboarding. Moreover, the clubhouse program allowed for an application of the learnt program scales and specific space dimensions. [GC 5, 6] [GA 1]

Y1 S2

ARCHITECTURAL DESIGN

AD AR AH TE FF AT PS AP &

ASSEMBLY

Brief Meanwhile The project ‘meanwhile’ ran for the first half of the semester, its title hinted at the loose, experimental nature of learning. In this light of ‘rehearsal’, short weekly exercises called for interventions on a specific site in Edinburgh, exploring themes of material, social, and narrative assemblies with a specified prompt each week to be assembled at the end.

Concept development sketches exploring polygonal variations based on Parisian kiosks as material and form precedents with Disneyland kiosks as function precedents.

Beginning at the smallest scale , the first task was to design a 2-4 sqm kiosk, to be duplicated on site. Steel was assigned in unison to be explored through model-making, graphic representations, and other behavioral studies.

Response WKiosk + Steel Geometric studies of Parisian iron kiosks prompted the design process, leading to rectangular bases with chamfered front corners. The roof was chosen to have a prominent slant and overhang, for natural drainage and to shelter the front queuing face, as well as afford more sectional height at the rear or storage.

The kiosk was designed with an open-ended applicability to food industry vendors, such as ice cream, coffee, or snacks. The design also included counters for a glazed display and payment/ order pickup, which drew from material workshop studies of steel folding.

Metal kiosk model at scale 1:20, chamfered corners off a rectangularbased form becomes the payment counters. Middle counter piece made by folding metal sheet at 90o.

Kiosk Plan 1:20 @ A2

Kiosk Section 1:20 @ A2

Populated perspective sketch highlightinh metal textural quality and aggregation on site.

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Y1 S2

ARCHITECTURAL DESIGN

AD AR AH TE FF AT PS AP &

ASSEMBLY

Brief Meanwhile The next prompt increases the scale to a 36sqm privy. “This brief is dedicated to water, its supply and removal. As a prosaic but essential facility, this brief asks how can a public facility serve our private needs?

How can they be accommodated alongside washing and drying at various levels of exposure?”

The brief asks us to include an equipment cleaning facility, a trough sink for communal washing, overnight drying space, a drinking fountain, showers, toilets, and baby change room, aspiring to facilitate as variety of public user needs.

Sectional studies including sketched and 1:50 cast concrete model showcasing experimentation with untulating ceiling form, geometry, and proportions.

Privy Plan 1:50 @ A2

Response

Concrete privy perspective rendered and developing sketches.

Privy + Concrete Drawing on the kiosk’s polygonal form the privy uses half its shape in plan, however it achieves a completely different atmosphere due to the material quality and sectional stepping as shown in the model. Isometric sketches were used to develop a more complex form and shape as well as place windows, rooflights and openings. Quick sectional perspective sketches helped visualize interior arrangements and circulation.

Detail photograph showcasing the material honesty of concrete in reflecting casting concrete into a foam mold process.

Privy Section 1:50 @ A2

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Y1 S2

ARCHITECTURAL DESIGN

AD AR AH TE FF AT PS AP &

ASSEMBLY

Brief Meanwhile At the largest size of 72 sqm, the Hall is designed with the objective of assembley for celebration. “The largest and emptiest of the four programmes, it asks for a roof which facilitates a free plan and demands a richness of material invention used to profound expressive effect.”

Must include a single volume hall, with a character chiefly derived from the roof structure, storage spaces for equipment / furniture (in wall thickness), opening windows, and acoustic and thermal lobbies

Balsa hall model at 1:50 alongside timber studio precedents Kamadhenu Yoga Studio and DX Arquitectos Studio, Chile Hall perspective section rendering materiality

Response

Hall floor plan 1:200 on A2

Hall + Timber Drawing mainly on yoga studio precedents, initial sketches focus on developing a section silhouette which is the main feature of the hall to be repeated thoughout whole volume.

Section sketched studying the connection between the hall and privy as influenced by the site’s plinth, a precusor to ‘assembley’ of the entities.

Model making helps explore the tectonic quality to allow more focus to be shed on structural rythm as the plan is free for multipurpose events. A perforated shelf wall guides circulation and provides storage and an accoustic buffer. Mirror walls are allocated to the long side whilst glazed doors allow ventilation, views, and access to the bowling green behind.

Hall cross section 1:200 on A2

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Balsa hall model at 1:50 alongside ‘repeated section’ concept sketches

Y1 S2

ARCHITECTURAL DESIGN

AD AR AH TE FF AT PS AP &

ASSEMBLY

Brief Meanwhile “The task of this last week is to configure the buildings that you created in the past four weeks into a comprehensive arrangement, creating a main space between them for gathering and subsidiary spaces for arrival / departure.”

This excercise invites us to conclude with drawings that show considerations of sequencing, adjacencies, compression / release, landform, and levels in the external space to tie the assemblage.

Assembly East Elevation 1:100 @A2.

Assembly South Elevation 1:100 @A2.

Sequence and ‘Activated’ Sections

Response Assembly on Site Sequence in elevation is created through parallel decreasing slopes in congruity with sloping down ground. In section, atmospherical boudaries (light vs dark) are utilized. In the privy, boundaries correlate to ceiling undulation to signal increased privacy as volume decreases.

Sequence and ‘Activated’ Diagrams

Route 1: person attends yoga class at the hall, then showers at the privy, and grabs a juice on their way home from a kiosk

In plan, sequence is illustrated by the ‘activated’ route diagram where different scenarios and characters gather and use the assemby either in a litteral sequential order (route 1, 4, 6) or in ways where the sequence of events in their day are accomodated by the assembly rather than inturrupted (2, 3, 5).

Route 2: a family spots ice cream kiosk from across the street, enjoys it on a nearby bench before washing up at the privy Route 3: Friends on their way to class grab a kiosk snack and eat on a bench; they refill their water bottles at the fountain Route 4: wheelchair user takes accessible route to privy before attending meditative yoga session at the hall Route 5: pedestrian rests at the stepped hall seats Route 6: housing resident exits between hall and privy pathway

Assembly Floor Plans 1:100 @A2.

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Y1 S2

ARCHITECTURAL DESIGN

AD AR AH TE FF AT PS AP &

ASSEMBLY

Brief Clubhouse - Scottish Youth Parliament In the second half of the semester, we were tasked to channel prior material and programmatic studies into an assigned ‘clubhouse’ project. My unit was allocated the Scottish Youth Parliament (SYP) client, in which the objective was to “create a physical manifestation of the assembly of young people’s voices represented by the SYP, a permanent showcase for their activities”.

The brief asks us to consider functions such as gathering, training, and organizing through storyboarding, following the narrative of specific users. To embody these inspirations, the ‘hybrid object’ task helps explore material unions through modelmaking and sketches to apply at a large scale to the proposal.

Response

1:200 Axonometric view of proposal assigning materiality

Storyboard + Materials Massing models alongside storyboard helped inform the proposals formation; massing set out organisations and scales for funtions such as lobbies and offices which were checked against a storyboard aspiration of both public and private users.

Becoming more specific with materiality pushed the projects development through various representation techniques. The hybrid model ignited explorative drawings as extarcted from the simple geometry, slowly overlaying more details such as glazing and strcutural frames.

Cast concrete portion of the hybrid model alongside exploration of different orientations, relation to gorund, and composite structure leading up to final shape.

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Precedents, hybrid model, and and sketches exploring form and relation of timber to concrete. Wooden beam structure with glazing show a ‘greenhouse’ style sitting area at the cafe.

Vignettes following an SYP representative arriving at the clubhouse and going up to the first floor roof garden to meet peers.

Y1 S2

ARCHITECTURAL DESIGN

AD AR AH TE FF AT PS AP &

ASSEMBLY

Brief Clubhouse - Scottish Youth Parliament Using building visits and precedent studies to refine the proposal was the next development phase. “[The precedents] will provide a range of approaches and techniques which you can research and investigate. Additionally, the aim of these visits is exposure to the wealth of thought, invention and knowledge embedded in contemporary built proposals, and to instigate a curiosity about and attention to buildings.”

Ground floor plan 1:200 on A2

Ground floor organisation 1:200 model

First floor plan 1:200 on A2

First floor organisation 1:200 model

Relation Ground: Clear split between public library cafe and private main building for SYP members or scheduled visits/‘consituents’ appointments.

First: Main workspace with access to library/ cafe and a roof garden. Variety of group sizes accomodate collaborative work.

Second: Largest area for the board room to facilitate public lectures, training, and meetings with acess to upper roof garden.

Elevation: Glazed areas are visible to pedestrians, most importantly the shop window showing current campaign. Library, offices, and board room are private.

O’Donnell + Tuomey Gallery of Photography, Dublin, Ireland; 1:200 card precedent model. Made in collaboration with Tallulah Bannerman

Second floor plan 1:200 on A2

Second floor organisation 1:200 model

Reflection

Individuals Small Groups Large Groups Glazing

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North-west section 1:200 on A2

North-west section organisation 1:200 model

Due to Covid, this module was cut short and the proposal’s development was halted at this early stage. After ‘Relation’, arguably the most important phase ‘Iteration’ was missed, leaving and underdeveloped section and unrealized scales of representation. Still, this course did manage to relay important creative prompts such as storyboarding and modelmaking which enriched exploration phases of later projects.

Y1 S2

TECHNOLOGY AND ENVIRONMENT

AD AR AH TE FF AT PS AP &

PRINCIPLES ARCH08002 Elaine Pieczonka

Course Description

Course Reflection

This course introduces you to critical structural, technological and environmental principles that underpin architectural design.

It seeks to help you understand not only how buildings need to work functionally to keep their occupants safe and secure, but also how such considerations can produce deeper, more meaningful architecture. This course is constructed around the three principles of sustainability: Structures, Materials, and Environment.

This course provided the foundation for all subsequent TE courses by giving a brief, well rounded understanding of the technological aspects of architecture, including structural principles, building material characteristics and assemblies, and environmental considerations.

This was achieved mainly through the Building Hierarchies case study of the National Scottish Poetry Library. The building was visited to analyze its structural frameworks and the acting forces within the system, strengthening our critical observation and documentation skills.[GC 1, 2, 8, 9] [GA 3]

The first explores how architectural structures not only provides safe enclosures, but also how an understanding of structure is vital in the generation of architectural form, aiming to predict the behaviors of key structural configurations. The second examines materials used in architecture starting from extraction to processing and creating building components, and how these can be assembled into building parts. Key techniques in connecting and ordering parts of a building will be considered. The final theme examines how architecture can respond proactively to sustainable agendas. The principles building comfort and how architecture engages with the external environment will be introduced, referencing energy conservations issues and carbon reduction strategies.

LO1

Understanding of the key concepts in the physical behavior of structural systems and their application in architecture.

LO2

Appreciation of the integral nature of material assembly and environmental systems to the development of architectural designs.

LO3

Breadth of knowledge and understanding of the principles of architectural structures, material assembly, environmental systems and sustainability in the built environment.

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The visit also enriched our qualitative understanding of the spaces, allowing us to link specific construction decisions with atmospheric qualities (such as sound and light) as deliberately chosen for the user requirements, whilst navigating tough planning requirements affiliated with a nationally significant public facility. Moreover, we were able to appreciate the consequence of material decisions when read in parallel to the building’s preexisting fabric, as well as their impact on social factors, highlighting the expansive role of architects within their communities. [GC 5, 6, 10]

Y1 S2

TECHNOLOGY AND ENVIRONMENT

AD AR AH TE FF AT PS AP &

PRINCIPLES

Brief Assignment 1: Building Heirarchies “This short case study project allows you to develop skills in understanding structural and constructional hierarchies in building design, addressing LO 1(25% of this course). The work will be done in pairs on an allocated area in Edinburgh to choose a listed building”.

In collaboration with Matthew Johnson, we chose the Scottish Poetry Library; built in 1999, it was originally designed by Malcolm Fraser Architects and was extended in 2015

by Nicoll Russell Studios. The report focused on building structure and its relationship to the ‘skin’ and materiality, the first theme of the course.

Scottish Poetry Library photograph by authors, 5 Feb 2020

Material Junctions

Scottish Poetry Library Mezzanine Floor Plan

Scottish Poetry Library Section AA

Response Structural Observations

Material Relevance

Joints and Fixings

There are five T Beams, one joint to each pair of parallel columns. This T beam is characterized by a changing depth; the visible tapering reduces the mass in of the beam towards the end since its unsupported after the joint at the column.

The C beam on the other hand are seen in on each side of mezzanine floor - they encompass the perimeter.

There are cantilevers at front and back of roof and they are the lengths in which the beam depth changes decreasing from where the column had supported the beam until the point where they meet the c beams.

Mainly, the library is a steel structured building using a combination of beams and columns to form the skeleton. Masonry is also very significant such as the pre- existing back (east) wall; it grounds and gives the building its mass. Oak wood cladding is fixed using bolts along with blue terra cotta tiles as finishes for the exterior.

Exterior oak wood cladding is fixed vertically using bolts, which are horizontally aligned and cut through the panels at their quartiles to ensure stability.

The ‘fork’ shaped joint connecting the steel circular column to the T-beam acts as a fixed joint, possibly allowing contraction and expansion on one only. Moreover, this joint experiences a moment as it is the point before the T-beam cantilevers; it allows the roof load to transfer into the ground without and rotational movement (stationary equilibrium).

The glass panes canopy above the mezzanine balcony are joint to the structural C beams using bolts, one on each corner of the individual panes, connecting a strip of 12 glass panes.

Load Path

Scottish Poetry Library photograph by authors, 5 Feb 2020

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The metal beams and columns in addition to the masonry walls dissipate the load from the roof down to the ground. Bookshelves are considered live loads due to their ability to be wheeled around.

The blue terracotta tiles are fixed to the wall using grey grout; that heavy fixture contrasts with the light glass and oak balustrade. Steel rods fix the oak slats from underneath, freeing the top from fixings to maintain simplicity.

The glass part of the balustrade, restricted to one side, is also fixed at the bottom of the glass, and there is a small gap between the panes. That allows the glass to be flexible and not break.

Photos of joints and fixings described.

Photos of structural observations described.

Y1 S2

TECHNOLOGY AND ENVIRONMENT

AD AR AH TE FF AT PS AP &

PRINCIPLES

Analysis of Frame Elements

Second Moment of Area Calculation Since the deepest T beam value has the largest second moment of area, the largest part of that beam will perform the best, making it clear why it was chosen for the main structure of the library’s roof. The smaller C channel above the T beam is smaller but it is adequate since it only holds the glass panes above the terrace.

On the other hand, the C beam is the most efficient since it uses the least material.

“Analyse one structural frame element. This should include a simplified free body diagram; a cross section analysis of a beam including a second moment of area calculation. UDL or Point Loads to be indicated by standard notation.”

A T beam was chosen for the first essential calculation task.

“Choice of element(s) to further analyse through diagrams and calculations to enhance the explanation of the structural hierarchy.”

The cantilever and bookshelves were chosen for this optional task.

Cantilever Moment Calculation

Scottish Poetry Library photograph by authors, 5 Feb 2020

Reflection Due to Covid, this course was disrupted such that Assignment 1 was the only assessed work; therefore, of the three core themes ‘Structures’, ‘Materials’, and ‘Environments’, only LO1 covering ‘Structures’ was assessed and achieved.

‘Materials’ and ‘Environments’ within LO2 and LO3 were unfortunately not attained through Assignment 2: Building Environments and the written examination (which made up 75% of the course assessment), but were quickly discussed in TE2A.

Moment = Force x Distance - To find the Force: Weight = mass x acceleration due to gravity Mass = Volume x Density Based on the figure of the glass pane above, the volume of the entire strip of 12 glass panes can be calculated to give the total mass supported by the T beam cantilever as follows: Volume = 2000 x 76 x 1750 = 2660000 mm^3 or 2.66 x 106 mm^3 Density of glass = 0.253 g/mm^3 Total Mass = 0.253 x 2.66 x 106= 672980 g or 672.98 kg 673 kg The mass is split between the 5 T-Beams therefore the Mass an individual T-Beam carries is 673/5 = 134.6 kg Therefore the weight or load experienced per beam is as follows: F = 134.6 x 9.81 = 1320 N Taking into consideration the angle of the roof and supporting beams, the load is actually F cos X (as shown in the figure) where angle X =10 degrees SoFcosX=1320cos10= 1299.94623N1300Nor1.3kN - To find the Distance: Using the section drawing shown on page 4, the distance can be measured from the joint of the column to the beam until the end of the cantilever such that: Distance = 1900 mm or 1.9 m Moment = 1.3 x 1.9 = 2.47 kNm in each of the five T beams on the larger cantilever (West Side) Bending Moment Calculation The weight of a book can be calculated, and using that, a uniformly distributed load can be found. The UDL can be used to find the bending moment of the books on the shelf.

Average book mass is measured to be 500g/0.5kg w=mg w=0.5x9.81 w=4.9N On one section of a bookshelf like the ones below, there are roughly 40 books, bringing the total weight to 196N. The width of a section of the shelf is 800mm by observation.

Hence the UDL, or w =0.245kN/m

Scottish Poetry Library Interior Photograph by authors, 5 Feb 2020

Therefore the bending moment of the full shelf of books is 0.02kNm. That unit could be multiplied for the number of shelves that make up each unit, if it was full. If the shelves were to be longer, more support might be needed under the shelves, or they might need to be made thicker. That value could also be used to estimate the average weight for all the shelves on the mezzanine level to get an idea of the maximum loads across the floor, which would help the architect to understand the loads put on the furniture.

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Y1 S2

ARCHITECTURAL HISTORY

AD AR AH TE FF AT PS AP &

REVIVALISM TO MODERNISM ARHI08004 Dr Alistair Fair

Course Description

Course Reflection

This course surveys architectural history between the 1750 - 1990s, principally in a western setting but briefly expands into global contexts. Beginning with early 19th century stylistic Revivalism, the development of new materials and technologies birthing new western typologies are studied. This includes an overview of Greek and Gothic Revival, French Beaux Arts, Neo-Classicism, British and US Arts and Crafts, Art Nouveau, and Scottish Romanticism.

Continuing where AH1A left off, this course helped complete my knowledge of the broad historic timeline of architecture in a brief but beneficial manner. This particular module drew more connections to the fine arts, strengthening the footing of architecture in cultural discussions. [GC 2, 3]

The second half explores 20th century Modernism, covering Russian Avant-Gardes, the Bauhaus movement, the roles of Le Corbusier, Mies van der Rohe, and Alvar Alto, Post-War British Brutalism, and Post-colonial Modernism in wider contexts. The course concludes with the revision of Modernism in the 1960’s and the emergence of a Post-modern consciousness.

“What can architecture tell us about wider developments in social, political, cultural and urban history? How did those contexts inform design and practice? We will explore how architects and their clients sought to invent new architectures, and the ways in which the results balanced international agendas with local and national concerns.”

LO1

Demonstrate a knowledge and understanding of the history and theory of architecture and the related arts since c. 1775, in its artistic, social, political, and programmatic contexts.

LO2

Locate and start to critically appraise historians’ work on the history and theory of architecture and the related arts since c. 1775, in support of a reflective and informed approach to architectural history and design precedent.

LO3

Demonstrate the development of communication skills relating to the key themes of the course.

GC 1 2 3 4 5 6 7 8 9 10 11 GA 1 2 3 4 5 6

Furthermore, I felt the research tasks in this course brought my attention to the numerous considerations architects must make for building users and the wider community, especially in public buildings as chosen in the presentation and essay. A library not only facilitates learning but embodies enlightenment, and a portrait gallery not only collects history but can help define it. As the brief states: “Architecture has its own internal preoccupations, … but it also exists within wider contexts; architecture isn’t just created by architects;” these assessments really helped me grasp this profound notion, especially in these modern contexts, which will ultimately impact my ethos as an architect today. [GC 5, 6] [GA 4]

Y1 S2

ARCHITECTURAL HISTORY

AD AR AH TE FF AT PS AP &

REVIVALISM TO MODERNISM

Presentation

Henri Labrouste and 1900s French Context

Bibliothèque Sainte-Geneviève, Paris, by Henri Labrouste, 1850

The Bibliothèque Sainte Geneviève, also known as the Nordic library or Saint Genevieve library, is one of the first public libraries to be built in Paris and was completed by French architect Pierre François Henri Labrouste in 1850. Labrouste (1801-1880) was a graduate of Ecole Des Beaux Arts and winner of Prix de Rome. He was liberal and forward thinker even from his early days as a student, referring to both classical architecture and modernist ideas. Contextually, France was in the middle of an Economic boom between 1840s -1860s resulting in industrialization. Politically however, there was power shift replacing the bourgeois regime with the French Second Republic.

“Discuss the chosen Revivalist building in detail, explaining its conceptual development, physical character, core thematic drivers, its relation to broader architectural developments and to the designer’s career more generally.

Consider briefly how it has been assessed by historians and to conclude, summarize it significance”.

External Facade Location wise, the project was described as “The real and graphic center of the student quarter” because it was strategically placed between five universities. It also had a geometric and symbolic relationship with its neighbor, the French Pantheon wherein Labrouste aligned his axial entrance with the Pantheon’s threshold.

Mainly a Neoclassical Greek style taking influence from Labrouste’s trip to Rome, the stern facade uses little ornamentation but has imposing size. The exterior inscription of 810 author names represents an array of intellect harmonized. Overall, a very horizontal emphasis is created through its planar uniformity with only semicircular windows to visually separate it into floors.

Internal spaces Exterior view of the Library, https://commons.wikimedia.org/wiki/File:Façade_de_la_ Bibliothèque_Sainte-Geneviève,_sud-est.JPG.

Comparison of section and elevation, https://www.moma.org/calendar/ exhibitions/1295?slideshow=12&slide_ index=3.

Key References

The vestibule is the first room a person sees when entering the building, therefore its character and atmosphere has been carefully synthesized by Labrouste. In order to inspire the visitors with the achievements of significant intellectuals, the busts of influential men were placed along the walls; the idea of ‘a garden of knowledge’ is introduced through the painted trees where windows to the outer garden would have been according to the architect’s initial concept. The vestibule guides the visitors up to the reading room since the stairs are flooded with light in contrast to the dark room (no artificial lighting).

Upon arriving at the reading room, the student/visitor is overwhelmed by the many night and day motifs, paintings depicting students or intellectuals (ex. school of Athens), large windows, and the iconic iron columns supporting a double barrel vaulted ceiling with curved ‘branches’ adorned with arabesques. This striking choice of material is a main topic of discussion regarding the library. Besides that, the use of gas lamps and heating (which allowed the library to be operational at night) is another one of Labrouste’s great feats.

Bressani, Martin, and Marc Grignon. “HENRI LABROUSTE AND THE LURE OF THE REAL: ROMANTICISM, RATIONALISM AND THE BIBLIOTHEQUE SAINTE‐GENEVIEVE.” Art History 28, no. 5 (2005): 71251.

Darley, Gillian. “Leading architecture to the light: MOMA’s Henri Labrouste show places him at the turning point between classical and modern thinking.” Building Design, May 10, 2013, 21. Gale General OneFile (accessed February 10, 2020). https://link-galecom.ezproxy.is.ed.ac.uk/apps/doc/A373034149/ITOF?u=ed_ itw&sid=ITOF&xid=fe907254.

Relationship Between Section and Elevation In keeping with the Beaux Arts spirit, Labrouste does present a reflection of internal building separation and functions through the facade.

The author inscriptions mirror bookshelves, and iron detailing shows where the arches meet the walls, alluding to use of iron in the interior.

Responses and After Effects of Henri Labrouste’s Work Overall, the response was that of astonishment and admiration towards the boldness and newness of the design. Mid-twentieth century architectural historian and critic Sigfried Giedion described the use of exposed cast iron as precursors of twentieth-century modernist architecture whilst Neil Levine (20th century Professor at Harvard University) adds that he not only was a forerunner for modernism but helped define it. The fact that the MoMA held an exhibition entitled: “Henri Labrouste: Structures Brought to Light” in 2013 is a great validation and celebration of his works.

It was bound to be an influence for others, including the Carrère and Hastings’ New York Public Library. Additionally, it was an opportunity for Labrouste himself to take push creativity further in the design of the Bibliotheque Nationale in France with domed cast iron ceilings.

Interior view of the reading room, Labrouste, Bélier, Bergdoll, Le Cœur, Bressani. Museum of Modern Art, Cité De L’architecture Et Du Patrimoine, and Bibliothèque Nationale De France.

Henri Labrouste: Structure Brought to Light. New York: Museum of Modern Art, 2012.

Note that text shown is a series of excerpts summarizing the written assessment.

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Vestibule and reading room plans and sections, Saddy, Pierre. Henri Labrouste, Architecte, 1801-1875. Paris: Caisse Nationale Des Monuments Historiques Et Des Sites, 1977.

“Healing” Architecture Labrouste is guided by his firm belief in the ability of architecture to positively transform one’s psychological state and emotions. In his other projects, including a prison and an insane asylum, he pays paying particular attention to views, natural light, wide spacing, and soundproofing all to aid the remediation of the patients and prisoners.

Y1 S2

ARCHITECTURAL HISTORY

AD AR AH TE FF AT PS AP &

REVIVALISM TO MODERNISM

Essay

The Conception A portrait gallery strives to be an emblem of national achievement and chronicle of events which had lasting national and even global impacts embodied by the creators of that development in a diverse range of fields. The collection of portraits in aristocrat homes as dynastic documentation was an early form of portrait galleries with benefits of cementing genealogical references. Edinburgh’s 1633 welcoming gallery of King Charles I proved a power to establishes truths, setting a trend for Scottish noblemen curating ancestral galleries.

The 11th Earl of Buchan’s avid collection induced national portraiture in 1799. The idea translated eventually into the National Scottish Portrait Gallery - ‘a visual record for Scottish history and achievement’.

John Findlay’s anonymous donation to the Board of Manufacturers set the wheels in motion for the project; ‘the premier architect of Scotland’, Sir Robert Rowand Anderson, was charged with designing this building. His training with Sir George Gilbert Scott whose philosophies regarding Gothic architecture’s rationality and beauty (matching Agustus Pugin’s) were instilled in Anderson, unsurprisingly culminating in a Gothic revivalist design. The intentions of the board fit these parameters (preferences for romantic overtones of imperialism), and in combination with the flexibility afforded by the pointed arch, solidified the suitability.

Scottish National Portrait Gallery, York Place, Robert Rowand Anderson, 1889 “Choose a building in Edinburgh dated between around 1750-2005 and write an illustrated critical analysis of 2000 words”.

Site and Exterior Architectural Properties Photograph of the entrance to the portrait gallery by Alexander Adam Inglis https://www.nationalgalleries.

Key References McKinstry, Sam. Rowand Anderson : ‘the Premier Architect of Scotland’.

Edinburgh: Edinburgh University Press, 1991.

Smailes, Helen., Scottish National Portrait Gallery, and National Galleries of Scotland. A Portrait Gallery for Scotland : The Foundation, Architecture and Mural Decoration of the Scottish National Portrait Gallery, 1882-1906. Edinburgh]: Trustees of the National Galleries of Scotland, 1985.

The Great Hall Photograph of gallery before installation of sculptures in 1899, Thomson, Duncan., and National Galleries of Scotland. A History of the Scottish National Portrait Gallery. Edinburgh: National Galleries of Scotland, 2011. p . 44.

Ambulatory wooden ceiling painted, Duncan Thomson, p. 60.

Reflection

Photograph of ambulatory from 1st floor, by author, March 2020.

South Elevation from earlier design stage (prior to changing corner tourettes), Helen Smailes, A Portrait Gallery for Scotland, p. 27.

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The ‘celebration’ at the centre is a lofting, double height hall defined by Gothic arcades and red brick. Its cerulean painted timber ceiling mimics the night sky; flecked with gold stars, it is a vision of the celestial heavens, adding mysticism with the zodiac figures blended in lighter tints. A striking processional frieze by Hole chronologically depicting historic Scots rests on the stone columns, with a heavily gilded background alluding to mosaics and tapestry work. The first floor gallery above is enclosed by eight imposing murals illustrating 17 key moments of Scottish history, continuing planar tapestry style. Hole’s paintings focused on emphasizing nationalism through symbolism and metaphors. For example, the placement of his two north wall insets with contrasting moods was reflected on the exterior sculptures of war vs peace. Motifs of flora and fauna seen in the landscapes and murals borders represent native Scottish vegetation.

Broader Influences

Due to Covid, this course was disrupted such that Post-War British Brutalism, Post-colonial Modernism, and Post-modernism were not assessed as the exam (30% of the final grade) was cancelled. However, Revivalism concepts were sufficiently covered and both the essay and presentation were evaluated against all three learning outcomes.

Note that text shown is a series of excerpts summarizing the written assessment.

The site on Queen street, in Edinburgh’s Georgian New Town, was chosen for its properties suitable for a gallery’s inhabitance. It welcomed north facing light, had strong person the street corner, and had ample space in its broad rectangular area. The building’s framework can be split into three major divisions: the neo-gothic architecture arrangements, the facades sculptural programme, and finally the paintings, including the processional frieze and murals. The elevations can be broken up into their tri-layered constituents; the ground floor is defined by its eight large Gothic windows, the floor above is a continuous strip of twinned lancet openings, and the top floor is a blank masonry wall lit through rooflights. It eye catching features includied Gothic arches, a decorative balustrade, and crocketed pinnacles of octogonal based corner turrets to crown the building. Anderson extended their Gothic church verticality into a wide horizontally emphasized red corsehill sandstone edifice.

The 1889 board sanctioned decorative statute endeavored to blur the line between architecture and the fine arts. This included the ambulatory paintings pioneered by William Hole, and the sculpture programme spearheaded by James Macgillivary, John and William Rhind. Andesron’s ‘pièce de résistance’, the entrance, is defined by two spire elements mirroring the corner turrets with niches housing important Scottish figures’ sculptures such as William Wallace who ‘guard’ the entrance. Other sculptural work personified men of Industry and Religion underlining their connection to Scottish character, overall edifying the grandeur of accomplished citizenry.

In the Victorian era, an architectural transformation ushered by society’s demand for a solution to the industrialization’s degeneration of quality of life occurred through looking back to the past. Neo-classical civic buildings signalled educated society and were initially popularized. Later, Pugin’s evangelicals ‘rediscovered’ Gothic Revival alongside social reformers. This side of ‘the battle of styles’ appreciated garnished designs accompanying the serious overtones of socially conscience, critical architecture. Anderson understood the weight of his architectural decision to place a red Gothic building amongst the soft yellow, stern classical setting of Edinburgh New Town. This impactful choice is a testament to the architect’s confidence and creative license. Its popularity to this day is a witness of Anderson’s success.

In 1966, the Gallery’s expansion embodied a ‘rebirth’ where new space and a refreshed perspective welcomed more art, forgoing ‘sitter’ notoriety as an entry criterion; loosened restrictions allowed for a colorful array of styles, modern media, and a more wholesome, truthful image of Scott’s society and individual stories. Its architecture and collections continue to inspire and drive visitors in the present.

YEAR 2 S1

ARCHITECTURAL DESIGN: IN PLACE TECHNOLOGY AND ENVIRONMENT 2A: BUILDING ENVIRONMENT ARCHITECTURAL HISTORY: URBANISM AND THE CITY

S2

ARCHITECTURAL DESIGN: ANY PLACE TECHNOLOGY AND ENVIRONMENT 2B: BUILDING FABRIC FOUNDATION FRENCH LANGUAGE 1

Y2 S1

ARCHITECTURAL DESIGN

AD AR AH TE FF AT PS AP &

IN PLACE ARCH08007 Andrea Faed

Course Description

Course Reflection

As the first Architectural Design course in second year, this module endeavours to elevate design inquiry abilities beyond the scope of a buildings tectonic vocabulary. ‘In Place’ introduces the significance of mark left by the city on a building, and seeks to encourage the harmonization of contextual research with architectural interventions.

Thus, through a detailed 3 week precedent study, 2 week site research, the course delivers key themes such as local identity, site and situation, and levels of privacy. These studies collectively inform the 6 weeks allocated to the architectural design of an educational building.

This course helped me realize the important role of social, economic, and political processes of the city in affecting architecture, especially in a historically charged site like the one I was assigned. The procedural research scales taught in the precedent study and applied to the site redefined my design process; I became comfortable with diagrams of intent and using colors to convey data. [GC 1, 4, 5] [GA 1, 4]

“The thematic scope of the module serves as a context to introduce critical and self-reflexive dimensions of architectural design, and the development of skills in design inquiry.” The module is also the first instance of using CAD as a representation tool and therefore explores the new skills and consequences of digital media in architecture.

LO1

Ability to investigate through design-research architectural and urban issues that impact on architectural design decisions.

LO2

Capacity to respond to brief and site by synthesizing a range of programmatic components, formal and spatial strategies, and contextual themes of modest complexity within an architectural design.

LO3

Ability to effectively explore and communicate design ideas and propositions, articulate by visual means an architectural argument, individually and in teams, in a range of digital and analogue formats.

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Experimenting with new digital tools such as CAD, photoshop, and illustrator brought more refinement to my representation of materiality, especially in the elevation and perspective renders.

These tools helped bring to life the concepts of the developed brief.

Overall, I saw improvements to my investigative skills (LO1) and my communicative techniques (LO3). [GC 3, 7, 8] [GA 2, 3]

Y2 S1

ARCHITECTURAL DESIGN

AD AR AH TE FF AT PS AP &

IN PLACE

Brief Precedent Study For the first 3 weeks, students were tasked with and an individual precedent study to “analyse both the physical and cultural conditions that inform the design of a building and to understand what makes this architecture particular to its site and situation”.

My given precedent was the Medical School, University of Limerick, Ireland, by Grafton Architects.

The tasks were divided into 3 scales: Site, Building, and Human scale. Starting with Site, we were expected to collate resources, draw plans, as well as create massing models which communiate the precedent’s wider relationship to place.

1:2000 card site model on A1 base showing precedent within university campus buildings, and surrounding built enviroment, main roads and routes, and landscape.

Response Site Location and Proximity to Water The Campus of the University of Limerick is in a mostly rural suburban area, about 5 km from Limerick’s city center. It is also shared by both County Limerick and Clare; the River Shannon acts as a geological threshold between the newly expanded North Campus and the main South Bank Campus.

Drawings were sequentially produced at larger scaler, zooming in on the site and understanding its context as well as history, climate, and topography.

Site Location

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Site in a rural suburban area, about 5 km from Limerick’s city cente

River Shannon acts as a geological threshold seperating the campus

Based on Grafton Architects north campus expansion masterplan

Y2 S1

ARCHITECTURAL DESIGN

AD AR AH TE FF AT PS AP &

IN PLACE

Building Scale Finished in 2013, The Medical School building is a strongly sculptural building at the focus of the piazza comprising of 4 floors.

It has an external colonnade starting at the south west corner where the main entrance is (Fig 10), large double height foyer (Fig 9) including a cafe, leading to a main central staircase which connects to a variety of study/seminar room sizes, and finally, a modulated roof form allowing for the central social space to be lit from above.

The clay model of whole Medical School building at scale 1:250 focusing on materiality where white clay reflect cool grey masonry.

Void areas carved out from the building’s perimeter are visible from the bird’s eye view as well as deep inset windows. programmatic diagrams of the plan helped understand internal functions in relation to facade fenestration.

Initial traced sketches of the section using labels, shading, and color coding to understand the built form and how it interacts with natural light, as well as the vertical relationships between spaces and the variety of their sizes.

Semi public gathering/circulation (cafe, common rooms)

Public

Public gathering/ external circulation

Semi public gathering/circulation (stairs, corridors) Private or special use (bathrooms, storage) Large private study room (auditorium)

Small skill based lab/ office

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Private

Seminar/ computer study room

Clay model of whole Medical School building at scale 1:250 showcasing ‘carving out’ of a signular mass.

Mass and Void Diagrams

Spatial Organisation Plans

Volumens and Spatial Organisation Section

Y2 S1

ARCHITECTURAL DESIGN

AD AR AH TE FF AT PS AP &

IN PLACE

Human Scale Locally sourced Limestone is fashioned into small bricks and used as the main material for this building. It is accompanied by Concrete and Timber, whose warmer tones and color can easily be distinguised from the cooler grey Limestone.The materials are used both in the interior and on the exterior facades.

The nature of a ‘brick sized’ material gives viewers and idea of the proportion of the building as a whole, and in this case indicates the magnitude of the four storey structure.

Moreover, it emphasizes the tectonic nature of the building which is characterized by it mass, solidity, and weight as gravity seems to ground it and give it an overall monumental quality.

Building photograph and model

1:100 grey card model of selected section chosen for convergence of many key defining elements of the building such as rooflight, voids, and main central circulation space.

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Building photograph and model

Clay Model eyelevel persepective in the colonnade and showcases how the it acts as a threshold, creating a sheltered space allowing for people to gather, linger, and socialize in between the folds.

Y2 S1

ARCHITECTURAL DESIGN

AD AR AH TE FF AT PS AP &

IN PLACE

Brief

HIstoric Evolution

Architecture School The brief is to design an architecture school on this site. We posed some questions to express the beginnings of our design process: What are the most important spaces?

Are these spaces bringing something new to the ESALA buildings and facilities?

1:4000 Context Plan

how do our design decisions reflect the unique site context?

Key Observations Educational Functions Plan

Response Site Analysis The guiding theme of ‘In Place’ looks at individual architecture as a response to the urban fabric shaped by the city’s social, economic, and political processes as well as the city’s historic and geographic context.

The result is a dynamic relationship between the city, the building, and the user. this is done through various types and scales of site analysis.

Significant Routes

Routes Plan

Long SIte Section

Middle/ High schools University Public Semi Public Private Courtyard Greenspaces plan

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Y2 S1

ARCHITECTURAL DESIGN

AD AR AH TE FF AT PS AP &

IN PLACE

Process and Development Connected to the Lauriston Architecture building through a shared courtyard, the following space will serve to compliment the former building. Our Concept design is clearly divided into two separate volumes.

One is a private building with facilities for undergraduate ECA students and studio space designated for approximately one year group (80 students). The other is a public building for both student exhibition spaces, as well as public exhibitions, lec- tures, and art events.

In regards to the public building, on the ground floor, an open gallery space will provide students a place to showcase their best work, and when it is not in use, the space is to be let for external use. On the same floor, a multi-media room will be provided to host events such as those of ESALA, whereby lectures could be given, or events could take place.

Moving onto the private area that is only accessible to students and staff, spacious studios enable student create freely, as they are given access to facilities such as laser studio, IT rooms, library, workshops.

In addition to rooms dedicated for crits and reviews.

Circulation Studios Crit Rooms Gallery Lobbies Cafe Auditorium

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Initial plans and sections

Developed programme diagrams

Developed programme visuals: sectional collage and interior perspectives

Y2 S1

ARCHITECTURAL DESIGN

AD AR AH TE FF AT PS AP &

IN PLACE

Architecture School: Final Design The scales of inquiry to guide our design process and synthesis are: Scale A: 1:5000 - 1:2000 - Preserving the relationship to Old Town and acknowledging importance of Old Town Walls - Taking advantage of views to North of castle -Considering the journey from Grassmarket to site as a key public approach, and providing intermediary between hyperpublic Grassmarket courtyard and Semi-private Lauriston Courtyard

Cross-Section

North Elevation

Scale B: 1:1000 - 1:500 - Consider how studied precedents made use of North facing windows or roof lights to attain even natural lighting in gallery spaces - Considering locations of public entrances and private student/staff entrances Explore ways to connect the new Architecture building to ECA Scale C: 1:200 - 1:20 - Providing social spaces for the mixture of students and local art/archiecture community demographic - Contemplate orientation, spatial organization, lighting, and noise level considerations for room types and functions

Private Building Section

Private Building Elevation

Our final drawings showcase how we met these aims

Public Building Section

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Public Building Elevation

Y2 S2

TECHNOLOGY AND ENVIRONMENT 2A

AD AR AH TE FF AT PS AP &

BUILDING FABRIC ARCH08028 Dr W. Victoria Lee

Course Description

Course Reflection

“TE2A: further develops students’ understanding, analysis, and integration of environmental design in architecture. An emphasis is placed on applying theory to practice. The course will cover a wide range of topics such as : Macro- and micro-climates, bioclimatic design, solar geometry, daylighting, and artificial lighting, passive heating and cooling strategies, wellbeing and occupant needs, thermal comfort and balances, natural and mechanical ventilation systems, building services, energy and water conservation, and acoustic fundamentals.”

The topics were taught through the lens of sustainability through relevant building technologies and qualitative/ quantitative methods of environmental assessment while discussing their implications for design.Though the focus was on passive environmental strategies, mechanical systems were included as a supplement.

After the broader range of topics in TE principles, TE2A focuses in on the environmental considerations architects need in order to design responsive architecture rooted in place (a very good coupling with the AD: In Place module).

The structuring of the course ensured a well rounded understanding of materials and technologies in order to substantiate our designs with the scientific understandings such as bioclimatic design principles, passive heating and cooling, and daylighting, all with the theme of architectural sustainability running through them. With the course being fully delivered online this semester due to covid, the IKCs and NVRs integration was a useful weekly checkup on the delivered content. The precedent study was a good opportunity to apply all knowledge to a case study. [GC 5, 8, 9][GA 3]

Two new types of assessments were introduced to the course this semester due to the change to full online delivery as a result of covid. These are News Views Reflections (NVR) journal entries (10%), Individual Knowledge Check (IKC) quizes (40%) alongside the traditional group precedent study project (50%).

LO1

Demonstrate an understanding of the theories and science behind interior and exterior environmental principles, human needs, building performance standards, and precepts of sustainable design.

LO2

Carry out simple calculations using scientific formulae to support environmental analysis of buildings with respect to energy, heat, ventilation, light, and sound; and to communicate the results via appropriate visual techniques and digital tools.

LO3

Identify, test, and adapt the environmental strategy of a design project in response to the changing relationship between buildings, people, and the environment.

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The NVRs were especially useful in developing an ability to evaluate arguments in contemporary discourse relating to the topics of the course; their informal nature encouraged the expression of our personal opinions and provided a basis for friendly debate with peers. [GA 4]

Y2 S2

TECHNOLOGY AND ENVIRONMENT 2A

AD AR AH TE FF AT PS AP &

BUILDING FABRIC

News Views Reflections 4) The Human Thermal Environment, Thermal Comfort, and Psychrometry A response to ‘The Idea of Entropy Has Led Us Astray’ by Aaron Hirsh, July 1, 2020

C ULTUR E

EN VIRON MEN T

The Idea of Entropy Has Led Us Astray Let’s stop hustling as if the world is running toward disorder.

5) Heat Avoidance and Rentention, Shading Systems, and Passive Solar Heating

JULY 1, 2020

Image from article, https://nautil.us/the-idea-of-entropy-has-led-us-astray-9092/

Key References

https://www.eea.europa.eu/highlights/air-pollution-goes-down-as https://www.sciencedirect.com/topics/earth-and-planetary-sciences/ self-organization Brennan, J., ‘Qualitative and Quantitative traditions in Sustainable Design’ in S. Lee (ed.), Aesthetics of Sustainable Architecture (Rotterdam, 2011), pp. 80 - 96.

Image from article, https://www.bloomberg.com/news/articles/2020-10-02/europe-s-greendeal-includes-a-new-bauhaus-plan

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The author makes an impactful point about how the Laws of Thermodynamics as scientific research were choreographed in ways that aided the ‘cultural transformation’ during the Victorian era. They shared the research as propaganda; the happy coincidence of similar names made it easier for parallels drawn between ‘work’ (Joules) and ‘work’ (labor).

The European Union’s symbolism of launching a Second Bauhaus movement is excellent in evoking the idea of a dramatic shift in architecture, as was done a century ago, in order to match the scale of change needed in response to the climate crisis. It also reinforces the concept of interdisciplinary ‘crossovers’ or collaboration to cover the wide scope of areas requiring change.

The support of socially embedded science pushed for a hard driven capitalist society suitable for industrialization and put the world on a high speed track of nonstop hustle. This lead to the dangerous deterioration of our plant; we burnt through resources and moved too fast for the planet to catch its breath. Climate change activists have been battling for support in measures and initiatives ever since.

The potential problem though is the idea of unifying the movement through a ‘common aesthetic’ as that could quickly mutate from being ‘a trademark of sustainable architecture’ into a repetitive rubric-based image. Even the idea contradicts itself: a generalized architectural style as the new face of sustainable building - the same sustainable building which refers to bioclimatic, environmentally responsive architecture? It’s impossible to create such a universal design, even if they were categorized by climate, because microclimates will vary based on site surroundings or usage routines.

Controlling over-consumption and production is one of the United Nations 17 sustainable development goals. They aim to implement frameworks that promote people to ‘reduce, recycle, reuse’ and more importantly, ‘prevent’. Not buying is better than any type of buying. This links back to the author’s notion that reverting back to our passive state can be the best way to restore the environment. The author suggests that ‘certain goals are most effectively pursued by not striving directly toward them’; this prompted me to think back to when the Covid pandemic first hit and lockdown forced people into home isolation for days on end. The silver lining though was the news about improvements in air and water quality as well as a revitalization of wildlife due to the temporary drop in GHG emissions. Some amazing results were seen from a short term transformation of industrious society to a reposed static one, and as discussed in previous reflections, these changes such as reduced commutes and urbanization continue into the long term.

Entropy has us fearing a consistently colder and more disordered world, but why not entertain the idea of spontaneous order instead. According to areas of research in social sciences, the process of ‘self-organization’ through internal interactions occurs in the absence of external force. Makes more sense to describe our natural ecological systems at a random point chose order after disorganization. For example, a snowflake self-organizes into its shape, and stars self-organize into galaxies. It might seem counterintuitive because for years we’ve been told to do things that help the planet, but maybe the focus should shift to ‘don’t do’, and by doing less, the planet can self-organize and thrive again.

https://www.un.org/sustainabledevelopment/sustainableconsumption-production/

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NVR 5) The Most Ambitious Crossover Event

BY AARON HIRSH

A response to ‘What a Second Bauhaus Movement Means for Europe’ by Kriston Capps and Laura Millan Lombrana, October 2, 2020

Note that text shown is an unshorted copy of the written assessment.

NVR 4) Less is More

There was recognition of the need to distinguish between their intended philosophical approach and the more obvious and tried ‘technical approach’ reliant on building performance statistics. However, these ambitions lack specifics on diffusing tensions between data driven sustainable building frameworks and the actual experienced environment of the architecture.

Looking for successful examples, I came across a chapter in ‘Aesthetics of Sustainable Architecture’ by John Brennan about how Qualitative and Quantitative traditions in Sustainable Design can coexist through exemplified precedents [1]. His example of Scotland’s Corrieburn Wood House (completed 2000, Ullapool) illustrates how the architects weightings of design decisions ultimately overshadowed the original program requirements of autonomous protective building, even in that extremely windy and cold location in the Highlands. On paper, it’s easy to impartially prescribe ‘few openings’ in line with the regional vernacular of protective building, but the sites incredible views were too important to dismiss. Resultantly, there was a balance between utilitarian use of technologies (passive solar strategies alongside photovoltaics, insulating and low impact construction material, …) and empathetic ties to nature.

“The original Bauhaus was neither a movement nor a style but a school”, and I think this too should be the starting point of the Second Bauhaus. Quantitative and qualitative architectural requirements can no longer be mutually exclusive moving forwards. Rooted in the union of architects, engineers, environmental scientists, and others, we must retrain intuitive design. Harmonizing the process of writing their New Bauhaus philosophy is essential for advancing sustainability standards without limiting the experiential quality of architecture.

Y2 S2

TECHNOLOGY AND ENVIRONMENT 2A

AD AR AH TE FF AT PS AP &

BUILDING FABRIC

News Views Reflections 7) Daylight and Ventilation, Color of Light, and Electric Lighting A response to ‘Cities need to embrace the darkness of the night sky – here’s why’ by Nick Dunn, November 11, 2020

NVR 8) Sound Ideas

It’s always nice to experience a moment of peace in such a fast paced world; we’re so used to everything running 24/7, but the lull at night during Earth Hour is an experience I have repeatedly enjoyed in my hometown since high school. The best part is being able to see some stars I’d never see except when I leave the suburbs to explore the open plains of the Sakhir Desert.

An interesting concept brought up by the author is that successful acoustic design is about finding a balance between the visual style and the acoustic functions through architectural innovation. Though acoustics design is more significant in some structures than others, it still is not the only determining factor of the overall composition of a building. Its homogenous integration into the built fabric is facilitated through early introduction in the planning process is stressed; however it should not be seen as a limitation to the architectural design.

What stuck me is that most people will see Earth hour as a mere symbol for global climate issues rather than a campaign on lighting pollution and its wasteful energy consumption as an issue in its own right.

When quantifying the problem, its clear that the negative by-products of artificial lighting are significant since they are translated across the wider urban realm. In the US for example, 13% of residential lighting is used for outdoor lighting; with 35% of that being wasted due to poorly aimed luminaries [1], the overall energy consumption proves to be a large chunk of carbon emissions (15 million tonnes of CO2).

8) Architectural Accoustic Fundementals A response to ‘Hear, here: designing sonically superb acoustic spaces’ by Jonathan Wilson, June 16, 2020

NVR 7) Earth Hour, Every Hour

Image from article, https://theconversation.com/cities-need-to-embrace-the-darkness-of-thenight-sky-heres-why-149129

Rectifying this poor resource management should become an environmental responsibility, maybe even assigned to qualified groups such as lighting ordinances to control light pollution in local municipalities. Should lighting zones be adopted?

Might be beneficial to reduce the impact on biodiversity for ecologically delicate sites, or even improve human health by facilitating patterns generated by our biological clock.

We have reached a level of technology to recognize the issue and correspondingly mitigate it. Minimizing glare, light trespass, and skyglow through use of recommended technologies adopted as main goals will imply focusing lighting needs for the specific functions carried out rather than standardized unnecessary lighting; this can be taken up by designers and reinforced by lighting consultants. Additionally, dimming nonessential lights, having motion detector activated lamps, and using reflectors to control light trespass and direct it efficiently will not only reduce skyglow but would also reduce the energy consumption for that sector.

Key References ‘Light Pollution Wastes Energy and Money’, in International Dark Sky Association (https://www.darksky.org/light-pollution/energy-waste/).

Instead of viewing lighting controls as ‘taking away’ it should be seen as adding to the experience of the space. Speaking from personal experience, I can recall countless times that disturbing glare of nighttime spaces induced migraines. If it becomes a more universal understanding amongst designers that choosing quantities and qualities of artificial lighting to recreate the atmospheric ‘lulls’ and peaceful moments, an enrichment of the urban environment will follow and a new balance achieved for artificial light utility.

Image from article, https://eandt.theiet.org/content/articles/2020/06/hear-here-designingsonically-superb-acoustic-spaces/

Note that text shown is an unshorted copy of the written assessment.

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The sciences which support the design input create a clear and solid foundation which eases the process of testing and enriching design concepts for acoustics. For example, the textured panelling on the vaulted ceiling of the Hamburg Hall by Toyota was implemented to reflect sound waves and create reverberations in all directions such that sound can be more easily and widely dispersed. The result was not only a more effective structure functionally but also visually characterizes the building. Yet, since acoustic design is most commonly linked to the creation of theaters, these are usually culturally significant buildings which have to respond to the societal and historical antecedents through use of specific materials or building forms which could contradict the scientific principles underlying sound design. Hence the importance of innovative solutions to design issues is emphasized.

Although, due to the delicate nature of sound as a medium, efforts to control it can be thwarted by small miscalculations or errors in material construction or assembly, rendering the acoustic schemes so meticulously planned much less effective.

External factors and changing contexts of users and surroundings will impact the design over time as can be expected; architecture is for people to use and is never isolated. Here, one might entertain the idea that not all architectural intents have to be micro-managed; some intuitive deign such as Theophil Hansen Musikverein concert hall in Vienna can be successful. Nevertheless, going into acoustic design blindly hopefully will not always be the case, as mentioned by the author, because of the larger advancements of research in the field. Indeed, it’s beneficial to go into the design process with at least a more substantial and concrete basis for acoustic considerations than to completely sideline it.

Y2 S2

TECHNOLOGY AND ENVIRONMENT 2A

AD AR AH TE FF AT PS AP &

BUILDING FABRIC

Brief Precedent Project “The project assignment asks you to carry out an environmental analysis of your AD:In Place design precedent and adapt it to respond to the impacts of climate change. You will work in pairs to address LO1, 2, 3 covering 50% of the module credits.”

In collaboration with Yeldar Gul, we chose the University of Limerick Medical School by Grafton Architects. The precedent building is one of several encompassed by the University of Limerick new and ongoing North campus expansion project, finished in 2013.

Psychrometric Chart weather-station-clare

data

from

https://www.met.ie/weather-forecast/shannon-airport-

Population Pyramid from HEA

Macroclimate

Oceanic currents systems, especially the Gulf stream, are essantial Limerick’s cool summers and winters. They carry warmer and moisted weather, creating the climate conditions for Ireland and UK in general.

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Occupancy

Shading Analysis Steps

Our selected precedent building is the main educational space for medical students in University of Limerick. To understand the occupancy pattern of the building it is essential to understand who is using it and who are the potential users at the future. University has about 14000-17000 enroled students(Fig.14) and 1700 staff, University considers itself as “...a young, energetic and enterprising university...” which also affects the demographics and the overall educational approach of the university as well. While the gender distribution is similar, number of male students is slightly higher.

And when we look at the population pyramid for Medicine Students in Ireland we can see that an age group from age 18 to 24 forms the largest group which also corresponds to that of the students in Undergraduate level of study.

- Facade Orientation: 30° East - Overheated Period: July - August - Underheated Period: October - April - Horizontal Shading: full shade vs full sun line small range of 13° for existing overhang Section shows that the overhang block sunlight for altitudes above 69°, allows partial between 69° and 56°, and will cover the full glaze area below 56° - Horizontal Overhang: Overheated period not very effective in blocking unwanted heat - Horizontal Overhang: Underheated period effectiveley allows most sunlight - Total (Horizontal and Vertical) Shading Simplified plan to conduct shading analysis (overhang shortened at puncture and vetical shading shifted in) - Horizontal and Vertical Shading: Overheated period Vertical louvers more effective than overhang - Horizontal and Vertical Shading: Underheated period Vertical louvers reduce morning sunlight recieved Average Daylight Factor Calculations

Thermal Comfort

Part A: Environmental Analysis Site Level

Oceanic Currents Effect on Microclimate

Building Level - Shading Analysis and Average Daylight Factor Calculations

The usage of the building is directly linked to the program outline, which explains how the education is given for this Program. During the year 1 and 2 of graduate entry studies, the education is based in campus and it consist of 33 teaching weeks per year starting from September. For years 3 and 4 of the Education starts at August and it is mostly based on off campus practice but for Year 3 students there are 3 weeks and for year 4 students there are 6 weeks of in campus education.

Response

Limerick is a city with a significant rainfall. This location is classified as Cfb by Köppen and Geiger (oceanic climate - usually classified by monthly mean temperature below 22 °C in the warmest month, and above −3 °C in the coldest month). The average temperature in Limerick is 10.1 °C.

Building Level - Occupancy and Thermal Comfort

Building Shading Analysis using Average Temperatures and percipitation from https://www. meteoblue.com/en/weather/

Section shows that the overhang blocks sunlight

By using the weather Data from the air station in Shannon Air- port shows that weather conditions around Limerick remains mostly outside the Comfort Zone[fig. 18] specified on the chart during .

This signifies the necessity of making modifications to the building throght its design to reach and extend the com- fortzone in interiour sopaces. During winter period to intrease and preserve heat, modifications such as passive solar heating strategies, selection of the materials to create thermal massing, thermal insulation and mechanical heating strategies over these passive strategies can be used. During the spring and summer period eventhough the weather conditions are mostly in the comfort zone it is still possible to expand the comfort zone by creating air movment inside the building by natural ventilation, or by using mechanical cooling systems. plus the thermal heat gaing from the sunlight can be reduced by shading strategies.

d° = 63° as shown in section Net Area of Glazing (W) = area of 2 small + 2 large windows frames = ( 5.85 + 6.92) x 2 = 25.5m2 Transmittance of glazing (tau) = 0.7 for double glazed (assumed clear, no coatings, CIBSE Guide A) Maintenance Factor (M) = 0.85 (avg cleanliness, non-industrial area, Sheet 2.2, ‘Intro to Arch Sciences’)

Y2 S2

TECHNOLOGY AND ENVIRONMENT 2A

AD AR AH TE FF AT PS AP &

BUILDING FABRIC

Building Level Don O’Malley & Partners worked for the design of the heating and cooling systems for this project. When we examine the building as a whole, we see it using mechanical and passive systems harmoniously to increase sustainability.

While the orientation and the roof shape of the building optimises how the building uses natural light throughout the year, the glazing and the direction of windows provide shading through the summer period. The materials used for the building create thermal mass for a more comfortable thermal environment across seasons. Natural Ventilation is incorporated throughout the spaces to improve air quality while being more energy efficient. This is supported by a heat recovery system (mechanical heat control system).

Finally, a solar panel system has mounted the roof for the heating of the interior spaces and the water.

Heat Balance Summary Table

Conductive Heat Transmission (Qc): Qc = U x A x T, where Qc is comprised of qc Wall+qc Window+qc Floor The walls in the medical school are formed with external limestone cladding, with an insulated cavity then a concrete blockwall inner leaf. Some interiors are exposed concrete whilst others have finishings. The windows are double glazed with timer frames on the ground floor and aluminum frames on the floors above. The floors are concrete with carpeted finishes in classrooms, tiling in the main lobbies, and vinyl in labs. The external wall in our key room is mostly glazed and has structural concrete columns between windows rather than the regular limestone clad walls on the rest of the exterior.

The Medical School’s main building materials (concrete and limestone) are suitable types of mason- ry for use as thermal masses. The wall compostition of 8 cm limestone tiling combined the 21.5 cm as well as the floor composition of 40 cm concrete makes them heavyweight thermal masses with a suitable time lag for the re-emittance of thermal radiation in the evening in order to reduce the fluctuations of indoor temperature. The seminar room’s thermal masses are located on the floor and walls with a surface area to glazing area ratio of 216:40 = 5.4.

To analyze the effectiveness on these masses, we will consider the amount of direct sunlight attain- able in the underheated period (October 21 - April 21) on both the coldest day of the underheated period (Jan 21) and the warmest day (Oct 21).

Total Internal Heat Gains (Qi): Based on the seminar room’s occupancy pattern and capacity, we assumed a maximum of 60 people using the building for 6 hours. The occupants are mostly sedentary, therefore individuals con- tribute 100 W x 6 hrs/ 24 hrs = 25 W per person. In addition, light and appliances averages taken from data table in W/m2 are multiplied by the total floor area of the seminar room = 102 m2.

JAN: Altitudes in section are: 16°, 10°, and 7° (highest to lowest) Azimuth angles are: -39°, 19°, and 46° (left to right)

Solar Heat Gain (Qs): qs transparent+qs opaque, however, we considered qs opaque negligible since the majority of the facade is glazing with only 20% of the external facade as opaque structural columns between windows (ref to fig X). qs transparent= G x A x sgf, where solar irradiance (G) was taken for South facing facade at 50°N, the area was calculated as a sum of 2 different sized windows with 30% frames. The sgf was taken from a data table for double glazed window.

Key Area Description The key area selected is the Seminar room which is used as a smaller area when compared with the main lecture hall for classes with smaller number of students. This space is outlined by the south west facade of the building and has intersecting walls with the entrance foyer and another seminar room which aslo has the same function and same thermal conditions.

The heat balance summary shows that there are no cooling loads on the building, but only heating loads with the lowest KWh requirement in June and the highest in January. In order to compare the results to reccommended values, first we normalize the total heating load of 21473 KWh by floor area of 102 m2, giving a result of 211 KWh/m2. RIBA’s current Benchmark for nondomestic build- ing operational Energy is 225 KWh/m2/y which mean our key room is within the benchark limit.

Solar Analysis of the Seminar Room, Thermal Mass & Direct Passive Solar Heat Gain plans and section

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Room Level - Thermal Mass and Direct Passive Solar Heat Gain

Ventilation Heat Loss (Qv): Qv = 0.33 x ACH x V x T ACH seminar room = 6 Volume = Area x Height = 102 m2x 3.6 m = 367.2 m3

Room Level

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Conductive Heat Transmission (Qc) tables for External Double Glazing and External Wall

Building Level - Heat Balance

21st January The sections shows that the low altitudes between 9AM (when the school opens) and 3 PM (when the last seminar starts) the altitude ranges cover the whole floor but change the amount covering walls. When compared against the plan’s sun beams (azimuth angles), we realize that earlier times (9AM) have the largest areas of heating ther- mal mass since later timing’s radiation willmostly be blocked by ver- tical shading components.

OCT: Altitudes in section are: 23°, 21°, and 11° (highest to lowest) Azimuth angles are: -36°, 28°, and 56° (left to right) 21st October This sections emphasizes that the altitude ranges in higher altitude months of the underheated period will not reach the overhang, giving similar results to the previous set. The azimuth angles in plan however show even smaller areas of beam on the thermal mass in the afternoon further limiting the absorbed heat.

Overall, the thermal mass over the underheated period will be most effective in mornings and will stop absorbing direct radiation earlier in the afternoon, hence it could release it earlier, in the day.

This better suits the occupancy pattern of the school. The seminar room, however, has approxi- mately 60 seats which will block/ reflect the direct gains from reaching the thermal masses, therfore lowiring the effectiveness. Moreover, as previously shown in daylight graph, there are very few days in Limerick that experience sunny days, so most of the incoming radiation will be from diffused or reflected beams, reducing the intensity of the radiation and the overall passive heat gain.

Y2 S2

TECHNOLOGY AND ENVIRONMENT 2A

AD AR AH TE FF AT PS AP &

BUILDING FABRIC

Part B: Impacts of Climate Change Since the beginning of the industrial revolution in the 1800s, we have seen a drastic increase in global temperatures. The average temperatures increased by 1-degree Celcius since 1880, plus two thirds of the warming has occurred since 1975.

However Impacts of global climate change can be felt differently around different parts of the world. Even though the overall temper- atures are increasing this increase isn’t happening homogenously. In the chart below, it represents three different scenarios of heating.

Researches shows that Atlantic ‘conveyor belt’ has slowed by 15% since mid-20th century as a consequence of the increase in glob- al tempereatures and the melting of the Greenland Ice Sheet.

This natural mechanism is an important factor for the climate of Ireland and UK. Without it the climate of the region would be 5 degrees colder. Any changes to the AMOC could have serious implications for Europe’s weather and a knock-on effect on global climate.

Sea Level and Flood Risks

Temperature

Percipitation

Wind

Sea levels have been ris- ing at a global scale with around 3 mm annually. Te graphic from EEA refects this change near Limerick’s shore; they estimate a con- tinued rise in this region yeilding around +0.4mm by the end of century.

Temperature warming is projected to occur over all seasons throughout the present century in the European Domain. According to Met Éireann’s Climate measurements [fig. 67] for 2041- 2060, Ireland’s projected to experience an increase of 1–1.6°C in mean annual temperatures with a 2°C rise in maximum Summer temperatures in the South West (near Limerick) and a 2.5°C rise in lowest Winter temperatures in North-Eastern Ireland.

On top of the already projected increasing temperatures, the Gulf Stream slowing down due to climate change will also have a snowballing efect on the temperature increases in Ireland. The Gulf stream’s deep convection system is what granted Ireland with mild climate conditions and its weakening will release heat stores from deep within, studies show.

Based on EPA Research Report showing climate simulations for Ireland a trend was extrapolated regarding low-medium risk RPC projections on percipitation. Between 20212050, spring witness- es the largest increases at about 10% in the South-West region of Ireland, which is where Limerick is located.

Concurrently, the largest percipitation drops are simulated to occur during the Sum- mer along the South-East coasts, with a decrease of approximately –15% simulated.

Currently, Data collected from the wind tribunes and weather stations around Ireland shows that mean annual wind speeds for Ireland are typically in the range of 6-8.5m/s at a 60m level over land. However, It is predicted that climate change would have altering effects over the wind patterns in the future.

All major cities in Ireland, including Limerick, are are afected by coastal tides and changes.

The continuous rise in sea levels will have huge detrimental impacts on the surrounding natural and built environments as well as inabitants including increased coastal erosion and damages to property and infrastructure. Enlargement of river estuaries will lead to the penetration of those currents further along the river. The coupled efects puts the site at high risk due to its proximity and the unprotected north.

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Overall, Ireland is expected to experience a gross reduction in average annual precipitation by mid-century. Te number of extended dry periods is forecasted to increase substantially during summer and autumn which are then ofset by spring and winter’s increased wet periods leading to a net result of -6% percipitatio amounts approximately.

Projections about the energy of wind content show that while Ire- land will see an increase of energy content up to 8% for winter periods and a significant decrease of 4-14% for summer periods. For spring season it is estimated to be 0-6% reduction of wind speed while there is not an apparent trend for the autumn season. As a conclusion, we can say that climate models project an annual decrease in the total yearly energy content of the wind of 3 to 7% for the medium- to the low-emission scenario.

Y2 S2

TECHNOLOGY AND ENVIRONMENT 2A

AD AR AH TE FF AT PS AP &

BUILDING FABRIC

Part C: Future Aadaptation for (2021-2050) Based on the predicted impacts due to climate change in Ireland, we can consider the seasonal effects on percipitation especially in the Western region of Limerick will need to be added to sus- tainable design considerations.

Wetter cool seasons and drier hot seasons leads us to consider introducing rainwater recycling and retention methods to the Medical School building.

The methods used to adapt these issues were under the categories of Rainwater Manegement and Flooding Prevention Adaptations. These were subdivided into the following 4 interventions: Rainwater Gardens and Reservoirs Roof Rainwater Harvesting Roof Pond & Thermal Mass Flooding Prevention Adaptations

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Rainwater Gardens and Reservoirs

Roof Rainwater Harvesting

Roof Pond & Thermal Mass

Flooding Prevention Adaptations

Urban rain gardens are low cost and easy solutions for landscape architecture which can easily be integrated into the Medical School’s site, especially considering that its is already located in a rural greenspace with varying topography.

An incline is needed to allow the water to pool hence they can strategically be placed at the bottom of residential blocks. Adding an underground storage space can create a rainwater reservoir for resue. The gardens act as a filtration medium However, the use of this water will require a pump to redistribute the water, but this also means it can be spread across several buildings on the site.

Increased vegetation and/or bodeis of water will increase evapotranspiration and help cool the air through evaporative heat loss (Qe) needed to combat higher future temperatures.

The roof form of the Medical School is mostly flat with some modulations to create roof lights. These characteristics can be utilized for rainwater collection strategies.

The projected increase in the amount of percipitation will give a suffiecient mass for thermal heating.

The roof pond will absorb direct sunlight in the morning and re-emit it into the building at night with the insulation closed to direct heat flow downwards. On the opposite scale, Ireland will be experiencing hotter sum- mer teperatures than it is accostomed to. The use of a roof pond in the summer will work in reverse to the winter as it will absorb radiated internal heat. Its positioning is especially beneficial since internal heat rises to the top of the thermal barrier; the water can absorb this during the day whilst the insulation panel covers it and reflects sirect sunlight. At night, the panel can be opened and the amassed heat will be radiated into the surroundings through evaporation and convection.

Sea-level rise on river estuaries and the increase in precipitation with extreme climate events put the site at high risk of flooding due to the proximity to the riverbank.

For flood protection structures or bariers can be built around the riverside to prevent or reduce the harmful effects of flooding.

A ‘top-down ‘ approach to stormwater collection as referred to by the CSE magazine makes use of a flat roof space for rainwater col- lection that can be filtered en route down pipes leading to several small tanks in the building for toilet flushing. This is a passive rainwater harvesting system (does not need a pump) which makes it a more sustainable choice for the building’s energy usage as well as an ur- ban drainage solution since it leaves less runoff to be managed, further reducing risks of fluvial flooding in the area.

The rainwater harvested is a more enviromentally concious way to deal with runoff and will partially reduce water usage.

Recently landscaping solutions became more widely used by ar- chitects are against flooding around seasides and riversides since these landscaping solutions aim to improve the overall life quality by incorporating different functions to the water barriers.

These barriers can be organ- ised and used for different functions related to the river as well, such as social spaces or as new walking paths in this way interaction of people with the river can be increased and change in a positive way.

Y2 S1

URBANISM AND THE CITY

AD AR AH TE FF AT PS AP &

PAST TO PRESENT ARHI08010 Dr Kirsten Carter McKee Course Description

Course Reflection

This course aims to investigate the global history of city design from ancient times to the contemporary period through key historical texts on urbanism. Starting from some of the earliest civilizations such as Mesopotamia, Ancient Greece and China, Iron Age Europe, then the Infrastructural developments of Medieval Rome, Haussmann’s Paris, Renaissance, and Baroque Italian cities. The course also covers precolonial African urbanism and British colonial urbanism, American city planning in multiple contexts, and finally, the reconstructions of London.

The interdisciplinary course bibliography also offers conceptual references such as utopian cities, visual planning principles, Milton Keyes grid, and the Corbusian city.

Through covering the historic development of cities and planning principles, this course was a great conclusion to architectural history (AH) modules; this graduation from the building to the urban scale emphasized the connections between architecture and society.

Relevant arts and social sciences were presented in conjecture with the built environment, showcasing how global movements were interpreted according to local contexts. A pertinent example is visual planning in France and Britain. [GC 2, 3, 4 ,5]

“Students will grasp major historical trends of urban emergence and development, ... with tutorials centered on Edinburgh sites, and research training for composing scholarship on the built environment.

The goal is to give students a critical acumen for evaluating the architectural transformation of the urban realm across cultures and geographies over time, from Antiquity to the present day”.

LO1

Grasp urbanism as a subject. They will demonstrate understanding of major trends in global urban history from the beginning of civilization to the present day.

LO2

Understand the process of doing urban history. They will show ability to develop an original research project through engagement with primary sources and close reading of key scholarly literature.

LO3

Show familiarity with the histories and theories of urbanism.

They will be in a position to explain the works of the major post-1800 thinkers on urban history and design.

LO4

Demonstrate why urban design matters historically and in the present day. They will be able to articulate how urban development instantiates systems of political and cultural authority.

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The essays pushed my ability to critically assess an image as a source in its own right, putting more weight on my choice of figures in the assessments. I learned to treat visuals as matter that enriched my arguments, considering their sourcing, authorship, and historic context all as part of the evidence. [GA 2, 4]

Y2 S1

ARCHITECTURAL HISTORY

AD AR AH TE FF AT PS AP &

URBANISM AND THE CITY

Presentation

‘Master Plan for London’ is a Photomechanical print created and published in June 1942 on Architectural Review Magazine, vol. 91, by the MARS group, proposing a reconstruction of Greater London rooted in a modernist vision of future cities and linear planning principles.

MARS, or the Modern Architecture Research Group, was an exclusive group active between 1933 - 1957 comprising architects, engineers, and ‘celebrities’ who represented Britain in CIAM’s conferences, whose ‘Functional City’ agenda greatly influenced MARS’s product.

‘Master plan for London’ (MARS group, 1924) ‘Plan for the Reconstruction of London’ (Sir Christopher Wren, 1666), and ‘A Setting for St. Paul’s Cathedral’ (Nikolaus Pevsner, 1956)

The MARS Plan Projected Development of the Linear Strips

by W.E. Tatton Brown, 1935 - 1950 (J. R. Gold)

“Each group will be provided 3 inter-related sources. This may include a variety of images, maps, plans, or a short piece of text.

With your assigned groupmates (Molly Fisher and Molly Hyde) you will consider how these sources interconnect and the significance of what they tell us collectively. This will feed into your individual submission where you will define your given source and the process you have taken (archives/resources) to understand it in detail. Your final submission should be between 1 and 3 pages long”.

‘MARS Plan for London’ by Korn and Samuely, 1942 ( RIBAPIX)

A residential unit showing ‘Corbusian’ housing in 1942 Masterplan by Maxwell Fry (J. R. Gold)

Key References

Larkham, P. J., and Adams, D., The post-war reconstruction planning of London: a wider perspective (Birmingham, 2011) Pevsner, N., ‘A Setting for St. Paul’s Cathedral’ The Listener Historical Archive, vol. 55, no. 1415 (1956), p. 594 https://link.gale.com/apps/ doc/GM2500102565/LSNR?u=ed_itw&sid=LSNR&xid=5772eff1.

The Bigger Picture

W. A. E. The Town Planning Review vol. 19, no. 1 (1943) pp. 38-41 http://www.jstor.org/stable/40101865.

Sir Christopher Wren’s Plan for Rebuilding the City of London; after the Great Fire in 1666’ (RIBAPIX)

GA 1 2 3 4 5 6

The MARS plan however was not the first city scheme for London to be unrealized. Long before its conception came a comparable plan

by Christopher Wren in 1666 titled ‘Plan for the Reconstruction of London’. Like the MARS plan, the large scale tragedy of the Great Fire of London created an opportunity for designers to provide solutions on a ‘cleared slate’ of city fabric. Although this plan was at a smaller scale, considering the county of London as a focus, it shared similar visual qualities stemming from geometric design and rigidity in the layout, stemming from Baroque Paris influence. Landowner frictions and the need for faster solutions hindered completion, hence, London returned do its medieval state of inner-city disarray without much improvement until the industrial revolution; revolutionized transportation methods such as the railways and motor cars had to be integrated into the urban fabric.

Abercrombie’s successor, William Holford was tasked with reconstructing the wreckage surrounding St Paul’s Cathedral. According to Nikolaus Pevsner, the author of ‘A Setting for St. Paul’s Cathedral’, Holford’s work was a worthy albeit small-scale renovation of the remains; the sympathy towards the existing character was noted in his attempt to preserve rather than clear out. Thus, we continue to see the impacts of the war in reconstructing London and the significance of preservation alongside the progression of the urban realm.

Additionally, there was careful consideration awarded to the transportation within the increasingly modernising city, with road access and movement around the cathedral taking great precedence, supplemented by picturesque town planning ideals. Thus, visual planning and the links to the human experience space in Holford’s work resonates with MARS plan’s regards for human patterns.

Across all three sources, a progression of London’s planning discussions in three scales in seen with impressions on London’s built fabric.

Gold, J.R. “The MARS Plans for London, 1933-1942: Plurality and Experimentation in the City Plans of the Early British Modern Movement.” Town Planning Review vol. 66, no. 3 (1995): 243-67.

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Christopher Wren’s Reconstruction Plan

Nikolaus Pevsner’s ‘A Setting for St. Paul’s Cathedral’

‘Destruction And Reconstruction: Bomb Damage To Notable Buildings: A Master Plan For London: Based On Research Carried Out By The Town Planning Committee Of The M.A.R.S. Group 1942’, The Architectural Review, vol. 91, no. 546 (2001), pp. 143-150, https://www-proquestcom.ezproxy.is.ed.ac.uk/docview/1427030263?accountid=10673.

Note that text shown is a series of excerpts summarizing the written assessment.

This radical plan intended to disassemble almost the entirety of London’s existing urban fabric in order to introduce a new model focused on accommodating human interactions by allowing railway infrastructure to guide the plan. The distinguished composition draws the eye to the central ‘market/high’ street running from East-West, housing the commercial, administrative and industrial functions. This splits the city into a North and South halves which are further segregated by vertical ‘ribs’ protruding from the central spine, which become the cores of the residential areas. The whole city is then bounded by a rail line that connects the termini of each vertical route.

The gridded background emphasizes the structured quality of the plan, yet overall, it seems diagrammatic due to the contextual vagueness only mitigated by the inclusion of the Thames River. This ‘vagueness’ reflects the group’s emphasis on rebuilding London on a clean slate; barely any preexisting monuments, streets, or character of the urban fabric is retained in the new plan, hence why it was unrealized, passed over for the prominent English town planner Patrick Abercrombie’s ‘Greater London Plan’. The global context of WWII and the London Blitz devastation alongside preexisting issues of over-congestion is what called for a plan for London’s reconstruction.

Holford, William. “St. Paul’s: Report on the Surroundings of St. Paul’s Cathedral in the City of London.” The Town Planning Review 27, no. 2 (1956): 59–98. http://www.jstor. org/stable/40102215.

City planning principles underwent a transformation during WWII, emerging with a renewed understanding of ‘comprehensive’ urban form termed the ‘grand synthesis’. Globally, massive housing schemes were drafted to ease the struggles of post war societies to addressed new civic needs, predicted unemployment rates and other difficulties. From the local to wider regional contexts, hierarchies in spatial planning were promoted postwar, their deliberations had found influence in London plans for the rebirth of the metropolis. The foundations of the concept of plural housing at the local scale and leading up to the form Master Plan ensures a solution to the haphazard spasms of urban sprawl that London was privy to. Moreover, the transition towards this standardized settlement structure of regional planning carried forth a modernist strategy of dealing with widespread social concerns corroborated by the ties of the housing proposal to Corbusian influence.

Concluding the above arguments, the MARS Plan role in the discussions of postwar reconstruction though impractical in the radical moves, did contribute significant ideas that developed the debate. The theoretical basis is not a reflection of the inadequacy but actually reflects the boldness of the modernist ideologies.

Y2 S1

ARCHITECTURAL HISTORY

AD AR AH TE FF AT PS AP &

URBANISM AND THE CITY

Essay

“If you want your subordinates to do or not do certain things, build a city”. Niccolò Machiavelli, the father of modern political philosophy, defines the link between power dynamics and the built urban fabric. Instating a condition of order citywide has been aided historically by urban planning methods, specifically through infrastructure development which guides city activity. Such is the case in the powerful cities of Rome and Paris whose governing bodies had developed hydraulic infrastructure over generations and reconstructed streets with the aims to fortify political power and control civic life in an era when the leaders desperately needed to captivate the public opinion.

The focal period in Renaissance Rome is between the 15th - 17th in which the return of the Pope (Pius V) and their centralized power allowed for top-down decision making that affected the entire urban context. As for Paris, the key period is Napoleon III’s reign during France’s Second Republic and the subsequent coup. Commonly referred to as ‘Haussman’s Paris’, this period between the 1850s and 1870s is one where the city witnessed a large-scale renovation to reanimate civic life.

Infrastructure: The Implicit Language of Power in Rome and Paris “Compare and contrast two of the historical cases of urbanism discussed in class [...]

What social, economic, or political challenges did architects and urban planners face in each case, and what similar or different solutions did they adopt? How successful do you think the solutions were in each instance?

Your response should comprise an illustrated and footnoted critical analysis of 2000 words.”

Pius V’s Aqueduct Revival

Fountain in the Piazza del Popolo, 17th century print by Giovanni Battista Falda (ARTSTOR).

Schematic Plan of Rome’s Road plan by Sixtus V connecting all modern and ancient monuments and guiding visitors with set paths, by Bordini, 1588, from Chicago Press (C. Burroughs).

Key References Burroughs, C., ‘Opacity and Transparence: Networks and Enclaves in the Rome of Sixtus V’ Anthropology and Aesthetics, No. 41 (Chicago Press, 2002), pp. 56- 71, https://www.jstor.org/stable/20167556.

Aqueducts and complementary structures such as ornamental termini fountains were urban implications which set up a space for a public theater; the earliest fountains were for decorative purposes rather than utility meant to impress people and aggrandize the city. Their costly and intricate ornamentation added to the structures gave them a monumental quality, underlining the power of the church and reminded the public of their indebtedness to them. An example of such a fountain is the one located in the Piazza del Popolo at the entrance to the city.

Clericuzio, P., ‘Urbanism and the City: Past to Present - Haussmann’s Paris’ , University of Edinburgh class lecture, 1st October 2020.

Napoleon III’s Expansion of Hydraulic Systems

Paccoud, A., ‘Planning Law, Power, and Practice: Haussmann in Paris (1853-1870), Planning Perspectives’, Taylor & Francis Online, 31:3, 2016, pp. 341-361 https://doi.org/10.1080/02665433.2015.1089414.

Petcu, E. J., ‘Urbanism and the City: Past to Present - Hydraulic Infrastructure in Renaissance Rome’ , University of Edinburgh class lecture, 30th September 2020.

La Rue de Rivoli, Paris, by X. Photo 1870s-1890s. Showing buildings accentuating street perspectives and spacious streets accommodating transport.

Note that text shown is a series of excerpts summarizing the written assessment.

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In Renaissance Rome, the physical restoration project of the city known as Renovatio Romae started in 1420 after the return of the papacy from exile. The project endeavored towards reinstating the glory of Roman Antiquity and the stature of the Catholic Church. Drawing on the precedent of their ancient predecessors who assumed administrative control over the water supply to support ecclesiatical goals, the Church enterprise began in the 15th century and realized significant results under Pius V’s leadership in 1566.

The project encompassed a wide range of changes to the city fabric including the revival of three ancient aqueducts. “To restore water was to restore Roman authority”; water infrastructure was key to their intention to strategically distribute the water through a hierarchy of recipients, segregated according to the order the Pope gifts it to his people. The most favored are the patriotic prominent families, then noteworthy private institutions (monasteries), then civic fountains will be supplied to fulfil public needs, then semi-public fountains, and finally runoff water or ‘Aqua Caduta’ is managed. Even runoff is filtered through the hierarchy presenting private villas first for their decorative fountains, then public usage for cleaning, eventually running its course and reaching the sewage. Overall, ranking rubric is founded in which the physical order of water distributed highly alluded to an order of power and established societal classes. The valuation of water as luxurious resource and the conditionality of the exchanges based on its dubbed value spurred urban development whilst underscoring the social chain.

Plans of roadways and buildings constructed between 1840 and 1910

Power of hydraulic infrastructure even in a modern context became visible during the restorations of Paris under Napoleon III. It was his vision to restore national glory through Napoleonic ideology using domestic policies. Spearheaded by French engineer Eugene Blegrand, the vast expansion of the sewer systems commenced to accommodate the public and ensure the cleanliness of the city and by extension, its residents. It was a strategy for calming the public’s social tensions; health and sanitation meant lower risks for disease and unrest since the urban social pathology is closely linked to the environmental conditions. In the context of Paris, this was especially corroborated by a pattern of cholera epidemics culminating in the revolutions of 1830 and 1848; the avoidance of this biological stimulus was therefore critical to maintenance of the Emperor’s seat of power.Haussman’s new buildings above were assimilated into the modernized sewer systems creating a more homogenous infrastructural regimen. Moreover, the rebuilding above forced the lower classes out of the city center into the suburbs and left the wealthy bourgeois behind. The symbolism of restructuring the city by also ridding it of the ‘social debris’ alongside the sludge and dregs on the street with the hydraulic renovations left the city purified and reborn. Hence, links between urban works and political status in both cities are established. Sewers in Rome were necessary to avoid diseases and came with other urban developments like Paris who referred to the projects as ‘civilizing agents like Roman predecessors’.

Napoleon’s passion emanates from a utilitarian point of view in which his civic schemes distracted people from forming an opposition, whereas the work of Popes Pius V and Sixtus V embedded messages in their programmes homologous to Haussmann’s intentions of cityscape control. Instating order on the physical fabric of the city created implications on societal order, and established a reputation of dominance as demonstrated above. A symbiosis between city images and urban form was choreographed to convey empowering messages regarding heads of state in Renaissance Rome and Haussmann’s Paris, inspiring future formulae for modern urban strategies.

Y2 S2

ARCHITECTURAL DESIGN

AD AR AH TE FF AT PS AP &

ANY PLACE ARCH08006 Liam Ross

Course Description

Course Reflection

Second year design courses are about context; whereas in place reflected on context through its positive valence, Any Place reverses that assumption, reminding us that the external world has characteristics that we need to be sheltered from. The course invites us to consider in more detail the internal environment and how its components were designed such that they may be applied to any place.

The central incentive of this course to invert out thinking inward rather than outward was an interesting challenge for the semester.

This opened new avenues of investigation wherein the idea of architecture as ‘layers of insulation’ was at the crux of each exercise.

[GA 4]

Due to the unprecedented circumstances we faced as a result of the Covid, this module was modified to be delivered fully online; its delivery was altered such that it was split into two projects ‘Bubbles’ and ‘Islands’, which are metaphors stemming from reflections of the global situation. The theme ‘Bubbles’ came from the realization that: “COVID has shown us that architecture has an immunological function; through processes of selective exclusion, we are cocooned by border control systems (travel, sanitary practices, walls, social codes, and protective fabrics).” The exercises here ask us to study protective architectural bubbles. ‘Islands’ applies this thinking to a chosen city, extending its design of ‘concentric defensive structures’ by designing an apartment building fueled by our research.

LO1

Demonstrate ability to develop architectural designs that appropriately respond to specified non-local conditions and that integrate an explicit investigation through research.

LO2

Demonstrate capacity to synthesize a range of programmatic components, formal, spatial and technical strategies of modest complexity within an architectural design that responds to specified urban conditions.

LO3

Demonstrate ability to critically explore and effectively communicate design ideas and propositions individually and as part of a team, in a range of digital and analogue formats, including portfolio.

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Furthermore, the complexity of the serviced apartment brief and the associated research expanded by knowledge or urban typologies and my awareness of the social impacts of architects. Community was an important theme as studied through urban planning histories and programmatic iterations. [GC 1, 4, 5, ] [GA 1, 3] More material accuracy was demanded as informed by precedent and site reasearch. [GA 8, 9] Learning Rhino was milestone in my development of communication techniques and media; bu introducing complex 3D modeling to my drawings I felt certain areas such of the project were better communicated, especially since the course delivery was remote and we had no access to workshops for physical model-making. [GC 3, 7] [GA 2]

Y2 S2

ARCHITECTURAL DESIGN

AD AR AH TE FF AT PS AP &

ANY PLACE

Brief Bubbles Amidst the Coronavirus pandemic, we were forced to look at our household in a more critical way; how well does our dwelling insulate us from the out- side world? What elements are in place to ventilate entities into and out of our bubble of safety? With the new lockdown restrictions, can the old design accommodate for new needs such as remote work and study?

This exercise is guided by these questions and pushes us to de-familiarize ourselves from our household and assess it from an outsider’s point of view.

User circulation diagram

Response Household Bubble Starting with an analysis of bubble layers at a large scaleand what thresholds filter which elements/ people to create a safe and private innermost bubble. These layers are: 1) Gated Community 2) Petal 3) Neighborhood 4) House

‘Gather and Retreat’ usage themes were identified through indoor dining and living rooms, outdoor gathering space, and bedroom and balcony observations

Next, the same ideas are studied on the building level looking at threshold materiality and the effect of quality and functions of spaces. A general user circulation pattern is devised form thes plan studies.

My first study investigates the layers of my bubble at a large scale.

They are defined by thresholds which filter elements/ people to create a safe and private innermost bubble:.

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Y2 S2

ARCHITECTURAL DESIGN

AD AR AH TE FF AT PS AP &

ANY PLACE

Architectures of Insulation Maison De Verre, by Pierre Chareau and Bernard Bijvoet (Paris, France 1928-32) Known as the ‘Glass House’, this Early Modernist building was commissioned by Dr. Jean Dalsace, acting as a residence for his family as well as a small medical practice.

The need for these spaces resulted in a three story structure with careful internal planning to house a variety of functions to screen its three user groups: clinic, service, and residence (or guest).

Similarly to the Household Bubble, a study of the large scale layers of the Maison de Verre showcases how the context acts as layers to filter users and create a gradient of privacy. The entrance to the courtyard is hidden from the street view by a residential building, creating the first threshold which leads into the semi-public hidden courtyard.

The Maison’s main entrance filters in only 3 kinds of users. Interior thresholds filter in only residents to the upper floors giving access to private rooms pushed back to the west facade; here at the most private bubble membrane, the west facade, is perforated to give views of the private garden and provides an open terrace for full access to the ‘highlighting’ experience.

Isometric view of East and West elevations illustrating combination of translucent glass brick, steel frame, and transparent glazing expresses use through levels of visibility.

User circulation diagram

Chareau’s attention to detail is reflected in his careful design of many flexible internal screening elements, to which he brought a broad palette of texture and color. This reinforced the scheme’s circulation and usage to accommodate both residential and clinic functions.

This study provides useful kit of parts and knowledge of privacy thresholds for later designs.

Urban layers of the Maison de Verre showcases how the context acts as filters for users and creates a gradient of privacy.

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Y2 S2

ARCHITECTURAL DESIGN

AD AR AH TE FF AT PS AP &

ANY PLACE

Prototype Dwelling This exercise aims to combine the knowledge gained from the Household Bubble and precedent studies in the Architectures of Insulation to redesign a dwelling better fit to insulate from the outside. Its a-contextual nature shifts the focus to interior planning and the requirements of individual users, revisiting any shortcomings from the original household dwelling.

User circulation diagram

Elements of insulation most relevant to this were privacy and how filters were put in place to ventilate people into different layers of the bubble according to the space’s function or use.

Collage of precedents combining plans of: Maison de Verre, Robie house, Villa Savoye, and Villa Muller. Iteration overlaying circulation paths of the three users groups and staring to define spaces and functions to develop a plan.

Key: Ground Floor: 1- Main Entrance 2- TV/Living Room 3- Study 4- Dining Room 5- Kitchenette 6- Kitchen 7- Maid’s Bedroom 8- Outdoor Living Area 9- Studio First Floor: 10- Mezzanine Sitting Space 11- Single Bedroom 12- Shared Bedroom 13- Master Bedroom 14- Games Room 15- Balcony 16- Roof Terrace A strategy similar to Maison de Verre’s use of urban context is used to have a gradual entry to the private apartments (applied in islands).

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Y2 S2

ARCHITECTURAL DESIGN

AD AR AH TE FF AT PS AP &

ANY PLACE

Brief

Precedent Study: Palazzina Il Girasole by Luigi Moretti, Rome, 1950

Urban Islands This second portion is the focus of the module, combining all relevant knowledge from the previous studies in order to design an serviced apartment complex located in the site specified in Rome. The exercise starts with a familiarization with the site in groups; we research common residential apartment typologies and their historical development and use. Then individually, we define a serviced apartment brief and convey the programmatic, urban, and environmental decisions using a range of media with strong links to the thread of themes from ‘bubbles’.

Initial site analysis was done in groups with Farah Ebrahim, Nazly Khalil, Amin Hashemi, Chloe Tunnell, and Jaaziel Kajoba.

Response

The typical floor plan contains two symmetrical apartments organized with an alternation of rooms and services along the facade. The bedroom windows are shifted for best orientation and to less- en proximity to the neighbors.

Pinciano, Rome and the Palazzine Typology Quartiere Pinciano: whereas Central Rome is characterized by its urban density and restricted, Pinciano is a quiet, residential nearby suburban district.

It is densely populated with palazzine yet portions of its green landscape is preserved in the gaps between plots.

The mass and void plan indicates how each plot has a perimeter walls and between 1-3 access gates. This indicates a common sequence of thresholds associated with the Palazzine typology:

To understand the site’s urban grain, a study of the palazzine typology was conducted and became an essantial architectural influence for the apartment building design.

Il Girasole’s section showcase the significance of its double height ground floor. It has an external approach so the main stair can be seen from outside, creating an interesting entrance vestibule.

Behind the main staircase the light/air-well is visible as a subtracted volume. Additionally, a thin slice is cut from above the entrance path creating a second ventilation well for the apartments as well as inviting light to the vestibule.

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Y2 S2

ARCHITECTURAL DESIGN

AD AR AH TE FF AT PS AP &

ANY PLACE

Apartment Building - Brief and Concept Diagrams The suburban context of the site resonates with my household bubble programme, hence I decided to focus the serviced apartment on a family dwelling programme.

It focuses on providing supporting services for guardians who need to temporarily divert their attention towards an undertaking (job, study, personal circumstance, etc..). The accommodation aims to take care of the kids, giving leeway for the temporarily occupied guardians until they can come back to their full role.

As shown in the isometric overview, the project is split into 4 segments: Basement, ground floor, apartments, and roof terrace.

The following diagrams showcase fuctions, useage, and privacy levels according to each segment.

Short Section Usage Diagram

Apartmets Privacy and Circulation Diagram

Ground Users and Circulation Diagram

Common Residents Adults Older Kids Kids

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Long section Privacy Diagram

Y2 S2

ARCHITECTURAL DESIGN ANY PLACE

Public Piazza and Ground Floor The essence of the piazza urban strategy is a step back from the street frontage of 25 m to mark its function as a public square. A sheltered colonnade alludes to the Roman forum.

Shading in the section helps understand the basement thresholds and their qualities. For example an important threshold is the metal gate between the colonnade and stair. It is a hard physical security barrier, yet it is not solid like the Household bubble doors or the maison de Verre blind glass wall. The staircase takes residentup to ground floor and finally the colonnade to enter the apartment building.

Levels of vertical and horizontal stepping and architectural permiabilities are used to mediate public thresholds.

Public access to the piazza

Residents’ access from the street

Residents’ and service access from parking

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AD AR AH TE FF AT PS AP &

Y2 S2

ARCHITECTURAL DESIGN

AD AR AH TE FF AT PS AP &

ANY PLACE

Apartment Spatial Organization, Balconies, and Ventilation Using the previous ‘kit of parts’ from bubbles as well as palazzine research, three apartment types were created on 2 floors.

The two bedroom apartments were paired and mirrored within the floor plate like traditional palazzine, with a total of four bedrooms on a single floor. The three bedroom and one bedroom apartments were paired such that the ratio of rooms is maintained.

Quiet Balcony:

The isometric showcases ventilation and balcony types. The traditional lightwell is the main provider of cross ventilation, otherwise, natural ventilation is available for the kitchens through external openings.

Two main types of balconies extend from glazing walls in the living and bedrooms.

Smaller area extending from partially glazed bedroom wall to allow for privacy. Enough for a few seats for an afternoon coffee break.

These balconies face a garden already acting as a barrier from neighbors.

This draws on the same concept of a quiet balcony facing the private garden from Maison de Verre and my Household bubble.

Green Balcony:

Bedrooms Living Areas Bathrooms Circulation Kitchen

2 Bedroom apartment interior living room render

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Smaller area extending from partially glazed bedroom Larger area extending from fully glazed living room wall to allow maximum diffused daylight into living space whilst protected by overhang.

These balconies face neighbors and therefore leave space for plants to create a privacy membrane.

Y2 S2

ARCHITECTURAL DESIGN ANY PLACE

Elevation and Terraces for the Community Adding small shared communal areas to each floor created opportunities for gathering and acts as ‘servant spaces’ breaking up the tension of the very isolated private apartments in the palazzine typology.

A detailed study informs the four ‘types’ of treatments to the East facades where subtractions exposes the concrete frame, creating a variety or terrace spaces to invite resident’s community gathering.

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AD AR AH TE FF AT PS AP &

Y2 S1

TECHNOLOGY AND ENVIRONMENT 2B

AD AR AH TE FF AT PS AP &

BUILDING FABRIC ARCH08027 Dr Dimitrios Theodossopoulos Course Description

Course Reflection

This course explores the applications of the structural principles and knowledge of construction technology studied in TE Principles at a higher level of complexity. “The process of dimensioning structural elements is scrutinised to provide insight to the rationality involved.

Discussion of the design of these elements and their expression in structural forms classified broadly as linear and cellular addresses the majority of medium-sized construction and covers collectively the main material systems (timber, steel, concrete, masonry), highlighting their relevance to architectural design.

This is further explored in their tectonic expression in processes of material system choice, architectural synthesis and assembly, actually the essence of how a building communicates its qualities to its users.”

The opportunity to apply the knowledge learnt and tested in the 3 structural reports to design proposals in both projects was a particularly rewarding experience. This practice elevated my confidence and ability to fulfill technical building requirements which directly impacted my studio design outputs; familiarizing myself with timber sizing calculations and ventilated roof buildups was translated into later design resolutions such as the AD tectonics timber project. The tasks of creating detailed sections boosted my ability communicate this knowledge and design intention at a small.

[GC 1, 8, 9] [GA 2, 3]

Weekly lecture and tutorial topics include: Structural loads and analysis (stress, stiffness, and qualitative), material fabrication and properties, timber design and sizing, frame design, masonry and cellular structures, soils and foundations, and finally, masonry, conctrete, steel and timber material systems.

These topics are assessed through 3 individual stuctural reports and 2 group design projects.

LO1

Apply the mechanisms of design of structures that address increasingly complex interactions between forms, human use and the environment of a site, in terms of imposed actions and the impact of the chosen material.

LO2

Demonstrate an understanding of the process of choice and assembly of material systems in the design of buildings to provide internal conditions of comfort and its aesthetic expression.

LO3

Communicate an understanding of the range of applications of the principles of assembly and structural performance with regards to the main material systems (masonry, timber, steel and concrete) in the design of medium-sized buildings.

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Overall, this course equipped me with the tectonic solutions that could enhance my design concepts whilst remaining realistic with construction and planning processes as well as engineering issues in mind. [GC 5, 11] [GA 5]

Y2 S1

TECHNOLOGY AND ENVIRONMENT 2B

AD AR AH TE FF AT PS AP &

BUILDING FABRIC

Essay

Understanding material characteristics is the pillar of successful structural design as it provides needed guidance for realizing architectural concepts. In both concrete and steel material systems, their properties and fabrication influence design, assembly, and stability.

1) Materials

Concrete

“Outline the fabrication processes and material properties of steel and concrete as they can affect the planning and construction of medium sized (up to 5 storeys high) buildings (in particular the main load-bearing structure and its assembly), and then compare the strengths and limitations of the applications of each material system.

The analysis of each system in a relevant case study and your technical expression are particularly assessed in this essay and this can be done on annotated photos or diagrams from these precedents, using the appropriate terminology.”

Concrete is a semi-artificial material which comprises roughly 75-85% aggregates, 10-20% cement and 5-10% water. Mixing these components results in a chemical reaction between the cement and water known as hardening; the ratios of these ingredients affect the hardening process and subsequently the strength of the final product. In the initial stages however, the mixture is plastic and can take the form of any mold it is cast into which makes it easy to customize and even finish; due to its high compressive strength, this form of masonry is thickly shaped and characterized by robustness and mass. Additionally, its form and constituents make it fire and corrosion resistant, making it a popular structural material.

Steel

Haus in Nidau by Jan Kinsenbergen completed in Switzerland 2015, Photo by Georg Aerni

Concrete framework before cast showing rebars and concrete during hardening process

House in Nidau Stuctural Analysis House in Nidau by Swiss architect Jan Kinsbergen is a three storey residential project built as a multi-family townhouse. The building is characterized mainly by its central concrete core holding four protruding concrete plates supported by four steel columns on the facades transpierced into the concrete foundation, resulting in an elevated and minimally supported structure.

The primary load bearing elements in the building are the hot rolled steel I-columns at the midpoints of each facade alongside the hollow concrete core which acts as a column supporting reinforced concrete plates and dissipating loads to the raft foundation. Slender columns withstand compressive loads which allows a highly transparent frame.

The nearly identical facades are curtain walls with frames that consist of six single storey steel studs welded to the base runners with bolts anchoring it to the slab. The connections are clean and well hidden for minimal visual intrusion, a merit of steel structures.

There is seemingly no base plate connecting the columns and foundations, rather the column penetrates the concrete giving it more rigidity than conventional anchor bolts. Studies have shown that this type of connection better resists pullout forces at lower construction costs.

Key References Heristchian, M., Pourakbar, P., Imeni, S. et al. Ultimate tensile strength of embedded I-sections: a comparison of experimental and numerical results.Int J Adv Struct Eng 6, 169–180 (2014). https://doi. org/10.1007/s40091-014-0077-y.

Color coded and labelled structural elements on section

Labelled plan showing reinforcement inside floor slabs

Studded shear beam support

Note that text shown is an unshorted copy of the written assessment.

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Steel, on the other hand, is a completely artificial product of industrialization. It is isotropic making it good in tension and compression as well as ductile. This ductility comes from the control of carbon content which is fixed at a maximum of 1.67%. Besides constituency, steel is also differentiated by the manufacturing process. There are two main types: hot rolled steel which is more standard, and cold formed steel which is less sturdy but easier to customize. Although its excellent qualities allow for lighter frames and design flexibility, it is susceptible to corrosion in some climates therefore requires galvanizing and coatings to protect and afford it higher fire resistance.

A combination of these steel and concrete structural frames will be explore further in the following case study:

As for the concrete floor slabs, the images show the construction process for in-situ casting. Although the high plasticity of concrete is favourable, the slow hardening and curing process is a disadvantage. In this site located in a cold climate, a warmer month was scheduled for construction to accommodate strengthening conditions. Additional admixtures could also have been used to speed up the hardening process.

At a span of 12.5 m x 12.5 m, extensive reinforcement bars seen in the images are essential to provide tensile strength at the compromised lower part of the slab. In this case where the slabs are unsupported at the corners, prestressed concrete was used which allowed for the large span. This can be seen in fig. 5 where curved elements on the edges illustrate high strength tendons which are anchored to steel ends.

The plan also shows corbel beams connecting columns internally anchored to slabs. This rigid connection experiences a bending moment.

Hence, externally shear welded plates on the column’s web provide additional stiffness at the joint.

The triangular cantilevered balconies on the second and third floors are supported by steel beams. As shown in fig. 1 there is a clear structural hierarchy depicted by the two layer system: the primary beams supporting secondary steel joists, finally covered with a tertiary cladding layer. To strengthen the connection between the beams and the concrete where the bending moments are highest, shear studs (fig 6) are fixed into the beams to provide flexural reinforcement for the cantilevered balconies.

Joint details should allow for differential movement within structural frame; due to the similar thermal coefficients their expansion/ contraction occur at the very similar rates which is better for the structural integrity of the building.Overall, a very unique and interesting dual material structure.

Y2 S1

TECHNOLOGY AND ENVIRONMENT 2B

AD AR AH TE FF AT PS AP &

BUILDING FABRIC

Essay

Defining Substructures and Superstructures The terms substructure and superstructure refer to the two halves of any building’s structural system; their coexistence being essential and interdependent. Superstructures are the combined loadbearing elements which transmit the total (imposed, gravity, lateral) loads to the substructures which act as a building’s anchors. The superstructure can comprise a variety of elements, beams and columns being common members. As for substructures, foundations are considered fundamental components; they act as an interface between the building and the ground, dissipating bulbs of pressure into the earth and preventing excessive settlement and system failure. Naturally, this relationship between foundations and the ground demands an analysis of the ground condition.

2) Super/ Substructure “Discuss how the typical structural layout for a 5-storey steel frame building can be designed to resist the main actions (dead load, imposed loads, wind and fire). Through technical study of building sites (ideally cases in Edinburgh), discuss the strategy for stability and stiffness, the design of connections, foundations, the construction sequence and how they affect the architectural layout. Identification and appraisal of these technical areas in real buildings is particularly assessed in this essay, which can be supported ideally by sketches or annotated diagrams and photos from a current construction site.”

Substructure and Ground Condition

Quartermile 4 by Foster + Partners in edinburgh, Scotland, completed in 2016, Photo from Apple Maps

Completion of core and process of connection pile extrusions to ground floor slab over January - March 2015, Photo from Quartermile Edinburgh construction time lapse

Assessing the geological condition of a construction site from desktop studies and on site tests entails studying the soil type and properties, locating the water table, and other factors such as proximity to cavities/ mines, trees, and other underground occurrences. Once sufficient information is collected, a choice must be made between two main categories: shallow (pad, strip, or raft) or deep (pile) foundations fitting the requirements of design loads. Although net loads on the superstructure greatly informs choice, site condition alone can dictate foundation type. For example, poor soil such as peat cannot withstand great stresses or shear forces will likely be replaced with raft foundations; permeable sandy soil will be prone to settlement if not well compacted, hence demands pile foundations to reach firmer strata below and will require integrated drainage. Furthermore, due to their requisite moisture contact, ground slabs will need sufficient protective waterproofing using DPM on exposed surfaces.The following case study will showcase the relationship between sub and superstructure with respect to a multi storey steel frame typology with emphasis on its construction process: Quartermile Case Study Quartermile is a modern redevelopment project on a large historic Edinburgh Royal Infirmary area whose masterplan comprises a mixture of residential apartments, offices, commercial, and leisure uses. Alongside the masterplan, F+P were in charge of the new offices of Quartermile 4 shown above, whose brief was an open plan flexible office space; as such, a steel structure was chosen.

Key References

As previously mentioned, the construction process starts with a site survey and constructing the substructure. In this case, this required excavating into the site and 7500 m3 of subsoil from the site to create a parking basement which was built over high tension concrete piles and king post wall retention system. Waterproofing and designing a complex drainage system was required to deal with the rock underlay preventative of soakaway. Additionally, an eight storey concrete core was being cast in-situ whilst reinforced concrete columns were being extruded from foundation piles to support a concrete ground slab for the above superstructure (see fig 2 and 3). Heavy machinery was required to support the construction process and was accommodated by the large site area, which also acted as on site material storage.

https://www.fosterandpar tners.com/projects/quar termiledevelopment/. https://www.qmile.com.

Next, the modular process of building the frame occurs over a quick period of 6 weeks, a testament to the high prefabrication and ease of steel framework assembly on site. This is emphasized by the cost breakdown of steel structures which shows the frame is only 30% of the total building cost.The frame is strengthened against lateral buckling by the addition of the composite concrete diaphragm starting with corrugated metal sheets followed by rebars and concrete pouring (Fig 5) which anchors internal columns using welded plates.

Simultaneously, the steel frame can be sprayed with corrosion and fire resistant coatings and other protective layers vital to maintain steel’s strength.

Joint details annotated diagram (by author), Photo by Foster + Partners 2015

Note that text shown is an unshorted copy of the written assessment.

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modular frame construction over 4-8 weeks, pouring concrete floors bottom up using pump seen on bottom right pouring 4th floor while floors below harden, Photo from Quartermile Edinburgh construction time lapse March - June 2015

Quartermile’s cladding system consisted of black paneling to cover the white steel and fully glazed curtain wall with vertical shading louvers, making the steel structure easily identifiable in its finished form.Structural stability depends on quality of the connections to safely transfer compression, tension, bending, and shear. The spliced universal columns have diminishing flange thickness towards the top where loads are lighter; they’re vertically joined at the division plate by bearing bolted connections with a backer plate to make up the difference of flange thickness. Deep perforated I-beams are joined to columns using moment resisting connections through partial depth end plates welded to the beam and subsequently bolted to the column’s flange.

Perforated beams integrate the structure and services and accommodate for abundant office needs as well as reduce structural deadweight.

High service accommodation needed for office use is reflected by large floor thickness where beams support composite deck above; this reduces effective interior heights. Overall, the structure fulfilled service and aesthetic requirements and was positively received by clients.

Y2 S1

TECHNOLOGY AND ENVIRONMENT 2B

AD AR AH TE FF AT PS AP &

BUILDING FABRIC

Brief Project 1: Analysis And Precision The Broughton Primary Playpark Structural Axonometric Study

“You will design and dimension your playpark structure primarily as a single tier walkway in exposed timber construction that can carry loads from the children. The platform must be constructed with care for its durability and should be an inspiring structure for the children (and teachers). Other typical parts of a playpark (swings, slides etc) can be integrated and highlighted on your design but it is the walkway that will generate the experience and paths to explore.”

technical exploded axonometric of a portion of the design. The focus is on the connection of 2 hexagon towers: one large (1.8m side) hexagon to another small (1.2 m) hexagon with a 4 m walkway in between.

The focus is on the primary and se- condary construction elements with the addition of the railings as tertiary structure.

This project was completed in a group with Farah Ebrahim, Yasmine Sadek, and Melisa Hamzaoglu.

Final design plan 1:100 on A2

Response Concept Development - Honeycomb and Hexagons Our design inspiration stemmed from the honeycomb shape. Initially, we agreed that our priorities were: maximum play spaces for users and a multi-functional design, with strong and safe geometric qualities.

We enjoyed the fun molecular structures of our iterations and design sketches but decided to finalize our design process with a methodolody that guided us to a balanced composition which was not too symmetrical nor haphazard since we did not want to overly ‘regulate’ the childrens movement, nor create a very confused journey. Hence, an a-symmetrical layout was agreed upon as shown in plan.

Precedent Studies Timber reseasearch as well as Scottish precedents which use exposed timber were very useful for our technical knowledge needed for the design. Moreover, the two precedents shown were some of the main design and programmatic examples we used to develop our proposal, drawing on details such as joint and overall unit compositions.

Walkway elevation and section at 1:50 on A2

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Y2 S1

TECHNOLOGY AND ENVIRONMENT 2B

AD AR AH TE FF AT PS AP &

BUILDING FABRIC

Final Rendered Axonometric The initial concept of the playground was to pro- vide a versatile range of activities that could en- hance the kids’ experience. This evolved to nar- rowing down the activities so that the playground experience becomes more about the journey through the walkway.

These include: - Ladder - Slide - Net Climbing - Rope Bridge - Rigid Bridge

Visualizations 1) A child’s eye level perspective situated on top of the walkway facing the large hexagon tower.

2) A child’s eye level perspective situated on top of the walkway facing a small hexagon tower and slide.

3) A child’s eye level perspective situated underneath the hexagon tower.

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Joint Detailing The following joints were detailed and represented through rendered axonometrics above and are ordered from top left to bottom right: - Decking - Railing - Secondary Beam to Column (Walkway) - Primary Beam to Column (Walkway) - Secondary Beam to Primary Beam (Walkway) - Foundations

Y2 S1

TECHNOLOGY AND ENVIRONMENT 2B

AD AR AH TE FF AT PS AP &

BUILDING FABRIC

Calculations “Calculate the section sizes for the beams and columns. Use the process according to the Eurocode EC5 described in the lectures and examples. Standard sizes for floor decking are given.”

Process: 1. Preliminary steps Define (surface) loads, Supports and layout, and Choose timber and collect properties 2. Beams Transform surface loads to linear loads for the beams, Calculate bending moments and stress, Define modification factors, Calculate (modified) bending strength, Size beams: define section modulus Z that keeps stress lower than strength, Choose section - if too big, redesign (change span, supports, loads, material etc) 3. Shear Once ok in bending, calculate shear forces and stress, Calculate (modified) shear strength, Check section: shear stress is less than shear strength?

4. Deflection Define permissive deflection limit, Calculate deflection of beam and increase for creep, Check against limit. Modify design if unsatisfactory (change span, supports, loads, material etc) 5. Column Distribute load over column, Calculate stress over column, Modify compressive strength with relevant factors, Check stress against strength and modify design if unsatisfactory (change span,supports, loads, material etc) 6. Check secondary beams Calculations shows are excerpts from steps 1, 2, and 5.

Labelelled key dimenstions on structural diagram

Preliminary Steps and Primary Beam Dimensions

Column Types

Preliminary steps: - Design Loads: Live/ Imposed Load: 5.0 kN/m2 Dead Load: 0.5 kN/m2 Point Load: 4.5 kN/m2 - Timber Choice: The structure will have visible timber therefore we consider the aesthetic qualities as well as structural. The nature of the structure is exposed to the environmental variables therefore will need to make a choice compatible with Edinburgh climate.

Scottish hardwoods and softwoods are the main choice for their lower carbon footprints and natural compatibility with climate.

Oak SS D40: primary beams / secondary joists Douglas Fir C18: primary columns Larch : Decking and railing - Design scheme: Each small tower is a regular hexagonal base with side length of 1.2m. This forms the width of the connected walkway’s floor joists which is supported by the hexagon towers columns and primary beams with spans of 4 m, double for the 8m walkway with a column midway.

Timber choice for columns: Douglas Fir SS Stress Garde: C18 Duration: Long Term Service Class: 1

Primary Beams: Determine dimensions of beam in bending by calculating most efficient section modulus Zxx where design bending strength fm,d is greater than or equal to design bending stress such that the stress is defined in terms of the bending moment M and section modulus Zxx as

Load on beam for UDL: w = q x s = 5.5 x 1.2 = 6.6 kN/m Bending Moment Mmax (UDL) = Bending Moment Mmax (Point Load) =

= 13.2 kNm = 4.5 kNm

Total Moment = 13.2 + 4.5 = 17.7 kNm

Column 2b

- Design bending strength fm,d : Design bending strength fm,d is defined by applying modifying factors (k) to compensate for material characteristic changes caused by site conditions corresponding to strength class (fmk) and service class ( m ) of the timber as follows:

Column 2a

Column 4

labelled columns on stuctural diagram

Column 1

- Strength Modification Factor Kmod chosen for solid timber in service class 1 used for long term load duration - Size Factor Kh= 1.0 for depths in bending d > 150 mm. According to rule of thumb d = L/16, d = 4000/16 = 250 mm hence Kh= 1.0 - Load Sharing Factor Kls assumed 1.1 for assemblies of flat roof/ floor joists with max span 6m - Instability Factor for Solid Beams Kcrit allows for possibility of lateral buckling, this case assumes full torsional constraint of beam therefore Kcrit = 1 -The material is solid untreated timber therefore Partial factor m is 1.3

- Section modulus Zxx : Option 1: b x d = 75 x 245 mm Option 2: b x d = 150 x 195 mm Option 3: b x d = 100 x 245 mm Option 4: b x d = 75 x 295 mm Option 1 chosen for thinner cross section to connect more easily to columns but later calculations of deflections failed so we tried more options until the 4th which worked.

GC 1 2 3 4 5 6 7 8 9 10 11 GA 1 2 3 4 5 6

All three types of columns are fixed and rigid at ground level and at the platform level (at 1m & 2m in the cases of the hexagons & 2m at the walkway). In order to calculate the loads carried by these columns and effectively choose their sections, we’re going to apply the following theory for effective lengths: Le = 0.5 l We assume that the load carried by the rigid part of the column from the ground to the platform carries is higher or equal to the one carried by the part of the column from the platform to the top of the walkway/railing.

We can assume that the column’s cross section is b x d = 75 mm x 97mm (Table 12) to match beam breadth of 75 mm.

Column Type 1:

- Bending Moment Mmax :

Column 3

There are going to be 3 column-types: 1- The 2 columns at the midspan of the 8m walkway (at h= 2m).

2- (a) The columns of the 3.7m hexagon (b) same column modified height for beam joint 3- The column of the 2.7m hexagon 4- The column of the large central hexagon (3.7 m)

Y2 S1

TECHNOLOGY AND ENVIRONMENT 2B

AD AR AH TE FF AT PS AP &

BUILDING FABRIC

Brief Project 2: Edinburgh Palette Movement Community Dance Centre “You are asked to design a small community centre and café at the side of the old power generating station at 95 Mcdonald Road. As a primary function, the centre should provide amenity facilities (community activities spaces, a social café space). Ultimately though the building should be designed in a form that reflects the original ideas of the Playfair masterplan and the architectural changes that have taken place in the 200 years of its slow implementation.”

This project was completed in a group with Farah Ebrahim, Yasmine Sadek, and Melisa Hamzaoglu.

Plan, Organization, and Roof Devlopment Our final planning arrangement gets rid of all the awkward in between spaces by pulling together the fragments of space and mixing space uses to reduce the number of rooms.

The ‘spine’ is still visible in the narrow hallway which separates the public cafe and foyer from the privacy of the studio at the back.

Final design floor plan 1:100 on A2

Response Community Centre Brief Our programme is to design a Dance Centre, falling under the ‘Arts & Culture’ category of community pillars. Our in- tention is for the centre to be open to all age level groups so that any interested members in the community can engage with the activities, whether it is a kid’s ballet, youth’s modern hip-hop, adults zumba, professional tango, or even ballroom dancing nights for the elderly.

The design will include the following spaces: - A Single Large Dance Studio - A Public Cafe - A Greeting Foyer - Private Restroom and Changing Room - Public Restroom - A Corridor Separating Public from Private

GC 1 2 3 4 5 6 7 8 9 10 11 GA 1 2 3 4 5 6

South-West Elevation 1:100 on A2

West Elevation 1:100 on A2

One of our core concepts is “roof form follows movement.” Our final roof choice adapts the full arc in response to context and concept.

The fire station will block any light from the right clerestories, so the arc was tilted down to meet the wall and the roof was extended to a cantilever off to express the flow of dance in an architectural gesture.

Y2 S1

TECHNOLOGY AND ENVIRONMENT 2B

AD AR AH TE FF AT PS AP &

BUILDING FABRIC

Developing Detail Sections: Material Justifications Brick For the masonry, brick is the ideal ma-terial due to it being readily available in Edinburgh.

It has been employed due to its ability to withstand high com-pressive weight loads, regulate the interior climate, and increase the ther-mal mass of the building. Bricks are joined together using mortar, which is one of the ways the building can toler-ate moisture Glulam Beams Glulam is the ideal material for the beam as it is able to adapt to our roof shape due to its moldability and high strength properties. Not only is it a strong supporting material, it can also spam large distances.

Exterior: Sandstone Cladding The use of sandstone for external cladding is a result of our acknowl-edgement of the city’s historic origins of the New Town. Additionally, its durability and ease of maintenance ensures the building will bode well in Edinburgh’s weather conditions Zinc Roof As an external sheathing, zinc adapts well to out concept due to it malleability. Its prefabrication and lightweight nature makes it easy for assembly, and is perfect for Edinburgh’s wet environment due to its high corrosion resistance.

Envelope: Wall exploded detail

GC 1 2 3 4 5 6 7 8 9 10 11 GA 1 2 3 4 5 6

Roof layers detail

Exploded Axonometrics The rendered exploded axonometric showcases the following layers: 1- zinc sheet and substrate 2- secondary structure and insulation 3- cantilevered glulam beams 4- clerestory windows 5- main studio wall structure 6- café structure, glazing and sloped roof

Y2 S1

TECHNOLOGY AND ENVIRONMENT 2B

AD AR AH TE FF AT PS AP &

BUILDING FABRIC

Wall to Foundation Connection and Details The section shows construction details and envelope layers of the wall. The design considers Edinburgh’s climatic conditions, and employs a cavity wall to further insulate the building. The sandstone creates a unique tectonic expression, referencing Edinburgh’s architectural and urban heritage.

A shallow strip foundation is the most suitable foundation type for this building, as it is a low rise building. The latter has very good loadbearing capacities, is easy to build and requires no specially trained personnel, and is very durable. The different layers of the foundation are positioned strategically to prevent moisture and water from penetrating the structure.

1:10 Section Through Foundation

1:5 Wall Detail Section

1:10 Section Through Foundation

1:5 Wall Detail Section

Wall Assembley Axonometric

Roof to Wall Connection and Details The roof system chosen is a timber structure ventilated roof with zinc sheathing. The studio function requires no openings on the walls to use wall area as mirrors and large clerestory windows above for purposes of diffused lighting. Hence, a ventilated roof makes up for lack of openings to circulate through convection the accumulated rising heat from the physical activity of the dance studio. The higher ceiling height also aids in keeping the lower air cooler and more comfortable for users.

The outdoor cold is insulated using Earthwool which has an R-Value of 3.1 M2K/W. It provides good thermal as wells as acoustic insulation whilst being completely fireproof, non-hydroscropic, rot resistant, and more sustainable as it is made form recycled glass bottles and other materials with an odorless bio-based binder.

GC 1 2 3 4 5 6 7 8 9 10 11 GA 1 2 3 4 5 6

Rood Assembley Exploded Axonometric

Y2 S2

FOUNDATION FRENCH LANGUAGE

AD AR AH TE FF AT PS AP &

ELCF07011 Dr François Giraud

Course Description

Course Reflection

“Foundation French Language 1 is a communicative course aimed at developing your understanding and production of the language at CEFR level A1. The course is composed of 2 classes per week. Each class is made up of a Self Study part and a live tutorial on Zoom (access via link sent by tutor) The Self Study part allows you to start working through the course material independently and to prepare for the live session with your tutor and classmates. The latter will give you the opportunity to consolidate your understanding and your use of new linguistic content. Focusing on Listening and Speaking skills, it will give you the opportunity to practice the language with your peers (in small activity groups) on a variety of everyday topics.”

Learning French has always been a personal ambition so I really enjoyed taking this elective course; as seen in architectural history courses, if given a choice I would usually write about French architecture. Though it was a completely contrasting module in terms of content, it felt like an extension to my cultural understandings of France. Moreover, this new beginner level skill can broaden my opportunities for work locations and benefit me overall in the profession. [GA 6]

LO1

Knowledge and Understanding: Basic knowledge of French up to the equivalent of A1 CEFR. Students will acquire knowledge of basic grammatical structures and a vocabulary of approximately 500 words and phrases. Students will understand basic words and phrases

LO2

Practice - Applied Knowledge, Skills and Understanding: Development of grammar, oral and aural skills and ability to use them in a variety of situations. Students can produce oral and written simple phrases, and understand short passages where the context is clear and identified. Students apply a basic knowledge of grammar appropriate to the level.

LO3

Generic Cognitive Skills: The students will develop the skill of using known material to make appropriate deductions and informed guesses about the meaning of material that is new to them. They can apply strategies for understanding gist and specific information.

GC 1 2 3 4 5 6 7 8 9 10 11 GA 1 2 3 4 5 6

LO4

Communication, ICT and Numeracy Skills: Ability to conduct simple conversations on a limited range of topics. Students will be able to communicate at an elementary level (A1/A1+) in the target language (both written and oral) in situations of daily routine. They will be able to ask and answer simple questions in areas of immediate need or on very familiar and routine topics.

LO5

Autonomy, Accountability and Working with Others: The course aims to develop confidence in language learning, understanding and responding to others in appropriate situations. Students learn to work individually as well as in pairs or small groups.

Y2 S2

FOUNDATION FRENCH LANGUAGE

Course Outline

Week 1 - 2 Dialogue Exercise: Information about self and others Countries and nationalities

Week 3 - 5 Dialogue Exercise: Talking about work and family Describing your daily routine Shops and shopping

Week 6 - 7 Postcard Exercise: How you spend your free time Ordering in bars and restaurants

“Along with each topic and function, relevant vocabulary, grammatical and textual structures will be introduced.

-Bonjour!

-Bonjour! Beinvennue au salon du sport…

Quelle sport vous faites

Chere Valerie!

1) Information about self and others 2) Countries and nationalities 3) Talking about work and family 4) Describing your daily routine 5) Shops and shopping 6) How you spend your free time 7) Ordering in bars and restaurants 8) Describing one’s house 9) Asking and giving directions 10) Describing people and what they wear”

-Comment ca va?

Content

-Bonjour!

-Ca va bien, et toi?

-Je suis content.

L’Atelier niveau A1 is the textbook and workbook used throughout the semester. Texbook scan of unit 1:i nformation about yourself and others, pg 19 - 20

Assessments “Participation - 10% Reading Comprehension Test 1 - 15% Reading Comprehension Test 2 - 15% Grammar Gap Exercise 1 - 15% Grammar Gap Exercise 2 - 15% Listening Test - 15% Short Oral Presentation - 15%’ The participation to the Discussion Board counts toward your overall coursework mark.

There will be 3 activities in total throughout the semester.”

The coursework displayed is the participation excerceise submissions completed in pairs with Phoebe Flockhart.

GC 1 2 3 4 5 6 7 8 9 10 11 GA 1 2 3 4 5 6

AD AR AH TE FF AT PS AP &

-Comment tu t'appelle?

-Je ma'ppelle Dana.

-Non! Vous fais de la natation?

-non, je n’aime pas de natation -oh, daccord, vous fais de la Danse?

-je fais de la danse I’m petit peu

Maintenant, nous allons á vélo dans un bar pour boire des bières. Á Copenhague, il y a la mer, un opéra, des châteaux, et des museés.

Copenhague c’est une ville vibrante mais petite pour une capitale. Au printemps, la météo c’est froid, il fait cinq degrés, et il y a du vent.

-Enchante Dana, je ma'ppelle Phoebe.

-voulez vous allez une cours de danse avec moi?

-Est-ce que tu es angalise?

-non, merci … avez vous une course de football?

-Non, je ne suis pas angalise, je suis danois. Et toi, quel pays tu es?

-oui, mais je ne fais pas de football

Nous n’aimons pas la météo ici. En été, il fait beau et il soleil. Les habitantes sont amicaux mais un petit peut introvertis. Demain, nous déjeunons des sandwichs danois.

-oh, vous fais du tennis?

À bientôt!

-oui, je fais du tennis

Dana et Phoebe

-Le Bahrain. Quel age tu as?

-J'ai vingt et un ans, et toi?

Foundation French Language tutorial 10 notes by author on week 6 topic: how you spend your free time.

-Merci, mais je ne fais pas de sport

Nous sommes bien arrivés á la gare de Copenhague á lundi á dix-sept heures. Nous sommes allés en metro á l’hôtel. Ensuite, nous sommes dans un restaurant pour manger dîner.

-J'ai dix-neuf ans.

-bon, voulez vous allez un match de tennis avec moi?

-D'accord. Enchante Dana, a demain!

-oui, je veux fais ça!

-Au revoir, a demain!

-tres bein!

YEAR 3 S1

ARCHITECTURAL DESIGN: EXPLORATIONS ARCHITECTURAL THEORY

S2

ARCHITECTURAL DESIGN: TECTONICS PROFESSIONAL STUDIES ACADEMIC PORTFOLIO 1

Y3 S1

ARCHITECTURAL DESIGN

AD AR AH TE FF AT PS AP &

EXPLORATIONS ARCH10001 Simone Ferracina

Course Description

Course Reflection

“This course focuses on developing students’ familiarity with different approaches to architectural design experimentation and the processes that these entail. The course is offered in a number of parallel design studios that sustain the overarching aims yet distinctive sub-themes.” Of the six offered units, I chose Unit 5: IFTTT [Matter/Manner/Method].

This course was a unique experience and produced a portfolio that felt like it could be a subject area in its own right; as my tutors put it “it really took on a life of its own”, as was the main purpose of explorations to let go of the limitation that is the need for a final outcome and linger in developing personal interests. [GA 6]

If This Then That (IFTTT) is a term taken from programming language, referring to a basic description of causality. Hence, the focus is on the tenent of reciprocity, and Ecology is used as a gateway to think about how relationships between agents constitute the world around us. These countless interwoven relationships coalesce into an ecosystem; architecture in essence is the same. Through a series of analytical excercise studying very particular relationships, we can better appraise systems that impact the success of architecture.

Having collectively spent so much time online over the pandemic, this unit has been conceived as a way to return to the material world and engage with physical things, and therfore is rooted in the site of North Berwick’s Wetlands. Though very open-ended to encourage exploration, 3 key excercises structure the module.

LO1

Ability to adhere to a design methodology that builds on the conceptual framework and key theoretical, cultural, and representational concerns outlined in the project brief.

LO2

Knowledge of the ways in which research and analysis of context, program and construction inform architectural design and the ability to synthesize these concerns to develop a coherent architectural proposal.

LO3

Ability to communicate research findings and design proposals using appropriate and varied modes of visual, verbal and written production.

GC 1 2 3 4 5 6 7 8 9 10 11 GA 1 2 3 4 5 6

Alongside Architectural Theory, this semester was about broadening my understanding of architectural discourse, and the mix of a myriad of disciplines that can feed into it. A significant product of this was an introduction to many artists, authors, designers, and thinkers from whom I can draw inspiration in terms of creative processes and final products. [GC 2] [GA 4, 6] New media was experimented with, focusing on analogue techniques but also using digital tools such as AfterEffects to produce a film for the alongside the main portfolio assessment.

Rigorous documentation of out experimentation was done through 3 Appendices to the portfolio (film appendix, taxonomy booklet, and research & development appendix). [GC 1, 3, 7] [GA 2] In pushing my creative boundaries, this course helped me gain confidence in my ability to apply my abilities to a wider range of areas in the world of arts and culture, and having a bigger role as an architect in a modern day society. [GC 5, 6]

Y3 S1

ARCHITECTURAL DESIGN

AD AR AH TE FF AT PS AP &

EXPLORATIONS

Brief Exercise 1: Narrative Mapping “We will conduct a detailed survey of a wetland condition in North Berwick (just outside Edinburgh) and explore various methods of mapping as a tool for understanding space and as a device for telling stories. We will investigate translations from static to moving image as we exploit the possibilities of digital image consumption and playfully test the limits of various modes of representation.”

To support the expanse of research targetted for this course, all work was done in groups; my groupmates were Tahlor Jarrett and Cosmo Wezenbeek.

Developed analogue camera photographs arranged into inital collages testing relationships and looking for links.

Categorization of ‘Voids’ research lead to grouping survey documentation into Natural or Artificial Voids, the latter being sub-categorized into either subtractive (white sheets) or additive (mirror).

Clay Relief prints of and their blocks showing collected samples documenting the site at a detailed scale , eperimenting with negatives and positives (voids)

Process Video Stills.

Response Making Voids - Site Documentation Upon visiting the North Berwick Law, a discussion arose with a local conservationist bringing to light the proactive measures taken to reintroduce the biodiversity to the wetlands.

Contrary to its outcomes, the process of conservation itself is rarely visible. It is hidden in the metaphoric shadows and leaves behind voids (a missing branch, a impression in the ground) prompting the question of whether this is true conservation or rather an appropriation of landscape to suit the human gaze.

The initial impulse of this study was to document the site thorugh this lens, imitatimitating the interactions of nature and these voids.

GC 1 2 3 4 5 6 7 8 9 10 11 GA 1 2 3 4 5 6

Y3 S1

ARCHITECTURAL DESIGN

AD AR AH TE FF AT PS AP &

EXPLORATIONS

Making Voids - Reproduced Ink Drawings We imposed our subjective interpretations on nature by creating these reproduced ink drawings. Comparing the strokes created by vegetation in the wind seen in our video , photographic and sketch documentation of the site, this drawings series is a response to the question that arose of whether humans can accurately represent nature.

From these studies, a taxonomy of natural and mechanical ink gestures was created, further compared to the collected vegetation and interpreted as artefacts of corresponding shadows as seen in the extensive taxonomy booklets. This process can be compared in our appendix video (link here) at timestamps 38:17, 7:25 and 42:03.

In the spirit of exploration these drawings were not only considered as individual pices but also as collectives, where the process of scanning and digitally altering them was encouraged to be playful and informative as well.

Categorization of ‘Voids’ research lead to grouping survey documentation into Natural or Artificial Voids, the latter being sub-categorized into either subtractive (white sheets) or additive (mirror).

GC 1 2 3 4 5 6 7 8 9 10 11 GA 1 2 3 4 5 6

Y3 S1

ARCHITECTURAL DESIGN

AD AR AH TE FF AT PS AP &

EXPLORATIONS

Brief Exercise 2: Translations and Relations “We will elaborate on the material relationships identified in Exercise 1 through more precise and specific systems of communication – by physical and digital modeling, as well as refinement and elaboration of drawings.

We will consider the complex relationship between disparate factors and draft linear narratives from these frameworks as we begin to clarify a critical position through our working process.”

[Shadow]scape

Response [Land]scapes This tritych of additive ink drawings was the culmination of gathered research from Week 1-6 using Ink drawings as a base, layered with information from taxonomies, map of collected items, video stills, photos, and paper collage ‘Voids’.

As shown in the thumbnails, the drawings used an addative layering proces taking gestures from the studies of north berwick and overlaid them using pencil and charcoal Each composition had a unique focus on aspects which most interested us from the site research.

GC 1 2 3 4 5 6 7 8 9 10 11 GA 1 2 3 4 5 6

[Water]scape

[Flora]scape

Y3 S1

ARCHITECTURAL DESIGN

AD AR AH TE FF AT PS AP &

EXPLORATIONS

Brief Exercise 3: Situations “As our material relationships and armatures begin to develop in more sophistication, we will layer in a larger scale to our work – reframing our narratives to describe how we find the universal through the specific. At this stage, we will expand our narratives to think about how our hyper-local work relates to more global conditions.”

This exercise was an opportunity to synthesize the previous reserach into a proposal. Though not strictly ‘architectural’, it was expressive of our research of North Berwick’s in terms of land management strategies, expressing the tensions between human and natural intervantion and questioning wether a balance can be struck between the forces.

Response The Space Between - Territories Drawing The mechanical gestures, after being taxonomized, informed the Territories Map, serving to describe the dynamic relationships within the ecosystem at a basic level (serving a basis for later drawings).

The existing tension is made apparent between the various plants and implied borders of their territories, sometimes overlapping, and trying to claim space from one another.

The use of Reproduced mechanical gestures as opposed to Natural gestures signifies our subjective understanding of the landscape.

A ‘Key of Gestures’ was created to help navigate the defined territories through the unique combination of gestures taken from the ink drawings and clay prints.

GC 1 2 3 4 5 6 7 8 9 10 11 GA 1 2 3 4 5 6

Y3 S1

ARCHITECTURAL DESIGN

AD AR AH TE FF AT PS AP &

EXPLORATIONS

Land Management Strategy Tensions Drawing At this point, the Armatures, previously serving as a subjective representation of the movement of vegetation in the wetlands, develop a new role as tools of human intervention on site. As we tend to only see the outcome of land management as opposed to its process, the goal of this drawing is to map the tension between the landscape and our management of it, occurring in the metaphorical and now physical shadows.

This drawing is a summarised description of the paths that these armatures follow informed by the gestures shown in the territories drawing. Each Armature was recorded in a taxonomy and then assigned to a territory based on the characteristics and maintenance requirements of the vegetation.

The steps/ layers for this drawing include: 1) Natural Ink Drawing Base 2) 1:2000 Contour Map of North Berwick 3) Clipping Mask from Void Collage 4) Paths of Armatures Drawing

Each Armature path is guided by the directionality of the gestures on the territories map to further emphasize imposition of human subjectivity on the paths of intervention.

GC 1 2 3 4 5 6 7 8 9 10 11 GA 1 2 3 4 5 6

Y3 S1

ARCHITECTURAL DESIGN

AD AR AH TE FF AT PS AP &

EXPLORATIONS

Device Management Strategy Seasonal Sequence These detail drawings study specific conditions which affect the representation of the Armature’s paths and their visibility as they are dictated by certain site specific conditions.

These Armatures follow prescribed paths which are informed by the RID gestures as seen on the ‘Territories Drawing’. These rigid movements are then detailed as ‘dance movements’ to express the mechanical nature of these Armatures.

There are 4 close up ‘deployment protocol’ studies are as follows: Entanglement Studying interaction of paths according to speeds and time of deplotment ARM.R&G_04 versus ARM.Test_03 study large vs small paths and speed, a heirarchy of deployment

Entanglement

ARM.R&G_04 versus ARM.Test_03

Summer Study

Winter Study

Summer Study Studying extent of clipping mask/visibility according to North Berwick Law’s shadows on a summer solstice Winter Study Same study on a winter solstice

GC 1 2 3 4 5 6 7 8 9 10 11 GA 1 2 3 4 5 6

These are isolated path and shaw drawing before being overlaid onto the final drawings, focusing on depicting the ‘dance move’s and clipping mask shadows.

Y3 S1

ARCHITECTURAL DESIGN

AD AR AH TE FF AT PS AP &

EXPLORATIONS

Device Design Deployment Device Iterations To increase efficiency of these conservation devices, an investigation in design iterations was conducted to provide a more informed final design. This spread shows the process of testing these design ideas. These design iterations are indicative of the character needed for each armature to express its intended function dependant on the type of vegetation it is assigned to manage.

Prototype One: ARM.R&G_04 This drawing is an exploration of what the next iteration of ARM.R&G_04 could be. However, due to the nature of these ambiguous devices, we wanted to express the lack of solidity that these Armatures have to our perception. This Armature would have to cut the Sorbus aucuparia, which means its body must be raised above the ground to be able to reach and trim the branches and leaves of the rowan.

Prototype One: ARM.R&G_04

Prototype Two: ARM.GR_06 The next iteration of ARM.GR_06 describes the intense and vicious interventions need to control the Luzula sylvatica, due to the speed of their growth. This directly informing the design of the Armature and its path through its size and its corresponding large movements.

Prototype Two: ARM.GR_06

GC 1 2 3 4 5 6 7 8 9 10 11 GA 1 2 3 4 5 6

Shadow Trench Studies This investigation was futhered by modelling the physical consequences these Armatures produce while travel through the landscape

Y3 S1

ARCHITECTURAL DESIGN EXPLORATIONS

The Space Between Finding Balance Video and Audio Storyboard Storyboard of “The Space Between” Film; an expression of the balance between human intervention and nature. Still images are taken from key frames in which the audio changes.

Audio is split into Right Ear (R) and Left Ear (L) in conjunction with the split screen where Right Ear only plays audio of North Berwick while Left Ear only plays sounds created by the armatures. Sound blocks are shown underneath the footage, including decibel levels indicating the fading in and out of the Natural and Artificial; alluding to the aforementioned balance.

Hence, the film is best viewed with headphones and can be accessed here.

The Space Between Closing Statement The In-Between The culmination of this project reiterates questions about the relation- ship between nature and human intervention. Nature as it currently exists in our perceived optimal form needs human intervention to be sustained, but at what stage does this appropriation of nature lead to a loss of its character?

We propose that the balance between nature and human intervention exists in the inbetween. A space where the agency of the wetlands and our subjective understanding of nature are equally considered.

GC 1 2 3 4 5 6 7 8 9 10 11 GA 1 2 3 4 5 6

AD AR AH TE FF AT PS AP &

Y3 S1

ARCHITECTURAL THEORY

AD AR AH TE FF AT PS AP &

ARCH10002 Dr Brett Mommersteeg Course Description

Course Reflection

This module studies the relationship between theory and architecture.

Through a range of architectural case studies coupled with weekly readings of philosophical and theoretical texts, we will examine how theory can challenge assumptions and provide us with an expanded interpretive framework for understanding architectural issues.

I found that this theory course paired very well with AD Explorations.

The theoretical concepts served to magnify our reflective thinking in our design projects, its concepts had direct application to our studio work; as discussed in my week 1 journal, ‘Tactics for Not Knowing’ was particularly useful in reorienting me and stimulating my investigations of the semester. [GC 2, 7] Additionally, it brought an added layer of realism in its use of current case studies and topics, like Afrofuturism and More-than-Human Design, highlighting the social impacts of architecture and broadening my understanding of our role in society. [GC 6]

“The lectures involve thematic explorations of architectural discourse and practice and include discussions on architecture as a power apparatus, on notions of place and space, the everyday nature of technology, the relationship of architecture to various bodies, contributions of pop culture to architecture, etc. We will engage with a wide range of theory including critical approaches to modernism, deconstruction, phenomenology, continental philosophy and more.”

There are two types of assessments: critical reflections journals, a series of 6 entries responding to weekly articles and case studies, as well as an analytical essay focusing on one of the studied themes.

The tasks will help develop critical perspectives on how architecture might respond to a range of contemporary social issues.

LO1

Demonstrate knowledge of contemporary design theories and the ways in which they can inform specific approaches to, and practices of, architectural design.

LO2

Demonstrate and analyse through careful argument how architectural production fits within wider philosophical, historical, social, political and economic discourses.

LO3

Demonstrate ability to research issues in architectural theory, to critically reflect upon them, and to organise and present those reflections in the format of scholarly writing.

GC 1 2 3 4 5 6 7 8 9 10 11 GA 1 2 3 4 5 6

Learning not only the theoretical content but also the history and development of this field of discourse allowed me to contemplate my academic journey and reminded me of the authority we have even as students to dictate our educational pathway; as the discipline and is constantly evolving we too have a role in its progression. [GA 4, 6]

Y3 S1

ARCHITECTURAL THEORY

AD AR AH TE FF AT PS AP &

Critical Reflections Journal Week 4: Design as Line or Circle?

Week 3: When is a House not a House?

A response to journal article ‘Philosophical Plumbing’ by Mary Midgley, 1992.

Water]scape and by author (in collaboration with Cosmo Wezenbeek and Tahlor Jarrett, from triptych [Land]scapes), October 28th 2021. The drawings’ ink bases are a recreation of specific plant micro gestures, overlaid with macro site phenomena documented through photographs, physical collections, and geological maps.

Key References

Lewis, Micheal and David Lemm. “Unit 5 Brief: IFTTT [MATTER/ MANNER/METHOD].” In Unit Descriptors for ARCH10001 - Architectural Design 3: Explorations. Edinburgh: The University of Edinburgh, September 2021.

Tosam, Mbih J. and Peter Takov. “Philosophy in Culture: A CrossCultural Perspective.” Abstract. ProtoView 3, no.45 (2016), https:// muse.jhu.edu/book/48271.

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In her article Philosophical Plumbing, Mary Midgley asserts that Philosophy “is not optional”, not only is it integrated in people’s lives but governs them too. Initially, I was skeptical towards this active intervention; it sounded like a fallacy, easily exposed by a negating example: How do I, an Architecture student, employ Philosophy in my daily life?

My current design module, Architectural Design Explorations - Unit 5: IFTTT (If This Then That), is a process lead studio course which is facilitated by the ‘back and forth’ described in the hermeneutic circle. The dialogue in this context is that with the design situation, the North Berwick wetlands.

Our projected ‘horizon’ was informed by the task of creating a narrative map of the site; the dialogue was automatically entered as we projected outputs informed by our preexisting notions of a ‘map’. It was generative as we allowed the site to question our prejudices when undertaking the first task: “collection of objects, conditions, or phenomena”.4 A new understanding of a ‘map’ emerged as a very subjective taxonomy, refuting the common assumption of maps’ objectivity.

There was a clear shift between earlier and later works which came through constantly recasting the ‘horizon’ to reform our narratives in an architectural language. The brief reflects the hermeneutic circle well in that it provided an entry point - the site - and posed dialogical questions to stimulate the unraveling of the complexities of spatial thinking, truly encouraging explorations. It is my first non-prescriptive brief; in comparison to linear methods, design is fulfilling when embracing the hermeneutic circle.

Midgley, Mary. “Philosophical Plumbing.” Royal Institute of Philosophy Supplement 33, (1992): 139–51. doi:10.1017/S1358246100002319.

Note that text shown is an unshorted copy of the written assessment.

Upon solidifying Design’s position within the Human Sciences, Snodgrass and Coyne infer that Design, as all other Human Sciences, is a science of understanding rather than knowledge, and therefore uses the hermeneutic circle in design practice, answering the question posed by their paper Is Design Hermeneutical?

The next task was to “orchestrate materials into a series of drawings, ..., to tell the story of a place”. Here there is an intense relay between the whole and the parts, examining the details, such as the gestures of a species of grass unique to North Berwick, and comparing it to the geological character of the site as a whole. “Through specificity, we’re able to elucidate the general”, using particularities to describe a universal experience.

Snodgrass, Adrian, and Richard Coyne. “Is Designing Hermeneutical?.”

Architectural Theory Review 2, no.1 (November 1996): 6597.http://ace.caad.ed.ac.uk/richard/web/FullPublications/ IsDesigningHermeneutical.pdf.

Lea, Tess and Paul Pholeros. “This Is Not a Pipe: The Treacheries of Indigenous Housing.” Public Culture 22, no.1, (2010):187–209. https:// doi-org.ezproxy.is.ed.ac.uk/10.1215/08992363-2009-021.

3) Architects in Cultural Philosophy

The hermeneutic circle is a method of understanding through a reciprocal relationship between the whole (of meaning) and its parts; they are inseparable and must be understood simultaneously to grasp meaning. Seemingly paradoxical, the authors explain this is achieved by constantly projecting ‘fore-structures’ or ‘horizons’ of meaning when we consume information, either confirming or changing initial projections along the way.

These horizons are imbued with our prejudices and, according to Heideggar and Gadamer, it is necessary to be open to their reshaping by the circular process through the means of dialogue.3 Successful dialogical exchange is essential to the design process and this rang true to my experiences in an architectural design studio context.

A response to journal article ‘Is Designing Hermeneutical?’ by Adrian Snodgrass and Richard Coyne, 1996.

Lea, Tess and Michelle Bastian. “Module 3: Meet The Author Q&A With Tess Lea.” ARCH10002: Architectural Theory. Online lecture at the University of Edinburgh, October 5, 2021.

4) Circular Design: A Boundless Begetter

The goal of “Die Heimatwerker” (the home-makers) it is not only to build for, but also with refugees. Image from makingheimat.de , annotated by author with English translation from Google Translate.

The surprising answer became apparent in the conversation between Tess Lea and Michelle Bastian, offering the concept that people’s daily choices are reflections of their cultural philosophies. As summarized by Philosopher Mbih Tosam: “Philosophy is the means by which every culture provides itself with justification for its values...”, and so became clear the link between Lea’s arguments about Australia’s indegenous housing in This is not a Pipe and the role of Architects in these cultural philosophies.

Lea explains that failures of Austrailian indegenous housing are commonly blamed on the occupants, whereas studies show most issues are due to poor construction, superintendence, and design. Yet, opposing views are so deeply interwoven into societal perception, raising alarming questions about their blindness to reality.

This inexplicable situation in turn is accounted for in Midgley’s article, her analogy explaining that broken Philosophy is hard to recognize; rather than searching within to correct the governing values, complaints are directed outwards - in this case, towards the Aboriginals.

This is why both authors agree on the need for challenging assumptions; where Midgley directs this towards routinely questioning theories, and Lea aims her critique at seemingly solid efforts in indegenous housing schemes. Architects have the power to overcome these failed ‘non-houses’ by questioning standardized housing components and design processes through community engagment and integrating user in their process, especially disadvantaged users.

DAM (German Architecture Museum) has curated a database of design proposals for ongoing issues of refugee housing in a range of scales and user programmes in order to provoke conversations and provide solutions to social housing issues in Germany. The works focus on facilitating cooperation between architects, asylum seekers, students, and volunteers, creating outputs embedded with a sense of community and maintenance of dignity. Furthermore, these joint ventures stimulate upskilling language skills and networking opportunities for refugees, which create an outlook for long term career stability. One example is the ‘Building for and with Refugees’ project in Nieheim, which creates a framework for a renovation process which can be applied to any building.

The conversation with Lea showed me that through being aware of cultural philosophies and continuously revising them, architects can avoid mistakes like those from Aboriginal housing programmes. In the words of Tosam, “Philosophy helps liberate the individual from the imprisonment of ignorance, ..., and the despotism of custom”.

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Critical Reflections Journal Week 5: Pandemic Architecture A response to Laura Walker’s ‘Supporting Black Lives’ Op-Ed, July 2020, Achille Mbembe’s journal article ‘The Universal Right to Breathe’, April 2020.

A response to Michel Foucault’s ‘Discipline and Punish: the Birth of the Prison’ 1975.

Photograph by Nam Y. Huh from Black Lives Matter protest in Chicago on May 30th, 2020. http://www.apimages.com.

Key References Walker, Laura. “Supporting Black Lives - Op-Ed: How Can Architects Promote Black Liberation While Designing Police Stations?.” The Archirect’s Newspaper, July 23, 2020. https://www.archpaper. com/2020/07/op-ed-architects-police-while-promoting-blackliberation/.

Foucault, Michel. “Panopticism (1975).” In The People, Place, and Space Reader. Edited By Jen Jack Gieseking, William Mangold, Cindi Katz, Setha Low, Susan Saegert (New York : Routledge, 2014), 327329, https://doi.org/10.4324/9781315816852.

Altiparmakoğlu, Gözde and Fehime Yeşim Gürani. “The Influence of Architectural Form to the Concept of Panopticon.” Paper presented at 5th Annual Conference on Humanities and Social Sciences, Budapest, Hungary, September 22-25, 2016. https://www.researchgate.net/.

Note that text shown is an unshorted copy of the written assessment.

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An “Event” is a philosophical concept describing a surprising occurrence that disrupts the familiar, where new ways of knowing must be developed as a framework for understanding, signifying a break in time in which the ‘before’ and ‘after’ are distinct. According to Deleuzian thought, Events not only disturb how we organize ourselves in terms of thought processes, but also in a physical sense. Natural disasters cause physical ruptures, epidemics force barriers, and the climate crisis is altering geographic boundaries. Delueze acknowledges that with powerful impacts of an Event comes an inherent opportunity to rebuild; the spatial ruptures provoke ideological disturbances which manifest in new spatial orders.

In 1791, Jeremy Bentham outlines his proposal for a prison design titled Pan-opticon (all-observed), defining the building’s function as a tool for total surveillance, devising a centralized building characterized by a central watchtower for prison guards encircled by solitary prison cells stacked vertically. The choreography of asymmetric visibility is what makes it theoretically a successful universal design .

This Event triggered responses at an international scale, demanding social justice and change voiced by a multitude of perspectives. A question was directed at architects as to their role in these changes in Laura Walker’s Supporting Balck Lives article. Walker problematizes policing in architecture, referring to the response of American based architecture firm, SmithGroup, and their ethical stance in designing the Detroit Public Safety Headquarters; she states that their official response is just an ill-disguised attempt to evade the responsibility which architects’ designs have in enforcing structural racism. Her voice aims to solidify a change in our thought system, to disrupt the normalized and familiar, and to see the Event’s ramifications not only as political or social, but also material and architectural.

Not long after, the American Institute of Architects published a statement which urged practicing architects to recognise the broader implications of their designs and to take “actionable steps to support restorative justice”. AIA called on architects to halt the design of criminal justice facilities, including police stations.

Mbembe, Achille. “The Universal Right to Breathe | In the Moment.”

Translated by Carolyn Shread. Critical Inquiry 70, no. 15 (April 13, 2020), https://critinq.wordpress.com/2020/04/13/the-universal-rightto-breathe/.

Foucault, Michel. Discipline and Punish: the Birth of the Prison, 2nd edition. Translated from the French by Alan Sheridan. New York: Random House, Inc, 1995.

8) The Panopticon: A Revised Application

This truth is what elicits Achille Mbembe’s article The Universal Right to Breathe where he appeals for the consideration of social and environmental issues when redesigning our futures in the context of the Coronavirus pandemic. The plea’s vocabulary is uncanny in its almost prophetic correlation with the Black Lives Matter slogan “I can’t breathe” , which was brought back to global attention during the 2020 protests following a series of police brutality cases in the United States, specifically the death of George Floyd in May.

Week 8: Governance and Architecture

Beck, Christian and François-Xavier Gleyzon. “Deleuze and the event(s).” Journal for Cultural Research 20, no.4 (January 2017): 329333, https://doi.org/10.1080/14797585.2016.1264770.

5) The Humanitarian Pandemic

(left): Panopticism Diagrams of Studied Buildings’ Plans: Bentham’s Panopticon, by author (right): Drawing by Willey Reveley, Elevation, Section, and Plan of Jeremy Bentham’s Panopticon, 1791. https://en.wikipedia.org.

The timeline above shows how Events of extreme injustice have been building up towards social reform. Accordingly, Deleuze’s Spatial Philosophy affirms architects’ key role in translating these changes, though not alone. Architects need the help of “diversity” specialists, such as Critical Race Theorists, Psychologists, and Environmentalists like Walker and Mbembe suggest, to reconnect with their roots within Human Sciences, because they ultimately serve all, and not just in a tokenized sense.

However, this notion of standardization raises concerns in terms of its practicality; architecture students are taught that a design must be grounded in its context and users for it to function well. Bentham’s panopticon is not only floating in indeterminate space, but also in a utopic realm where society accepts this type of prison as a ‘rehabilitating’ system. Herein lies the merit of Philosopher Michel Foucault’s analysis: “[the Panopticon] is the diagram of a mechanism of power reduced to its ideal form, ..., detached from any specific use”. Foucault argues that the Panopticon must apply its principles diagrammatically, suggesting its use in multiple contexts such as schools, hospitals, or offices.

Gözde Altıparmakoğlu and Fehime Gürani, authors of Architectural Form to the Concept of Panopticon, examine various cases where the panoptic concept is applied to architecture. For instance, in Victoria State Library’s reading room, visibility is controlled within the centralized octagonal plan. A raised dais houses an authoritative figure who sees all seated users whilst reciprocal vision is hindered by height difference and sectoral divisions. Users’ awareness of this surveillance affects their behaviour. Therefore, the library, a typology emblematic of enlightenment, is actually used to underscore executive power.

Another case is illustrated by Frank Lloyd Wright’s Larkin Administration Building, whose central atrium enforces panopticism in reversed directionality. The ‘observed’ office staff are situated on the ground floor, visible to their employers on the upper floors through the open volume. Lighting and height difference imposes a power hierarchy, carried further into seating arrangements which dictate that female clerks sit in the middle, flanked by male employees, imbuing males with authoritative power in their encirclement.

Finally, the Reichstag German Parliament’s dome interestingly proposes a reversal of power in its panoptic design. Here, the transparent dome allows the public to look down into the government meeting hall, making political officials aware of their surveillance, subsequently altering their behaviours.

In conclusion, the diagramatized Panopticon can be better utilized than commissioning standard buildings because it can imply asymmetric power relations without entirely conscious users. Although, the question of entitlement to controlling behavioral psychology is another debate entirely, even if this type of architecture can yield positive ‘rehabilitating’ results; this is where Philosophy can advise architects on broder implications of their designs.

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Critical Reflections Journal Week 6: Urban|Public|Commons A response to ‘The Right to the City’ by Henri Lefebvre, 1996, and Stavros Stavrides’ journal article ‘Common Space As Threshold Space’, 2015.

A response to Emma Cocker’s ‘Tactics for Not Knowing’, 2013.

Sharp metal teeth along handrail and low garden wall (Top), defensive metal barriers surround a plaza (Bottom Left), and ‘NO LOITERING’ signage on plaza bench (Bottom Right) - Untitled, photos by George Etherage for The New York Times, 2019. https://www.nytimes.com.

Hu, Winnie. “‘Hostile Architecture’: How Public Spaces Keep The Public Out.” New York Times, Last modified November 14, 2019, https://www. nytimes.com/2019/11/08/nyregion/hostile-architecture-nyc.html.

Lefebvre, Henri, “The Right to the City,” In Writings on Cities, translated

by Eleonore Kofman and Elizabeth Lebas, 147-159. Oxford: Blackwell, 1996.

However, upon closer inspection, public spaces such as squares, streets, and parks seem to communicate a different message than that which encourages these ‘nonprofitable’ activities. An example of this is seen in Winnie Hu’s account of New York’s urban design in her article ‘Hostile Architecture’: How Public Spaces Keep the Public Out. Hu showcases examples of subtle hostilities in the architecture of public spaces which control how, when, and by whom these spaces are used.

In spite of this, groups of resistance have emerged to challenge imposed governance.

This is done through acts of commoning, or creating common spaces as opposed to public spaces, ‘by the people and for the people’, embodying the antithesis of hostile architecture. Architects should facilitate inclusivity and the public’s anthropological needs; greater awareness about the impact one building has on the symbolic footprint of society must urgently be realized to reclaim the narrative.

Mommersteeg, Brett. “Module 8: Governance and Architecture ‘Power, Space, and Visibility’ and ‘Govern/mentalities and Design’.”

ARCH10002: Architectural Theory. Online lecture at the University of Edinburgh, November 9, 2021.

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Looking back at this semester’s architectural design module, ‘Explorations’, with its unique brief titled IFTTT (If This Then That), it was a pleasant coincidence that the first Architectural Theory reading was Emma Cocker’s Tactics for Not Knowing, because her research focused on play in artistic practices. According to IFTTT’s brief, that was precisely one of the themes, stating that “the unit is driven by iterative, intuitive decision making and focused on play, ..., it is difficult to project specific outcomes”. Hence, reading Cocker’s paper was a perfect way to realign my thought process in anticipation of the coursework and “preparing for the unexpected”.

This type of control coincides with Michel Foucault’s argument in Discipline and Punish regarding the modern shift from Sovereign Power to Disciplinary Power.

Rather than using violence to impose their rule, governments utilize architectonic tools in the organization of material and space to create limitations at an everyday level, which individuals internalize and hence become tools of government. Foucault labels these spatial conditions “mechanisms of social normalization”, showing the extent of infiltration within social relations, moulding users and excluding others who don’t fit in, stigmatizing certain groups and activities based on these norms.

Stavrides, Stavros. “Common Space As Threshold Space: Urban Commoning In Struggles To Re-Appropriate Public Space.” Footprint 9, no.1 (2015): 9-19. doi:10.7480/footprint.9.1.896.

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In The Right to the City, Henri Lefebvre postulates that individual needs within a society are not met by the frameworks of the city, explaining that planners take into account only those civic needs which are motivated by a society of consumption, manipulating urban society into a capitalist narrative through bureaucratic means of urban design.

For example, handrails embellished with spikes deter skateboarders, benches are segregated using metal bars to prevent homeless people from sleeping on them, steel or concrete blocks are strategically planted in plazas to inhibit motor vehicle access, and seating is purposefully deformed to feel uncomfortable or is not provided at all to dissuade loitering.

Key References

Note that text shown is an unshorted copy of the written assessment.

1) Not Knowing and its Alchemical Potential

Lefebvre asks: “would not specific urban needs be those of qualified places, ... where exchange would not go through exchange value, commerce, and profit?”, highlighting a need for non commercial exchanges to take place in the urban realm, calling these ‘anthropological needs’. The answer to this should be in the existence of public spaces to facilitate interactions, catering to anthropological needs, such as play, creative expression, physical pursuits, and even scholarly discussion, making the operation of society more than a mechanized response to a consumerist narrative.

Week 1: Dis/Orientation

Cocker, Emma. “Tactics for Not Knowing.” In On Not Knowing : How Artists Think, edited by Elizabeth Fisher and Rebecca Fortnum, 126135. London: Black Dog Publishing, 2013.

6) Urban Architectures of Governmentality

Video stills by author, from Clay Relief Print Process, October 7, 2021. Video documenting relief impressions on clay block of collected taxonomy of North Berwick.

However, a point Cocker made caught my attention; she suggests that the submission to rules is a device for not knowing since we passively relinquish responsibility to said rule. This seemed like a contradiction; How can we surrender to a rule? Rules imply actively restricting yourself. Cocker negated this, claiming that submission to another’s rules creates the conditions of ‘dépaysement’, a feeling of being taken out of one’s element (or that of dis/orientation). Cocker maintains that ‘getting lost’ and being aimless in the unfamiliar context of another’s rule is a tactic for not knowing.

She added that maps may be used as a tool of de-familiarisation as much as wayfinding, which was interesting because one of my studio’s goals was to create a narrative ‘map’ as a way to tell the story of my site, the North Berwick wetlands, rather than create an architectural proposal in it. In this sense, the submission to the brief still felt like an active restriction, fighting our trained reflex to compile the work into a proposal. We found ourselves caught in the unfamiliar gap between the research and its culmination. Here, Cocker’s second tactic, ‘slowing down’, became appropriate.

Through ‘slowing down’, Cocker encouraged a focus on observation, changing our perceptions, overriding what we were conditioned to overlook.33 We allowed ourselves to stretch the explorations phase, encouraging iterations and play in an extensive process, letting the work to guide us rather than an anticipated outcome.

From this emerged a generative process, enabled by her last tactic, ‘opening up’, which to me was more of a condition than a tool, reminiscent of Snodgrass and Coyne’s discussion of the hermeneutic circle. Cocker described this receptive state, echoing Gadamer’s advice on being open to acknowledging errors in our pre-understanding and recasting projections. The result was detailed taxonomies of the wetlands, contributing a deeper understanding of the site and enriching our storytelling devices. Using these tactics helps expand academic discourse; they should be more welcomed in Architecture, other Humanities, and even Natural Sciences.

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Essay

Architecture and urban planning have the ability to shape society, and throughout the centuries, governing bodies have wielded this tool, making it a relay or magnifier of their power, exerting influence over their subjects. An important case which illustrates this is the French market, Les Halles, whose development over the last millennium embodies political, economic, and social implications described by theorists and philosophers. Les Halles will be examined, with particular interest to the 19th and 20th centuries, to showcase a shift in power dynamics and its architectural translation, affecting the governed subjects.

Governance and Architecture

Foucault, Disciplinary Power, and Bentham’s Panopticon

“In 2000 words, describe a selected urban and/or architectural artefact as a passive governmental device. How does architecture act as a “relay” of power? How is power spatialised? Reference the writings of Bentham and Foucault.”

The work of Michel Foucault, French Philosopher and activist of the 20th century, addresses the issue of societal governance through examining the connection between power and knowledge. Foucault identifies a shift towards new methods of controlling the human body in the 18th century by creating ‘docile bodies’ which enact a ‘political anatomy’ through a clear spatial conduit with utilitarian rationalization of detail to create a coercible social body. Prior to the 18th century, power was exercised through spectacles resulting in the awe and or fear of a ruler. In contrast, Disciplinary Power, as a means of correct training rather than displays of Sovereign Power, can passively be enforced by architectural design. Foucault believes this is exemplified in Bentham’s Panopticon, a prison designed in 1791 utilizing ‘the gaze’, which diffuses power across the social body through perennial surveillance. “Visibility is a trap”; the architectural manifestation is clear in the scheme’s two concentric rings, the central for authoritative observers and the outer consisting of solitary cells for the observed. Moreover, choreographing light and openings created an asymmetry of visibility and therefore an intentional power imbalance. In Foucault’s eyes, Panopticism was the generalized diagram for disciplinary power, its architectural system applicable to many societal functions.

Les Halles during the day, Photograph, 1969, Parisian urban planning workshop (APUR), Archives de Paris, http://archives.paris.fr.

- Perspective drawing of Les Halles de Victor Baltard, 1847. Archives de Paris - Plan of central halls showing movement of perishable foodstuff and attempts to control traffic, 1937, City of Paris finance economic affairs department. Archives de Paris.

Key References Foucault, Michel. Discipline and Punish: the Birth of the Prison, 2nd edition. Translated from the French by Alan Sheridan. New York: Random House, Inc, 1995.

Free Documentary. “Giant Food Market: Rungis Paris | Giant Hubs | Episode 5.” Youtube Video, 48:00. January 12, 2020. https://www. youtube.com/watch?v=BxOsahJPm5A.

Tenhoor, Meredith. “Decree, Design, Exhibit, Consume: Making Modern Markets in France, 1953 - 1979.” In Governing by Design : Architecture, Economy, and Politics in the Twentieth Century, edited by Dianne Harris, 216 - 234. Pittsburgh: University of Pittsburgh Press, 2012.

ProQuest Ebook Central.

Note that text shown is a series of excerpts summarizing the written assessment.

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Molding docility can be seen throughout the history of the French Les Halles, a food marketplace constructed in 1183 in the center of Paris, quickly becoming known as the ‘Belly of Paris’. Architects and planners have always seen Les Halles as a fertile ground for designing their utopian dreams of the perfect city.Its conception with King Philippe Agustus in the medieval era was as a tool to wielded sovereign power, using is as a site of public punishment. Throughout the 16th, 17th, and 18th centuries, an urban renewal plan came with the French Renaissance and Revolution alongside its ideas of modernity accentuated by ideas of Disciplinary Power. Still, the primal nature of Les Halles could not be stifled and by the 19th century the Napoleonic era promised the modernization of Paris through Haussman’s reformatory urban plan. Victor Baltard started the construction of Halles Centrales in 1853, proposing twelve cast iron halls with glass paneled roofs, split into two rows. Each hall was organized according to food groups with sheltered outdoor corridors for circulation; the specificity of roles produced a daily rhythm and implied a social hierarchy. This became the “normative capitalist model ... for Europe, a hymn to industrial architecture”. It became a visual symbol for Parisian populism woven into historic memory. Although Napoleon’s Eclectic style aimed to architecturally and socially unify, Halles Centrales’ positive reception could be linked to the institution’s festering essence of anarchy.

Rungis Market

Le site des Archives de Paris. “From the hall to Les Halles (12th - mid19th century).” Accessed December 26, 2021. http://archives.paris. fr/r/223/de-la-halle-aux-halles-xii-sup-e-sup-milieu-du-xix-sup-e-supsiecle-/.

Wakeman, Rosemary. “Fascinating Les Halles.” French Politics, Culture and Society 25, no. 2 (2007): 46–72.

From Halles, to Carreau des Halles, and Baltard’s Les Halles

A model of Rungis Market, photographed from NE. Courtesy of Georges Philippe, the largest wholesale food market in the world, completed in 1969, Image from Meredith Tenhoor, “Decree, Design, Exhibit, Consume” in Governing by Design.

- Photographic report on a factory in Rungis, 1970, Collections of the National Museum of Modern Art, Paris.

-“[labor] could be done by women with manicures, rather than by burly forts of the old Les Halles”, Image and quote from Meredith Tenhoor, in Governing by Design.

By the mid 20th century, President Charles de Gaulle’s agenda was to push France into the Postmodern era rejuvenating them after WWII; part of the solutions would stem from the state’s repossession of the food supply and industry. Les Halles was seized for this nationalized food market chain in 1959 and relocated out of the city center to Rungis, 15 km away. Architects Henri Colboc and Georges Phillipe were contracted for this postwar reconstruction. The most significant part is the design of movement and communication, especially since its relocation’s core purpose was to reduce traffic congestion. New labor roles were also dictated by the design of the halls themselves; though they were simple, reinforced concrete, rectilinear structures, they were effective governance devices because of their panoptic organization. The interior was arranged around a central open hall capped with rooflights, providing visibility through lighting conditions.

The ground floor was an encircling exhibit for the products with stores at the periphery, and the upper floors housed administrative offices overlooking the workers through the open volume. Thus, supervision is established corresponding to Foucault’s method: ‘art of distributions’.

Every phase of reconstruction was an opportunity to reflect on the broader role this district played in Paris’ economic and social lifestyle.

The move from Paris to Rungis and the reshaping of Les Halles expresses Foucault’s concept of evolution from Sovereign to Disciplinary Power; This form of governmentality was accordingly spatialized differently accompanying newer understandings of ‘population’ as a quantifiable numbe rather than an indeterminate mass. From Halles, to Halles Centrales, to Forum des Halles, it grew into an exhibit of Parisian artisan products and a symbol for the multilayered character of the city, even in the continuous fight for reclaiming the space.

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TECTONICS ARCH10003 Iain Scott

Course Description

Course Reflection

“This course is focused on extending students’ capacity to operate with different approaches to architectural design. Students are asked to develop specific approaches to design problems in a coherent manner, deploying skills in architectural design and communication gained in earlier Stages. The course concentrates on developing architectural designs that integrate programmatic, formal, material, structural and budgetary considerations. The course is offered in a number of parallel design studios that sustain the overarching pedagogical aims through varying and distinctive sub-themes.”

As the final AD course in the degree programme, this module was the culmination of all learnt knowledge and skills of the past three years. we were challenged with combining all site topography, environmetal, cultural, climatic considerations with the support of structural, typological, and material comprehensions.

I strive to showcase the ability to choose the right communication method from the kit of learned graphic representations, as well as endeavor to utilize more artistic material and atmospheric renderings to convey my concepts and technical research.

Of the 6 unit choices, I chose Unit 4: Timber Studio. This unit seeks to engage with 4 main strands of enquiry: Timber and understanding its material histories, the reuse of existing building fabric, designing with adaptability in mind, and ‘long thresholds’. Moreover, the course is structured based on Topos (the site), Typos (form), and Tectonics.

The initial carbon flows research was reminicent of AD explorations and hence was a good way to reorient my creative enregy whilst providing a conceptual foundarions in the learnings about carbon flows that enriched the project as a whole, adding a level of real world considerations for climate change and the role of architects in mitigating it. The detail section drawing excersises helped gain me an understanding of the conditioned thermal envelope and the possible aesthetic comprimises for achieving adequate shelter and themal comfort.

“Through intertwining of these strands of investigation you will aim to develop a considered, tectonic approach to your projects embedded in a rich understanding of materials and site.”

LO1

Demonstrate an understanding of tectonic, structural, constructional, environmental and contextual matters.

LO2

Research, analyse, synthesize and integrate with design an appropriate technological approach.

LO3

Demonstrate skills in deploying specified two- and threedimensional representational techniques correspondent with accepted architectural conventions.

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To me, designing this project was a truly hollistic endeavor.

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TECTONICS

Brief Contemporary Material Histories The first exercise is a short group investigation of the contemporary material history of timber, specifically the timber industry and forestry in Scotland. Some strands of research contemplated were Forestry Design, Composite Materials, and Timber Processing before settling on the Carbon Flows as our focus.

The aim was to produce a set of survey or mapping drawings encompassing our findings and developing a graphic language which could potentially be applied to works later in the semester drawing on the thematic concepts related to carbon flows.

Scheduled Felling (2017-2021) and Felling Post Storm Arwen shows The majority of the impacted areas were not ready to be felled

Scheduled Felling (2017-2021) and Current Species Map shows Felled species: Scots Pine, Larch, Sitka Spruce, Mixed Broadleaves, Douglas Fir

Management Map and Felling Post Storm Arwen show Majority are Low Retention areas, meaning scheduled to fell after 2051

Future Species Map and Felling Post Storm Arwen show A distruption to the futre planting beds and species.

Response Pitfichie and Corrennie Forests Whilst researching the carbon cycle phases, we came across a myriad of articles discussing the long term impacts of Storm Arwen on forests across Scotland. Since Storm Arwen had the most impact on Aberdeenshire, we narrowed down our investigations to Pitfichie and Corrennie Forests, well documented woodlands in the area.

Through delaminating and then sythesizing layers of data, we were able to make conclusion woich would ground our finla drawing.

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Y3 S2

ARCHITECTURAL DESIGN

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TECTONICS

The Disruption and Reconstruction of Carbon Flows Developing a Graphic Language The first elemnt of this final mapping drawing was the depiction of carbon. Hence, a color palette was chosen to represent a transformation from raw material (felled trees) to manufactured products. These were applied to the visual carbon flow, whose line density is directly related to carbon content, its dissipation towards the blue represents carbon waste from transportation and processing showcasing final embodied carbon of the product.

Graphic representation test

Mapping Carbon Flows Pre-Storm Though the the carbon flows Pre- and Post-Storm share similarities, they differ in intensity, direction, and movement. Here, carbon was harvested, felled, and transported at a consistent level, resulting in a controlled and delicate graphic language.

Post-Storm As Storm Arwen swept through Scotland, it disrupted the steady cycle, causing a very large release of carbon into the forests.

Its harvest viability created an urgency for transportation and manufacting, translated through the explosive and chaotic PostStorm Arwen carbon flow representation.

Pre storm isolated carbon flow

Post storm isolated carbon flow

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Y3 S2

ARCHITECTURAL DESIGN

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TECTONICS

Brief Timber Studio Project Mass, Void, and Views An initial volumetric impression of the site visit and key viewpoints (as seen in previous site visit route).

Exercise 2 consisted of an inquiry into the site and its urban fabric. Located between Constitution Street and Leith Links, our site encompasses an urban block and consists of both private and public spaces. It was designated as part of the Leith Conservation Area in the 1970s alongside a large portion of Georgian building types such as domestic, mercantile and civic buildings.

After an initial site visit, we conducted a careful investigation of both its quantitative and qualitative features, linking our observations to the geographic, historic and climactic overviews to establish an ‘attitude’ towards the site and overall building strategies.

Public, Private, and Semi-Private The only public area on the site block is John’s Lane (yellow), whilest hatched areas are gated open spaces, and black outlines are private buildings.

Response Topos - Site Observations Leith was first established on the banks of the Water of Leith as a port city on the Firth of Forth Estaury. Its historic significance has shaped its physical character, with a prevading sense of individuality reflecting its longstanding identity as an independent burgh.

Site reserach and a site visit reveal key information and observations which later informed the design. A core finding is that the site’s urban block consists of many semi-private courtyard spaces which are disconnected internally, making main access from the perimeter of the block.

Permeability Orange shows public routes, pink shows semi-private whose gates are usually open, blue shows most private gated courtayrds.

Courtyards Disjointed courtyad spaces and perimeter walls, fences, and gates.

Site plan showing site visit route and key areas

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their

Y3 S2

ARCHITECTURAL DESIGN

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TECTONICS

Topos - Compression and Expansion A Strand of Explorations Our initial impression of the site was cold and unwelcoming, which we aimed to convey through watercolour sketches emphasizing the tight compressed entrances of the larger courtyard spaces.

This was the catalyst for our 1:200 cast plaster model which highlights the range of scales in different parts of our site. An intention to focus on the site’s paths and a desire to understand – in order to later manipulate – the public’s movement has been highlighted through the casting of boundary buildings and courtyards.

This was overlaid with a flows diagram, an abstract representation of the qualitative characteristics conveyed in the photographs. it also imples an urban fabric in the negative spaces.

Flows

Flows and Boundaries

Grid Areas and Boundaries

Blue and Red Grids

Initial Site Strategies: Establishing an Attitude Towards Movement and Divisions An approach towards overall site strategies begins to develop by opening up the block to create permeability through and new movement flows and allow for easier urban scale circulation.Transitioning from freeform flow diagrams, an analytical investigation of the bounding walls allows for more percise insights on the existing fabric.

The use of grid spacing and orientations as tools to control and reditect flows, is the first step taken in the design phase.

A graphic code is chosen here to indicate the grid orienntation, using blue for grids parallel to the warehouse, and red for grids parallel to the garages.

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Y3 S2

ARCHITECTURAL DESIGN TECTONICS

Typos - Client and Brief In this chapter we are introduced to the clients, their ethos, and the programmatic requirements needed to support their functions. The nature of the charitable work and the focus on the food industry fuels the social aspect of the propasal.

Both client briefs require a mix of functions, thus spaces and atmospheres should be conditioned accordingly. Indoor cafeteria or activity halls should have appropriate thermal conditioning and lighting, outdoor unconditioned lingering spaces could provide shelter from the rain, and hybrid conditions are important for spaces such as loading docks.

Commoning Here, the idea of Commoning emerges as a key goal of the architectural design. A quote from Stavrides’s article ‘Common Space as Threshold Space’, in which he describes a key function of common spaces as “a setting and means for collective expression”. Thus, the programme aims to create opportunities for various types of creative expression and facilitate exhchange between not only the two clients but also wider community members.

The isometric overview shows my proposal alongside the EIC sister proposal by Farah Ebrahim. Both clients and users are shared such that a sybiotic relationship is established between the charities, EKFH uses EIC’s produce and EIC sells EKFH meals. Hence, the connection through the Church courtyard is the major circulation link between the proposals, alongside prexisting and atriculated perimeter entrances.

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Y3 S2

ARCHITECTURAL DESIGN

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TECTONICS

Typos - Programme Breakdown of Design Regions Based on Grids Blue - EKFH Headquarters: - Main Kitchen, Service Kitchen, and Teaching Kitchen - Cafeteria Red - EIC and EKFH Shared Spaces: - Multipurpose Hall - Workshop - Administrative Offices

Blue Grid

Converging - Commoning Spaces: - Cultural Pop Ups - Art Walls - Ruin Bars -Hanging Garden -Public Courtyard Adjacencies and Thermal Zoning The core spaces are organized by grouping them into two programmatic types(Kitchen and caferia vs Halls and workshop). Then, the two groups are allocated to either the warehouse or the garage building based on thermal zoning requirements wherin areas of high intrernal heat gains are placed on the north to maintain cool temp and facilitate cross ventilation. The south portion uses the thermal mass wall to keep warm.

Red Grid

Activated Plan This activated plan draws on the activities of both clients and uses them to develop the landscaping, furnishing, and circulation in the overall plan. the courtyard and uncondition spaces are especially relevant to these activities.

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Converging Grids

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ARCHITECTURAL DESIGN

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TECTONICS

Tectonic - Structural Typologies Odonnell Brown Precedent Study Calton Hill Outdoor Learning Pavilion is a key structural precedent and is the basis of the blue grid timber frame. It was chosen for its qulities of lightness, less desity is achieved by spacing the double columns and by elevating the foundations off the ground as well as minimal bolted beam to column connections for the delicately weaved superstructure.

Odonell Brown Precedent

Blue Grid Structural Typology The Odonnel Brown precedent was adapted such that ‘weaved’ ends will be simplified with a more regular grid. This is to allow for columns to support spans in between which was unnecessary for the precedents small scale structure. This structure was resolved through 3D and physical 1:20 modelling as well as calculations to cement a modular grid block. from the initain spacing, 3x4m blocks were chosen with 120 mm x 45 mm column and beam cross sections.

Precedent analytical sketches

Blue Grid Structural Typology

Based on the Odonnell Brown precedent, an adjusted ssembley was developed as a main frame typology for the EKFH Headquarters building. This frame assembley focuses on lightweight timber qualities and exposing the grid modularity.

Red Grid Structural Typology The red grid differs form the Blue in that it is not self supporting, it relies on preexisting stone walls to bear onto and supports ony a roof rather than the whole building. As such, the connections are more blunt, using key verbs like ‘puching’ into walls as a main construction tool. Additionally, it correspond to the monopitched roof forms better than the blue grid would, as well as the larger volume of the single story spaces. This structure was explored through detailing and 1:100 / 1:50 physical models.

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The exposed structure relies on preexisting stone walls to bear onto as such, the connections are more blunt, ‘puching’ into walls. The stucture’s tectonics are reflected in interplay between light and shadow.

Precedent model

Adjusted tectonic strategy model

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Blue Grid Structural Typology

Model Perspectives

Model Perspectives

Y3 S2

ARCHITECTURAL DESIGN

AD AR AH TE FF AT PS AP &

TECTONICS

Booklet of Drawings - Leith Commoning Statement of Architectural Intent Leith is a port district in northern Edinburgh with a significant standing in Scotland’s history. As an industrial area, it was a leader of manufacturing within various Scottish trades until the 1900s. In the past century, Leith’s urban, social, and economic infrastructure have witnessed much change; it started with decades of industrial decline and depopulation post-war, then the Leith improvement scheme of 1924 and associated slum clearance, and subsequent upturn and redevelopments, including housing schemes, leisure and hospitality, and even administrative departments.

Rendered Exterior Perspectives - Main Courtyard A key area for ‘commoning’ activities its conceptual significance as an area open to opportunities and resisting urban rigidity is thorugh ourdoor spaces. Sunday markets and fundraisers are held in the main courtyard.

Although there was a notable revival of the area, it is still ongoing with tram lines being extended inwards and other commercial and community projects emerging.

‘Leith Commoning’ is an extension to this development; it looks at combining two Leith based charities: Empty Kitchens, Full Hearts (EKFH) and Earth in Common (EIC) onto a site in South Leith. Architecturally, this will aim to retain as much of the existing built environment, retrofitting and adding timber extensions. The aim is to create a variety of indoor and outdoor spaces that house the functions of these organizations, keeping a minimum level of carbon waste for the project. The project also looks to the future of community development in Leith and should recognize the need for change in terms of designing for adaptability and reuse.

Rendered Interor Perspectives - Mezzanine The hedquarter’s section developed more volumetric variety when the teaching kitchen, offices, and staff room were transferred to the first floor, generating mezzanine, double and triple height space.

Ground floor plan 1:200 on A2

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First floor plan 1:200 on A2

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Section AA Workshop East Elevation and EKFH Headquarters Section

Section BB EKFH Headquarters West Elevation and Workshop Section

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Y3 S2

ARCHITECTURAL DESIGN

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TECTONICS

Booklet of Drawings - Leith Commoning Isdometric Drawings

Demolitions: Removing Brick Infills

Exploded Structural Isometric This exploded isometric indicates the grid type allocation, revealing in more detail the mixed grid portion of the site, which acts as a tectonic mediator.

Its layers bottom to top: Grids Pre-existing Stone Walls Timber Frame addition Roofs

Stabilizing: Resin Anchors and Concrete Foundations

Construction Process Isometric The construction process isometric series showcases the steps involved to reach the final design in terms of found, removed, and added material.

This is key to carbon flow considerations linking back to the first excercise. They begins to hint at an expanded timeline to encompass dissassembley and future reuse in other building projects (as Luke Jones expanded his definition of forestry carbon flows roo encompass replanting trees in A Carbon Tectonic).

Building: Ground Floor

Building: First Floor

Blue Grid and Structure Typology Red Grid and Structure Typology Removed Retained Existing Fabric Addition FIninshings: Roof and and Glazing

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Y3 S2

ARCHITECTURAL DESIGN

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TECTONICS

Booklet of Drawings - Leith Commoning Detail Sections This excercise was a core portion of this unit as it proved our learning and unterstanting of struction, materials, joiner, and technologies involved in engineering a building.

Three detail sections were completed and here the main EKFH Headquarters 1:25 Cross Section is shown.

Reseraching details through resources such as Detail Magazine and looking at timber precedents such as the Fielden Fowles Studio help push the iterative sketching and development process necessary to finalize details for contitioned spaces.

A cross section of the EKFH HQ through the kitchen and staff rooms was developed alongside an unconditioned rooftop greenhouse. Additionally, walls, floors and roofs of the HAll and workshop followed similar principles with subtle differences in the detailing tying them back their their programme and tectonic agenda.

These excersises helped gain an understanding of the conditioned thermal envelope and the possible aesthetic comprimises for achieving adequate shelter and themal comfort.

1) Screed finished Timber flat Roof: 80 mm screed Roof Assembley identical to floor assembley (5) 2)Arched Windows: Double galzed metal framed windows with 32 mm insulated plasterboard sill lining 3) Column to Foundation: cast metal anchor to welded steel plate to timber packer between two 120 x 45 mm timber columns on 80 mm screed and 150 mm rigid insulation and DPM 4) Unconditioned Greenhouse: Exposed Oak ptched roof and timebr frame structure with metal framed glass curtain walls 5) Timber Floor Assembley: 220 mm floor buildup with 18mm plywood floor and ceiling finish, 38 x 184 mm timber joists, tripled on ends or under loadbearing walls, spaced at 405 mm centers with thermafleece sheepswool insulation 6) Insulated Timber Frame Wall within Prexisting Stone Wall ‘Shell’: Wall stabilizing 45 mm timber studs with resin anchors spaced at 1000 mm 120 mm stud frame wall with thermafleece sheepswool insulation and three layer interior plaster finish

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Y3

PROFESSIONAL STUDIES

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ARJA10004 Mark Cousins

Course Description

Course Reflection

Professional Studies is a year long course specifically tailored to 3 year BA students. As they do not experience an architectural practice semester in their studies, this course covers key faucets in architectural practice through a series of lectures in order to develop an awareness of professionalism in work contexts.

This course was the core source of practical knowledge in the architectural profession. Although design courses did cover the creative processes associated with developing a project and brief, this course familiarizes the steps taken to actualize our design proposals, introducing administrative, managerial, and soft skills needed to be a designer in addition to technical and creative attributes. Project timelines are thoroughly explained, breaking down where steps such as concept development, procurement, financing, and post occupancy studies fit into the operations.

This includes learning about architect/client relationships, developing an awareness of business typologies and how various scales can operate, the important role of professional bodies such as ARB and RIAS, accessing current legislation resources, and grasping different methods of building procurement.

This course is assessed though a series of six short essays such that two essays fully cover one learning outcome at a time. LO1 is assessed through essay 1 and 4, LO2 though essay 2 and 5, and LO3 through essay 3 and 6.

LO1

Develop an understanding of business management and knowledge of the legal and statutory frameworks within which architectural design is practiced and delivered.

LO2

Develop an understanding of the role of the client, architect and related professions in the costing, procurement and realisation of architectural design projects.

LO3

Develop an understanding of the role of the architect in society, including knowledge of professionalism and emerging trends in the construction industry.

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Many lecturers cover these topics from their own experience ‘behind the scenes’ of an actual project or work-related experience, a refreshing perspective in comparison to the usual way architects present their work as isolated final pieces; this gave me a deeper understanding of the inner-workings of practice and prepared me for the mitigations, compromises, networking, and impassioned efforts required for realizing a project besides resolving a design. [GC 4, 10, 11] [GA 5] Moreover, the essays provided an opportunity for critical analysis and response to current topics and sometimes underrated issues in the profession, allowing me to build a stance for future conversations with prospective employers. [GC 6] [GA 4]

Y3

PROFESSIONAL STUDIES

AD AR AH TE FF AT PS AP &

Short Essays Q1) Regulation Architectural design in the UK is subject to a wide range of regulatory requirements.

Describe the architectural implications of a specific regulation contained within the Building Standards (Scotland): 2019 Domestic. For example, Regulation 4.3.3 Width of Stairs Flights and Landings.

Q2) Contracts Consider How the Architect’s remit differs between ‘Traditional’ (client-led) and ‘Design + Build’ (contractor-led) contracts?

Roof Variations, Photograph from “Brick House: London, UK, 2001-2005,” Caruso St John Architects, accessed January 22, 2022, https://carusostjohn.com/projects/brick-house/#more.

“3.16 Natural Lighting,” Scottish Government, accessed January 21, 2022, https://www.gov.scot/publications/building-standardstechnical-handbook-2019-domestic/3-environment/3-16-naturallighting/.

Stamatis Zografos, Architecture and Fire: A Psychoanalytic Approach to Conservation (London: University College London, 2019), 150-152.

RIBA Plan of Work 2020 Overview (London: RIBA, 2020), 5-14, https:// riba-prd-assets.azureedge.net/-/media/GatherContent/BusinessBenchmarking/Additional-Documents/2020RIBAPlanofWorkoverview pdf.pdf?rev=4fb72169b1fd4e52a164bdd5f9aa202a.

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The document of regulation Building Standards (Scotland): 2019 Domestic is a technical handbook outlining requirements for building design and construction to meet critical safety and welfare standards for occupants and other stakeholders.

Chapter 3 focuses on Environments, addressing health, pollution and degradation issues attached to the role of buildings as shelters. This also includes natural light regulations (3.16), which although short, are especially important for Scottish climates; these originate from Ancient Lights property law in 1663 England which proposed easements for accessing natural light. Hence, this essay will explore the architectural implications of the “right to light” detailed in regulation 3.16.1 Natural lighting provision.

The historic role of an architect encompassed a large sphere of knowledge and skill, charging them with developing a project from its conception to completion.

According to Vitruvious, architects should also be engineers, artists, and surveyors in practice, whilst being theoretically educated in humanities, literature, and sciences.

The contemporary definition hinges on building procurement frameworks, or the contractual agreement setting out the terms of construction projects specifying stakeholder’s involvement. These stakeholders are broadly categorized as clients, without whom the project does not exist, consultants, usually architects and design experts, and contractors, or construction service providers. In any case, these three groups are inherently involved but possess different shares of responsibility and involvement according to the type of procurement contract. Hence, this essay will examine the remit of architects in Traditional contracts in comparison to Design and Build contracts.

The standard sets out that “Every building must be designed and constructed in such a way that natural lighting is provided to ensure that the health of the occupants is not threatened.” It further describes that every unit of dwelling (apartment or house) must have at least one glazed opening on the residence’s skin. The cumulative glazed area on an external wall or roof must be more than or equal to 1/15th of the floor area. This technical guidance quantifies the requirements so that safety and comfort targets can be measured. This ensures the dwelling’s functionality, with practical concerns like circulation as well as domestic tasks are facilitated by sufficient lighting.

The technical guidance fueled by the significant impacts of natural lighting provides an open-ended framework for architects to design effective solutions without necessarily sacrificing creativity. This is well illustrated by Caruso st John Architect’s Brick House in London, whose constricted site posed planning limitations including access, maximum story height, and party wall rules due to the surrounding terrace houses. The dense surroundings and lack of free external facades posed an issue for natural light provisions. Instead of being hindered by this, the architects worked on innovative solutions through experimenting with rooflights, its form being key to the proposal

“Health and Wellbeing Impacts of Natural and Artificial Lighting,” Designing Buildings, last modified July 1, 2021. https://www. designingbuildings.co.uk/wiki/Health_and_wellbeing_impacts_of_ natural_and_artificial_lighting.

Note that text shown is an unshorted copy of the written assessment.

Q2) Contracts

The Building Research Establishment (BRE) provides public studies within the construction sector; their Lighting and Health report in 2015 includes assessments of natural lighting impacts, emphasizing its regulation’s importance. For example, their studies showed the relationship of natural light to circadian rhythms intrinsic to cardiovascular and other anatomic functions. They also express its role in recovery from illness and as a ‘natural disinfectant’. Moreover, their findings indicate a capacity for lighting to influence mood and alleviate depressive symptoms. Finally, the effects of natural light are not only tied to physical and mental wellbeing but also financial and environmental, as they are less energy intensive, especially when coupled with daylighting techniques.

Key References

Kate Carter, “Building Procurement,” ARJA10004: Professional Studies (Online lecture, University of Edinburgh, October 12, 2021).

Q1) Regulation

Diagram by author illustrating scope of architect’s work in comparison to contractors according to building procurement strategy, based on RIBA Plan of Work Template from RIBA Plan of Work 2020 Overview (London: RIBA, 2020), 38-39, https://www.architecture.com/knowledgeand-resources/resources-landing-page/riba-plan-of-work#available-resources.

Daylight was maximized by using deep shafts, angled away from overlooking neighbors, and reflective paint diffused light over larger areas whilst increasing the sectional height of the upper floor, combating the tightness. The result was a very tranquil interior spatial quality compensating for the lack of views. Through this example, building regulations can be perceived as a generative prompt rather than a standardization law; It is an architectural opportunity to rise to the challenge whilst maintaining important targets, culminating in functional and unique buildings. .

Traditional contracts are those in which a direct relationship between the client and consultant team explicitly feeds the design process and output. Comprehensively resolved tenders are presented to contractors whose job is solely to manufacture and assemble according to the specifications. The clients of Design and Build contracts abdicate design authority to the contractors who can appoint desired consultants and subcontractors to meet the project aims outlined as per the client’s general project brief.

According to these contracts, the architect’s role differs based on their employer.

In traditional contacts, the project architect works closely with the client, giving them more control over each phase’s development. Through deliberation with the lead consultant, the client can ensure the quality and standards desired are being met. However, this puts a marked pressure on the architect to coordinate with relevant specialist consultants, such as engineers and quantity surveyors, to exhaustively define the proposal through drawings and sufficient documentation for unproblematic handover to the contractors. Potential risks associated with this method include prolonged timeframes refining the project, underestimated costs revealed from tendering, and subsequent alterations accruing further delays. As the contractor is mainly concerned with deliverability, the figure illustrates the architect’s larger scope compared against RIBA’s plan of work.

In contrast, a client’s private architect can outline the programme, site, and scope of work for the contractors in the workflow of a Design and Build procurement plan, but the substantial work lies outside their domain. The contractor supervises the project and appoints consulting and subcontractor teams, their design instruction must be followed by the principal architect. Due to the client’s upfront payment within these agreements, the contractor must strictly confine the design within the bounds of the budget; this could necessitate sacrificing some creative freedom, or alternatively interchange the architect for more efficient engineering consultant counterparts.

These stipulations do however improve time management following the synchronic design and construction, displacing liabilities away from the client.

Building procurement is paramount to the realization of building design; its processes are becoming increasingly flexible and subsequently affecting architects’ positions in building design and construction processes. Emerging specialized contractors pose opportunities where their integration in the design cycle can be advantageous to more stakeholders, including clients, design teams, occupants, and even external agents. The architect’s apportioned responsibility perpetually varies, opening possibilities for growth with each enterprise.

Y3

PROFESSIONAL STUDIES

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Short Essays Q3) Professionalism The ARB maintains the register of architects in the UK but how successful are they at safeguarding the architect’s title and function?

Q4) Office Structures An increasing number of architectural firms are choosing to organize themselves as an Employee Owned Business (EOB). How is this form of office structure advantageous to young architects?

Area graph by author showing number of students studying architecture split according to professional level (part 1, 2, and 3) based on graph in report: RIBA Education Statistics 2018/2019 (London: Mirza & Nacey Research, 2020), 3, https://www.architecture.com/-/media/ DE213D6DC130456CA4643B01890A8D73.pdf?la=en.

Key References

The Architects Code: Standards of Professional Conduct and Practice (London: ARB, 2017), 1-13, https://arb.org.uk/wp-content/ uploads/2016/05/Architects-Code-2017.pdf.

Ben Flatman, “My Six-Point Plan to Fix the Profession,” Building Design, May 19, 2021. https://www.bdonline.co.uk/opinion/my-six-point-planto-fix-the-profession/5111873.article.

Graham Currie, “Office Structures: Limited Companies,” ARJA10004: Professional Studies (Online lecture, University of Edinburgh, October 19, 2021).

“Shared ownership in practice,” RIBA, last modified May 3, 2018. https://www.architecture.com/knowledge-and-resources/knowledgelanding-page/shared-ownership-in-practice.

Colin Marrs, “Power to the people: the rise of the employee-owned practice,” Architects’ Journal, January 12, 2018, https://www. architectsjournal.co.uk/news/power-to-the-people-the-rise-of-theemployee-owned-practice.

Note that text shown is an unshorted copy of the written assessment.

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Q4) Office Structures

The Architects Registration Board (ARB) is an independent organization established by the British Parliament to regulate the architectural profession. Their duty is maintaining both public interest and that of the architect by legally protecting their title through prescribing qualifications and competencies implicit to it. Its transparent online database makes registrants’ information accessible.

When starting a new firm, one of the most critical decisions to be made is the type of business model that suits the practice. It is arguable that in architecture, this decision carries even more weight because of the direct implications on day to day operations, legal and financial commitments, and not to mention the associated impression on the practice’s identity. That in mind, the common business typologies in architecture are sole traders, partnerships, limited companies, and most recently, employee owned businesses (EOB), which will be the focus of this essay.

Alongside completing educational requirements and practical experience associated with the title, registered architects must abide by the Architects Code: Standards of Conduct and Practice, outlining 12 professional attributes that reinforce the architect’s success. Some principles highlight practicalities like competency and insurance requirements, while others express respectable traits like integrity, cooperation, and honesty; both aim to maintain architects’ reputations amongst clientele, industry, and public. Moreover, standard 5 compels architects to “consider the wider impact of [their] work”, referring to environmental considerations, which begins to relay the scope of an architect’s function impacting overall society, non-human agents and others alongside project teams, clients and occupants. However, the registration requirements and associated conduct requisites may not be enough to safeguard the title and function of the architect.

According to Ben Flatman’s Six-Point Plan to Fix the Profession, the lack of new routes to registration harms architects’ operations. Since architectural discipline is positioned precisely between humanities and natural sciences, it undeniably stands to gain form interdisciplinary inputs. Yet, there is no conversion route for correlating professions, like engineers or designers, supported by the ARB which can replace the set three-part accreditation. This prevents the architectural profession from capitalizing on diverse talents, not to mention puts financial barriers on those who cannot afford to complete the traditional seven year route.

When describing architects, the phrase “jack of all trades” is common because of the well rounded education, nonetheless the generic route imposed by registration requirements generates liabilities to the title. As Flatman explains, the architectural community has failed to encourage and demand specialization in distinct pathways; this has planted skepticism in the minds of clients when allocating roles to chosen consultants with formal specialties, such as chartered surveyors or cost consultants, instead of architects. Their titles ensure their roles, while an architect’s has a hazy boundary which earlier specialization in branches like architectural photography, environmental, restoration, or interior architecture can fortify. These considerations within ARB’s agenda could augment the weight of an architect’s title.

Christina Gaiger, “What is a Professional?,” ARJA10004: Professional Studies (Online lecture, University of Edinburgh, September 28, 2021).

Denise Bennetts, “Bennetts Associates: Developing an Architectural Practice and Embedding Sustainability.” ARJA10004: Professional Studies (Online lecture, University of Edinburgh, October 19, 2021).

Q3) Professionalism

Diagram by author illustrating a comparison of hierarchical organizations in Private Limited Companies (LTDs) and Employee Owned Trusts (EOTs). Based on information from lectures by Graham Currie and Denise Bennetts.

This critical assessment of ARB’s mission raises questions: Are the ARB’s screening processes, which protect the title, detrimental to the architectural function by draining the pool of participants? Does the title’s breadth expose architects to competitors who can divest them of certain functions? Of the thousands of students who embark on their journey of accreditation in the UK, only a quarter complete it.

Can this partially be attributed to the safety found within more specialized, transferfriendly alternate pathways?

Though the ARB’s role as an independent regulator signals a reliable profession, these drawbacks should foreground the tradeoffs in the pathway to attaining professional accreditation for ARB’s contemplation. A balance should be struck between the importance of the architect’s title whilst not deflating potential excellence resulting from interdisciplinary collaboration or specialization.

Of the traditional models, a sole trader is a simple setup in which the business and its single owner are indistinguishable entities; however, this entails sizable personal financial risks. The same goes for partnerships who can share the burden amongst two or more owners. Limited companies separate business from personal finances, limiting their liabilities. They can be public companies (PLC), which are generally larger and publicly traded, or private (LTD), more common for architecture firms.

LTDs are chosen for their growth potential, tax advantages, and flexibility due to the ability to buy in or sell shares when leaving.

However, LTD structures usually demand a hierarchical organization with a clear pyramid of superior-subordinate relationships. Some employees may avoid it, seeking out a model more tailored to a flat organization with fewer differentiated levels of owners and staff.3 In this case, an Employee Owned Business may be more suitable, wherein all employees directly hold the shares; where this is not practical, an Employee Ownership Trust (EOT) can more easily facilitate this model.

EOTs are an indirect way of assigning ownership to employees by disposing their shares (bought through funding from the company itself) into a trust represented by a board of trustees. The board is a balanced mix, composed of founders/ managing directors, employees, and an independent trustee. The business runs the same way, except the trustees now oversee the management group, meaning more transparency, accountability, a flatter hierarchy, and deeper knowledge of the innerworkings of running a business. Companies such as Bennets Associates, one of the forerunners of the model, explain that this structure heralds higher employee engagement, as they have more say in the business, and unites them in a common aspiration for the company’s success, leading to better performance. Additionally, several architecture firms have noted the model’s financial incentives, such as tax exemptions from salary bonuses of shareholders, have cemented employee investment.

Moreover, the setup of an EOT alleviates succession pressures by allowing the trust to keep retiree’s shares so committed employees can run the business rather than external members. Companies such as BPR have expressed discomfort that the ability to buy controlling shares can qualify people to manage the business, as facilitated by LTDs. With an EOT, the shares can be paid off over longer periods whilst still enjoying full shareholding benefits, avoiding financial barriers and power grabs during selling-out periods and creating a more stable work environment.

With all these benefits clearly surpassing those of outdated models, it is unsurprising for young architectes to look for work in employee owned practices, especially with this ethos and work style being clearly communicated by the business structure.

With immense financial pressures and economic issues the next generation must deal with, this structure is contemporaneous with the solutions that architecture graduates crave.

Y3

PROFESSIONAL STUDIES

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Short Essays Q5) Architects’ Fees Your Client has asked you to prepare a fixed lump sum fee for your architectural services - what are the potential risks to the practice?

Illustration by Tristan Comics, translated by Amanda Pimenta, featured in article “The Reality of the Architect-Client Relationship Told Through Comic Strips”, ArchDaily, April 11, 2017, https:// www.archdaily.com/868902/the-reality-of-the-architect-client-relationship-told-through-comicstrips.

Greg Pitcher, “Fee wars: ‘We lost out to a competitor whose price was 75% cheaper’,” Architects’ Journal, December 4, 2020, https://www. architectsjournal.co.uk/news/fee-wars-we-lost-out-to-a-competitorwhose-price-was-75-cheaper.

David Green, “To prevent fee-cutting we need to shift the focus from price to quality,” Architects’ Journal, December 16, 2020, https://www. architectsjournal.co.uk/news/opinion/to-prevent-fee-cutting-weneed-to-shift-the-focus-from-price-to-quality.

Vanessa Quirk, “A Brief History of BIM,”ArchDaily, December 7, 2012, https://www.archdaily.com/302490/a-brief-history-of-bim?ad_ source=search&ad_medium=search_result_articles.

Note that text shown is an unshorted copy of the written assessment.

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The conception of Building Information Modeling, or BIM, can be traced back to the beginnings of computing in the 1960s, where visionaries such as Douglas Engelbart predicted a future building industry reliant on data driven screen culture.

As technology developed and softwares such as ArchiCAD and Revit appeared, Englebart’s object-based design tools on a relational database became a reality only decades later with the turn of the century; at present, BIM has become a common in-house term for architects.

Although it gives clients transparency and safety, the risks associated with lump sum fees for architects are high, namely, they make architects liable to cover costs exceeding the initial budget. Additionally, Piers Taylor, founder of Invisible Studio, posits that “when a fee is small you resist making changes because they cost money”. A fixed budget disincentivized reiterative creative processes that drain resources, favoring convenient results. The methodology for fee tendering draws on other fee approaches, such as hourly rates or percentage costs, however they are more speculative; its measurements can cause tensions with the client if a schedule of work is not clarified to account for the ‘staggering’ total cost.

Naturally, with a fee breakdown like this, it is easier to diversify fee types according to the project phase, and also charge them alongside key phases. This ensures no miscommunication or distinctions between billed services and the service received.

Overall, diversification manages risk and benefits both parties, where incremental payments alleviate the client’s financial pressures and maintains the architecture practice’s cashflow.

“Architect’s Fees,” Designing Buildings, last modified August 28, 2020, https://www.designingbuildings.co.uk/wiki/Architect%27s_fees.

Grant Prescott, “How to unlock the potential of BIM on heritage projects,” Architects’ Journal, September 27, 2017, https://www. architectsjournal.co.uk/news/opinion/how-to-unlock-the-potential-ofbim-on-heritage-projects.

The architecture profession constitutes a multitude of roles, endlessly ranging from survey and research to design and drafting, however it is still a business and therefore needs money to operate. Putting a price on these roles can prove difficult, but standard fee types used by architects include: Percentage fees, which are fixed percentages of total building costs, hourly rates, and finally, lump sum fees, the topic of this essay.

In RIBA’s Standard Professional Services Contract 2020, they provide guidance on factors to consider when writing the Schedule of Services, which defines the services provided by the architect. This is critical to quantifying overall fees, as it shows a breakdown of the services associated charges as well as possible additional services excluded from the contract to be provided by other consultants involved, giving clarity to the client. This distinguishes the role of the architect, a service provider, and the contractor, in charge of the final built product, and allows the client to compare fee tenders.

Key References

“BIM Maturity Levels: from stage 0 to stage 3,” BibLus, accessed March 2, 2022, https://biblus.accasoftware.com/en/bim-maturity-levelsfrom-stage-0-to-stage-3/.

Q6) Construction Management

When agreeing on a lump sum contract, or a fixed fee before construction begins, the architect or contract administrator must have provisions in place for variations to the design or relevant processes. Hence, these are not completely fixed fees as they allow change according to certain circumstances, and can be overestimated.

The architect has the advantage of gaining profit if they overcharge from the outset, and is a good strategy for well defined project scopes with minimal need for design exploration, but this is not always the case.

Q6) Construction Management Consider the impact of Building Information Modeling (BIM) on architectural practice and how this might benefit coordination between construction industry professionals?

Q5) Architects’ Fees

Graph by author describing timeline of BIM Maturity Levels and Dimensions development, with reference to tools and format of collaboration. Based on diagrams from webpage: “BIM Maturity Levels: from stage 0 to stage 3,” BibLus, accessed March 2, 2022, https://biblus.accasoftware. com/en/bim-maturity-levels-from-stage-0-to-stage-3/.

Though some aspects of lump sum fees are beneficial, these arguments showcase how sole reliance on this fee is a risk not only for architects, but also for the entire profession. A further shift away from quality and added personal value is imminent if fee negotiations prioritize cost alone, as is more likely with lump sums.

In a competitive market, the use of lump sum fees especially, will lead to an explicit attention to lower prices. Granit Architects director, James Munro, explains that these bidding wars drive focus away from value-based pricing, stating that “Much more than normal, we are being made to feel expensive”. Radical solutions have been suggested which involve statutory requirements for architects to provide design consultation for significant projects to underscore quality rather than cost.

BIM can be described as a process in which the creation and management of a physical environment is supported by digital tools on a database which can be accessed, shared, and altered by a network of relevant agencies such as architects, engineers, contractors, and consultants. Measuring the development of this new system is done through BIM maturity levels, which gauges the level of collaboration between stakeholders, and dimensions, which define the types of information being digitized.

The core advantage of using BIM in architecture workflows is the significantly increased accuracy afforded when using compatible file types. Data can be puzzled together not only across an architecture practice’s team, but also with other collaborators. Thus, there is a uniformity in distributed information and an attention to clashes, whose management is embedded within the software. A level 2 BIM model stored on a shared cloud further harmonizes work across the construction profession, facilitating synchronic work. With the addition of time and cost components (4D and 5D), contractors can produce construction schedules based on real-time model simulations with resultant cost and material quantity estimates.

Overall, BIM’s collaborative characteristics open the doors for projects of sizable scope and complexity to achieve increased efficiency and productivity, with notable time, energy, and cost savings accompanying the process.

A case where these benefits are evident is the First White Cloth Hall, a Grade II listed textile market in Leeds. Grant Prescott, a conservation architect at Buttress Architects, asserts BIM’s noteworthiness in managing historic building projects thorough recounting site recordings, explorations of interventions, and mitigations of detrimental impacts. These uses are affiliated with ‘variable’ models, whereas a ‘static’ copy can act as a detailed record of design development visualized through VR; this facilitates future heritage audits and communicates the design to nonspecialized parties, engaging clients and the public with these cultural projects.

Despite the many attributes of BIM, concerns have arisen regarding the software’s operational competencies. Patrick Schumacher’s ‘Parametricist Manifesto’ shares worries that a young designer with these expertise can upstage an experienced designer, leading to a generational gap. EvrBilt’s digital consultant Robert Klaschka cautions that the focus should be design intent rather than capabilities of producing impressive, yet unnecessary information. Nevertheless, Klaschka maintains that collaborative workflow’s efficiency will afford more design time and promotes its adoption by hesitant smaller practices.

BIM’s prospects seem primarily positive, unlocking possibilities for integration with new dimensions beyond 7D. Still, architects and other construction professionals must heed the warnings of those who rightly identified BIM’s blinding force, whilst capitalizing on its outpour of virtues for a more integrated and collaborative future for the industry.

Y3 S2

ACADEMIC PORTFOLIO 1

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ARCH10005 Laura Harty

Course Description

Course Reflection

“This course requires students to curate the academic work produced during their BA/MA degree and present it in the form of an integrated academic portfolio - defined by the Architect’ Registration Board as: ‘a comprehensive chronological record of student’s design project work together with all coursework, including reports, dissertations, sketch books and any other evidence of work, (with project briefs and examination papers), that have been assessed as part of the degree leading to an award of Part 1’. The work to curate and present the portfolio is independent of the work from the courses themselves.

The course emphasizes the design and conceptualisation skills required to integrate and present diverse knowledges and media. It is introduced during Years 1 & 2 to ensure that students document their work as part of a personal development plan.”

As the final module in my degree, the nostalgic process of curating the academic portfolio and writing refelections for each module helped solidify my awareness of academic growth in my three years at ESALA.

LO1

Compose a coherent, well designed and integrated architectural design portfolio that documents and communicates architectural knowledge, skills and abilities, and that synthesizes and presents work produced using diverse media (sketch books, written work, computer work, drawings and models, etc).

LO2

Integrate knowledge in architectural design, technology and environment, histories and theories of architecture and the related arts, professionalism and regulatory frameworks as evidenced through the content of the portfolio.

LO3

Reflect on personal development with reference to the attainment of the ARB/RIBA Part 1 Graduate Attributes through an introductory summative statement, and understand the relationship of the General Criteria to the student’s work, as demonstrated through a referencing system in the portfolio.

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This retrospective task heightened my appreciation for the sequential progression of concepts as well as the well balanced core areas: Architectural Design, Technology and Environments, and Architectural History, alongside other minor theoretic and practical modules.

Overall, this curated portfolio as a whole demonstrates an attainment of ARB’s Part 1 qualification as well as summarizes my abilities in terms of all core learning outcomes: - knowledge and research - process and development - communication [GC 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11] [GA 1, 2, 3, 4, 5, 6]

& EXTRA PROJECTS Y2

FLORES & PRATS FILM WORKSHOP

Y3

YALE STUDENT FILM FESTIVAL

Y2 S2

& EXTRA PROJECTS

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Brief and Response Flores & Prats Film Workshop Animation Stills “Through the Drawing workshop will reflect on the value of film as an activator of a drawing, helping to bring the observer close to far away realities that a project creates, and adding its narrative condition to the story that the drawing itself is explaining.

In this workshop you will begin by choosing one of your own project drawings. Eva Prats and Ricardo Flores will lead sessions with technical assistance. Paced over 4 weeks, as an adjunct to your curricula work or practice, the workshop will culminate in reviews/film screenings of your animated drawings.

Morning: Waking up and starting our daily routines of work, making use of the added features of the prototype such as the gaming room, studio, and study.

Afternoon: Highlighting the significance of outdoor spaces in our daily activities as well as the dining rooms connection to outdoor views.

Storyboarding planning activity

Reflection From this workshop I gained methods to further explore architectural design in a more bold manner, specifically guided by using storyboarding and new softwares for film and animation such as PremierPro.

‘Prototype Dwelling’ Animation Stills Following the work in a recent AD In Place brief ‘bubbles’, I was studying how a residential bubble can combine layers of inulation to explicate a specific set of internal conditions needed by the occupant(s).The outcome was a 2 story building whose design is meant to represent an a-contextual prototype dwelling for a family of 5 focusing on themes of privacy, use, and ‘service vs served’ space.

The perspective sections drawn illustrate how the prototype dwelling would be occupied by the users (my family) throughout the day with focus on times to gather or retreat. Animating these scenes gave life to the 24 hour cycle of carefully curated conditions in the design.

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The opportunity to discuss design strategies, client relations, experimentative processes, and drawing techinques with Eva Prats and Ricardo Flores as well as peers from across ESALA (including Landscape Architects and other Architecure years) was a rewarding and stimulating way addition to my second year experience. [GC 1, 3, 5, 7] [GA 1, 2, 6] Evening: The core of the dwelling and the most important part of our shared routine is to gather in the TV/ Living room for movie nights with casual dinners.

Night: The night owls of the family - my dad catches up on football while work in the study, making use of the separating sliding wall (from Maison de Verre’s research on flexible partitions).

Y3

& EXTRA PROJECTS

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Brief and Response Yale Student Film Festival Screening “The Yale Student Film Festival (YSFF) is a student-run short film festival, providing the opportunity for university-level filmmakers to exhibit their work.”

Submitted Category: Animation Any short film that utilizes any form of animation, 45 minutes or under.

The YSFF staff congratulates you on your beautiful film, which was chosen out of an applicant pool of over 700 short films from around the world.”

Reflection

‘The Space Between’ Animation Stills ‘The Space Between’ is a short animation done in collaboration with Tahlor Jarrett and Cosmo Wezenbeek as part of the AD explorations coursework submission.

The fil was used as a device for exploring the spatiality of ‘Exploded’ model, using the camera lens as a literal tool to look through voids to recontextualize our subjective perceptions of North Berwick

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It was an honor to have our work recognized in this prestigious event; this served to encourage my experimentation with fim media even more and showcased its use in both my field and in my personal interests as a creative individual.

The main software used was AfterEffects, which was an expansion to my toolkit of communication media. Alongside guidance form accoustic designer Tommy Perman, we developed un uderstaing of how sound can emphasize our concepts. Though only basic editing tools were used, I am confident I will be revisiting and developing these skills. [GC 1, 3, 5, 7] [GA 1, 2, 6]

END OF PART 1