PORTFOLIO Elizabeth Ridland
Contents The Everyday Museum of Durham Academic Project_ Thesis Project
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Vienna: Transitional Objects and Phenomena Academic Project_ Masters Project
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Getting away from it all Academic Project_ Undergraduate Project
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BFMAF Centre for Digital Media and Arts Academic Project_ Undergraduate Project
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Dwelling Plus: Community Living Academic Project_ Undergraduate Project
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Field Visits Academic Collection_Drawings
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The Everyday Museum of Durham MArch Thesis Project
THE MUSEUM
Museumification is a contemporary phenomena that occurs within living heritage cities, where cultural assets are valued more as potential artefacts than for their traditional value. The identity of the city is displayed as an idealised form in order to attract visitors. As one of the first UNESCO world heritage sites in the UK, Durham stands as an example of a living cultural heritage site where a rift has formed between the ideologies of a local perspective of heritage and an international statement on the cities heritage significance. Where local life is on constant display like an exhibit in a museum. Everyday is like an open day and every local becomes a tourist in their own home. The objective of this final thesis project was to amplify and exaggerate the museum-scape of Durham. Employing exploratory mappings and drawings, this project analysed the disruption to the local caused by museumification. In order to exaggerate the museumification of the city, the design brief reconceptualises the peninsula as a museum, exploring the societal need to collect, curate and wander. It does so by incorporating the design of a touristic pilgrimage route through the city, curating an idealistic tourist experience through the everyday museum that is Durham. The route needed to incorporate 4 pavilions that evoke the architectural language and layout of contemporary museum design. The location of these pavilions were determined by the sites of major disruption, located using a series of analytical studies. A complete copy of my thesis works can be found online, please visit www.issuu.com/ elizabethridland
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Left: Collage using photographs and hand drawings to show the exaggerated museum-scape of the everyday museum of Durham Right: Example of an investigative mapping layer, originally printed on trace as an overlay, showing the significance of pilgrimage through Durham and its ‘iconic’ framed views. Part of a study to reveal layers of everyday heritage.
In order to define the concept of residential or ‘everyday’ heritage in Durham, this study began by mapping the different levels of intimacy and areas of contextual interest in Durham, juxtaposed against the current WHS boundary, Castle and Cathedral; both iconic to the history of the city and central to UNESCO’s interpretation of Durham’s heritage image. While there is a historic cultural identity that connects people through the architecture of the Castle and Cathedral, the natural identity connects more to a visitors imagination and experience of Durham than the knowledge and existence as part of it. The environment is seen as an experiential extension of the local, accumulating memories, and forms a personal heritage. There is no single image of Durham world heritage; Heritage will be interpreted differently by locals, national politicians and international tourists. Thus, from what we have explored through revealing layers of everyday heritage, the understanding of world cultural heritage coincides with an anthropological understanding of the connections within humanity, similarly to how the word ‘culture’ is branded in wider global society.
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Left: Pilgrimage and Durham- A mapping exercise showing the historic pilgrims routes and journey to and through Durham from the Holy Island of Lindisfarne Right: Map of the Museum, the Pilgrimage through Durham during Lumiere site visit.
One of the wealthiest subjects emerging from this study was pilgrimage and the historical connotations in Durham. The contemporary interpretation of how pilgrimage has changed in Durham is compelling, especially since it is such a rich part of its history, present, and possibly its future. Pilgrimage peaked in Durham in the 12th century, when the shrine of St Cuthbert attracted a large number of pilgrims. Pilgrimage’s global significance was founded on the ability to connect people and their faith to place, rooting their beliefs and individual identity within a collective. Therefore it became a a mode of cultural meeting, exchange and inspiration through pilgrims shared spiritual experience. Over time this pilgrimage became an important economic and social stimulus that lay the ground works for early origins of tourism. Cities and trails are built upon remnants of ancient pilgrimage routes where visiting communities bring with them wealth and wanderlust for the spiritual or emotional. This translated into a series of drawings to capture my own pilgrimage and experience through Durham during a site visit.
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Left: Box that opens to unfold a series of drawings that showed the experiential journey taken through Lumiere, to allow viewers to experience Lumiere as I did Right: Diagrammatic representation of the main elements and areas of disruption to the local resulting from museumification, documented during the Lumiere site study
There became the fortunate opportunity to study Durham during the Lumiere Festival; a charity lead light-art festival that runs for 4 nights every 2 years. This unique opportunity provided ideal conditions for a 4 day long site study. During this festival Durham becomes a living art museum, supporting 35 art installations featured in and around the city. This literalness is peter for this projects aim of transforming the peninsula into a literal museum. During this study I mapped my experience, drawing a map of the city as I went, documenting my experience as well as that of any other visiting tourist. As a total disruption to the local - I was able to study the movement of crowds and focus on the dynamic between the local insider and the visiting outsider, of this real life simulation. The value of the exhibition is determined by its quality as an attraction- as if part of a theme park. The routing system through the city was organised to resemble the layout of a museum, using blockades to control crowds and force visitors, insider and out, to participate in a set predetermined experience. The result being the complete disruption of the local. Everyday becomes an open day and every local becomes a tourist in their own home.
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Left: 3D collage assembled with layered images associated with the tangible architectural elements of the WHS, as well as photographs of Durham prior to WHS listing and ancient paintings of local legends banished to the background, faded with time. The remaining qualities are there for individual viewers to interpret, much like Durham itself Right: Exploratory mapping study combining all the drawings so far into one master mapping. Aiming to assemble all the tangible and intangible elements of museumification in Durham into one collective narrative in which to extract the most prominent and reoccurring themes
The dynamic of being an insider or an outsider is completely flipped, where the local has been displaced and forced into becoming more of an outsider than the visiting tourist, whom are entertained with their tailored experience of Durham. Shown here in this 3D wall collage, concluding my study of Lumiere. The first semester of works concluded with the final mapping study shown on the right. It compiles all the layers of information gathered so far and begins to capture the tangible and intangible elements of museumification in Durham. The most notable being the crowding and disruption of touristic culture on the city centre, and the distancing of locals cultural identity as a response to the museum effect and curated heritage. Therefore the brief for this design project urges the consideration of an assemblage within the museum responding to these provocative themes of tourism. More importantly, highlighting the reality of the museumification of our historic cities. The map itself distinguishes the connections between the initial contextual plans, the historic routes of pilgrimage, the study of Lumiere and the mappings of disruption to the city and the local. A clear zone appears around the peninsula, creating an interesting dynamic between the inside and outside of the current WHS boundary. Using the key areas of disruption and museumification, we can begin to visualise the city peninsula as a museum, and plot a route through the city to completely exaggerate the museumification of Durham. A route that is tailored specifically for the idealistic touristic experience.
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By distilling the key elements of a museum layout and floorpan it is made known what activities would be necessary to include in this planned route through the everyday museum. As expected, exhibition spaces were the most prominent feature in museum programming; followed by shops, cafes and storage spaces. These are the programmes that will emphasise the museum. Therefore, these are the activities that are required to include along my route through Durham in order to fully develop the peninsula into a museum. The inclusion of these activities impersonates that of museum design and being in a museum, which is one of the aims of this project emphasising the museum-scape. When the temporal rhythm of the everyday is interrupted through museumification, the identity of the local is dislodged from the city. So by disrupting the routes of the everyday though a new pilgrimage route through the museum island to connect all 4 pavilion sites, the effect of loss on the locals cultural identity will be amplified. To achieve this there is a need to curate significant moments within the museum, such as designing photograph opportunities along the route. This was done by mapping the most instagrammed spots in Durham, and joining these to the zones of most distraction caused by museumification that was found using the previous mapping studies. The result is a tailored route through the peninsula.
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Left: Plotting and refining the new route through Durham, positioning photo-opportunity spots and connecting the proposed pavilions with museum programming Right: A3 Model of the proposed Route at 1:5000, used to assist positioning the proposed intervention in the unique topography of the peninsula
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Inspired by Chipperfield and Berlins museum island, the next step was to explore museum design and how to approach the interpretation of Durham’s Norman Architecture, that is the foremost reason for its world heritage designation by UNESCO. For the design of the main route structure a chipperfieldesque approach was adopted, taking inspiration from Durham Cathedral which is recognised as significantly unique architecturally for its pre-gothic construction and romanesque features. Through a series of massing models, I explored the interpretation of the romanesque cathedral valuing and arches. The final design delivering on a contemporary interpretation that repeats itself in its language along the route and throughout the city, making sure to give the feeling of Durham Cathedral interiors while framing the touristic view.
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Left: Small selection of massing model examples from study, all modelled at 1:100 and slot into an additional landscape model Above: Perspective of final design showing the Cathedral view effect generated from the repeated geometries. A 3D SketchUp model was also made to help finalise construction details for construction logistics
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Left Above: Perspective of route structure against existing building context of Durham Left Below: Calculating and designing the ramp access onto the raised route structure, ramp demonstrated at 1:12, but can be fitted for 1:20 on site Above: Technical detail of the route’s main concrete structure, showing applied acrylic polymer cladding system and favoured choice of strip foundations over pile. Please see complete thesis works for greater details on this specific work
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Above Left: Concept collage of the experience within the key space, the mortar bowl exhibition space Above Right: Collage of experience within the bowl like key space Right: Floor Plans and Site Section of the Cafe Pavilion, the first pavilion on the new curated route through Durham
The first pavilion along this route is a cafe pavilion and temporary exhibit space, inspired by the historic mustard industry of Durham. The cafe pavilion’s design is site specific to its curved location as can be seen from its plans. The key moment located central to the plan is the temporary exhibition space, taking inspiration from the mustard making process of crushing the mustard seeds which Mrs Clements developed. As visitors continue to travel through the route they are forced through a narrow corridor with controlled lighting via skylights and light-wells as well as textured walls; visitors are made to feel like mustard seeds being fed through the mustard making process. The narrow route then opens onto an enlarged mortar bowl experience. This key exhibition space is open to the elements creating the feeling of being exposed and the process of crushing. Continuing through the space opens up further onto the cafe space with a large glass facade, maximising the light and view of the Cathedral. The cafe had to be positioned like this in oder to maximise this view, which is important to the experience of the tourist.
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Above Left: Concept collage directing form from coal machinery infrastructure and conceptualising a hierarchal relationship of space for my design
The next pavilion along the route is home to all of the administrative facilities such as offices, storage, rentable conference rooms and staff quarters for route workers such as cleaners, security or guides. Inspired by the coal industry, the design specifically explored the multilevel machinery and coal seams. Using 3D collage, I began by extrapolating the industrial forms from within coal machinery seen above ground. Their tall layered structures are about elevating goods up and above while maintain the lives of those working down below. Since this is the administrative pavilion, this was always going to be the largest and tallest of all the facilities in the museum. This pavilion focusses on the hierarchal nature of workers and management in the museum, showing only what we want the visitor to see. The office and meeting rooms are positioned on the top floors with the intention for them to look out and down over the visitors below, observing their pilgrimage through their museum. These work spaces are made temperate and light through the specific and selective positioning of glazing partnered with thick concrete massing throughout the entry and upper levels structure. Alternatively the public toilets and staff facilities are kept out of sight below entry level. Coal is also very identifiable, especially when seen in coal seams. The stark black contrasts against the stone like a natural horizontal pathway cutting through the rock. The key space, an exhibition atrium, features a coal seam floor that continues the route physically though the pavilion exploiting the materiality of the coal.
Above Right: Concept collage of the experience of the key space- exhibit atrium and coal walkway Left: Floor Plans and Site Section of the second Pavilion, inspired by coal seams and industrial structures
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Carpet weaving is one of the oldest trades and skills in Durham with medieval routes. The next pavilion along the route after passing through the admin pavilion we get to the educational exhibit. This pavilion is home to the interactive permeant exhibits one tends to see in most contemporary museums. This space provides workshops, an interactive exhibit hall, a small lecture facility and even space for visitors to dress up as a monk and fully immerse themselves in this experience. As carpet making is a skill still alive in Durham, this pavilion provides work rooms and work shops to encourage this further, although not to an industrial level rather an interactive experience for tourists to get involved. The key detailed space is a continuation of the route arched structure through the interiors, the interactive arch form inspired by traditional carpet weaving frames and equipment. I used this pavilion as an opportunity to explore the arch as a facilitator for creating weaved carpets. The structure was inspired from traditional weavers stations to help pull and weave visitors in and through the space. The feature archways continue the route through the pavilion but also provide an interactive experience to help engage the tourist and encourage them to fully invest into the museum experience. Exhibition spaces, workshops and costume rental provide an increased interactive experience that helps promote the commercialisation of the city that comes with museumification and this scheme.
Above Left: Concept collage of the key moment- the weavers arch Above Right: Structural axonometric of the weavers arch which continues the concrete arch structure of the route through the pavilion Right: Floor Plans and Site Section of the Education Pavilion, inspired by the ancient carpet industry
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Above Left: Concept drawing of Neptune and the Durham Seaport
As we approach the end of our journey along the route we reach the final destination, the seaport inspired pavilion. This site acts as a lookout over the picturesque river and of course the concluding statement of any museum- the gift shop. In the early 1700’s Durham city management had an ambitious dream of digging a canal to connect the river Tyne and Wear, effectively turning the city into a seaport. Whilst the dreams were large the funding was not. All that remains of this peculiar scheme is a statue of Neptune with a descriptive plaque. This industry provides ample of inspiration for developing form and detailing design. Visitors pass through this pavilion like cargo boats, channelled through the gift shop where they can stock up on their Durham mustard souvenirs or even a Cathedral postcard. A dramatic scheme demands a dramatic water-based feature. The steel structure juts out suddenly across the river by approximate 6m, suspended above the ground. A caustic rippling water effect is created by projecting flowing water through the main structure of the building, across a structural glass floor (which acts as the ceiling for the main space), and out into the river. This creates the illusion of being underwater. The circulation through the space was developed using Santos’s Water Museum which follows the flow of water through a sequence of spaces. Similarly I make sure there is a progression of movement though the floor plan, making sure every visitor must exit through the shop.
Above Right: Concept collage of the key moment- the caustic rippling water effect Left: Floor Plans and Site Section of the final Pavilion, the seaport inspired shop pavilion on the new curated route through Durham
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The final drawing to close this project is an overview of the proposed museum intervention. This map of the museum shows the route in its entirety, arranged pavilions and its connection to its outsider user. This is not only a physical map of the museum, but a mapping of its experiential journey. This is a museum-scape built for the touristic experience. With this we can begin to unpack the greater issue with museumification on a wider societal scale. Consumerism in the tourist industry is changing the face of our historical cities to the point where, as insiders, we can barely recognise them anymore. Our living breathing historical cities are becoming literal living museums. Specifically to this project, the warranted effect from architecture is to concentrate attention to the effects of tourism mismanagement on our living historic city centres in the name and exploitation of cultural preservation. It interprets the homogenous role of designing for the tourist in a way that is uncomfortable and commercialising, almost like organising the city as if it were a theme-park. The constant changing and adapting routines of the tourist reflects that of the values of a global society within the heritage-scape. As a local born to Durham, it is my childhood home. The nostalgic attachment to the city and my own identity makes me question my position in this new narrative of my museum-scape intervention. This project is meant to challenge the viewers thoughts on preservation and the considered context of cultural identity. It intends to challenge the ‘post card’ culture of contemporary architectural conservation in the light of the growing societal significance of the tourism industry. The key point being the discrepancy and hypocrisy between ‘interpretation’ and ‘adaptability’ - which feeds into the museumification we see today. Not just in Durham but everywhere. This project prompts a conversation on how we as architects approach ‘conservation’ design and how the industry should be more aware of the effects of museumification on the profession and the local.
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Vienna: Transitional Objects and Phenomena Stage 5 Academic Project This studio split itself into two projects. The first an urban intervention built on a site visit, group work and masterplanning. The second a building scale assemblage that responded to the research and themes developed from the urban masterplanning. My own project explored the transitional qualities of Vienna, characterised ‘the Potemkin city’ by Adolf Loos. This project investigated the historic importance of the Potemkin and proposed the ‘modern Potemkin’ through a dystopian urban intervention. Specifically responding to the festivalisation of the Ringstrasse and the Potemkin facade. The proposal was then refined into a transitional membrane to bridge two differing social conditions, the ‘unpublic’ park and exclusive ballroom culture of the Rathausplatz, and create an ‘in-between’ social pocket. Since the Potemkin ideologies is deeply imbedded into the facade of the Rathaus it became an opportunistic study that allowed intervention on the very idealisms set in the culture of Vienna. The Potemkin facades of the Ringstrasse, our area of study, present this historicism in promoting power and wealth. The truth behind these facades is that what they promote is a fantastical view on how the city wants to see itself, rather than what it actually is.
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Left: Isolating the public event spaces and venues in the Ringstrasse as well as Stephenplatz which marked the central point of the Innere Stadt where our studio all originally took our transects from Right: The transect route taken through the three distinct districts; the orange line shows the main route taken with smaller black lines showing the different routes I was conditioned to take as I passed through the area.
This studio began with a week long visit to Vienna to study the Ringstrasse. Individually we drew transects through Vienna that all started from a central point of the Innere Stadt and radiated outwards through the Ringstrasse’s 9 districts and into the suburbs beyond. We documented the transitional conditions and interrelationships between the inner and outer city with the ring intervening between the two. Through a series of intimate drawing studies I found intrinsically there is a distinct difference in character between the three areas as you move through them, the Ringstrasse being the most affluent and touristic. The difference in urban character formed the backbone for my individual project upon return from Vienna, focussing specifically on framing Vienna as a transitional city. The touristic parasite that had latched onto Vienna became very apparent and influenced my view on Vienna as a city, and was reflected ironically in my work. This was coupled with prominent readings such as “the Potemkin city” by Adolf Loos. Adolf Loos named Vienna the “Potemkin City” voicing how the excessive amount of ornament applied to the facades of its buildings was unnecessary and expressed a rather regressive ideology that we see in Vienna to the present day- historically, economically, politically and socially. My area of study, the “Universitätsring”, contains the grand neoclassical City hall (Rathaus) and ‘public’ space (Rathausplatz). Whilst on site, I observed the clear festivalisation of this public space heavily marketed for festivals and events creating an oxymoronic environment of being the most un-public public space in the Ringstrasse. This transitional phenomena parades how the space is constantly undergoing change of setting up, hosting and then taking down events- questioning whether this space is really for the the “public” if it is mostly unusable by the public.
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Left: Sketch site analysis and design development for the placement of scaffolding structure Right: Concept sketch of the megafestival framework design, sketching how to approach locating all the events on site as well as the design’s relation to its surrounding buildings
My project looked at amplifying the disorder and chaos to completely disrupt the landscape and highlight the effects of festivalisation on Vienna, and by extension on society. I took this opportunity to discuss the effects of tourism and city branding on public space; how it is transitioning the Ringstrasse into something completely ‘fake’ like one big advertising board of what is the tourists ‘ideal’ of Vienna. This relates back to Loos “Potemkin” city, the idea of presenting an utopian ideology that is only skin-facade deep. I analysed how Vienna has changed very little in its ideologies, presenting a new ‘modern Potemkin’ that has taken over the Ringstrasse and specifically on my site. A giant inflatable duck that distracted tourists from the historic buildings it surrounded I observed on site was used metaphorically for this. The final urban intervention for semester 1 was designed as a form of thought provocation. The project was proposed as a ‘mega-fetsival’ that would cause the maximum disruption and exaggerate the effects of festivalisation. The scaffolding design was generated from isolating several events that occur over the year on the Rathausplatz and overlaying their structural requirements. This created a form a scaffolding jungle that can not only support a year long festival but allow the festivalisation of the city to parasitically expand and grow. .
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Above: 1:500 Model of final concept, modelling the mega-festival framework against the Rathaus as a Potemkin facade. All cut by hand
To further understand how the framework would work on the site I decided to model the intervention and Rathausplatz at a 1:500 scale. To represent the Potemkin facade of the Rathaus and its relation to the festivalisation intervention I decided to only show the front facade and have it act as a stage prop for my massing model. Immediately the sense of scale is lost on the site as the proposal is extremely domineering and takes over the entire space. The Rathaus is already a scaleless building so this scalelessness provides further distance between the modern and old Potemkin image. Since festivalisation is an ongoing process it would make sense for this project to also act as a process. Therefore construction phasing would useful in showing this growth over time. City branding is at the heart of this proposal and what drives the Potemkin image, new and old. The overall scheme must keep growing, the phases must keep evolving so that the intervention remains large, over- the-top and intense.
Right: Phasing diagram to show progressive growth of festivals on the Rathausplatz, coupled with instagram inspired perspectives of within the mega-festivals growth
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Left: Site Location Plans Right: Axonometric drawing isolating the Rathaus facade as well as showing the location and attributes of the vaulted external corridors in the facade
Having understood that my site in the Ringstrasse both benefits and suffers from festivalisation, I wanted to continue this exploration but further into the actual buildings on the site- in particular the Rathaus. The Potemkin image is deeply imbedded into the facade of the Rathaus just as described by Loos. Due to the effects of the festivalisation of the Rathausplatz, as explored in the semester 1 project, the site can become very congested. The constant transition between events makes circulation around the site extremely difficult and disruptive. The Rathaus is the city hall of Vienna and site for the local government of Vienna. Therefore the building was made to look very impressive and promote the empires political and cultural stability. With two large festival halls as well as an event courtyard central to the building it is able to house several events at once. Most famous is the glamorous new years ball and several balls that are hosted in the Rathaus during ball season in Vienna. Vaulted ceilings and spaces are a reassuring theme throughout the structure and stand out as prominent features of the architecture. Unique to the Rathaus, these vaulted spaces feature both internally and externally. Knowing the history of the Rathaus it is important to ask the hypothetical question of what does the Rathaus represent. The construction of the building with its Potemkin facade was used to promote power and authority through historicism. However, in modern times the neo-classical ornamentation is not enough to do so, and its presence has become faded into the background like a prop to a play. This project therefore became a mission to transform the Rathaus into an object that can be used advantageously to combat the concerns of festivalisation and improve the constricted of access to the surrounding public spaces on site.
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The brief of this building scale project is to design an intervention that can bridge the in-between and improve the circulation issues that arise on site due to increasing festivalisation. This intervention took the form of a vertical parasitical growth on the facade of the Rathaus, that could act both as a public park and an extension to the interior ballrooms. In short: ‘the vertical botanical ballroom’. In order to continue this line of enquiry I began to study the viennese waltz in more scrutinising detail and began forming a series of notational sequences to help map this dance moment against the facade of the Rathaus in relation to the site. A series of concept national diagrams were created to experiment with bringing the Viennese waltz into a physical form on the Rathaus facade. The transition step move within the Viennese waltz was chosen as the base of this study, as it is unique to this form of waltz as well as traditionally performed at balls in the Rathaus. The structural intention of the project is to design a framework to support the natural growth of the facade. Originally the intention was to design this dancing form as a steel frame, but ended up favouring the use of more natural materials relating specifically to the site. This lead into additional research into alternative methods of 3D printing the frame structure using limestone, concrete and mining waste. This frame would support the panel system but also be able to take the more complex organic shape of the dance on the facade. This style of construction provides a degree of freedom in its off-site construction, where it only needs to be assembled on site similar to that of prefabricated slabs or SIPs construction.
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Left: Informative investigation into the atmospherical and aesthetic differences between synthetic and organic structure, attempting to balance the two structurally when occupying the in-between Right: Notational diagram mapping our the finalised proposal for the dancing form on the Rathaus facade, in plan. Finalising the shape and overall form of the new interacting membrane. Its appearance acts like an invasive growing mass of the facade of the Rathaus
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Above: Section 1:100 of Rathaus facade model, originally 3D printed and then used to create a mould to cast plaster copies for material testing Right: Experimental models with different methods of adding chemical and biological agents using frameworks and additional structures on the existing Rathaus facade
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Material tests were conducted to explore different ways chemical intervention could be used to degrade the facade of the Rathaus, and be able to grow a new structure from it. To begin these tests I created a 3D printed 1:100 model of a small section of the Rathaus. From this model I created a silicon mould and cast several plaster prototypes in which I could experiment on with different chemicals and material interventions. The chemicals I experiment included a strong acid, a weaker acid and bicarbonates. The desired outcome was to see if I could ‘dissolve’ or chemically intervene within the Rathaus facade while using chemical reactions to produce ‘waste’ material deposits that could effectively become the new structure. Plaster was used to model the facades as the material compound most similarly resembles the sandstone and limestone used in the Rathaus construction. In conclusion, chemical intervention seems to be too invasive and the deposits too unreliable to control form. Therefore an additional biological agent should be introduced to help dismantle, degrade and eventually inhabit the space. This was backed up by living architecture research undertaken as part of reading on Protocells use in architecture, as well as returning a social aspect to the project that reunites the design to nature and the locality of the site. A balance between the synthetic construction elements and the organic growing structure is needed in this project. The previous design work interrogating the viennese waltz and locality of the site performs standardly in producing an architectural intervention, but is synthetic as made my myself and ultimately is a pre-designed element. Introducing this biological material provides the means for an adaptable living architecture that grows to break away parts of the space and inhabit them with new activity and life. This is made possible by first accelerating the weathering effect the facade to create breaks in the facade and a limestone substrate, which can support the growth of plants (such as Lithophytes). These invasive plants, selectively applied and carefully positioned, can be used to invade the new spaces and adapt to the new environment created. This will create the desired vertical botanical ballroom desired.
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Above: Selection of material tests on degrading the facade using chemical intervention
Right Above: Drawing showing the intention of gradual growth across the facade, using the materiality of the structure as a facilitator Right Below: Drawing to show the plan of interior new structure, which also follows the route of the Viennese waltz as previously interrogated
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Left: Sectional drawing of original Rathaus facade, originally drawn and printed at 1:50 Right: Proposed design section at 1:50 with floorpans for reference; floorplans drawn and printed at 1:200
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Left: 1:20 detail section, printed at A2, showing occupation Right: 1:50 technical section through proposed facade
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Part of this stage 5 project required a technology submission, with a choice of several studios to choose from. Homeostasis and Biomimicry are subjects that heavily interest me, hence I chose this small workshop. Biomimicry can influence serval aspects of design, including materials and form. My own design projects allowed for this process, focussing on the response to the specific context of the site as to become a living architecture. In biology, nature has evolved to be as energy efficient it can be in its movement- which is what this style of architecture wants to replicate. Applied techniques include folding and curving structures, tessellating shapes and origami. This is a great area to start to think about the process of Biomimicry. For example, the movement of a flower opening although simple in appearance has a lot of mechanics working within. The folding motion of a flower is not so easily replicated, but can be explored through the use and application of smart materials. Experimenting with nitinol wire, as well as origami forms was the highlight of this exploratory studio. Implementing this research into my design project I considered creating a responsive second skin or panel system that facilities the biological growth. This system could react to the existing environment on the site, and be able to adapt and grow in the available conditions. To start drafting this skin I introduced sheet origami to the project- a form of origami that uses tessellating geometries to be able to fold and change shape. This resulted in a series of paper and wooden model that could grow and shrink, like a breathing membrane. As the sheet is pulled back the spaces between the hexagonal panels is reduces, creating a closed facade. When open, air and light is allowed to pass through.
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Above: Sketch movement study; The folding motion of a flower is not so easily replicated, but can be explored through the use and application of smart materials Right: Series of exploratory models, experimenting with origami inspired natural forms for opening and closing facade systems
TRANSITIONAL OBJECTS AND PHENOMENA
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Getting Away From It All Academic Undergraduate Project The ethos of this studio targets architectural escapism to the Northumberland coastline, considering the development of a new type of destination on the coast. The academic aim was to work across various scales and explore the diverse range of outcomes in a design process. The outcome of this project specifically being individual research into playscapes and the influence of the architect, in theory and in practice, on the social development of our coastlines. Not only does this project look at creating a new activity on the coast, but it reflects on the social and economical factors that heavily influence its design. It became a crucial part of my own development, not only for this project, but also leading to future work in practice. This studio explores new and traditional representative techniques across multiple disciplinaries to encourage an additional depth in contextual exploration. In turn, this extends into other cross-disciplinary sources and professions, from landscaping to product design. For our studio we visited the Northumberland coast to embrace the rich history and culture of the North East; continuously collaborating with peers whilst conducting individual work.
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GETTING AWAY FROM IT ALL
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GETTING AWAY FROM IT ALL
Left: Site Location Map Northumberland Coastline
on
Right: 1:1000 Site Location Plan with access annotation
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GETTING AWAY FROM IT ALL
Left Above: Data sheet showing collected research on tourism and the economy in Northumberland and the North East of England Left Below: Listing attractions of the past with proposals of other types of costal activities and collated the findings into a collage Right Above: 1:500 massing models for developing the design and accommodation of new activities such as an interior/exterior playscape relationship, pottery, cafe and sea viewing platform along existing walking route Right Below: Programming and scheduling activities on site plan, taking inspiration from the landscaping works of Charles Jencks
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GETTING AWAY FROM IT ALL
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GETTING AWAY FROM IT ALL
Above: Sections through proposed building, showing use of space and situation within the unique landscaped topography Left: Floor plans highlighting the importance of circulation between activities in the scheme by showing the routes and journey taken by different visitors
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GETTING AWAY FROM IT ALL
Left: Exploratory models, 1:100 and 1:200, exploring the interaction between different activities and the structure of the proposal; the aim was to form a more fluid and logical layout that still promoted a fun playscape Below: 1:100 model of final proposal, the model can be taken apart into separate activities to talk through the projects design methodically and maintain a strong circulation narrative of the playscape
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GETTING AWAY FROM IT ALL
500
Grey water from Tanks/Building
Septic Tank
Gravel, Sand & Soil/Pebble Filter Layer
Outlet Ditch
Recieving Tank Adjustable Outlet Structure
Organic Detritus Layer Inlet
Limestone Base
Emergency Overflow
1 Overflow
Waterproof Lining on every Tank
500
Recieving Pond
Initial Tank
Pump to Garden/ Ponds/etc Water Storage Tank
Plan View
Wetland Plants Soil (must cover liner) 100 Reed Soil & Sand 150 Pea Gravel (Fine) & Sand
Must be Level Surface Max 1% Slope
200 Coarse Stone 500-700 Rock (Crusher-Rock)
MIN 400mm
Paving Slab Outlet
Filtered Water runs into Horizontal flow beds
2-3mm & 2-3mm DPM & Impermeable Plastic
1
Above: Landscaping development expanding the playscape and incorporating technologies that will benefit the wider site, including conservation efforts of the surrounding nature reserves. One such system explored was a rainwater harvesting and reuse strategy shown here Left: Landscape Plan - 64 -
GETTING AWAY FROM IT ALL
Above: Photographs showing details of a 1:500 landscape model, which also was used for final massing studies of the final building design and demonstrate extension into landscape design
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GETTING AWAY FROM IT ALL
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GETTING AWAY FROM IT ALL
Left: Thinking across scales; this project required a landscaped proposal, a building to house the new activity as well as a smaller ‘break-space’ which helped progress the journey through the activities in the landscape. The design of these break spaces was inspired from earlier research into product design, specifically windbreaks Above: Plan and 1:50 model of proposed smaller break spaces within this project’s proposal for thinking across multiple scales in design
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BFMAF Centre for Digital Media and Arts Academic Undergraduate Project Like-for-like was a studio that explored the ways in which social media and the digital world could shape architecture, specifically in the historic city centre of Berwick. By conceptualising digital stock as the value of information within the digital age, this project responds to our relationship with the online world. Berwick is an area of densely aged population, considered to be majority born outside the digital age. Therefore a digital stock trade through educating the public becomes a necessity in the community in the concern of the value of information. The brief is to provide an introductory space to the digital age and share this information through educational spaces and public computer hubs. Inspired by the BFMAF (Berwick film media arts festival) and my project becomes central on this festival. Therefore there will be space for film, media exhibitions as well as physical and digital art displays. This project is to create a community centre specific to the needs of Berwick community that provides key spaces for use in the BFMAF as well as provide education spaces where people can be introduced to the digital world. It is an immersion into the digital world, connecting people to the social economy and social media. The building should benefit the people of Berwick and be seen at the very heart of Berwick; by providing benefit through digital stock as well as tourism, sales and consumption, knowledge and education, encouraging future investments and expanding on Berwick culture. All undergraduate works were drafted by hand, as I preferred hand drawing my projects.
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BFMAF CENTRE Left: Seclection of 1:500 massing model developments, experimenting with strict site conditions and different facade materials Right: Photographs of 1:500 final massing model on site model
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BFMAF CENTRE
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BFMAF CENTRE
Entry to the building begins with a large open lobby and circulatory space connecting the three main sections to the plan- the auditorium, the internet cafe and the central core. The central core is made up of a protected stairwell and lift with toilet services for men, woman and disabled visitors. This core can be seen repeated on every floor and acts as the backbone of the building. The busiest areas are hosted on the ground floor and the further up the building the quieter these activities become. The first floor is made up of a classroom for digital workshops and classes along with a common room computer hub area that is open for communal use of computers. The second floor features a long gallery that wraps around the front facades of the building taking advantage of the natural North west diffused daylight. Behind it sits an exhibition space which has a multifunctional use. During the festival it could be used to show installation work or act as a second dark gallery. The space can also be used to host workshops or even additional classes.
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BFMAF CENTRE
Left Page: 1:100 model of final design, showing glass curtain south east facade and cladding on south west Above: Segments of 1:100 final model on site model, removable facades and floors used to explain layout and design intention in presentation. All made by hand Left: Photographs of final model showing final proposal
The ceiling height of the exhibition space is extended to make use of roof lights; the amount of light entering the space can be controlled by shutters making it an extremely adaptable space. The main structure is a steel frame with a glass curtain wall fixed on the front south east facade and south facade. The south west facade is clad in recycled aluminium panels treated to the colour ‘sand’ which appears like the colouring of ages sandstone. While the colouring of the facade will fit contextually in with its surroundings the materiality of the aluminium with contrast against the surrounding buildings providing its own textures and unique individualism. At the end of the buildings lifetime these materials can be recycled again.
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Dwelling Plus: Community Living Academic Undergraduate Project The brief for this project was to select two different types of ‘occupancy’ to accommodate in a community housing design. A key observation during a site visit was the lack of obvious disabled or third age housing available in our provided site area- therefore my project wanted to address the need for this housing while also accommodating the rising number of young people moving into the area. Work/Live units are ideal for this demographic. My approach to design creates a studio space and welcome artists- encouraging the rich art history and culture of Leith, while also providing community garden spaces for additional communal growth. Additional research was undertaken into the necessary specifications for disabled living and access, finding typology studies such as Lingham Court in London to take inspiration from. The final design is responsive to the limitations of the site and surrounding/connecting buildings. It is split into four final interlocking segments for communal areas, circulatory spaces, third-age specialty housing and work/live studios. A ‘multifunction room’ on the ground floor acts as a community centre off the main road. This is a communal space that can be rented to host multiple events. With partitioning walls and ample storage the room can be adaptable to various needs and occasions such as playgroups or business meetings. Ideally, the residents could take advantage of the space with the possibility of daily activities or groups being held to for the third age occupants as well as the opportunity for the Work/Live residents to host workshops or classes to increase their income.
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DWELLING PLUS: COMMUNITY LIVING
Above: Axonometric exploded view showing the locations of the four main areas in the design: communal areas in blue, circulatory connective spaces in orange, Third-Age housing in lilac and Work/Live studios in green Left: Hand-drawn A0 at 1:100 sectional perspective of design in situ, showing all layers of the axonometric together
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DWELLING PLUS: COMMUNITY LIVING
Above: Concept sketches of occupation. On the left showing an understanding of dwelling in the work/live studios and multipurpose room. On the right showing the dwelling and possible use of the third age housing and communal studio Left: Winter-Garden concept collage for third-age housing
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DWELLING PLUS: COMMUNITY LIVING
Above: Quick 1:50 model of communal studio space and garden Right: Quick 1:50 model of the multipurpose or multifunction room
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DWELLING PLUS: COMMUNITY LIVING
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Field Visits Collection of Academic Drawings Collective examples of additional drawings taken from field exercises during my academic studies. The majority of these drawings were completed during undergraduate visits to Edinburgh, with exceptions of precedent studies. Hand sketching and drawing has long been a passion which I continue to do everyday, inside and outside of my architectural career.
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FIELD VISITS
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FIELD VISITS
Above: On site sketches from studio visit to Edinburgh city centre and Leith
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FIELD VISITS
Above: Sketch from Vienna site and building study on card, specifically a section of the Rathaus facade
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FIELD VISITS
Above: Sketch of Durham Cathedral interiors on cardboard; focus on the vaulting and romanesque features
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ELIZABETH RIDLAND